Jiao Shi Yi Gu (焦氏易詁)

行唐尚秉和節之撰

This volume was compiled by Shang Binghe, a native of Xingtang (now Xingtang County, Hebei Province). Shang's given name is "Jiezi."

悲哉，《易》之為書也！自東漢迄今，幾兩千年，總九經之注，不如《易》一經之多，而《易》義之晦自若也，誤解相承如故也。李剛主曰：「《易》二千年在漆室中。」真信心之言哉！蓋《易》之為書，義盡在經中，說皆在經外。如內外應予、卦位貴賤、陽升陰降、陽順陰逆、乾貞子、左行陽時六、坤貞未、右行陰時六等說，經傳皆不詳也。倘《乾鑿度》不言之，後人如何各大之？

What a sad thing, this book called The Zhou Changes! From the Eastern Han dynasty to the present day, nearly two thousand years have passed, yet the total amount of commentary on the Nine Classics is still less than that on a single volume of The Zhou Changes. Yet the meaning of The Zhou Changes remains as obscure as ever, and the misunderstandings of previous generations continue to be passed down. Li Nen (pen name Gangzhu) once said, "The Book of Changes has been confined in a dark room for two thousand years." This is truly heartfelt and sincere. Originally, the meaning of The Zhou Changes lies entirely within the text itself, while the explanations used to understand the text, known as "Yi Shuo," are all outside the text. For example, the correspondence between the inner and outer trigrams, the distinction of importance among the trigram positions, the movement of yang lines ascending and yin lines descending, the order of yang lines moving in a clockwise direction and yin lines moving counterclockwise, and statements such as "Qian is faithful to the Zi (rat) and moves left through the six yang hours" and "Kun is faithful to the Wei (sheep) and moves right through the six yin hours"—none of these are clearly explained in the text or in the Yi Zhuan. If the Yi Wei · Gan Zao Du had not recorded them, how could later generations have any basis for inquiry?

又如互卦，如干南，倘《左氏》不言，可竟襄助其無矣。又如旁通，如覆象，《左氏》雖言之，乃至東漢，口傳一失，遂知之不真，並《左氏》而誤解矣。由是而推之，卦象如震車、震旗、震姬、震射、震威、震殺、艮言、艮鳥、坎眾等象，並見於《左氏》內外傳，後儒失其義，而竟疑此象矣。其餘所未言而象之遺失者，不知凡幾也。夫易說易象，解《易》之根本也。觀春秋人說《易》，無一字不本於象，其重可知。失其說，亡其象，而強詁之，不猶瞽者之辨黑白、聾者之聽音聲乎？必無當矣。

For example, take the interrelated trigrams. Suppose the position of the trigram Qian (Heaven) in the southern direction in the Earlier Heaven arrangement, if the Zuo Zhuan had not mentioned it, later scholars would insist that such a concept never existed in ancient times. Similarly, concepts such as mutual transformation (where the yin and yang of both trigrams are reversed, making them mutually connected) and inverted images (where a trigram is reversed top to bottom to form another trigram), which the Zuo Zhuan clearly used, became unclear after the oral transmission between teacher and student in the Eastern Han dynasty was broken. People no longer understood them accurately, and even the text of the Zuo Zhuan was misinterpreted. By extension, other trigram images such as Zhen representing a chariot, a flag, a woman, shooting, authority, and killing; Gen representing speech and a bird; and Kan representing a crowd, all appear in both the Zuo Zhuan and the Guoyu (the internal and external transmissions of the Zuo school). Later scholars, having lost the meanings and explanations of these images, instead doubted their existence. As for trigram images not mentioned by the Zuo school and already lost, how many more are there? To understand the Yi Jing, one must rely on its interpretations and images. When people of the Spring and Autumn period discussed the Yi, every word they used was based on the trigram images. This shows how important the images are. If one loses the interpretations and the images of the Yi, yet insists on interpreting the classics, it would be like a blind person trying to distinguish black from white or a deaf person trying to hear sound. Such an approach can never reach the heart of the matter.

今日之易說，東漢人之易說也。西漢所遺，皆零詞斷句，不能會其通，獨焦氏《易林》尚為完書，乃歴代學者皆以占辭視之。餘獨以為焦氏林詞多至四千餘，其必有物焉以主其詞；不然，以一卦為六十四詞，雖善者不能也。乃日夜覃精而求其故，求之既久，然後知其本於易象。其深者雖不能盡通，淺者遂得其八九。乃昔人為之注者，祗釋其故事、地名、人名，及草木禽獸蟲魚之名，無釋及卦象者。今既稍有所通，遂卽其通者而詳註之。

The current interpretation of the Book of Changes is actually only the interpretation of the Eastern Han dynasty. The remnants left from the Western Han dynasty are just scattered phrases, unable to form a complete system of meaning. Only Jiao Yanshou's "Forest of Changes" remains a complete work, but scholars through the ages have only regarded its divinatory verses as mere oracle texts. I, however, believe that Jiao's Forest of Changes contains over four thousand verses, among which there must be something that governs them all. Otherwise, if one hexagram were to be paired with sixty-four oracle texts, even the most skilled writer would find it impossible. Therefore, I have thought about this day and night, seeking the reason behind it. After prolonged inquiry, I finally realized that all the verses in the Forest of Changes originate from the images of the Book of Changes. Although some of the more difficult ones remain obscure, the more accessible ones are already understood by me to about eight or nine tenths. However, those who have previously annotated the Forest of Changes have only explained the stories, place names, personal names, and the names of plants, birds, animals, insects, and fish within it, without anyone interpreting them from the perspective of the hexagram images. Now that I have made some progress in understanding, I will now provide detailed annotations for the parts I have already grasped.

注之既久，兼得其易說；又久之，而知焦氏之易象易說，為東漢所無。於是由其說以解《易》，凡李剛主所謂二千年漆室者，往往復明；復由其說以解《左傳》，凡服虔？杜預所不解或誤解者，象皆有著。乃恍然於易說易象至東漢頗失其傳，東漢人之誤解有由也。閒常輯《易林》之說《易》者，次而編之，名曰《焦氏易詁》。有焦氏直說者，有焦氏未言、由其例以推得者，凡得十卷。

After studying for a long time, I gradually came to understand Jiao's interpretation of the Changes; after even longer study, I realized that the images and interpretations used by Jiao were not found in the Eastern Han period. Using Jiao's interpretations to explain the Zhou Changes, many of the parts that Li Nen called "two thousand years of darkness" became clear and bright. Using Jiao's interpretations to explain the Zuo Zhuan, wherever Fu Qian and Du Yu failed to explain or explained incorrectly, the hexagram images now had a place to fall into. Only then did I suddenly realize: the interpretations and images of the Changes had largely been lost by the Eastern Han period, and the misunderstandings of the Eastern Han people had their reasons. In my idle time, I often collected from the Yi Lin those parts that could explain the Changes, arranged them in order, and titled the collection "Jiao's Glosses on the Changes." Some parts were directly stated by Jiao Yanshou, while others were inferred according to his meaning and examples, and altogether I wrote ten volumes.

其間如「利涉大川」、「鶴嗚子和」、「有言」等解，及坤水、兌月等象，雖起東漢人質之，亦不得不謂焦氏之是，而悟己之非也。於是又頗雜採東漢以來名家易說，與焦說並列，以顯其得失，以較其短長。噫！以二千年之舊解而忽疑其誤，以數百年已熄之先天象而忽謂其復然，無乃駭眾。雖然，焦氏之書固在也，焦氏之說固如斯也。世之君子，倘有同好，請繹其言。

The explanations in the book, such as "favorable for crossing great rivers," "the crane's cry is answered by the child," and "there is a statement," as well as the hexagram interpretations like "Kun represents water" and "Dui represents the moon," would even make scholars from the Eastern Han dynasty rise from the dead and question them, yet they would have to admit that Jiao Yanshou was correct and realize their own mistakes. Therefore, I have widely collected the interpretations of various famous scholars since the Eastern Han dynasty and placed them alongside Jiao's views, to demonstrate their strengths and weaknesses and compare their merits and shortcomings. Alas! To suddenly doubt the old interpretations that have been passed down for two thousand years; to suddenly say that the Earlier Heaven hexagrams, which were already extinguished hundreds of years ago, have been re-established again, perhaps would cause great alarm among people. Although this is the case, Jiao's book still exists, and Jiao's interpretation is indeed as such. The gentlemen of the world, if you share my interest, please carefully examine these words.

西漢易學，得孔子嫡傳者三家，施、孟、梁邱是也。三家之學，同祖丁將軍寬。寬既從田何受《易》畢，復歸洛陽，從周王孫受古義。古義者，非孔氏《十翼》，蓋卽許慎所謂秘書、汲冡古《易》，但有陰陽秘書者是也，卽陰陽災變之學也。後高相專以陰陽災變說《易》，自言出於丁將軍，是其證。

In the Western Han dynasty, there were three schools of Yi studies that claimed to have inherited the teachings of Confucius directly: Shi Chou, Meng Xi, and Liang Qiu He. All three schools originated from Ding Kuan, who was known as "Ding General" because he had served as a general under King Liang Xiuwang. After studying the Yi under Tian He, Ding Kuan returned to Luoyang and studied the "ancient meaning" under Zhou Wangsun. The so-called "ancient meaning" was not the Ten Wings of the Confucian school, but rather what Xu Shen referred to as "secret documents," as well as the ancient version of the Yi discovered at Ji Zong. This kind of "secret documents" was characterized by its focus on yin and yang and calamity changes. Later, Gao Xiang specialized in interpreting the Yi using the theory of yin and yang and calamity changes, claiming to have inherited this tradition from Ding General, which was clear evidence of this lineage.

三家之學皆同，獨孟喜能候陰陽災變，自謂田生將死時枕喜膝受之，而施讎、梁邱賀皆不能。時賀已為少府侍中，貴幸，而喜獨能畢傳師業，名最高，故賀甚嫉之，既疏證喜言之詐，復譛之於帝，使有改師法之嫌。豈知賀謂喜言為詐，賀所謂田生絕於施讎手中者，其言尤詐乎？設田生果絕於施讎手中，喜安肯刺謬如此。蓋西漢經師，以有利祿故，每爭名，相傾軋以求勝，不獨易家也。

The teachings of the three schools were originally the same, but only Meng Xi was able to predict changes in yin and yang and disasters. He claimed that his teacher Tian Wangsun had personally taught him while lying on his knees as he was dying. However, Shi Chou and Liang Qiu He were not able to do so. At that time, Liang Qiu He had already held the position of Shao Fu and Shizhong, enjoying high status and favor. Yet Meng Xi was able to fully inherit the teachings of his school and gained the highest reputation, which made Liang Qiu He extremely jealous. First, he presented evidence to accuse Meng Xi of fabricating his words, and then he slandered the emperor, making Meng Xi suspected of altering the school's teachings. However, if Liang Qiu He claimed that Tian Wangsun died in Shi Chou's hands, then his own statement would be even more fabricated. If Tian Wangsun really died in Shi Chou's hands, why would Meng Xi invent such an obviously contradictory lie? In general, the scholars of the Western Han dynasty often competed for fame and power, and they often undermined each other to gain advantage, not only in the study of the Book of Changes.

由此觀之，三家之《易》，獨孟喜兼明陰陽，不墜師法，而焦延壽則問《易》於孟喜者也，故延壽亦兼明陰陽災變。其白生、翟牧不肯焦、京為孟學者，仍經師嫉妬之私；史謂延壽得隱士之說者，仍施、梁二家解嘲之語。蓋自孔子傳《易》，六傳而至田何，七傳而至丁將軍。丁將軍既從田何受《易》，復從周王孫受古義，周王孫百他，仍田何弟子也。然則陰陽災變之學，皆出自孔門，為傳《易》者所必學，其淵源可謂明悉矣。

From this we can see that among the three schools of the Book of Changes, only Meng Xi was proficient in yin-yang and calamity changes, and did not lose the methods passed down by his teacher. Jiao Yanshou was the one who asked Meng Xi about the Book of Changes, so Jiao Yanshou also mastered yin-yang and calamity changes. As for Bai Guang (Bai Sheng) and Zhai Mu, who were both disciples of Meng Xi, they refused to acknowledge that the teachings of Jiao Yanshou and Jing Fang were part of Meng's school. This was still due to the private jealousy between teachers. The historical records say that Jiao Yanshou learned the Book of Changes from a certain hermit, but this was still just the kind of self-justification used by the Shi and Liang families. We should know that since Confucius transmitted the Book of Changes, it passed through six generations to Tian He, and seven generations to Ding Kuan. Ding Kuan learned the Book of Changes from Tian He, and also learned the "ancient meaning" from Zhou Wangsun. Zhou Wangsun, whose name (the two characters "baita" are suspected to be missing), was also a disciple of Tian He. Therefore, the study of yin-yang and calamity changes comes from the same lineage as Confucius' school, and it was an essential part of the teachings of those who transmitted the Book of Changes. Its origin and transmission are clearly established.

徒以施、梁二家未得其全，遂謂孟喜陰陽之學非出自丁、田，更疑延壽易學非出自孟氏，豈知皆施、梁二家徒黨之誣詞哉。總之，陰陽災變之學，由丁寬證之，其源皆出於孔氏。後三家惟孟喜為能兼明，三家後惟焦、京能傳孟學，故京氏巍然為三家後第一大家，得立於學官。彼高相者，得丁將軍一體耳，非其倫也。

It is only because the Shī and Liáng families did not obtain the complete teachings of the Meng school that they claimed Meng Xi's yin-yang studies were not derived from Ding Kuan and Tian He, and even doubted that Jiao Yanshou's Book of Changes studies came from Meng Xi. They were unaware that these were merely slanderous remarks from the disciples of the Shī and Liáng families. In summary, by examining the lineage of Ding Kuan, we can see that the source of yin-yang disaster and transformation studies comes from the Confucian tradition. Among the three schools, only Meng Xi was capable of comprehensive understanding. After the three schools, only Jiao Yanshou and Jing Fang could inherit Meng's teachings. Therefore, Jing Fang became the foremost scholar among those following the three schools and was established in the official academic curriculum. As for Gao Xiang, he merely inherited one branch of Ding Jiangjun's teachings and cannot be compared with them.

秦禁書，獨不及於《易》，故其傳授永不絕。至田何，去孔子六世耳，故西漢易說，較東漢尤珍。乃至漢末，西京《易》存者，祗孟、京二家，有書無師，莫能傳習。鄭康成初習京氏，後棄去，學費氏，苦無師也。費直專以孔傳說《易》，無師可通也。王弼《易》之能風行晉唐者，亦以此。吳虞翻自謂世傳孟氏《易》，然焦延壽，學孟者也，焦氏所說易象，翻多不知，世傳孟《易》之言，果可信乎？至京氏，更無人道及，其餘無書者，更無論已。於是三家之學，至東漢嶄然齊亡。

During the Qin dynasty, the burning of books did not affect the Zhou Changes, so the transmission of the Yi has never been interrupted. It came to Tian He, who was only six generations after Confucius, so the interpretation of the Yi in the Western Han was more valuable than that in the Eastern Han. However, by the end of the Han dynasty, only the schools of Meng Xi and Jing Fang remained from the Western Han's Yi studies. They had writings but no teachers, and no one could transmit their teachings. Zheng Xuan (styled Kangcheng) first studied Jing's Yi, but later abandoned it and switched to Fei Zhi's Yi, precisely because there were no teachers available. Fei Zhi used Confucius' Ten Wings to explain the Yi, also because there were no successors to his teachings. Wang Bi's commentary on the Yi became popular during the Jin and Tang dynasties for the same reason. A man from Wu, Yu Fan, claimed that his family had passed down the Meng school of Yi. However, Jiao Yanshou studied the Meng school, and the Yi images used by Jiao were mostly unknown to Yu Fan. So can the statement that the Meng school of Yi was passed down through generations be trusted? As for the Jing school, no one even mentioned it. Others whose writings had already been lost need not be discussed. Thus, the three schools of Yi studies came to an end by the Eastern Han.

易說既亡，於是「射其元王中厥目」，《左氏》言先天象，杜預不知所謂，而不釋無與王之象矣。《左氏》以艮為言，以讒釋《明夷》之「有言」，杜預不知艮為覆震，震為言，又不知《謙》初至五，正反兩震言相背為讒，離正反兩兌口相對為「有言」，純用覆象，而誤解矣。其時服、賈之注皆在，可見此等晚說之失傳，自東漢已然，不始於杜預也。

Since the explanations of the Yi Jing have been lost, passages like "He shot at his head, and the king hit his eye" in the Zuo Zhuan cannot be understood. The Zuo Zhuan used the Earlier Heaven hexagrams, and Du Yu did not know what they referred to, nor could he explain the imagery of "yuan" (origin) and "wang" (king). The Zuo Zhuan took Gen as speech, using "slander" to explain the "there is speech" in Mingyi. Du Yu did not know that Gen is the reverse of Zhen, and that Zhen represents speech. He also did not realize that the Qian hexagram contains two Zhen, one positive and one negative, from the first line to the fifth line, which are opposite to each other, hence "slander." Similarly, the Mingyi hexagram has two Dui in its lower trigram, two "mouths" facing each other, hence "there is speech." In these cases, the Zuo Zhuan used reversed trigrams exclusively, and Du Yu therefore misunderstood them. During Du Yu's time, the old commentaries by Fu Qian and Jia Kui were still available, showing that the loss of these Yi explanations had already begun in the Eastern Han dynasty, and was not a phenomenon starting with Du Yu.

西漢《易》雖可貴，無如其書皆亡，見存者，祗《京易傳》三卷，及焦氏《易林》。《易傳》為為殘缺之餘，且專演八宮世應，乃易學之一端，蓋與丁將軍所學之古義、孟喜兼明之陰陽災變同，非專門詁《易》之書也。

The Yi learning of the Western Han dynasty, though valuable, unfortunately all the books from that time have been lost. What remains are only three volumes of Jing's Tradition of the Changes and Jiao's Forest of Changes. Jing's Tradition of the Changes itself is already fragmented, and it focuses exclusively on the method of the eight palaces and world and response lines. It is merely a branch of Yi learning, mostly belonging to the same category as Ding Kuan's study of "ancient meaning," and Meng Xi's integration of yin and yang and calamity transformation. It is not a specialized commentary on the Zhou Changes.

焦氏《易林》，二千年來，無有通其義者。唐王俞云：「言近指遠，易識難詳。」馬端臨曰：「《易林》總四千九十六卦，各為韻語，與《左傳》『鳳凰于飛，和鳴鏘鏘』、《漢書》『大橫庚庚，子為天王』之語，絕相類。豈古之占人，各有此等詞耶？莫可考也。」豈知《易》卦辭亦占辭也，而《易》之卦辭無一不根於象；《易林》繇辭多至四千餘，亦豈能離象造辭。知《易林》繇辭無一字不根於象，則《易林》之辭必於《易》有關矣。

Jiao's Forest of Changes has remained incomprehensible for two thousand years. Wang Yu of the Tang dynasty said about it, "The words are near at hand, but the meaning is far away; easy to recognize, yet difficult to elaborate." Ma Duolin said: The Forest of Changes contains four thousand and nine十六 hexagrams, each with a passage of rhyming words attached. These are very similar to phrases like "The phoenix flies together, their harmonious calls resound" from the Zuo Zhuan, and "Great Horizontal, bright and clear, the son becomes the heavenly king" from the Han Shu. Could it be that ancient diviners each had such line statements? It is now impossible to verify. But people do not realize that the line statements of the Zhou Changes are originally divination statements, and each line statement of the Zhou Changes is rooted in the hexagram image. The Forest of Changes has over four thousand line statements. How could they be created out of nowhere without reference to the hexagram images? If we recognize that every word in the line statements of the Forest of Changes is rooted in the image, then the statements of the Forest of Changes must necessarily be related to the Zhou Changes.

然自魏晉以迄明清，二千年來之易家，無有援以詁《易》者。則以西漢易學，至東漢已失傳，後儒所宗，獨馬、鄭、荀、虞諸說，而馬、鄭、荀、虞，皆在西京易說易象失傳之後；而焦氏《易林》繇辭，則字字步趨《周易》者也。西漢《周易》真詁，為東漢人所不知，則焦氏《易林》真詁，相因而不解者，勢也。

However, from the Wei and Jin dynasties up to the Ming and Qing, no one among the scholars of the I Ching over two thousand years referred to the Forest of Changes by Jiao to explain the Zhou Changes. This was because the Western Han interpretation of the I Ching had been lost by the Eastern Han, and the later scholars only followed the views of Ma Rong, Zheng Xuan, Xun Shuang, and Yu Fan. Ma, Zheng, Xun, and Yu all came after the loss of the Western Capital's interpretations and images of the I Ching. In contrast, the divinatory phrases of the Forest of Changes by Jiao followed each word of the Zhou Changes closely. Since the true interpretation of the Zhou Changes from the Western Han was unknown to the Eastern Han scholars, the true meaning of the Forest of Changes by Jiao also remained unknown, which was inevitable.

以故西漢之書存留至今者，雖皆不免訛誤，而舛錯顛倒、魯魚亥豕，多至十六七，不堪卒讀者，莫《易林》若也。追原其故，由歴代學者不知辭根於象，故莫能以象定辭，影響模糊，謂是為非，謂非為是，致使林辭疵累大半，而無如何，真可浩嘆也。

Therefore, the texts from the Western Han dynasty that have come down to us today, although all inevitably contain errors, none are as severe as the "Yi Lin" in terms of chaotic and inverted characters, such as mistaking "Lu" for "Yu" or "Hai" for "Shi," which account for more than six or seven tenths of the bad characters, making the text almost unreadable. The reason for this is that scholars through the ages did not understand that the words in the "Yi Lin" are rooted in the hexagram images. Therefore, they could not use the images to determine the characters, and had to rely on vague and unclear methods, thus often mistaking correct characters for incorrect ones and vice versa. As a result, most of the "Yi Lin" contains errors and there is little that can be done about it, which truly causes one to sigh deeply.

其顯者易見者，為先天卦象。先天卦象，後儒皆謂出於陳、邵，為宋以前所無，以儒家而用道家之說，玷汙儒席，莫斯為甚。黃梨洲、毛西河諸人，肆口謾罵，力辯其誣。後惠士奇、惠棟、焦循、張惠言、姚配中諸治《易》者，自標旗幟曰：「吾治漢《易》。」豈知治漢《易》者，皆盤旋於荀、虞腳下，荀、虞於西漢易學且不能明，焉有於後。今以焦氏《易林》考之，其用先天卦象者多於後天，而先天卦象，東漢諸儒多不知，致解《既濟》九五爻辭，及《大有》《同人》《師》《比》諸卦名，靡不錯誤，此一證也。今將焦氏《易林》言先天卦象者，標舉如左。

The most obvious and clear point is the Earlier Heaven hexagrams. When it comes to the Earlier Heaven hexagrams, later Confucian scholars all attribute them to Chen Tuan and Shao Yong, claiming that there were none before the Song dynasty. They consider it a serious disgrace for Confucian scholars to adopt Daoist ideas. Huang Zongxi (pen name: Lizi) and Mao Qiling (pen name: Xihé) and others openly criticized and strongly argued that it was a forgery. Later scholars such as Hui Shiqi, Hui Dong, Jiao Xun, Zhang Huiyan, and Yao Peizhong, who studied the Book of Changes, set up their own banners, claiming, "I study the Han dynasty Book of Changes." But they do not realize that those who claim to study the Han dynasty Book of Changes merely revolve around Xun Shuang and Yu Fan. Xun and Yu could not even understand the Western Han dynasty's Book of Changes, how could they possibly have a deeper source? Now, if we examine the Jiao's Forest of Changes, it uses more Earlier Heaven hexagrams than Later Heaven ones. In fact, most Eastern Han scholars were unaware of the Earlier Heaven hexagrams, leading to errors in interpreting the line statement of the Nine in the Fifth of the Hexagram of Completion, as well as the names of the Hexagrams of Great Possession, Fellowship, Army, and Contention. This is the first piece of evidence. Now I will list the parts in the Jiao's Forest of Changes that mention the Earlier Heaven hexagrams.

《屯》之《否》云：「登几上輿，駕駟南遊。」《否》中爻艮為幾，下坤為輿，上乾為馬，故曰「駕駟」；乾為行為南，故曰「南遊」。又《復》之《大壯》云：「遂到南陽，完其芝香。」《大壯》乾為陽，位南，故曰「南陽」；震為草，故曰「芝」；伏巽，故曰「香」。又《升》之《遯》云：「南行無遇。」乾為南為行，《遯》乾在上，故無遇。又《大有》之《乾》云：「南山大行。」乾為南為山，為大為行，故曰「南山大行」。此焦氏以乾為南之證也。

The "Forest Divination" entry "The Hexagram Zhun changing to the Hexagram Po" says: "Mounting the table and driving a team of four southward." The changed hexagram Po has the lower trigram Kuan (Earth) and the upper trigram Qian (Heaven). The lines two to four form the trigram Gen (Mountain), which represents a table, hence "mounting the table." The lower trigram Kuan is said in "The Commentary on the Hexagrams" to represent a large carriage, hence "driving a carriage." The upper trigram Qian is said in "The Commentary on the Hexagrams" to represent a horse, and four horses are called "a team," hence "driving a team of four." Qian also represents movement and the south, hence "southward journey." Another entry, "The Hexagram Fu changing to the Hexagram Da Zhuang," says: "Reaching Nanyang, completing its fragrance of chrysanthemum." The lower trigram of Da Zhuang is Qian, which represents yang and is located in the south, hence "Nanyang." The upper trigram is Zhen, which in "The Commentary on the Hexagrams" is said to represent young bamboo and reeds, which are grasses, hence "chrysanthemum." The trigram hidden (by transformation) in Zhen is Xun, which in "The Commentary on the Hexagrams" represents fragrance, hence "fragrance." Another entry, "The Hexagram Sheng changing to the Hexagram Duan," says: "Traveling south without meeting anyone." Qian represents the south and movement, and in the hexagram Duan, the trigram Qian is high in position, while the lower trigram is distant and not reachable, hence "traveling south without meeting anyone." Another entry, "The Hexagram Da You changing to the Hexagram Qian," says: "Great movement in the southern mountain." The hexagram Qian is pure Qian, which represents the south, mountain, greatness, and movement, all derived from Qian. These are all clear evidence that Jiao Yanshou regarded Qian as located in the south according to the Earlier Heaven arrangement.

《師》之《泰》云：「三人北行。」《泰》中爻震，為人為行，數三；坤北，故曰「三人北行」。又《渙》之《臨》云：「追亡逐北。」坤為北，震為追逐為往，亡，往也，故「追亡逐北」。又《坤》之《觀》云：「北辰紫宮。」《觀》中爻艮，艮為星辰；下坤，坤北，故曰「北辰」。又《晉》之《否》云：「北風寒涼。」《否》中爻巽，巽風；下卦坤，坤北，故曰「北風」。他坤北之證尚多，此特其顯著易解者。

The divination text "The Forest Commentary" on "The Army" changing to "The Peace" says: "Three people are traveling north." The "Peace" hexagram has Heaven above and Earth below. The trigrams from the third to fifth lines form Zhen, which represents people and movement. Zhen's Later Heaven number is three, hence "three people." Earth in the Earlier Heaven is located in the north, hence "traveling north." Again, the divination text on "The Dispersal" changing to "The Regency" says: "Pursue the lost and chase the northern forces." The "Regency" hexagram has兑 above and Earth below. Earth is in the north; the trigrams from the second to fourth lines form Zhen, which represents pursuit and movement. The character "亡" is interpreted as "going," hence "pursue the lost and chase the northern forces." Again, the divination text on "The Earth" changing to "The Contemplation" says: "The northern star in the Purple Palace." The "Contemplation" hexagram's third to fifth lines form Gen, which represents stars. The lower trigram is Earth, which is in the north, hence "northern star" — the Purple Palace is the place where the pole star resides. Again, the divination text on "The Progress" changing to "The Opposition" says: "North wind, cold and cool." The "Opposition" hexagram's third to fifth lines form Xun. The "Sayings of the Hexagrams" state "Xun represents wind." The lower trigram is Earth, which is in the north, hence "north wind." There are many other examples where Earth represents the north, but here only the most clear and easy to understand ones are cited.

《復》之《未濟》云：「東鄰西國，福喜同樂。」《未濟》上離，故曰「東鄰」；下坎，故曰「西國」。又《噬嗑》之《巽》云：「東鄰殺牛。」《巽》中爻離，離為牛，為東；兌折，故曰「東鄰殺牛」。又《遯》之《井》云：「避患東鄰。」《井》上坎，坎為避為患；中爻離，離東，故「避患東鄰」。又《晉》之《家人》云：「心意西東。」《家人》中爻離坎，離東坎西，故曰「心意西東」。又《訟》之《未濟》云：「避患西東。」亦以離東坎西為訓。又《隨》之《睽》云：「東鄰少女。」《睽》上離，故曰「東鄰」；下兌，故曰「少女」。此焦氏以離為東之證也。

The hexagram statement of "Fu" to "Wei Ji" says: "The eastern neighbor and the western country share happiness and joy." "Wei Ji" has a lower trigram Kan (Water) and an upper trigram Li (Fire). In the Earlier Heaven arrangement, Li is located in the east, hence "eastern neighbor"; Kan is located in the west, hence "western country." Another example is "Shi He" to "Xun," which says: "The eastern neighbor sacrifices a cow." "Xun" is a pure Xun trigram. The lines three to five form a Li trigram, and Li represents a cow (this image comes from the hexagram statement of Li, "raising a female cow is auspicious," not from "Shuo Gua"). Li also represents the east. The lines two to four form a Dui trigram, and according to "Shuo Gua," Dui represents destruction, hence the act of slaughtering. Together, this forms "the eastern neighbor sacrifices a cow." Another example is "Dun" to "Jing," which says: "Avoid danger from the eastern neighbor." "Jing" has an upper trigram Kan, which represents danger and difficulty, hence "avoid" and "danger." The lines three to five form a Li trigram, which is located in the east, hence "avoid danger from the eastern neighbor." Another example is "Jin" to "Jia Ren," which says: "The mind is divided between east and west." "Jia Ren" has the lines two to four forming a Kan trigram and the lines three to five forming a Li trigram. Li is in the east and Kan is in the west, hence "the mind is divided between east and west." Another example is "Song" to "Wei Ji," which says: "Avoid danger from east and west." This is explained in the same way, with Li representing east and Kan representing west. Another example is "Sui" to "Kui," which says: "The eastern neighbor is a young maiden." "Kui" has an upper trigram Li, hence "eastern neighbor"; the lower trigram is Dui, and according to "Shuo Gua," Dui represents a young maiden, hence "young maiden." These are all clear confirmations by Jiao Yanshou that Li represents the east (in the Earlier Heaven arrangement).

《履》之《訟》云：「受福西鄰。」《訟》上乾，為福；下坎，故曰「西鄰」。又《復》之《未濟》云：「東鄰西國。」《未濟》上離，為東鄰；下坎，為西國。又《姤》之《既濟》云：「西家嫁女。」《既濟》上坎，坎西，故曰「西家」。又《漸》之《屯》云：「東山西山。」《屯》中爻艮山，震後天在東，故曰「東山」；上坎，坎西，故曰「西山」。又《屯》林云：「平城道西。」《屯》中爻艮，為城為道；上坎，為平為西，故曰「平城道西」。又《遯》之《師》云：「雨師駕西。」《師》坎，為雨為西；中爻震，為駕，故曰「雨師駕西」。此焦氏以坎為西之確證也。

The Lin commentary on "The Foot" changing to "The Strife" says: "Receiving blessings from the western neighbor." "The Strife" has the upper trigram Qian (Heaven) and the lower trigram Kan (Water). The upper trigram Qian represents blessings, and the lower trigram Kan, in the Earlier Heaven arrangement, is located in the west, hence the phrase "western neighbor." Again, the commentary on "The Return" changing to "The Unfinished" says: "Eastern neighbor and western country." "The Unfinished" has the upper trigram Li (Fire) representing the eastern neighbor and the lower trigram Kan representing the western country. Another example is the commentary on "The Meeting" changing to "The Completion" which says: "The western family marries a daughter." "The Completion" has the lower trigram Li (Fire) and upper trigram Kan (Water). The upper trigram Kan is located in the west, hence "western family." Another instance is the commentary on "The Progression" changing to "The Obstruction" which says: "Eastern mountain and western mountain." "The Obstruction" has the lower trigram Zhen (Thunder) and upper trigram Kan (Water). The trigrams from the third to fifth lines form Gen (Mountain), which represents mountains; the lower trigram Zhen, in the Later Heaven arrangement, is located in the east, hence "eastern mountain"; the upper trigram Kan is located in the west, hence "western mountain"—thus both eastern and western mountains are seen within one hexagram. Another commentary on "The Obstruction" says: "The level city road to the west." "The Obstruction" has the trigrams forming Gen (Mountain), which represents city walls and roads; the upper trigram Kan represents levelness and the west, hence "level city road to the west." Again, the commentary on "The Retreat" changing to "The Army" says: "The rain god drives westward." "The Army" has the lower trigram Kan and upper trigram Kun (Earth). Kan represents rain and the west; the trigrams from the second to fourth lines form Zhen (Thunder), which represents driving, hence "the rain god drives westward." These are all clear confirmations by Jiao Yanshou that Kan represents the west in the Earlier Heaven arrangement.

《屯》之《大壯》云：「利走東北。」《大壯》上震，為行為東北，故曰「利走東北」。又《大壯》之《離》云：「丑寅不徙。」《離》通坎，坎中爻上艮下震，艮後天居丑寅，故曰「不徙」。丑寅者，東北也，言艮震先後天皆在東北也。此焦氏以震為東北之證也。

The divination statement "The hexagram Zun changes to Da Zhuang" says: "It is advantageous to move toward the Northeast." Da Zhuang has the upper trigram Zhen, which represents movement, and Zhen in the Earlier Heaven is located in the Northeast, hence the statement "It is advantageous to move toward the Northeast." Another statement, "Da Zhuang changes to Li," says: "Chou and Yin do not move." The hexagram Li's opposite hexagram is Kan. Kan's second to fourth lines form Zhen, and its third to fifth lines form Gen, forming "upper Gen and lower Zhen." Gen in the Later Heaven is located in the position of Chou and Yin, and Gen's meaning is to stop, hence the statement "Chou and Yin do not move." Chou and Yin are precisely in the Northeast. This shows that Zhen in the Earlier Heaven and Gen in the Later Heaven are both located in the Northeast. This is evidence that Jiao Yanshou took Zhen as representing the Northeast, with Zhen's position in the Earlier Heaven being the Northeast.

《泰》之《未濟》云：「實沈參墟。」按實沈為申次，參，二十八宿星名，皆在西南。《未濟》有三巽形，故既曰「實沈」，又曰「參」。又《歸妹》之《旅》云：「西賈巴蜀，寒雪至轂。」《旅》中爻巽，巽為商賈，巽西南，故「賈巴蜀」，巴蜀在西南也。又《家人》之《解》亦曰「西賈巴蜀」，則以《解》上卦震，震伏巽，巽西南，為月窟。邵子以東北震為天根，西南巽為月窟，本此也。此焦氏以巽為西南之證也。

The divination phrase "Shi Chen Can Xu" from "Wei Ji" in the context of "Tai" refers to "Shi Chen" which is one of the twelve earthly branches, corresponding to the Shen branch, and "Can" which is a star name among the twenty-eight constellations, both located in the Southwest. "Wei Ji" has six lines with alternating yin and yang, containing three half-images of Xun, as any two lines with a yin below and yang above form a half Xun. Therefore, both "Shi Chen" and "Can" are used to indicate the meaning of Xun being located in the Southwest. Similarly, the divination phrase "Xi Jia Ba Shu, Han Xue Zhi Gu" from "Gui Mei" in the context of "Lv" mentions "Ba Shu" in the Southwest because "Lv" has the lower trigram Gen and upper trigram Li, with the second to fourth lines forming the trigram Xun. The "Shuo Gua" states that Xun represents merchants who gain three times the profit, hence Xun is associated with commerce. Since Xun is located in the Southwest, it refers to merchants traveling to Ba Shu, which is located in the Southwest. The divination phrase "Xi Jia Ba Shu" from "Jia Ren" in the context of "Jie" also mentions "Ba Shu" because the upper trigram of "Jie" is Zhen, and the trigram hidden (by transformation) within Zhen is Xun, which is located in the Southwest, referred to as "Yue Ku." Shao Yong regarded the Northeast trigram Zhen as "Tian Gen" and the Southwest trigram Xun as "Yue Ku," based on this reasoning. This is the evidence that Jiao Yanshou used for Xun being located in the Southwest.

《既濟》之《損》云：「天門地戶。」按《損》上艮，故曰「天門」；下兌，故曰「地戶」。《內經》以戌亥為天門，辰巳為地戶，戌亥者，西北也。又《睽》之《晉》云：「闘戰天門。」《晉》中爻艮，故曰「天門」。又《升》之《鼎》云：「娵訾開門。」《鼎》通《屯》，《屯》中爻艮，故曰「娵訾」。娵訾者，亥次。又《未濟》之《困》云：「辰次降婁。」《困》通《賁》，《賁》上艮，艮為辰。降婁者，戌次。戌亥皆西北。又《革》之《賁》云：「亥午相錯。」《賁》上艮，故曰「亥」；下離，故曰「午」。其餘以艮為天門者尚多，不可勝數也。

The Lin's interpretation of "The Completion" changing to "The Loss" says: "Heaven's gate and Earth's gate." "The Loss" has the trigram Dui above and Gen below. The upper trigram is Gen, so it is said "Heaven's gate"; the lower trigram is Dui, so it is said "Earth's gate." The "Huangdi Neijing" takes Xu and Hai as Heaven's gate, and Chen and Si as Earth's gate. Xu and Hai are precisely in the Northwest—this shows that Gen is in the Northwest. Again, "The Strife" changing to "The Progress" says: "A battle at Heaven's gate." "The Progress" has the trigram Kun below and Li above. The lines two to four form the trigram Gen, so it is said "Heaven's gate." Again, "The Ascending" changing to "The Cauldron" says: "The opening of Zhu Zi." The corresponding trigram of "The Cauldron" is "The Sprouting," and the lines three to five of "The Sprouting" form the trigram Gen, so it is said "Zhu Zi"—"Zhu Zi" is the亥 position in the twelve zodiacal divisions. Again, "The Uncompleted" changing to "The Obstruction" says: "The Chen position descends to the Luo position." The corresponding trigram of "The Obstruction" is "The Ornament," and the upper trigram of "The Ornament" is Gen, which represents Chen; "Luo" is the戌 position. Both Xu and Hai belong to the Northwest. Again, "The Change" changing to "The Ornament" says: "Hai and Wu are crossed." The upper trigram of "The Ornament" is Gen, so it is said "Hai"; the lower trigram is Li, which in the Later Heaven is located to the South, and Wu is due South, so it is said "Wu." There are many other examples where Gen is regarded as Heaven's gate, too numerous to count.

《既濟》之《損》云：「天門地戶。」《損》下兌，故曰「地戶」。《內經》以辰巳為地戶，辰巳者，東南。又《大壯》之《離》云：「辰巳有咎。」《離》中爻上兌下巽，兌先天居辰巳，巽後天居辰巳，澤風相值為《大過》，《大過》死，故曰「有咎」。此焦氏以兌為東南之證也。

The divination phrase "Heaven's gate and Earth's gate" from "The Gain" hexagram's "Loss" line refers to "Earth's gate." The lower trigram of "Loss" is Dui, hence the term "Earth's gate." The "Yellow Emperor's Inner Canon" identifies Chen and Si as Earth's gate, and Chen and Si correspond to the southeast direction—thus Dui is located in the southeast. Additionally, the divination phrase "Chen and Si bring misfortune" from "The Great Strength" hexagram's "Fire" line states that "Fire" is double Fire, with the second to fourth lines forming Xun and the third to fifth lines forming Dui, which is called "the middle trigram with Dui above and Xun below." In the Earlier Heaven arrangement, Dui is located in Chen and Si, and in the Later Heaven arrangement, Xun is located in Chen and Si, placing them in the same position. When the lake (Dui) is above and the wind (Xun) is below, they form the "Great Excess" hexagram, which symbolizes funerals and mourning, hence the phrase "bring misfortune." This serves as evidence that Dui is located in the southeast according to Jiao Yanshou.

以上所舉先天卦象，可謂顯而易明矣。清初諸儒謂易象無先天者，觀此得無顏汗乎。妙在當時無一人能解此辭也。惟西漢時是否名曰先天象、後天象，則無明文可證。後儒謂其名不合，擬改先天名為天地定位圖，後天為帝出震圖。豈知邵子祗以先天屬伏犧，後天屬文王，為不當耳；至先後天之名，必隨此圖以俱來，故能切當如此，非可擅改也。然焦氏所用，不祗先天卦象，卽邵子所謂乾一、兌二、離三、震四、巽五、坎六、艮七、坤八之先天卦數，後儒謂繫邵子妙悟、實與法象皆不合者，焦氏亦靡不用之。可見此數亦非邵子所定，其傳亦甚古也。茲標出如左。

The above examples of the Earlier Heaven trigrams are clear and explicit. The scholars of the early Qing dynasty claimed that the Yi Jing had no Earlier Heaven trigrams, but seeing these examples, can they not feel ashamed and embarrassed? The remarkable thing is that no one at that time could explain these terms properly. However, it is not clear whether the terms "Earlier Heaven" and "Later Heaven" were already used in the Western Han dynasty. Later scholars thought these terms were inappropriate and intended to rename "Earlier Heaven" as "Heaven and Earth Positioning Diagram" and "Later Heaven" as "Emperor Emerging from Zhen Diagram." But they did not realize that Shao Yong assigned the Earlier Heaven to Fuxi and the Later Heaven to King Wen, which was the inappropriate part. As for the terms "Earlier Heaven" and "Later Heaven," they must have been transmitted together with the diagrams, hence their accuracy and appropriateness, and should not be changed arbitrarily. However, Jiao Yanshou did not use only Earlier Heaven trigrams; he also used the sequence of numbers for Earlier Heaven trigrams as described by Shao Yong: "Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, Kun eight." Later scholars claimed that this sequence was Shao Yong's own insight and had nothing to do with the principles of the trigrams, but Jiao Yanshou also used it. This shows that this sequence was not established by Shao Yong alone, but had been passed down from a very ancient time. Now I present it as follows.

《恆》之《泰》云：「一身兩頭。」《泰》坤為身，乾一，故曰「一身」。又《同人》之《乾》云：「一臂六手。」乾先天一，故曰「一臂」；後天數六，故曰「六手」。又《巽》之《訟》云：「一簧兩舌。」《訟》上乾，故曰「一」；下坎，坎上下正反兩兌，兌為口舌，故曰「兩舌」。又《剝》之《咸》云：「一人輦車。」《咸》中爻乾，乾為人，居一，故曰「一人」；乾伏坤，坤為車也。此乾一之見於《易林》者也。

The divination text "Heavenly Stems and Earthly Branches" says: "One body with two heads." In the hexagram "Tai" (Peace), the lower trigram is坤 (Earth) representing the body, and the upper trigram is乾 (Heaven). In the Earlier Heaven system, the number of乾 is one, so it is said "one body." Again, in the divination text "Tongren" (Union) to "Qian" (Heaven), it says: "One arm with six hands." The number of乾 in the Earlier Heaven system is one, so it is said "one arm"; the number of乾 in the Later Heaven system (Luo Writing numbers) is six, so it is said "six hands"—the same乾 uses both Earlier Heaven and Later Heaven numbers. Again, in the divination text "Xun" (Wind) to "Song" (Strife), it says: "One tongue with two mouths." In the hexagram "Song," the lower trigram is坎 (Water) and the upper trigram is乾 (Heaven). The upper trigram乾 has the number one, so it is said "one." The lower trigram坎 contains one positive and one negative兑 (Lake) half-trigram in its upper and lower parts. The "Sayings on the Trigrams" state that兑 represents mouth and tongue, so two兑 make "two mouths." Again, in the divination text "Bo" (Decrease) to "Xian" (Slight), it says: "One person with a chariot." In the hexagram "Xian," the lower trigram is艮 (Mountain) and the upper trigram is兑 (Lake). The trigrams from the third to fifth lines form乾 (Heaven), which represents a person and has the number one, so it is said "one person." The hidden (or related) trigram of乾 is坤 (Earth), and the "Sayings on the Trigrams" state that坤 represents a great carriage, so it is said "chariot." These are examples of the number "one" of乾 appearing in the "Heavenly Stems and Earthly Branches" texts.

兌二之數，《易林》尤多。《比》之《損》云：「二人共路。」《損》中爻震，震為人；兌二，故曰「二人」。又《夬》之《大壯》云：「兩戰不勝。」《大壯》上震，震為戰；中爻兌，兌二，故「兩戰」。又《小畜》之《節》云：「兩人相距。」《節》中爻震，為人；下兌，故曰「二人」。又《比》之《歸妹》：「一身兩頭。」《歸妹》中爻坎，坎為大首；兌二，故曰「兩頭」。此兌二之證也。

The number "兑二" is particularly frequently used in the "Yi Lin." In the "Lin Ci" of "Bi" changing to "Sun," it says: "Two people walking together." The lower trigram of "Sun" is兑, which has the number two, so it is said "two people." In the "Lin Ci" of "Gua" changing to "Da Zhuang," it says: "Two battles without victory." The upper trigram of "Da Zhuang" is震, which represents battle; the trigrams from the third to the fifth lines form兑, which has the number two, so it is said "two battles." In the "Lin Ci" of "Xiao Xu" changing to "Jie," it says: "Two people apart." The lower trigram of "Jie" is兑, which has the number two, so it is said "two people." In the "Lin Ci" of "Bi" changing to "Gui Mei," it says: "One body with two heads." The trigrams from the second to the fourth lines form坎, which represents a great head (this image is not listed in "Shuo Gua," but is a Han dynasty lost image preserved in the "Yi Lin");兑 has the number two, so it is said "two heads." These are all evidence for "兑二."

《需》林云：「久旱三年。」《需》下乾，乾為年；中爻離，居三，故曰「三年」。又《夬》之《睽》云：「三羊上山。」《睽》下兌，兌為羊，離位三，故曰「三年」。又《同人》之《大有》云：「三翼飛來。」《大有》上離，離為飛為翼，居三，故曰「三翼」。又《噬嗑》之《需》云：「三聖茂功。」《臨》之《同人》曰「三言」，之《大有》曰「三十」，皆謂離三。此《易林》以離居三之碓證也。

The Lin commentary on the hexagram "Xu" says: "A drought lasting three years." The hexagram "Xu" has the trigram Qian below and Kan above. The lower trigram Qian represents years. The lines three to five form the trigram Li, which in the Earlier Heaven arrangement is numbered three, hence the phrase "three years." Another example is "The hexagram Guai transforms into the hexagram Kui," which says: "Three sheep ascend the mountain." The hexagram Kui has the trigram Dui below and Li above. The "Sayings of the Trigrams" state that Dui represents sheep, and Li is numbered three, hence "three sheep" (the original text here has the word "three years," but according to the context, it should be "three sheep"). Another example is "The hexagram Tongren transforms into the hexagram Dayou," which says: "Three wings fly in." The upper trigram of Dayou is Li. The "Sayings of the Trigrams" state that Li represents a pheasant, which is associated with flying and wings; since Li is numbered three, it is called "three wings." Another instance is "The hexagram Shike transforms into the hexagram Xu," which says: "Three sages achieve great accomplishments," and "The hexagram Lin transforms into the hexagram Tongren," which says: "Three words," and "The hexagram Lin transforms into the hexagram Dayou," which says: "Thirty." In these cases, the number "three" refers to the number of Li. These are clear examples from the "Yi Lin" of the use of Li in the third position.

《大有》之《革》云：「山陵四塞。」《革》通《蒙》，《蒙》上艮，故曰「山陵」；中爻震，居四，故曰「四塞」。又《小畜》之《損》云：「功加四海。」《損》中爻坤，為海；震居四，故曰「四海」。又《困》之《震》云：「四足俱走。」震為足，居四，故曰「四足」。又《夬》之《大壯》云：「四足俱行。」《大壯》上震，為足為行，位四，故曰「四足俱行」。又《渙》之《豐》云：「四馬共轅。」《豐》上震，為馬為轅，居四，故曰「四馬共轅」。他若《觀》之《小過》云「四亂不安」，《旅》之《豫》亦云「四亂不安」，皆指上震四言也。

The Lin commentary on "Great Possession" changing into "Revolution" says: "Mountains and hills are surrounded on all four sides." The corresponding hexagram of "Revolution" is "Meng," which has a lower trigram Kan (Water) and an upper trigram Gen (Mountain). The upper trigram Gen represents "mountain," hence "mountain and hill." The lines two to four of "Meng" form the trigram Zhen (Thunder), which in the Earlier Heaven arrangement corresponds to the number four, hence "four sides." The Lin commentary on "Small Accumulation" changing into "Loss" says: "Achievements extend to all four seas." The lines three to five of "Loss" form the trigram Kun (Earth), which represents the sea (based on the image of Kun as water). The lines two to four form Zhen (Thunder), which corresponds to the number four, hence "four seas." The Lin commentary on "Obstruction" changing into "Zhen" says: "All four legs move." Zhen represents double Zhen, and according to "Shuo Gu" (Explanation of the Trigrams), Zhen represents "legs." Zhen corresponds to the number four, hence "four legs." The Lin commentary on "Great Strength" changing into "Great Strength" says: "All four legs move." The upper trigram of "Great Strength" is Zhen, which represents "legs" and "movement," and its number is four, hence "four legs move." The Lin commentary on "Dispersal" changing into "Brightness" says: "Four horses share a yoke." The upper trigram of "Brightness" is Zhen, which represents "horse" and "chariot yoke," and its number is four, hence "four horses share a yoke." Other examples, such as the Lin commentary on "Observation" changing into "Small Excess" saying "four things are in disorder" and the Lin commentary on "Travel" changing into "Joy" also saying "four things are in disorder," all refer to the upper trigram Zhen, which corresponds to the number four.

《大壯》之《觀》云：「五石示象。」《觀》中爻艮，艮為石；上巽，居五，故曰「五石」。又《大有》之《觀》云：「三塗五嶽。」《觀》中爻艮，艮為嶽；巽五，故曰「五嶽」。又《遯》林云「三塗五嶽」，義同。又《師》之《大畜》「一身五心」，《大畜》通《萃》，下坤為身；中爻巽五，故曰「一身五心」，坎為心也。又《師》之《解》云：「三德五才。」《解》上震，伏巽，巽五，故曰「五才」。又《同人》之《蒙》云：「三羖五羊？。」《蒙》通《革》，《革》中爻巽，巽五，故曰「五羊？」。此焦氏以巽為五之確證也。

The divination phrase "Five stones show the image" from the hexagram "Da Zhuang" changing to "Guan" says: "Five stones show the image." The hexagram "Guan" has the lower trigram Kūn (Earth) and upper trigram Xún (Wind). The lines three to five form the trigram Gen (Mountain), and the "Sayings of the Divination" state "Gen represents small stones," so Gen represents stone. The upper trigram is Xún, which in the Earlier Heaven sequence is numbered five, hence "five stones." Again, the divination phrase "Three paths and five mountains" from the hexagram "Da You" changing to "Guan" says: "Three paths and five mountains." The hexagram "Guan" forms the trigram Gen, which represents mountains and hills; Xún is numbered five, hence "five mountains." The divination phrase from the hexagram "Dun" also says "Three paths and five mountains," with the same meaning. Again, the divination phrase "One body and five hearts" from the hexagram "Shi" changing to "Da Xu" says: "One body and five hearts." The hexagram "Da Xu" is the opposite hexagram of "Cui," and the lower trigram of "Cui" is Kūn, representing the body. The lines three to five of "Cui" form the trigram Xún, which is numbered five, hence "five hearts." The "heart" comes from the lower trigram Kan of the original hexagram "Shi," and the "Sayings of the Divination" state that Kan represents the heart and worry. Again, the divination phrase from the hexagram "Shi" changing to "Jie" says: "Three virtues and five talents." The upper trigram of "Jie" is Zhen, and the trigram hidden (opposite) to Zhen is Xún, which is numbered five, hence "five talents." Again, the divination phrase from the hexagram "Tong Ren" changing to "Meng" says: "Three black goats and five sheep?" The opposite hexagram of "Meng" is "Ge," and the lines two to four of "Ge" form the trigram Xún, which is numbered five, hence "five sheep?" (One character is missing, and it remains as is.) These are all clear confirmations by Jiao Yanshou that Xún is numbered five.

《賁》之《噬嗑》云：「六人俱行，各遺其囊。」《噬嗑》下震，為人為行；中爻坎，坎六，故曰「六人俱行」。又《臨》之《旅》云：「三身六目。」《旅》通《節》，《節》中爻震，後天數三，故曰「三身」；上坎，通離，離目，居六，故曰「六目」。又《遯》之《師》云：「六體不易。」《師》上坤，為身為體；下坎，居六，故曰「六體」。又《睽》之《困》云：「當夏六月。」《困》中爻離，故曰「夏」；下坎，為月，數六，故曰「六月」。又《睽》之《蹇》云：「十日六夜。」《蹇》通《睽》，《睽》中爻離，為日；兌數十，故曰「十日」。坎為夜，居六，故曰「六夜」。又《中孚》之《明夷》云：「蘇氏六國。」《明夷》坤為國，坎六，故曰「六國」也。

The Lin's interpretation of "The贲" changing into "The噬嗑" says: "Six people are all going, each leaving their bag." The噬嗑 has Zhen below and Li above; Zhen represents people and movement. The lines three to five form Kan, and in the Earlier Heaven numbering Kan is six, hence "six people are all going." The Lin's interpretation of "The临" changing into "The旅" says: "Three bodies and six eyes." The旁通 of 旅 is 节; lines two to four of 节 form Zhen, and in the Later Heaven numbering Zhen is three, hence "three bodies." 节's upper trigram is Kan, and Kan's 旁通 is Li. The Sayings of the Guiguzi state "Li represents eyes," and Kan's number is six, hence "six eyes." The Lin's interpretation of "The遯" changing into "The师" says: "Six bodies remain unchanged." The师's upper trigram is Kun, which represents body and form; the lower trigram is Kan, whose number is six, hence "six bodies." The Lin's interpretation of "The睽" changing into "The困" says: "During the sixth month of summer." The困's lines two to four form Li, and in the Later Heaven Li governs the south, which is summer, hence "summer." The lower trigram of 困 is Kan, which represents the moon, and its number is six, hence "sixth month." The Lin's interpretation of "The睽" changing into "The蹇" says: "Ten days and six nights." The旁通 of 蹇 is 睽; lines two to four of 睽 form Li, which represents days, and the number of Dui is ten, hence "ten days." The upper trigram of 蹇 is Kan, which represents night, and its number is six, hence "six nights." The Lin's interpretation of "The中孚" changing into "The明夷" says: "The six states of Su." The明夷's upper trigram is Kun, which represents states, and lines two to four form Kan, whose number is six, hence "six states" — referring specifically to the six states united by Su Qin.

《中孚》之《觀》云：「鳳生七子。」《觀》下坤，為鳳；中爻艮，數七；覆震，為子，故曰「七子」。又《旅》之《大有》云：「七日六夜。」《大有》通《比》，《比》中爻艮，艮數七，故曰「七日」，離為日也；下坤，為夜；上坎，數六，故曰「六夜」。又《頤》之《艮》云：「據斗運樞。」斗，北方宿，七星，艮數七，故曰「據斗」；中爻坎為樞，故曰「運樞」。又《謙》之《觀》、《升》之《臨》亦云「據斗」，《觀》中爻艮，艮數七；《臨》通《遯》，《遯》下艮，數七，故皆曰「斗」也。此《易林》以艮為七，尤為顯著易見者也。

"The divination phrase 'The Phoenix has seven sons' from the hexagram 'Zhongfou' changing to 'Guan' states: 'The Phoenix has seven sons.' The lower trigram of 'Guan' is Kun, representing the Phoenix; the trigrams from the third to fifth lines form Gen, which in the Earlier Heaven arrangement corresponds to the number seven; Gen is also the reversed image of Zhen, and according to 'Shuogua,' Zhen represents the eldest son. Therefore, it is said 'seven sons.' Another example is 'The divination phrase 'Seven days and six nights' from the hexagram 'Lv' changing to 'Dayou.' The hexagram 'Dayou' has 'Bi' as its opposite hexagram. The trigrams from the third to fifth lines of 'Bi' form Gen, which corresponds to the number seven, hence 'seven days'—'day' is taken from the upper trigram of 'Dayou,' Li, which represents the sun; the lower trigram of 'Bi' is Kun, representing night, and the upper trigram of 'Bi' is Kan, which corresponds to the number six, hence 'six nights.' Another example is 'The divination phrase 'According to the movement of the Dipper' from the hexagram 'Yi' changing to 'Gen.' The Big Dipper is the constellation of the north, consisting of seven stars, and the number of Gen is exactly seven, hence 'the Dipper.' The trigrams from the second to fourth lines of 'Gen' form Kan, which represents the pivot, hence 'movement of the pivot.' Similarly, the divination phrases 'According to the movement of the Dipper' from 'Qian' changing to 'Guan' and 'Sheng' changing to 'Lin' also refer to the Dipper. 'Guan' has Gen as its trigrams, which corresponds to the number seven; 'Lin's opposite hexagram is 'Dun,' and the lower trigram of 'Dun' is Gen, which corresponds to the number seven, hence both refer to the Dipper. These examples clearly demonstrate how the 'Yi Lin' uses Gen to represent the number seven."

《臨》之《遯》云：「八百諸侯。」《遯》通《臨》，《臨》中爻震，為諸侯；坤居八，故曰「八百諸侯」。又《遯》之《姤》云：「八世大昌。」《姤》通《復》，《復》下震，為大為昌，又為後世；坤數八，故曰「八世大昌」。又《兌》之《剝》云：「乘輿八百。」《剝》下坤，為輿；坤八，故曰「八百」。此坤八之數見於《易林》者也。

The Lin commentary on "The Approach" changing into "The Retreat" says: "Eight hundred princes." The opposite卦 of "The Retreat" is "The Approach," and the second to fourth lines of "The Approach" form the trigram Zhen, which represents princes (Zhen is the trigram of the eldest son, who holds authority and issues commands, hence representing princes). The upper trigram of "The Approach" is Kun, and in the Earlier Heaven arrangement, Kun corresponds to the number eight, hence "eight hundred princes" refers specifically to the assembly of princes at the Millet Stream meeting of King Wu of Zhou. Again, the Lin commentary on "The Retreat" changing into "The Encounter" says: "Prosperity for eight generations." The opposite卦 of "The Encounter" is "The Return," and the lower trigram of "The Return" is Zhen, which represents greatness and prosperity, as well as later generations. Kun corresponds to the number eight, hence "prosperity for eight generations." Again, the Lin commentary on "The Joy" changing into "The Decay" says: "The imperial carriage with eight hundred." The lower trigram of "The Decay" is Kun, and according to "Commentary on the Trigrams," Kun represents the great carriage, hence "carriage." Since Kun corresponds to the number eight, it is said "eight hundred." These are examples of the number eight associated with Kun found in the "Yi Lin."

然《易林》不惟用先天卦象卦數，並邵子《皇極經世》所用之幹日、兌月、離星、震辰、坤水、艮火、坎土、巽石之象亦用之。夫此八象不見於《說卦》，不見於各家逸象，後儒久目為怪異。近人杭辛齋於《易》無所不覩，無所不究，先後天之故，尤能瞭然於心，乃謂《經世》八象為邵子之別有妙悟，特以日月星辰水火土石為符號耳，意亦謂邵子所創，與胡渭之向壁虛造說同也。豈知焦氏《易林》皆用之，而坤水、艮火，用之尤多，可見此八象傳之已久。昔顧炎武、翟云升、牟庭等，常疑《易林》非焦氏所為，幸不解此詞耳；使其能解，將又疑《易林》為北宋後人所為矣。茲將《易林》乾日、兌月等八象，標出如左。

However, the "Yi Lin" does not only use the Earlier Heaven trigrams and numbers, but also employs the eight images used in Shao Yong's "Huang Ji Jing Shi," namely "Qian represents the sun, Dui represents the moon, Li represents stars, Zhen represents the chen, Kun represents water, Gen represents fire, Kan represents earth, and Xun represents stone." These eight images are not found in "Shuo Gua" nor in the collected extra images by various scholars. Later Confucian scholars have long regarded them as strange and absurd. Recently, Hang Xinzhai, who has studied the Yi extensively and thoroughly, is particularly clear about the origins of Earlier Heaven and Later Heaven. Yet he also believes that the eight images in "Huang Ji Jing Shi" are Shao Yong's own profound insights, using the sun, moon, stars, chen, water, fire, earth, and stone merely as symbols. In other words, he still considers these eight images to be Shao Yong's original creation, which is the same as Hu Wei's claim that they were fabricated out of nowhere. Little do they know that Jiao Yanshou's "Yi Lin" has used all of these, especially "Kun represents water" and "Gen represents fire," which are used very frequently. It is evident that these eight images have been in circulation for a long time. In the past, Gu Yanwu, Zhai Yunsheng, and Mou Ting often doubted that the "Yi Lin" was not written by Jiao Yanshou. Fortunately, they did not understand these lines of the Yi Lin; if they had understood them, they would have doubted that the "Yi Lin" was forged by someone after the Northern Song dynasty. Now, we will list the eight images of the sun, moon, stars, chen, water, fire, earth, and stone found in the "Yi Lin."

《易林》《蹇》之《咸》云：「日月並居。」《咸》上兌，為月；互乾為日，故曰「並居」。又《升》之《咸》云「日月並居」，義與上同。又《解》之《臨》云：「與日月處。」《臨》上坤，坤伏乾，乾日，兌月。又《乾》之《泰》云：「白日皎皎。」《泰》下乾，乾為日；互震為白，故曰「皎皎」。又《泰》之《恆》云：「踰日厯月。」《恆》互兌，為月；乾為日，故曰「踰日厯月」。是《易林》顯以乾為日也。後思《易》《乾》九三云：「君子終日乾乾。」乾為日，三居卦末，故曰「終日」。《大畜》九三云：「閒輿衛。」日亦指乾。又《乾》彖傳云「明終始」，大明者，日也。又《恆》傳云：「日月得天而久照。」《恆》互兌，為月；乾為日。是《易》與彖傳皆以乾為日，故《易林》本之也。九家亦以乾為日，見後。

The "Forest Divination" (易林) in the section "Jian" changing into "Xian" says: "The sun and moon dwell together." In the case of "Xian," the lower trigram is Geng (mountain) and the upper trigram is Dui (lake). The upper trigram Dui represents the moon, while the trigrams from the third to the fifth lines form Qian (heaven), which represents the sun. Since both the sun and moon are within the same hexagram, it is said "the sun and moon dwell together." Similarly, in the section "Sheng" changing into "Xian," it also says "the sun and moon dwell together," with the same meaning. Another example is "Jie" changing into "Lin," which says: "To dwell with the sun and moon." In "Lin," the lower trigram is Dui and the upper trigram is Kun. The upper trigram Kun's hidden (or transformed) trigram is Qian, which represents the sun; the lower trigram Dui represents the moon, so both the sun and moon appear together. Another instance is "Gan" changing into "Tai," which says: "The bright sun shines brightly." In "Tai," the lower trigram is Qian, which represents the sun; the trigrams from the third to the fifth lines form Zhen (thunder), which takes the meaning of "蕃鲜" from the "Sayings of the Trigrams" to mean white, hence "brightly." Another example is "Tai" changing into "Heng," which says: "To surpass the sun and pass through the moon." In "Heng," the trigrams from the second to the fourth lines form Qian (sun), and the trigrams from the third to the fifth lines form Dui (moon), so it is said "to surpass the sun and pass through the moon." This clearly shows that the "Forest Divination" takes Qian as the sun. Later, considering the original text of the "Zhou Changes" (I Ching), in "Gan" nine three, it says "the gentleman remains diligent all day," where Qian represents the sun, and the third line is at the end of the lower trigram, hence "all day." In "Da Xu" nine three, it says "to guard the chariot and the guard," where the sun also refers to the lower trigram Qian. The "Commentary on the Judgment" (彖传) of "Gan" says "great brightness begins and ends," which originally omitted the character "great," and "great brightness" clearly refers to the sun. The "Commentary on the Judgment" of "Heng" says "the sun and moon receive the heavens and shine for a long time." In "Heng," the trigrams from the third to the fifth lines form Dui (moon), and the trigrams from the second to the fourth lines form Qian (sun), which exactly matches. This shows that both the original text of the "Zhou Changes" and its "Commentary on the Judgment" originally took Qian as the sun, so the "Forest Divination" inherited this usage. The Nine Schools' interpretations of the "Zhou Changes" also took Qian as the sun, as detailed in the following text.

《易林》《復》之《臨》云：「月出平地。」坤為地，兌為月，在下，故曰「平地」。又《晉》之《小過》云：「月出阜東。」《小過》艮為阜，互兌為月，震為東，故「月出阜東」。又《家人》之《小畜》云：「杲杲白日，為月所食。」《小畜》互離為日，兌為月，兌月侵入離體之半，故曰「為月所食」，兌為食也。又《大壯》之《革》云：「不見日月。」《革》上兌，為月；中互大坎，坎隱伏，故不見。是《易林》以兌為月也。後思《易》《小畜》之「月幾望」，《中孚》《歸妹》之「月幾望」，《恆》彖之「日月得天久照」，蓋皆以兌為月，故《易林》用之，邵子亦用之也。

The "Forest Commentary" of the "Yi Lin" says: "The moon rises from flat land." In the hexagram "Lin" (Approach), which is "Kun" below and "Dui" above, "Kun" represents the earth and is placed above, while "Dui" represents the moon and is placed below. The moon rises from the earth, hence the phrase "the moon rises from flat land." Again, in the hexagram "Jin" (Progress) changing into "Xiao Guo" (Minor Excess), it says: "The moon rises from the east of the hill." In "Xiao Guo," which is "Zhen" below and "Gen" above, "Gen" represents a mountain, hence a hill; the trigrams from the third to the fifth lines form "Dui," representing the moon; "Zhen" is located in the east according to the Later Heaven arrangement, hence the phrase "the moon rises from the east of the hill." Again, in the hexagram "Jia Ren" (Family) changing into "Xiao Xu" (Minor Accumulation), it says: "A bright white sun is devoured by the moon." In "Xiao Xu," the trigrams from the third to the fifth lines form "Li," representing the sun; the trigrams from the second to the fourth lines form "Dui," representing the moon; since "Dui" and "Li" overlap two lines, it is like the moon entering the sun, hence the phrase "devoured by the moon" — "Dui" originally has the meaning of swallowing. Again, in the hexagram "Da Zhuang" (Great Strength) changing into "Ge" (Change), it says: "Neither the sun nor the moon is seen." In "Ge," the upper trigram is "Dui," representing the moon; within the hexagram, several lines form a large "Kan," and the "Shuo Gua" says "Kan" represents concealment, hence the phrase "not seen." Thus, the "Yi Lin" takes "Dui" as the moon. Later, thinking again about the original text of the "Zhou Yi": "The moon is almost full" in "Xiao Xu" upper line nine, "The moon is almost full" in "Zhong Fu" line six four and "Gui Mei" line six five, and "The sun and moon receive the heavens and shine for a long time" in the "Tuan Zhuan" of "Heng," all seem to take "Dui" as the moon, so the "Yi Lin" inherited this, and Shao Yong also inherited it.

《易林》《大畜》之《小畜》云：「明星煌煌。」《小畜》互離，離為明為星，故曰「明星煌煌」。又《離》之《訟》云：「星隕如雨。」《訟》下互離，離星；下坎，為雨，故曰「星隕如雨」。又《未濟》之《困》云：「建星中堅。」《困》互離，故曰「星」；建星秋昬中，兌秋，故曰「建星」。是《易林》以離為星。後思《易》《豐》六二之「見斗」、九三之「見沫」，亦以下卦離為星，《易林》仍本之《易》也。虞翻以《豐》三上易為《噬嗑》，以《噬嗑》互艮為星，殊失《易》旨。然朱子發云：「仲翔以離艮為星。」是離星之象，虞氏亦知，知而不用，果何故也。

The "Lin Ci" of the "Yi Lin" for the change from "Da Xu" to "Xiao Xu" says: "The bright star shines brightly." In "Xiao Xu," the lines three to five form the trigram Li, which represents brightness and stars, hence the phrase "The bright star shines brightly." Again, in the change from "Li" to "Song," it says: "Stars fall like rain." In "Song," the lower trigram is Kan and the upper trigram is Qian, and the lines two to four form the trigram Li, which represents stars; the lower trigram Kan represents rain, hence the phrase "Stars fall like rain." Again, in the change from "Wei Ji" to "Kun," it says: "The star Jian is in the center." In "Kun," the lines two to four form the trigram Li, hence the term "star"; Jian Star is in the middle at dusk in autumn, and Dui, which is the trigram of the later heaven, represents the west and autumn, and the upper trigram of "Kun" is Dui, hence the term "Jian Star." This shows that the "Yi Lin" takes Li as representing stars. Later, considering the original text of the "Zhou Yi," in "Feng" line six-two it says "the Big Dipper appears at noon," and line nine-three says "the Big Dipper appears in the middle," which also takes the lower trigram Li as representing stars, showing that the "Yi Lin" still follows the "Zhou Yi." Yu Fan took the third line and the top line of "Feng" and exchanged them to form "Shi He," then took the trigram Gen from the mutual trigrams of "Shi He" as representing stars, which deviates from the original meaning of the "Zhou Yi." However, Zhu Zhen (whose courtesy name was Zifa) said, "Yu Zhongxiang took Li and Gen as representing stars," so Yu Fan was aware that Li could represent stars. He knew it but did not use it. Why was that?

《易林》《小畜》之《大畜》云：「辰次降婁。」降婁者，十二辰之一，在戌分。《大畜》互震，為辰。辰者，日月交會之次；辰次降婁者，言日月交會於廠也。艮先天居戌，故「辰次降婁」。又《大過》之《泰》云：「我生不辰。」《泰》中爻震，震為辰為生；坤為我，坤凶，故曰「我生不辰」。又《頤》之《泰》云：「過時不反。」《泰》互震，為辰，辰者時也；震往，故「過時不反」。又《臨》之《噬嗑》云：「厯象星辰。」《噬嗑》互艮，艮為星；下震，為辰，故曰「厯象星辰」。是《易林》顯以震為辰。

The "Lin Ci" of "The Forest of Changes" for "The Lesser Accumulation" changing into "The Great Accumulation" says: "Chen follows the next zodiacal division." "Gong Lou" is one of the twelve zodiacal divisions, located in the territory of Xu. "The Great Accumulation" has the lower trigram Qian and upper trigram Gen. The trigrams from the second to the fourth lines form Zhen, which represents Chen. The term "Chen" refers to the position where the sun and moon meet. "Chen follows the next zodiacal division" means that the meeting of the sun and moon occurs in this zodiacal division. Gen, in the Earlier Heaven arrangement, is located in Xu, hence the statement "Chen follows the next zodiacal division." Again, in "The Great Exceeding" changing into "The Great Passage," it says: "I was born in an inauspicious time." "The Great Passage" has the trigrams from the third to the fifth lines forming Zhen, which represents Chen and birth. The upper trigram is Kun, representing "I," while Kun signifies misfortune, hence the statement "I was born in an inauspicious time" meaning born at an inopportune time. In "The Nourishment" changing into "The Great Passage," it says: "Passing the time without returning." "The Great Passage" has Zhen representing Chen, which is time. Zhen signifies movement and going forward, hence the statement "Passing the time without returning." In "The Approaching" changing into "The Breaking of the Bones," it says: "Observing the stars and constellations." "The Breaking of the Bones" has the trigrams from the third to the fifth lines forming Kan, and from the second to the fourth lines forming Gen. Gen represents stars. The lower trigram is Zhen, representing Chen, hence the statement "Observing the stars and constellations." Clearly, the "Forest of Changes" explicitly uses Zhen to represent Chen.

因思《易》《損》《益》皆有震，故皆曰「與時偕行」。又《艮》傳云：「時止則止，時行則行，動靜不失其時，其道光明。」則以艮為反震，震為時為辰；震反，故「時止」，而三至五互震，震行，故「時行」，行止皆以震，故曰「動靜不失其時」，是經原以震為辰也。艮與震同體，故艮亦為時。又案《說文》：「辰，震也，三月陽氣動，雷電振，民農時也。」又《釋名》：「辰，伸也，物皆伸舒而出也。」是辰之為訓，皆與震相合。而《說文》中辰為震，似卽本於卦象，是震為辰之象，許慎時猶未失傳，至漢末遂遺逸矣。

From this, we can further consider the original text of the Zhou Changes: both the "Loss" and "Gain" hexagrams contain the trigram Zhen, so the Commentary on the Judgment says, "To move with the times." Also, the Commentary on the Judgment of the "Stillness" hexagram says, "When the time comes to stop, stop; when the time comes to move, move. To remain still or to move without losing the proper time, its way is bright." This is because the "Stillness" hexagram is the reverse of the "Thunder" hexagram (Zhen), and Zhen represents time and the hour (chen). When Zhen is reversed to become "Stillness," it can no longer move, hence "when the time comes to stop." However, the third to fifth lines of the "Stillness" hexagram form an intermingled trigram of Zhen, which represents movement, so it says, "when the time comes to move." Whether moving or stopping, both are derived from Zhen, hence "to remain still or to move without losing the proper time." This shows that the original text already regarded Zhen as representing chen. Since "Stillness" and "Thunder" share the same hexagram structure (one positive and one negative), "Stillness" also represents time. Now looking at the Shuowen Jiezi, it says, "Chen, means thunder. In the third month, the yang energy begins to move, thunder and lightning shake, and the people follow the farming seasons." The Shiming says, "Chen, means extension. All things extend and spread out." Clearly, the meaning of the character "chen" is consistent with that of Zhen. The Shuowen identifies chen with Zhen, which seems to be based on the hexagram imagery. This shows that the image of Zhen representing chen had not been lost by the time of Xu Shen, but was lost by the end of the Han dynasty.

坤水之象，所關甚巨，而東漢人皆不知，致解「利涉大川」，爻詞卦詞，靡不舛錯，獨九家《易》知之。說《蠱》之「利涉大川」云：「此卦泰，乾天有河，坤地有水，二爻升降，出入乾坤，利涉大川也。」按九家《易》向不知為何人，《釋文》敘列九家，為荀爽、京房、馬融、鄭玄、宋衷、虞翻、陸績、姚信、翟子玄等九人，並云不知何人所集，稱荀爽者，以荀為之主也。而《隋》《唐志》及《釋文》，皆稱為《荀爽九家集解》。夫既不知何人所集，胡為名之曰荀九家？荀亦九家之一耳，胡得云為之主？《釋文》之言，不可信也。

The image of "Kun as Water" is of great significance, but people of the Eastern Han dynasty did not understand it, leading to confusion in interpreting the phrase "beneficial to cross great rivers" in both the hexagram statement and line statements of the Zhou Yi. Only the Nine Schools' interpretation of the Yi understood this. The Nine Schools' explanation of the phrase "beneficial to cross great rivers" in the Gu卦 says: this hexagram comes from Tai. Qian represents Heaven and has rivers, while Kun represents Earth and has water. The second line moves up and down between Heaven and Earth, thus making "beneficial to cross great rivers" meaningful. According to the Nine Schools' interpretation of the Yi, it is unknown who compiled it. Lu Deming's Classic Interpretation lists the names of the nine scholars: Xun Shuang, Jing Fang, Ma Rong, Zheng Xuan, Song Zhong, Yu Fan, Lu Ji, Yao Xin, and Zhai Zi Xuan. He also says it is unknown who compiled it, and the reason for naming it after Xun Shuang is because he was the main contributor. However, the Sui Shu, Jing Ji Zhi, Tang Shu, Yi Wen Zhi, and Classic Interpretation all refer to it as the "Xun Shuang Nine Schools' Commentary." If it is unknown who compiled it, how can it be called the "Xun School's Nine Schools"? Xun Shuang was merely one of the nine scholars. How can he be considered the main contributor? The account in the Classic Interpretation is unreliable.

《文獻通考》云：「陳氏曰：九家者，漢淮南王所聘明《易》者九人，而荀爽嘗為之集解。」以九家為西漢易師，以集解為荀爽所集，依陳氏之言，則名與實符矣。此雖不知陳氏之所本，然以坤水之象證之，陳氏之言殊勝。則以此象東漢人皆不知，獨九家知之，與《易林》合。又乾河之象，《易林》常取之，亦惟九家與《易林》合。爽輯其說，卽知其象，故說「利涉大川」，略與九家乾河坤水同。又九家說《同人》云：「乾舍於離。」「同而為日。」乾日之象，東漢人亦不知，惟荀爽知之。由乾日坤水等象證之，知九家必為西漢人，而非東漢。設為東漢，則乾日坤水，極重之象，東漢人不難皆知。觀馬、鄭、荀爽諸易說，虞氏無不知，此其證也。故陳氏所言，殊多可信。茲將坤水之象，標出如下：

The "Literary and Historical Comprehensive Survey" cites Chen Zhensun's words: the so-called nine schools refer to nine scholars who were hired by Prince Huainan of the Han dynasty and who were expert in the study of the "Book of Changes" (Yi Jing). Xun Shuang once compiled a commentary on their interpretations. This view treats the nine schools as Yi teachers of the Western Han dynasty and considers the compilation as Xun Shuang's work—according to Chen's account, the name and reality correspond. Although we do not know the basis for Chen's statement, using the image of "Kun represents water" as evidence, Chen's view is much more reasonable: because this image was not understood by people of the Eastern Han dynasty, but was understood only by the nine schools, which coincides with the "Yi Lin." Furthermore, the image of "Qian represents the river" is often used in the "Yi Lin," and only the nine schools agree with it. Since Xun Shuang compiled their interpretations, he naturally knew these images, so when he explained "it is advantageous to cross a great river," his explanation was roughly similar to the nine schools' views on Qian as the river and Kun as water. Moreover, the nine schools' interpretation of the hexagram "Tongren" says "Qian resides in Li" and "unity becomes the sun," the image of "Qian represents the sun" was also not understood by people of the Eastern Han dynasty, but was understood only by Xun Shuang. By using these images of Qian as the sun and Kun as water as evidence, we can conclude that the nine schools must have been people of the Western Han dynasty, not the Eastern Han dynasty. If they were people of the Eastern Han dynasty, then these very important images such as Qian as the sun and Kun as water would not be difficult for people of the Eastern Han dynasty to understand; however, examining the interpretations of the Yi by Ma Rong, Zheng Xuan, Xun Shuang, and others, including Yu Fan, we find that actually none of them could comprehend them (the original text has an error in this sentence), which is clear evidence. Therefore, Chen's statement is very credible. Now we present the image of Kun representing water as follows.

《乾》之《觀》云：「江河淮海，天之奧府。」按《觀》下重坤，故曰「江河淮海」。又《坤》之《升》云：「憑河登山。」《升》上坤，坤水，故曰「憑河」。又《訟》之《泰》「弱水之西」，坤水坤柔，故曰「弱水」。又《履》之《坤》云：「循河榜舟，旁淮東遊。」是亦以坤為河。又《履》之《大壯》云：「水流趨下，遠至東海。」《大壯》通《觀》，《觀》下坤，坤為水為下為海。又《賁》之《損》云：「龍蛇所聚，大水來處。」《損》中爻坤，故曰「大水」。又《觀》之《大有》「山沒邱浮，陸為水魚」，《大有》通《比》，《比》下坤，上互艮，山在水上，故曰「邱浮」。又《師》之《復》「淵泉堤孩，水道利通」，皆以坤為水之證也。

The commentary on "Observing the Heaven" from the "Dry" hexagram says: "Rivers, lakes, and seas are the hidden reservoirs of heaven." The lower trigram of "Observing the Heaven" is "Earth," and the second to fourth lines also form an interrelated trigram of "Earth," so the "Earth" trigram is repeated. Since "Earth" represents water, it is said "rivers, lakes, and seas." Again, the commentary on "Rising" from the "Earth" hexagram says: "Crossing rivers and climbing mountains." The upper trigram of "Rising" is "Earth," which represents water, so it is said "crossing rivers." Again, the commentary on "Contention" to "Harmony" says: "West of the weak river." "Earth" represents water and has a nature of softness and compliance, so it is called "weak river." Again, the commentary on "Following the Footsteps" to "Great Strength" says: "Water flows downward, reaching the East Sea." The opposite hexagram of "Great Strength" is "Observing the Heaven," whose lower trigram is "Earth," which represents water, being downward, and being the sea. Again, the commentary on "Brightness" to "Loss" says: "Dragons and snakes gather, where great water comes from." The third to fifth lines of "Loss" form an interrelated trigram of "Earth," so it is said "great water." Again, the commentary on "Observing the Heaven" to "Great Possession" says: "Mountains sink and hills float, land becomes water for fish." The opposite hexagram of "Great Possession" is "Comparison," whose lower trigram is "Earth," representing water, and the third to fifth lines form an interrelated trigram of "Gen," representing mountain. Mountains float on water, so it is said "hills float." Again, the commentary on "Army" to "Return" says: "Deep springs, embankments, and children, water channels are convenient." These are all evidence that "Earth" represents water.

《蹇》之《渙》云：「從風放火。」《渙》中爻艮，艮為火，與巽連，故「從風放火」。又《大壯》之《遯》云：「火爛銷金。」《遯》上乾，為金；下艮火，故「銷金」。又《恆》之《艮》云：「順風縱火，芝艾俱死。」《艮》中爻震，伏巽，故「順風」；艮火，故曰「縱火」。又《坎》之《謙》云：「門燒屋燔。」《謙》下艮，艮為門為屋；艮火，故「燔燒」。又《解》之《謙》云：「三火起明，雨滅其光。」《謙》下艮，為火，納丙數三，故曰「三火」；上互坎，故「雨滅其光」。此《易林》以艮為火之證也。

The Lin commentary on "Jian" changing to "Huan" says: "From wind, set fire." "Huan" has water above and wind below. The third to fifth lines form the hexagram Gen, which represents fire. Since Gen is connected to the upper trigram Wind, it is said "from wind, set fire." Again, the commentary on "Da Zhuang" changing to "Dun" says: "Fire burns through metal." "Dun" has heaven above and Gen below. According to "Shuo Gua," heaven represents metal; Gen represents fire, which can melt metal, hence "burn through metal." Again, the commentary on "Heng" changing to "Gen" says: "Follow the wind and set fire, both herbs and weeds die." "Gen" is double Gen. The third to fifth lines form Zhen, whose hidden (related) trigram is Xun, representing wind, hence "follow the wind." Gen represents fire, hence "set fire." Again, the commentary on "Kan" changing to "Qian" says: "The door burns and the house is set on fire." "Qian" has Gen below. According to "Shuo Gua," Gen represents door and gate, hence "door" and "house." Gen also represents fire, hence "burning." Again, the commentary on "Jie" changing to "Qian" says: "Three fires arise and shine, rain extinguishes their light." "Qian" has Gen below, representing fire. According to the method of Najia, Gen takes the stem Bing, which is the third in the heavenly stems, hence "three fires." The second to fourth lines of "Qian" form Kan, representing rain, hence "rain extinguishes their light." These are all evidence from the "Yi Lin" that Gen represents fire.

坎土之象，後儒尤怪之，《易林》亦數用也。《節》之《井》云：「宣髮龍叔，為王主國，安土成稷，天下蒙福。」「安土成稷」者，《井》上坎，下互大坎，坎為土，巽為稷。稷者，社稷也，《風俗通》所謂「稷為百穀長，五穀不能偏祭，立稷而祭之」是也。稷以土築成，《井》上下皆坎土，故曰「安土成稷」。又《臨》之《蠱》云：「火生月窟，下土思塞。」《蠱》上艮，為火；下巽，為月窟；下互大坎，坎為土為塞，故曰「下土恩塞」。又《豐》之《大過》云：「相呼南去，膏潤下土。」《大過》為大坎，坎為膏潤為土。又《夬》之《震》云：「可以履土。」《震》互坎，坎為土，震為足，故曰「履土」。又《隨》之《節》云「水土不同」，《師》之《漸》云「拜治水土」，《無妄》之《解》云「載土販鹽」，皆以坎為水土。此《易林》以坎為土之證。蓋坎為塞而中堅實，故象土也。

The image of Kan as earth is considered strange by later Confucian scholars, but the "Yi Lin" frequently uses it. In the "Lin" phrase of "Jie" changing into "Jing," it says: "Promote Longshu, serve as king and govern the country, secure the land and cultivate millet, the world receives blessings." The phrase "secure the land and cultivate millet" refers to the lower trigram of "Jing" being Xun and the upper trigram being Kan. The upper trigram is Kan, and the first to fourth lines together form a large Kan image, which represents earth. The lower trigram Xun represents millet. "Millet" refers to the state of the country, as stated in "Fengsu Tongyi": "Millet is the leader of all grains; since it is impossible to worship all five grains, millet is used to represent them." The state altar is built with earth, and since both upper and lower trigrams of "Jing" are Kan (earth), it is said "secure the land and cultivate millet." Another example is the "Lin" phrase of "Lin" changing into "Gu": "Fire arises from the moon's dwelling place, the earth below desires to be blocked." The upper trigram of "Gu" is Gen, representing fire; the lower trigram is Xun, representing the moon's dwelling place (as Xun is located in the southwest, which is the moon's dwelling place). The first to fourth lines together form a large Kan, which represents earth and obstruction, hence the phrase "the earth below desires to be blocked." Another example is the "Lin" phrase of "Feng" changing into "Da Guo": "Calling out to the south, the rich moisture nourishes the earth." The entire "Da Guo" hexagram is a large Kan, which represents rich moisture and earth. Another example is the "Lin" phrase of "Guai" changing into "Zhen": "It is possible to walk on the earth." The third to fifth lines of "Zhen" form the trigram Kan, which represents earth. The "Say Gu" states "Zhen represents the foot," so the foot can walk upon it, hence the phrase "walk on the earth." Additionally, "Si" changing into "Jie" says "water and earth differ," "Shi" changing into "Jian" says "worship and manage water and earth," and "Wu Wang" changing into "Jie" says "carry earth and trade salt," all of which take Kan as water and earth. These are all evidence from the "Yi Lin" that Kan represents earth. Probably, because the trigram Kan has a yang line in the center, which is obstructive and solid, it is taken as representing earth.

巽石之象，後儒怪之，與坎土同，而《易林》數用之。《同人》之《小畜》云：「戴石上山。」《小畜》上巽下乾，巽為石，乾為首，石在首上，故曰「戴石」。又《夬》之《姤》云：「山石朽破。」《姤》上乾，乾為山，詳後；下巽，巽為石，下斷，故曰「山石朽破」。又《明夷》之《革》云：「掘井得石。」《革》兌為井，互大坎，坎窖亦為井，互巽為石，故曰「掘井得石」。是《易林》以巽為石之明證。他若《大壯》之《觀》云「五石示象」，《觀》上巽，數五，巽為石，故曰「五石」；又《家人》之《否》云「反得弊石」，《否》互巽，巽為石為弊，故曰「弊石」，亦明明以巽為石。然《觀》與《否》皆互艮，艮亦為石，恐觀者未能分明，故首舉《小畜》《姤》《革》以為證，《小畜》《姤》《革》皆無艮象，石專指巽也。由《易林》推之，《易》《困》六三云「困于石」，《困》中爻巽，三正當巽初，故曰「困于石」，是《易》亦以巽為石也。後儒怪之者，由易象失傳，故雖見於經而不知。

The image of Xun as stone is also considered strange by later scholars, just as Kan is considered as earth. However, the "Yi Lin" frequently uses this image. In the "Lin" of "Tong Ren" changing to "Xiao Xu," it says: "Wearing stone on the mountain." The lower trigram of "Xiao Xu" is Qian and the upper trigram is Xun, so Xun is stone. The "Shuo Gu" says "Qian is the head," so stone is placed on the head, hence "wearing stone." Again, in the "Lin" of "Guai" changing to "Gou," it says: "Mountain stone rots and breaks." The upper trigram of "Gou" is Qian, which is mountain (see details later); the lower trigram is Xun, which is stone. The first line of Xun is yin, and its line is broken, hence "mountain stone rots and breaks." Again, in the "Lin" of "Ming Yi" changing to "Ge," it says: "Digging a well and finding stone." The upper trigram of "Ge" is Dui, which is well; within the hexagram, the lines two to four form a large Kan, which is a cellar, that is, a well; lines two to four also form Xun, which is stone, hence "digging a well and finding stone." This is clear evidence from the "Yi Lin" that Xun is stone. Furthermore, in the "Lin" of "Da Zhuang" changing to "Guan," it says "five stones show the image." The upper trigram of "Guan" is Xun, which has the number five, so Xun is stone, hence "five stones." In the "Lin" of "Jia Ren" changing to "Pǐ," it says "reversing and obtaining a broken stone." The lines three to five of "Pǐ" form Xun, which is stone and also broken, hence "broken stone." This clearly uses Xun as stone. However, both "Guan" and "Pǐ" also contain the mutual trigram Gen, which is also stone, so readers might be confused. Therefore, we first cite the three hexagrams "Xiao Xu," "Gou," and "Ge," which do not contain the trigram Gen. In these three hexagrams, the "stone" can be specifically attributed to Xun. Going back from the "Yi Lin" to the "Zhou Yi," the line six three of "Kun" says "trapped by stone." The lines three to five of "Kun" form Xun, and the line six three is exactly the first line of the mutual Xun, hence "trapped by stone." This shows that the "Zhou Yi" also takes Xun as stone. Later scholars found this strange because the images of the "Yi" have been lost, so even though it is clearly mentioned in the text, they did not recognize it.

由是證之，邵子之日月星辰水火土石等八象，豈惟《易林》皆有，《易》亦多有也。乃東漢人皆不知，其失傳與先天象數等。他若《易林》以乾為江河為山，以坎為肉，以震為南為神，以兌為華，以坤為魚，以艮為祖為臣，詳皆見後，率源本於經，而東漢人尤不知，致解經皆誤。朱子嘆易象失傳，豈知其自東漢而已然哉。

From the above examples, we can conclude that the eight symbols used by Shao Yong—sun, moon, stars, constellations, water, fire, earth, and stone—are not only fully present in the Yi Lin, but also largely found in the Zhou Yi. However, people of the Eastern Han dynasty did not understand them, and their loss is similar to the loss of the Earlier Heaven symbolic system. Additionally, the Yi Lin interprets Qian as rivers and mountains, Kan as flesh, Zhen as south and spirits, Dui as flowers, Kun as fish, and Gen as ancestors and ministers. These details are elaborated later, mostly derived from the classic text, yet people of the Eastern Han dynasty were even more ignorant, leading to frequent errors in interpreting the classics. Zhu Xi lamented the loss of the symbolic meanings of the Yi, but he did not realize that this situation had already existed since the Eastern Han dynasty.

學者謂宋以前無言先天象者，非也。《左傳》閔二年，成季之將生，筮之，遇《大有》之《乾》，曰：「同復於父，敬如君所。」杜注不知先天象，祇釋「同於父，敬如君」，於「復」字、「所」字，皆不知其所謂，而不釋之，猶不失先聖闕疑之旨。孔疏則不知而強解之，曰：「國人敬之，其敬如君之處所。」夫乾處西北，離處正南，人敬離，如何與乾之處所相同乎？此不通也。所者，位也；復者，復其位也。言乾為君為父，離變乾，既同於君父，乾南離亦南，更復其君父之位，故人敬離位，亦同於君父之位也。乾南之象，至明白矣。

Scholars claim that no one discussed the Earlier Heaven hexagrams before the Song dynasty, which is incorrect. The "Zuo Zhuan" records that in the second year of Min Gong, when Cheng Ji was about to be born, a divination was performed and the hexagram "Dà Yǒu" changed into "Qian" (the hexagram of Heaven) with the fifth line changing. The divination text says: "Returning to the father, respecting as the king's place." Du Yu's commentary did not understand the Earlier Heaven hexagram, only explaining "returning to the father" and "respecting as the king," and was confused about the words "fu" (return) and "suo" (place), so he left them unexplained — which still follows the ancient sages' principle of leaving doubts unresolved. Kong Yingda's "Zhengyi" misunderstood and forced an explanation, saying "the people respect him, respecting his place as if it were the king's place." But we should know that in the Later Heaven arrangement, Qian is located in the Northwest and Li is located in Due South. If people respect Li, how could it be the same as Qian's place? This does not make sense. In fact, "suo" means place, and "fu" means returning to the original position. This divination text says that Qian represents the king and the father, and the upper trigram of "Dà Yǒu," which is Li, changes into Qian. Thus, it has already returned to the position of the king and father. In the Earlier Heaven arrangement, Qian is located in the South, and Li is also located in the South in the Later Heaven arrangement, which is equivalent to returning to the original position of the king and father. Therefore, people respecting the position of Li is equivalent to respecting the position of the king and father. The image of Qian being in the South is clearly explained here.

又成十六年，晉與楚戰，公筮之，遇《復》，史曰：「南國蹙，射其元王中厥目。」元者，首也，《左傳》哀十一年「歸國子之元」是了。乾為首為王，離為目，乾若不在南，陽報射南，祇中離目可矣，胡為射中王首哉？杜注祇知離目象，不知乾南象，故云「離受其咎」。豈知射中王首，乾亦受咎也。卦象失傳，《左氏》尚不能釋，焉有於《易》。

In the "Zuo Zhuan," during the 16th year of Duke Cheng of Jin, when Jin and Chu fought the Battle of Yancheng, Duke Lizi of Jin ordered a divination, and the hexagram "Fu" was obtained. The chief historian said, "The southern state is squeezed, shoot its head, the king hits his eye." "Head" here refers to the head, as seen in the "Zuo Zhuan" during the 11th year of Duke Ai's reign, where it says "return the head of the state's son," using the same meaning. Qian represents the head and the king, while Li represents the eye. If Qian were not in the south, then shooting south would only hit the eye of Li, which would be enough. How could the king's head also be hit? This shows that the southern position has both the Earlier Heaven's Qian and the Later Heaven's Li. One arrow shot south would hit both. Du Yu's commentary only recognized Li as the eye, but did not understand the image of Qian being in the south. Therefore, he only said "Li suffers the blame." But he did not realize that the king's head was also hit, so Qian also suffers the blame. Once the hexagram images are lost, even the "Zuo Zhuan" cannot explain it, let alone the original text of the "Zhou Yi."

《左氏》以外，釋《易》之書莫古於《乾鑿度》，蓋《說卦》亞。《乾鑿度》云：「易者，不易也，變易也。不易也者，其位也，天在上，地在下，君南面，臣北面，此其不易也。變易也者，其氣也，天地不變，不能通氣，五行迭終，四時更廢。」卽後天卦位之震春木、離夏火、兌秋金、坎冬水也，故曰「變易」。又云：「八卦成列，天地之道立，雷風水火山澤之象定矣。其散佈用事也，震生於東方，離長於南方，兌收於西方，坎藏於北方」云云。可見八卦未散佈用事之時，其方位不在此，至為明白矣。

In addition to the Zuo Zhuan, no other book explaining the Zhou Yi is older than the Yi Wei · Gan Zao Du, which holds a position second only to the Shuo Gua. The Gan Zao Du says: the term "Yi" contains two meanings, "Bu Yi" and "Bian Yi." "Bu Yi" refers to position: heaven is above, earth is below, the sovereign faces south, and the subject faces north; these are unchanging. "Bian Yi" refers to qi: if heaven and earth do not change, their qi would not communicate, so the five phases take turns and the four seasons alternate. This is exactly what is referred to in the Later Heaven卦 position, where Zhen belongs to spring wood, Li to summer fire, Dui to autumn metal, and Kan to winter water, hence called "Bian Yi." The Gan Zao Du also says: when the eight trigrams are arranged in sequence, the way of heaven and earth is established, and the images of thunder, wind, water, fire, mountain, and marsh are determined; when they spread out and each take their place, there is Zhen originating in the east, Li flourishing in the south, Dui gathering in the west, and Kan hidden in the north. This clearly shows that before the trigrams "spread and took their place," their positions were not the Later Heaven system.

《說卦》之演先天也，亦不明言其方位，以當時人人皆知也。若後天，則恐人生疑，故明釋其義。乃《說卦》《乾鑿度》以為人盡知者，至後漢竟失傳矣。管輅不知先天象，生以後天為不合矣。此與十二消息卦，《坤》上六用之，《臨》繇詞用之，《坤》文言用之，《左氏》用之，《乾鑿度》用之，漢人解《易》者皆用之，而皆未明言，則以消息卦人人皆知也。乃至後世，竟有以荀爽解「大明終始」云「離坎者，乾坤之家，陰陽之府」，為發諸儒所未發者矣，《困學紀聞》如此言，則亦將失傳也。先天方位亦猶是也。幸《左傳》猶存，《乾鑿度》未全佚，焦氏《易林》言之尤詳，且盡得以證明邵子先天象及《經世》八象之有本耳。不然，隨聲附和者流，不知伊于胡底也。

In discussing the Earlier Heaven trigrams in the "Say on the Trigrams," the text does not explicitly mention directions, because at that time everyone was already familiar with them. However, for the Later Heaven trigrams, perhaps to prevent confusion, the meaning was clearly explained. Yet, things considered common knowledge by the "Say on the Trigrams" and the "Guan Zao Du" were actually lost by the Eastern Han dynasty. Guan Lu did not understand the Earlier Heaven trigrams and only used the Later Heaven ones, but found them inconsistent everywhere. This is similar to the case of the twelve message trigrams: the Upper Sixth line of the "Kun" hexagram uses them, the "Yao Ci" of "Lin" uses them, the "Wenyan" of "Kun" uses them, the "Zuo Zhuan" uses them, the "Guan Zao Du" uses them, and Han dynasty commentators on the "Yi Jing" also used them, yet none of them explicitly mentioned them, because everyone already knew about the message trigrams. However, in later times, some people took Xu Shuang's explanation of "Da Ming Zhongshi" that "Li and Kan are the homes of Qian and Kun, the repositories of yin and yang," as an original idea that had never been expressed before (Wang Yinglin in "Kun Xue Ji Wen" said this). This shows that the message trigrams are also in danger of being lost. The fate of the Earlier Heaven directions is the same. Fortunately, the "Zuo Zhuan" still exists, the "Guan Zao Du" has not entirely disappeared, and Jiao Yanshou's "Yi Lin" explains them in great detail. Therefore, we can fully confirm that Shao Yong's Earlier Heaven trigrams and the eight images in the "Huang Ji Jing Shi" have their origins. Otherwise, those who follow blindly would cause endless confusion.

又按九家注《同人》云：「乾舍於離。」舍者，次也，是以乾為南也。又曰：「同而為日。」是以乾為日，同於《易林》也。又荀爽注《同人》云：「乾舍於離，相與同居。」是亦以乾居南，與《左氏》「敬如君所」義同也。而治漢《易》者向不稱述，王定柱云：「以中其所忌也。」故王、毛等皆不不引。近獨姚配中，王與姚同時，注《易》，於九家及荀注「乾舍於離」之說，知為反對乾南者之大障也，則駁之。夫《明夷》上坤下離，九家及荀胡以不云「坤舍於離」？則以不同位也。後之解經者，邪僻淫私，無理取鬧，經何由通乎？故夫解經須有解經之德也。

Now looking at the annotations on the hexagram "Tong Ren" (Union) from the Nine Schools of the Zhou Yi, it says, "Qian resides in Li" — "Reside" here means to stop or stay, referring to lodging or dwelling. This is because Qian is located in the south, as Qian and Li both belong to the southern direction, so Qian is said to reside in Li. It also says, "Union becomes the sun," meaning that Qian is regarded as the sun, consistent with the "Yi Lin." Xun Shuang also annotated "Tong Ren" saying, "Qian resides in Li, and they dwell together," which again takes Qian to be in the south, similar to the meaning in the "Zuo Zhuan" of "respecting as the sovereign's command." However, those who studied the Han dynasty's interpretation of the Yi have never cited this passage. Wang Dingzhu said, "Because it struck at their taboo." Therefore, people like Wang Maosheng and Mao Qilin did not cite it. Recently, only Yao Peizhong (who lived at the same time as Wang Dingzhu) wrote the "Yao Shi Xue" on the Zhou Yi, realizing that the view of "Qian residing in Li" from the Nine Schools and Xun Shuang was a major obstacle to the idea that Qian is in the south, and thus he refuted it. Now ask, the hexagram Mingyi (Darkness) has the upper trigram Kun and the lower trigram Li. Why didn't the Nine Schools and Xun Shuang say "Kun resides in Li"? Because Kun and Li are not in the same position. Later interpreters of the classics, with their crooked intentions and selfishness, made unreasonable disturbances, how could the meaning of the classics still be coherent? Therefore, those who interpret the classics must first possess the virtue of interpreting the classics.

按姚氏所駁九家之說，謂「火同於天，若天不同於火」者，皆暗避乾南之說。又謂「傳於離言火言電不言日」，而忘《離》傳之言日，愈迥護愈分明，至為可哂。益足證乾南之象，荀氏已知，與管輅所疑同也。王氏為漢學鉅子，獨於先天不徇流俗，誠以其左證不能掩也。又杭氏云：「《大有》《同人》《比》《頤》《噬嗑》《節》《豐》等卦，皆以先後天同位而命名。」自東漢卦象失傳，皆不知此等卦名由於先後天，苦求其故而不得，遂穿鑿矣。

Now looking at Yao Peizhong's refutation of the nine schools, he says, "It is fire that corresponds to Heaven, not Heaven that corresponds to fire," such statements are all trying to avoid the idea that "Heaven is in the south." He also says that the Commentary on the Judgment and the Image Commentary mention fire and lightning but not the sun when discussing the hexagram Li, yet he overlooks the fact that the commentary on Li clearly refers to the sun. The more he tries to cover up, the more obvious the flaws become; it is truly laughable. This actually further proves that the image of "Heaven in the south" was already known by Xun Shuang, and it is the same issue that Guan Lu doubted. Wang Dingzhu is a renowned scholar of the Han school, yet he alone does not follow the common view on the Earlier Heaven, because the evidence is clear and cannot be concealed. Hang Xinzhai also says that the hexagrams Da You, Tong Ren, Bi, Yi, Shi He, Jie, and Feng are all named based on the meaning of the same position in both Earlier Heaven and Later Heaven. Since the Han dynasty lost the knowledge of the hexagram images, people no longer knew that these hexagram names originated from the positions in Earlier Heaven and Later Heaven. They struggled to find reasons but could not understand them, so they had to resort to forced interpretations.

又按《太玄》云：「南北定位，東西通氣。」是以南北釋「天地定位」，以東西釋「水火不相射」及「相逮」也，皆先天位也。故《漢上易》引以為注。此亦乾南坤北離東坎西之見於西漢者也。

Yang Xiong's "Tai Xuan" says: "North and south are fixed positions, east and west are channels for energy." This uses north and south to explain the "Heaven and Earth are positioned" in "Shuo Gua," and uses east and west to explain "water and fire do not oppose each other" and "water and fire complement each other." All of this discusses the Earlier Heaven arrangement. Therefore, Zhu Zhen's "Han Shang Yi Zhuan" cites it as a commentary. This is also an example of the idea that Qian is in the south, Kun in the north, Li in the east, and Kan in the west appearing in the Western Han dynasty.

行唐尚秉和節之撰

This volume is still written by Shang Binghe, a native of Xingtang (now Xingtang County, Hebei Province). Shang's name is "Jie Zhi."

余自幼好讀焦氏《易林》，如《蒙》之《節》云：「三夫共妻，莫適為雌，子無名氏，翁不可知。」及《坤》之《剝》云：「南山大獲，盜我媚妾，怯不敢逐，退而獨宿。」等林詞，酷愛其語，而莫能通其義。所謂通其義者，非祗知其故事人物，以林詞既為某卦而設，其詞必與卦象有關。乃求之既久，毫無所入，遂亦置之。後忽思《節》林之「三夫共妻」，因《節》卦中爻震為長男，艮為少男，上坎為中男，共三男象，震為夫，故曰「三夫」；祗下兌一女象，故曰「三夫共妻」，果林詞從象生也。由此推之，其言正象者，往往而解，然十不過二三，其餘再四求索，仍不能通，遂又置之，而從事於《易》。

I have always loved reading Jiao Yanshou's "Yi Lin," such as "The Meng Hexagram to the Jie Hexagram" which says, "Three men share one wife, none can be the female, the son has no name, the old man is unknown," and "The Kun Hexagram to the Bo Hexagram" which says, "The southern mountain has great harvest, thieves take my beautiful concubine, I am timid and dare not chase, I retreat and sleep alone." I greatly admire the wording of these Yi Lin verses, but I do not understand their meanings. To understand the meaning is not only to know the stories and characters; since each Yi Lin verse is set for a particular hexagram, the words must be related to the hexagram's image. However, after searching for a long time without finding a way in, I gave it up. Later, I suddenly thought about the "Three Men Share One Wife" line from the Jie Hexagram: The Jie Hexagram has the兑 (Dui) above and the坎 (Kan) below. The second to fourth lines form the Zhen (Zhen) trigram, which represents the Elder Son, and the third to fifth lines form the Gen (Gen) trigram, which represents the Younger Son. The upper trigram is Kan, representing the Middle Son. There are three male images, and Zhen represents the husband, so it is called "three husbands." The entire hexagram has only one female image in the lower trigram Dui, so it is called "three husbands share one wife." This shows that the Yi Lin verses indeed come from the hexagram's image. By analogy, whenever the primary hexagram's image is used, it is often possible to understand, but among ten verses, only two or three can be understood. The rest, after repeated searching, still remain unclear, so I put it aside again and turned my attention to studying the Zhou Yi.

久之，知《易》用旁通。旁通者，卽來氏所謂「錯」，今所謂「對象」，乾對坤，坎對離，艮對兌，震對巽是也，相對卽相通。《說卦》「山澤通氣」，氣通則往來不分；「雷風相薄」，相薄則合而為一；「水火相逮」，相逮則凝而為一。故《履》下兌，兌通艮，卽言虎；《睽》上離，離通坎，故《睽》上九爻詞象全用坎；《鼎》，形卦也，而《鼎》之形不在《鼎》而在《屯》，《鼎》通《屯》故也。

After long study, one comes to understand that the Zhou Changes use the concept of "parallel transmission" or "bypassing." What is meant by "parallel transmission" is what Lai Zhide called "error," and today we call it "opposite." For example, Qian corresponds to Kun, Kan corresponds to Li, Gen corresponds to Dui, and Zhen corresponds to Xun. In these pairs, the two hexagrams have all six lines reversed in yin and yang, and thus they are opposite and connected. The Sayings on the Hexagrams say, "Mountains and marshes communicate through their qi," meaning that when qi is connected, movement and stillness are not separated. It also says, "Thunder and wind are in conflict," meaning that when they are in conflict, they merge into one. It also says, "Water and fire are in mutual pursuit," meaning that when they are in mutual pursuit, they coalesce into one. Therefore, the hexagram of Li (Walking) has its lower trigram as Dui, and since Dui corresponds to Gen, and Gen represents the tiger, the hexagram statement and line statements of Li mention "walking on a tiger's tail." The hexagram of Gui (Strife) has its upper trigram as Li, and since Li corresponds to Kan, the line statement of the ninth line at the top of Gui uses the imagery of Kan, such as "carrying a ghost in a cart," "first drawing the bow," and "not robbers but wedding guests." The hexagram of Ding (Tripod) is based on the shape of the vessel, but the shape of the tripod is not found in the hexagram itself, but rather in the hexagram of Tun (Obstruction), because Ding and Tun are opposite to each other.

又知《易》用覆象，來氏曰「綜」，亦名「反象」。《大過》九五「枯楊生華」，以上兌為反巽，巽木，故亦曰「楊」，與九二同。《損》六五爻詞與《益》六二同，以《損》覆卽為《益》，《益》六二卽《損》六五。《夬》九四與《姤》九三爻詞同，以《夬》覆卽為《姤》，《姤》九三卽《夬》九四也。

The Zhou Changes use the concept of "covering the image" (覆象), which Lai Zhide calls "comprehensive" (综) or "reversed image" (反象). This means turning a hexagram upside down to obtain a corresponding image. In the line statement of the fifth line of the hexagram Da Guo (大过), it says "a withered elm produces flowers." The upper trigram of Da Guo is Dui (兑), and when turned upside down, it becomes Xun (巽). The Sayings on the Trigrams state that Xun represents wood, so here it refers to "elm," matching the line statement of the second line of Da Guo, "a withered elm produces a sprout." The line statement of the fifth line of Dun (损), "a tortoise with ten friends," is exactly the same as the line statement of the second line of Yi (益). This is because turning Dun upside down results in Yi, and the second line of Yi corresponds to the fifth line of Dun. The line statement of the fourth line of Guai (夬), "the buttocks have no skin, his movement is hesitant," is the same as the line statement of the third line of Gou (姤). This is because turning Guai upside down results in Gou, and the third line of Gou corresponds to the fourth line of Guai.

又知《易》用半象。半象之名，起於虞翻。翻注《需》「小有言」云「震象半見」，《小畜》「密雲不雨」及《兌》云「坎象半見」，故後人皆以半象始於虞翻。《易林》常用之。實《履》與《歸妹》之「眇能視，跛能履」，皆半象也。故小象曰：「眇能視，不足以有明也；跛能履，不足以有行也。」兌為半震，故曰「行不足」；為半離，故曰「明不足」。《歸妹》下亦兌，故詞與《履》同。

It is also known that the "Zhou Yi" uses the concept of "half image." The term "half image" originated from Yu Fan. He explained the line statement "small words" in "Xu" nine two as "the image of Zhen is half visible," and in "Xiao Xu" "dense clouds without rain" and in the "Dui" hexagram as "the image of Kan is half visible," so later scholars believed that the concept of "half image" began with Yu Fan. In fact, the "Yi Lin" frequently uses this concept. In "Lv" six three and "Gui Mei" initial nine and nine two, "blind but able to see, lame but able to walk," both use the concept of "half image." Therefore, the "Small Image Commentary" says: "blind but able to see, is not sufficient for clear vision; lame but able to walk, is not sufficient for movement." The lower trigram of "Lv" is Dui, and the second and third lines of Dui consist of one yang and one yin, which correspond exactly to the lower half of Zhen. Therefore, it is called "half Zhen," since Zhen governs movement, and only half is obtained, hence "movement is insufficient." These two lines are also the lower half of Li, so it is called "half Li," since Li governs brightness, and only half is obtained, hence "brightness is insufficient." The lower trigram of "Gui Mei" is also Dui, so the line statements are the same as those of "Lv."

又知《易》用中爻。《繫詞》云：「若夫雜物撰德，辨是與非，則非其中爻不備。」中爻者，三至五互一卦，二至四互一卦，卽上下互也。說者謂言互卦最古者莫過於《左傳》。《左傳》陳厲公筮敬仲，遇《觀》之《否》，曰：「風為天。」言巽變乾。「於土上，山也。」言《否》二至四互艮也。又曰：「猶有觀焉。」言《否》三至五仍為巽，雖變為《否》卦，仍上巽下坤，與《觀》卦同也。自杜注以來，解此句皆誤。

It is also known that the Zhou Changes use the concept of 'middle lines'. The Great Treatise says: 'When dealing with complex matters, expressing virtue, and distinguishing right from wrong, one cannot be complete without the use of the middle lines.' The middle lines refer to the hexagram formed by the lines three to five and the hexagram formed by the lines two to four, which are called the upper mutual hexagram and the lower mutual hexagram. Commentators believe that the earliest record of mutual hexagrams is found in the Zuo Zhuan. The Zuo Zhuan records that Chen Li Gong, for Jingzhong, cast a divination and obtained the hexagram Guan changing into Po. The diviner said, 'Wind is heaven,' meaning that the upper trigram of Guan, Xun, changed into Qian. He also said, 'On the earth, it is a mountain,' referring to the hexagram Po, where the lines two to four form the trigram Gen (mountain), with the earth trigram Kun below. He further said, 'There is still the aspect of observation,' meaning that the lines three to five of Po still form the trigram Xun, although Po has become the hexagram, it remains with Xun above and Kun below, the same as the hexagram Guan. Since Du Yu made his commentary, all those who have explained this sentence have been wrong.

豈知《易》《謙》九三云「勞謙君子」，以二至四互坎，坎為勞卦，故曰「勞謙」；《豫》六二云「介于石」，以二至四互艮，艮石，故曰「介于石」，是《易》用下互也。《小畜》九三云「夫妻反目」，以三至五互離，離目，故曰「反目」；又《賁》六四云「白馬翰如」，以三至五互震，震為馬，為的顙，故曰「白馬」，是《易》用上互也。

It is not known that in The Zhou Changes (I Ching), the line "Lao Qian Jun Zi" (the humble and diligent gentleman) in the hexagram of "Modesty" (Qian) is because the lines two to four form the trigram Kan, and The Sayings on the Hexagrams states that Kan is the trigram of labor, hence it is called "Lao Qian." In the hexagram of "Joy" (Yu), the line "Jie Yu Shi" (between stone) is because the lines two to four form the trigram Gen, which represents stone, hence it is said "between stone" — this is the use of the lower mutual trigram in The Zhou Changes. In the hexagram of "Small Accumulation" (Xiao Xu), the line "Fu Qi Fan Mu" (spouses quarrel) is because the lines three to five form the trigram Li, and The Sayings on the Hexagrams states that Li represents the eye, hence it is said "quarrel" — this is the use of the upper mutual trigram in The Zhou Changes. In the hexagram of "Brightness" (Ben), the line "Bai Ma Han Ru" (white horse galloping) is because the lines three to five form the trigram Zhen, and The Sayings on the Hexagrams states that Zhen represents a horse, and concerning horses, it says "the forehead" (white mark), hence it is said "white horse."

他若《噬嗑》六二云「噬膚滅鼻」，以《噬嗑》下互艮，艮為膚為鼻，是《易》用下互；六三云「噬臘肉遇毒」，則以三至五互坎，坎為毒為肉，故三四五三爻皆曰肉。虞翻等以肉屬下互艮，後儒因之，誤之遠矣。豈知孟氏逸象原有肉，以字訛為「內」，此象遂爾失傳。《易林》以坎為脯，是其證，是又用上互，尤為顯著。此其概略也。

In addition, the line statement of the sixth line in the second position of the "噬嗑" hexagram says "to bite the flesh and destroy the nose," because the lower trigrams (second to fourth lines) form the trigram Gen, which represents flesh and the nose. This is using the lower trigrams. The line statement of the sixth line in the third position says "to bite dried meat and meet poison," because the trigrams formed by the third to fifth lines form the trigram Kan, which represents poison and meat. Therefore, the line statements of the third, fourth, and fifth lines all mention "meat." Yu Fan and others assigned "meat" to the lower trigrams Gen, and later scholars followed this view, which was a great mistake. They did not realize that Meng Xi's lost images originally included "Kan represents meat," but the character "meat" was mistakenly written as "inner," causing this image to be lost. The "Easy Forest" (易林) takes Kan as representing dried meat, which is clear evidence—this is using the upper trigrams, especially evident. This is a general explanation of how images are used in the "Zhou Changes."

蓋對象者，陽與陰相對，陰與陽相對，陰陽既相對，卽常往來流通，合而為一，不能分析。覆象者，艮反為震，震反為艮，兌反為巽，巽反為兌，正倒雖不同，而體則一。半象者，杭辛齋雲基於卦位：震初位，艮三位，震起艮止，中自然離，故離兼艮震，離位二也；巽位在四，兌位在上，兌見巽伏，中自然坎，故坎兼兌巽，坎位五也。清儒焦循謂半震亦可作半兌，半艮亦可作半巽，以是駁虞仲翔，蓋因不知卦位，故誤若此。今按《易林》所用卦位之說，亦不拘也。

In general, the concept of "opposite" refers to the mutual opposition between a yang line and a yin line, or between a yin line and a yang line. Since yin and yang are opposite, they often flow and interact, merging into one and being inseparable. The term "inverted image" refers to the reversal of the trigrams: Gen becomes Zhen, Zhen becomes Gen, Dui becomes Xun, and Xun becomes Dui. Although viewed from front or back they appear different, the structure of the trigram remains the same. The term "half image" is explained by Hang Xinzhai as being based on the positions of the trigrams. Zhen is in the first position, Gen in the third. Zhen represents movement, Gen represents stillness. Between them naturally arises Li, so Li includes both Gen and Zhen. Li is in the second position. Xun is in the fourth position, Dui in the top position. When Dui appears, Xun is hidden. Between them naturally arises Kan, so Kan includes both Dui and Xun. Kan is in the fifth position. Qing scholar Jiao Xun argued that half Zhen can also be considered as half Dui, and half Gen as half Xun, thus refuting Yu Fan. This misunderstanding arose because he did not understand the positions of the trigrams. However, according to my examination, the "Yi Lin" does not strictly adhere to this theory of trigram positions.

至中爻上下互，尤為《易經》之根本。昔人謂《易經》無一字不根於象，《易》若無中爻，則詞多泛設矣，有是理哉。朱子晚年蓋深知易象之重，而嘆象失其傳，然其注《易》，仍不敢用中爻，祗《大壯》一卦用之，則以《程傳》方風行，恐乾物議也。豈知《程傳》之浮泛無根，更甚於王弼哉。

As for the middle line and its upper and lower interacting trigrams, they are especially fundamental to the Yi Jing. Earlier scholars said that every word in the Yi Jing is rooted in imagery; if the Zhou Yi did not use the middle line, then the line statements would be mostly empty talk, which would be unreasonable. Zhu Xi, in his later years, probably deeply understood the importance of the trigrams, and lamented the loss of the imagery, yet when commenting on the Zhou Yi, he still dared not use the middle line, only using it once in the hexagram Da Zhuang. This was because Cheng Yi's Yichuan Commentary on the Changes was widely popular, and he feared criticism. Little did he know that the superficial and rootless nature of the Cheng Commentary was even worse than that of Wang Bi.

以上易說，既少有窺，尋再讀《易林》，遂解者漸多，乃恍然悟《易林》之詞，無一不本於《易》也。《易》《比》九五云「顯比」，坎隱伏，胡有顯象？則以對象離主文明也。《大有》六五云「有孚」，象曰「信以發志」，夫曰孚、曰信、曰志，離皆無此事，則以對象《比》上坎，坎為孚為信為志也。《易林》本之，各卦爻詞用對象者十之三四，本象與對象雜用者十之三四，其專用本卦象者，二三而已。

The four kinds of interpretation (by analogy, by reversal, by half-interpretation, and by the middle line) have already been roughly understood. Then, when reading the "Yi Lin," the number of passages that can be explained increases gradually, and I suddenly realized that every phrase in the "Yi Lin" originates from the "Zhou Yi." For example, the "Bi" hexagram's "Nine in the Fifth" says "visible comparison," and the upper trigram of "Bi" is Kan. The "Shuo Gua" says that Kan represents concealment, so how can there be an image of "visible"? Actually, it takes the opposite hexagram "Da You" and uses its trigram Li, which represents civilization, hence "visible." The "Da You" hexagram's "Six in the Fifth" says "having sincerity," and the "Xiao Xiang" says "trust to inspire the mind." The terms "sincerity," "trust," and "mind" are not found in the trigrams of Li. Actually, it takes the upper trigram Kan from the opposite hexagram "Bi," since Kan represents sincerity, trust, and mind. The "Yi Lin" follows this principle: in the divinatory phrases of each hexagram, about a third to a fourth are taken from the opposite hexagram, about a third to a fourth combine the original and opposite hexagrams, and only about a third to a fourth use the imagery of the original hexagram alone.

如《復》之《巽》云：「三人俱行，一人言北，伯仲欲南，少叔不得，中路分道，爭闘相賊。」繇詞巽，而象則全用震。震為人為行，數三，上震下震，二至四反震，共三震，故曰「三人俱行」。震為南，互坎，坎數一，二至四反震，與上下震相反，故曰「一人言北」，震為言也。震為伯，坎為仲，故曰「伯仲」；震為南，故曰「欲南」；艮少男，故曰「少叔」；艮為覆震向下，故曰「不得」，言不從伯仲南行也。艮為道路，坎為中，或向南或向北，則分道矣。震為爭，艮為手，二至上反正兩艮震相背，故曰「爭鬥」；坎為盜賊，故曰「相賊」，無一字不用震象。

For example, the line from the hexagram "Fu" changing into "Xun" says: "Three people are walking together, one says north, the elder brother and middle brother want to go south, the younger and younger brother cannot follow, they part ways in the middle of the road, and there is fighting and betrayal." The line is associated with the hexagram "Xun," but it uses the image of "Zhen." This is because the hexagram "Xun" corresponds to "Zhen" through the concept of mutual opposition. "Zhen" represents people and movement, and its number is three. The hexagram "Xun" has two "Xun" trigrams, each containing a hidden "Zhen." The lines two to four form the trigram "Dui," which contains a hidden "Gen," and "Gen" is the inverted "Zhen," known as "reverse Zhen." In total, there are three "Zhen," hence the phrase "three people are walking together." "Zhen" is located in the south in the Earlier Heaven arrangement. The lines three to five form the trigram "Li," which contains a hidden "Kan," and "Kan" has the number one in the Later Heaven arrangement. The direction of the "reverse Zhen" is opposite to the upper and lower "Zhen," hence the phrase "one says north," with "saying" also derived from "Zhen." "Zhen" represents the eldest son, hence "the elder brother," and "Kan" represents the middle son, hence "the middle brother." Therefore, "the elder brother and middle brother want to go south." "Gen" represents the youngest son, hence "the younger and younger brother." "Gen" is the inverted "Zhen" facing downward, hence "cannot follow," meaning he does not follow the elder and middle brothers to the south. "Gen" represents roads, and "Kan" represents the middle, so one going south and one going north results in "parting ways in the middle of the road." "Zhen" represents conflict, and "Gen" represents hands. Between the second and top lines, there are two sets of "Gen" and "Zhen" facing each other, hence "fighting and conflict." The "Sayings of the Divination" states "Kan represents theft," hence "mutual betrayal." The entire line of interpretation uses only the image of "Zhen."

又若《訟》之《鼎》云：「虎聚摩牙。」《鼎》中爻兌，兌為牙；對象艮，艮為虎，艮手，為摩。之《小過》云：「青牛白咽。」《小過》對象互大離，為牛；震東方，色青，故曰「青牛」，則又本象與對象兼用。推焦氏之意，陰陽氣既相薄相通相逮，卽混合而不能分，此立竿則彼必見影，見其一既知其二，故混同若此。反之於《易》，亦往往如此也。《左傳》史蘇曰：「《震》之《離》亦《離》之《震》。」此易說之最古者也，卽旁通也。晁景迂云：「陰伏肇乎所配，而終不脫乎本，以隱顯佐神明者謂之伏。」伏卽對象也。學者能明晁氏之言，則《易》與《易林》用旁通之故，可瞭然矣。

For example, "The hexagram 'Strife' changing to 'Tripod' says: 'Tigers gather and rub their teeth.' In 'Tripod,' the third to fifth lines form the trigram Dui, which represents mouth, hence teeth; Dui's object is Gen, which represents tiger, and Gen also represents hand, hence rubbing. 'The hexagram 'Strife' changing to 'Excess' says: 'A green ox and white throat.' 'Excess' has 'Zhongfu' as its object. 'Zhongfu' has all yang lines above and below, and all yin lines in the middle, forming the image of a large Li trigram, which represents ox; 'Excess' has Zhen as its upper trigram, which in Later Heaven is located in the east, and the color of the east is green, hence 'green ox'—this example uses both the original image and the object. Investigating Jiao Yanshou's intention: since yin and yang energies are close to each other, communicate with each other, and follow each other, they blend together and cannot be separated. If a pole is set up here, a shadow must appear there; seeing one implies knowing the other, hence the images are mixed together in this way. Conversely, looking at the 'Zhou Yi,' it is often like this. The 'Zuo Zhuan' records Shi Su saying: 'Zhen changes to Li, which is also Li changing to Zhen.' This is the oldest interpretation of the 'Zhou Yi,' explaining the concept of mutual transformation. Chao Shuo Zhi (with the courtesy name Jingyu) said: 'Yin's concealment arises from its matched side, yet ultimately does not separate from its original form; using concealment and revelation to assist the divine, is called "fu." ' Here, 'fu' refers to the object. If scholars understand Chao's statement, then the reason why the 'Zhou Yi' and 'Yi Lin' use mutual transformation becomes clear.

《易》之用覆象，如「十朋之龜」，如「臀無膚」，如「枯楊生華」，皆顯著，人能知之；其幽深之處，則不易知。如《困》卦之「有言不信」，則用覆兌也；《中孚》之「鶴鳴子和」，則用覆震覆艮也。推之於《頤》之「慎言語，節飲食」，《損》之「懲忿窒欲」，無不皆然。

The Zhou Changes use inverted images, such as the "ten tortoises" in the sixth line of the Duan hexagram and the second line of the Yi hexagram, or the "no skin on the buttocks" in the ninth line of the Guai hexagram and the ninth line of the Gou hexagram, or the "withered elm producing flowers" in the ninth line of the Da Guo hexagram, all of which are clearly visible and easily understood by everyone. However, for those more profound aspects, they are not so obvious. For example, the phrase "words are not believed" in the Kun hexagram uses an inverted Dui (Lake) trigram, with two Dui trigrams facing each other. The phrase "the crane calls in the shade, and its young respond" in the ninth line of the Zhong Fu hexagram uses an inverted Zhen (Thunder) and an inverted Gen (Mountain). Similarly, in the image of the Yi hexagram, "be cautious with words and restrain food," and in the image of the Shen hexagram, "restrain anger and suppress desires," all follow the same principle.

此外，如《左氏》昭五年《明夷》之《謙》云：「於人為言。」《謙》下艮，艮為覆震，震為人為言。又曰：「敗言為讒。」震覆卽言敗。又曰：「主人有言，主必讒也。」誠以《謙》反正兩震言相背，故曰「讒」。「有言」卽讒者，《明夷》離正反兩兌口相背，與《謙》之兩震言相背同，皆用覆也。

In addition, the "Zuo Zhuan" records in the fifth year of Zhao Gong that Zhuang叔 performed a divination for Mu Zi, obtaining the hexagram "Ming Yi" changing into "Qian." It says, "In human terms, this is 'speech'": the lower trigram of "Qian" is Gen, which is the inverted form of Zhen, and Zhen represents people and speech. It also says, "Speech leads to slander": when Zhen is inverted, "speech" becomes corrupted. Furthermore, it says, "If the master speaks, there must be slander": because the hexagram "Qian" contains both a positive and a negative Zhen, two "speeches" that are opposite to each other, thus resulting in "slander." The "speech" in "Ming Yi" is also slander because the lower trigram of "Ming Yi" is Li, which contains both a positive and a negative Dui, two "mouths" that are opposite to each other, following the same principle as the two "speeches" in "Qian" being opposite—both are based on the concept of inverted trigrams.

又晉筮嫁伯姬於秦，遇《歸妹》之《睽》，曰：「西鄰責言。」兌為西，故曰「西鄰」；兌為口舌為言，而三至四覆兌，兩兌口相對卽相背，故曰「責言」，與《明夷》之「有言」同也，用覆兌也。又曰：「敗於宗丘。」震為主為宗，為覆艮，故曰「宗丘」，亦用覆也。而《集解》古注，除九家以震為覆艮、虞翻以兌為反巽外，餘用者少。獨《易林》凡遇正反兩兌、兩震、兩艮，相反或相對者，不曰「相囓」，卽曰「相訟」；不曰「相擊」，卽曰「相闘」。而於《謙》卦，不曰「齊魯爭言」，卽曰「長舌為災」，尤與《左氏》讒義相合。於是《易》與《左氏》用覆之處，始得真解，回視東漢人所說，皆煙雲也。

For example, in the divination of the state of Jin, when Bo Ji was married to the state of Qin, the hexagram obtained was the hexagram Gui Mei changing into the hexagram Kui. The yao text says, "The western neighbor demands words." Since Dui is located in the west in the Later Heaven, it is called "the western neighbor." The 《the Shuogua》 says "Dui represents mouth and tongue," hence it refers to words. The third and fourth lines also form an inverted Dui, with two Dui mouths facing each other, hence "demanding words," which is similar to the "having words" in the hexagram Ming Yi, both using the concept of inverted Dui. The yao text also says, "Defeated at the ancestral hill." Zhen represents the main element and the ancestral, while at the same time Zhen is the inverted image of Gen (Gen represents a hill), hence "ancestral hill," also using the concept of inverted images. However, in Li Dingzuo's 《Collected Explanations of the Zhou Changes》, the ancient annotations collected, except for the nine schools of 《the Changes》 which take Zhen as the inverted Gen and Yu Fan who takes Dui as the inverted Xun, few use the concept of inverted images. Only 《Jiao's Forest of Changes》, whenever encountering two Dui, two Zhen, or two Gen that are opposite or facing each other, either says "mutual biting" or "mutual quarreling," or "mutual striking" or "mutual fighting." In the hexagram the hexagram Qian, it is either "the states of Qi and Lu quarrel over words" or "long tongues bring disaster," especially consistent with the 《the Zuo Commentary》 interpretation of inverted images as meaning slander. Thus, the use of inverted images in the 《The Zhou Changes (I Ching)》 and the 《the Zuo Commentary》 has finally been properly explained. Looking back at the views of the people of the Eastern Han dynasty, they were nothing more than fleeting phenomena.

《易》用半象，前既言之矣。然《易》用半象之處不多，故《易林》用之亦少，獨於《既》《未濟》二卦，十八九用之。他若《解》《家人》《蹇》《睽》《漸》《歸妹》六對象，亦往往用之。初視之皆不解其所謂，後由《易》推《易林》，始知其用半象。如《需》之《既濟》云「遊居石門」，則以《既濟》中爻有半艮象，故曰「居」曰「石」曰「門」，半震為遊；《渙》之《未濟》云「三虎上山」，《未濟》有三半艮形，故曰「三虎上山」，半震為登為上，皆用半象也。

The Zhou Changes use half-figures, which has already been mentioned. However, the use of half-figures in the Zhou Changes is not frequent, so their use in the Yi Lin is also limited, except in the two hexagrams of Ji Ji and Wei Ji, where nearly all instances employ them. Additionally, in three pairs of hexagrams that are mutual counterparts—Xu and Ji Ji, Jian and Kui, Jie and Gui Mei—half-figures are also often used. At first glance, these Yi Lin phrases seem meaningless, but after deducing the Yi Lin from the Zhou Changes, it becomes clear that they employ half-figures. For example, "Xu to Ji Ji" says "dwelling by the stone gate": the Ji Ji hexagram contains a half-figure of Gen (a mountain), which is composed of one yin and one yang moving upward, exactly the upper half of Gen. Gen represents stopping, small stones, and gateways, hence the terms "dwelling," "stone," and "gate." The hexagram also contains a half-figure of Zhen (thunder), which signifies movement, hence the term "traveling." Another example is "Huan to Wei Ji" saying "three tigers ascending the mountain": the Wei Ji hexagram has six lines with alternating yin and yang, containing three half-figures of Gen. Gen represents tigers and mountains, hence the phrase "three tigers ascending the mountain"; the half-figure of Zhen signifies ascending. These are all examples of the use of half-figures.

《易》有上下互，漢魏人除王輔嗣外，殆皆用之。惟《易經》六十四卦中，中四爻爻詞往往與初上異，故下《繫》云：「若夫雜物撰德，辨是與非，非中爻不備。」是中爻似重於初上也。《易林》本之，往往視中爻象重於本象。如《坤》之《離》云「齊魯爭言，戰於龍門」，則以《離》中爻上兌，兌魯；下巽，巽齊；正覆兩兌口相背，故曰「爭言」；兌伏艮，故曰「門」；巽伏震，故曰「龍門」，全於本象不及。又《大壯》之《離》云「築室水上，危於一齒，丑寅不徙，辰巳有咎」，亦全用中爻。

The Zhou Changes include upper and lower mutual trigrams. Except for Wang Bi (styled Fuxi), scholars of the Han and Wei dynasties mostly used them. Among the sixty-four hexagrams of the Book of Changes, the statements of the fourth line often differ from those of the first and top lines. Therefore, the Great Treatise says: "To deal with complex matters, express virtue, and distinguish right from wrong, one cannot be complete without using the middle line." This shows that the middle line seems more important than the first and top lines. The Yi Lin follows this approach, often considering the image of the middle line more important than that of the primary hexagram. For example, in "Kun changing to Li," it says, "Qu and Qi disputed words, fighting at the Dragon Gate." Li is a double Li; the trigrams formed by lines three to five are Dui, representing Lu; and the trigrams formed by lines two to four are Xun, representing Qi. The two Dui trigrams, one upright and one inverted, face each other, hence "disputed words." Dui is hidden beneath Gen, which represents a gate, hence "gate." Xun is hidden beneath Zhen, which represents a dragon, hence "Dragon Gate." The entire Yi Lin statement does not mention the image of the primary hexagram. Another example is "Da Zhuang changing to Li," which says, "Building a house on water, dangerous as a single tooth;丑 and 寅 do not move, 辰 and 巳 bring misfortune." This also entirely relies on the image of the middle line.

以上易說，除中爻為東漢人熟用不疑外，餘對象、覆象、半象，東漢人似半信半疑，偶用之，絕不能貫徹全經，則以西漢師說中絕，知有此例耳，未得師傳，不敢決也。此外東漢人所知者，《易林》無不用之。

The above mentioned interpretations of the Book of Changes, except for the middle trigram which was skillfully and confidently used by people of the Eastern Han dynasty, the other elements such as the object trigram, inverted image, and half-image were only half-believed and occasionally used by the Eastern Han scholars, and could not be consistently applied throughout the entire text. This was because the tradition of the Western Han scholars had already been interrupted, and they only knew of these kinds of interpretations without having received the transmission from their teachers. Therefore, they dared not use them decisively. Apart from this, all the interpretations of the Book of Changes known to the Eastern Han scholars were fully utilized in the "Yi Lin."

納甲之說，始見於《乾鑿度》，更見於《京房易傳》，最古之易說也。茲《易林》《家人》之《大壯》云：「六甲無子，以喪其戌，五丁不親，癸走出門。」又若「甲戊已庚，隨時轉行」，林中尤數見，詳解皆在《易林注》。又凡遇乾坤則曰東者，亦指納甲也。實干甲震庚離已，《易》原有也。

The theory of Najia is first mentioned in the "Yi Wei · Gan Zao Du," and also appears in "Jing's Tradition of the Changes." It is an extremely ancient interpretation of the Yi. In the "Forest of Changes," for example, in the hexagram "Family" changing to "Great Strength," it says: "The six Jia have no sons, losing their Xu; the five Ding are not close, and Gui leaves the door." Statements like "Jia, Wu, Ji, Geng, move according to the time" are especially common in the "Forest of Changes," and detailed explanations are provided in my "Commentary on Jiao's Forest of Changes." Additionally, whenever乾 or坤 is mentioned with the direction "East," it refers to Najia—乾 takes Jia, and Jia belongs to the East. In fact, the system of assigning stems to trigrams, such as乾 taking Jia, Zhen taking Geng, and Li taking Ji, originally existed in the main text of the "Zhou Yi."

荀爽注「大明終始」云：「乾起坎而終於離，坤起離而終於坎，離坎者，乾坤之家，陰陽之府。」後儒謂此語發前人所未發，有功於《易》。按此用闢卦也。闢卦最古，《易》爻詞用之，《坤》上六「龍戰于野」是也；文言亦用之，「陰凝於陽」是也；《左傳》亦用之，晉人筮得《復》，曰「南國蹙，射其元王中厥目」，此卽以《復》居正北，荀所謂「乾起坎」也。《易經》用闢卦，人或知之；《左氏》之用闢卦，人則不知。茲《易林》《恆》之《謙》云：「咸陽辰巳，長安戌亥。」以乾居辰巳，以坤居戌亥，此焦氏已言闢卦之證也。

Xun Shuang's commentary on the "Commentary on the Judgment" of the "Qian" hexagram says: "The Qian hexagram begins at Kan and ends at Li, while the Kun hexagram begins at Li and ends at Kan; Li and Kan are the homes of Qian and Kun, and the treasuries of yin and yang." Later scholars said this statement was something previous scholars had not mentioned, and thus it was of great benefit to the "Zhou Yi." According to this, the use here is of the "Bi Gu" (the twelve message hexagrams). The "Bi Gu" is extremely ancient: the "Yao Ci" (Line Statements) of the "Zhou Yi" use it; the line "Dragon fights in the wild" in the sixth line of the "Kun" hexagram refers to this (the tenth month of the "Kun" hexagram is Hai, and yin reaches its extreme, so yang comes to fight it); the "Wenyan" (Commentary on the Words) also uses it, "Yin condenses over yang" refers to this; the "Zuo Zhuan" (Commentary of Zuo) also uses it, when the Jin people divined the "Fu" hexagram, the historian said, "The southern state is squeezed, shoot its head, the king hits his eye," because the "Fu" hexagram is the eleventh month's hexagram and is located in the direction of Due North, which is exactly what Xun Shuang said, "Qian begins at Kan." The "Zhou Yi" uses the "Bi Gu," which people may still be aware of; the "Zuo Zhuan" uses the "Bi Gu," which people are not aware of. Now, the "Yi Lin" ("Forest of the Changes") in the line "The 'Heng' hexagram changes to the 'Qian' hexagram" says: "Xianyang is in the hours of Chen and Si, Chang'an is in the hours of Xu and Hai." This places Qian in the hours of Chen and Si, and Kun in the hours of Xu and Hai, which is clear evidence that Jiao Yanshou had already used the "Bi Gu."

《說卦》震為長子，於坎、艮卽不言為中子、為少子，《易林》本之，凡但言子者，皆指震象，無指艮、坎者，此必有師說也。又按《蒙》九二云「子克家」，以互震為子也；《中孚》九二云「其子和之」，以覆震為子也；《鼎》初六云「得妾以其子」，因《鼎》下巽，巽伏震，震為子；又《蠱》初六云「有子」，亦以巽伏震為子。而《易》於艮、坎，則無但言子者，《易林》蓋仍用《易》也。而虞仲翔於《蠱》初上艮為子，於《鼎》必以四變成震為說，且必以震為長子，以刖於艮坎，豈知《易》祗言子者必指震，若《隨》《漸》之「小子」方指艮，不祗言子也。此亦西漢師說至東漢中絕之證也。

The Shuo Guà says "Zhen represents the eldest son." However, it does not say that Kan or Gen represent the middle son or the youngest son. The Yì Lín follows this example: whenever only the character "zi" (son) is mentioned, it refers to the image of Zhen, and never to Gen or Kan. There must be a tradition passed down by teachers. Looking at the Zhou Changes, in the Meng hexagram, the line Nine in the Second says "the son can manage the family," using the Zhen trigram formed by the lines two to four as the son. In the Zhongfú hexagram, the line Nine in the Second says "his son will harmonize with him," using the Gen trigram formed by the lines three to five (Gen is the inverted Zhen) as the son. In the Ding hexagram, the line Initial Six says "obtaining a concubine and her son," because the lower trigram of Ding is Xun, which contains a hidden Zhen, and Zhen represents the son. In the Gu hexagram, the line Initial Six says "having a son," also using the hidden Zhen in Xun as the son. The Zhou Changes never mentions "son" alone in the hexagrams of Kan or Gen, showing that the Yì Lín still follows the Zhou Changes. However, Yu Fan in the Gu hexagram uses the upper trigram Gen as the son, and in the Ding hexagram, he insists that the fourth line must change to form Zhen, and limits Zhen to the eldest son, thereby separating Gen and Kan from Zhen. But he does not realize that in the Zhou Changes, whenever "son" is mentioned alone, it always refers to Zhen. The "small son" mentioned in the Suì and Zhan hexagrams refers to Gen, but that is not a single mention of "son." This is also evidence of the tradition from the Western Han period breaking off in the Eastern Han period.

乾順行，坤逆行。《乾鑿度》云：「乾貞子，左行陽時六；坤貞午，右行陰時六。」此實易道陰陽往來交姤之樞紐，後儒知此者鮮，故解坤「西南得朋，東北喪朋」，不能得解。茲《易林》頤之艮云：「據斗運樞，順天無憂。」是以乾為順也。益之泰云：「政逆民憂。」泰坤為政、為逆、為民。雙歸妹之晉亦云，是皆以坤為逆也。

Heavenly Stem Qian moves in a forward direction, while Earthly Branch Kun moves in a reverse direction. The "Qian Zao Du" says: "Qian starts from the Zi position and moves left in a forward direction, governing six yang months; Kun starts from the Wu position and moves right in a reverse direction, governing six yin months." This is indeed the key point in the Way of the Book of Changes where yin and yang interact and merge. Few later Confucian scholars understood this, so their interpretations of the Hexagram Statement of Kun, "In the southwest one gains friends, in the northeast one loses friends," have always been unclear. Now let us take evidence from the "Jiao's Forest of Changes": In the "Yi to Gen" section, it says, "Based on the movement of the Big Dipper's pivot, moving in accordance with Heaven brings no worries." The term "顺" (smooth) is paired with "天" (Heaven), and Heaven refers to Qian, showing that the "Forest of Changes" associates Qian with "顺." In the "Yi to Tai" section, it says, "Oppressive governance causes people's worries." The lower hexagram is Tai and the upper is Kun; Kun represents governance, reversal, and the people, and the term "逆" (reversal) clearly comes from the image of Kun. The "Guimei" to "Jin" section also has similar expressions ("双" is likely a mistake for "又"). These are all evidence that the "Forest of Changes" associates Kun with "逆."

《易林》開章明義，於乾林云：「道陟石阪，胡言連蹇，譯瘖且聾，莫使道通。」言孤陽不通也，陽遇陰也。乾之坤云：「招殃來螫，害我邦國。」又屯之坤云：「采薪得麟，大命隕顛。」言純陰不生也，陰遇陰也。乃乾之泰則吉，之否亦吉，則以陰陽相遇也。《易林》開端標義如此，《周易》樞機盡於此矣。

Jiao's Forest of Changes opens with a clear statement of its purpose. The first hexagram in the Qian trigram (Qian to Qian) says, "The path climbs the stone slope, speech is stammering, the interpreter is both mute and deaf, and the message cannot be conveyed." This refers to the inability of isolated yang to be communicated, because the primary hexagram is entirely yang, and yang meets yang (the original text says "yang meets yin," but according to the parallel phrase "yin meets yin" in the following text, this should be a mistake and should be "yang meets yang"). The hexagram "Qian to Kun" says, "Evil brings venomous stings, harming my state and country," and the hexagram "Zun to Kun" says, "Gathering firewood, a qilin is found, the great destiny falls and is overturned." The secondary hexagram in both cases is entirely yin Kun, indicating that pure yin cannot produce offspring because yin meets yin. As for "Qian to Tai" being auspicious and "Qian to Po" also being auspicious, this is because the hexagrams Tai and Po both represent the meeting of yin and yang. This is the example of meaning presented at the beginning of the Forest of Changes, and all the essential principles of the Zhou Changes are included here.

乃此義至東漢卽不明，致解升、節等卦多誤。後宋蔡淵《易象意言》云：「凡剛進而上，遇柔則利，如大壯之四、大畜之三是也；遇剛則不利，如大壯、大畜之初是也。」吳摯父先生說大畜云：「凡陽之行，遇陰則通，遇陽則阻，故初二皆不進，而三則利往。」說節云：「易以陽在前為塞，陰在前為通。初之不出，以九二在前，故曰知通塞；二則可出而不出，故有失時之凶。」於《易林》大旨，合若符契。後之學者唯不知此，故易說常晦；若能悟此，則全部義經，可迎刃而解矣。

However, this meaning became unclear by the Eastern Han dynasty, leading to many errors in interpreting hexagrams such as "Ascending" and "Restraint." Later, the Song dynasty scholar Cai Yuan wrote in "Yi Xiang Yi Yan": "Whenever a yang line advances upward and encounters a yin line ahead, it is advantageous; for example, in the hexagram 'Great Strength' with line nine in the fourth position and in 'Great Accumulation' with line nine in the third position. If a yang line meets another yang line ahead, it is not advantageous, as seen in the initial line of 'Great Strength' and 'Great Accumulation.'" Mr. Wu Zifu explained the hexagram 'Great Accumulation' by saying: "Whenever a yang line moves forward, it meets advantage if it encounters a yin line, but meets obstruction if it encounters another yang line. Therefore, lines nine at the beginning and nine in the second position cannot advance, while line nine in the third position is advantageous for moving forward." He explained the hexagram 'Restraint' by saying: "The Book of Changes considers yang in front as obstruction and yin in front as smooth passage. The initial line 'not going out of the gate' is because line nine in the second position is blocking the way, hence the Image Commentary says 'knowing whether there is smooth passage or obstruction.' Line nine in the second position could go out but does not, hence the calamity of 'losing the right time.'" These interpretations fully align with the main idea of Jiao's Forest of Changes, like two pieces of a seal fitting perfectly. Later scholars failed to understand this point, so interpretations of the Book of Changes often became obscure and difficult to comprehend. If one can grasp this principle, then the entire Book of Changes can be understood easily.

兌為羊，乃大壯上六亦曰羊，則以大壯形仍兌也。艮為床，乃剝初二亦皆曰床，則以剝形仍艮也。來矣鮮名曰大象。大象者，卽以頤為大離、大過為大坎是也。此其義，至東漢亦失傳，於大壯、艮之羊、床皆不能解。後治漢易如惠棟父子等，凡遇大象，卽曰漢人未言，不敢用。豈知惠氏所謂漢儒，祗馬、鄭、荀、虞等耳。若焦贛，則時時用大象也。夬之大過云：「久陰霖雨。」坎為霖為雨，是以大過為大坎也。蹇之頤云：「張羅百目。」離為綱羅為目，是以頤為大離也。又損之頤云：「十九同投，為雉所離。」離伏坎，坎為彈丸，離為雉。用大象之多，不可勝數也。

The *Sayua* (Sayu) states that *Dui* (Lake) is represented by a sheep, and the *Dazhuang* (Great Strength) hexagram's *Shangliu* (Six at the Top) line statement also mentions "sheep." This is because the *Dazhuang* hexagram has four yang lines at the bottom and two yin lines at the top, making its overall shape resemble an enlarged *Dui*. Similarly, the *Sayua* states that *Gen* (Mountain) is represented by a bed, and the *Bao* (Decay) hexagram's *Chuliu* (Six at the Beginning) and *Liu'er* (Six in the Second) both mention "bed." This is because the overall shape of the *Bao* hexagram still resembles an enlarged *Gen*. In the Ming dynasty, Lai Zhide (Lixian) referred to this method of taking symbolic forms as "daxiang" (great image). "Daxiang" means treating the *Yi* (Nourishment) hexagram as a large *Li* (Fire), and the *Daguo* (Great Excess) hexagram as a large *Kan* (Water). This principle had already been lost by the Eastern Han dynasty, so the meanings of "sheep" in *Dazhuang* and "bed" in *Bao* (Gen structure) could not be understood. Later scholars of the Han *Yi* (Book of Changes), such as Hui Dong and his son, whenever encountering "daxiang," would say that Han scholars had not discussed it and thus dared not use it. They did not realize that the so-called "Han scholars" referred to by the Hui school were only a few such as Ma Rong, Zheng Xuan, Xun Shuang, and Yu Fan. Jiao Yanshou (Jiao Gong), however, frequently used "daxiang." In the *Yilin* (Forest of Changes), the line "Gua to Daguo" says "long yin rain," where *Kan* represents rain and *Ling* (rain), and although the *Daguo* hexagram itself does not contain *Kan*, it is treated as a large *Kan*. Similarly, the line "Jian to Yi" says "set a net with a hundred eyes," where *Li* represents a net and eyes, and the *Yi* hexagram is treated as a large *Li*. Another line, "Sun to Yi," says "nineteen together throw themselves, shot by a pheasant," where a large *Li* is below with a hidden *Kan*, *Kan* represents a bullet, and *Li* represents a pheasant, thus explaining the act of shooting a pheasant with a bullet. The use of "daxiang" in the *Yilin* is so frequent that it is countless.

《易林》用先天，先天乾南坤北；《易林》用後天，後天乾西北坤西南；《易林》用闢卦，闢卦坤西北乾東南：說皆見前。易要用納甲，乾納甲，坤納乙，甲乙在東方。如坤之幹云：「谷風布氣。」《毛傳》：「谷風，東風也。」他若履之幹云：「東向蕃垣。」之坤云：「旁淮東遊。」皆取象甲乙也。後天、闢卦及納甲方位，為東漢人所知；先天方位，除荀氏注同人云「乾舍於離，相與同居」，以乾為南外，餘少知者。

The Yi Lin uses the Earlier Heaven directions, with Qian in the south and Kun in the north; it also uses the Later Heaven directions, with Qian in the northwest and Kun in the southwest; and it also employs the Bi Gua directions, with Kun in the northwest and Qian in the southeast—these have all been mentioned before. The Yi also uses the Najia method: Qian is associated with Jia, and Kun with Yi, both Jia and Yi being in the east. For example, in the entry "Kun's Qian," it says "Valley wind spreads the qi," and the Mao Zhuan explains "valley wind" as east wind; another example is "Lv's Qian" which says "Facing east, the fortified wall extends," and "Lv's Kun" which says "Wandering east along the Huai River," where the word "east" comes from the association of Qian with Jia and Kun with Yi. The Later Heaven, Bi Gua, and Najia directions were known to people of the Eastern Han dynasty; only the Earlier Heaven directions were less known, except for Xun Shuang's commentary on Tong Ren, which says "Qian resides in Li, sharing the same dwelling," treating Qian as southern, while others rarely mentioned it.

漢魏人學易者，往往著易林，如焦氏《易林》、費氏《易林》、崔氏《易林》、許峻《易林》、虞翻《易林》、管輅《易林》，及不知姓名之《易新林》《集林》《占林》等，並見於《隨》《唐志》。焦氏《易林》雖不見於《漢書》，然費《易林》、虞《易林》、管《易要》，史皆未書，亦無議其非者。今所存獨焦林，無可質證。

During the Han and Wei periods, those who studied the Book of Changes often wrote books of the type called "Yi Lin." Examples include Jiao's Yi Lin, Fei's Yi Lin, Cui's Yi Lin, Xu Jun's Yi Lin, Yu Fan's Yi Lin, Guan Lu's Yi Lin, as well as other works such as Yi Xin Lin, Ji Lin, and Zhan Lin, whose authors are unknown. These works are recorded in the Sui Shu Jing Ji Zhi and the Tang Shu Yi Wen Zhi. Although Jiao's Yi Lin is not listed in the Han Shu Yi Wen Zhi, Fei Zhi's Yi Lin, Yu Fan's Yi Lin, and Guan Lu's Yi Yao are also not recorded in the historical bibliographies, yet no one has questioned their authenticity because of this. Now, among these works, only Jiao's Yi Lin remains, and there are no other similar works left for comparison or verification.

於顧寧人疑其為東漢以後人所為。其所持之故，謂焦氏不應用《左傳》，而忘河間獻王之為《左氏春秋》立博士，張蒼、賈誼、張敞、翟方進等皆為左氏專家。二謂《易林》謂漢高為「季」，非漢人所宜言，而忘《史記》之一則曰「季」，再則曰「季」。三謂《易林》萃之益有「昭君是福」之語，昭君出塞，延壽不及見其事。豈知「昭君」謂益有大離之象，而不必實有其事有其人。震之節云：「乾侯野井，昭君喪居。」豈王昭君死於乾侯乎？萃之臨曰：「昭君守國，諸夏蒙德。」豈王昭君又為中國天子乎？此若為昭君，將《易林》言「孔明」，可謂為諸葛亮矣；言「則天」，可謂為武后矣；言「宣和」「政和」，可謂為宋徽宗矣；屢言先天象，可謂為邵子之門人所為矣。豈有窮乎？

In the early Qing dynasty, Gu Yanwu (styled Ningren) doubted that the "Yi Lin" was written by someone after the Eastern Han dynasty. His reasons were threefold. First, he argued that Jiao Yanshou should not have cited the "Zuo Zhuan" — but he overlooked the fact that Hejian Xianwang had already established the "Zuo Shi Chunqiu" as an official text, and figures such as Zhang Cang, Jia Yi, Zhang Chang, and Zhai Fangjin were all experts in studying the "Zuo Shi", so it was not unusual for Western Han scholars to use the "Zuo Zhuan". Second, he claimed that the "Yi Lin" referred to the Han Gaozu as "Ji", which was not something a Han dynasty person would say — but he failed to realize that the "Shiji" repeatedly directly called the Han Gaozu "Ji". Third, he pointed out that in the "Cui Zhi Yi" section of the "Yi Lin", there was a line saying "Zhaojun is a blessing", while Wang Zhaojun's departure to the northern frontier occurred in the Jining year of Emperor Wu of the Northern Han, which Jiao Yanshou could not have witnessed. However, he did not realize that the "Zhaojun" mentioned here refers to the symbolic meaning of the "Yi" hexagram having a great "Li" (Fire) image, where "Zhao" takes the meaning of brightness from "Li", and does not necessarily refer to a real person or event. In the "Zhen Zhi Jie" section, the text says "Ganhou's wild well, Zhaojun's mourning residence" — could Wang Zhaojun have died in Ganhou? In the "Cui Zhi Lin" section, it says "Zhaojun guards the country, all the surrounding states benefit from her virtue" — could Wang Zhaojun have become the emperor of China again? If all these "Zhaojun" references are taken to mean the real Wang Zhaojun, then whenever the "Yi Lin" mentions "Kongming", it could be referring to Zhuge Liang; when it mentions "Zetian", it could be referring to Wu Zetian; when it mentions "Xuanhe" and "Zhenghe", it could be referring to Emperor Huizong of the Song dynasty; and since the text frequently uses the Earlier Heaven hexagram images, it could be claimed that it was written by a disciple of Shao Yong. If this line of reasoning is continued, there would be no end to it.

京房之死，在元帝末年，年方四十。其師必死於京房前乎？其師之年必多於京房三四十歲乎？恐未然也。寧人又以梁王嗣位在昭帝始元二年，共嗣位四十年，其資助焦贛遊學，似必從其嗣位日始者，其說之誣。又謂《易林》用《漢書·李尋傳》若「天門」「太微」等語，創自李尋者，尤為誣枉，及不知林辭為何物。山陽丁晏闢之詳矣。

Jing Fang died in the last year of Emperor Yuan's reign at the age of only forty. Is it necessarily true that a teacher must die before his student? Must a teacher's age always be thirty or forty years older than his student? Perhaps not. Gu Yanwu also argued that since the Prince of Liang ascended the throne in the second year of Emperor Zhao's Shiyuan era and reigned for forty years, the Prince must have supported Jiao Yanshou's travels from the day he took the throne. This conclusion is also without basis. He also claimed that phrases like "Tianmen" and "Taiwei" in the "Yi Lin" come from the "Hanshu · Li Xin Zhuan" and were first proposed by Li Xin, which is even more unjust. It shows that he completely misunderstood the nature of the Lin words. Ding Yan, a man from Shanyang (given name Ding, courtesy name Jianqing), has already refuted these views in detail.

後翟云升、牟庭等，又據費直敘題《易林》為「建新天水焦延壽撰」八字，疑今《易林》為崔篆之《易林》。篆曾為建新大尹，「天水」者，「大尹」之訛；「焦」為「崔」之訛。崔延壽者，必篆亦字延壽也。豈知費敘庸劣，且言及王莽後事，為直所未知，其偽尤著。牟庭自知所據之陋也，則又據《漢紀》：明帝用《周易卦林》筮雨，其繇曰「蟻卦穴戶，大雨將集」，明日大雨，上以詔書問沛獻王輔，輔上書釋其義，詔報曰「善哉，王次序之」，言王詮次繇詞之善也。而牟庭謂帝令王作敘，此敘卽沛獻所作，故及莽事。此與謂篆字亦延壽，說皆武斷可哂。

Later scholars such as Zhai Yunsheng and Mou Ting suspected that the present version of the "Yi Lin" was actually Cui Zuan's work, based on the eight characters "Jian Xin Tian Shui Jiao Yanshou zhuàn" in the preface of the "Yi Lin" attributed to Fei Zhi. Their reasoning was that Cui Zuan had once served as the governor of Jian Xin, "Tian Shui" was a corrupted form of "Da Yin," and "Jiao" was a corrupted form of "Cui." Since it was called "Cui Yanshou," Cui Zuan must have also been known by the courtesy name Yanshou. However, they failed to realize that the preface written by Fei Zhi was poorly composed and mentioned events after Wang Mang's reign, which Fei Zhi could not have known about in his lifetime. This clearly shows that the preface itself was a forgery, making its flaws even more obvious. Mou Ting himself recognized that his evidence was too shallow, so he turned to the records in the "Han Ji" for support. According to these records, Emperor Ming of the Eastern Han used the "Zhou Yi Gua Lin" to inquire about rain, and the divination text was "Yi gu xue hu, da yi jiang ji," which meant "ants are digging holes at the door, heavy rain is coming." The next day, heavy rain indeed came. Emperor Ming then issued an edict asking Pei Xian Wang Liu Fu to explain the meaning of the divination text. In response, Liu Fu submitted a written explanation, and Emperor Ming replied with an edict saying "Zan zai, Wang Ci Xu Zhi," meaning he praised Liu Fu for arranging the divination texts well. However, Mou Ting claimed that this was actually an order from Emperor Ming to Liu Fu to write the preface, and thus the preface of the present "Yi Lin" was written by Pei Xian Wang. Therefore, it could mention Wang Mang's era. This argument, like the claim that "Cui Zuan was also known by the courtesy name Yanshou," is equally hasty and ridiculous.

又以鼎之節有「安民呼池」之言，謂罷呼池為安民縣，事在平帝二年，非篆不及見。豈知同人之豫亦有此詞。各本「安」皆作「按」，「呼」作「湖」。「按民湖池」者，以湖池多盜，遣使按治，故下云「玉杯文案」。此必有故事，為後來所未知。若作「安民」，安民者縣名也，呼池者苑名也，此四字如何相屬？又與下「玉杯文案」義何涉乎？丁儉卿謂牟庭私改「按」為「安」，以就其說，語雖近奇，然「安」為「按」之訛字，無疑也。

Mu Ting again focused on the four characters 「An Min Hu Chi」 in the section 「Ding Zhi Jie」, saying that in the second year of Emperor Ping of the Han dynasty, the Hu Chi Garden was abolished and replaced by An Min County. This event Jiao Yanshou could not have seen, only Cui Zuan could have. But he did not know that in the section 「Tong Ren Zhi Yu」 there was also the same phrase. Moreover, in all versions of the text, the character 「An」 here is actually 「Pan」 and 「Hu」 is 「Hu」, meaning the original text was 「Pan Min Hu Chi」, referring to the fact that there were many bandits in the area of Hu Chi Lake, and the court sent envoys to investigate and deal with them, so the next sentence could follow with 「Yu Bei Wen An」. There must have been a story behind this at the time, but later generations have forgotten it. If Mu Ting changed it to 「An Min」, then 「An Min」 is the name of a county and 「Hu Chi」 is the name of a garden, how could these four characters form a coherent sentence? And what connection is there in meaning with the next sentence 「Yu Bei Wen An」? Ding Yan (Jianqing) said that Mu Ting privately changed 「Pan」 to 「An」 to fit his own interpretation. Although his words were sharp, the fact that 「An」 is a variant of 「Pan」 is unquestionable.

翟等又據《因話録》：唐崔群之鎮徐，當以焦氏《易林》自筮，此「焦」字亦「崔」之訛。昔崔駰常以家林筮，見範書《孔僖傳》，群既駰之後裔，亦必以家林筮，而其詞在今《易林》中，以此定今《易林》為崔篆《易林》。姑無論今傳之《因話録》皆作「焦」，無作「崔」者；卽使是崔《易林》詞偶與焦林同，亦何足異？唐人詩甲詩入乙集、乙詩入甲集者多矣。如「虢國夫人承主恩，平明騎馬入金門」，杜甫詩也，而張祜集亦有。如因祜集有杜詩，便謂《草堂集》皆祜所為，似不然矣。況漢人為易林者前後相望，因襲雷同，理所必至乎。唐時焦氏《易林》、崔氏《易林》並存，見於《唐志》，今亡者一，存者一。崔篆為西漢大儒，其書之亡誠為可惜，然必以相傳甚久之焦氏《易林》屬於崔氏，祗見其誤，未見其安也。

Zhai Yunsheng and others also refer to the account in Tang dynasty Zhao Lin's "Yinhu Lu" that when Cui Qun was appointed governor of Xuzhou, he once used the "Yi Lin" by Jiao to divinate for himself. They argue that the character "Jiao" is actually a miswriting of "Cui." Their reasoning is that in the past, Cui Yin often used his own "Jia Lin" for divination, as recorded in Fan Yel's "Hou Han Shu · Kong Xi Zhuan." Since Cui Qun was a descendant of Cui Yin, he would also have used the "Jia Lin" for divination. Moreover, the divination text in question is also found in the present version of "Yi Lin," so they conclude that the present version of "Yi Lin" is indeed the "Yi Lin" by Cui Zuan. However, it is worth noting that all extant editions of "Yinhu Lu" record the name as "Jiao," none as "Cui." Even if a few lines of the "Jia Lin" coincidentally match those of the "Cui Lin," is that really surprising? There are many examples in Tang poetry where poems by person A are mistakenly included in the collection of person B, and vice versa. For instance, the line "Guo Guo Fu Ren Cheng Zhu En, Ping Ming Qi Ma Ru Jin Men" is originally by Du Fu, yet it also appears in Zhang Hu's collection. If someone were to argue that because Zhang Hu's collection contains Du Fu's poem, Du Fu's "Cao Tang Ji" must be entirely by Zhang Hu, that would clearly be unreasonable. Moreover, during the Han dynasty, many people compiled "Yi Lin," and their works often repeated each other, which was inevitable. In the Tang dynasty, both the "Yi Lin" by Jiao and that by Cui were in existence, and both are recorded in the "Tang Shu · Yiwen Zhi." Now one has been lost and the other remains. Cui Zuan was a great Confucian scholar of the Western Han dynasty, and the loss of his works is indeed regrettable. However, insisting on attributing the well-preserved "Yi Lin" by Jiao to Cui Zuan is clearly an error, and there is no justification for such a conclusion.

丁晏《易林釋文》前後敘，駁議綦詳，然其義有未盡者，故復引申之。至《易林釋文》劉毓崧後跋，按漢家帝諱，謂全書十萬言，獨不見「弗」字，定《易林》作於昭帝時，則真考索有得矣。至顧氏謂林內有「新作初陵」語，疑用成帝起昌陵事。夫一帝卽位卽為起陵，何帝不然，胡獨成帝？又有謂林中如「牡飛」「門啟」等詞，事在成帝時，為延壽所不及見。豈知《京房易傳》已有「厥妖門牡自亡」之占。房死於元帝時，豈必見亡牡之事而後為此詞？此自古來相傳之一種占法，非創聞於成帝時也，尤淺不足辨。

Ding Yan's commentary in the preface and postface of "Yi Lin Shi Wen" is already very detailed, but there are still some points that need further elaboration. As for Liu Yusheng's postscript to "Yi Lin Shi Wen," he starts from the Han dynasty's imperial taboo, pointing out that the entire book of ten thousand characters does not contain the character "fu" (which was the name of Emperor Zhao of Han, Fu Ling). Based on this, he concludes that "Yi Lin" was composed during the time of Emperor Zhao. That is indeed a solid scholarly achievement. As for Gu Yanwu's suggestion that the phrase "xin zuo chu ling" in the "Yi Lin" might refer to Emperor Chengdi's construction of Changling, one must realize that it was customary for an emperor to begin building a tomb upon ascending the throne, something that happened in every dynasty. So why specifically point to Emperor Chengdi? Others have also suggested that phrases like "mu fei" and "men qi" in the "Yi Lin" refer to events during Emperor Chengdi's reign, implying that Jiao Yanshou could not have witnessed them. However, one should not be unaware that the "Jing Fang Yi Zhuan" already contains the divination phrase "ju yao men mu zi wang." Jing Fang died during the reign of Emperor Yuan, so why would he have to personally witness the strange event of a door latch disappearing in order to write such a phrase? This is actually a divination method that has been passed down since ancient times, not something that was first heard about during Emperor Chengdi's time. Such views are particularly superficial and are not worth refuting.

然丁、劉等徒驚其訓詁故事之奧古，尚未知林詞之解易。間當思之，焦氏《易林》實第二易也。《周易》卦辭爻辭，無一字不根於象，一奇也。《周易》一卦一辭，《易林》則一卦為六十四辭，無一林義復，無一林義不翻新出奇變換，二奇也。《周易》用象，巧不可階，往往非言說所能喻，必目覩其象而始知，如剝五「貫魚以宮入寵」、如泰上六「城覆於隍」皆是。《易林》之用象亦然，如井之隨云「蜆（普通本皆作晲）見不祥」，隨三至五巽，巽為蠱，當矣；而蜆又名縊女，好自縊死，巽為繩，直為繫縊形也，其切當神妙，不減於易剝之貫魚也，三奇也。丁晏《釋文》不知宋本獨作「蜆」，謂黃丕烈刊宋本擅改「蜺」為「蜆」以合《爾雅》，冤哉黃乎！

However, people like Ding Yan and Liu Yusheng only marveled at the archaic and profound terminology and extensive references in the "Yi Lin," without realizing that the statements in the "Yi Lin" themselves are actually interpretations of the "Yi." I often ponder: Jiao's "Yi Lin" can truly be called "a second "Yi." The statements in the "Zhou Yi" (I Ching) have no character that is not derived from the hexagram images; this is the first marvel. The "Zhou Yi" has only one statement for each hexagram, but the "Yi Lin" expands each hexagram into sixty-four statements, none of which repeat in meaning, and none of which fail to be fresh and novel, changing endlessly; this is the second marvel. The skill in using images in the "Zhou Yi" is unmatched, often beyond verbal explanation, and must be seen in the hexagram image to be understood. For example, in the "Bo" hexagram, line six five says "passing fish with palace attendants' favor," and in the "Tai" hexagram, line six above says "the city returns to the moat," which are like this. The "Yi Lin" also uses images in this way: the statement "Well following" in the "Yi Lin" says "clams appear as an omen of misfortune" (in all transmitted editions, "clam" is written as "dian"). The hexagram "Following" has the trigrams of wind in its third to fifth lines, and wind represents pests; using the character "clam" is already appropriate. Moreover, clams are also called "suicide women," who like to commit suicide by hanging; wind represents a rope, and a rope hanging straight down is exactly the shape of a hanging noose—this accuracy and subtlety are no less than the "passing fish" in the "Bo" hexagram of the "Zhou Yi," which is the third marvel. Ding Yan's "Shiwen on the Yi Lin" did not know that only the Song edition had "clam," and instead claimed that Huang Pilei, when printing the Song edition,擅自 changed "ni" to "clam" to conform to the "Erya," which is a great injustice to Huang Pilei.

《易林》繇詞，卦不同而詞同，同一詞也，用之甲而當，用之乙亦當，用之丙丁尤當，四奇也。《易林》用象之幽深難解者，如否之謙云「殷商絕嗣」，因殷商子姓，謙體三子俱備，坤為殺為死，子殺死，故殷商絕嗣。大有之漸云「魁行搖尾，逐雲吹水」，漸下艮，先天數七，故曰魁，魁者北斗七星也；艮為尾，反震為搖，坎為雲水，反兌為吹。又如大壯之離云「丑寅不徙，辰巳有咎」，則以離通坎，坎中爻艮震，先後天皆居東北，故曰不徙；離中爻兌巽，先後天皆居辰巳，兌巽為大過，大過死，故曰有咎。如此等詞，或數日思之始能解，或數月不能解，而《易林》如此者不可勝數，若行所無事者，五奇也。又何怪二千年學者不解其詞哉！

The divinatory phrases in the "Yi Lin" often have the same wording even though the hexagrams differ; the same phrase can fit well with one hexagram, and also fit well with another, and even more so with a third or fourth. This is the fourth wonder. The "Yi Lin" uses examples with deep and obscure imagery, such as in "Pu (Obstruction) to Qian (Humility)" which says "the Shang dynasty will have no descendants." The Shang dynasty was of the Zi surname, and the hexagram Qian contains three yang lines: Zhen (Thunder), Kan (Water), and Gen (Mountain), all of which correspond to "Zi." The hexagram Kun (Earth) represents killing and death, so the three "Zi" lines all die, hence the Shang dynasty will have no descendants. Another example is "Da You (Great Possession) to Jie (Gradual Progress)" which says "the leader moves with a tail, chasing clouds and blowing water." The lower trigram of Jie is Gen (Mountain), whose earlier heaven number is seven, hence "the leader" or "the chief star." Gen also represents the tail, and its opposite trigram is Zhen (Thunder), which is active, hence "moving with a tail." Kan represents clouds and water, and its opposite trigram is Dui (Lake), which represents the mouth, hence "blowing." Another example is "Da Zhuang (Great Strength) to Li (Fire)" which says "Chou and Yin do not move, Chen and Si bring misfortune." Li and Kan are connected, and Kan's middle line gives rise to Gen and Zhen. Gen and Zhen are located in the northeast, which corresponds to Chou and Yin in both earlier heaven and later heaven. Hence, they do not move. Li's middle line gives rise to Dui and Xun. Dui and Xun are located in the position of Chen and Si in both earlier heaven and later heaven, and Dui and Xun together form Da Guo (Great Overturn), which has the image of death, hence "misfortune." Such phrases in the "Yi Lin" sometimes take days to understand, and sometimes even months without being clear. There are countless such phrases in the "Yi Lin," yet the author seems to write them effortlessly, which is the fifth wonder. If this is the case, then it is no wonder that scholars over the past two thousand years have failed to understand these phrases.

至此書確定為西漢人作，且確定為焦氏作者，其證有六。一，所用春秋故事，有為三傳、《國語》《韓詩外傳》《說苑》等書所無者，故雖唐人不能注，古書亡也。又所用之字，古義甚多，在在乎西漢淳樸之氣，文不加修飾，自然峭古，與魏晉之塗繢者異。二，顯宗以《周易林》筮雨，遇蹇，其詞在今《易林》中，以問沛獻王輔。當此時，諸王如東平王蒼尤深經學，乃不問蒼而問輔，以輔善說京氏易，焦贛為京氏師，既善京易，必知焦易，故獨問輔。三，凡京氏易說可考見者，如「朋來」為「崩來」、無妄為大旱卦，皆與焦氏易說同，師弟授受，蹤跡分明。

There are six pieces of evidence for determining that this book was written by a person of the Western Han dynasty and specifically by Jiao Yanshou. First, the stories from the Spring and Autumn Annals used in the book are not found in the three transmissions of the Spring and Autumn Annals, namely the Zuo Zhuan, Gongyang Zhuan, and Gu Liang Zhuan, nor in the Guoyu, Han Shi Wai Zhuan, and Shuo Yuan. Therefore, even Tang dynasty scholars could not provide annotations, indicating that the ancient books it relied upon had already been lost. Moreover, the book uses many archaic characters and preserves ancient meanings, showing a simple and unadorned style typical of the Western Han dynasty. Its writing is natural and vigorous, differing greatly from the ornate and elaborate style of the Wei and Jin dynasties. Second, Emperor Ming of Han (Xianzong) used the Zhou Yi Lin to inquire about rain, and the divination result was the Jian hexagram. The yao text of this hexagram is found in the present version of the Yi Lin. Emperor Ming consulted this text with Prince Liu Fu of Pei. At that time, among the feudal princes, Prince Liu Cang of Dongping was especially proficient in Confucian classics, but Emperor Ming did not consult Liu Cang but instead Liu Fu, because Liu Fu was skilled in Jingfang's interpretation of the Yi. Since Jiao Yanshou was Jingfang's teacher, and Liu Fu was well-versed in Jing's Yi, he must have also been familiar with Jiao's Yi, hence the reason for consulting him alone. Third, all the existing interpretations of Jingfang's Yi, such as reading the phrase "peng lai" in the Fu hexagram as "beng lai" and designating the Wuwang hexagram as the hexagram of great drought, are consistent with Jiao's Yi interpretations. The traces of teacher-student transmission are clearly visible.

四，《易林》卦象，如離東坎西、坤水坤魚，東漢人若知，則解經不誤矣，惟其為西漢，故至東漢而失傳。管輅云：「既曰天地定位，豈容有別位哉？吾不知古之聖人何以處乾於西北、坤於西南。」是疑易有先天位，求其說而不得，非失傳而何？致經詁皆誤。五，用韻之古，直同周秦。六，《隨志》卽有焦贛《易林》，《唐志》焦《易林》與崔《易林》並存，其名實久定，不應忽誤崔為焦。由以上諸證，定今之焦氏《易林》斷非費直，亦非崔篆，更非東漢人陸績、虞翻、管輅所能為，而確為焦氏《易林》。彼顧亭林等不究其詞之所謂，其誤解固難怪矣。

Four, the hexagrams used in the "Yi Lin" have specific directional associations, such as Li in the east and Kan in the west, and Kun as water and Kun as fish. If people in the Eastern Han dynasty were aware of these, they would not have made mistakes in interpreting the classics. Since these belong to the teachings of the Western Han dynasty, they were lost by the time of the Eastern Han. Guan Lu said, "If the 'Shuo Gua' says 'Heaven and Earth are positioned,' how can there be another set of directions? I don't understand why the ancient sages placed Qian in the northwest and Kun in the southwest." This clearly shows that he realized the "Yi" had another earlier heaven arrangement, yet he could not find a rationale for it—was it not the loss of transmission? Thus, the interpretation of the classic texts became entirely wrong. Five, the ancient rhyme used in the "Yi Lin" is almost identical to that of the Zhou and Qin dynasties. Six, the "Sui Shu · Jing Ji Zhi" records Jiao Gong's "Yi Lin," and in the "Tang Shu · Yi Wen Zhi," both Jiao Gong's and Cui Shu's "Yi Lin" are listed, so the names and actual works have already been established. It should not be a sudden mistake to confuse "Cui" with "Jiao." Based on the above points, we can conclude that the current version of Jiao Gong's "Yi Lin" could not have been written by Fei Zhi, nor by Cui Zuan, nor by the Eastern Han scholars Lu Ji, Yu Fan, or Guan Lu. It is indeed Jiao Gong's "Yi Lin." The scholars of Gu Yanwu's generation did not deeply investigate the meaning of the verses in the "Yi Lin," so their misunderstandings are naturally unsurprising.

惟二千年學者不知《易林》談易象，故莫能以象定詞，而《易林》之書遂訛誤不堪卒讀。如「蜆見不祥」，妄者不知蜆於巽象細切入微，而竟改為「蜺」，於象無關。又如「李耳匯巢鵲，更相畏怯」，妄者不知「匯」為蝟，《爾雅》有明訓，而以李耳為人名，竟改「匯」為「橐」矣。全書如此者，不勝毛舉。他若城誤為域、域誤為城，喜誤嘉、嘉誤喜，以形近而訛者幾於無林不有，而宋本尤多。又最甚者，竟改三字句為四字句，致韻義皆失，惟宋本存其真。原林為六句四句，刪為五句三句；原林祗二句，而以他林竄入，足成六句四句者尤多。

It is precisely because scholars over the past two thousand years did not understand that the Yi Lin discusses Yi Xiang that they were unable to use the hexagram images to determine the meaning of the text. As a result, the Yi Lin became full of errors and became almost unreadable. For example, the phrase "Xian sees an omen of ill fortune" was wrongly altered by those who did not understand how the character "Xian" relates to the Xun hexagram, which is very detailed. They changed it to "Nie," which has nothing to do with the hexagram. Another example is "Li Er Hui Chao Qiao, more or less fearing each other." Those who altered it did not know that "Hui" refers to hedgehog, as clearly explained in the Erya, but instead took "Li Er" as a person's name and changed "Hui" to "Tuo." There are countless such examples throughout the entire text. Other errors, such as mistaking "Cheng" for "Yu" and vice versa, or "Xi" for "Jia" and vice versa, are common due to similar characters, and almost every section of the Yi Lin has such errors. The Song edition is especially full of these mistakes. The most serious errors are those in which three-character sentences were changed into four-character ones, resulting in the loss of both rhythm and meaning. Only the Song edition preserves the original form. Originally, each section of the Yi Lin had six or four lines, but they were reduced to five or three lines. Originally, some sections had only two lines, yet others inserted lines from different sources to make them six or four lines, which is also quite common.

蓋唐以前皆展轉傳鈔，而其時各家林詞皆在，學者恆就其所喜附入焦林之下，以備參稽，當其初必有標識也，久之遂皆為焦林。豈知焦氏焉能為一卦作二林詞？凡今本下注「又作某詞」者，蓋皆非焦林也。悲哉！西漢書之訛誤，莫甚於《易林》也。原其故，皆由於不求林詞也。今以卦象為權為衡，凡林字不知屬誰是者，則以卦象衡之：其於卦象無涉者，非也；於卦象皆有關，則擇其尤切並於上下文最適者從之，庶乎其誤較寡矣。然有時各本皆如是，雖宋本亦不能正其誤，而文義確有訛謬者，亦尚難免也，則無如之何矣。

This is because the books before the Tang dynasty were passed down through copying, and at that time, the interpretations of each school were still available. Scholars often copied interpretations from other schools into Jiao Yanshou's interpretations for reference and comparison. At first, there must have been marks to distinguish them, but over time they were all regarded as Jiao Yanshou's interpretations. How could Jiao Yanshou have written two interpretations for the same hexagram? Any text in the current version that is noted as "also written as some other term" is likely not the original text of Jiao Yanshou. Alas! The errors in Western Han texts are nowhere more serious than in the "Yi Lin." The root of the problem lies in people's failure to seek the original meaning of the interpretations. Now I use the hexagram images as a standard: whenever the text is unclear, I use the hexagram images to judge. If the text has nothing to do with the hexagram, it is wrong. If two interpretations are related to the hexagram, I choose the one that is most appropriate and fits best with the surrounding context. In this way, errors can be reduced. However, sometimes all versions have the same text, and even the Song edition cannot be used for correction. If the meaning is indeed incorrect, there is nothing to be done about it.

行唐尚秉和節之撰。

This volume was written by Shang Binghe, a native of Xingtang (now Xingtang County, Hebei Province). Binghe's given name is Jiezi.

《易林》之略例既明，其易說可得而窺矣。蓋易之卦詞爻詞，無一字不從象生。易說既失傳，有吾人不知其象者矣，斷無象外之詞，《易林》亦如是。今將《易林》說易之處，一一推測而揭出之：有東漢人誤解相承、至今而不覺者，證以《易林》始正其誤；有東漢人勉強解詁、實浮泛不切、相承至今遵用不改者，證以《易林》而詁始確；有極要之象為東漢人所不知，得《易林》始知有此象而經始通者；有傳寫巽文、互相非難，證以《易林》而字始定者。則謂今日之易說由《易林》多所革新可也。所恨學識譾陋，略窺其端，不能竟其緒耳。

The general principles of the "Yi Lin" have already been explained, so the underlying interpretations of the "Zhou Yi" can now be understood. In general, every word in the hexagram statements and line statements of the "Zhou Yi" comes from the hexagram images. Although the interpretations of the "Zhou Yi" have been lost, there are certainly some images we do not know today, but there will be no words that go beyond the hexagram images. The "Yi Lin" is the same. Now I will examine one by one the parts where the "Yi Lin" explains the "Zhou Yi" and reveal them to people: some are misunderstandings by Eastern Han scholars that have been passed down through generations without anyone noticing, and using the "Yi Lin" to verify them corrects these old errors; some are interpretations forced by Eastern Han scholars that were superficial and not accurate, yet have been used until now without modification, and using the "Yi Lin" to verify them makes the etymology precise; some are very important hexagram images that Eastern Han scholars no longer knew, but with the "Yi Lin" they can now understand these images, and the text of the classic becomes clear; there are also cases where variations in the text arose from copying errors, leading to disputes among different schools, but using the "Yi Lin" to verify them allows the text to be settled. Therefore, it is entirely appropriate that today's interpretations of the "Zhou Yi" have been greatly renewed through the "Yi Lin." What is regrettable is that my knowledge is shallow, and I have only slightly glimpsed the path, so I cannot complete this work thoroughly.

乾為君子為日，見前。三居卦終，終曰終日。虞翻謂陽息至三，二變成離，離為日；荀爽謂日以喻君。虞固穿鑿，荀亦未得，皆由不知乾日象也。

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) The trigram Qian represents the gentleman and the sun, as previously explained. The third line, nine three, is at the end of the lower trigram. Being at the end again, it is said 'the sun is at the end.' Yu Fan explains this line, saying that the yang energy rises to the third line, and when nine two changes to yin, it becomes Li, which represents the sun; Xun Shuang, on the other hand, says the 'sun' is used as a metaphor for the ruler. Yu Fan's interpretation is overly forced, and Xun Shuang's explanation is also not accurate, because both fail to recognize that Qian itself already has the image of the sun.

乾彖云「萬物資始」「品物流形」，又曰「首出庶物」。夫曰萬物、曰品物、曰形、曰庶物，皆坤象也，而乾彖言之。坤彖云「含弘光大」，夫曰弘、曰大，則皆乾象，而坤能含之、光而大之。杭辛齋云：「如咸恆則坤含乾之證，如損益則乾得坤始光之證。」然則陰陽二氣實不能分、不能離，見陰卽知陽，見陽卽知陰，易彖已如此。此由《易林》視本象與對象相通而推得之也。

The Commentary on the Judgment of the Qian hexagram says, "All things receive their beginning" and "the myriad things take shape." It also says, "the first to emerge among all things." The terms "myriad things," "various things," "shape," and "all things" originally belong to the Kun hexagram, yet the Commentary on the Judgment of Qian uses them to describe Qian. The Commentary on the Judgment of the Kun hexagram says, "it contains and expands greatly." The terms "contain" and "greatness" originally belong to the Qian hexagram, yet Kun is able to contain them and make them manifest and grand. Hang Xinzhai says: "The two hexagrams of Xian and Heng are evidence that Kun contains Qian; the two hexagrams of Shen and Yi are evidence that Qian can achieve its grandeur only by receiving Kun." From this, we can see that yin and yang energies are inseparable and cannot be separated. When we see yin, we know there is yang within it; when we see yang, we know there is yin within it. The Commentary on the Judgment already expresses this. This principle is precisely derived from Jiao's Forest of Changes, which treats the original hexagram and its corresponding hexagram (the hexagram of mutual transformation) as interconnected.

吳冀州《易說》云：「班如者，猶車班班也，言不一馬也。」此最得解。而虞仲翔訓班為躓，後儒知其不安，又遵《左傳》杜注訓班為別。以「別」訓班馬，已與深夜測知齊師其遁之義不安；若以訓「班如」，則形容全失。茲《易林》剝之復云「班馬還師」，復下震，震為馬，上坤互坤亦為馬，故曰班馬。又觀之既濟、夬之否皆有此詞，皆以多馬班列取象，不惟無躓義、別義，並無徹義。誠以屯下震，中爻坤，上坎，皆有馬象，馬多而前後班列，故曰故如也。

Wu Ruolun, who once served as the governor of Jizhou, in his "Commentary on the Book of Changes" said: "The term 'ban' is like the sound of a carriage moving in succession, meaning there are more than one horse." This explanation is most appropriate. Yu Fan (Zhongxiang), however, interpreted 'ban' as 'zhi' (a horse stumbling), but later scholars found this interpretation inadequate and instead followed Du Yu's annotation in the "Zuo Zhuan" to interpret 'ban' as 'bie' (to separate). However, using 'bie' to explain the "Zuo Zhuan" phrase 'ban ma zhi sheng' (the sound of horses) does not fit the meaning of the passage describing how the sound of horses was used to detect the retreat of the Qi army at night. If used to explain the 'ban ru' in the "Zun" hexagram, the descriptive meaning is entirely lost. Now, according to the "Forest of Changes" by Jiao Shi, in the divination phrase for "Bo" changing to "Fu," it says "ban ma huan shi" (the horses return). The lower trigram of this hexagram is Zhen, which represents horses; the upper trigram is Kun, and the interacting trigrams are also Kun, which also represent horses. Therefore, 'ban ma' is used. Similarly, in the divination phrases for "Guan" changing to "Ji Ji" and "Guai" changing to "Pǐ," the same phrase appears, all referring to the image of many horses arranged in formation. This shows that 'ban' is neither 'zhi' nor 'bie,' and has nothing to do with 'che' (to remove). In reality, the "Zun" hexagram has the lower trigram Zhen, the middle yao interacting with Kun, and the upper trigram Kan, all of which represent horses. The horses are numerous and arranged in formation, hence the term 'ban ru' (like a formation).

虞翻謂艮為山，山足稱鹿，鹿，林也。至王肅則竟作「麓」。鹿、麓古固可通，然屯之「卽鹿」實麋鹿之鹿，取象震也。證之《易林》，凡遇震卽曰鹿：益之恆云「鹿得美草」，恆上震也；遯之師云「鹿下西山」，師二至四互震也。屯六三在震體中，故曰鹿。虞謂鹿為林者，非也。下曰「林中」，此復言林，言理不適矣。

Yu Fan said that Gen represents a mountain, and the foot of the mountain is called "lu," which means mountain forest. Wang Su then simply wrote the character as "lu." Although "lu" and "lu" were interchangeable in ancient times, the "lu" in the line "ji lu" of line six three in the Zun hexagram actually refers to the elk, taking the image of Zhen. This can be verified by the Jiao's Forest of Changes: whenever there is an image of Zhen, it is called "lu." The line statement in "Yi zhi Heng" says "lu gets good grass," and the upper hexagram of Heng is Zhen; the line statement in "Dun zhi Shi" says "lu goes down the western mountain," and the intercalated hexagram of Shi from lines two to four is Zhen. The line six three of Zun hexagram is exactly within the lower hexagram Zhen, so it says "lu." Yu Fan's interpretation of "lu" as mountain forest is incorrect: the line statement clearly says "only entering the forest," and if the "lu" mentioned earlier was already the forest, then repeating "forest" would make the text redundant and illogical.

「卽鹿無虞」者，《淮南子》云：「卽鹿無虞，惟入于林中。夫施薄而望厚者，未之有也。」高誘注云：「虞，欺也。鹿以喻民。」又《三國志·陳琳傳》：「易稱卽鹿無虞，夫微物尚不可欺。」亦詁虞為欺，與《淮南子》同。然則無虞者，言勿以鹿為微物而輕忽之，致穿入林中而無所獲也。震為叢木，故曰林；坤虛，故空入林中。又王弼云：「雖見其禽而無其虞，徒入于林中。」又詁虞為備虞。蓋震為決躁，言卽鹿而無備虞，故無所獲。詁虞字與淮南、陳琳微異，然大義則同也。乃孔疏忽謂虞為虞官，失王義矣。又《左傳》隱五年「不備不虞，不可以師」，蓋王注之所本也。

As for the phrase 「即鹿无虞」, the "Huainanzi" quotes it saying: "Chasing a deer without a guardian, one only enters the forest. Giving a little yet expecting much is never the case." Gao You's commentary explains: "Yu means to deceive. The deer is used as a metaphor for the people." The "Sanguozhi · Chenlin Zhuan" also says: "The "Yi" says 'chasing a deer without a guardian,' even a small thing cannot be deceived." It interprets "yu" as deception, consistent with the "Huainanzi." Thus, "wu yu" means not to regard the deer as insignificant and thus chase it into the forest without result. Zhen represents dense trees, so it refers to "forest"; Kun is empty, so it refers to entering the forest empty-handed. Furthermore, Wang Bi says: "Although one sees the beast, there is no guardian to guide, and one enters the forest in vain." Here, "yu" is interpreted as precaution. Zhen has a nature of decisiveness and restlessness, so chasing the deer without precautions leads to nothing. Wang Bi's interpretation of "yu" differs slightly from that of the "Huainanzi" and Chenlin, but the general meaning is consistent. However, Kong Yingda's "Zhengyi" suddenly interprets "yu" as the official in charge of mountains and marshes, thus losing Wang Bi's original meaning. The "Zuo Zhuan" Yin Gong 5th year has the saying "Without preparation and without precaution, one cannot lead an army," which is likely the basis for Wang Bi's commentary.

蒙，「匪我求童蒙，童蒙求我」。虞仲翔以二五志應為說，當矣。若以焦氏用覆象之例推之，彖既曰志應，似二五互相求也。何則？艮為童蒙、為求，而二至上則正反兩艮相對：正視之則下求上，反視之則上求下，來往相求，並無偏倚，故曰志應。志既相應，則二五互求，故曰非我求童蒙，卽童蒙求我。後人以二為陽，將「匪」字詁實，謂陽不求陰。豈知九二與六五皆不當位，九二升五，六五降二，乃當然之理，胡不求乎？將經文迴環往復之意全失矣。

The Hexagram of "Meng" states, "It is not I who seek the child who is naive, but the child who is naive who seeks me." Yu Fan (Zhongxiang) explained this by referring to the correspondence between the second line and the fifth line, and his interpretation is correct. If we further apply Jiao Yanshou's method of reversing the hexagram, we can see that the Commentary on the Judgment says, "The will corresponds," which is like the second and fifth lines seeking each other. Why? Because the trigram Gen represents both the naive child and seeking, and the Hexagram of "Meng" from the second line to the top line forms two opposite Gen trigrams—one upright and one inverted. When viewed upright, it is the lower seeking the upper; when viewed inverted, it is the upper seeking the lower. Thus, they seek each other in both directions, without favoring either side, hence "the will corresponds." Since the will corresponds, the second and fifth lines are seeking each other, so the Hexagram statement says, "It is not I who seek the child who is naive, but the child who is naive who seeks me." Later scholars, because the second line is a yang line, took the word "匪" literally, saying that yang does not seek yin. But they did not realize that both the second and fifth lines are not in the proper position. The second line ascending to the fifth position and the fifth line descending to the second position is a natural occurrence. How could they not seek each other? If we follow the later scholars' interpretation, the cyclical and reciprocal meaning of the text would be completely lost.

至「再三瀆」，解者皆以卦變為說，尤穿鑿不當。茲《易林》謙之蒙云「盜明相讓」，以二至上正反兩震言相對，故相讓責。又泰之蒙云「讒佞為政」，則以蒙下震言出，上震卽如言相反，故曰讒佞。皆以二至上來往皆震言取養，故彖曰再三瀆。又坎上下皆兌口，亦再三瀆也。易訟卦曰「有言」者，亦以坎上下皆兌口也。

As for the Hexagram Statement "repeatedly disrespectful," interpreters of the Book of Changes usually explain it through hexagram transformations, but this approach is particularly forced and inappropriate. Now, following the "Humble" hexagram in the "Forest of Changes" by Jiao, the phrase "thieves sharing light" is derived from the second line to the top line of the "Obstinacy" hexagram, which consists of one positive and one negative line of the trigram Zhen (Thunder), which represents speech. Therefore, there is the meaning of mutual concession and blame. Similarly, the "Humble" hexagram in the "Prosperity" hexagram is interpreted as "sycophants in power," which comes from the trigram Zhen (Thunder) representing speech in the lower trigram, and the upper trigram Zhen (Thunder) representing speech again, but in opposition, hence the meaning of "sycophants." This is because from the second line to the top line, the lines are all Zhen (Thunder), which governs speech, and repeated speech leads to the "repeatedly disrespectful" statement in the Commentary on the Judgment. Additionally, in the hexagram Kan (Water), the upper and lower lines each form the trigram Dui (Lake), which represents mouth and tongue, thus also forming the image of "repeatedly disrespectful." The hexagram Song (Contention) mentions "speech," which is also due to the upper and lower lines of Kan (Water) both forming Dui (Lake), representing mouth and tongue.

自焦氏以坤為水為江河，此象確定，後凡易言利涉大川者皆迎刄而解。而虞仲翔必以坎為大川，卦無坎象者則強變成坎以當大川，其為穿鑿不待言矣。而後之治漢易者遵用不改，非以為安，舍此說不能解也。茲以坤為大川：需上坎，言陽往居坤中，得位，故利涉。彖曰「往有功也」，亦以陽居坤中當位也，與蹇之利西南通也。彼虞仲翔謂二失位，變而涉坎，坎為大川，得位應五，故曰利涉。如虞所詁，利涉指陰爻矣。二變陰方應五，詁同人尚可，詁需豈不明與彖詞背哉？彖詞固以九五為往為利涉也。又按紀磊《虞氏逸象考正》云：「虞以坎為大川，非也。坎為水為溝瀆，兌象乃為大川。」按紀氏獨能覺坎為大川之非，可謂特識，惟以兌為大川仍誤。一象失傳之害如是。

Since Jiao Yanshou interpreted Kun as water and rivers, once this image was established, all instances in the Book of Changes where "favorable to cross a great river" appears could be easily understood. Yu Fan (Zhongxiang), however, insisted on taking Kan as the great river. When a hexagram did not contain the image of Kan, he would force a yao change to produce a Kan to serve as the great river. This approach is clearly forced and artificial. However, later scholars who studied the Han dynasty interpretation of the Book of Changes continued to use this method without change, not because they found it appropriate, but because they had no other way to explain it. Now, if we take Kun as the great river, the upper trigram of the hexagram Xun is Kan, which is exactly the result of a yang line entering Kun. A yang line occupying the fifth position is in the correct place, hence "favorable to cross." The Commentary on the Judgment says "going leads to success," which refers precisely to a yang line in the correct position within Kun, and this is the same reasoning as in the hexagram Jian, which says "favorable to go southwest." Yu Fan, however, said that the second line (nine two) was out of position, changed to enter Kan, and since Kan is the great river, it was in the correct position and corresponded with nine five, hence "favorable to cross." According to Yu's interpretation, "favorable to cross" refers to a yin line. Nine two changing to yin could correspond with five, which might be acceptable for interpreting Tongren, but how can it be used to interpret Xun? It clearly contradicts the Commentary on the Judgment. The Commentary on the Judgment originally takes nine five as "going" and "favorable to cross." According to Ji Lei's "Correcting the Incorrect Images of Yu's School," "Yu Fan's taking Kan as the great river is incorrect. Kan is water and ditches, while Dui is the great river." Ji's ability to recognize the error in "Kan as the great river" shows remarkable insight. However, his suggestion to take Dui as the great river is still incorrect. The loss of a hexagram image has caused such serious consequences.

自左氏謂謙為讒，更以讒釋明夷之有言，《易林》本之，遇兩兌口兩震言相背或相對者，不謂為讒佞，卽謂為爭訟，凡易言有言者皆得的解。需之小有言，虞仲翔謂震象半見，故小有言。豈知易非以震象全見為有言，凡云有言者皆爭訟也。虞氏求其說而不得，故強解也。清焦循以卦變為說，變愈多而義愈紊，甚於虞之不得解也。茲《易林》小過之需云「與叔爭訟，更相毀傷」，爭訟卽有言也，更相毀傷謂三至五正覆兩兌口相對也。又恆之需云「張牙切齒，齗怒相視」，兌為齒牙，正反兩兌相對，故曰相視，離為視也。《易林》之解需有言，可謂明晰矣。小有言者，二人兌體，兌為小，故曰小有言也。此與明夷之以離為有言同也。離，正反兩兌口相對也。

Since the "Zuo Zhuan" interpreted the "Qian" hexagram as "can" (slander), and then used "can" to explain the "you yan" (there is speech) in the "Ming Yi" hexagram, the "Jiao's Forest of Changes" followed this approach: whenever two Dui (mouths) and two Zhen (speech) trigrams are opposite or facing each other, they are either interpreted as "can ni" (slanders) or "zhengsong" (litigation); thus, all instances of "you yan" in the "Yi" are clearly explained. Regarding the "Xu" hexagram's "jiu er" (nine two) "xiao you yan" (small speech), Yu Fan said that the Zhen trigram was only half visible, hence called "xiao you yan"; but he did not realize that the "Yi" does not require the Zhen trigram to appear fully to be called "you yan". Rather, whenever "you yan" is mentioned, it refers to litigation. Yu's attempt to find an explanation failed, so he had to force an interpretation. Qing dynasty scholar Jiao Xun used the concept of hexagram transformation, but the more transformations there were, the more confused the meaning became, making his interpretation even less coherent. Now, according to the "Jiao's Forest of Changes" "xiao guo zhi xu" (need from small excess) entry, it says "competing with a younger brother in litigation, mutually damaging each other," where litigation is "you yan"; "mutually damaging each other" refers to the three to five lines where the two Dui trigrams, one upright and one inverted, face each other. Another entry, "heng zhi xu" (need from constancy), says "showing teeth, glaring at each other," where Dui represents teeth, and one upright and one inverted Dui facing each other is called "looking at each other," with Li representing eyes and sight. The "Forest of Changes" clearly explains the "you yan" in the "Xu" hexagram. The term "xiao you yan" refers to the nine two entering the Dui trigram, where Dui represents smallness, hence "xiao you yan." This is the same reasoning as in "Ming Yi," where Li (Fire), representing the two inverted Dui trigrams facing each other, is interpreted as "you yan."

彖曰「不利涉大川，入于淵也」，言陽來居坤中而在下，故曰入淵。淵者謂坤，不謂坎；入則謂陽入也。《易林》震之復云「藏匿淵底」，坤為淵，陽在坤下，故曰淵底。《易林》以坤為淵，蓋本之易。今吾人失卻淵象，正宜以《易林》證明也。東漢以來皆以坎為大川，故入屬何爻不能確指，皆由不知坤為水象，故於淵象亦不知。

The "Tuan" section of the "Song" hexagram says, "It is not advantageous to cross a great river, entering the abyss." This refers to a yang line coming to occupy the center of the坤 (Earth) and being in a lower position, hence called "entering the abyss." "Abyss" refers to the坤, not the Kan; "entering" refers to the yang line entering into it. In the "Forest of Changes" from Jiao's work, the "Zhen" hexagram transforming into "Fu" says, "hidden at the bottom of the abyss." The坤 is the abyss, and the "Fu" hexagram has one yang line below the坤, hence "bottom of the abyss." The "Forest of Changes" takes the坤 as the abyss, which was probably inherited from the "Zhou Changes." Today we have lost the image of the "abyss," and we should use the "Forest of Changes" to verify it. Since the Eastern Han dynasty, people have taken the Kan as the great river, so it remains unclear which line the word "entering" refers to. The root of the confusion lies in not knowing that the坤 has the image of water, and thus the image of the abyss is also lost.

虞仲翔仍以震象半見為小有言，並謂初失位，宜與四易位成震言，訖不知有言為爭訟，故必變成震以當有言，與利涉大川必變出坎以當大川同也。按《易林》歸妹之訟云「凶訟不已，相與爭戾」，是以訟之有言為爭訟也。又巽之訟云「一簧兩舌，妄言諂語」，兌為舌，兩舌謂坎上下正反兩兌也。以是推訟之有言，亦以坎上下兩兌口相背。以其居初，陰微勢弱，故曰小有言也。坤為事，坎折坤，故不永所事。初有應，故終吉。

Yu Fan still regarded the half-trigram Zhen as "Xiaoyouyan" (a small word), and claimed that the initial line was out of its proper position and should exchange places with the fourth line to form Zhen as "yan" (word). He never realized that "youyan" (word) refers to litigation, so he insisted on transforming Zhen to represent "youyan," just as he insisted on transforming Kan to represent "dachuan" (great river) when interpreting "lischaguan" (beneficial to cross the great river). According to "Jiaoshi Yilin" (Jiao's Forest of Changes), the "Guimie" (returning to marriage) trigram transforming into "Song" (litigation) says, "Fuxiong song bu yi, xiangyu zhengli" (frequent litigation, mutual conflict), showing that "Jiaoshi Yilin" indeed interprets the "youyan" (word) in the "Song" hexagram as litigation. Also, the "Xun transforming into Song" trigram says, "Yi shang liang she, wangyan chan yu" (one tongue, two tongues, false words and flattery), with Dui representing the tongue, and "liang she" (two tongues) referring to the two Dui trigrams above and below Kan. From this we can infer that the "youyan" (word) in the "Song" hexagram also takes the image of the two Dui mouths facing opposite directions in Kan. Since the initial line is at the very bottom, it is yin and weak, thus "xiaoyouyan" (a small word). Kun represents affairs, and Kan cuts off Kun, hence "buyong suoshi" (not prolonging the affair) — the matter will not be prolonged. The initial line corresponds with the fourth line above, hence "zhongji" (eventually good).

自《易林》用先天象，於是卦名得解者多。先天坤居北，後天坎居北，水地合居，故曰比。比者，親也，近也，和也，言水地合居一方，相親近也。覆之則曰師。師，眾也，言坎從坤居北，故勢眾也。皆合先後天象而立名。

Since the "Forest of Changes" by Jiao used the Earlier Heaven trigrams, many hexagram names were thus explained. In the Earlier Heaven arrangement, the Earth trigram is located in the north, while in the Later Heaven arrangement, the Water trigram is located in the north. Water and Earth are together in the same place, so it is called "Bi." The meaning of "Bi" is to be close, to be near, and to be harmonious, meaning that Water and Earth are in the same direction and thus close to each other. When the "Bi" hexagram is turned upside down, it becomes "Shi." The meaning of "Shi" is multitude, meaning that Water follows Earth in the north, thus creating a great force. These two hexagram names were established by combining the images of both the Earlier Heaven and Later Heaven arrangements.

來矣鮮云：「王三錫命，用錯象也。」錯象卽對象，此最與《易林》旨合。師對同人，師之坎與同人之離對，故通用不分。同人上乾，乾為王；下離，數三；中爻巽，巽為命，故曰王三錫命。此與《易林》巽卦繇詞全用震象旨合。故明清以來談易象者，惟來氏有真悟，不本《易林》，能與《易林》闇合。有清一代治漢易者，以來用先天，向不齒及。豈知西漢易說，東漢已不知，不得以東漢不言先天，便謂易林銜天，肆口謾罵，適形其陋耳。後治漢易者以震為王，說亦可通，特象云「承天寵也」，卽用同人。同人上乾，故曰天。六二與九五應，故曰承天寵，陰承陽也。若用本象，卽陽承陰，與象違矣。

Lai Zhide said: "The phrase 'the king bestowed three mandates' uses a wrong image." A wrong image refers to the opposite trigram, which is most consistent with the principle of Jiao's Forest of Changes. The hexagram "Military Campaign" and "Union with Others" are opposites. The trigram Kan in "Military Campaign" is opposite to the trigram Li in "Union with Others," so the images of the two hexagrams can be used interchangeably. The upper trigram of "Union with Others" is Qian, which represents the king; the lower trigram is Li, whose number is three; the middle trigram is Xun, which represents a mandate. Therefore, it is said "the king bestowed three mandates." This is the same principle as when the divination text of the Xun hexagram in the Forest of Changes entirely uses the image of Zhen. Therefore, since the Ming and Qing dynasties, those who studied the images of the Book of Changes, only Lai Zhide truly understood it. He did not rely on the Forest of Changes, yet his interpretation coincided with it. In the Qing dynasty, scholars who studied the Han dynasty interpretation of the Book of Changes, because Lai used the Earlier Heaven arrangement, generally looked down upon him. But they did not realize that the Han dynasty interpretation of the Book of Changes had already been lost by the Eastern Han dynasty. One cannot judge Lai's interpretation as baseless just because the Eastern Han dynasty did not discuss the Earlier Heaven arrangement. That would only show their own ignorance. Later scholars who studied the Han dynasty interpretation took Zhen as the king, and their explanation was also reasonable. However, the Image Commentary says "receiving the favor of heaven," which uses the image of "Union with Others." The upper trigram of "Union with Others" is Qian, so it refers to "heaven." The second line and the fifth line correspond, so it refers to "receiving the favor of heaven," which is a yin line receiving the yang line. If only the original image of the "Military Campaign" hexagram is used, then it would be a yang line receiving a yin line, which contradicts the Image Commentary.

虞氏謂坎象半見為不雨。若以《易林》例之，此全用對象也。對象豫，中爻坎，坎為雲雨，坎上下皆重陰，故曰密雲。坎之下，坤土艮山，高燥無澤，故不雨。後之人但於本象求之，宜其於象不合矣。後解此不誤者，惟來知德及焦循。來氏云此用錯，焦循雲此用旁通，並以小過六五仍用此詞為證，識過虞翻遠矣。何者？小過與豫體同也。惟焦循又以卦變為說，反致義晦耳。

Yu Fan said that the image of Kan (Water) appears only half, so it says "no rain." If we look at the general approach of Jiao's Forest of Changes, this sentence is entirely using the opposite hexagram (the paired hexagram). The opposite hexagram of Xiao Xu (Small Accumulation) is Yue (Joy), and Yue's middle line contains Kan, which represents clouds and rain. Since Kan has two overlapping yin lines at the top and bottom, it is said "dense clouds." However, the lower part of Kan is Kun (Earth) and Gen (Mountain), indicating dry land without water, so it says "no rain." Later scholars only searched for the meaning within the original hexagram, which is why they failed to match the image. Only Lai Zhide and Jiao Xun later interpreted this sentence correctly. Lai said it used the opposite hexagram (错卦), while Jiao Xun said it used the paired hexagram (旁通), and he used Xiao Guo (Small Crossing) at line six in the fifth as evidence, showing a much deeper understanding than Yu Fan. Why? Because Xiao Guo and Yue have exactly the same structure. However, Jiao Xun also introduced the concept of changing hexagrams, which made the meaning more obscure.

輹訛為輻，凡稍通小學者皆知之，不贅述。惟此仍用對象豫。豫二至四艮，艮為覆震，震為車為輹，震覆，故輿脫輹。震輹之象久失傳。《左傳》僖十五年「車脫其輹」，震變故也。《子夏傳》：「輹，車屐也。」屐行震，故震為輹。虞氏不知用旁通，譏馬融及俗儒以乾為車之非，可謂特識，惟不知此取對象艮，而以坤變至三坤象不見為脫。夫既用旁通矣，而又命坤全變，以不見為脫，其說之支離可知。則以震車震輹之象已失傳，又不知易用覆也。非《易林》，烏從證之。

The character 輹 was mistakenly written as 辐. Anyone with a basic knowledge of ancient Chinese characters would understand this, so there is no need to repeat it. What is important is that this sentence still refers to the hexagram 《豫》. In the hexagram 《豫》, the second to fourth lines form an interrelated trigram of 艮, which is the reverse of 震. 震 represents a cart and also 輹; since 震 is reversed, it is said that "the carriage has lost its 輹" — the carriage body has come loose from the 輹. The image of 震 as 輹 has long been lost. The 《Zuo Zhuan》 records in the fifteenth year of Duke Xi's reign that "the cart lost its 輹," precisely because the image of 震 had changed. The 《Zi Xia Zhuan》 says, "輹 is the same as 跖." 跖 is something used for walking and belongs to 震, so 震 represents 輹. Yu Fan did not understand that this passage requires the use of the principle of mutual transformation, yet he was able to criticize Ma Rong and common scholars for taking Qian as representing a cart, which can be considered a unique insight. However, he did not realize that here the image of 艮 from the hexagram 《豫》 was being used, and instead argued that since the trigram坤 changes to the third line, the image of坤 disappears, which is called "loss." Since the principle of mutual transformation has already been used, yet the trigram坤 is supposed to be completely transformed to represent the disappearance as "loss," it is clear that his explanation is fragmented and incoherent. This is all because the image of 震 as a cart and as 輹 has been lost, and also because the use of reversed images in the 《Yi Jing》 is not understood. Without the 《Jiao Shi Yi Lin》, how could these points be verified?

至夫妻反目，虞仍用旁通，以巽為妻，伏震為夫象，是矣，然全在上，與三何涉哉？虞又以夫妻共在四，離火動，上巽多白眼為反目，此尤不切。茲以《易林》證之，夫妻謂互離也。《易林》豫之家人云「夫婦相背」，家人三四形震，震夫，上巽為婦，震巽相對卽相背。又《易林》坎之未濟云「夫婦不和」，未濟二三及四五皆形震，震夫；三四及五上皆形巽，巽婦；震巽相對卽相背，故不和。小畜三至上與家人三至上體同，與未濟震巽相對之形亦同。

When discussing "couple turning against each other," Yu Fan still used the method of mutual transformation, taking Xun as wife and the Zhen hidden beneath Xun as husband, which is correct. However, since both Xun and Zhen are in the upper trigram, how are they related to the third line? Yu Fan further claimed that both husband and wife are in the fourth line, with Li (Fire) being restless and the upper trigram Xun having "many white eyes," hence "turning against each other," which is even less accurate. Now let us verify with the "Forest of Changes" by Jiao: the term "couple" refers to the mutual trigrams of Li. In the "Forest of Changes" under "Yu" to "Jiaoren," the commentary says "husband and wife turning against each other" — the trigram "Jiaoren" has the third and fourth lines forming half of Zhen, with Zhen representing husband and the upper trigram Xun representing wife. Since Zhen and Xun are opposite in direction, they are said to be "turning against each other." In another instance, "Cann" to "Wei Ji," the commentary says "husband and wife not harmonious" — the second and third lines, as well as the fourth and fifth lines of "Wei Ji," both form half of Zhen, representing husband; the third and fourth lines, as well as the fifth and top lines, form half of Xun, representing wife. Since Zhen and Xun are opposite, they are said to be "not harmonious." The trigram structure from the third line to the top line of "Xiao Xu" is the same as that of "Jiaoren," and also matches the opposite shape of Zhen and Xun in "Wei Ji."

虞氏於震用旁通，非不合也，乃震夫巽婦而反目，用旁通之震則不切，必用本卦半象之震始切；如用旁通，則震巽相得，不相反矣。反目者，據《易林》巽之歸妹云「反目相逐」，歸妹中爻離，離為目，二三半離，三四亦半離，兩半離相對卽相反，故曰反目。以是知小畜之反目，亦以兩半離相對為反目，而震巽者，離之上下也。震夫巽妻，故曰夫妻反目。虞氏亦知震用旁通於反義不安，而以巽多白眼當之。乃《易林》于歸妹亦曰反目，歸妹無巽象，故知虞說不當也。

Yu Fan's use of the method of mutual transformation in the trigram Zhen was not inherently inappropriate; however, since he described Zhen as husband and Xun as wife, leading to the idea of them turning against each other, the Zhen obtained through mutual transformation was not appropriate. Instead, the Zhen from the original hexagram's half trigram was more fitting. If mutual transformation was used, Zhen and Xun would actually complement each other, making the idea of 'opposition' inappropriate. Regarding the term 'turning against each other,' according to the commentary in Jiao's Forest of Changes on the hexagram 'Returning to Maiden,' it says 'turning against each other and chasing after each other.' In the hexagram 'Returning to Maiden,' the middle trigram is Li, which represents the eye; the second and third lines form a half Li, and the third and fourth lines also form a half Li. The two half Lises facing each other represent opposition, hence the term 'turning against each other.' From this, we can see that the 'turning against each other' in the hexagram 'Small Accumulation' is also based on two half Lises facing each other. Zhen and Xun are precisely the upper and lower halves of this Li. Zhen represents husband, Xun represents wife, hence 'husband and wife turning against each other.' Yu Fan himself realized that using mutual transformation for the term 'turning against each other' was unstable, so he used Xun's 'many white eyes' to fit the meaning. However, the Forest of Changes also mentions 'turning against each other' in the hexagram 'Returning to Maiden,' which does not have the Xun trigram, indicating that Yu Fan's interpretation was flawed.

此全用旁通。小畜通豫，四體離對坎，坎為孚為憂。胡為恤，血讀為恤，馬季長如是也。有孚者，謂陰陽相孚應也。恤去惕出者，坎在上，震為去為出，恤去惕出則豫矣，故無咎。豫九四以一陽前臨二陰，故志大行；小畜以一陰前承二陽，故與上合志，其理同也。上謂五上，虞翻等專指五言，是不明陰陽相需之理也。此與升初六之上合志同也。志者坎象。四體離而象皆用坎，卦小畜而詞皆用豫。非《易林》有此例，孰知其所謂哉。

This passage makes full use of parallelism. The hexagram "Xiao Xu" (Small Accumulation) is connected with "Yu" (Joy). The line six in the fourth is located in the body of "Li" (Fire) and faces "Kan" (Water), which represents "fu" (trust) and "you" (anxiety). The original text says "hu wei xu" (why is there concern), which is likely a mistake, and the meaning is that "Kan" also represents "xu" (concern). The character "xue" (blood) should be read as "xu" (concern), as Ma Rong (Zi Chang) did. The phrase "you fu" (having trust) means that yin and yang trust each other. The phrase "xu qu ti chu" (concern leaves, alarm disappears) is because "Kan" is above and "Zhen" (Thunder) represents going away and coming out. When concern is gone and alarm is dispelled, it turns into the joy of "Yu," hence "wu jiao" (no blame). In "Yu" hexagram, the line nine in the fourth is a yang line facing two yin lines, so the "Xiang Zhuan" (Image Commentary) says "zhi da xing" (the will is fully realized). In "Xiao Xu" hexagram, the line six in the fourth is a yin line facing two yang lines, so it is said "shang he zhi" (the upper lines agree with the will). The reasoning is the same. "Shang" refers to the lines six five and nine above. Yu Fan and others specifically refer to the line nine five, which fails to understand the principle of mutual need between yin and yang. This is the same as the "Xiang Zhuan" of the line initial one in "Sheng" (Increase) hexagram saying "shang he zhi." "Zhi" refers to the image of "Kan." The line six four originally is in the body of "Li" but takes the image of "Kan" entirely. The hexagram is "Xiao Xu" but the line statement uses entirely that of "Yu." If it were not for the usual practice in "Jiao Shi Yi Lin" (Jiao's Forest of Changes), who could know what it is really saying?

易言「月幾望」者三，卽小畜上九、歸妹六五、中孚六四是也。自兌月、離東及大象失傳，東漢人必以坎為月，以震為東，於是解歸妹之月幾望：坎月離日，兌西震東，日月相望，恰合。乃小畜則無坎象、無震象，虞翻則命上變成坎，震則用旁通；中孚亦無坎象，虞翻則謂中孚從訟來，訟下坎為月，互離為日。豈知易凡言月幾望者，由《易林》證之，皆以兌為月也。兌月之證見前。此象，清治漢易者以東漢人不知，故皆不知，獨近易家杭辛齋知之，雲凡易言月，除日月並舉者指坎，餘皆指兌。是杭亦以月幾望之月為兌也。惟杭言日月並舉者指坎，則不然。如離、恆、豐彖傳皆日月並舉，皆以互兌為月，而皆無坎象也。

In The Zhou Changes, the phrase "moon nearly full" appears three times, namely in the top line of The Small Accumulation, the fifth line of The Return of the Maiden, and the fourth line of The Sincerity in the Middle. Since the meanings of "the trigram兑 represents the moon," "the trigram离 is in the east," and the general principles of the trigrams have been lost, people in the Eastern Han dynasty insisted that the trigram坎 represents the moon and the trigram震 represents the east. Therefore, when interpreting "moon nearly full" in The Return of the Maiden, they said that坎 represents the moon and离 represents the sun,兑 is in the west, and震 is in the east, so the sun and moon are far apart but still visible, which makes sense. However, The Small Accumulation has neither the image of坎 nor the image of震. Yu Fan therefore made the top line change into坎, and used the method of mutual transformation to get震. Similarly, The Sincerity in the Middle has no image of坎, so Yu Fan said that The Sincerity in the Middle comes from The Contention, and the lower trigram of The Contention, which is坎, represents the moon, while the interacting trigrams, which is离, represents the sun. But in fact, whenever The Zhou Changes talks about "moon nearly full," when we check it against the Forest of Changes by Jiao, it is always the trigram兑 that represents the moon. The evidence for this has already been mentioned before. This image was unknown to scholars of the Han dynasty, and thus also unknown to scholars of the Qing dynasty. Only modern scholar Hang Xinzhai understood it. He said that whenever the Book of Changes talks about "moon," except when the sun and moon are mentioned together, which refers to坎, the moon refers to兑. Therefore, Hang also believed that the "moon" in "moon nearly full" refers to兑. However, Hang's statement that when the sun and moon are mentioned together, it refers to坎 is incorrect. For example, in the Commentary on the Judgment of the trigrams Li, Heng, and Feng, the sun and moon are mentioned together, but they all take the interacting trigram兑 as the moon, and none of these three trigrams have the image of坎.

小畜兌月離日，歸妹兌月離日，中孚兌月、大離為日。《易林》大有之中孚云「卒逢白日」，震白，大離為日。兌西震東，日月望，至為協洽。而兌皆值巽，歸妹上震亦通巽，故曰幾。幾，荀皆作既。既望者，十六日也。按納甲法，十五日干象，月盈甲；十六日旦巽象，月退辛，正既望也，荀讀是也。京作近。虞翻專以納甲解易，巽為既望，當所熟知，乃於小畜既訓幾為近，從京讀；于歸妹則又讀幾為其，致前後不一，則以兌月之象失傳故也。

The hexagram Xiao Xu has Dui as the moon and Li as the sun. The hexagram Gui Mei also has Dui as the moon and Li as the sun. The hexagram Zhong Fu has Dui as the moon and a large Li as the sun. In Jiao's Forest of Changes, the line "Great Possession in Zhong Fu" says "finally encountering the white sun." Zhen represents white, and the hexagram Zhong Fu as a whole is a large Li, which represents the sun. Dui is in the west, Zhen is in the east, and the sun and moon are opposite each other, forming a very appropriate pairing. In these hexagrams, Dui is directly facing Xun. The hexagram Gui Mei has Zhen as the upper trigram, and Zhen is connected with Xun, so it is said "ji." The character "ji" was written as "ji" in Xun Shuang's version. "Ji wang" refers to the sixteenth day of the lunar month. According to the method of Najia: the fifteenth day is the image of Qian, the full moon and receiving the stem; the sixteenth day at dawn is the image of Xun, the moon turning from full to waning and receiving the stem Xin, which is exactly "ji wang." This shows that Xun Shuang's reading is correct. Jing Fang's version is "jin." Yu Fan specialized in using Najia to explain the Book of Changes. Xun as "ji wang" should have been most familiar to him, but when interpreting Xiao Xu, he interpreted "ji" as "jin," following Jing Fang's reading; when interpreting Gui Mei, he read "ji" as "qi," leading to inconsistency. This is still because the image of Dui as the moon has been lost.

彖曰「柔履剛也」，是彖傳卽對對象謙，以坤為柔矣。虞翻解此獨用對象，古義獨存。惟虞以坤為虎，似不如來知德氏以艮為虎，與《易林》例合。何則？艮為虎，見九家逸象，《易林》言虎不啻千百，皆謂艮也。易既取象艮尾而曰虎尾，則虎亦取象於艮也明矣。況謙三至五震，震為履，震上艮下，故曰履虎尾。若以坤為虎，則於象不合矣。晉郭璞《洞林》又以兌為虎，雖各有意義，《易林》亦不用之。

The Commentary on the Judgment of the hexagram "Foot" says, "Softness treads on firmness," indicating that the Commentary on the Judgment is specifically addressing the hexagram "Humility," taking the earth element as softness. Yu Fan's interpretation of this sentence uniquely applies the concept of the tiger, thus preserving the ancient meaning. However, Yu Fan's use of the earth element as the tiger seems less consistent with the general practice in Jiao's Forest of Changes compared to Lai Zhide's use of the mountain element as the tiger. Why is this so? The mountain element as the tiger is found in the lost images of the Nine Schools' Commentary on the Changes; in the Forest of Changes, there are hundreds of references to the tiger, all referring to the mountain element. Since the Zhou Changes uses the mountain element as the "tail" and says "tiger's tail," it is clear that the tiger is also symbolized by the mountain element. Moreover, in the hexagram "Humility," the third to fifth lines form the thunder element, which represents walking or treading. The thunder element is above and the mountain element is below, hence the phrase "treading on a tiger's tail." If the earth element were used as the tiger, it would not conform to the hexagram's imagery. The Jin dynasty scholar Guo Pu's "Dong Lin" also uses the lake element as the tiger. Although each scholar has their own reasoning, the Forest of Changes does not adopt this view.

此亦用對象。對象艮為道路，而與震之大塗鄰，故曰坦坦。至於幽人，仍用對象坎，坎為隱伏，艮為清高。《易林》賁之艮「清人高子」，為君子，故曰幽人。又《易林》離之師云「履道坦坦，平安無咎」，誠以師中爻震，震為大塗，故曰坦坦。師二至上與謙三至上體同，正釋此也。

This line also uses the concept of opposition. The opposite trigram of 《履》 is 《谦》, which contains 《艮》, representing roads. 《艮》 is also adjacent to 《震》, which signifies "great path." Therefore, it is said "tǎn tǎn," meaning flat and wide. As for "yōu rén," it still refers to the opposite trigram 《坎》, which represents concealment, and 《艮》 represents purity and elevation. In the 《Jiao's Forest of Changes》, the line statement of "Bén changing into 《Gèn》" mentions "qīng rén gāo zǐ," referring to the gentleman, hence called "yōu rén." Furthermore, in the 《Forest of Changes》, the line statement of "Lí changing into 《Shī》" says "lǚ dào tǎn tǎn, píng ān wú jiù," meaning "walking on a broad path, safe and without blame." This is because the middle line of 《Shī》 corresponds to 《Zhen》, which signifies "great path," hence "tǎn tǎn." The lines from the second to the top of 《Shī》 are the same as the lines from the third to the top of 《Qian》, and this line statement is explaining the line statement of 《Lǚ》's nine in the second line.

《易林》於既、未濟二卦往往用兌象，如「驅羊南行」是也；用震象，如「逐鹿」（震為鹿）、「山」（艮山）、「西」是也；用巽象，如「順風趕北」是也。而既、未濟實無艮兌震巽四象，皆用半象也。以茲悟履六三「眇能視，跛能履」，亦以二三為半離半震，故彖曰「不足」。不足者，言離震未全見也。後閱《易林》解之節云「左眇右盲」，節下兌為半離，故曰眇；二至五互大離，故曰盲。又剝萃云「兩目失明」，亦以萃上兌，兌為半離，故曰失明。此《易林》解履眇之確詁也。又《易林》否之夬云「鳥飛跌跛」，夬上兌，兌半震而毀折，伏艮為鳥，故曰鳥飛跌跛。又剝之萃云「脛足跛曳，不可以行」，萃上兌，兌亦半震，故曰不可以行。此《易林》解履跛之確詁也。皆與彖傳合，皆以半象也。而虞仲翔以離目不正、兌小為眇忽，又不用其半見之說。豈知彖明曰不足，不足卽半見也。

In interpreting the hexagrams Ji Ji and Wei Ji in Jiao's Forest of Changes, the author often uses the image of Dui, for example, "driving sheep southward"; the image of Zhen, for example, "chasing a deer" (Zhen represents deer), "mountain" (Gen represents mountain), and "west"; and the image of Xun, for example, "following the wind northward." However, the hexagrams Ji Ji and Wei Ji actually do not contain the images of Gen, Dui, Zhen, or Xun, so the images used are all half-images. From this I realized that the line six in the third position of the hexagram Lu, "one eye can see, one leg can walk," also uses the second and third lines to form a half image of Li and a half image of Zhen, so the Commentary on the Judgment says "insufficient." "Insufficient" means that Li and Zhen are not fully manifested. Later, when I read the Forest of Changes entry for "Jie" in the hexagram Jie, it says "left eye blind, right eye blind" — the lower trigram of Jie is Dui, which is a half image of Li, hence "blind in one eye"; the lines from second to fifth form a large Li, hence "blind in both eyes." Similarly, in the Forest of Changes entry for "Bo" in the hexagram Cui, it says "both eyes lost," because the upper trigram of Cui is Dui, which is a half image of Li, hence "loss of sight." This is the correct interpretation of the character "眇" in the hexagram Lu in the Forest of Changes. Also, in the Forest of Changes entry for "Po" in the hexagram Guai, it says "bird flying, stumbling, lame," — the upper trigram of Guai is Dui, which is a half image of Zhen and also has the meaning of destruction, and the trigram hidden beneath Dui is Gen, which represents a bird, hence "bird flying, stumbling, lame." Similarly, in the Forest of Changes entry for "Bo" in the hexagram Cui, it says "stiff and dragging legs, cannot walk," — the upper trigram of Cui is Dui, which is a half image of Zhen, hence "cannot walk." This is the correct interpretation of the character "跛" in the hexagram Lu in the Forest of Changes. All these interpretations agree with the Commentary on the Judgment, and they all use half-images. However, Yu Fan instead interprets "眇" by saying that the eye is not straight and Dui represents something small, thus ignoring his own idea of "half vision." He does not realize that the Commentary on the Judgment clearly says "insufficient," and "insufficient" precisely means seeing only half.

此亦用對象。坤為品物、為庶物、為萬物，見於乾坤彖傳，是坤有茅茹象。故《易林》剝之坤云「荻芝俱死」，以坤為荻芝，卽茅茹。《食貨志》「菜茹有畦」，《晉書·地理志》「環盧種菜茹」，茹固有食義、連引義，而此則訓為菜茹之茹，故下云「拔茅連茹」。焦循以茹字屬下讀，非也。泰對否，下坤為茅茹，正與《易林》象合，故否初六與此同詞。否則用本象矣，否二至四艮，艮手為拔。而虞翻必本大過，以否中爻巽為茅，慎則慎矣，然坤之為茅茹，證之彖傳本經而皆合，舍近不取，必取與初甚遠之互巽，恐非。至後儒以泰下乾，乾卽言茅茹，疑乾亦有此象者，而苦求之，則不知易例矣。

This line also uses an object. The trigram坤 represents things, common objects, and all things, as seen in the Commentary on the Judgment of the trigrams 乾 and坤. Therefore,坤 has the image of "mao ru." Hence, in the Forest of Changes by Jiao, the line "Pei's坤" says "dai zhi ju si," which uses坤 as dai zhi, that is, a type of mao ru. The "Shi Huo Zhi" in the Han Shu mentions "cai ru you qi," and the "Jin Shu · Di Li Zhi" mentions "huan lu zhong cai ru." Although the character "ru" can mean to eat or to be connected, here it should be interpreted as "cai ru," meaning vegetable. Therefore, the following text continues with "ba ma lian ru." Jiao Xun's interpretation of reading "ru" into the next line is incorrect. The trigram Tai and the trigram Po are opposites. The lower trigram of Po is坤, which is mao ru, consistent with the imagery used in the Forest of Changes. Therefore, the line statement of the first line of Po is the same as that of the first line of Tai. The Po trigram uses its own image, where the second to fourth lines form the trigram Gen, which represents the hand, thus enabling the action of "ba." Yu Fan insisted on tracing back to the Da Guo trigram, taking the trigram Xun in the middle of Po as mao. Although his approach was cautious, the trigram坤 as mao ru is consistent with the Commentary on the Judgment and the original text. It is wrong to ignore the immediate and obvious image of坤 and instead take the distant trigram Xun in the middle of the line. As for later scholars who, because the lower trigram of Tai is Qian, associate Qian with mao ru and search for this image in Qian, they are completely misunderstanding the general principles of the Book of Changes.

自東漢人不知坤為河為水象，解泰九二爻詞誤與利涉大川同。虞云：「荒？，荒？荒同字，大川也。變得正體坎，坎為大川為河，震為足，故用馮河。」案《爾雅》：「馮河，徒涉也。」《詩·小雅》「不敢馮河」，《毛傳》：「馮，陵也。」坤為河，二升五，正當坤水之中，故用以涉河，正所謂得尚于中行也。又《易林》需之泰云「弱水之西」，坤為水，坤柔，故曰弱水。又坤之升云「馮河登山」，升二至上與泰體同，亦以涉河為訓，河皆指坤。

During the Eastern Han dynasty, people did not know that the Earth (Kun) had the image of "river" and "water," so they mistakenly equated the Line Statement of "Nine in the Second" (Nine Two) in the "Great Passage" (Tai) with "favorable to cross a great river." Yu Fan said, "The character 'huang' and the missing character are actually the same, meaning a great river. When Nine Two changes to become correct, it forms the structure of Kan, which represents a great river and a river. Zhen represents the foot, so it says 'use to cross the river.' " According to the "Erya," "to cross a river" means to walk across the river. The "Book of Songs, Xiao Ya" mentions "dare not cross the river," and the "Mao Transmission" says, "crossing the river" means to leap over it. Since Kun represents a river, Nine Two rising to the fifth position is exactly in the center of the water of Kun, so it is used to cross the river, which is precisely the meaning of "to be in the middle path." Furthermore, in the "Forest of Changes" by Jiao, the line statement of "Need" changing to "Tai" says "west of the weak river" — Kun represents water, and since Kun is soft, it is called "weak river." Also, the line statement of "Kun" changing to "Rising" says "cross the river and climb the mountain" — the second line to the top line of the "Rising" hexagram is the same as the structure of the "Tai" hexagram, and it also explains crossing the river. This shows that "river" always refers to Kun.

包荒？為大川，亦指坤象。不遐遺者，言二五相距雖遐遠，然二必升五，不以遠而不升也。朋亡者，陰以陽為朋。亡者，往也，逃也。《列子》「亡羊補牢」，《漢書·韓信傳》「何聞信亡，自追之」，皆以亡為逃，逃卽往也。言陽往居五而為陰朋，五中位，卽尚于中行也。卦無坎象，虞氏必以荒？為坎，以河為坎，豈知坎乃變後之象，見有之象坤已為大川為河矣，何必用未來之坎？一象之失傳，其關係之巨若是。又虞氏誤以兌二陽為朋，謂二五上下兌象不見，故朋亡，是不知易朋之確詁也。

"The term 'huang' in 'baohuang' is interpreted as a great river, which also refers to the image of the earth (Kun). 'Bu xia yi' means that although the nine in the second line is far from the six in the fifth line, the nine in the second line will certainly rise to the fifth position, and will not fail to ascend just because the distance is great. 'Peng wang' refers to the idea that yin is associated with yang as friends; 'wang' means to go or to flee. The 'Lost Sheep and Mended Fence' story in the 'Liezi' and the 'Han Shu · Han Xin Zhuan' both use 'wang' to mean fleeing, and fleeing is equivalent to going. This means that the yang line goes to the fifth position, becoming the friend of all the yin lines; the fifth position is the central position, which is 'shang yu zhong xing'. The 'Tai' hexagram originally does not have the image of Kan, but Yu Fan insisted on interpreting 'huang' as Kan and 'he' as Kan. However, he did not realize that Kan is an image that appears only after the yao changes, while the existing image of Kun is already a great river and a river. Why then use the yet-to-appear Kan? The loss of one hexagram image has such a great impact. Yu Fan also mistakenly took the two yang lines of Dui as 'friends', saying that after the nine in the second line rises to the fifth position, the upper and lower Dui images disappear, so it is called 'friends disappear'. This shows he did not understand the correct meaning of the character 'peng' in the 'Yi Jing'.

翩翩為句。《易林》每以震為飛，四震體，故曰翩翩。不富為句。《易林》未濟之頤云「齗齗囓囓，貧鬼相責」，是以坤為貧也，貧卽不富。象曰失實，坤虛，故失實，亦詁不富也。以，及也。鄰謂五上，言四及五上也。戒者，備也。孚，信也，感通也，卽應與也。不戒以孚者，言四及五上皆有應與，不必戒備，自然孚於下也。孚於下，則二五相升降，無不當位也。自漢以來，因小畜有富以其鄰之語，於是以不富以其鄰五字連讀，致易義晦澀不明。豈知以其鄰與下屬也。虞翻以震東兌西為鄰，而不釋其義，以二五變四體離釋翩翩，皆曲說不可從。

"The term 'pian pian' should be read as a separate sentence. In 'Jiao's Forest of Changes,' the trigram Zhen (Thunder) is often associated with flying, and since the fourth line is within the structure of Zhen, it is said 'pian pian.' 'Bu fu' should also be read as a separate sentence. In the 'Forest of Changes' under the hexagram 'Wei Ji' (Without Completion) to 'Yi' (Nourishment), the text says 'Yin Yin Nie Nie, poor ghosts blaming each other,' showing that the trigram Kun (Earth) represents poverty; poverty is thus 'not rich.' The 'Image Commentary' says 'losing truth,' because Kun is hollow in the middle, hence 'losing truth,' which is also an explanation of 'not rich.' 'Yi' means 'to reach' or 'to involve'; 'lin' refers to the fifth and sixth lines, meaning the fourth line together with the fifth and sixth lines. 'Jie' means to be cautious; 'fu' means trust or mutual response, that is, having corresponding lines. The phrase 'not cautious but trusting' means that the fourth line together with the fifth and sixth lines each have corresponding lines, so there is no need for caution, and naturally there is mutual response with the lower trigram. Mutual response with the lower trigram allows the second and fifth lines to rise and fall appropriately, without being in improper positions. Since the Han dynasty, because the hexagram 'Xiao Xu' (Small Accumulation) contains the phrase 'fu yi qi lin,' people have read the five characters 'bu fu yi qi lin' together, making the meaning of the Book of Changes obscure. But they do not realize that 'yi qi lin' should be read with the following sentence. Yu Fan took the trigram Zhen in the east and Dui in the west as 'lin,' but did not explain the reasoning behind it. He also used the transformation of the second and fifth lines, with the fourth line forming the structure of Li (Fire), to explain 'pian pian,' which are forced interpretations and should not be followed."

虞氏謂：「否艮為城，今泰反否，乾壞為土，艮城不見，而體復象，故城復于隍也。」此等謬解，進退無據，可謂誤人之甚者矣。既以否艮為城，是用旁通也，是用對象也。但泰下乾變坤為土，尚可曰乾壞為土，否二三四正艮城也，胡云不見乎？若指本象，泰原無艮城，尚何待言。乃終又以本象泰三至上為解，三至上得復象，遂藉以了城復于隍之義。凡虞說初視之似密，實按之皆非。初學以其大師，為其說所糾纏而誤入迷途者多矣，故不得不辨也。

Yu Fan explained this line saying: "The 'Ge' hexagram contains 'Gen,' which represents a city; now the 'Tai' hexagram is the reversed form of 'Ge.' The 'Qian' trigram is destroyed and becomes earth, so the 'Gen' city disappears, and the hexagram also takes the image of 'Fu,' hence it says 'The city returns to the moat.' " This mistaken interpretation is inconsistent and has led people to great confusion. Since Yu Fan used the 'Gen' trigram from the 'Ge' hexagram to represent a city, he was employing the method of mutual reference. However, in the 'Tai' hexagram, the lower trigram 'Qian' transforms into 'Kun' earth, which can bewith difficulty explained as 'Qian' turning into earth. Yet the second, third, and fourth lines of the 'Ge' hexagram clearly form the 'Gen' trigram representing a city; how can they be said to disappear? If he refers to the image of the original hexagram, the 'Tai' hexagram does not contain a 'Gen' city, so there is no need to elaborate further. However, he later used the third to top lines of the 'Tai' hexagram to explain the image of 'Fu,' and thus used the character 'fu' to explain the meaning of 'the city returns to the moat.' All of Yu Fan's interpretations seem detailed at first glance, but upon close examination, they all fall apart. Beginners, misled by his status as a master of the Han dynasty school of divination, often fall into confusion. Therefore, it is necessary to clarify his views.

茲以《易林》證之，則此用覆象也。焦、京皆以復之「朋來無咎」為「崩來無咎」，因復震為反艮也，艮覆則山崩。又《易林》遯之解云「盈盛之門，高屋先履」，則以解上震，震為反艮，艮為屋，艮倒則屋覆矣，在上，故曰高屋先覆。由是推泰上門城復于隍。復、覆義通，復卦「反復其道」，《釋文》云「復本作覆」；又《詩·大雅》「陶復陶穴」，《說文》作「覆」，是其證。艮為城，艮倒則城覆矣。隍者，城下池，中爻兌，澤象也，城覆則城頭正在澤中也。後儒但以泰極將否詁復字，謂城以隍土築成，今城壞，復歸於隍，不知城復卽城壞。三至上為覆艮，復亦從象生，易無象外字也。

Now using the "Forest of Changes" by Jiao's, we can see that this passage uses the concept of inverted imagery. Jiao Yanshou and Jing Fang both read the phrase "peng lai wu jiu" in the hexagram "Fu" as "beng lai wu jiu," because the lower trigram of "Fu" is Zhen, which is inverted艮. When艮 is inverted, the mountain collapses. Also, in the "Forest of Changes" under the entry for "Dun" to "Jie," it says "Ying sheng zhi men, gao wu xian lu" ("lu" is a homonym for "fu"). The upper trigram of "Jie" is Zhen, which is inverted艮, and艮 represents a house. When艮 is inverted, the house collapses. Zhen is at the top, so it says "gao wu xian fu." From this we can infer the phrase "cheng fu yu huang" in the sixth line of the hexagram "Tai." "Fu" and "fu" have similar meanings: the "Tian" section of the hexagram "Fu" says "fu fu qi dao," and Lu Deming's "Classic Interpretation" says "fu was originally written as fu." In the "Book of Poetry, Da Ya," there is "tao fu tao xue," and the "Shuo Wen Jie Zi" cites it as "fu," which are all evidence.艮 represents a city, and when it is inverted, the city collapses. "Huang" is the moat beneath the city; in the hexagram "Tai," the middle trigram is Dui, which represents a marsh, so when the city collapses, the city's top falls into the marsh. Later scholars only used "Tai ji jiang pǐ" to explain the character "fu," saying that the city was originally built from the soil in the huang, and now that the city is ruined, the soil returns to the huang. They did not realize that "cheng fu" means the city is ruined. From the third line to the top line is an inverted艮, so the character "fu" also comes from the hexagram imagery. In the "Book of Changes," no character exists outside of the imagery.

杭氏云：「先天乾，後天離，同位於南，故曰同人。」《雜卦》曰「同人，親也」，同位故親。按《左傳》大有之幹曰「同復於父，敬如君所」，言離變乾，同位於南，故曰復曰所，卽本先天為義，此先天乾南之首見於《左傳》者。九家曰「乾舍於離，同而為日」，荀爽曰「乾舍於離，相與同居」，是皆以乾南釋同人之義也。

Hang Xinzhai said, "The Qian trigram of Earlier Heaven and the Li trigram of Later Heaven are both located in the south, so the hexagram is named 'Tong Ren' (Union)." The "Zagua Zhuan" says "Tong Ren, means to be close," because they are in the same position, thus being close. According to the "Zuo Zhuan," in the example of "Da You's Qian," it says "Returning to the father, respecting as the father's command," meaning that Li changes into Qian, and both are located in the south, so it says "returning" (to the original place) and "the same place," which is based on the Earlier Heaven's directional principle. This is the earliest occurrence in the "Zuo Zhuan" of the idea that Qian is located in the south. The "Jiu Jia Yi" says "Qian resides in Li, united as the sun," and Xun Shuang says "Qian resides in Li, sharing the same dwelling," both using the idea of Qian in the south to explain the meaning of the hexagram "Tong Ren."

欲解此經，須先明陰陽相須之理。《易林》乾繇詞不吉，以純陽也；乾之坤亦不吉，以純陰也；至泰否則皆吉。蓋易之道如電然，同性則相違，異性則相感；陽遇陽、陰遇陰則窒，陽遇陰、陰遇陽則通，是《易林》之定例也。由是推之，易凡言利有攸往者皆陽遇陰也，如大畜九三是也；凡言征凶者陽遇陽也，如大壯初九是也。惟陰亦然：革六二前遇三陽，故曰征吉，曰行有嘉；小畜六四上承二陽，則曰有孚，陰遇陽則通也；頤六二曰征凶，六五不可涉，陰遇陰則阻也。

To understand this passage, one must first grasp the principle of mutual dependence between yin and yang. In Jiao's Forest of Changes, the first hexagram of the Qian trigram (Qian over Qian) has an unfavorable oracle because it is entirely yang. Similarly, the oracle for Qian over Kun is also unfavorable because the lower trigram is entirely yin. However, when it comes to Qian over Tai and Qian over Po, the oracles become favorable. The principle of the Book of Changes is like electricity: like charges repel each other, and opposite charges attract; when yang meets yang or yin meets yin, there is blockage, but when yang meets yin or yin meets yang, there is smooth flow. This is a fixed principle in the Forest of Changes. By applying this principle, we can deduce that in the Book of Changes, whenever it says "favorable to go forward," it means that yang is followed by yin, such as in the line Nine Three of Da Xu. Whenever it says "dangerous to proceed," it means that yang is followed by yang, such as in the line Nine One of Da Zhuang. The same applies to yin lines: in the line Six Two of Ge, there are three yang lines before it, so it says "favorable to proceed" and "there is good fortune." In the line Six Four of Xiao Xu, there are two yang lines above it, so it says "there is sincerity." This is because yin meeting yang leads to smooth flow. In contrast, the line Six Two of Yi says "dangerous to proceed," and the line Six Five says "not favorable to cross a great river," because yin meets yin and encounters obstruction.

同人之利涉大川，若以《易林》象推之，則大川者乾也。《易林》蒙之幹云「海為水王」，是以乾為海水。又剝之同人云「雄處弱水，雌在海濱」，雄處弱水謂對象師二，雌在海濱謂同人，乾為海，二陰在其中，故曰雌在海濱。又九家易於蠱卦利涉大川云「乾天為河」。據此以釋同人之利涉大川，則乾為大川，利涉謂六二，陰遇陽則通，故云利涉大川也，至為為明確也。

The hexagram statement of "Tong Ren" (Union) says "favorable for crossing great rivers." Using the imagery from Jiao's Forest of Changes, the "great river" refers to Qian (Heaven). In Jiao's Forest of Changes, the entry "Meng to Qian" says "the sea is the king of water," taking Qian as the sea. Also, in the entry "Bo to Tong Ren" it says "the male is in the weak water, the female is by the seaside." "The male in the weak water" refers to the Nine in the Second of the hexagram Shi (Army), while "the female by the seaside" refers to Tong Ren: Qian is the sea, and the Six in the Second, a yin line, is among many yang lines, hence "the female by the seaside." The Nine Families' Commentary on Gu (Restlessness) also explains "favorable for crossing great rivers" as "Qian Heaven is the river." Thus, explaining "favorable for crossing great rivers" in Tong Ren, Qian is the great river, and "favorable for crossing" refers to the Six in the Second. Yin meeting yang leads to communication, hence "favorable for crossing great rivers" — this is very clear.

惟易之道扶陽不扶陰，凡遇陰通之處，不盡謂吉，且恐其遇盛以危陽，於咸之六二則曰居吉，於遯之六二則曰執之用黃牛之革，於姤之初六則曰繫于金柅、貞吉往凶，皆懼其前進而阻之。故彖傳釋同人之利涉，則曰「乾行也」，純用對象師，師九二臨坤水也，仍與其它之利涉大川指陽義同也。虞仲翔既不知乾為河水，又不思彖傳用旁通，只好仍用其故技，使四變再使上變，九五成坎為乾行。清治漢易者多宗虞，更無他說矣，易說之失傳益明矣。

However, the Way of the Book of Changes supports Yang rather than Yin. When Yin is connected, it is not always considered auspicious, and there is also concern that excessive Yin may endanger Yang. Therefore, in the line "Residing is auspicious" (from the line Six in the Second of the hexagram Xian), "holding fast with a bull's hide" (from the line Six in the Second of the hexagram Duan), and "binding to a metal brake, uprightness is auspicious, going forward is ominous" (from the line Six at the Beginning of the hexagram Gou), all these lines are meant to prevent Yin from advancing. Hence, the Commentary on the Judgment explains the "favorable crossing of great rivers" in the hexagram Tongren by saying "the movement of Heaven," entirely using the opposite hexagram Shī (the army) as a basis. The line Nine in the Second of Shī is a single Yang over the Yin water, which still aligns with the meaning of "favorable crossing of great rivers" in the Book of Changes, which is primarily associated with Yang lines. Yu Fan did not understand that Heaven represents the river water, nor did he consider that the Commentary on the Judgment uses the method of mutual transformation. He simply followed his old method: first changing the Fourth Line, then the Top Line, turning Nine in the Fifth into Kan, and claimed this was "the movement of Heaven." Most scholars of the Han interpretation during the Qing dynasty followed Yu Fan, and there were no other interpretations. This clearly demonstrates how greatly the Book of Changes has been lost.

按《易林》困之無妄云「戴山崔嵬」，無妄互艮為戴，上乾為山，故曰戴山。又大有之幹云「南山大行」，乾為南為山，故曰南山。又巽之姤云「高阜山陵」，姤重乾，故曰阜曰陵，是《易林》以乾為陵也。同人九三云「升其高陵」，乾為山，在上，故曰升其高陵，是易原以乾為山陵也。三陽，乾又純陽，陽遇陽則阻，故下曰「三歲不興」，言三利往之難也。虞仲翔以伏震為陵，震為反艮，象亦有本，惟卽三歲不興之言觀之，易確以乾為陵，故三不利往也，陽遇陽也。

According to Jiao's Forest of Changes, the divination text for "Confusion leading to No Pretense" says "mountain towering high"—the upper trigram of "No Pretense" is Gen (Mountain), and the upper trigram is Qian (Heaven), which represents mountain, so it is said "mountain on top." Similarly, in the divination text for "Great Possession leading to Heaven," it says "Southern Mountain Greatly Moving"—Qian represents south and mountain, so it is said "Southern Mountain." In the divination text for "Wind leading to Meeting," it says "high hill and mountain range"—"Meeting" has a double Qian image, so it is said "hill" and "mountain range." This shows that the Forest of Changes takes Qian as mountain range. In the line "Nine in the Third" of "Harmony with Others," it says "ascending the high mountain range"—Qian represents mountain and is in the upper trigram, so it is said "ascending the high mountain range." This shows that the Zhou Changes originally takes Qian as mountain and mountain range. Nine in the Third is a yang line, and the upper trigram Qian is pure yang, so yang meets yang and encounters resistance, hence the next line says "three years without rising"—three years without action, meaning that Nine in the Third wants to move forward but finds it very difficult. Yu Fan took the hidden Zhen (Thunder) under the trigram Xun as mountain range, since Zhen is the reverse of Gen, so this imagery is not entirely without basis; but according to the phrase "three years without rising," the Zhou Changes clearly takes Qian as mountain range, so Nine in the Third is not favorable for moving forward, precisely because yang meets yang.

艮為君子，艮在下，謙矣，初又在艮之下，故曰謙謙君子。經既曰君子，統艮全體言也；用涉大川吉，亦指艮也。蓋謙卦以三為主，猶師以二、豫以四、比以五為主也，故六爻爻詞皆與主爻有關。荀爽不知坤為大川，仍以坎為大川，謂初可用涉。豈知坎陷不能涉，初無應與不能涉，初陰二亦陰，陰遇陰則窒，尤不能涉。用涉大川者，統艮卦言，艮三涉四成豫，涉五成比，得位而往有功，故吉謂艮涉坤水，非初涉坎水。初涉坎而吉，易無此例也。

The trigram Gen represents the gentleman, and since Gen is the lower trigram, it already embodies humility. The line "Six at the beginning" is located at the very bottom of Gen, hence the saying "a gentleman who is humble and modest." The text refers to "the gentleman" in general, speaking of the entire Gen trigram. The phrase "used to cross great rivers, auspicious" also refers to Gen. Since the trigram "Qian" (The Gentleman) takes the third line as its main line, just as "Shi" (The Army) takes the second line, "Yu" (Joy) takes the fourth line, and "Bi" (Union) takes the fifth line, all six lines of the trigram are related to the main line. Xun Shuang did not understand that Kun represents a great river, and continued to take Kan as the great river, saying that the line "Six at the beginning" could be used to cross the river. However, he did not realize that Kan signifies danger and difficulty, making crossing impossible. Moreover, the line "Six at the beginning" has no corresponding line above it, making crossing impossible. Also, "Six at the beginning" is yin, and "Six in the second" is also yin; yin meeting yin leads to blockage, making crossing even more impossible. The phrase "used to cross great rivers" refers to the trigram Gen as a whole. The line nine in the third position of Gen reaches the fourth position to become "Yu" (Joy), and reaches the fifth position to become "Bi" (Union). When it is in a proper position and moves forward, it achieves success, hence it is auspicious. This clearly refers to Gen crossing the water of Kun, not "Six at the beginning" crossing the water of Kan. If "Six at the beginning" were to cross Kan water and achieve auspiciousness, the "Classic of Changes" would not have such an example.

三互坎，坎為勞卦，故曰勞謙，是易明用互也。而王弼解易竟不用互，鍾會因倡言易無互卦，以迎合世人解縛去滯、避難就易之心理，至宋遂成為風氣。朱子明知之，而亦不敢言，皆濫觴於弼也。

Nine Three is located within the mutual trigrams Kan. The "Say on the Trigrams" refers to Kan as the "Toil Trigram," so the line statement says "toil and humility." This shows that the Zhou Changes clearly uses mutual trigrams. However, Wang Bi's interpretation of the Changes did not use mutual trigrams. Zhong Hui therefore claimed that the Changes has no mutual trigrams, which conveniently catered to people's desire to escape constraints and choose the easier path. By the Song dynasty, this became a prevailing trend. Zhu Xi was well aware of this, but he did not dare to speak out — this trend originated from Wang Bi.

謙六五云「不富以其鄰」，自漢以來皆相連為句，與泰六四同，致經義愈晦，解索愈難。豈知《易林》每以坤為貧，貧卽不富，六五坤體，坤虛，故曰不富，自為句也。以其鄰，義與下屬，鄰者四上，言五率四上勢眾三用以侵伐，則無不利也。

The line "not rich with its neighbor" in the sixth line of the hexagram "Qian" has been read as a single sentence since the Han dynasty, similar to the situation in the fourth line of the hexagram "Tai." This has made the meaning of the text more obscure and the interpretation more difficult. However, it is not realized that in "Jiao's Forest of Changes," the earth (Kun) is often associated with poverty, and poverty means not rich. The fifth line is in the body of Kun, which is empty, hence "not rich." These three words form a complete sentence on their own. The meaning of "with its neighbor" should be read in connection with the next sentence: "neighbor" refers to the fourth and sixth lines, meaning that the fifth line leads the fourth and sixth lines, thus having a strong force. The third line then uses this power to wage war, and there will be no disadvantage.

上帝指震，帝出乎震也。《易林》每用震為帝，其多不可勝指。若祖，則互艮也。小過六二云「過其祖」，是經原以艮為祖，故象本之，《易林》本之。詳解見卷七。

"The term 'Heavenly Emperor' refers to the trigram Zhen (Thunder). The 'Sayings on the Trigrams' states, 'The Emperor arises from Zhen.' The 'Forest of Changes' by Jiao often uses Zhen as the Emperor, and there are numerous examples. As for 'Ancestor,' it refers to the interacting trigram Gen (Mountain). In 'Small Excess' hexagram Six in the Second, it says, 'Passing over the Ancestor,' showing that the 'Zhou Changes' originally used Gen as the Ancestor. Therefore, the 'Great Image Commentary' adopted it, and so did the 'Forest of Changes.' For a detailed explanation, see Volume Seven of this book."

行唐尚秉和節之撰。

This volume was written by Shang Binghe, a native of Xingtang (now Xingtang County, Hebei Province). Binghe's given name is Jiezi.

《易林》履之節云「安上宜官」，節互艮，艮止為安，陽在上而貴，故曰宜官，是以艮為官也。渝，變也，改也。官有渝者，言艮覆變為震也。震為出，艮為門，故出門交有功，言前臨二陰，陽遇陰則通也。舊解謂與四交者，非也。初當位，故象曰「從正吉」。此用覆艮，與革九四改命吉之用反巽同也，故曰渝曰改。又按艮，官之象，虞翻注「百官以治」云「艮為官」，而未言其義，後儒以艮為門闕為解，似非。

In Jiao's Forest of Changes, the line statement of "Lǚ zhī Jié" says "Anshang yí guān" — the hexagram Jié has the trigram Gen (Mountain) in its mutual structure. Gen represents stopping, stability, and security. A yang line is in a superior position and thus signifies dignity, hence the phrase "yí guān" (suitable for officialdom), showing that Gen is used to represent officialdom. "Yú" means change or transformation. The phrase "guān yǒu yú" refers to Gen being reversed to become Zhen (Thunder). Zhen represents movement, while Gen represents a gate, so the line statement continues with "chū mén jiāo yǒu gōng" (going out to meet others brings success). This means that the initial line faces two yin lines, and a yang line meeting a yin line signifies communication. Old annotations claim this refers to the fourth line, which is incorrect. The initial line is in the proper position, so the Image Commentary says "cóng zhèng jí" (following the correct path brings good fortune). This line uses the reversed Gen, similar to the ninth line of the hexagram Gé, which says "gǎi mìng jí" (changing one's destiny brings good fortune), which uses the reversed Xun. Thus, one line says "yú" (change) and another says "gǎi" (change). Additionally, Gen has the image of "guān" (officialdom). Yu Fan's commentary on the Great Treatise "bǎi guān yǐ zhì" (all officials are properly managed) says "Gen represents officialdom," but he does not explain the reasoning. Later scholars used "Gen represents a gate" to explain this, but this seems incorrect.

《易林》視正覆象不分，易本如此也。蒙二至上正覆兩艮，艮為童蒙、為求，正視之，童蒙在上，似我求童蒙；反之，則童蒙求我也。艮象來往反覆，故卦詞亦來往反覆。以蒙例隨，初至四正覆皆艮，亦皆震，震為夫，艮為小子。六二近初陽，故繫初失四，曰係小子失丈夫；三承四陽，故繫四失初，曰係丈夫失小子。至其所以失之故，仍陰遇陰則塞之定例：二陰為三陰所阻，故失四；三陰為二陰所隔，故失初。下震亦艮，上艮亦震，體同也，不分也，卦象來往反覆，卦辭亦來往反覆。而虞翻以五為小子，謂兌為少，故曰小子。夫兌為少女，焉得為小子？艮為小子，見於易，見於孟氏逸象，見於《易林》者尤多，未有以兌為小子者也。虞不知覆震為丈夫，謂四為丈夫，而以大過九二之老夫為例。豈知大過九二之老夫，乃謂對象震，非謂本象巽。虞已誤解，而復持其誤解以解隨，不愈誤哉。

In Jiao's Forest of Changes, the distinction between the original image and the reversed image is not made, as the Zhou Changes itself is like this. In the hexagram Meng, the second line to the top line consists of one positive and one reversed image of the trigram Gen, which represents childlike ignorance and seeking. When viewed in the normal way, the childlike ignorance is above, seeming as if I am seeking the childlike ignorance; when viewed in reverse, it becomes the childlike ignorance seeking me. The image of Gen fluctuates, so the hexagram statement also fluctuates. Using the example of Meng, we can infer the meaning of the hexagram Suí: from the first line to the fourth line, when viewed normally or reversed, they are both Gen and Zhen. Zhen represents the husband, and Gen represents the young man. The second line is close to the first line, which is a yang line, so it is attached to the first line and loses the fourth line, and the line statement says, "Attach to the young man, lose the husband." The third line is above the fourth line, which is a yang line, so it is attached to the fourth line and loses the first line, and the line statement says, "Attach to the husband, lose the young man." As for the reason for losing, it is still the fixed rule that "yin meets yin and becomes blocked." The second line is blocked by the third line, which is a yin line, so it loses the fourth line; the third line is separated by the second line, which is a yin line, so it loses the first line. The lower trigram Zhen is also Gen, and the upper trigram Gen is also Zhen, so the structure of the hexagram is the same, and there is no need to distinguish. As the hexagram image fluctuates, so does the hexagram statement. Yu Fan, however, took the fifth line as the young man, saying that Dui represents the young, so he called it "young man." But Dui is the young woman, how can it be called "young man"? Gen representing the young man is found in the original text of the Zhou Changes, in Mengxi's Yixiang, and more so in Jiao's Forest of Changes. There has never been a case where Dui is taken as the young man. Yu Fan did not understand that the reversed Zhen is the husband, and insisted that the fourth line is the husband, using the example of the second line of Da Guo, "old man," as support. But he did not realize that the "old man" in the second line of Da Guo refers to the trigram Zhen in the opposite hexagram Yi, not the trigram Xun in the original hexagram. Yu Fan had already misunderstood Da Guo, and then used this misunderstanding to explain Suí, which is not adding error upon error?

艮為小子，為道，是易用中爻也。兌為西，兌伏艮，艮為山，震為王，故曰王用享於西山，是本象與對象不分，易本如此，為《易林》所本也。

The hexagram Gen (Mountain) represents a young boy and also roads, indicating that the Zhou Changes (I Ching) uses the middle line for mutual relations. The hexagram Dui (Lake) represents the west, and what is hidden beneath Dui is Gen (Mountain), which represents a mountain. Zhen (Thunder) represents a king, so the line Six at the Top says, "The king offers sacrifices at the western mountain"—the king holds a sacrificial ceremony at the western mountain. This shows that the original image and the object are used interchangeably without distinction. The Zhou Changes (I Ching) is originally like this, and Jiao's Forest of Changes follows this tradition.

蠱無乾坤，而爻詞言父母，自東漢以來無明其故者。毛奇齡謂壞事有漸，蓋自其祖父而已然，如是解經，經無有不通者矣。其餘皆用卦變，謂蠱原為泰卦，泰坤乾，故言父母，此說也似是矣，然卦之從泰來者多矣，不言父母。杭氏云：「艮居戌亥，則乾位也，消息卦亦坤位也；巽居未申，則坤位也。艮巽既與乾坤先後天同位，故爻象及於父母。」此說也較前說進矣，仍未得也。

The hexagram Gǔ is composed of Gèn above and Xùn below, originally not containing the two trigrams Qian and Kūn. However, the line statements mention "parents," and since the Eastern Han dynasty, no one has been able to explain the reason. Mao Qilin said that the decline of bad things is a gradual process, probably starting from the grandfather's generation. If we interpret the classics in this way, there would be no scripture that cannot be interpreted. Others explain it by means of hexagram transformation, saying that Gǔ originally comes from the hexagram Tà, which contains both Kūn and Qian, hence the mention of "parents." This explanation seems reasonable, but since many hexagrams come from Tà, other hexagrams do not mention "parents." Hang Xinzhai said, "Gèn is located at the position of Xū and Hài in the Later Heaven, which is exactly where Qian is located; in the hexagram of change, it is also the position of Kūn. Xùn is located at the position of Wèi and Shēn, which is exactly where Kūn is located. Since Gèn and Xùn are in the same positions as Qian and Kūn in the Earlier Heaven and Later Heaven, the line images refer to "parents." " This explanation is more advanced than the previous ones, but still does not fully address the issue.

按《易林》大畜之蠱云「一巢九子，同公共母」，蠱艮巢震子，震又為父，故曰同公；巽母，故曰共母。又恆之豐云「監牛之讒，賊其父兄」，豐離為牛、為有言，故曰讒；震為父為兄，互大坎為賊，故曰賊其父兄。又升之兌云「父子相賊」，兌通艮互震，為父為子，坎為賊。又謙之歸妹云「爪牙之志，怨毒祈父，傷不及母」，歸妹兌為爪牙，震為士為言，又為父，故曰祈父；震通巽，巽伏，故不及。又旅之漸云「逶迤四牧，思念父母」，漸上巽，巽母，通震，震父，下互坎，坎思，故曰思念父母。《易林》以震為父，以巽為母，可謂明確矣。巽母尤多，詳在小過六二。蠱上互震，下巽，故前五爻皆言父母；至上爻出震巽，故不言父母，《易林》仍本之易也。易象失傳，無論若何揣測，皆不能得解。豈惟易難解，卽《易林》亦不知所謂也。

According to Jiao's Forest of Changes, the divination for "Great Accumulation" to "Guilt" says, "One nest with nine young, all sharing the same mother." The hexagram Guilt has the upper trigram Gen (Mountain) representing the nest, and the lower trigram Zhen (Thunder) representing the young. Zhen also represents the father, hence "all sharing the same." The trigram Xun (Wind) represents the mother, hence "sharing the same mother." Another example is from "Constant" to "Brightness," which says, "The cow's slander, the thief of father and elder brother." The hexagram Brightness has the lower trigram Li (Fire) representing the cow and also speech, hence "slander." Zhen represents the father and elder brother, and the interacting trigrams contain Kan (Water), representing the thief, hence "the thief of father and elder brother." Another example is from "Ascent" to "Joy," which says, "Father and son betraying each other." The hexagram Joy and Gen (Mountain) are connected, and the interacting trigrams contain Zhen, which represents father and son, while Kan represents the thief. Another example is from "Humility" to "Marriage by Capture," which says, "The will of claws and teeth, resentment and hatred toward the father, injury not reaching the mother." The hexagram Marriage by Capture has the upper trigram Dui (Lake) representing claws and teeth, and Zhen representing soldiers and speech, as well as the father, hence "hatred toward the father." Zhen and Xun are connected, but Xun is hidden, hence "injury not reaching the mother." Another example is from "Travel" to "Gradual Progress," which says, "Winding through four pastures, thinking of parents." The hexagram Gradual Progress has the upper trigram Xun (Wind), representing the mother, and Xun also connects to Zhen, representing the father. The lower trigram is Kan (Water), representing thought, hence "thinking of parents." The Forest of Changes clearly uses Zhen for father and Xun for mother. The examples of Xun as mother are especially numerous, as seen in the line for Xiao Guo (Little Overstep) six two. The hexagram Guilt has the upper trigram interacting with Zhen and the lower trigram Xun, so the first five lines all refer to parents. By the time it reaches the top line nine, it has moved beyond Zhen and Xun, so it no longer refers to parents. The Forest of Changes still follows the Zhou Changes. Once the images of the Changes are lost, no amount of speculation can be understood. Not only is the Zhou Changes difficult to understand, but even the Forest of Changes is unreadable.

此與利涉大川義同也，仍陽遇陰則通之旨也。凡易象如此者，皆利有攸往，利往卽利涉大川。坤水在前，震船行上，《易林》以震為舟。《易林》一象之闡明，切要如此。而虞翻以二至上體復為說，不知此為周易通例，不祗復也。惟未用其故智，謂二失位宜變陰成復，尚差強人意耳。

The line "There is no disadvantage" in the line Nine in the Second of the hexagram "Approach" means the same as "favorable for crossing a great river," still following the principle that "Yang meets Yin and thus becomes smooth." In the Zhou Changes, whenever a hexagram shows such a situation, it says "favorable for going somewhere," and "favorable for going" is the same as "favorable for crossing a great river." In the hexagram "Approach," the upper trigram is坤 (Earth), representing water in front, and the lines two to four form Zhen (Thunder), representing a boat moving upon it. Jiao's Forest of Changes indeed takes Zhen as a boat. Jiao's Forest of Changes explains a hexagram, and the key point lies here. Yu Fan, however, explains it by taking the lines two to the top to form the hexagram "Return," without realizing that this is a general principle in the Zhou Changes, not limited to the hexagram "Return." He did not use his usual method this time, not saying that the line Nine in the Second should change to a yin line to form "Return," which is somewhat commendable.

杭氏曰：「先天離，後天震，皆居東，故曰噬嗑。」合也。彖傳曰「雷電合而章」，亦以先後天相合也。

Hang Xinzhai said, "In the Earlier Heaven, the trigram Li is located in the East, and in the Later Heaven, the trigram Zhen is also located in the East, so the hexagram is named 'Shi He.' "He" means to join together. The Commentary on the Judgment says, 'Thunder and lightning join together to form a pattern,' which refers precisely to the combination of the images from the Earlier Heaven and Later Heaven."

坎為肉，東漢人無知者。虞翻解噬嗑六三昔肉云：「艮為膚，三在膚裡，當艮中爻，故稱肉。」荀爽則以四為昔肉，其不當與虞也。按《易林》咸之屯云「哺以酒脯」，屯上坎，坎為酒為脯。孟氏逸象「坎為酒為內」，內象不合，說者以納為解，吾疑內為肉之訛字。震口為哺也。蒙之艮云「攫飯把肉」，艮手，為攫為把，中爻坎，為飯肉。又師林云「鳥鳴呼子，哺以酒脯」，震為鳴為子，為鳥為哺，坎為酒脯，師無艮象，坎為肉脯之象益明。然後知噬嗑三爻之昔肉、四爻之乾胏、五爻之乾肉，皆坎象也，噬嗑三至五互坎也。餘前謂吾人有不知其象者矣，斷無象外之詞者，此也。有清一代之究治漢易者，如惠棟，如張惠言，宗王荀虞，固無論矣，他如毛西河、惠士奇、焦循、姚配中、王引之等，皆矯矯立異者，而訖不知此三象之何屬，徒以能尋摭昔字胏字之音訓為博，則以肉象失傳也。

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: Jiao's Forest of Changes = Jiao Shi Yi Lin Zhang Huiyan = Zhang Huiyan Upper Trigram = Shang Gua Fifth Line = Wu Yao Six in the Third = Liu San Nine in the Fourth = Jiu Si Six in the Fifth = Liu Wu Hui Dong = Hui Dong Wang Bi = Wang Bi Yu Fan = Yu Fan The image of Kan as representing flesh is unknown to the Eastern Han dynasty. Yu Fan interpreted the line "xi ru" (old meat) in the sixth line of "Shike" (Breaking the Bones) as follows: "Gen represents skin, and the sixth line is inside the skin, located at the central line of Gen, hence it is called flesh." Xun Shuang, on the other hand, took the ninth line of the fourth position as "xi ru," and his interpretation is similarly flawed as Yu Fan's. According to "Jiao Shi Yi Lin," in the divination for "Xian" changing into "Zun," the text says "feeding with wine and meat," where the upper trigram of "Zun" is Kan, which represents wine and meat. Meng Xi's "Yi Xiang" mentions "Kan as wine and inner," but the image of "inner" does not make sense. Those interpreting it use the character "na" (to take in) to explain it, and I suspect that "inner" is a corrupted form of "meat." Zhen represents mouth, hence "bub" (feeding). In another divination for "Meng" changing into "Gen," the text says "grabbing food with meat," where Gen represents hand, hence "grab" and "take," and the interacting trigram Kan in the middle line represents "food" and "meat." Also, in the divination for "Shi" (Army) in its native trigram, it says "a bird calls to its young, feeding them with wine and meat," where Zhen represents sound, child, bird, and feeding, and Kan represents wine and meat. The "Shi" trigram does not have the image of Gen, which shows that the image of Kan as representing meat and meat is even clearer. This allows us to understand that the "xi ru" in the third line, "gan zhou" in the fourth line, and "gan rou" in the fifth line of "Shike" all refer to the image of Kan. The third to fifth lines of "Shike" together form an interacting trigram of Kan. I have previously said, "We may not know what the image is, but there is nothing outside the image in the text," referring precisely to this case. During the Qing dynasty, scholars studying the Han dynasty's "Yi" (Book of Changes), such as Hui Dong, Zhang Huiyan, followed Wang Bi, Xun Shuang, and Yu Fan, and this is not worth mentioning. Others such as Mao Qiling (Xihé), Hui Shiqi, Jiao Xun, Yao Peizhong, and Wang Yinzhi were bold in innovating, yet they never understood clearly which trigram these three instances belong to. They only collected the phonetic and semantic meanings of the characters "xi" and "zhou" to show their erudition. This is all because the image of Kan as representing meat has been lost.

孟氏逸象，巽為魚，《姤》九二、九四之魚是也。《中孚》魚亦用巽。至坤之？？？？？？吉者，虞翻謂剝消《觀》巽，巽為魚為繩，故貫魚。夫巽既消矣，何有魚象？更何有繩象？何妥、崔憬以魚為陰類，宮人、后妃皆坤陰象，故取之。

In the lost images transmitted by Meng Xi, the trigram Xun is taken as fish. The line statement of the second line in the hexagram Gou, "enclosing fish," and the line statement of the fourth line, "enclosing no fish," refer to this image of fish. The hexagram Zhongfou also refers to fish using the image of Xun. As for the line "When the earth hexagram is followed by something, it is auspicious" (the original text is missing six characters, so I dare not make up), Yu Fan's explanation is that the hexagram Bao arises from the hexagram Guan through the process of change. The upper trigram of Guan is originally Xun, which represents both fish and rope, so the line statement says "passing through fish." However, since the trigram Xun has already disappeared in the process of change, how can the image of fish remain? How can the image of rope remain? He Tuo and Cui Jing abandoned the images and numbers and instead based their interpretation on meaning and principle. They regarded "fish" as a general term for the yin, considering palace women and consorts as examples of the yin and softness of the hexagram Kun, so the line statement of the fifth line in the hexagram Bao uses this analogy.

後世如毛奇齡、惠棟、姚配中、王引之、張惠言、朱芹、臧頤煊等，皆祖述此義，更以《禮》注宮人當夕次敘，敷演貫魚之義，其窮窘更甚於何、崔矣。按《易林·革之頤》云：「尼父孔丘，善釣鯉魚，羅罔一舉，得獲萬頭。」《頤》上艮，艮山，故曰尼父、曰孔丘，反震為孔也。艮手為釣，坤為鯉魚，大離為羅罔，坤眾為萬頭。

Later scholars such as Mao Qiling, Hui Dong, Yao Peizhong, Wang Yinzhi, Zhang Huiyan, Zhu Qin, Zang Yi Xuan, and others followed the interpretation of He Tuo and Cui Jing, and further cited the old annotations from the "Rites of Zhou" regarding the order in which palace attendants served, to explain the meaning of "guan yu" (a term referring to a sequence). Their interpretations were even more forced and constrained than those of He Tuo and Cui Jing. Now, according to Jiao Yanshou's "Yi Lin" under the hexagram "Ge" to "Yi": "The sage Confucius, good at fishing for carp, cast one net and caught ten thousand fish." The upper trigram of the "Yi" hexagram is Gen (Mountain), and according to "Shuo Gua," Gen represents a mountain. Confucius was born on Niqiu Mountain, so the line refers to him as "Ni Fu" (the father of Ni) and "Kong Qiu." When Gen is viewed upside down, it becomes Zhen (Thunder), which represents a great path with a hollow center, hence the use of the character "Kong" (empty). Gen represents the hand, thus symbolizing the act of holding a rod to fish; Kun represents carp; the fourth line of the "Yi" hexagram forms a large Li (Fire), which represents a net, hence "luo wang" (net); Kun represents multitude, hence "wan tou" (ten thousand heads). This clearly shows that the fish in this line of the Yi Lin is derived from the image of Kun, not from Xun.

又《訟之比》云：「求我所有，買魴與鯉。」《比》艮為求，重坤，故曰魴、曰鯉。又《小畜之剝》云：「孔鯉伯魚。」至於貫象，《剝》下有三坤，三魚排敘而進，貫象自著。又《洞林》豫之小過曰：「五月晦日，群魚來入州城寺舍。」坤變艮，故魚入城，是郭璞以坤為魚，與《易林》同也。

Another passage from the "Forest of Changes" in the "Book of Changes" says: "Seeking what I possess, buying a crucian carp and a carp." The "Goon" hexagram has the third to fifth lines forming the "Mountain" trigram, which represents seeking; the lower trigram of the "Goon" hexagram is "Earth," and the second to fourth lines also form the "Earth" trigram, creating the image of double "Earth." Therefore, the words "crucian carp" and "carp" in the text are based on the "Earth" trigram. In another instance, the "Small Accumulation" hexagram transforming into the "Splitting Apart" hexagram says: "In the fifth month on the last day, a crowd of fish enters the city, the temple, and the house." The "Earth" trigram transforms into the "Mountain" trigram, and the "Mountain" trigram represents gates, thresholds, cities, and towns, so the text says the fish enter the city—this shows that Guo Pu also uses the "Earth" trigram to represent fish, consistent with the imagery used in the "Forest of Changes" by Jiao. In conclusion, the "贯鱼" (fish being strung together) in the fifth line of the "Splitting Apart" hexagram uses the image of the "Earth" trigram, not the "Wind" trigram. Yu Fan's interpretation and the views of He and Cui are therefore incorrect.

虞仲翔作朋，兌為朋，以陽息至二成兌為說；京氏作崩，以艮覆為說。後儒從虞者多，從京者鮮，祗惠棟以虞說為不然，謂陽息尚未至二，胡得先言，主京氏說。茲以《易林》證之。《謙之姤》云：「山石朽敝，消崩墮落。」《姤》通《復》，《剝》艮窮上反下，反下則艮覆，山覆地，非崩而何？

Yu Fan (style name Zhongxiang) wrote the character "peng" for the Hexagram Statement of "Fu," reasoning that Dui represents "peng," and that when the yang energy begins to grow and reaches the Second Line, it forms the structure of Dui. Jing Fang, on the other hand, wrote "beng," reasoning that the mountain shape of Gen reversed is exactly the image of a mountain collapsing. Later scholars mostly followed Yu Fan's interpretation, while few followed Jing Fang's. Only Hui Dong thought Yu's explanation was not convincing—since the Hexagram "Fu" represents the initial emergence of yang energy, and the yang energy has not yet reached the Second Line, how could it be said in advance to be Dui? Therefore, he supported Jing Fang's view. Now let us verify this with the "Jiao's Forest of Changes." The statement in "Qianzhi Gou" says: "Mountains and rocks decay and break down, collapsing and falling." The Hexagram "Gou" and "Fu" are complementary; the Gen in the Hexagram "Bo" reaches the Top Line and has reached its extreme, and when it reaches its extreme, it turns back downward. A reversal turns it into an inverted Gen, the mountain overturned on the ground, which is not "collapse" what else?

又《屯之蒙》云：「山崩谷絕。」《蒙》二至五亦《復》體，亦以二至四覆艮為山崩。又《蹇之屯》云：「作室山根，人以為安，一夕崩顛。」《屯》中爻艮，艮為山為室，故曰作室山根。坎為夕，數一。震為覆艮，故曰一夕崩顛。由是證焦氏亦讀朋為崩，與京氏同也。漢人無讀崩者，獨焦讀與京同，授受分明矣。

Another passage from the "Forest of Divination" under the "Zun" hexagram says: "Mountains collapse and valleys are cut off." The second to fifth lines of the "Meng" hexagram correspond exactly to the structure of the "Fu" hexagram, and they also use the inverted Gen hexagram in lines two to four to represent the image of a mountain collapsing. Another passage from the "Jian" hexagram to the "Zun" hexagram says: "Building a house at the foot of a mountain, people think it secure, but it collapses overnight." In the "Zun" hexagram, the middle lines form the Gen hexagram. The "Shuo Gua" says that Gen represents a mountain, as well as gates, thresholds, and buildings, so the divination phrase says "building a house at the foot of a mountain." The Kan hexagram represents night, and its number is one, so it says "overnight." The Zhen hexagram is the inverted Gen hexagram, so it says "collapse." From these examples, it can be proven that Jiao Yanshou also read "peng" as "beng," the same as Jing Fang. No other Han dynasty figures read it as "beng," so the reading of Jiao Yanshou matches Jing Fang exactly, clearly showing the clear transmission of their teachings.

惠棟雖主京說，徒以《剝》消艮入坤為崩，至入坤出震之何以仍有崩象，焦、京全用覆象之義，則不詳也。東漢人於覆象偶知之，如謂《中孚》《大壯》有反巽是也。至象覆卽於覆象取義，如《蒙》之「童蒙求我」、《泰》上六之「城覆於隍」及《復》下震之為山崩，則無一人能詳也。惠棟主荀、虞者，故雖用京說，而不詳其義。

Hui Dong although supported Jing Fang's view, could only explain the hexagram Bao's yang waning and the mountain shape entering the earth as a collapse. But when the yang had entered the earth and then emerged from the zhen, why it still showed the image of collapse, which is the principle that Jiao Yanshou and Jing Fang entirely relied on the inverted image, Hui Dong could not explain. Eastern Han scholars occasionally noticed the inverted image, for example, the hexagram Zhongfou and Dazhuang contain the reverse xun. But if one says that once the hexagram is inverted, the meaning is taken from the inverted image, such as the line 'childlike ignorance seeks me' in the hexagram Meng, 'the city is overturned into the moat' in the line Six at the Top of the hexagram Tai, and the lower trigram zhen in the hexagram Fu being taken as mountain collapse, no one could explain it clearly. Hui Dong followed the school of Xun Shuang and Yu Fan, so although he adopted Jing Fang's interpretation, he could not explain the reasoning behind it.

虞謂十二消息不見坎象，故無疾。豈知《復》雖為候卦，十二消息有坎無坎，於《復》義何取乎？凡虞說不顧本經，祗演空象，多類此，故後儒除張惠言宗主虞《易》外，多駁之者，然亦無的解也。近易家杭辛齋謂此疾字為「不疾而速」之疾，似亦未協。

Yu Fan said that in the twelve hexagram messages, the hexagram "Fu" does not show the image of Kan, so the hexagram statement says "wu ji" (no illness). But he did not realize that although "Fu" is paired with the seasonal message, whether or not Kan appears in the twelve messages has nothing to do with the meaning of the hexagram itself. Whenever Yu Fan made his arguments, he often ignored the original meaning of the text and only deduced from empty images and numbers, and this was usually the case. Therefore, later scholars, except Zhang Huiyan who followed Yu's interpretation of the Book of Changes, mostly criticized him, but they could not provide a solid explanation. In modern times, Hang Xinzhai, a scholar of the Book of Changes, interpreted the character "ji" as "ji" in the Great Treatise "not ji but su" (not rapid but swift), meaning swift, but this interpretation also seems inappropriate.

按《易林·豐之復》云：「蒙佑諧偶，獲利五倍。」諧偶者，言陽得陰而諧和為偶，偶卽朋也，故能獲利。又《益之復》云：「德施流行，利之四鄰。」乾為德，乾流坤，故之四鄉無不利。震位四，坤為鄉也。又《既濟之復》云：「心願所喜。」《中孚之復》云：「宜利止居。」夫曰喜、曰利、曰諧，卽無疾之疾之義也。疾者，嫉也、患也、害也，坤為害，見於《繫辭》，見於孟氏逸象。

According to Jiao Yanshou's "Yi Lin · Feng Zhī Fu," it says: "Meng Yu Xia Ou, Luo Li Wu Bei." The term "Xia Ou" refers to the harmonious pairing of a yang line with a yin line, and the spouse is considered a friend, thus leading to profit. Again, in "Yi Zhī Fu," it says: "De Shi Ping Xing, Li Zhī Si Lin." The trigram Qian represents virtue, and the yang energy of Qian spreads into Kun, thus benefiting all directions without hindrance; Zhen is located in the fourth position in the directional numbers, and Kun represents towns and villages, hence the mention of "four neighbors" and "four villages." In "Ji Ji Zhī Fu," it says: "Xin Yuan Su Xi." In "Zhong Fu Zhī Fu," it says: "Yi Li Zhi Ju." These lines from the Yi Lin all have the primary hexagram Fu. Whenever they mention "joy," "profit," or "harmony," it clearly expresses the meaning of "wu ji" (no illness), and in turn clarifies the exact interpretation of the character "ji": "ji" means resentment, worry, and calamity. The trigram Kun represents harm, which is mentioned in the Great Treatise and also appears in the lost images transmitted by Meng Xi.

出入無疾者，言此一陽，入坤出震，得陰為朋友。陰陽之為朋友，自東漢以來無知者，皆以陰遇陰、陽遇陽為朋。近杭辛齋始謂陰以陽為朋，陽以陰為友，與《易林》闇合。餘征之《易》，若《復》之朋，則指陽也；若《豫》之朋，則指陰也，陰陽互為朋友也。惟同性者斷無朋友，故《坤》之「得朋」「喪朋」，自東漢以來皆錯詁。

The phrase "entering and exiting without illness" refers to the single yang line in the hexagram "Fu" entering the hexagram "Kun" and exiting the hexagram "Zhen," gaining many yin lines as friends. The principle that yin and yang are friends has not been understood since the Eastern Han dynasty; people have always taken yin with yin and yang with yang as "friends." Recently, Hang Xinzhai proposed that yin takes yang as its friend and yang takes yin as its companion, which coincides with the usage in Jiao's Forest of Changes. I verify this with the text of the Zhou Changes: in the hexagram "Fu," the term "friend" refers to yang; in the hexagram "Yu," the term "friend" refers to yin—this shows that yin and yang are mutual friends. Only between the same sexes can there be no friendship, so the terms "gaining friends" and "losing friends" in the hexagram "Kun" have been misinterpreted since the Eastern Han dynasty.

無有疾害之者，與《臨》二之「利有攸往」、《大畜》九三之「利有攸往」同也。後人徒見《說卦》坎為病，故以疾字屬坎，民知卦無坎象，胡能於坎上求？又疾字之訓為疾病者，乃疾字訓詁之一，其見於經傳，以患害為訓者尚多也。且坤為害，於象尤切也為甚。無害，彖所謂「順以動」也。

"Without harm" means there is nothing that threatens it, which is consistent with the "favorable for going somewhere" in the second line of the "Approaching" hexagram and the third line of the "Great Accumulation" hexagram. Both cases involve a yang line encountering a yin line, resulting in smoothness and ease. Later commentators only noticed the statement in the "Discourse on the Hexagrams" that "Kan represents heart disease," and thus associated the character "ji" (harm) with the image of Kan. However, the hexagram "Fu" does not originally contain the image of Kan, so how could one look for it in Kan? Moreover, the character "ji" is interpreted as disease in only one of its many meanings. In the classical texts, "ji" is often used to mean worry or calamity. Furthermore, the image of Kun (Earth) representing harm is especially appropriate. The reason for "without harm" is precisely what the "Commentary on the Judgment" says: "movement in a harmonious way."

鄭玄、虞翻、宋衷皆以至日為冬至，王輔嗣、孔穎達皆主二至言。清儒治漢《易》者惡輔嗣之掃象，向不取之，而主鄭、虞。茲《易林·晉之解》云：「二至之戒，家無凶禍。」戒卽商旅不行、后不省方也，而曰二至。又《復之履》云：「先王日至，不利出域。」《履》三至上《姤》，《姤》夏至，不利出域，卽后不省方也。

Zheng Xuan, Yu Fan, and Song Zhong all interpreted "至日" as the winter solstice. Wang Bi (styled Fusi) and Kong Yingda, however, argued that "至日" could refer to both the winter solstice and the summer solstice. Qing dynasty scholars who studied the Book of Changes during the Han dynasty disliked Wang Bi's rejection of the symbolic and numerical interpretations, and they did not adopt his view, instead favoring the interpretations of Zheng and Yu. According to Jiao's Forest of Changes, in the interpretation of the hexagram "Jin" (Progress), it says: "The warning of the two solstices brings no misfortune to the family." The term "戒" here corresponds to the great image of the hexagram "Fu" (Return), which states "traders do not travel, and the ruler does not survey the land." However, Jiao Yanshou specifically interpreted it as "the two solstices." In another interpretation, "Fu" (Return) to "Lu" (Following), it says: "The former kings observed the solstices, and it is not favorable to leave the domain." The third line to the top line of the hexagram "Lu" forms the hexagram "Gou" (Meeting), which corresponds to the summer solstice. "Not favorable to leave the domain" is the same as "the ruler does not survey the land." This shows that Jiao Yanshou's interpretation of "至日" in the hexagram "Fu" already included the summer solstice.

又《夬之頤》云：「二至靈臺，文所止遊。」《頤》下震，體《復》，為冬至；上艮，為反震，震反則夏至而《姤》矣。《易林》用象之神妙，不可思議如此。據此以推，《復》象之至日閉關，《易林》亦以為二至也。

Another passage from 《Jiao's Forest of Changes》 on 《Guai》 changing into 《Yi》 says: "Two solstices at the spiritual terrace, the cultural realm where the sage roams." The lower trigram of 《Yi》 is Zhen, which contains the structure of 《Fu》, corresponding to the winter solstice; the upper trigram is Gen, which is the reverse image of Zhen, and when Zhen is reversed, it becomes Xia Zhi and transforms into 《Gou》. Within one hexagram, both the winter and summer solstices are present, so the words of the Forest directly mention "two solstices." The 《Forest of Changes》 employs the subtle and profound imagery of hexagrams to such an astonishing extent. Based on this, the "solstice day closing the gate" mentioned in the grand image of 《Fu》 is also understood by the 《Forest of Changes》 as referring to both the winter and summer solstices.

又《後漢·魯恭傳》：「案《易》，五月《姤》用事，經曰『後以施令』（注亦作『令』，與今本異）『誥四方』，言君以夏至之日施命令，止四方行者，所以助微陰也。」注云：「《復》卦曰：『先王以至日閉關，商旅不行。』故夏至宜止行也。」是魯恭亦以至日為二至，與《易林》同也。

Another passage from the "Book of the Later Han · Lu Gong's Biography" records Lu Gong's memorial: "According to the 'Zhou Changes,' the Gou hexagram is in charge in the fifth month. The classic text says 'the sovereign issues commands'—the annotation by Li Xian cites the word 'command,' which differs from the present version of the 'Zhou Changes' which uses 'commandment.' 'He announces to the four directions,' meaning that the sovereign issues decrees on the summer solstice to prohibit travel throughout the land, in order to support the newly emerging subtle yin." Li Xian's annotation also states: "The Great Image of the Fu hexagram says 'the former kings closed the borders on the winter solstice, and merchants did not travel,' so travel should also be stopped on the summer solstice." This shows that Lu Gong also interpreted 'the extreme day' as the winter and summer solstices, consistent with the 'Jiao's Forest of Changes.'

《復》為冬至，消息卦甚明，鄭、虞不誤也。但謂至日亦祗言冬至，則誤，大象之義，無不推闡言也。況《復》卦卦辭曰「出入無疾」，出者出震，入者入巽，鄭、虞、王無異詁也。出震成乾則《復》，入巽成坤則《姤》，《復》則冬至，《姤》則夏至也。

The hexagram Fu is paired with the winter solstice, and this is clearly stated in the twelve message hexagrams; Zheng Xuan and Yu Fan were correct. However, if one says that the "day of arrival" in the image also refers exclusively to the winter solstice, that would be wrong, because the image's meaning is always extended and interpreted. Moreover, the Fu hexagram states "entering and exiting without illness," where "exiting" refers to the trigram Zhen, and "entering" refers to the trigram Xun. This interpretation is consistent among the three scholars Zheng Xuan, Yu Fan, and Wang Bi. Yang emerging from Zhen and ascending to Qian forms the hexagram Fu, while Yin entering Xun and ascending to Kun forms the hexagram Guo. Fu corresponds to the winter solstice, and Guo corresponds to the summer solstice; the words of a single hexagram already encompass both solstices.

又曰：「反復其道，七日來復。」《復》七日而反《姤》，《姤》七日而反《復》，《復》而《姤》，《姤》而《復》，循環不已。京房曰：「《復》者，六爻反復之稱也。」《復》一日《臨》，二日《泰》，三日《大壯》，四是《夬》，五日《乾》，六日七日則反《姤》；《姤》一日《遯》，二日《否》，三日《觀》，四日《觀》，五日《坤》，六日七日則反《復》，共十四日，故《復》七日不能來復。故出入反覆，皆兼《復》《姤》言也，《復》《姤》則二至也。卦辭用旁通，《易》恆例也。

The Hexagram Statement also says: "It reverses its course, returning after seven days." The Hexagram of "Reversion" (复) returns after seven days to become the Hexagram of "Meeting" (姤), and the Hexagram of "Meeting" returns after seven days to become the Hexagram of "Reversion." Thus, from "Reversion" to "Meeting" and from "Meeting" to "Reversion," the cycle continues without end. Jing Fang said: "What is called 'Reversion' refers to the name of the six lines reversing and returning." Counting from the Hexagram of "Reversion," the first day is "Approaching" (临), the second day is "Supreme Harmony" (泰), the third day is "Great Strength" (大壮), the fourth day is "Breaking" (夬), the fifth day is "Heaven" (干), and on the sixth and seventh days it returns to "Meeting" (姤). Counting from the Hexagram of "Meeting," the first day is "Retreating" (遯), the second day is "Non-Communication" (否), the third day is "Observing" (观), the fourth day should be "Splitting" (剥) according to the sequence of the changing hexagrams, the fifth day is "Earth" (坤), and on the sixth and seventh days it returns to "Reversion" (复). In total, this cycle spans fourteen days, so counting only seven days from "Reversion" does not truly return to "Reversion." This shows that both "coming and going" and "reversing and returning" refer to both the Hexagrams of "Reversion" and "Meeting," which correspond to the winter and summer solstices. The use of complementary hexagrams in the Hexagram Statements is a common practice in the Zhou Changes (I Ching).

餘說《易》，向無漢宋之分，然最咎輔嗣掃象，以從此人不知《易》為何物，避難就易，祛實蹈虛。至程伊尹，遂出其大無畏之精神，哆口談空，皆輔嗣作之俑。然輔嗣掃象，輔嗣尚知象，故其注往往由象而生，能與《易林》合，故取之。

I explain the Book of Changes without distinguishing between Han Learning and Song Learning. However, I most resent Wang Bi for eliminating the imagery and numerical calculations, because since then people have lost the true meaning of the Book of Changes, avoiding difficulties and choosing the easy path, abandoning practical evidence and stepping into emptiness. By the time of Cheng Yi, he even dared to talk about empty principles directly, which were all initiated by Wang Bi. However, although Wang Bi eliminated imagery, he himself actually understood imagery. Therefore, his commentaries often arose from imagery and could be consistent with Jiao's Forest of Changes, so I also adopt his views.

朱子晚年《易》說云：「程子謂得其義則象數在其中，吾以為先見象數，方說得理。不然，事無實證，則虛理易差。」又云：「聖王崇《詩》《書》《禮》《樂》以造士，未嘗言《易》，《易》自別是一個道理，某枉費許多年功夫。」蓋深知《易》象之重，然已無及。

Zhu Xi, in his later years, discussed the Book of Changes, saying: "Master Cheng believed that if one grasps the principles, the images and numbers would naturally be included within them; I, however, believe that one must first see the images and numbers before one can explain the principles. Otherwise, without concrete evidence, abstract principles are easily prone to error." He also said: "The sage kings promoted the Book of Poetry, the Book of Documents, the Book of Rites, and the Book of Music to cultivate scholars, but they did not specialize in the Book of Changes. The Book of Changes is indeed a separate set of principles. I have spent many years on this without achieving much." This shows that Zhu Xi, in his later years, deeply understood the importance of the images in the Book of Changes, but it was too late to make up for it.

《史記·春申君傳》作無望，言無所期望也。京房則以為大旱之卦，萬物皆死，無所復望。《漢書·谷永傳》「處無妄之卦運」，《後漢書·崔駰傳》「值無妄之世」，亦皆義取無望，後馬、鄭皆從之。虞翻則訓妄為亡，無妄者，無所亡失也，自謂本《序卦》。何妥、崔憬、王弼，則又妄為虛妄，無妄者，言凡物見雷，盡失其虛妄也。

The "Wu Wang" hexagram is cited in the "Records of the Grand Historian: Biography of Chunshen Jun" as "wu wang," meaning there is nothing to hope for. Jing Fang regarded the "Wu Wang" hexagram as one of great drought, where all things die and there is nothing to hope for. The "Book of Han: Biography of Gu Yong" mentions "living through the era of the Wu Wang hexagram," and the "Book of the Later Han: Biography of Cui Yin" refers to "living in the age of the Wu Wang hexagram," both using the meaning of "nothing to hope for." Later, Ma Rong, Zheng Xuan, and others followed this interpretation. Yu Fan, however, interpreted "wang" as "wang" (loss), saying "wu wang" means there is nothing lost. He claimed this interpretation was based on the "Sequence of Hexagrams" statement "after the return, there is no more recklessness." He Tu, Cui Jing, and Wang Bi further interpreted "wang" as "wuwang" (falsehood), saying "wu wang" refers to the idea that when all things hear the sound of thunder, their false thoughts vanish completely.

清儒惠士奇、張惠言、姚配中、焦循用虞義，毛西河、俞樾等用王弼義，祗惠棟用西漢說，以妄為望，議論紛歧，莫衷一是。今案《易林·復之無妄》云：「年歲無有。」又《未濟之無妄》云：「秋飢無年。」皆作無望也。因思《彖傳》云：「無妄之往，何之矣。」亦作無望。

In the Qing dynasty, scholars such as Hui Shiqi, Zhang Huiyan, Yao Peizhong, and Jiao Xun followed Yu Fan's interpretation. Mao Qiling (Xihé) and Yu Yue followed Wang Bi's interpretation. Only Hui Dong followed the Western Han interpretation, reading "wàng" for "wàng." There were many conflicting views, with no single consensus. Now, according to Jiao Yanshou's "Yi Lin" "Fu Zhī Wú Wàng" which says "there is no year," and "Wei Ji Zhī Wú Wàng" which says "autumn famine, no harvest," the two lines of "Yi Lin" both transform into the hexagram "Wú Wàng," and the meaning of the lines is entirely about the failure of harvest and the breaking off of hope. This shows that Jiao read it as "wú wàng." Looking back at the "Commentary on the Judgment" which says "without expectation, where can one go?" it should also be read as "wú wàng" — precisely because there is no hope left, there is nowhere to go further.

初九云：「無妄往吉。」言非所期望而吉也。六三云：「無妄之災。」言非所期望而有災也。九五云：「無妄之疾。」言疾已無望而竟愈也。上九云：「無妄，行有眚。」言事已無望，行必有眚也。若作無亡失、無虛妄解，義皆背戾，祗初九爻詞於二義尚可通，然亦不如無望義長。

The line statement for the first yang line says "Without expectation, going forward is auspicious," meaning something that was not expected turns out auspicious. The line statement for the sixth yin line says "Disaster without expectation," meaning something that was not expected leads to disaster. The line statement for the fifth yang line says "Illness without expectation," meaning the illness had no hope of recovery but unexpectedly heals. The line statement for the top yang line says "Without expectation, action brings misfortune," meaning when there is no hope, further action will certainly bring misfortune. If interpreted by Yu Fan as "without loss" or by Wang Bi as "without falsehood," the meanings of these line statements would contradict each other; only the first line can still be somewhat coherent under those two interpretations, yet it is still far less coherent than the meaning of "without hope."

虞翻謂《序卦》「復則不妄矣」，故以妄為亡，豈知《雜卦》云「無妄，災也」，亦謂無望，無望故災。韓康伯云：「《序卦》之所明，非《易》之縕，蓋因卦之次，託象以明義。」專以孩卦次之亂，故其上下卦綰合之義，非盡可據以解經。如「物不可以久居其所，故受之以《遯》」，「物不可以終壯，故受之以《晉》」，如「傷於外者必反其家」，如「困乎上者必反下，故受之以《井》」，顯為綰合之詞，其不能據以解經，亦明矣，此虞義之失也。

Yu Fan interpreted "wang" as "wang" based on the "Xu Gua" passage "Fu zhe bu wang yi," but he did not realize that the "Za Gua" clearly states "Wu Wang, zai ye," which also means "wu wang," or "without hope." Precisely because there is no hope, there is disaster. Han Kangbo had already said: "The 'Xu Gua' does not reveal the profound meaning of the Zhou Changes, but rather explains the principles by referring to the sequence of the sixty-four hexagrams, using the symbolic images as a basis." It is specifically aimed at reconciling the discrepancies in the sequence of the hexagrams, so the interpretations that combine the upper and lower hexagrams cannot all be used to explain the classics. For example, "wu bu ke yi jiu ju qi suo, gu shou zhi yi Duan," "wu bu ke yi zhong zhuang, gu shou zhi yi Jin," and again "shang yu wai zhe bi fan qi jia," "kun hu shang zhe bi fan xia, gu shou zhi yi Jing," clearly show that these are just concatenated words combining the names of the preceding and succeeding hexagrams, and it is clear that they cannot be used to explain the classics. This is precisely the error in Yu Fan's reasoning.

若如崔、何等解作無虛妄，無虛妄者，信也，《中孚》也。《中孚》而信，天下豈有不利有攸往者哉？尤與《彖傳》不合。若作無望，則皆協也。西漢時無不如是詁也，非祗《易林》也。至東漢末，《易》失傳，始雜說紛歧矣，乃後儒從東漢者多，則不可解。

If interpreted as 'without falsehood' as崔憬 and何妥 did, then 'without falsehood' means sincerity, which is the meaning of the hexagram 中孚. If the heart is sincere, how could there be any reason for 'not advantageous to go anywhere'? This contradicts the explicit statement in the Commentary on the Judgment that 'not advantageous to go anywhere'. Only when interpreted as 'without expectation' does the hexagram statement, the Commentary on the Judgment, and the six lines all fit perfectly. People in the Western Han dynasty all interpreted it this way, not only Jiao's Forest of Changes. It was only after the study of the Book of Changes was lost at the end of the Eastern Han dynasty that various interpretations arose. However, later Confucian scholars mostly followed the views of the Eastern Han, which is puzzling.

物與無妄者，物咸失其所望。京房《易傳》以為大旱之卦，百穀草木咸就枯槁，萬物皆死，無所復望。京氏之解，無一字不從象生：艮為火，大離為火，震為百穀草木，而離為枯槁，無雲而雷，繼以巽風，故萬物咸死。

The phrase "what is called 'things and no misfortune'" means that all things have lost their hopes. Jing Fang's commentary on the Book of Changes classifies the hexagram Wuwang as the hexagram of a great drought, where all grains and plants wither together, and all things die, leaving no hope. Jing Fang's interpretation derives every word from the hexagram's imagery: the middle line of Wuwang forms the trigram Gen, which represents fire; the entire hexagram combines lines two to five to form the trigram Li, which also represents fire. The lower trigram Zhen represents grains and plants, and the fire of Li causes them to wither. The upper trigram Qian and lower trigram Zhen together depict thunder without clouds, followed by the trigram Xun, which represents wind, thus causing all things to wither completely.

是以《易林·復之無妄》云：「踦牛傷暑，不能成畝，草萊不闢，年歲無有。」坤為牛，離亦為牛，伏大坎，坎蹇，故曰踦牛。艮火離火，故傷暑，卽京氏所謂大旱也。年歲無有，卽京氏所謂萬物皆死也，皆以釋物與無望之義也。又《無妄之革》云：「枯旱三年，草萊不生。」《革》通《蒙》，《蒙》上艮為火，互離為火，故曰枯旱，二至上與《無妄》初至四同也。焦、京之言，前後如一，足見京義皆受之焦也。

Therefore, the "Forest of Divination" (Yilin) under the hexagram "Fu" (Return) to "Wuwang" (No Pretense) says: "A crippled ox is harmed by the heat, unable to plow the fields, the grass and weeds are not cleared, and there is no harvest." The hexagram Kun represents an ox, and Li also represents an ox; there is a hidden hexagram of great Kan, which represents difficulty and lameness, hence "a crippled ox." Both Gen and Li represent fire, so it is said "harmed by the heat," which is exactly what Jing Fang called a great drought; "no harvest" is exactly what Jing Fang called all things dying. Both sentences explain the meaning of "things without hope." Again, under the hexagram "Wuwang" (No Pretense) to "Ge" (Change), it says: "Three years of drought, grass and weeds do not grow." The hexagram "Ge" is in mutual opposition with "Meng," and "Meng" has the upper trigram Gen representing fire, and the middle line hexagram Li also representing fire, hence "drought." The structure of "Meng" from the second line to the top line is the same as the structure of "Wuwang" from the first line to the fourth line. Jiao Yanshou and Jing Fang's interpretations are consistent, showing that Jing Fang's meaning was derived from Jiao Yanshou.

乃至東漢，《易》象失傳，虞翻等既不知艮火象，又不識大離象，詫大旱之說之無根，謂京氏及俗儒失之遠矣。獨不思孔子《彖傳》，乃章解句釋卦詞者也，傳明曰「不利有攸往」「無妄之往，何之矣」，若作無亡，尚何之而不利？舍《彖傳》不從，而從《序卦》，是所謂舍近取遠、棄明就暗者也。後李道平作《集解》卷疏，又疑京氏大旱之說本於「無妄災」，仍未得也。

By the Eastern Han dynasty, the images of the Yi hexagrams had been lost. Yu Fan and others did not know that Gen (mountain) could represent fire, nor did they recognize the image of great Li (fire). Therefore, they were surprised that Jing Fang's claim of great drought had no basis, and they criticized Jing Fang and the vulgar scholars for being far off the mark. They failed to consider that Confucius' Commentary on the Judgment explains each chapter and sentence of the Hexagram Statement. The Commentary clearly states, "It is not advantageous to go anywhere," and "Without being reckless, where should one go?" If "wu wang" means "without loss," then where would going be disadvantageous? To abandon the close and clear Commentary on the Judgment and instead follow the Order of Hexagrams is called abandoning the near for the distant and abandoning the bright for the dark. Later, Li Daoping, in his Collected Explanations of the Zhou Changes, also speculated that Jing Fang's claim of great drought was derived from the phrase "wu wang, zai ye" in the Miscellaneous Hexagrams, but he still did not get it right.

彖曰「不利有攸往」，傳曰「無妄之往，何之矣」，皆不利也。震為耕穫，為菑畬，艮止，故不耕穫、不菑畬，不利也。前臨三陰，陰遇陰則阻，亦不利。象曰「未富」，亦不利。乃曰「則利有攸往」，後解此者，無論若何斡旋，若何委曲，總不能協。

The Hexagram Statement of the "彖" says, "It is not advantageous to go somewhere." The Commentary on the Judgment also says, "Going without expectation, where should one go?" Both indicate disadvantage. The lower trigram is Zhen, representing plowing and harvesting, or clearing land, but the middle line forms the trigram Gen, which signifies stopping. Therefore, it says there is no plowing, no harvesting, no clearing of land, which is also disadvantageous. The second line, Six Two, faces forward three yin lines; yin meeting yin meets resistance, which is also disadvantageous. The "Xiao Xiang" says, "Not yet rich," which is still disadvantageous. However, the Line Statement says, "It is advantageous to go somewhere." Later commentators have tried to explain this sentence in various ways, but no matter how they twist or adjust the interpretation, it remains unclear.

案《禮·坊記》引此云：「不耕穫，不菑畬，凶。」多一凶字。既曰凶，則不利也明矣。《坊記》為七十子所述《易》說之最古者，或據此疑則為凶之訛字，或又疑此五字全為衍文，愚則疑仍彖詞之「不利有攸往」也。

The "Line Statement" cited in the "Fang Ji" section of the "Rites" is quoted as "Not plowing and not harvesting, not clearing and not cultivating, misfortune," which includes an additional character "misfortune" compared to the current version. Since it mentions "misfortune," it is clear that it refers to an unfavorable situation. The "Fang Ji" is the oldest among the interpretations of the "Book of Changes" transmitted by the seventy disciples of Confucius. Some people have doubted that the character "then" in the current version is a mistaken substitution for "misfortune," while others have suspected that the five characters "then it is advantageous to go somewhere" were all later additions. I, however, suspect that the original text should still be consistent with the "Tuan" statement of the Hexagram, which says "unfavorable to go somewhere."

茲再證之。《易林·復之無妄》云：「踦牛傷暑，不能成畝，草萊不闢，年歲無有。」夫不能成畝、草萊不闢，卽不耕穫不菑畬也；年歲無有，卽無望也。又《未濟之無妄》云：「獨立山顛，求麋耕田，草木不闢，秋飢無年。」艮山，巽高，而乾為首，故曰獨立山顛。艮為求，震為麋為耕，麋非耕田之獸而使之耕，故曰草木不闢，釋不耕不菑也。秋飢無年，仍無妄也，凶也，與《坊記》之義如合符契，皆不利也。

Now let us verify with the Lin Ci. The "Yi Lin · Fu Zhi Wu Wang" says: "A single ox is injured by the heat, unable to plow the field, the grass and weeds are not cleared, and there will be no harvest." What is meant by "unable to plow the field" and "the grass and weeds are not cleared" is exactly the line statement "not plowing and not harvesting, not clearing and not tilling." "There will be no harvest" corresponds to "no expectation." Again, in "Wei Ji Zhi Wu Wang" it says: "Standing alone on the mountain peak, seeking to cultivate the field with a deer, the grass and trees are not cleared, and there will be hunger in autumn and no harvest." In the "Wu Wang" hexagram, the yao and mutual trigrams form Gen, which represents a mountain; the hidden Xun trigram represents height, and the upper trigram Qian represents the head, so it says "standing alone on the mountain peak." Gen represents seeking, and the lower trigram Zhen represents a deer and farming; a deer is not an animal used for farming, yet it is forced to do so, so it cannot clear the land, which is exactly explaining "not farming, not tilling." "Hunger in autumn and no harvest" is still "Wu Wang," which is "misfortune." This is consistent with the quotation from the "Fang Ji," all pointing to "unfavorable."

虞翻謂二應五，故利往，然二五皆當位，不能相升降，謂二孚五則可，謂二往五則不可。況《大畜》九三無應，而亦曰有攸往，則利往之不指應予明甚。又《遯》初六有應予，而爻詞曰「勿用有攸往」，陰遇陰則阻，則攸往之與應予無涉益明。此與《未濟》六三爻詞皆有訛誤，不能強說。

Yu Fan said that the line six in the second is in correspondence with the line nine in the fifth, so it is advantageous to go forward. However, the lines two and five are each in their proper positions and cannot rise or fall relative to each other. It is acceptable to say that line six in the second is sincere toward line nine in the fifth, but it is not acceptable to say that line six in the second can go and occupy the position of five. Moreover, in the hexagram Da Xu, line nine in the third does not have a corresponding line, yet the line statement still says "it is advantageous to go forward," which clearly shows that "advantageous to go forward" does not depend on whether there is a corresponding line. Looking further at the hexagram Duan, line six at the beginning has line nine in the fourth as its corresponding line, yet the line statement says "do not go forward," because yin meets yin and is obstructed — this shows clearly that "advantageous to go forward" has nothing to do with whether there is a corresponding line. In this case, the line statement is similar to that of line six in the third of the hexagram Wei Ji, and both contain textual errors, so they should not be forced into a forced interpretation.

此與《蠱》之利涉大川同也。《蠱》彖曰「往有事也」，坤為事，言陽往得二陰為助也；《大畜》彖曰「應乎天也」，五為天位，亦言陽往得五陰為應也。《大畜》《蠱》自三以上體同也，皆以坤陰為大川也。又按《易林》與九家往往以乾為河，《大畜》乾水在下，中爻震為舟，舟在水上，利涉之象，說尤通也。

The phrase "favorable for crossing great rivers" in the hexagram Da Xu is the same as in Gu. The Commentary on the Judgment of Gu says "going to attend to matters," with坤 representing matters, meaning that a yang line proceeds and receives assistance from the yin lines. The Commentary on the Judgment of Da Xu says "responding to heaven," with the fifth line being the heavenly position, similarly indicating that a yang line proceeds and receives the yin line at the fifth position. Da Xu and Gu share the same upper trigram from the third line onward, and both take坤 yin as the "great river." Additionally, the Jiao Forest of Changes and the nine schools of the Book of Changes, including Xun Shuang, often take Qian as the river. In Da Xu, the lower trigram Qian represents water below, the middle trigram Zhen represents a boat, and the boat moving on water is precisely the image of "favorable for crossing," making this interpretation more coherent.

旁通《萃》。《萃》二至四艮，艮為覆震，震為車為輹，震覆，故脫輹。震輹之象，由左氏、《子夏傳》尋得，義則《易林》用覆也。

The hexagram Da Xu is complementary to Cui. In the hexagram Cui, the second to fourth lines form an interchanged Gèn trigram, which is inverted Zhen. Zhen represents a chariot and the hidden rabbit beneath it (fu tu), but since Zhen is inverted, the chariot's fu tu naturally falls off, hence the line statement says "the carriage loses its fu tu." The imagery of Zhen as a chariot and fu tu comes from the Zixia Commentary on the Changes and the Zuo Zhuan. The concept of inversion, however, is a common method used in the Jiao's Forest of Changes.

《晉語》：「震，車也。」《左傳》閔元年《屯》之《比》，卽震變坤，震變坤曰「車從馬」，是以震為車也。《大畜》九三之輿衛，亦以震為車明矣。曰閒輿衛者，乾為日，震利往，故曰日閒。乃自東漢以來，祗知坤為大輿，無以震象詁輿衛者，左氏雖明言，不信也。

The *Guoyu* · *Jin Yu* says: "Zhen means a chariot." In *Zuo Zhuan* · *Min Gong Yuan Nian*, Bi Wan divined about his official career and encountered the hexagram *Zun* changing into *Bi*. This indicates that Zhen changes into Kun, and Xin Liao interpreted the oracle as "a chariot following a horse," showing that Zhen is taken as a chariot. The phrase "Yu Wei" in *Daxu* · *Jiu San* also uses Zhen as a chariot. This is clearly stated. The reason for saying "Xian Yu Wei" is that the upper trigram is Qian, representing the sun, and the middle line Zhen is favorable for movement, so it is said "the sun guards," meaning daily practice of chariot and military affairs. However, since the Eastern Han dynasty, scholars have only known that Kun represents a large chariot, and no one has used the image of Zhen to explain "Yu Wei." Although *Zuo Zhuan* and *Guoyu* clearly explain this, they have not been believed.

茲《易》《大畜之明夷》云：「車馳轊擊。」《明夷》上坤，三至五震，坤車震車，故曰轊擊。又《噬嗑之震》云：「車雖駕。」亦以震為車。可見《大畜》亦以互震為車，不必以坤為車，《易》例有明象卽不用伏也。

Now referring to Jiao's Forest of Changes, the section on "Great Accumulation" changing into "Darkness Abiding" says: "The chariot rushes, the axle collides." The upper trigram of "Darkness Abiding" is坤 (Earth), and the lines three to five form the trigram 震 (Thunder). Both 坤 and 震 represent chariots, so two chariots are running side by side, hence the saying of colliding axles. Again, in "Crushing the Bones" changing into "Thunder," it says: "The chariot is yoked." Here, 震 is taken as the chariot. This shows that in "Great Accumulation," the trigram 震 formed by the interacting lines is also taken as the chariot, and it is not necessary to take 坤 as the chariot. The general practice in The Zhou Changes is that if the primary hexagram already clearly presents a卦象, then the hidden trigram is not used.

《大畜》九三云「利有攸往」，陽遇陰則通也，利往卽利涉大川也，而知者鮮。至小象「上合志」之義，自東漢以來卽晦而不明：三陽，上亦陽，志如何合？虞翻知其然也，謂五已之正為陽，上覆之正為陰，成坎，坎為志，三應上為合志，一變不足而再變，其為曲解，不待辨矣。然後之治漢《易》者，窘無他說，不得不從也。

The Hexagram "Great Accumulation" (Da Xu) line nine in the third says "It is advantageous to go somewhere," because a yang line meets a yin line and thus becomes smooth; here "advantageous to go" is the same as the Hexagram Statement's "advantageous to cross a great river." Unfortunately, few people understand this level. As for the "Small Image" saying "coinciding with the will," since the Eastern Han dynasty, its meaning has been obscure: nine three is yang, and upper nine is also yang; how can the wills of two yang lines coincide? Yu Fan also knew this was not logical, so he said that line six five first changes to yang and becomes correct, and upper nine then changes to yin and becomes correct, thus lines three to five form Kan, which represents will, and nine three corresponds with the upper line, which is called "coinciding with the will." Changing once is not enough, so it has to change again, which is a misinterpretation, and there is no need to argue about it. However, later scholars who studied the Han dynasty version of the Book of Changes were embarrassed by the lack of other interpretations, so they had no choice but to follow his explanation.

茲以《易林》陰陽相遇則吉之義推之，三臨二陰，故利往。上謂四五，非上九也，《易》凡在前者皆曰上。《節》六四亨，象曰「承上道也」，上謂九五，陰遇陽故亨；《升》初六大吉，象曰「上合志也」，言初六與九二九三合志，陰遇陽故吉，在前故謂之上。若六四與上六皆陰，不相應，如何合志？

Now using the principle from Jiao's Forest of Changes that "yin and yang meeting brings good fortune," we can infer that the nine in the third line is close to the six in the fourth and the six in the fifth, both yin lines, so it is favorable to go forward. The "upper" mentioned in the Small Commentary refers to the fourth and fifth lines, not the upper nine. In the Zhou Changes, any line that comes before can be called "upper." In the卦 of "Jie" (Restraint), the six in the fourth line says "favorable," and the Small Commentary says "receiving the upper line," referring to the nine in the fifth line. Yin receiving yang brings smoothness. In the卦 of "Sheng" (Ascent), the initial six says "great good fortune," and the Small Commentary says "joining with the upper," meaning the initial six shares the same aspirations with the nine in the second and the nine in the third lines. Yin meeting yang brings good fortune. Since the second and third lines are before it, they are called "upper." If "upper" were forced to mean the upper line, then in the卦 of "Sheng," the six in the fourth line and the upper six, both yin lines, would not correspond with each other, and how could they be said to share aspirations?

知《升》上之指二三，則知《大畜》之上之確指四五也明矣。《升》互坎，故曰志；《大畜》互離，伏坎，故亦曰志。後人不知《易》能解《易》，必以上為上九，故永不能通。又《無妄》初九云「往吉得志」，往吉卽利有攸往，得志卽合志，亦以前臨二陰，非謂應四也。《無妄》初至四，與《大畜》三至上，體同也，仍以《易》解《易》也。

Understanding that the "upper" in the "Ascending" hexagram refers to the second and third lines, nine two and nine three, it becomes clear that the "upper" in the "Great Accumulation" hexagram specifically refers to the fourth and fifth lines, six four and six five. In the "Ascending" hexagram, the inner trigrams form Kan, which represents will, hence the term "will." In the "Great Accumulation" hexagram, the inner trigrams form Li, with Kan hidden within, so it can also be said to represent "will." Later scholars failed to use the Zhou Yi itself to explain the Zhou Yi, insisting on interpreting "upper" as nine at the top, thus never fully understanding it. Now consider the "Initial Nine" in the "Without Rashness" hexagram, which says "going is auspicious, achieving will," where "going is auspicious" corresponds to "favorable to go," and "achieving will" corresponds to "coinciding will." This is because the line is adjacent to the two yin lines six two and six three ahead, not because it corresponds with nine four. The hexagram structure from the initial line to the fourth line in "Without Rashness" is the same as the structure from the third line to the top line in "Great Accumulation"—this remains a method of using the Yi to explain the Yi.

先天震東北，後天艮東北，故取象上下相合，先動而後止，卽先震後艮也。《易林》說《坎》云：「丑寅不徙。」卽震艮合居，震艮合居卽頤也。

The Earlier Heaven Trigrams place Zhen (Thunder) in the Northeast, while the Later Heaven Trigrams place Gen (Mountain) in the Northeast. Since they occupy the same position, the hexagram Yi (Nourishing) takes its image from the union above and below. This reflects the sequence of first movement and then stillness, with the lower trigram Zhen representing movement and the upper trigram Gen representing stillness. The Jiao Forest of Changes states that the hexagram Kan has a line: "Chou and Yin do not move." Chou and Yin correspond to the position of Gen, and Zhen also shares the same trigram group, which is why Zhen and Gen are combined. When Zhen and Gen are combined, they form the hexagram Yi. This shows that Jiao Yanshou's naming and imagery are based on the principle of combining the positions of the Earlier Heaven and Later Heaven Trigrams.

荀爽謂：「雷為號令，今在山中閉藏，故慎言語。雷動於下，以陽食陰，艮以止之，故節飲食。言出乎身，加乎民，慎言語，所以養人也。飲食不節，殘賊群生，故節飲食以養物。」其詁既膚淺不當，清儒多祖述荀氏者，更無他解。

Xun Shuang's explanation is: "Thunder is a command, now the thunder is hidden in the mountain, so one should be cautious in speech. Thunder moves below, using yang energy to consume yin energy, and the upper part, Gen, adds restraint, so one should regulate food intake. Speech comes from oneself and affects the people; being cautious in speech is used to nourish people. Unregulated food intake harms all creatures, so regulating food intake is used to nourish things." This interpretation is both shallow and inappropriate, yet most Qing dynasty scholars followed Xun Shuang and could not offer other explanations.

茲以《易林》證之。宜慎宜節之故，則以正覆兩震相對也。震為言語，人知之；震為口舌，能飲食，或疑之。乃《易林·井之師》云：「長舌作凶。」是震亦為舌，與兌同，特形較長耳。言語飲食之象既定，則慎節可得言矣。

Now let us verify this with the "Jiao's Forest of Changes." The reason for being "cautious" and "frugal" is because the "Yi" hexagram contains one upright and one inverted Zhen trigrams facing each other. Zhen represents speech, which is well known to everyone; saying that Zhen represents the mouth and tongue and can govern food and drink, some people may doubt. However, the "Forest of Changes" under the "Well" hexagram to "General" says: "A long tongue brings misfortune." The "General" hexagram has Zhen trigrams from the second to the fourth lines, showing that Zhen also represents the tongue, similar to Dui, but its shape is longer. Since the images of speech and food are confirmed, the principles of being "cautious" and "frugal" can be discussed.

按《易林·復之頤》云：「噂噂所言。」《詩》毛傳：「噂，對語也。」頤象也。《晉之艮》云：「學靈三年，聖且聰明。」學靈者，小兒學言語也，艮為小子，艮三至上兩震相對，亦頤也。下言一出，上卽如言而反，君子出言為天下法，安得不慎？

According to the *Yi Lin* (Commentary on the Changes) under *Fu* (Return) to *Yi* (Nourishment), it says: "Tuan tuan su yan." The *Mao Transmission* of the *Shijing* (Book of Songs) explains "tuan" as face-to-face conversation. Two mouths facing each other speaking is precisely the image of the *Yi* hexagram. Again, in the *Jin* (Progress) to *Gen* (Obstruction), it says: "Xue ling san nian, sheng qie ceng ming." The term "xue ling" refers to a child learning to speak; *Gen* represents the young person, and the third line to the top line of the *Gen* hexagram consist of two *Zhen* (Thunder) trigrams facing each other, which is the structure of *Yi*. When something is spoken below, it is immediately echoed back above. Therefore, a gentleman's words should be a model for the world; how could he not be cautious? This is the origin of the image of "shen yuyan" (cautious speech).

又《履之蒙》云：「兩人相伴。」震為人，正覆震，故曰兩人。「相與悖戾，心乖不同，訟爭訩訩。」《蒙》二至上亦兩震相對，亦頤也，相對卽相背，故曰背戾、曰訟爭。悖戾訟爭，又安得不慎？故曰慎言語。

Another passage from "The Fulfillment of the Foot" says: "Two people accompanying each other." Zhen represents people, and there are two Zhen trigrams, one upright and one inverted, hence the phrase "two people." Lin's commentary continues: "They are in conflict, their hearts are not in agreement, and there is contention and strife." The second line to the top line of the Meng hexagram also consists of two Zhen trigrams facing each other, forming the structure of the Yi hexagram. Facing each other means being opposed, hence the terms "conflict" and "contention." Since opposing mouths lead to conflict and contention, how can words not be spoken with caution? Therefore, the great image says "be cautious with words."

至節飲食，按《易林·未濟之頤》云：「齗齗囓囓，貧鬼相責。」以上下兩震口相對，故曰齗囓。又《豐之坎》云：「兩狗同室，相囓爭食。」以《坎》二至五正反兩艮，卽兩震，亦頤也，故曰兩狗，故曰相齧。蓋飲食者，人之所爭，兩口相對，爭象尤著，爭則怒，怒則斗，能節則爭端息矣，故節飲食。

Now talking about "regulating diet." The "Forest of Divination" under the "Yi Lin" section, "Wei Ji to Yi," says: "Clashing teeth, poor ghosts blaming each other." This is because the two Zhen trigrams above and below form facing mouths, hence the image of clashing teeth. Again, in "Feng to Kan," it says: "Two dogs in the same room, biting each other for food." The Kan hexagram's second to fifth lines consist of one Yang and one Yin艮, which are also two Zhen trigrams, forming the structure of Yi, hence the term "two dogs" and "biting each other." Diet is something people often compete for; two mouths facing each other make the image of competition very clear. Once there is a struggle, anger arises, and anger leads to conflict. If one can control oneself, the conflict will cease, hence the great image says "regulate diet."

至慎與節之象，艮多節，見《說卦》；艮止為慎，學《易》者類能知之。然謂慎與節之象由艮而取則可，專以艮為義則膚末矣。《損》象云：「君子以懲忿窒欲。」懲忿卽慎言語，窒俗卽節飲食，《損》二至上亦頤也，可互為註腳也。焦循作《易通釋》，徒牽攣卦變，至於《易》旨真通者，反多不釋，豈不異哉！《頤》象曰「道大悖也」，卽謂正反兩艮震相背。

As for the symbolic representations of "caution" and "frugality," the "Sayings on the Trigrams" states that Gen (Mountain) represents a tree with many joints, and since Gen also signifies stopping, it carries the meaning of caution. This is well known among those studying the Book of Changes. It is correct to say that the images of caution and frugality can be derived from Gen; however, if one relies solely on Gen to establish the meaning, it is too superficial. The "Loss" hexagram says, "The superior man uses it to restrain anger and suppress desires." Restraining anger corresponds to being cautious in speech, and suppressing desires corresponds to practicing frugality in diet. Moreover, the second line to the top line of the "Loss" hexagram also forms the structure of the "Nourishment" hexagram, and these two grand images can serve as mutual explanations. Jiao Xun, in his work "Easy Interpretations of the Book of Changes," only focused on the transformation of hexagrams, and for the truly comprehensive understanding of the Book of Changes, he often failed to provide explanations, which is quite strange! The "Nourishment" hexagram's sixth line says, "The path is greatly contrary," which precisely refers to the mutual opposition between the Gen and Zhen trigrams.

自《易》象失傳，於是虞翻等拘於《說卦》：以坎為水，不知坤亦為水；以乾為金，不知艮亦為金；以坎為月，不知兌亦為月；以坤為牛，不知離亦為牛，離牛雖見於卦辭、見於《左傳》，不信也；以坤為輿，不知震亦為輿，震車雖見於爻辭、見於左氏內外傳，不信也。

Since the images of the Book of Changes were lost, Yu Fan and others have clung to the existing entries in the "Commentary on the Hexagrams," only knowing that Kan represents water but not that Kun also represents water; only knowing that Qian represents metal but not that Gen also represents metal; only knowing that Kan represents the moon but not that Dui also represents the moon; only knowing that Kun represents an ox but not that Li also represents an ox—the idea that Li represents an ox is mentioned both in the hexagram statement of Li, "raising a female ox is auspicious," and in the divination examples in the "Zuo Zhuan," yet they still do not believe it; only knowing that Kun represents a carriage but not that Zhen also represents a carriage—the idea that Zhen represents a carriage is mentioned both in the line statements and in the "Zuo Zhuan" and "Guoyu," yet they still do not believe it.

以離為甲兵，因而以離為斧為矢，不知《易》凡言斧者皆指兌，言矢皆指坎；以離為雉，因而以離為鴻為鶴，不知《易》之言鴻指艮震，言鶴專指震；以離為火，不知艮亦為火；以離為日，不知乾亦為日；以離為龜，不知艮陽在上亦為龜。

They took Li as armor and weapons, thus deducing that Li represents an axe and arrows. But they do not realize that in The Zhou Changes, whenever an axe is mentioned, it refers to Dui, and whenever arrows are mentioned, it refers to Kan. They took Li as a pheasant, thus deducing that Li represents a wild goose and a crane. But they do not realize that in The Zhou Changes, a wild goose refers to Gen and Zhen, and a crane is specifically associated with Zhen. They know only that Li represents fire, but they do not know that Gen also represents fire. They know only that Li represents the sun, but they do not know that Qian also represents the sun. They know only that Li represents a turtle, but they do not know that Gen, with one yang over two yin, is also a turtle image.

至於《易》用旁通，漢魏人察見者已少，然尚偶有之；若覆象，則無一人能知矣。自覆象失傳，於是《革》九四改命之改字、《巽》上九喪斧之喪字、《隨》初九官有渝之渝字、《頤》初九舍爾靈龜之舍字，其義遂無有通者。

As for the method of using the opposite trigrams in the Zhou Changes, only a few people in the Han and Wei periods were aware of it, though occasionally there were still some who understood it. But when it comes to the method of taking images by inverting the trigrams, no one has ever understood it. Since the method of inverted images was lost, the meanings of certain words in the hexagrams have become obscure. For example, the word "change" in the ninth line of the hexagram Gé (Revolution), the word "loss" in the top line of the hexagram Xùn (Wind), the word "change" in the first line of the hexagram Suí (Following), and the word "abandon" in the first line of the hexagram Yí (Nourishment) all derive from the inverted images, and no one has been able to explain them properly anymore.

茲按《易林》靈龜之象，正以艮耳。《易林·歸妹之剝》云：「靈龜陸處。」以艮為龜也。又《需之觀》云：「魚鱉傾倒。」則以《觀》之互艮為鱉。又《復之咸》云：「買鱉失魚。」則以《咸》之下艮為鱉。又《乾之井》云：「黿鳴歧山，鱉應山淵。」《井》通《噬嗑》，《噬嗑》初至四正覆震，故曰鳴、曰應；正覆艮，故曰黿、曰鱉、曰山；坤為淵，陽居在下，故曰山淵。

Now according to the imagery of the spiritual turtle used in Jiao's Forest of Changes, it is precisely taking the trigram Gen (Mountain). In the Forest of Changes, the hexagram "Guimei" changing to "Bo" says: "The spiritual turtle lives on land." The upper trigram of "Bo" is Gen, so Gen is taken as the turtle. Again, in the Forest of Changes, the hexagram "Xu" changing to "Guan" says: "Fish and turtles overturn." Here, the mutual trigram Gen in "Guan" is taken as the turtle. Again, in the Forest of Changes, the hexagram "Fu" changing to "Xian" says: "Bought a turtle but lost a fish." Here, the lower trigram of "Xian" is Gen, so Gen is taken as the turtle. Again, in the Forest of Changes, the hexagram "Qian" changing to "Jing" says: "A tortoise cries out on Qishi Mountain, and the turtle responds from the mountain and the deep." "Jing" and "Shihè" are complementary hexagrams. "Shihè" has the first to fourth lines as one upright and one inverted Zhen (Thunder), so it says "cry" and "respond." It also has one upright and one inverted Gen, so it says "tortoise" and "turtle" and "mountain." Kun (Earth) is the deep, and the yang line is in the lower position, so it says "mountain and deep."

言艮黿鳴用反震於山上，艮鱉用反艮應於坤淵之下也，與《中孚》之「鳴鶴在陰，其子和之」義同也，全用覆也。《頤》初九之舍爾靈龜，艮為龜，初九艮覆，故曰舍爾靈龜，與《巽》上九之喪斧、《革》九四之改命義同也，皆用覆也。至於《損》六五之龜、《益》六二之龜，亦皆以艮為龜，而六五六五皆有應，故曰益。

The image of the tortoise in the hexagram艮 (Gen) is used in a reversed manner. When the tortoise calls out, it is represented by the reversed image of thunder, and the call is made on the mountain; when the tortoise is used in a reversed manner, it is represented by the reversed image of Gen, and the response is given beneath the earth. The meaning is similar to the line Nine in the Second (Nine in the Second) of the hexagram 中孚 (Zhongfou), which says, "The crane calls in the shade, and its young respond in harmony." All of these use the image of reversal. Similarly, the line Nine at the Beginning (Nine at the Beginning) of the hexagram 颐 (Yi) says, "Abandon your spiritual tortoise." Here, Gen represents the tortoise, and the position of Nine at the Beginning is the reversed position of Gen, so the image of the tortoise being overturned signifies abandonment, hence the phrase "Abandon your spiritual tortoise." This is similar to the line Nine at the Top (Nine at the Top) of the hexagram 巽 (Xun), which says, "Lose the axe," and the line Nine in the Fourth (Nine in the Fourth) of the hexagram 革 (Ge), which says, "Change the destiny," all of which use the image of overturning. As for the line Six in the Fifth (Six in the Fifth) of the hexagram 损 (Sun) and the line Six in the Second (Six in the Second) of the hexagram 益 (Yi), both mention "ten tortoises," and they also use Gen to represent the tortoise. However, these two lines each have a responding line, so the image of the tortoise is not overturned, hence the phrase "either increase or decrease."

自艮龜之象失傳，於是虞翻謂《頤》初從《晉》四來，《晉》離象毀，故曰舍；《益》則命三變成成離龜；《損》則先使二變五變，再使三變成離為龜。聖人制詞，不取原有象，而取一變再變三變後之象，非虞氏無此說矣，此亦王弼《易》風行之一因也。然虞氏必如此者，則以《易》無象外字也。《易》無象外字，東漢人尚知之，王弼以後則微茫矣。《鼎》九三當位，虞氏竟背其之正之說，令三變陰。

Since the image of the mountain (Geng) as a turtle was lost, Yu Fan said that the first line of the "Yi" hexagram comes from the fourth line of the "Jin" hexagram changing, and since the fire image of "Jin" is destroyed, it is called "she." When explaining the "Yi" hexagram, he taught that the third line changes to form the fire image of the turtle. When explaining the "Sun" hexagram, he first taught that the second and fifth lines change, then the third line, to form the fire image of the turtle. The sages who composed the line statements did not take existing images, but rather took images that appeared only after one, two, or three changes. Except for Yu Fan, no one would make such a statement. This is also one of the reasons why Wang Bi's interpretation of the "Zhou Yi" became popular later. However, Yu Fan had to do this because he firmly believed that there were no words in the "Zhou Yi" outside of the images. The principle that "the "Zhou Yi" has no words outside of its images" was known to people in the Eastern Han dynasty, but after Wang Bi, it became hard to find. As for the third line of the "Ding" hexagram, which was originally in the correct position, Yu Fan forced the third line to change to yin, contradicting his own principle of "correcting the proper position of those who are not in the correct position."

此與《大畜》三與上合志義通。《大畜》三臨二陰，故利往；上乘二陰，故道大行，陽遇陰則通也。《頤》六二前臨三陰，故征凶；六五下乘三陰，故不可涉，陰遇陰則阻也，故象只戒其順上，順上，陰遇陽也。至上九下乘四陰，故利涉，與《大畜》上九同，陽得陰則通也。

This line is consistent with the principle of "上合志" in "大畜" nine three. In "大畜" nine three, the yang line is above the two yin lines six four and six five, so it is advantageous to move forward; in "小象," it says "the way is widely practiced" because when yang meets yin, the path is smooth. In "颐" hexagram six two, there are three yin lines before it, so it says "a journey is dangerous"; in six five, there are three yin lines below it, so it says "not suitable to cross a great river" — these are cases where yin meets yin, causing obstruction, hence "小象" only advises it to "be compliant and follow the superior," meaning to follow nine nine, which is yin meeting yang. As for nine nine, it is below four yin lines, so it says "advantageous to cross a great river," the same as "大畜" nine nine, because yang meeting yin leads to smoothness.

此以坤為大川，至為明白矣。乃二千年來坤水之象失傳，必以坎為大川：五變不能成坎，上變亦不能成坎，必五上全變乃成坎，坎象成而利涉不利，小不知屬何爻。後儒治漢《易》者雖多，不主虞翻不能解也。《易》義晦茫至此，非《易林》，孰能正之？

Here it is clearly using the Earth (Kun) as "great river," beyond any doubt. However, for two thousand years, the image of Kun as water has been lost, and scholars have insisted on taking Kan as the great river: changing only the fifth line cannot form Kan, nor can changing only the top line. It requires both the fifth and top lines to change to form Kan. Although the image of Kan is thus formed, it remains unclear which line corresponds to "favorable for crossing" and which to "not favorable for crossing." Although many have studied the Han dynasty version of the Book of Changes, without relying on Yu Fan's interpretations, they have no foothold. The meaning of the Book of Changes has become so obscure that without Jiao's Forest of Changes, who else could correct it?

此其義亦二千年長夜矣。因《易》說失傳，旁通之義不明，不知雷風相薄，凝合為一，遇其雌必獲其雄，此立竿而彼必有影也。《大過》對象《頤》，《頤》為大離，離「科上槁」，故曰枯，非以乾老為枯也。

The meaning of these two line statements has remained hidden for two thousand years. The reason is that the teachings of the Book of Changes have been lost, and the concept of mutual transformation is unclear. Scholars do not understand that thunder and wind press against each other, condense into one, and when encountering the yin, the yang is necessarily present at the same time—just as when a pole is raised, a shadow is inevitably formed on the other side. The opposite卦 (mutually related卦) of the Great Excess (Da Guo) is the Cultivation (Yi)卦. The second to fifth lines of the Cultivation卦 form a great fire (Li). The Sayings on the Hexagrams state that fire is associated with the wood that is dry and withered at the top, hollow in the middle and dry at the top. Therefore, the line statement refers to withering, not as Yu Fan interpreted it, by taking the old yang as withering.

凡《易林》言枯者，無不屬離。《豫之履》云：「枯槁腐蠹。」《謙之漸》云：「萬物空枯。」皆指離象。然猶可曰此非大離也。乃《泰之節》云：「自令枯槁。」《泰之艮》云：「物病焦枯。」《節》二至五、《艮》三至上皆大離，亦皆曰枯。然猶可謂卦象與《頤》與《大過》不同也。

Whenever the "Jiao's Forest of Changes" mentions "枯" (withered), it always refers to the trigram Li (Fire). In "Yu to Liu," it says: "Withered and decayed." In "Qian to Jie," it says: "All things are empty and withered." These all refer to the image of Li. Some may argue that these are only the fundamental Li, not the great Li. Then consider "Tai to Jie" which says: "Self-induced withering." And "Tai to Gen" which says: "Things are diseased and withered." The second to fifth lines of the Jie hexagram and the third to top lines of the Gen hexagram are all great Li, and they also mention "枯." Some might still say that these hexagrams are different from Yi and Da Guo.

乃《泰之咸》云：「老楊日衰，條多枯枝。」《咸》與《損》對，《咸》二至上《大過》，《損》二至上《頤》也。前數卦皆以離為枯，此枯枝亦用《損》之大離也明矣，象同語同，此不啻焦氏之特解《大過》爻詞矣。虞翻等誤用象，以乾老為枯，豈知必以離為枯者，離中虛故枯，乾為實為金玉，雖老不枯也。虞又謂卦為《大過》，故五過二應初，二過五應上，尤為荒謬，失古《易》例。

Then looking at "The Tai and Xian" which says: "Old Yang declines, with many branches withered." The Xian and Shen hexagrams are complementary. The second to top lines of the Xian hexagram form the Da Guo hexagram, and the second to top lines of the Shen hexagram form the Yi hexagram. In previous line statements, the image of Li (Fire) is used to represent withering. The "withered branches" here clearly also use the Li of the Shen hexagram. The hexagram image and the terminology are the same; this is clearly a comment by Jiao Yanshou specifically on the line statements of Da Guo. Yu Fan and others mistakenly used the image of Qian (Heaven) to represent withering. They did not realize that the reason for using Li (Fire) to represent withering is because the middle line of Li is empty, and emptiness leads to withering. Qian represents firmness and solidity, like jade and gold. Even if it is old, it will not wither. Yu Fan also said that because the hexagram is Da Guo, the nine in the fifth line crosses over the nine in the second line to correspond with the six at the beginning, and the nine in the second line crosses over the nine in the fifth line to correspond with the six at the top. This is even more absurd and completely violates the traditional meaning of the Classic of Changes.

至於老夫，則用對象震也。《易林·夬之復》云：「姬姜歡悅，二姓為婚。」《復》震為周，故曰姬；姜者齊姓，巽齊，故曰姜，是《易林》見震卽言巽也。又《坎之革》云：「少女無夫。」《革》互巽，故曰少女；震伏，故曰無夫。又《坤之同人》云：「長男少女，相向共語。」《同人》中爻巽，伏震，故曰長男少女，是《易林》見巽卽言震也。

As for 「old man」, it uses the trigram Zhen (Thunder) from the hexagram Yi (Nourishment). The 「Yi Ling·Guai to Fu」 says: 「The Ji and Jiang families are happy, and the two families marry.」 The Fu hexagram has Zhen as its lower trigram, representing the Zhou dynasty, which was surnamed Ji, hence 「Ji」; Jiang is the surname of the Qi state, and Xun (Wind) represents the direction of Qi, hence 「Jiang」—this shows that the Yi Ling associates Xun with Zhen. Again, in 「Kan to Ge」 it says: 「The young girl has no husband.」 The Ge hexagram has Xun as its middle trigram, which usually represents the elder sister, but here it is taken as the young girl, hence 「young girl」; the hidden trigram Zhen is concealed, hence 「no husband」. Again, in 「Kun to Tong Ren」 it says: 「The elder son and the young girl face each other and speak.」 The Tong Ren hexagram has Xun as its middle trigram, and the hidden trigram is Zhen, hence 「the elder son and the young girl」—this shows that the Yi Ling, when it sees Xun, also mentions Zhen.

震夫巽婦，合而不分，以是推《大過》之老夫女妻，《易》亦見巽卽言震也。震為夫，坤逆行，見前，自上而下，在上者少，在下者老，時有異也，故曰老夫。《易林》云「二姓為婚」，正釋此也。故曰「老夫得其女妻」，女妻者，少妻巽也。

The trigram Zhen represents a husband and the trigram Xun represents a wife; the two are combined and inseparable. Based on this, we can infer the line statement of "old husband" and "young wife" in the line Nine in the Second of the hexagram Da Guo. This shows that the Zhou Changes also associates Xun with Zhen. Zhen represents a husband; however, Kun is described as moving in reverse (as mentioned earlier). When counting from top to bottom, the one above is considered young and the one below is considered old, due to the difference in temporal sequence. Therefore, the line Nine in the Second, being in a lower position, is referred to as "old husband." The "Easy Forest" says "two families marry," which explains this line. Thus, the line statement says "old husband obtains his young wife." The term "young wife" refers to the young wife, taken from the original hexagram Xun.

《易林》《觀之屯》《革之復》皆云：「愧我少姬。」是皆以對象巽為少姬也。他若《同人之渙》云「少齊在門」，《無妄之大壯》亦云，《大壯》通《觀》，是皆以巽為少。少齊者，《左傳》昭二年晉人謂之少齊是也，是巽為女妻之確解也。《易》合本象對象言，《易林》每本之以為常例。二千年來解此者，惟一俞樾知用旁通，識過前儒甚遠，而於老少之故仍不能通，則以乾順坤逆之理不明也。

The "Easy Forest" (Yilin) entries "Observing the Heaven" (Guan) and "Revolution" (Ge) both say: "Shame upon me, the young wife." These all take the trigram Xun as the young wife. Other examples, such as "Harmony with Others" (Tongren) and "No False Expectation" (Wuwang) also mention "the young wife at the gate." Since "Da Zhuang" and "Guan" are opposite trigrams, and "Guan" has Xun as its upper trigram, it is clear that Xun is taken as the young wife. The term "shao qi" refers to the "young wife" mentioned by the Jin people in the "Zuo Zhuan" in the second year of King Zhao's reign. This is the correct interpretation of Xun as "wife." The "Zhou Yi" originally combines the imagery of the primary hexagram and its opposite hexagram, and the "Yilin" often follows this pattern. Among the two thousand years of commentators, only Yu Yue understood the use of opposite trigrams. His insight far surpassed that of previous scholars. Unfortunately, he still failed to explain why the trigram is considered old when it is at the bottom and young when it is at the top. This was because he did not understand the principle that Qian moves forward and Kun moves backward.

自虞翻不知華象，清惠棟以柔在上為華，焦循以震敷為華，皆於象不合。按《易林·大壯之夬》云：「桃李華實。」是以反巽為桃李，伏艮為果實，兌為華也，《夬》與《大過》二至上體同也。又《咸之噬嗑》云：「枯」（亦以離為枯）「樹不華」，言兌象伏也。又《巽之兌》云：「華葉將將。」重兌，故曰將將，亦以兌為華。蓋兌悅，華形又象兌也，故以兌為華。《易》象失傳，東漢人不知，後治漢《易》者亦不知矣。

Since Yu Fan did not understand the symbolic meaning of "hua" (flower), Hui Dong of the Qing dynasty took the soft line at the top as representing "hua," and Jiao Xun took the spreading of Zhen as "hua," all of which are inconsistent with the hexagram images. According to the "Yi Lin" under the hexagram "Dazhuang" changing to "Guai," it says, "peach and plum flowers and fruits." Here, the reverse Xun is taken as peach and plum, the hidden Gen as fruits, and Dui as flowers. The hexagram "Guai" and "Daguover" share the same structure from the second line to the top line. In another instance, "Xian" changing to "Shike" says "dry," where "li" is taken as "dry," and "tree does not flower," meaning that the image of Dui is hidden and thus does not bloom. In another case, "Xun" changing to "Dui" says, "flowers and leaves are flourishing." Because two Dui are stacked, it is said "flourishing," again taking Dui as flowers. Probably because Dui represents joy, and the shape of a flower resembles the opening form of the Dui hexagram, so Dui is taken as flowers. The images of the Yi have been lost, and people since the Eastern Han dynasty did not know them, and later scholars who studied the Han dynasty Yi also did not know them.

至老婦，荀爽但以數多少為老少，固非；虞翻以巽初為老婦，尤謬。乃虞翻不自知其謬，反詈馬、荀為俗儒，南遷不返，禍有由矣。揆其故，皆由旁通之說失傳也。按《易林·旅之大壯》云：「獨夫老婦，不能生子。」《大壯》上震，故曰獨夫；互兌，故曰老婦。又《需之剝》云：「孤竹之墟，老婦亡夫。」《剝》通《夬》，《夬》上兌，亦以兌為老婦，此皆《大過》兌為老婦之確詁也。

As for the term 「old woman」, Xun Shuang merely divided old and young based on the number of lines, which was fundamentally wrong; Yu Fan taking the first line of Xun hexagram as the old woman was even more absurd. Yu Fan himself did not realize his mistake, yet he criticized Ma Rong and Xun Shuang as vulgar scholars. Later he was exiled to the south and never returned, and the disaster was not without cause. Investigating the reason for their errors, it was because the theory of mutual opposition had been lost. According to the 「Forest of Divination」 in the 「Book of Changes」, 「the lonely man and old woman cannot have a child.」 The upper trigram of 「Great Strength」 is Zhen, hence 「the lonely man」; the middle trigram is Dui, hence 「the old woman.」 Again, in 「Need」 to 「Splitting」, it says 「the abandoned land of Guozhu, the old woman has lost her husband.」 「Splitting」 and 「Decision」 are mutual opposites, and the upper trigram of 「Decision」 is Dui, which is also used to represent the old woman. These are clear confirmations that Dui hexagram is used to represent the old woman in 「Great Excess.」

兌雖為少女，而與干連，乾順行，自下而上，在下者少，在上者老，時不同也，非乾坤概稱老，初與上無別也。故曰「老婦得其士夫」，士夫者，對象艮也。凡男女六子，無不為夫婦，艮為小子為少男，故稱士夫。虞翻謂兌為少，《大壯》震為夫，故稱士夫，似不然也。《易林》每以兌為老婦，巽為少姬，皆本《大過》。

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) Jiao's Forest of Changes often takes Dui as old woman and Xun as young lady, both based on these two lines in Da Guo. The line statement says 'old woman obtains her husband'. The term 'husband' refers to the trigram Gen in the hexagram Yi. In all hexagrams of the six sons, male and female are paired to form husband and wife. Gen represents young man and young boy, so it is called 'husband'. Yu Fan said Dui is young and Zhen in Da Zhuang is husband, thus called 'husband', but this seems incorrect.

此二爻義之所以晦茫至今者：一由於旁通之失傳，徒於本象求，而忘本象之有對象；次由於陽順陰逆之理失傳，陽順行，故下少上老，陰逆行，故上少下老，順逆之理不明，故說九二而合者，推之九五則齟齬矣，說九五而合者，施之九二則背戾矣。

The reason these two lines remain obscure to this day is due to three causes. First, the method of mutual communication between hexagrams has been lost; scholars only seek meaning within the primary hexagram, forgetting that there is also a corresponding hexagram outside the primary one. Second, the principle of yang moving forward and yin moving backward has been lost: yang moves upward, so from bottom to top, the lower is young and the upper is old; yin moves downward, so from top to bottom, the upper is young and the lower is old. Without understanding the principle of movement and reversal, those who explain nine two coherently find contradictions when applying the same explanation to nine five; and those who explain nine five coherently find contradictions when applying the same explanation to nine two.

次由於不知《易》象正覆之妙用。凡《易》象有迴環往復者，《易》詞亦必迴環往復。《蒙》二至上正覆兩艮相對，故《易》曰「非我求童蒙，童蒙求我」；《泰》「小往大來」，《否》「大往小來」；《隨》初至四正反皆艮震，故六二曰「係小子失丈夫」，六三則曰「係丈夫失小子」。《大過》正反皆巽，故皆曰楊，九二在下則生稊，九五在上則生華。對象《頤》體坤，坤逆，故下震為老夫，上艮為士夫；《大過》體乾，乾順，故在下為女妻，在上為老婦。二千年之疑獄，劃然而解，非《易林》，孰能闡明之？

The third is not understanding the subtle use of the images in the Book of Changes, which alternate between right and reversed. Whenever a hexagram has a circular and repetitive structure, its hexagram and line statements will also be circular and repetitive. In the hexagram of "Meng," the second line to the top line consists of two Gèn trigrams facing each other, one upright and one reversed, so the hexagram statement says, "It is not I who seeks the young and naive, but the young and naive who seek me." The hexagram of "Tai" says, "Small things go away, great things come in," while the hexagram of "Pǐ" says, "Great things go away, small things come in." In the hexagram of "Suí," the first line to the fourth line includes both Gèn and Zhèn trigrams, both upright and reversed, so line two says, "Binding the young man, losing the old man," while line three, reversed, says, "Binding the old man, losing the young man." In the hexagram of "Dà Guò," looking at it upright or reversed, it is always Xùn, which represents wood and the willow tree, so lines two and five both mention "willow." Line two, being lower, says, "Buds sprout from the root," while line five, being higher, says, "Blossoms appear at the tip." In the hexagram of "Yí," the hexagram structure belongs to Kūn, which moves in reverse, so the lower Zhèn trigram is "old man," and the upper Gèn trigram is "scholar." In the hexagram of "Dà Guò," the hexagram structure belongs to Qián, which moves in the normal direction, so the lower trigram is "woman-wife," and the upper trigram is "old woman." Right and reversed, forward and backward, the differences in the wording of the two lines are fully realized. A two-thousand-year-old mystery is now clearly resolved—without the "Forest of Changes" by Jiao, who could have explained it?

東漢人因《繫辭》以《大過》象棺槨，故謂《大過》為死卦。茲《易林·明夷之大過》云：「言笑未畢，憂來暴卒。」是亦以《大過》為死卦也。坎為憂，並以《大過》為大坎也。他若遇《大過》言雨、言憂、言水者，尚不可勝數，皆指大坎。故吾謂漢儒不言大象者，祗東漢儒也。

During the Eastern Han dynasty, people referred to the hexagram Da Guo as the death hexagram because the Great Treatise said that the ancient burial rites "were based on Da Guo." They took Da Guo as representing the coffin. Now, according to the Yi Lin, Ming Yi Zhī Da Guo, it says: "Speech and laughter have not yet finished, but sorrow comes suddenly and death occurs." This also treats Da Guo as the death hexagram. The image of "sorrow" is taken from Kan, indicating that Jiao Yanshou regarded the entire Da Guo hexagram as a large Kan. The lower and upper trigrams of Da Guo are both Yin, with two Yin trigrams surrounding the central Yang trigram, making the outer part flexible and the inner part strong, which is the same shape as Kan. Other instances where Da Guo appears in the Yi Lin and the terms used are about rain, sorrow, or water are numerous, all referring to this large Kan. Therefore, I say that Han dynasty scholars did not discuss the great images, except for those of the Eastern Han dynasty.

此《易》明以《大過》為大坎也。六在上，故曰過涉；乾為首，故曰頂；乾為陰所包不見，故曰滅頂。《易林·夬之大過》云：「久陰霖雨。」坎為雨，卽以《大過》為大坎，仍本之《易》也。

This line serves as clear evidence from the Zhou Changes itself that the Great Excess (Da Guo) is regarded as a great Kan (Water). The sixth line at the top occupies the position above the entire hexagram, having already crossed the water beyond its summit, hence it is said "excess in crossing." Lines two to four form the trigram Qian (Heaven), with Qian being the head, hence it is said "summit." This Qian trigram is enclosed by the Yin lines at the first and sixth positions and cannot be revealed, hence it is said "the summit is submerged." The "Forest of Divination" under the section "Guai to Da Guo" states: "Long period of continuous rain." Since Kan represents rain, this clearly treats Da Guo as a great Kan. This perspective still originates from the original text of the Zhou Changes.

虞云：「徽纆，黑索也。叢棘，獄外種九棘。坎為獄，言拘繫入獄也。」後來解者，大概皆從虞說。惟張惠言謂獄外種棘，於經無考，不知虞何據。按《易林·復之坎》云：「桎梏拘獲，身入牢獄，髡刑受法，終不得釋。」不啻特解此爻詞也。

Yu Fan said: "Hui mo refers to a black rope. Cong ji refers to nine thorny bushes planted outside the prison. Kan represents prison, and this line refers to being imprisoned." Later commentators generally followed Yu's interpretation. Only Zhang Huiyan pointed out that the detail of thorny bushes planted outside the prison cannot be verified in the classic texts, and he questioned the basis for Yu's claim. Now according to the "Yi Lin · Fu Zhī Kan" it says: "Handcuffs and shackles, captured and imprisoned, shaved head and subjected to punishment, ultimately not released." The hexagram of this line is exactly Kan, which is precisely an explanation for this line of the hexagram.

桎梏拘獲，卽係用徽纆也；身入牢獄，卽寘于叢棘也；終不得釋，卽三年不得也。虞解與《易林》同也。寘于叢棘，言牢獄之危苦似之，不必定獄外有棘，坎象本為棘也。至徽纆之象，坎為矯揉，物之能矯揉者，莫過於繩索，不必若仲翔以卦變為穿鑿，用《觀》巽也。

"The idea of being bound and captured" corresponds to the line statement "bound with ropes and fetters"; "being imprisoned" corresponds to "placed among thorny bushes"; and "finally unable to be released" corresponds to "three years without release." This shows that Yu Fan's interpretation is consistent with that of Jiao's Forest of Changes. The phrase "placed among thorny bushes" merely means that the dangers and hardships of imprisonment are like thorny bushes that prick, not necessarily implying that there are actually thorn bushes outside the prison. The Kan hexagram itself already takes the image of thorny bushes. As for the image of "ropes and fetters," the Sayings on the Hexagrams state that Kan "represents bending and twisting." Nothing is more typical of something that can be bent and twisted than a rope. There is no need, as Yu Fan did, to force a connection with the transformation of the Guan hexagram's Xun rope.

此爻自來皆以罪人入獄為解，然雲三年不得，不得者，事無功也，似非罪人入獄之象，張惠言亦疑其非入獄。按虞氏云「徽纆，黑索也」，黑索卽繩墨也。《書》「木從繩則正」，《離騷》「循繩墨而不頗」，又《抽思》「章畫志墨」，《戰國策》「匠人且以繩墨按規矩刻鏤我」，《齊書·孔稚珪傳》「匠萬物者以繩墨為正」。

This line has traditionally been interpreted as referring to a criminal being imprisoned, but the line statement says "three years without success" — "without success" means that something cannot be accomplished or achieve results, which does not seem to match the image of a criminal in prison. Zhang Huiyan also doubts that this line refers to imprisonment. According to Yu Fan, "huī mò" refers to a black rope, which is the measuring cord used by carpenters. The Book of Documents says "wood follows the rope to become straight," the Li Sao says "following the rope and square to avoid bias," the chapter "Chou Si" from the Nine Chapters says "marking with ink and lines," the Zhan Guo Ce says "carpenters will use the rope and square to measure and carve me," and the Southern Qi Book of History, in the biography of Kong Zhigui, says "the one who shapes all things uses the rope and square as the standard" — all of these refer to the measuring cord used by carpenters.

蓋匠人以繩正木，以墨為志，繩墨卽黑索也，宜施於大木之上，因以施刀鋸。乃不施於木而施於叢棘，故三年不得。象曰「失道」，言寘之失道，亦非罪徒入獄之詞。此雖非焦義，然心有所疑，故附記於此。

The craftsmen use a rope to straighten the wood and ink to mark it; the rope and ink are like a black cord. They should be applied to large timber, then the axe and saw can be used accordingly. Now, however, they are applied to thorny bushes instead of good timber, so the work cannot be completed in three years, which is why it is said "three years without success." The "Small Image" says "losing the way," meaning the place is not properly chosen, and it is not referring to criminals being imprisoned. Although this point is not the original meaning of Jiao Yanshou, I have doubts about it, so I have noted it here.

此爻舊說皆近於穿鑿，則以不求中爻象也。四為巽體，亦為兌體，巽為風為躁，兌剛魯（《易林》作魯），故曰突如其來如。四居上下離之間，故曰焚如。《易林·大壯之離》云：「辰巳有咎。」兌巽先後天皆居辰巳，兌上巽下為《大過》，《大過》死，故曰死如棄如。凡所取象，皆用中爻，亦猶《豐》中爻互大坎，故象皆闇也。

This line's traditional interpretations are all speculative, because they do not seek the imagery from the middle trigrams and their mutual relationships. The Nine in the Fourth (nine four) belongs to both the mutual Xun trigram and the mutual Dui trigram. Xun represents wind and restlessness, while Dui, according to the "Sayings of the Divination," is described as "being coarse and rough" (the "Yi Lin" writes it as "Lu"), indicating a fierce and impetuous nature. Therefore, the line statement says "suddenly appearing like a storm." The Nine in the Fourth is located between the two upper and lower Li trigrams, so it is said "burning like fire." The "Yi Lin" under the "Da Zhuang" hexagram says: "There will be misfortune in the hours of Chen and Si." Dui and Xun are both located in the hours of Chen and Si in both the Earlier Heaven and Later Heaven arrangements. When Dui is above and Xun is below, they form the "Da Guo" hexagram, which is a hexagram of death. Therefore, the line statement says "dying like fire, being cast away like fire." Clearly, the imagery of this line comes entirely from the middle trigrams and their mutual relationships, just as in the "Feng" hexagram, the middle trigrams form a great Kan, so the entire hexagram's imagery is associated with darkness.

離為目，目出泣曰涕，旁通坎，故曰涕沱。沱者，江支流也。坎為憂，兌口，故曰戚嗟，皆本象與對象並用，《易林》所本也。至象曰「離王公也」，王卽指上，上九「王用出征」是其證；公謂四，四為諸侯，諸侯與三公不分，卽言六五附麗於乾中，承乘皆陽也。朱震謂四位通三是也。《益》六四、《鼎》九四皆言公，是四亦可為公之證。

The hexagram Li (Fire) represents the eye, and tears flowing from the eye are called "ti." Since Li and Kan are complementary, and Kan represents water which flows abundantly, it is said "ti tuo" — "tuo" originally refers to a tributary of the Yangtze River. Kan also represents sorrow, and the middle line interacting with the upper trigram Dui (Lake) represents the mouth, hence "qi jie" (sad sighing). These are examples of using both the primary hexagram and its complementary hexagram, which is the method used in Jiao's Forest of Changes. As for the "Xiao Xiang" (Small Image) saying "Li is the king and the marquis": "Wang" refers to the upper nine, as the line statement of the upper nine says "the king uses military campaigns," which is clear evidence. "Gong" refers to the fourth line, which is the position of the marquis, and in ancient times, the marquis and the three ministers were not distinguished. The whole sentence means that the sixth five line is attached to the Qian (Heaven) trigram, and both above and below are yang lines. Zhu Zhen said that the fourth position can be associated with the three ministers, which is correct. The line four in the hexagram Yi and the line nine in the hexagram Ding both mention "gong," which serves as additional evidence that the fourth line can also be called "gong."

此本乾卦，坤入之。乾為王，九居上，六五象曰「離王公」，王卽指此爻，出大坎，故曰王用出征。《易林》以坎為大頭，坎伏，故曰折首。兌為折為口，故曰有嘉。或曰：坤二五之幹，乾為首，陰麗陽中，故折首，與坎折坤同義，亦通。《詩·小雅》「執訊獲丑」，鄭箋：「丑，眾也。」獲匪其醜者，言罪只首惡，刑不及眾也。坎為眾，坎伏，故不獲。各家皆從虞，詁丑為類，非。

The hexagram Li was originally Qian, with the yao of Kun entering it to form the hexagram. Qian represents the king, and the line at the top, Nine at the Top, is yang in the upper position. The small commentary on the sixth line says, "Li is the king and the lord." The "king" here refers to the line at the top. Nine at the Top comes out beyond the great Kan, so it is said, "the king uses military campaign." The Forest of Changes by Jiao interprets Kan as the great head, but here the image of Kan is hidden, so it is said, "cutting off the head" (cutting off the head of the enemy). Dui represents destruction and the mouth, so it is said, "there is a good result" (there is a commendable achievement). Another interpretation says that the second and fifth lines of Kun enter Qian, and since Qian is the head, the yao of Kun adheres to the yang, so it is said, "cutting off the head," which is the same as the case of Kan cutting off Kun. This interpretation is also reasonable. The Book of Songs, Xiao Ya says, "seizing the captured and obtaining the common people." Zheng Xuan's commentary says, "common people mean the masses." The phrase "not obtaining the common people" means that punishment is only applied to the principal offenders, and the masses are not involved. Kan represents the masses, but here Kan is hidden, so it is said, "not obtaining." All scholars follow Yu Fan in interpreting "common people" as "category," which is incorrect.

行唐尚秉和節之撰

Shang Binghe, a native of Xingtang in Zhili, styled Jiezi, compiled this work.

凡漢人說之，皆作飛遯。《淮南九師》云：「飛而能遯，吉孰大焉。」張平子《思玄賦》：「欲飛遯以保名。」曹植《七啟》：「飛遯離俗。」毛西河、惠棟、朱芹、洪頤煊皆從之。卽王弼雖未明釋，然云「矰繳不能及」，似亦讀為飛。惟《子夏易傳》釋肥為饒裕，虞氏謂乾盈為肥，莫衷一是。

All Han dynasty scholars who discussed this line read "肥遯" as "飞遯". The "Huainanzi Jiashi Daoxun" says: "To fly and escape, what greater good is there?" Zhang Heng's "Siyuan Fu" says: "To fly and escape in order to preserve one's reputation." Cao Zhi's "Qiqi" says: "To fly and escape from the world." Mao Qiling, Hui Dong, Zhu Qin, and Hong Yi Xuan all followed this reading. Even Wang Bi, although he did not explicitly state it, mentioned in his commentary "Zengjue cannot reach," which suggests he also read it as "飞". Only the "Zixia Commentary on the Changes" explained "肥" as meaning abundant and prosperous, while Yu Fan said that the fullness of the Qian trigram is "肥", each holding their own view, with no consensus.

茲《易林·需之遯》云：「去如飛鴻。」又《節之遯》云：「奮翅鼓巽。」又《革之遯》云：「退飛見祥。」是焦氏亦讀肥為飛，與《淮南九師》同也。又朱芹《易札記》引姚寬《西溪叢語》云：「肥，古作？[上非下巴]，？[上非下巴]蜚同字。」是肥卽蜚，蜚卽飛也，虞翻誤也。蓋上九居極，上乾為行，飛亦乾象，不必以乾盈為象。

Now referring to the "Yi Lin" (Commentary on the Changes), in the hexagram "Need" changing to "Dun," it says: "Leaving like a flying goose." In the hexagram "Jie" changing to "Dun," it says: "Winging and moving with Xun." In the hexagram "Ge" changing to "Dun," it says: "Flying away to see good omens." These three instances all involve the hexagram "Dun," and the meaning is entirely about flapping wings and flying high, retreating and moving away. This shows that Jiao Yanshou also read "fei" as "fei," consistent with the "Huainanzi Jiashi." Also, Zhu Qin's "Yi Zaji" cites Yao Kuan's "Xixi Congyu," which says: "Fei was written as 'Shang Fei Xia Ba' in ancient times, and this character is the same as 'Fei.'" (The original text is missing, only the shape is described.) This shows that "fei" is the same as "fei," and "fei" is the same as "fei." Yu Fan made a mistake. The upper ninth line is at the extreme of the hexagram, and the upper trigram is Qian, which represents movement. "Fei" is exactly the image of Qian, so there is no need to rely on the fullness of the Qian trigram to establish the image.

《遯》九三云「畜臣妾吉」，自來解者莫知艮之為臣，虞翻以三變坤為臣當之，後易家皆遵用之。豈知《易》《蹇》六二云「王臣蹇蹇」，《蹇》下艮，故亦曰臣；《小過》六二云「遇其臣」，亦以艮為臣。焦氏《易林》本之，凡遇艮卽言臣。後人不解《易》象，於是《易林》艮臣之象，初覩之亦不知其所謂矣。卽妾象，疑亦指艮，古於僮僕臣妾實不分，如以艮妾為不合，則坤臣亦不合矣。

The line "Cultivate servants and concubines, it is auspicious" in the third line of the Dùn hexagram has been interpreted by all scholars throughout history without understanding that the mountain (Gèn) can represent servants. Yu Fan used the transformation of the third line into the坤 hexagram to represent servants, and later scholars followed his interpretation. They never considered that in the Jiān hexagram, the second line says "The king's servant is resolute," and the lower trigram of Jiān is Gèn, so it is also called servants. Similarly, in the Xiǎo Guò hexagram, the second line says "Meeting his servant," which also uses Gèn to represent servants. Jiao Yanshou's "Yì Lín" follows this example, using Gèn to represent servants whenever it appears. Later scholars did not understand the symbolic meanings of the Yi, so when they encountered the image of Gèn as servants in "Yì Lín," they did not know what it meant at first glance. As for the image of "concubine," I suspect it also refers to Gèn—since in ancient times, there was no distinction between servants and concubines. If Gèn cannot represent a concubine, then the use of Kūn to represent servants also does not make sense.

既曰征凶，則不孚也，乃曰有孚，義自違反，且與象語不協。象曰孚窮者，初陽四亦陽，二三又陽，故曰孚窮，《易林》陽遇陽則塞之旨，本此也。乃虞翻解有孚，謂四與五易位成陰，則初孚於四，豈知卦為《大壯》，不為《需》，虞說若當，象尚言孚窮乎？

The line statement says "going forward brings danger," indicating that there is no mutual response; yet it also says "there is sincerity," which contradicts itself in meaning and does not align with the words in the "Small Image." The "Small Image" says "its sincerity is exhausted," because the first line is yang and the corresponding line four is also yang, while lines two and three in between are also yang, so sincerity is exhausted. This is in line with the meaning in "Jiao's Forest of Changes" that "yang meets yang and becomes blocked." However, Yu Fan explains "there is sincerity" by saying that line four and line five exchange positions to become yin, so line one then responds with line four. But he did not consider that this hexagram is "Great Strength," not "Need." If Yu's interpretation were correct, would the "Small Image" still say "its sincerity is exhausted"?

象言孚窮，確指四陽。王弼知其然，以窮凶可信為解，上下語不違反矣。然象曰孚窮，確指二三與四言，則爻詞之孚，似不得以閒文為解，亦未協也。案《說文》「有」字云：「不宜有也。《春秋傳》曰『有食之』是也。」然則初九之有孚，謂不宜於孚也，正與象之孚窮合也。

The Xiao Xiang says "trust is exhausted," clearly referring to four yang lines coming together. Wang Bi recognized this and interpreted the line statement as "it is credible that being in a state of hardship leads to misfortune," thus making the context consistent. However, if "trust is exhausted" in the Xiao Xiang indeed refers specifically to the lines nine two, nine three, and nine four, then the character "trust" in the line statement cannot be treated as an irrelevant word. Therefore, Wang's interpretation still seems unsatisfactory. Now, examining the Shuo Wen Jie Zi, it explains the character "you" as meaning "should not have." The Spring and Autumn Annals says "the sun is eclipsed," using this meaning. According to this, the "you fu" in the line statement for initial nine refers to not being able to trust, which precisely matches the Xiao Xiang's "its trust is exhausted."

解《易》之書，莫古於《左傳》。閔元年畢萬筮仕，遇《屯》之《比》，辛廖曰：「震為土，車從馬。」又《晉語》：「震，車也。」是左氏內外傳皆以震為車，《易林》本之，遇震卽言車。《大壯》下乾，乾為大，震車，故曰大輿。乃二千年學者，舍左氏不從，而以卦變為穿鑿，祗一王引之能覺察其非，以震為車，還周時之舊家，而詈虞氏之曲為穿鑿，真能獨立為說者也。

Explanations of the Zhou Changes are none older than the Zuo Zhuan. In the first year of Min Gong, Bi Wan divined about taking office and obtained the hexagram Zun changing to Bi. Xin Liao interpreted the divination saying, "Zhen represents earth, and the chariot follows the horse." The Guoyu · Jin Yu also says, "Zhen represents a chariot." This shows that both the Zuo Zhuan and Guoyu take Zhen to mean a chariot. Following this example, the Jiao Forest of Changes takes Zhen as a chariot. The lower trigram of Dazhuang is Qian, which represents greatness, and the middle line Zhen represents a chariot, so the line nine in the fourth says "great chariot." However, for two thousand years, scholars have abandoned the Zuo Zhuan and instead used hexagram transformations to fabricate interpretations. Only Wang Yinzi realized the error and took Zhen as a chariot, restoring the old Zhou interpretation and condemning Yu Fan's fabricated explanations. He truly was an independent thinker.

惟輹為震象，王氏仍知之不真。按左氏僖十五年晉筮嫁伯姬，遇《歸妹》之《睽》，卽震變離也，震為車，變離形毀，故曰車脫其輹。孔疏引《子夏易傳》云：「輹，車下伏兔，今謂之車屐，以縛於軸。」據是，則輹為震象益明，因輹在車下而形若屐，屐者履屬，震象也。震形滅，故曰車脫輹。由是推大小畜之車脫輹，皆以旁通覆震故也。左氏所說，其真諦也。《大壯》九四「壯于大輿之輹」，卽以震為輿為輹，虞氏所說未當也。

The fact that 「輹」 also represents the image of Zhen is something Wang Yinzhi still did not understand clearly. According to the 「Zuo Zhuan」, in the fifteenth year of Duke Xi's reign, when the Jin state divined for the marriage of Bo Ji, they encountered the hexagram 「Gui Mei」 changing into 「Kui」, which indicates that Zhen transformed into Li. Since Zhen represents a chariot, after it transformed into Li, the image of Zhen was destroyed, hence the divination statement says 「the chariot loses its輹」. Kong Yingda's 「Justice」 cites Zixia's Commentary on the Changes, stating: 「The輹 is the part beneath the carriage body, called the car sole, used to fasten the carriage to the axle.」 Based on this, the image of 「輹」 as Zhen is even clearer: because the輹 is beneath the chariot and resembles a wooden sole, which belongs to the category of footwear, and the 「Shuo Gua」 says that Zhen represents feet and movement, which is exactly the image of footwear. When the image of Zhen disappears, it is said 「the chariot loses its輹」. From this, we can infer that the statements 「the carriage detaches from the輹」 in the second line of the hexagram 「Da Xu」 and the third line of the hexagram 「Xiao Xu」 are also due to the reversal of Zhen in the opposite hexagram. The explanation in the 「Zuo Zhuan」 is the true meaning. The fourth line of the hexagram 「Da Zhuang」 says 「strong in the great carriage's輹」, which also uses Zhen to represent the carriage and the輹. Yu Fan's explanation is not appropriate.

自王弼及鍾會反古，謂《易》無互象，宋人承之，不敢言互。且無論左氏言互，卽本經考之，《大壯》三至五互兌，兌為羊，故九三卽言羊，是《易》已用互也。

Since Wang Bi and Zhong Hui overturned the traditional approach by claiming that the Zhou Changes do not contain the mutual trigrams, scholars of the Song dynasty followed their view and ceased to discuss mutual trigrams. Regardless of the fact that the Zuo Zhuan examples of divination already mention mutual trigrams, if we examine the text itself: in the Great Strength hexagram, the third to fifth lines form the trigram Dui, which represents the sheep, as stated in the Shuo Gua. Therefore, the line statement of the third line mentions the sheep. This shows that the Zhou Changes themselves have already been using mutual trigrams.

六二云「晉如愁如」，坎為憂，三至五互坎，故曰愁如；九四云「晉如鼫鼠」，艮為鼠，二至四艮，故曰鼫鼠，是用互也。此與《大壯》之羊，必謂為偶然，與中爻無關，豈可得哉？

The hexagram Jin (Progress) line six-two says, "Progress as if in sorrow," since Kan represents sorrow, and lines three to five form an intercalary Kan trigram, hence "sorrow." Line nine-four says, "Progress as a shi mouse," since Gen represents a mouse, and lines two to four form an intercalary Gen trigram, hence "shi mouse." These are both examples of using the intercalary trigrams. Together with the sheep image in the hexagram Da Zhuang, if one insists that these are mere coincidences and unrelated to the intercalary lines, it would be unreasonable.

朱子謂六五為王母，六二受福，因與焦氏陰遇陰則阻之旨背，違《易》定例。虞翻謂五已正中，五陽應二，五王，坤母，故曰王母，不肯易旨矣，然《晉》尚未為《否》，豈能預言？

Zhu Xi believed that the line six in the fifth is 'the Queen Mother', and line six in the second receives blessings from it. This contradicts Jiao Yanshou's idea that 'yin meets yin and encounters obstruction', and violates the established principles of the Zhou Changes. Yu Fan, however, said that line six in the fifth is already in the center and upright, and after changing to yang, it corresponds with line six in the second. Since five represents the king and kūn represents the mother, it is called 'the Queen Mother' — this is even more inconsistent with the meaning of the Changes; moreover, the hexagram Jin had not yet transformed into the hexagram Pí, so how could one refer to that hexagram in advance?

茲以《易林》本象與對象相通之理推之，王母之象，實合對象《需》乾言也。乾為王，坤為母，坤伏乾，故曰王母；乾為福為大，故曰介福；坤虛艮手，故曰受。而二又為坤本位，居正中，黃中通理，故能受茲介福。象所謂「以中正」者，謂二中正，非謂五中正也，五為陰，固不能福二也。

Now using the principles of the "Forest of Changes" by Jiao to explore the relationship between the primary hexagram and its corresponding hexagram: the image of "Queen Mother" actually refers to the hexagram "Need" with its upper trigram Qian. Qian represents the king, and Kun represents the mother; since Qian is hidden beneath Kun, it is called "Queen Mother." Qian also represents blessing and greatness, hence "great blessing." Kun is empty in the center, and the middle line is Gen, representing a hand, hence "receiving." The line six two is precisely in the central position of Kun, located in the middle of the lower trigram. The line six five of Kun is said "yellow in the center, and the principles are communicated," which refers to six two being central and upright, not six five. Six five is a yin line and cannot bestow blessings upon six two.

《易林》凡用地名、人名、國名，無不與象密合。但以人名論，如《解之井》云：「荷蕢隱居。」《井》通《噬嗑》，《噬嗑》震為蕢，中爻艮為荷，故曰荷蕢。又《家人之旅》云：「管叔遇桓。」《旅》通《節》，《節》震為管，艮為叔，故曰管叔。《大有之震》云：「楚亭晨食，韓子低頭。」震為子為乾，故曰韓，韓子者，韓信也，中爻坎為信，故曰韓子。

In Jiao's Forest of Changes, whenever proper nouns such as place names, personal names, or country names are used, they all correspond closely with the hexagrams. Taking personal names alone, for example, in the hexagram "Jie Zhong Jing" (Release and Well), it says "He Kui resides in seclusion." The hexagram Well is in communication with the hexagram Shi He (Breaking the Shell). The lower trigram of Shi He is Zhen (Thunder), which represents grass tools, and the middle line is Gen (Mountain), which represents the shoulder and the act of carrying, thus the term "He Kui" (carrying a basket). In the hexagram "Jia Ren Zhi Zhu" (Family and Travel), it says "Guan Shu meets Huan." The hexagram Travel is in communication with the hexagram Jie (Limitation). The lower trigram of Jie is Zhen (Thunder), which represents "Guan," and the trigram Gen (Mountain) represents "Shu," thus the term "Guan Shu." In the hexagram "Da You Zhi Zhen" (Great Possession and Thunder), it says "Chu Ting eats in the morning, Han Zi lowers his head." The trigram Zhen (Thunder) represents "zi" (son) and "gan" (dryness). The character "Han" is pronounced like "gan," thus the term "Han." "Han Zi" refers to Han Xin, and the middle line's mutual trigram Kan (Water) represents "xin" (trust), hence the term "Han Zi."

《小畜之剝》云：「孔鯉伯魚。」坤為魚，反震為孔為伯，故曰孔鯉伯魚。又《泰之幹》云：「伯夷叔齊。」震為伯，艮為叔，震艮不見，故曰夷曰齊。又《泰之剝》云：「干叔殞命，箕子為奴。」《剝》艮為求為少男，故曰干叔；反震為箕為子，故曰箕子，無不密切。

The "Xiao Xu" hexagram "Bao" mentions "Kong Li Bu Yu," where the earth hexagram represents fish, and the reversed zhen trigram represents Kong and Bu, hence "Kong Li Bu Yu" (Kong Li's given name is Bu Yu). Again, in the "Tai" hexagram "Gan," it mentions "Bo Yi and Shu Qi," where zhen represents Bo and gen represents Shu; however, here both zhen and gen are hidden, so the names use "Yi" (extinction) and "Qi" (completion). In the "Tai" hexagram "Bao," it says "Bi Shan yun ming, Ji Zi wei nu," where the upper trigram Bao (gen) represents seeking and the young male, hence "Bi Shan" (Bi Shan, i.e., Bi Gan); the reversed zhen trigram represents Ji and Zi, hence "Ji Zi" — nowhere is there not a precise correspondence.

茲《明夷》彖傳云「文王以之」，《明夷》上坤為文，中爻震為王，故曰文王；又曰「箕子以之」，《明夷》中爻震為子為箕，故曰箕子。文王、箕子之用象，雖重象如東漢人，無有言者，非《易林》，孰能證明之？《易林》無象外字，用以推《易》，始知《易》亦無象外字也。乃東漢人皆不知，故余謂西漢《易》說至東漢失傳也。

Now looking at the "Commentary on the Judgment" of the "Bright Abatement" hexagram, it says, "King Wen used it": The upper trigram of "Bright Abatement" is坤 (Kun), representing culture, and the middle line is震 (Zhen), representing king, so it is said "King Wen." It also says, "Jizi used it": The middle line of "Bright Abatement" is Zhen, representing son and Jizi, so it is said "Jizi." The imagery used to derive the names King Wen and Jizi, even those who valued hexagram imagery as much as the Eastern Han scholars, have never mentioned it. If it were not for the "Forest of Changes" by Jiao, who could prove it? The "Forest of Changes" has no words outside of imagery; using this principle to examine the "Zhou Changes," one realizes that the "Zhou Changes" also have no words outside of imagery. Yet the Eastern Han scholars were entirely unaware of this, so I say that the "Zhou Changes" as understood by the Western Han had already been lost by the Eastern Han.

此與《復》崩來無咎，皆用覆象也。《剝》覆卽為《復》，艮倒故曰崩來；《晉》離在上，故曰初登于天，《晉》覆成《明夷》，離在下，故曰後入于地。此其義東漢人皆知之，至用覆為《易》通例則不知。後惟朱震、來矣鮮真知之，他皆半信半疑也。

This line uses the image of inversion, just like the "collapse and return without blame" in the "Fu" hexagram. The "Bo" hexagram inverted becomes the "Fu" hexagram, so when the mountain element is inverted, it is said "collapse and return." In the "Jin" hexagram, the fire element is above, so it is said "first ascending to heaven"; when the "Jin" hexagram is inverted, it becomes the "Mingyi" hexagram, with the fire element below, so it is said "later descending to earth." This meaning was still known by people of the Eastern Han dynasty, but they did not realize that using inversion was a general principle in the "Zhou Yi." Only Zhu Zhen of the Song dynasty and Lai Zhide of the Ming dynasty (whose courtesy name was Yixian) truly understood this, while others were only half-believing.

中爻震為人為主，三則為震之主，而與初相對成離。初至二形兌，三至二覆兌，正反兩兌相對卽相背，故有言。有言者，相爭相訟，非祗有無也。此以離為有言，亦由《易林》推出也。

In the hexagram Mingyi, the second line and the third line form the trigram Zhen (Thunder), which represents people and the principal element. The third line is the main line of Zhen, and it pairs with the first line to form the structure of Li (Fire). The first line and the second line form half of the trigram Dui (Lake), while the third line and the second line form an inverted half of Dui. One upright Dui and one inverted Dui face each other, which means they are opposing each other. Therefore, the line statement says "there is speech." The term "there is speech" refers to mutual disputes and litigation, not merely the contrast between existence and non-existence. Here, using Li to represent "there is speech" is derived from Jiao's Forest of Changes.

《易林·蠱之明夷》云：「讒佞亂政。」讒佞卽有言也。又《困之同人》云：「言多反覆。」亦以《同人》下離，離上下兩兌口相背，故曰言多反覆。有言確解，且離為有言之確解，此不啻焦氏特解《明夷》之有言也。又《離之明夷》云：「使伯采桑，狠不肯行，與叔爭訟，更相毀傷。」爭訟卽有言也。

The *Yi Lin* *Gǔ zhī Míng Yí* says: "Cunning flatterers disrupt governance." Here, slanderous words and flattery are referred to as "having words." Also, the *Kùn zhī Tóng Rén* says: "Words are often contradictory." This is because the lower trigram of *Tóng Rén* is *Li*, and the *Li* trigram has two *Dui* trigrams facing each other, representing mouths, thus indicating words that go back and forth. This is not only an accurate explanation of "having words," but also an accurate explanation of "Li represents having words." It is almost exactly a commentary by Jiao Yanshou specifically on the "having words" in *Míng Yí*. Furthermore, the *Li zhī Míng Yí* says: "The elder brother is sent to gather mulberry leaves, but he stubbornly refuses to go, and he quarrels with the younger brother, causing mutual harm." Here, "quarreling" is precisely "having words."

此其義亦二千年長夜矣。第一不知有言為爭訟，解為有無之有；第二不知有言之故，由兩震言或兩兌口相背。此等《易》說，至東漢卽失傳，故解《困》之有言、《震》之有言，無一有當。豈知焦氏《易林》會一一為講說之，至明白也，而東漢人不解，後之說《易》者無慮千百家，遂皆不解。

The meaning of this sentence also remained hidden for two thousand years. First, people did not know that "there is speech" refers to contention, but instead interpreted it as the "having" in "having and not having." Second, they did not understand the origin of "there is speech," which comes from two Zhen (speech) trigrams or two Dui (mouth) trigrams opposing each other. This kind of explanation in the Book of Changes was lost by the Eastern Han dynasty, so later interpreters of the Guan hexagram's "there is speech" and the Zhen hexagram's "there is speech" did not give any proper explanations. They never thought that Jiao Yanshou's Yi Lin had already explained each of these points clearly and thoroughly; yet people in the Eastern Han dynasty could not understand it, and later scholars who interpreted the Yi also failed to grasp it.

九家以三可升上而獵於五，得據大陽首位為得其大首，後說《易》者皆不能出其範圍。獨俞樾謂九家以大陽首位為大首，甚為不詞，可謂善疑矣。特俞樾首當為道，古首道通用，獲其大首卽獲其大道，義亦不協。

Xun Shuang and nine other schools of the Book of Changes believed that the line nine in the third position could ascend to a higher position and hunt on the fifth line, occupying the highest position of yang strength, which is called "getting the great head." Later commentators on the Book of Changes all remained within this framework. Only Yu Yue pointed out that the nine schools took "the first position of yang strength" as "the great head," which is quite inappropriate, and this can be considered as being good at raising doubts. However, Yu Yue argued that "shou" should be read as "dao," saying that in ancient times "shou" and "dao" were interchangeable, and "obtaining the great head" means obtaining the great way. This interpretation is also inconsistent with the meaning of the text.

茲以《易林》證之，大首者坎也。《易林·大有之既濟》云：「大頭明目。」《既濟》上坎下離，是以坎為大頭，大頭卽大首。又《小過之豫》云：「低頭竊視。」《豫》中爻坎，坎為頭，坎陷，故低頭。又《大有之震》云：「韓子低頭。」亦以震互坎為低頭。由是證《明夷》九三之大首，亦謂坎也。

Now using Jiao's Forest of Changes to verify: the term "dà shǒu" refers to Kan. In Jiao's Forest of Changes, the entry for "Da You" to "Ji Ji" says: "Great head with bright eyes." The "Ji Ji" hexagram has Kan above and Li below, indicating that Kan is regarded as the great head, and thus "dà shǒu" refers to Kan. Another entry, "Xiao Guo" to "Yu," says: "Bowing low to look around." In the "Yu" hexagram, the middle yao produces Kan, which represents the head, and since Kan also signifies a fall, it is said to bow low. Another entry, "Da You" to "Zhen," says: "Hanzi bows low." This also refers to Kan in the mutual hexagram of "Zhen." Based on these, it can be proven that the "dà shǒu" mentioned in "Ming Yi" nine in the third position also refers to Kan.

三體震，震南坎黑，故明夷於南；坎為獲，亦見《易林》；《左傳》震為殺、為威武，故震為狩。南既闇昧不明，故獲其大首，言獲其主惡也，非謂五也。凡古來《易》說，初視之而是，細按之而非，如此者十蓋六七也，幸《易林》尚存，能正之也。離亦為南，然曰南狩，則似非用離南，而用震南，與《左傳》「南國蹙」義同。

Nine in the Third is in the trigram Zhen, which represents Thunder and is associated with the southern direction. The trigram Kan represents water and is associated with the color black. Therefore, it is said, "Light is harmed in the south" (the light is injured in the southern direction, leading to darkness). Kan also represents capture, as seen in examples from the Forest of Changes; the Zuo Zhuan associates Zhen with punishment and military might, so Zhen can also represent hunting in the fields. Since the south is already dark and unclear, it says "capture the main culprit," meaning the principal offender was captured, not the Six in the Fifth. Generally, ancient interpretations of the Yi often appear to be one thing but turn out to be another, with six or seven out of ten cases being misleading. Fortunately, the Forest of Changes by Jiao still exists, allowing these errors to be corrected. Although Li also represents the south, here it refers to "hunting in the south," which is not using the south associated with Li, but rather the south associated with Zhen. This is similar in meaning to the Zuo Zhuan's "the southern state is shrinking," referring to the southern region becoming increasingly restricted.

《明夷》中爻坎，坎為患難、為志、為大首、為疾、為心意，《易》皆用之；中爻震為言、為主、為人、為行、為往、為左、為馬、為壯、為狩、為出，《易》皆用之。謂《易》無互象者，其謂之何？

In the hexagram Mingyi, the middle line generates the trigram Kan, which represents calamity, mind, head, disease, and intention. These images are all used in the line statements of the Zhouyi's primary hexagram. The middle line also generates the trigram Zhen, which represents speech, leadership, people, movement, going forward, left, horse, strength, hunting, and going out. These images are also all used in the Zhouyi's line statements. How then can those who claim that the Zhouyi does not have mutual trigrams explain this?

侯果曰：「嗃嗃，嚴也；嘻嘻，笑也。」後儒解此，大概無出此義者。馬融謂嗃嗃為和樂者，非，和樂則與嘻嘻無別矣。後儒偶有異解，如王夫之以嗃、嘻為火聲，皆不協洽。獨同此一爻，忽嗃嗃而吉，忽嘻嘻而吝，忽曰失節，忽曰不失，此中必有故。不於象求其故，但曰嚴厲故吉，怠慢故吝，胡可哉？乃自東漢以來之說經者，鮮有及此，等於不說也。

He Guo said: "Hèhè is the appearance of severity, and xīxī is the appearance of laughter." Later Confucian scholars explaining this line mostly did not go beyond this meaning. Ma Rong interpreted "hèhè" as harmony, which is incorrect— if it were harmony, it would have no difference from "xīxī." Occasionally, later scholars offered different interpretations, such as Wang Fu Zhi who took "hè" and "xī" as the sounds of fire burning, but these interpretations were not accurate. The problem lies in the fact that within the same line, suddenly "hèhè" brings good fortune, while "xīxī" leads to regret, and sometimes it says "losing the virtue of family," while at other times it says "not having lost it." There must be some other reason behind this. Without seeking the reason in the hexagram's imagery, merely saying that severity brings good fortune and negligence leads to regret, how can this be explained? However, since the Eastern Han dynasty, commentators on classics have rarely touched on this aspect, as if they had not explained it at all.

而張惠言理惠棟等，求其說而不得，乃本虞《漸》上九之說，謂三變受上成《既濟》，故吉。三變受者，謂三變陰，與上升降，上來居三，三往上，成《既濟》也。夫三當位，動則之不正，虞氏已自亂其之正之例，恐人嗤之，自謂行權宜無怪，是虞氏已自知其不當。然所以為此曲解者，以《家人》《漸》上九皆不當位而皆吉故也。乃惠氏等不知其謬，用其說以解吉義，以訛承訛，疑誤後學，莫此為甚。

Zhang Huiyan and Hui Dong were unable to resolve the issue, so they adopted Yu Fan's interpretation of the Upper Nine in the hexagram "Gradual." They said that the Third Line changing to yin would interact with the Upper Line, forming the hexagram "Perfect Union," hence resulting in a favorable outcome. The phrase "three lines receiving the Upper" refers to the Third Line changing to yin and interacting with the Upper Line, with the Upper Line descending to the Third Position and the Third Line ascending to the Upper Position, thus forming "Perfect Union." However, the Third Line was originally in the correct position; once it changed, it lost its proper position. Yu Fan thus disrupted his own principle of "the correct position of the incorrect," and to avoid criticism, he claimed this was a temporary solution and not unusual. This shows that Yu Fan himself recognized the inconsistency. He resorted to this forced interpretation because both the Upper Nine in "Family" and "Gradual" were not in the correct position yet their line statements still said favorable. Hui Dong and others failed to see the fallacy and continued to use this explanation to interpret "favorable," passing on errors and misleading later scholars, which is the most serious mistake.

茲《易林·未濟之家人》曰：「言與心詭，佞賊為禍。」夫曰心、曰賊，則以《家人》中爻互坎也；坎上下正反兩兌口相背，故曰言與心詭，曰佞賊，皆取象兌口也。九三之嗃嗃嘻嘻，亦以此也。

Now referring to the "Yi Lin · Weiji zhi Jiaoren" which says: "Speech differs from the mind, deceitful villains bring calamity." Since it mentions both "mind" and "thief," this is because in the hexagram Jiaoren, the yao and mutual trigrams form Kan. According to "Shu Gua," Kan represents the mind and theft. The trigram Kan has a positive and a negative兑 mouth facing each other, hence the saying "speech differs from the mind" (speech and thought are inconsistent) and "deceitful villains" are derived from the image of the兑 mouth. The two kinds of speech, "hao hao" and "xi xi," in the line nine three also come from this.

而三下據陰，形艮，艮為制為慎、為篤實、為尊貴，見林林，有尊嚴之象，故其聲嗃嗃；艮為家，故曰家人嗃嗃，由三視下取象也，故吉而不失。三上比陰形震，震為笑樂，有怠慢之聲，故其聲嘻嘻；震為子，四巽婦，故曰婦子嘻嘻，由三視上取象也，故吝而失節。

Nine in the Third is below the first and second lines, which are yin, forming the shape of Gen (Mountain). Gen represents restraint, caution, sincerity, and dignity (these images are frequently found in the "Forest Verses" of the "Yi Lin"), giving an air of solemnity, hence its sound is "hao hao." Gen also represents the family, so it is said "the family is hao hao" — this is the image taken by looking downward from Nine in the Third, thus resulting in good fortune and "not having lost" it. Nine in the Third is above Six in the Fourth, which is yin, forming the shape of Zhen (Thunder). Zhen represents laughter and joy, carrying an air of negligence, hence its sound is "xi xi." Zhen represents the son, and Six in the Fourth belongs to Xun (Wind), which represents the wife, so it is said "the wife and son are xi xi" — this is the image taken by looking upward from Nine in the Third, thus leading to regret and "losing the family's restraint."

其故全在九三上比下據之不同也。不然，以一爻忽吉忽吝，忽失忽不失，有是理哉？然非《易林》半象（《易林》於《既濟》每作三震，於《未濟》每作三艮）及正覆之例，孰能證明哉？

The reason lies entirely in the difference of the images taken when comparing upwards and downwards in the third line. Otherwise, if it were the same line, how could it sometimes be auspicious and sometimes be a disgrace, sometimes lose virtue and sometimes not lose virtue? How could such contradictions exist? However, without the method of half-images in Jiao's Forest of Changes, where the Forest of Changes often treats the situation of the Already Completed as three Zhens and the situation of the Not Yet Completed as three Gens, and the principle of taking images from the upright and inverted trigrams, who could prove this?

《易林》以艮為臣，初不知其用何象，後思《易》《遯》九三云「畜臣妾吉」，《小過》六二云「遇其臣」，皆以艮為臣，而《蹇》下艮，亦曰王臣。《易》之以艮為臣，可謂至明矣。後之人不解林詞者，因《易》象至東漢失傳故也。《易林》，字字步趨《周易》者也。

Jiao's Forest of Changes takes Gen as a minister. At first I did not understand the basis for this imagery; later I thought of the Nine in the Third line of the Duan hexagram in the Zhou Changes, which says "Keeping ministers and concubines is auspicious," and the Six in the Second line of the Xiao Guo hexagram, which says "Meeting his minister," both taking Gen as a minister. The lower trigram of the Jian hexagram is also Gen, so it also mentions "the king's minister." This shows that the Zhou Changes clearly take Gen as a minister. Later scholars failed to understand the Forest of Changes because the imagery of the Changes was lost by the Eastern Han dynasty. The Forest of Changes follows the Zhou Changes line by line.

三體坎，坎為輿為曳，三在坎末，兌見，故曰輿曳。離為牛。「掣」，鄭作「？」，「牛角皆踴」也，案此最得解。兌之為羊，亦取象於角，牛角與羊等耳。又《易林·大畜之睽》云：「傷破妄行，觸壁觗牆。」亦以角踴為說，不以牽掣為訓。踴者，起也，言牛角騰踴上出也。

The sixth line in the third position is located in the trigram Kan, which represents a cart and dragging. Since the sixth line is at the end of the trigram Kan, the image of Dui (Lake) appears, so the line statement says, "Seeing a cart being dragged." The trigram Li represents cattle. The character "chè" is written by Zheng Xuan as another character (the original character is missing in the text), and he explains it as "both cattle horns are raised." I think this interpretation is most appropriate. The reason Dui is taken as the image of sheep is also because of the horns. Cattle horns and sheep horns are similar. Also, in the "Forest of Changes" under the hexagram Da Xu transforming into Kui, it says: "Injury, reckless movement, colliding with walls and barriers." This is also referring to horns raised upward, rather than interpreting "chè" as pulling. The term "yǒng" means to rise up, indicating that the cattle horns are high and upward.

「天」，馬融云：「剠鑿其額曰天。」鄭注《周禮·司刑》云：「截鼻曰劓。」虞詁亦與馬同。惟此用旁通，東漢人則無一能知者，而以《無妄》二五上下為穿鑿。豈知二陰之卦多矣，若用卦變，《中孚》又何不可，何必《無妄》？又東漢人知艮為鼻，不知額亦為艮，艮陽在上，《易林》凡言面、言額鼻者皆謂艮。《睽》兌通艮，今艮伏兌，見而上毀，故曰剠額；艮形滅，故曰截鼻，全用旁通，非由卦變。

As for the term 「天」, Ma Rong said: "To carve the character 「天」 on the forehead with a tattoo is called 「天」." Zheng Xuan's commentary on the "Zhou Li · Si Xing" said: "To cut off the nose is called 「劓」." Yu Fan's explanation is the same as Ma Rong's. However, here the method used is that of mutual assistance between trigrams, and no one in the Eastern Han dynasty understood it. Instead, they made up interpretations based on the movement of the second and fifth lines of the "Wu Wang" hexagram. They never considered that there are many hexagrams with two yin lines. If the change of hexagrams can be applied, why not apply it to "Zhong Fu"? Why must it necessarily be "Wu Wang"? Moreover, people in the Eastern Han knew that Gen represents the nose, but they did not know that the forehead also belongs to Gen. Gen has one yang line at the top, which corresponds to the upper part of the human face. In the "Yi Lin," whenever the face, forehead, or nose is mentioned, it refers to Gen. The upper trigram of "Kui" is Dui and Gen, which are mutually assisting trigrams. Now Gen is hidden and Dui is revealed. Dui signifies destruction, and the upper part is missing, hence it is said 「黥额」; Gen's form is gone, hence it is said 「截鼻」. All of this is based on mutual assistance between trigrams, not on the change of hexagrams.

又俞樾云：「凡《易》皆以天為陽，今忽詁為剠額，無乃太異。考《荘子·德充符》篇『魯有兀者』，《釋文》曰：『李云：刖足曰兀。』其人兀且劓，猶《困》九五曰『劓刖』也。古文天作『？[上兀下兀]』，見《玉篇》，故兀誤為天。」案俞氏此詁，於象尤合，震為足，三震象半見，故刖足。又以天為刑，愚亦心異之，而不能求得馬氏之所本。朱漢上云：「《易傳》髡曰天。」以《易》象考之，《易傳》是也。漢上善用覆，兌覆巽，巽寡髮，故曰髡，亦切於馬詁也。

Another point is that Yu Yue said: "In the Zhou Changes, whenever the character 'tian' is used, it refers to yang. Now suddenly interpreting it as a tattoo on the forehead seems too strange. Investigating the 'De Chong Fu' chapter of the Zhuangzi, there is a mention of 'a man with a missing foot in Lu.' Lu Deming's 'Classic Interpretation' says: 'Li Yi said: cutting off the foot is called 'wu.' Therefore, 'his person is missing a foot and also has his nose cut off' is similar to the 'Yi' in the 'Kun' hexagram's nine in the fifth line, which says 'cutting off the nose and feet.' In ancient texts, the character 'tian' was written as two 'wu's on top of each other (this character is found in the 'Yu Pian,' but the original text is missing). Therefore, 'wu' was mistakenly taken as 'tian.'" I think Yu Yue's explanation aligns especially well with the hexagram imagery: Zhen represents the foot, and the sixth line in the third position is a half-visible position of the Zhen image, so it refers to cutting off the foot. As for taking 'tian' as a type of punishment, I also find it strange, yet I cannot find the source that Ma Rong relied upon. Zhu Zhen (who was known as Hanshang) said: "The 'Yi Zhuan' interprets 'tian' as shaving the head." Considering the imagery of the Zhou Changes, Zhu Zhen's interpretation is correct. Zhu Zhen was good at using inverted images: Dui inverted becomes Xun, and the 'Shuo Gua' says Xun represents a bald head, so it refers to shaving the head, which is very fitting with Ma Rong's interpretation.

《睽》上離，離對坎，坎為豕、為塗、為鬼、為車、為弧、為寇、為雨，《易》見離而象盡用坎，水火相逮不分也。後儒惟來知德氏窺見此旨，曰「此用錯象坎」，餘皆以中爻坎為說。不本《易林》，皆與《易林》闇合，故夫來氏真有心得者也。後儒因不明此旨，因而不解《易林》。《易林》說巽而詞象用震，說兌而詞象用艮，如此者十蓋五六也。後儒不解《易》，故亦不解《易林》矣。

The hexagram Guī has its upper trigram as Li (Fire). The opposite trigram of Li is Kan (Water). Kan represents pigs, mud, ghosts, carts, bows and arrows, robbers, and rain. In the Zhou Changes, this line refers to Li, but the imagery used is entirely based on Kan. This is because fire and water influence each other and are inseparable. Only Lai Zhide, a later Confucian scholar, understood this point, saying, "Here the image used is the wrong trigram Kan." He also applied this principle of the middle trigram Kan in other contexts. He did not rely on Jiao's Forest of Changes, yet his interpretations coincided with those of the Forest of Changes. Therefore, Lai Zhide truly had profound insights. Later scholars, not understanding this principle, could not comprehend the Forest of Changes. In the Forest of Changes, there are instances where the trigram Xun (Wind) is used with the image of Zhen (Thunder), or the trigram Dui (Lake) is used with the image of Gen (Mountain). Such cases occur in about five or six out of ten instances. Since later scholars did not understand the Zhou Changes, they naturally could not understand the Forest of Changes either.

餘因《易林》無一字不根於象，而悟《易》亦然也。蓋古聖人之制《易》詞，皆澄心凝慮，目視卦象而為之，忽於甲有觸卽生甲象，忽於乙又有觸卽生乙象，而上下文不必相屬，吉與凶不必其齊一。

I realized that the Forest of Changes by Jiao氏 has no word that does not root in the hexagram images, so I understood that the Zhou Changes are also like this. Probably, when the ancient sages composed the line statements, they clarified their minds and concentrated their thoughts, looking directly at the hexagrams to write. Suddenly, something was triggered at Jia, giving rise to statements related to the Jia image; suddenly, something was triggered at Yi, giving rise to statements related to the Yi image. Therefore, the text does not necessarily connect sequentially, and good fortune and misfortune do not necessarily follow one after another.

如《睽》卦之詞，至易見矣：方喜馬復，忽又見惡人；方見輿牛，忽又見人之天且劓；方見豕，又見鬼；方慮張弧，又喜遺壺；方慮寇，又冀雨。迷離閃灼，其詞若不從卦象生，不發狂乎？而執者解《困》之有言不信，必與上文大人吉相屬；解《震》上六「震不于其躬，于其鄰」，必與下「婚媾有言」相屬，胡能通乎？

The line statements of the hexagram Kui clearly illustrate this point: at first, the strong is happy about "losing a horse, do not chase, it will return by itself," but suddenly "evil people appear"; just seeing "a cart dragged by an ox and a bull struggling," suddenly "the person is heaven and nose-cut"; just seeing "a pig carrying mud," suddenly "a ghost cart appears"; just worrying about "a bow drawn in advance," suddenly rejoicing at "a cup offered later"; just worrying about "not a robber," suddenly hoping for "rain brings good fortune." The meaning is obscure and flickering, and if it were not generated from the hexagram's image, it would be like the ravings of a madman. Yet those who are rigid in their interpretations connect the line "there is no trust in words" of the hexagram Guan with the previous "the great man is auspicious," and connect the line "the earthquake does not affect himself, but his neighbor" of the upper sixth line of Zhèn with the following "the marriage partner speaks," which is not coherent at all.

《易林》於《解》，往往用半象。茲按《解》六三云「負且乘，致寇至」，卽用半象也。六三體離，離上艮下震，艮為負，震為乘，三正當其間，故負且乘。三上下皆坎，坎為寇，故曰致寇。自來說者皆不協，蓋《易》原用半象，故《易林》本之也。

In Jiao's Forest of Changes, when encountering the hexagram "Jie" (Release), half-figures are often used. Now, according to the line "Six in the Third" of "Jie," which says "carrying burdens and riding in a carriage, leading bandits to come," this is precisely the use of a half-figure. The line Six in the Third is located within the trigram Li (Fire). The upper half of Li corresponds to Gen (Mountain), representing carrying burdens, while the lower half corresponds to Zhen (Thunder), representing riding in a carriage. Since the line Six in the Third is exactly between these two, it is said "carrying burdens and riding in a carriage." Furthermore, both above and below this line are Kan (Water), which represents bandits. Therefore, it is said "leading bandits to come." Those who have interpreted this line in the past have not explained it properly. In fact, the Zhou Changes itself originally used half-figures, and the Forest of Changes merely continued this method.

《小過》六五曰「公弋」，卽以震為公。《易林·需之歸妹》云：「同公共母。」《歸妹》上震為公，故曰同公。又《泰之豫》云：「莊公築館。」亦以《豫》上震為公。《解》之上體震，故曰公。射亦震象，《左傳》晉筮遇《復》，云「射其元」，卽以震為射，《易林》本之。

The line statement of 《Xiao Guo》 six in the fifth says, "The public shoots at him who is in the hole." Here, Zhen is taken as the public. 《Jiao's Forest of Changes·Need to Gui Mei》 says: "The public and the commoner share the same mother." The upper trigram of 《Gui Mei》 is Zhen, which is taken as the public, hence the phrase "the public and the commoner." Again, 《Tai to Yu》 says: "Zhuang Gong builds a pavilion." Here, the upper trigram of 《Yu》 is Zhen, which is taken as the public. The upper trigram of 《Jie》 is also Zhen, so the line statement refers to "the public." Shooting is also an image of Zhen: 《Zuo Zhuan》 records that when the State of Jin consulted the oracle and encountered the 《Fu》 hexagram, the line statement said, "Shoot at his head," which takes Zhen as shooting. 《Jiao's Forest of Changes》 follows this example.

《艮之姤》云：「荷弓射魚。」《姤》通《復》，《復》下震為射，坤為魚，故曰射魚。又《巽之鼎》云：「矢石所射。」《鼎》通《屯》，《屯》下震為射，上坎為矢，艮為石，故曰矢石所射。《解》上震，故曰射；震為鵠，故亦為隼；伏巽為庸為高。蓋《解》有重險，上六出重險之外，故象曰「解悖」，坎為悖也。公用射隼于高庸之上者，言居高庸之上而射隼，象卦形，故獲（坎為獲）之無不利，非自下射上也。虞翻以三為公，以離為隼，皆因卦象失傳，故誤也。

The commentary on "Gen" and "Gou" says: "Carrying a bow to shoot fish." "Gou" and "Fu" are complementary, and "Fu" has a lower trigram Zhen (Thunder) representing shooting and a lower trigram坤 (Earth) representing fish, so it is said "shooting fish." Again, the commentary on "Xun" and "Ding" says: "Arrows and stones shot." "Ding" and "Zun" are complementary, and "Zun" has a lower trigram Zhen (Thunder) representing shooting, an upper trigram Kan (Water) representing arrows, and a middle trigram Gen (Mountain) representing stones, so it is said "arrows and stones shot." The upper trigram of "Jie" is Zhen (Thunder), so it is said "shooting." Zhen represents a bird, so it can also represent a falcon; a hidden Xun represents a wall and height, so it is said "high wall." "Jie" originally has multiple dangers, and the upper sixth line has already gone beyond the dangerous situation, so the small commentary says "to resolve contradiction," as Kan represents disorder. "The public shoots a falcon on a high wall" means standing on a high wall to shoot a falcon—this exactly corresponds to the form of the hexagram, so it can shoot and obtain (Kan represents obtaining) without any disadvantage, and it is not shooting from below. Yu Fan took the ninth line as the public and the trigram Li as the falcon, but this was wrong because the hexagram symbols had been lost.

損大象君子以懲忿窒欲。此與頤之慎言語、節飲食同也。損二至上亦頣也，此易用五爻互也。二至上正反兩震言相對，有爭訟象，故懲忿；懲忿卽慎言語也。正反兩艮手、兩震口相對，有爭食相制象，故窒慾；窒慾卽節飲食也，皆易林義也。易林《萃》之《損》云：「張王子張，爭財相制。」坤為財，兩艮手相對，故曰爭、曰制。又《大畜》之《損》云：「兩虎爭鬥。」艮為虎，正覆兩艮，故曰兩虎相鬥。夫曰相制、曰相鬥、曰爭，卽懲忿窒欲之反也，皆以正覆對象也。而虞仲翔等以乾為忿，以泰乾初居上為懲忿，坤為欲，艮止為窒慾。後治漢易者奉此說，不敢異詞。由易林證之，皆穿鑿也。乾形破卽為懲忿，說尤可哂。

The Great Image Commentary of the "Loss" hexagram says, "The superior man acts by restraining anger and suppressing desires." This is the same principle as the Great Image Commentary of the "Nourishment" hexagram, which says, "The superior man acts by being cautious in speech and regulating food and drink." The "Loss" hexagram, from the second line to the top line, also forms the shape of the "Nourishment" hexagram, which is an example of the use of five-line mutual structures in the Zhou Changes. Between the second line and the top line, there are one positive and one negative Zhen trigrams facing each other; Zhen represents speech and mouth, and two mouths facing each other indicate contention, hence the need for "restraining anger" — restraining anger is the same as the "Nourishment" hexagram's "being cautious in speech." Similarly, one positive and one negative Gen trigrams represent hands, and two Zhen trigrams represent mouths, facing each other, indicating contention over food, hence the need for "suppressing desires" — suppressing desires is the same as "regulating food and drink." These are examples of the symbolic meanings used in the Jiao's Forest of Changes. In the Forest of Changes, the entry under "Cessation" for the "Loss" hexagram says, "Zhang Wangzi Zhang, contention over wealth and mutual restriction." The "Loss" hexagram contains the Kun trigram, which represents wealth, and two Gen trigrams (hands) facing each other in contention, hence the terms "contention" and "restriction." In the entry under "Great Accumulation" for the "Loss" hexagram, it says, "Two tigers fighting." Gen represents a tiger, and in the "Loss" hexagram, the positive and negative Gen trigrams are stacked, hence the term "two tigers fighting." Any mention of "mutual restriction," "mutual fighting," or "contention" is the opposite of "restraining anger and suppressing desires" — precisely because there is originally anger and desire, it is necessary to restrain and suppress them; and all these symbolic representations use opposing positive and negative elements. As for Yu Fan (whose name was Zhongxiang), he interpreted the Qian trigram as "anger," saying that the "Loss" hexagram comes from the Tai hexagram, and that the initial Qian line of Tai moving to the top position represents "restraining anger." He also interpreted the Kun trigram as "desire," and the stopping nature of Gen as "suppressing desire." Later scholars who studied the Han dynasty interpretation of the Zhou Changes accepted this as the established view, without objection. However, when verified with the Forest of Changes, these interpretations are forced and artificial. As for the claim that the destruction of the Qian trigram shape is called "restraining anger," this is especially laughable.

益利有攸往、利涉大川解。此與蹇解之利西南同也。蹇陽居五，曰往得中，又居坤中，坤西南，故曰利西南。解陽居四，前臨二陰，曰往得眾，坤為眾，位西南，故亦曰利西南。益陽居五中，下乘三陰，故曰利往，兼蹇解二義也。毛西河謂利往指否初之四，豈知彖明曰：「利有攸往，中正有慶。」五乃中正，四不中正也。而尚詡詡自得曰：「攸往從來未解。」然如此等解，不如不解也。

The hexagram statement of the "Benefit" hexagram says, "It is advantageous to go somewhere, and advantageous to cross great rivers." This is the same principle as the "Obstruction" and "Release" hexagrams, which both mention "advantageous to the southwest." In the "Obstruction" hexagram, the yang line is in the fifth position, so the commentary on the judgment says, "Going leads to the center." The fifth line is also in the body of the "Earth" trigram, which is located in the southwest, hence the statement "advantageous to the southwest." In the "Release" hexagram, the yang line is in the fourth position, facing two yin lines ahead, so the commentary on the judgment says, "Going leads to the people." The "Earth" trigram represents the people, and since it is located in the southwest, it also says "advantageous to the southwest." In the "Benefit" hexagram, the yang line is in the fifth position and thus in the center, and it is below three yin lines, so it says "advantageous to go somewhere"—it combines the meaning of both the "Obstruction" and "Release" hexagrams. Mao Qilin (pen name Xihé) said that "advantageous to go" refers to the first line of the "Opposition" hexagram rising to the fourth position. But he never considered that the commentary on the judgment clearly states, "Advantageous to go somewhere, the middle and correct position brings good fortune." The fifth line is both middle and correct, while the fourth line is not. Mao, however, boasted that "the words 'advantageous to go' have never been interpreted before." Such an interpretation is worse than not interpreting at all.

至利涉大川，則指初言。初陽臨坤，坤為大川，陽遇陰則通，故曰利涉大川，與損二之利有攸往同也。損二前臨三陰，故利往。凡易言利往、利涉者，義無不通，特坤水象至東漢失傳，必以坎為大川，●●歧誤，而解益之大川尤扞格難通。虞翻云：「三失正，動成坎，坎為大川，故利涉大川。」大川象得矣，而利涉不知屬誰。坎陷，初不利，五亦不利，又陽遇陽則窒，尤不利也。

As for "favorable for crossing a great river," this refers to the first line. The first line is a yang line, and directly above it is the hexagram of K'un, which represents a great river (this is the interpretation held by the Shang school that "K'un represents water"). A yang line encountering a yin line indicates smooth passage, hence "favorable for crossing a great river." This is the same reasoning as in the line "favorable for going somewhere" in the second line of the hexagram of Zhen. The second line of Zhen faces three yin lines, hence it is favorable for movement. Whenever the Zhou Changes mentions "favorable for going" or "favorable for crossing," one can explain it according to this principle without difficulty. However, the image of "K'un as water" was lost by the Eastern Han dynasty, and commentators insisted on using Kan to represent "great river," (the original text here is missing two characters) leading to confusion and errors. Explaining the "great river" in the hexagram Yi is especially difficult. Yu Fan said: the third line is out of position and improper, and after change it becomes Kan, which represents a great river, hence "favorable for crossing a great river." Although this image of "great river" is obtained, it is unclear which line is actually favorable for crossing. The nature of Kan is danger and difficulty; crossing from the first line is not favorable, and crossing from the fifth line is also not favorable. Moreover, a yang line encountering another yang line results in obstruction, making it even less favorable.

益彖木道乃行解。虞翻謂三動成渙，渙舟楫象，巽木得水，故木道乃行，可謂●極。然坤卽為水，依其解，巽木得坤水，豈不益當乎？惜虞不知此象，必變坎始得水，多此波折。蓋木道乃行者，卽月令所謂行春令也。震木巽木，震為春，巽為夏初，正木德昌王之時。而中爻艮亦為木，反震亦為木，故曰木道乃行，不必因涉川而得舟楫為行也。以此為行，義小甚矣。

The Commentary on the Judgment of the Hexagram "Benefit" says, "The way of wood is then carried out." Yu Fan believed that after the third line moves, it forms the Hexagram "Dispersing," which has the image of boats and rafts. The trigram "Wind" (Xun), representing wood, receives water, hence the statement "the way of wood is then carried out." This can truly be said to have reached its extreme. In fact, the trigram "Earth" (Kun) itself represents water. According to his interpretation, the trigram "Wind" (Xun), representing wood, receiving the trigram "Earth" (Kun), representing water, would be even more appropriate. Unfortunately, Yu Fan did not understand this image, insisting on using the trigram "Water" (Kan) through a changing line to represent water, thus unnecessarily complicating things. In reality, the phrase "the way of wood is then carried out" refers to what is said in the "Monthly Ordinances" of the "Rites," namely "carrying out the spring command." The trigram "Thunder" (Zhen) belongs to wood, and so does the trigram "Wind" (Xun); "Thunder" corresponds to spring, and "Wind" corresponds to early summer, which is precisely the time when the virtue of wood flourishes and prevails. In the Hexagram "Benefit," the inner trigrams form "Mountain" (Gen), which also belongs to wood; the reverse trigram is "Thunder" (Zhen), which is also wood. Therefore, "the way of wood is then carried out." There is no need to interpret "carried out" as traveling by boat. To interpret "carried out" as boat travel is too narrow in meaning.

益彖其道大光解。大光之象，因互艮也。此與大畜彖之輝光、艮彖之其道光明，皆指艮言也。此其義，易林最多，乃至東漢而失傳。鄭康成解困卦，謂兌為闇昧。兌與艮對，兌為闇昧，艮當然為光明，乃康成知兌暗而不知艮光。至宋張浚說隨九四、徐幾說艮、吳澄說謙，始知之，乃至清又失。清治漢易者篤守東漢人說，不敢越軌，遂以家法自囿矣。

The Commentary on the Judgment of the Hexagram "Benefit" says, "Its way is greatly bright." The image of "great brightness" arises because the hexagram "Benefit" has the trigram "Kun" (Earth) emerging from its middle line. This is similar to the "glow" mentioned in the Commentary on the Judgment of the Hexagram "Great Accumulation" and the "its way is bright" mentioned in the Commentary on the Judgment of the Hexagram "Kun." All these refer to the trigram "Kun." This interpretive method is most commonly used in the Jiao's Forest of Changes, but it was lost by the Eastern Han dynasty. Zheng Xuan (styled Kangcheng) interpreted the hexagram "Obstruction" and said that the trigram "Dui" (Lake) represents darkness. Since "Dui" and "Kun" are opposite trigrams, if "Dui" represents darkness, "Kun" should naturally represent brightness. However, Zheng Xuan only knew that "Dui" was dark and did not understand that "Kun" was bright. It was not until the Song dynasty that Zhang Jun explained the line nine four of the hexagram "Following," Xu Ji explained the hexagram "Kun," and Wu Cheng explained the hexagram "Humility" that this image was once again understood. But by the Qing dynasty, this interpretation had again been lost. Scholars of the Han dynasty's Yi during the Qing dynasty rigidly adhered to the old interpretations of the Eastern Han dynasty and dared not go beyond the boundaries, thus being confined by the methods of their teachers.

損益十朋龜夬姤臀無膚解。易用覆象，莫此為著矣。損六五覆之，卽益六二，故皆曰十朋龜。夬九四覆之，卽姤九三，故皆曰臀無膚、其行次且。既濟三卽未濟四，故皆曰伐鬼方。此與明夷上六之用晉覆、復彖之用剝覆、泰上六之用艮覆、大過九五之用巽覆，義通也，此皆由易林而得其會通也。乃東漢人除荀爽謂中孚兩巽相對、虞翻謂大壯有反巽，餘用者甚少，故吾謂東漢人於覆象半信半疑也。至龜象，則以損益皆互艮象，故皆曰龜。兩貝為朋，言此龜值十朋也。

The hexagrams "Loss" and "Gain" both mention "ten tortoises," and the hexagrams "Breaking Up" and "Meeting" both mention "no skin on the buttocks." In the "Zhou Changes," the use of inverted images (reversing the hexagram's structure) is most evident in these instances. The fifth line of the hexagram "Loss" inverted becomes the second line of the hexagram "Gain," hence both mention "ten tortoises." The fourth line of the hexagram "Breaking Up" inverted becomes the third line of the hexagram "Meeting," hence both mention "no skin on the buttocks, moving with difficulty." The third line of the hexagram "Completion" is the fourth line of the hexagram "Non-Completion," so both mention "marching against the ghostly people." This is similar to the use of inverted images in the upper sixth line of "Darkening of the Light" using the hexagram "Progress," the "Commentary on the Judgment" of "Return" using the hexagram "Splitting," the upper sixth line of "Great Passage" using the hexagram "Stillness," and the fifth line of "Great Excess" using the hexagram "Wind." These are all connected through the "Forest of Changes" by Jiao. However, among the Eastern Han scholars, only Xun Shuang mentioned that the hexagram "Faithful and Kind" contains two "Wind" hexagrams facing each other, and Yu Fan mentioned that the hexagram "Great Strength" contains an inverted "Wind." Few others used the method of inverted images, so I believe the Eastern Han scholars were only half convinced of the use of inverted images. As for the image of the tortoise, it is because both the hexagrams "Loss" and "Gain" contain the structure of "Stillness," and "Stillness" represents a tortoise, hence both mention "tortoise." In ancient times, two shells made one "peng," so "ten peng of tortoise" refers to a tortoise worth ten peng.

夬卦九四聞言不信及象聰不明解。此其義亦晦茫二千年矣。虞翻謂震為言，坎為耳，震坎不正，用半象，故聞言不信也。夫以震坎半見為不信，如此解經，謂之為通，其誰信之？清毛西河、焦循、姚配中、惠氏父子之所釋，愈不協矣。易說易象之失傳，此尤顯著。

The "Gua" of "Gua" with Nine in the Fourth line "Upon hearing words, one does not believe" and the "Image Commentary" saying "The ear is not clear," the meaning of this passage has been obscure and unclear for two thousand years. Yu Fan said that "Zhen" represents speech and "Kan" represents the ear, but in the "Gua" of "Gua," both "Zhen" and "Kan" are incomplete, only appearing as "half-images," hence the phrase "Upon hearing words, one does not believe." To explain "not believing" by referring to "Zhen" and "Kan" only partially appearing is it still possible to make sense of the text? Who would believe that? The interpretations by Mao Qilin, Jiao Xun, Yao Peizhong, and the father and son Hui Zhou ti and Hui Dong in the Qing dynasty are even more inappropriate. The loss of the "Yi" and the "Yi" images is particularly evident in this passage.

夫乾為言為信，而兌口在上，與下乾相背，相背卽不信矣。是以易林姤之夬云：「兩人俱醉，相與背戾，心乖不同，訟爭恟恟。」夬乾為人，兌先天居二，故曰兩人；兌口與乾背，故曰背戾；相背卽相爭相訟，故曰訟爭恟恟。又坤之夬云：「一簧兩舌，妄言謬語。」夬下乾先天居一，故曰一簧；兌先天居二，故曰兩舌；兌口與乾言背，故妄言謬語。夫曰爭訟、曰謬妄，卽不信也，此不啻焦氏特解此爻詞矣。

In fact, the hexagram Qian represents speech and trust, while the hexagram Guai has its upper trigram Dui (Lake) representing the mouth located above, which is opposite to the lower trigram Qian below. Opposite positions signify a lack of trust. Therefore, in the Jiao's Forest of Changes, the entry for Guai leading to Guai says: "Two people are both drunk, facing opposite directions, their hearts differ, and there is a quarrel and clamor." The trigram Qian in Guai represents people, and Dui is the second trigram in the Earlier Heaven sequence, hence "two people." The mouth of Dui is opposite to Qian, hence "facing opposite directions"; being opposite leads to contention and litigation, hence "quarrel and clamor." In another entry, "Kun leading to Guai," it says: "One tongue, two tongues, false words and mistaken speech." The trigram Qian in Guai is the first trigram in the Earlier Heaven sequence, hence "one tongue"; Dui is the second trigram, hence "two tongues"; the mouth of Dui is opposite to the speech of Qian, hence "false words and mistaken speech." Whenever it speaks of "contention" or "falsehood," it refers to "lack of trust." These entries from Jiao Yanshou are essentially annotations for the line statement of the fourth line in the hexagram Guai.

又井之姤云：「各引是非。」姤反兌，與上乾亦相背，故曰各引是非。又震之泰云：「心與言反。」泰中爻震兌，皆與下乾言相背，故曰心與言反，亦不信之註解也。千年之霧障，一旦而祛，能不於焦氏易林馨香祝之哉！

The entry in the "Well" hexagram of the "Forest of Changes" (Yilin) under the "Meeting" (Gou) hexagram says: "Each leads to right or wrong." The lower trigram of "Meeting" is "Wind" (Xun), which is the reversed form of "Lake" (Dui), and it is opposite to the upper trigram "Heaven" (Qian), hence the statement "Each leads to right or wrong." The entry in the "Thunder" hexagram of the "Forest of Changes" under the "Great Passage" (Tai) hexagram says: "Heart and speech are opposite." In the "Great Passage" hexagram, the middle trigrams produce "Thunder" (Zhen) and "Lake" (Dui), both of which are opposite to the lower trigram "Heaven" (Qian), which represents speech, hence the statement "Heart and speech are opposite" — this is again a commentary on the word "untrustworthy." Once the long-standing confusion is cleared away, how could one not burn incense and pay homage, with gratitude, to Jiao Yanshou's "Forest of Changes"?

至聞之為象，指半坎無疑，故象曰聰不明也。聰卽聞，管子宙合篇「聞審謂之聰」是也。半坎耳不足，故曰聰不明，卽俗所謂不明白。不明仍謂耳，非謂目。舊注謂耳曰聰、目曰明，各有所司。若聰謂耳、明又謂目者，豈知噬嗑上九象曰：「何校滅耳，聰不明也。」耳滅坎伏，故聰不明，專指耳言，亦不指離目，舊注誤也。

As for the image of "hearing" (闻), it undoubtedly refers to half of the trigram Kan (坎), so the Image Commentary says "the ear is not clear." "Cognizance" (聪) is the same as "hearing," as stated in the chapter "Zhouhe" of the "Guanzi," which says "to hear clearly is called 'cognizance'," which is exactly this meaning. Half of Kan, the ear image is incomplete, hence "the ear is not clear," which is what is commonly said as not understanding clearly. Here, "not clear" still refers to the ear, not the eye. Old interpretations claim that the ear is called "cognizance" and the eye is called "clearness," each having its own function. If "cognizance" refers exclusively to the ear and "clearness" exclusively to the eye, then how should we interpret the Image Commentary of the line "What is the school that cuts off the ear, 'cognizance is not clear'" in the upper ninth line of "Shihhe"? There, the ear is cut off by a collar, and the trigram Kan is hidden, hence "cognizance is not clear," referring exclusively to the ear and not involving the trigram Li (离) representing the eye. Thus, the old interpretations are incorrect.

行唐尚秉和節之撰

Shang Binghe, from Xingtang in Zhili (now Xingtang County, Hebei Province), with the style name Jiezi, wrote the work.

姤象后以施命誥四方解。虞翻、翟玄、王弼皆以天下有風，風無不周，故天子法之，申命誥四方。豈知姤為夏至之卦，天子施命令多在歲首。周禮天官及秋官所謂「正月之吉，縣法象於象魏，使萬民觀治」，並宣佈於四方，是也，不聞夏至。鄭玄、王肅則又作誥四方，蓋以夏至微陰初生，奸慝潛匿，詰奸摘伏，端在此時。然觀周禮，詰奸之職多矣，於夏至無關也，似亦未協。

The Great Image Commentary of the Hexagram 50, "Gou" (Meeting), says, "The king should issue commands and proclaim them to all directions." Yu Fan, Zhai Zixuan, and Wang Bi all believed that wind pervades everywhere, so the Son of Heaven should emulate it by issuing decrees and informing all directions. But they did not realize that "Gou" is the hexagram of the summer solstice, and the Son of Heaven usually issues commands at the beginning of the year. The "Rites of Zhou" states that in the first month, the laws and images are displayed on the gate of the court, so that the people may observe the governance, and they are proclaimed to all directions. This is exactly the system in question, and there is no mention of it being held at the summer solstice. Zheng Xuan and Wang Su, on the other hand, suggested reading the phrase as "investigate all directions" (the character in the current text is "gao," but they read it as "jie"), probably because at the summer solstice, the initial signs of Yin begin to appear, and wickedness hides, making it the proper time to investigate wrongdoing and uncover hidden evils. However, upon examining the "Rites of Zhou," there are many officials responsible for investigating wrongdoing, none of whom are associated with the summer solstice, so this interpretation seems questionable as well.

案後漢魯恭傳：「五月姤用事，經曰『後以施令（注引亦作令）誥四方』，言君以夏至之日施命令，止四方行者。」章懷注云：「復卦曰『先王以至日閉關，商旅不行』，故夏至宜止行。」據此，是魯恭及章懷皆以誥四方為禁止四方行旅，與易林二至之戒「家無凶禍」說合，又與復象義通也，復象卽兼夏至言也。恭，東漢初人，疑其說近古。又漢書薛宣傳「至日休吏，由來已久」，注：「至日，冬夏至也。」夫曰休吏，則不治事也；官吏不治事，則行旅可知。疑此俗仍周之舊也。

According to the "Book of the Later Han · Lu Gong's Biography," the hexagram Gou (Encounter) is in effect during the fifth lunar month, and the text says, "The king issues commands to the four directions" (the annotation by Li Xian cites the word "command"). This means that the sovereign issues decrees on the day of the summer solstice, prohibiting travel by people in all directions. Prince Zhang Huai, the son of Emperor Zhong, explained that the "Great Image" of the hexagram Fu (Return) says, "The former kings closed the borders on the day of the solstice, and merchants and travelers did not travel." Therefore, travel should also be stopped on the summer solstice. From this, we can see that Lu Gong and Li Xian both interpreted "commanding the four directions" as prohibiting travel by people in all directions. This aligns with the cautionary words in the "Forest of Changes" by Jiao concerning the winter and summer solstices, which say "there will be no misfortune in the family," and also corresponds with the meaning of the "Great Image" of the hexagram Fu. The "Great Image" of Fu originally also refers to the summer solstice. Lu Gong was a person of the early Eastern Han dynasty, and I suspect his interpretation is closer to the ancient meaning. Additionally, the "Book of Han · Xue Xuan's Biography" says, "On the day of the solstice, officials rest," and the annotation explains that "the day of the solstice" refers to the winter and summer solstices. Since it mentions "officials rest," meaning they do not conduct official business, it is evident that travel would also be stopped. I suspect this custom has been carried down from the Zhou dynasty.

升南征吉解。虞氏謂二升五成離，為南。然經曰南征，則非指變後之離也，後來說者愈不協。茲以易林解之，則南為震象也。易林咸之升云：「南與凶俱。」升上坤，為凶；震南，故曰南與凶俱。又無妄之升云：「三鶴南飛。」升中爻震，為鶴，數三，又為南，故曰南飛。是易林明以震為南也。

The hexagram statement of 《Sheng》 says "Southward campaign is auspicious." Yu Fan believed that the second line ascending to the fifth position forms 《Li》, and 《Li》 in the later heaven direction belongs to the south. However, the text refers to "southward campaign," not the resulting hexagram 《Li》 after the change. Later interpretations became even more inconsistent. Now, using 《Jiao's Forest of Changes》 for interpretation, "south" refers to the image of 《Zhen》. 《Jiao's Forest of Changes》 under 《Xian》 changing into 《Sheng》 says: "South and misfortune are together." The upper trigram of 《Sheng》 is 《Kun》, and 《Kun》 represents misfortune; 《Zhen》 represents south, hence "South and misfortune are together." Another entry under 《Wuwang》 changing into 《Sheng》 says: "Three cranes fly south." The middle trigram of 《Sheng》 is 《Zhen》, and 《Zhen》 represents cranes, with the number three, and also represents south, hence "flying south." Clearly, 《Jiao's Forest of Changes》 explicitly uses 《Zhen》 to represent south.

然猶可曰因卦詞也。乃小畜之謙云「南國虐亂」，之師云「南至嘉國」，既濟之蠱云「冠帶南行」，睽之中孚云「南向陋室」，損之豫云「南厯玉山」，易林凡遇震卽曰南。初觀其詞，皆不知其所指；後思易升卦曰南征、明夷九三曰南狩，是易原以震為南也。

Perhaps someone might argue that this is because the Hexagram Statement of the "Upward Movement" (升) hexagram originally contains the words "southern campaign" (南征). However, the "Forest of Divination" (易林) in the "Small Accumulation" (小畜) hexagram says "south country suffering turmoil" (南国虐乱), in the "Army" (师) hexagram it says "reaching the southern prosperous country" (南至嘉国), in the "Perfecting" (既济) hexagram's "Guilt" (蛊) it says "heading south in procession" (冠带南行), in the "Parting" (睽) hexagram's "Sincerity" (中孚) it says "facing south in a humble room" (南向陋室), and in the "Loss" (损) hexagram's "Joy" (豫) it says "crossing the Jade Mountains to the south" (南厯玉山). These hexagrams, either in their original form or through their middle lines, contain the trigram Zhen (震), indicating that the "Forest of Divination" always uses the word "south" (南) whenever Zhen is involved. At first glance, these statements do not reveal where the word "south" comes from; later, thinking of the Hexagram Statement of the "Upward Movement" (升) in the Zhou Changes (周易) saying "southern campaign" (南征) and the Nine in the Third (九三) of the "Darkness over the Sun" (明夷) saying "southern hunting" (南狩), I realized that the Zhou Changes itself originally regarded Zhen as representing the south.

又左傳：晉與楚戰，筮得復，繇曰「南國蹙」。坤為國，震南，南行推陰，故南蹙，是春秋時說易卽以震為南也。自東漢以來解易誤者，由震南之象失傳也。餘前謂易林字字步趨周易，易說易象至東漢末而失傳，於是不能解易，遂亦不能解易林者，正謂此也。

Another record in the "Zuo Zhuan" states that during a battle between the State of Jin and Chu, a divination using the hexagram "Fu" (Return) yielded a commentary that said, "The southern state is pressed." In the hexagram "Fu," the trigram "Kun" represents the state, and "Zhen" represents the south. Since "Zhen" moves upward from below to overcome the yin, it is said that the southern state suffers defeat. This shows that in the Spring and Autumn period, when discussing the "I Ching," the trigram "Zhen" was already associated with the south. The errors in interpreting the "I Ching" since the Eastern Han dynasty arose precisely because the symbolic meaning of "Zhen" as representing the south was lost. I previously said that the "Jiao's Forest of Changes" follows the "I Ching" word for word, but since the interpretations and symbolic meanings of the "I Ching" were lost by the end of the Eastern Han dynasty, people could no longer understand the "I Ching," and consequently could not understand the "Jiao's Forest of Changes" either—this is exactly the kind of situation I was referring to.

升初六允升大吉及小象上合志解。允，說文引作？，進也。陰遇陽則通，故能隨陽進而上升，而大吉也。易林恆例，陽遇陰則吉，無妄初九之往吉、大畜九三之利有攸往、升九三之無所疑皆是也；陰遇陽亦吉，如革六二之征吉、巽六四之有功、渙六四之元吉、升初六之大吉皆是也。惟不當位者不盡吉，陰消陽者不與以吉。升初六雖不當位，然前臨二陽，二陽必上升，初升二得中，彖所謂柔以時升也。京氏曰：「上下見木，內外俱順。」故大吉也。

The first line of the Hexagram "Ascending" says "Allowing ascent, great good fortune." The "Small Image" explains "coinciding with the will above." The character "允" is interpreted as "advancing" according to the "Shuo Wen Jie Zi" citing the "Zhou Yi." Since the line is yin and meets a yang line, the path is clear, so the first line can follow the yang line to ascend, hence "great good fortune." Jiao's Forest of Changes has a general principle that when yang meets yin, it is auspicious, as in the first line of "Wu Wang" with "going is good," the ninth line of "Da Xu" with "favorable to go," and the ninth line of "Sheng" with "no doubt." When yin meets yang, it is also auspicious, as in the sixth line of "Ge" with "advancing is good," the sixth line of "Xun" with "achieving merit," the sixth line of "Huan" with "great good fortune," and the first line of "Sheng" with "great good fortune." However, if the line is not in the proper position, it may not be entirely auspicious, and when yin consumes yang, it is not given auspicious words. Although the first line of "Sheng" is yin in a yang position and thus not in the proper position, it is closely followed by two yang lines. These two yang lines will certainly ascend, and the first line will follow to the second position, thus achieving the middle position. This is what the "Commentary on the Judgment" refers to as "flexible yin rising at the right time." Jing Fang says "wood appears above and below, internal and external harmony," hence great good fortune.

至象曰上合志，自東漢以來皆不知上之所指。九家謂與二陽合志，略為得之；惟又謂陽升五，謂上為五，則又不協。惠氏士奇知其不安，則又以京氏八宮世應為合志，謂升世在四，應在初，上謂四也。信如是也，大畜之世應在二五，而大畜於九三曰上合志，不及二五也；小畜之世應在初四，而小畜於六四曰上合志，不及初也。則升之合志不在世應亦明矣。其餘惠棟、姚配中、張惠言等，皆遵九家說，謂上謂五，以訛承訛，經義愈晦，則以易例不明也。

As for the "Image Commentary" saying "upper harmony of will," since the Eastern Han dynasty, no one has known what the word "upper" refers to. The "Nine Schools Commentary on the Changes" says it refers to the combination of will with the two upper yang lines, which is roughly correct; however, it also says that the yang lines rise to the fifth position and that "upper" refers to the fifth line, which is incorrect. Hu Shiqi noticed this mistake and changed the explanation of "harmony of will" to be based on Jing Fang's eight palace diagrams, saying that in the "Ascending" hexagram, the world line is in the fourth line and the response line is in the first line, so "upper" refers to the fourth line. If this is true, then in the "Great Accumulation" hexagram, where the world and response lines are in the second and fifth lines, the text says "upper harmony of will" in the ninth trigram, which does not involve the second or fifth lines; in the "Small Accumulation" hexagram, where the world and response lines are in the first and fourth lines, the text says "upper harmony of will" in the sixth trigram, which does not involve the first line. This clearly shows that the "harmony of will" in the "Ascending" hexagram is not based on the world and response lines. Others such as Hui Dong, Yao Peizhong, and Zhang Huiyan followed the "Nine Schools Commentary on the Changes" and believed that "upper" refers to the fifth line, thus passing on errors and making the meaning of the Changes more obscure. This is all due to not understanding the principles of the Zhou Changes.

小畜六四之上合志，以六四前承二陽也；大畜九三之上合志，以九三前臨二陰也；升初六之上合志，亦以初六前承二陽也。易以在前者為上，不專指上，亦不專指五也。王弼云：「雖無其應，處升之初，與九二九三合志俱升。」較九家說尤適，而治漢易者不取之，則以門戶之見蔽之也。

In the hexagram "Xiao Xu," line six at the fourth position says "upper harmony of will," because line six at the fourth position is supported by two yang lines ahead of it; in the hexagram "Da Xu," line nine at the third position says "upper harmony of will," because line nine at the third position faces two yin lines ahead of it; in the hexagram "Sheng," line six at the beginning also says "upper harmony of will," for the same reason that line six at the beginning is supported by two yang lines ahead of it. The "Zhou Yi" uses "upper" to refer to the line that is ahead, not exclusively the top line or the fifth line. Wang Bi says: "Although there is no corresponding line, since it is at the beginning of the hexagram 'Sheng,' it harmonizes with the will of lines nine at the second and nine at the third, and they rise together." This interpretation is more accurate than that of the "Jiu Jia Yi," yet those who study the Han dynasty interpretation of the "Zhou Yi" do not adopt it, because they are blinded by factionalism.

升九三升虛邑。虛，祗馬訓為丘，餘皆訓為空虛，謂五虛無君，陽宜升五。按詩邶風「升彼虛矣，以望楚矣」，毛傳：「虛，漕虛也。」鄭箋：「蓋地有故墟，可登以望。」然則虛卽墟也，故釋文云「或作墟」，說文云「大丘也」。又國語實沈之虛、禮記墟墓之間、竹書紀年遂曰殷墟，益足證虛墟同為一字。此虛邑之虛，自以從毛詩為最當，而訓為墟落或殷墟之墟也。

The "Sheng" hexagram, line nine in the third position, says "ascending to a deserted city." The character "virtual" is interpreted by only Ma Rong as "qiu," while all other scholars interpret it as "empty and void," explaining that the fifth position is empty and lacks a ruler, so the yang line should ascend to the fifth position. According to the "Poetry · Bei Wind," "ascending to the empty place, to look at Chu," (now listed in the "Yong Wind · Ding Zhi Fang Zhong" in the "Mao Poetry"), the "Mao Transmission" says "virtual refers to the漕virtual," and Zheng Xuan's "Commentary" says "there was an old ruined site on the ground, which could be climbed to look afar." From this, "virtual" is the same as "xu." Therefore, Lu Deming's "Classic Interpretation" says this character can also be written as "xu," and the "Shuo Wen Jie Zi" says "xu means a large hill." Furthermore, the "Guoyu" mentions "Shi Shen's xu," the "Liji" mentions "between the graves," and the "Zhu Shu Ji Nian" directly refers to "Yin xu," which further proves that "virtual" and "xu" are originally the same character. In this context, the "virtual city" should be interpreted according to the explanation in the "Mao Poetry," meaning a village ruin or a place like Yin xu.

舊多訓為空虛，以與坤虛象合，豈知坤為邑，虛亦坤象也。易林遇升卽曰登山、曰登高，亦不訓為空虛也。又易林噬嗑之屯云：「破亡之虛，神所哀憂。」此虛字義亦同墟，與虛邑同，亦取屯中爻坤象。然則升之虛亦取象於坤明矣。

Old interpretations often take the term "virtual" to mean "empty," in order to correspond with the image of the hexagram "Kun" (Earth). But they did not realize that "Kun" is also represented by "xu" (ruin), so "xu" is also an image of "Kun." In "Jiao's Forest of Changes," whenever the hexagram "Sheng" (Increase) appears, it says "climbing mountains" and "ascending high," and does not interpret this character as "empty." Also, in the entry for the hexagram "Zun" (Obstruction) in "Jiao's Forest of Changes," it says: "a ruined place, where the spirits grieve and worry." Here, the term "xu" also means "ruin," and its usage is consistent with "xu yi" (ruined city), and it also takes the image of the second line of the hexagram "Zun" interacting with "Kun." Thus, it is clear that the "xu" in the hexagram "Sheng" also takes its image from "Kun."

升六四王用享于岐山。此以易林本象與對象雜用之例推之。四體兌，對艮，故曰山；兌西，故曰岐山。六四震體，震為王，兌食，為享，在山下，故王享於岐山。荀爽謂二升五，五為王，下成艮，故曰山，皆曲說也。

The hexagram "Ascending" (升) line six-four says, "The king uses offerings at Qishan." This passage should be interpreted using the method of the "Forest of Changes" by Jiao, which combines the original image and the corresponding image. Line six-four is located within the trigram "Dui" (Lake), which is formed by the middle trigram. The opposite trigram of "Dui" is "Gen" (Mountain), and "Gen" represents mountain, hence the mention of "mountain." "Dui" is located in the west, hence "Qishan" (Qishan is in the western land). Line six-four is also located within the trigram "Zhen" (Thunder), formed by the lines three to five. "Zhen" represents the king; "Dui" represents mouth and food, hence "offering" (祭享); the place of offering is below the mountain, hence "the king uses offerings at Qishan." Xun Shuang said that line two ascends to the fifth position, and five represents the king, while the lower part becomes "Gen" (Mountain), hence "mountain," but these are all forced and arbitrary interpretations.

困有言不信尚口乃窮解。此其義亦誤解者二千年矣。虞翻謂震為言，折入兌，故有言不信、尚口乃窮。荀爽謂陰從二升上，用否推，成兌為有言，失中為不信。張惠言謂乾為信，乾滅故不信，惠棟同。毛奇齡謂：「荀爽以否陽降成險，陰升為悅，善推易之法；虞氏以震折入兌為不信，則並以恆推易，尤為近代所罕識。」夫以震變兌為不信、否陰升上失中為不信、乾體滅為不信，為是說者，恐自審亦心謂不愜洽矣，乃二千年來不能不用其說，且驚以為神奇者，則以易象失傳，無可如何也。

The meaning of the Hexagram Statement "There is speech but it is not believed" and the Commentary on the Judgment "Over-reliance on words leads to ruin" has been misunderstood for two thousand years. Yu Fan said that Zhen represents speech, and Zhen breaking and entering Dui leads to "There is speech but it is not believed, over-reliance on words leads to ruin." Xun Shuang said that the yin line moves from the second position to the top position, using the Hexagram of Not Being, forming Dui, which is "speech," and losing the central position is "not believed." Zhang Huiyan said that Qian represents trust, and the body of Qian being destroyed leads to "not believed," and Hui Dong's interpretation is the same. Mao Qilin said that Xun Shuang's use of the Hexagram of Not Being, with yang lines descending to form danger and yin lines ascending to form joy, is a skillful method for explaining the principles of the Book of Changes; Yu Fan's explanation of "not believed" by Zhen entering Dui is a method that also includes the Hexagram of Constancy, which is especially rare in modern times. However, those who take Zhen transforming into Dui as "not believed," those who take the rising yin line in the Hexagram of Not Being losing the center as "not believed," and those who take the destruction of the Qian body as "not believed," probably feel uneasy themselves. Yet for two thousand years, people have had to follow their interpretations, even regarding them as miraculous, because the images of the Book of Changes have been lost, and there was really no alternative.

茲證之易林。坤之離云：「齊魯爭言，戰於龍門。」離中爻巽齊兌魯（兌魯說見後），故曰齊魯；離二至五正覆兩兌口相背，相背幫爭言；龍門用對象坎。離二至五與困三至上同也。又中孚之巽云：「一言不同，乖戾生訟。」巽初至四亦正覆兩兌口相背，相背故生訟；巽初至四與困三至上亦同也。夫至於相爭相訟，則言之不信也決矣。

Now let us verify this with Jiao's Forest of Changes. The entry "Kun" changing to "Li" says: "Qi and Lu contend, fighting at the龙门." The middle line of the "Li" hexagram corresponds to the "Xun" hexagram, and "Xun" represents Qi; "Dui" represents Lu (the interpretation of "Dui" as Lu will be explained later), hence "Qi and Lu." The lines two to five of the "Li" hexagram consist of two opposite "Dui" trigrams, which represent contention; "L龙门" is derived from the object of "Li," which is "Kan" (since "Kan" represents water and a river). The section of the "Li" hexagram from lines two to five is the same as the section of the "Kun" hexagram from lines three to six. Another entry, "Zhongfou" changing to "Xun," says: "A single word differs, leading to discord and litigation." The lines one to four of the "Xun" hexagram also consist of two opposite "Dui" trigrams, which cause contention and litigation; the section of the "Xun" hexagram from lines one to four is the same as the section of the "Kun" hexagram from lines three to six. When contention and litigation have reached this level, it is certain that words are not trustworthy.

故彖曰尚口乃窮。兌為口，口出言，反正皆口，故曰尚口；尚口則有言不信，不信則窮矣。此文王在獄中審視卦象，以陽皆得中，故曰亨、曰大人吉；又審視初至三正反兩兌口相背，三至上亦正反兩兌口相背，口能言，一言南，一言北，一言上，一言下，故終曰有言不信。後人每欲以此句與上大人吉連屬為義者，誤之遠矣。

Therefore, the Commentary on the Judgment says, "Excessive talking leads to ruin." The trigram兑 represents the mouth, which can speak words. Both the main trigram and the reversed trigram are mouths, so it is said "excessive talking" (emphasizing the use of words). If one only indulges in words, then "words are not trusted," and thus one becomes destitute. This is the insight gained by King Wen while imprisoned: because all the yang lines in the hexagram困 are in the central positions, it says "it is favorable" and "the great man is auspicious." Furthermore, he observed that the first line to the third line consists of one positive and one negative兑 trigrams facing each other, and the third line to the top line also consists of one positive and one negative兑 trigrams facing each other. Since the mouth can speak, one says south while another says north, one says up while another says down, so the conclusion is "words are not trusted." Later people often try to connect this sentence with the previous "the great man is auspicious" as one meaning, but they are far off the mark.

困六三困于石據于蒺藜解。巽為石，見前；坎為蒺藜。六三下據坎，故曰蒺藜；上承巽，故曰困于石。自東漢以來，皆以兌伏艮為石，豈知巽卽為石也。然非易林，不能證明易以巽為石，並不知邵子巽石之象之本於易也。

The interpretation of line six in the third position of the hexagram "Kun" ("Obstruction") says, "Trapped by stone, resting on thornweed." The trigram "Xun" represents stone, as mentioned earlier; "Kan" represents thornweed. Since line six is below the trigram "Kan," it says "resting on thornweed," and since it is above the trigram "Xun," it says "trapped by stone." Since the Eastern Han dynasty, commentators have taken the trigram "Dui" containing "Gen" as stone, but they did not realize that "Xun" itself is stone. However, without "Jiao's Forest of Changes," we would not be able to prove that the "Zhou Changes" take "Xun" as stone, and we would not know that Shao Yong's image of "Xun" as stone originally comes from the "Zhou Changes."

困九五劓刖解。以易林言劓刖之例推之，則用對象也。困上兌，通艮，艮為鼻，今艮伏兌見，鼻象不見，則劓矣。三至五巽，巽通震，震為足，今震伏巽入，足形不見，則刖矣。而九五當兌巽之間，故上象劓，下象刖。虞翻不用旁通，以四動成艮震為說，非也。

The interpretation of the line "Ni Yu" (劓刖) in the line "Nine in the Fifth" of the hexagram "Kun" (困). According to Jiao's Forest of Changes, the meaning of "Ni Yu" is derived from the image of the object (the image of the opposite). The upper trigram of the hexagram "Kun" is "Dui" (兑), which is opposite to "Gen" (艮). "Gen" represents the nose; now "Gen" is hidden and "Dui" is visible, so the image of the nose disappears, which is "Ni" (cutting off the nose). From the third to the fifth lines, the interacting trigram is "Xun" (巽), which is opposite to "Zhen" (震). "Zhen" represents the foot; now "Zhen" is hidden and "Xun" appears, so the image of the foot disappears, which is "Yu" (cutting off the feet). Since the line "Nine in the Fifth" is located between "Dui" and "Xun," it takes the image of "Ni" from above and the image of "Yu" from below. Yu Fan did not use the opposite image, but instead explained it by the change of the fourth line into "Gen" and "Zhen," which is incorrect.

井卦名解。井上坎，坎，窞也，而初至四又互大坎，則窞愈深而為井矣。雜卦云「井，通也」，卽釋此義也。自大象失傳，於是井之義愈說愈晦矣，此不可不知也。

The卦 name "Well" (井) is explained as follows. The upper trigram of the Well hexagram is Kan, which represents a pit (the term "窞" refers to the pit within Kan). Furthermore, the first to fourth lines together form a large Kan, making the pit even deeper, thus forming a well. The Zanggai Zhuan says "Well, means communication," which precisely explains this meaning. Since the principle of "Great Kan" and "Great Li" formed by combining the lines (数爻合成大坎大离) has been lost, the interpretation of the Well hexagram has become increasingly obscure. This is something that should not be overlooked.

井初六井泥不食舊井無禽解。虞翻、干寶、王弼皆以禽為禽鳥，祗崔憬謂禽獲也，禽擒同字。後說易者如朱子，如來知德、毛西河、惠棟、張惠言之屬，亦皆以禽鳥為訓。祗王夫之、王引之謂古禽擒同字，禽者獲也。引之並謂：「易凡言田有禽、田無禽、失前禽者，皆指獸言之，此禽字不當有異。」按引之所說是也。舊井有禽鳥、無禽鳥，有何義意？而各家就禽鳥穿鑿，說雖不同，而無當則一。

The interpretation of the line "The well is muddy and not drinkable, the old well has no birds" in the "Well" hexagram. Yu Fan, Gan Bao, and Wang Bi all took "qin" as referring to birds, but Cui Jing said "qin" meant "to capture," and "qin" and "qin" were originally the same character. Later commentators such as Zhu Xi, Lai Zhide, Mao Qiling, Hui Dong, and Zhang Huiyan all interpreted "qin" as birds. Only Wang Fu zhi and Wang Yin zhi believed that in ancient times "qin" and "qin" were the same character, and "qin" meant to obtain. Wang Yin zhi further said that in the Zhou Changes, whenever it says "the field has qin" (line six five of the "Militant" hexagram), "the field has no qin" (line nine four of the "Constant" hexagram), or "lost the previous qin" (line nine five of the "Comparison" hexagram), it refers to wild animals obtained during hunting, and the character "qin" here should not be interpreted differently. According to Wang Yin zhi's view, it is correct. Whether an old well that has been abandoned has birds or not, what significance could that have? Various scholars have made elaborate interpretations around the idea of birds, and although their explanations differ, they all fail to make sense.

以為焦氏易斷不如此，果於易林最後未濟之井獲其義，曰：「天旱水涸，枯槁無澤，困於沙石，未有所獲。」夫曰天旱、曰枯槁，則無水而泥矣；沙石者泥也，困於沙石則井泥，不能食也。井原以取水，今無水而泥，故曰無獲，無獲卽無禽也，易林特為此爻解也。故象曰時舍，井而不能得水，則人必棄之矣，此與田有禽、田無禽之義皆合也。然能知此者，在魏晉惟崔憬，在清惟二王。故夫二千年來，經說之多莫如易，經說之晦亦莫如易。

I am convinced that Jiao Yanshou's study of the Yi Jing would not be like this. Indeed, I found its original meaning in the last hexagram of the Jiao's Forest of Changes, the "Wei Ji" hexagram's "Jing" line: "The sky is dry and the water has dried up, the grass and trees are withered and dry, trapped by sand and stone, with nothing to gain." It says "dry sky" and "withered and dry," meaning there is no water left, only mud; "sand and stone" refer to mud, being trapped by sand and stone means "well mud," thus making it inedible. A well is originally used to draw water, but now there is no water, only mud, so it says "nothing to gain" — "no gain" is equivalent to "no bird." This line from the Forest of Changes is clearly a commentary specifically for this line statement. Therefore, the Image Commentary says "time is abandoned" (the time when it was abandoned): if a well cannot bring up water, people will certainly abandon it. This also matches the usage of "field has bird" and "field has no bird." However, only Cui Jing in the Wei and Jin dynasties, and Wang Fu Zhi and Wang Yin Zhi of the Qing dynasty, understood this. Therefore, over two thousand years, there has been no other classic with more commentaries than the Yi Jing, nor has any other classic been as obscure as the Yi Jing.

井九二井谷射鮒甕敝漏解羸其瓶附。二至四兌，兌通艮，故曰谷，易林凡遇艮卽曰谷，其證也。巽為魚，二體巽，故曰鮒。巽對震，故曰射。自左氏震為射之象失傳，於是易之言射，自東漢以來皆不知射象何屬。豈知解上震，解上六曰射隼，卽謂震也，左氏復射之所本也，而易林用之尤多。

The Hexagram of the Well, line nine two says, "Digging a well in the valley to catch small fish, the jar is broken and leaking." (Attached is the Hexagram Statement: "The bottle is broken.") The second to fourth lines of the Hexagram of the Well form the intercalary Hexagram of the Lake. The Lake is connected to the Mountain, and the Mountain represents a valley, hence the term "valley" ("谷"). In Jiao's Forest of Changes, whenever the Mountain appears, it is referred to as "valley," which is clear evidence. The Wind represents fish, and since line nine two is in the lower trigram of the Wind, it refers to "small fish" ("鲋"). The opposite trigram of the Wind is the Thunder, and Thunder represents shooting, hence "shooting." Since the image of "shooting" from the Thunder in the Zuo Zhuan has been lost, since the Eastern Han dynasty, whenever the Zhou Changes mention "shooting," people have not known which hexagram the image of shooting belongs to. They do not realize that the Hexagram of Release has the Thunder as its upper trigram, and the sixth line at the top of the Hexagram of Release says "shooting the falcon," which refers to the Thunder. This is also the basis for the image of "shooting the king's head" in the divination statement of the Hexagram of Return recorded in the Zuo Zhuan. The Forest of Changes uses this image especially often.

又易林每遇震，則以為盆、為尊、為瓶，則甕之為震無疑也。敝漏者，巽下斷也。易林大壯之萃云「空穿漏敝」，又夬之姤云「山石朽敝」，姤下巽，巽下虛，故朽敝；萃互巽，巽下斷，故漏敝。由易林推之，易敝漏之象非巽莫屬矣。

In Jiao's Forest of Changes, whenever the Trigram Zhen appears, it is interpreted as a basin, a vessel, or a bottle. Therefore, the image of a jar is clearly associated with Zhen. As for "broken and leaking," this is because the lower yao of the Trigram Xun is broken (the lower yao of Xun is yin, hence it is empty). In the Forest of Changes, the line under Da Zhuang and Cui says "empty, pierced, leaking, and worn out," and the line under Gua and Guo says "mountains and stones decayed and worn out." The lower trigram of Guo is Xun, and since Xun is empty, it is said "decayed and worn out." The middle yao of Cui forms Xun as an intervening trigram, and since Xun is broken, it is said "leaking and worn out." From the Forest of Changes, we can infer that the image of "broken and leaking" in the Zhou Changes must belong to Xun.

九二上無應與，鮒者小魚，谷者幽隱之地，井谷射鮒，必無得矣。震甕原可汲井水，今為巽甕而無當，必敝漏矣。象曰無與，釋其故也。自東漢以來，祗知鮒象，其餘各象皆未能知，故詁之皆誤。又彖曰羸其瓶，亦以對象震為瓶，巽下虛為羸。羸，敗也。舊說以離為瓶，非也。

Nine in the Second has no corresponding line above. "Fù" refers to a small fish, and "gǔ" refers to a deep and secluded place. Shooting at a small fish in a well and deep valley will certainly result in nothing. The image of 《Zhen》 (Thunder) originally represented a jar that could draw water from a well, but now it has been replaced by the image of 《Xun》 (Wind), which represents a jar that is not functional, and thus must be broken. The 《Image Commentary》 says "wu yu" (no response), which explains this situation. Since the Eastern Han dynasty, commentators have only understood the image of "fù" (small fish), but failed to comprehend the other images, so their interpretations are all wrong. Furthermore, the 《Hexagram Statement》 says "lei qi ping" (the jar is broken), which is also using the image of 《Zhen》 as the jar and the emptiness of 《Xun》 below as "lei" (broken). "Lei" means broken or ruined. The old interpretation that used 《Li》 (Fire) as the jar is incorrect.

革九五虎變上六豹變解。此以易林旁通之例證之，虎豹之象皆謂對象艮也。後獨來知德說與易林合。左傳史蘇云「震之離，亦離之震」，卽此義也。

The interpretation of the line "Great Man's tiger transformation" in the line Nine in the Fifth of the Hexagram "Revolution" and "Gentleman's leopard transformation" in the line Six at the Top of the same hexagram should be verified through the principle of mutual transformation in Jiao's Forest of Changes. The images of tiger and leopard both refer to the hexagram "Mountain" (Gèn). The upper trigram of the hexagram "Revolution" is "Lake" (Duì), which is transformed into "Mountain" (Gèn) through mutual transformation. The hexagram "Mountain" represents tiger and leopard. Later scholars only Lai Zhide's interpretation agrees with that of the Forest of Changes. The record in the "Zuo Zhuan" regarding the year 15 of Duke Xian's reign mentions that the diviner Shi Su said "Shaking transforms into Fire, and Fire transforms into Shaking," which exactly expresses the meaning of the mutual transformation of hexagram structures.

革彖傳水火相息二女同居其志不相得解。舊解此者，皆謂火炎上、澤潤下為志不相得。若以泰、既濟例之，此正相得也，舊說誤也。又彖傳曰水火相息，亦正謂澤潤下火火上為相息，相息卽既濟也，與水火相逮、水火不相射同也。幾見易謂水火有相滅者乎？虞氏以火志上、水志下詁不相得，失易旨矣。

The Commentary on the Judgment of the Hexagram 41, "Revolution," says, "Water and fire mutually extinguish each other," and "Two women living together, their aspirations do not harmonize." Previously, interpretations of these sentences have said that fire rises upward and the marsh descends downward, so they are called "aspirations not harmonizing." However, if we compare this with the meanings of the Hexagram 42, "Great Passage," and the Hexagram 63, "Completion," this should actually be "mutual harmony," and the old interpretation is wrong. Moreover, the Commentary on the Judgment says "water and fire mutually extinguish each other," which actually refers to the marsh descending downward and fire rising upward, and they interact and complement each other. "Mutually extinguishing" is the meaning of "Completion," and it is the same as what the Commentary on the Changes says, "water and fire mutually reach each other" and "water and fire do not oppose each other." How can the Zhou Changes ever have said that water and fire mutually destroy each other? Yu Fan's interpretation of "aspirations not harmonizing" as fire's aspiration going upward and water's aspiration going downward has lost the original meaning of the Book of Changes.

不相得之故，據易林晉之革云「邯鄲反言」，以二至上正反兩兌相背，故曰反言。又履之革云「訛言妄語，轉相詿誤」，亦以兩兌相背，故曰訛妄。夫曰反言、曰訛妄，則志不相得矣。坎為志，二至上互大坎，上下卦共之，故曰志不相得，不必如虞說，使四變陰成兩坎然後為志也。此亦二千年之誤解，由易林而明也。

As for the reason of "disagreement of wills," according to the entry "Hanyang Fanyan" in the "Forest of Changes" by Jiao, it says that this is because in the "Geh" hexagram, the second line to the top line consists of one positive and one negative "Dui" trigrams facing each other, hence "reverse speech." Another entry, "Lu" and "Geh," says "false speech and reckless talk, passing on errors," again due to the two "Dui" trigrams facing each other, hence "false and reckless." Since it speaks of "reverse speech" and "false and reckless," this indicates a lack of harmony in will. The "Kan" trigram represents will, and in the "Geh" hexagram, the second line to the top line forms a "Da Kan" trigram, shared by the upper and lower hexagrams, hence "their wills do not harmonize." There is no need, as Yu Fan suggested, to change the fourth line to a yin line, forming two "Kan" trigrams, in order to have the image of "will." This has been a misunderstanding for two thousand years, clarified only by the "Forest of Changes."

革九三革言三就九四改命吉皆用覆象。此以易林用覆之例推之。革中爻乾為言，兌為口為言，而二至四覆兌亦為言。就者，至也，言上下往反，人皆以為宜革也，故曰有孚。巽為命，改命者，言四至上反巽為兌，故曰改命，卽湯武革命也。

In the "Revolution" hexagram, the line nine in the third, "Revolutionary speech thrice converges," and the line nine in the fourth, "Change of destiny brings good fortune," both employ the concept of reversed imagery. This should be understood according to the examples of reversed imagery in the "Forest of Changes" by Jiao. In the "Revolution" hexagram, the middle and interacting lines form the hexagram "Heaven." "Heaven" represents speech; "Lake" represents mouth and also speech. The lines two to four form the reversed body of "Lake," which is "Wind," and "Wind" also represents speech. "Converges" means "arrives," indicating that speech goes up and down, coming and going, and everyone believes that change is necessary, hence "having sincerity" (being trusted by the people). "Wind" represents destiny; the phrase "change of destiny" refers to the lines four to top forming the reversed body of "Wind," which becomes "Lake." Since the destiny of "Wind" has been reversed, it is called "change of destiny" — that is, the meaning of the revolution by Shang Tang and King Wu of Zhou.

革己日乃孚說。吳虞翻卽讀為戊己之己，至王弼乃讀為卒事之已，後王夫之又讀為辰巳之巳。然傳曰「己日乃孚，革而信之」，則傳似亦讀為戊己之己。古人萬事皆麗於五行，信屬土，土居中央，說文「己，中宮也」，洪範以思屬土，離納己，己土，故曰革而信。又爻詞獨六二曰己日乃革，二，離之正中也。又三至五干，乾亦為信，故三五皆當位有應予，皆孚而吉；四不當位無應予，亦有孚而吉，則以信於己日也，卦信而後革也。己土為信，乾亦為信，故六爻皆吉，此可以定其讀也。

The "Revolution" hexagram says, "On the sixth day, trust is established." The Three Kingdoms period Wu scholar Yu Fan interpreted the character "己" as "戊己," but Wang Bi later read it as "already completed" (already). Later, Wang Fu Zi read it as "si" from the "chen si" (hour of the snake). However, the "Commentary on the Judgment" says, "On the sixth day, trust is established, revolution is trusted." It seems the "Commentary on the Judgment" also reads "己" as "戊己." In ancient times, everything was connected with the Five Phases. "Trust" belongs to earth, and earth is in the center. The "Shuo Wen Jie Zi" says, "己 is the central palace." The "Shang Shu · Hong Fan" assigns "thought" to earth. The "Li" hexagram includes "己" in its trigrams, and "己" is earth, so it says "revolution and trust." Now looking at the line statements, only the second line says, "On the sixth day, revolution occurs." The second line is the central position of the "Li" hexagram. Also, the third to fifth lines form the "Qian" trigram, and "Qian" is also associated with trust. Therefore, the lines nine three and nine five are in proper position and have corresponding lines, and they are all auspicious because they have trust. The line nine four is not in proper position and has no corresponding line, yet it is also auspicious because it relies on trust from the "sixth day." "己" as earth represents trust, and "Qian" also represents trust, so all six lines are auspicious. Based on this, we can determine the correct reading of the character "己."

鼎象解。彖傳曰「鼎，象也」，言卦之命名取卦象也。而二千年來說鼎象者無一能合，獨端木國瑚說能與易林例合。易林固視本象與對象相通也，故見巽鼎下卦，卽如見震，屯下震為鼎足，震數又三，尤合；遇乾鼎下互，卽如遇坤，坤為鼎腹；通兌鼎上互，卽如遇艮，艮為鼎肩；遇離鼎上卦，卽如遇坎，坎為鼎耳。凡鼎之象，自下而上，無一不合。

The interpretation of the image in the Hexagram of the Cauldron. The Commentary on the Judgment says, "The Cauldron is an image," meaning the name of this hexagram is derived from its image. However, for two thousand years, no one has given a satisfactory explanation of the image of the Cauldron, except for the view of Duanyu Guohu, which is consistent with the principles of Jiao's Forest of Changes. The Forest of Changes originally treats the primary image and the secondary image as mutually connected. Therefore, seeing the lower trigram of the Cauldron, Xun, is equivalent to seeing Zhen. The lower trigram of the Hexagram of the Initial Struggle is Zhen, and Zhen represents the legs of the Cauldron. The number of Zhen is three, which especially matches the three legs of the Cauldron. When encountering the lower interacting trigram of the Cauldron, Qian, it is equivalent to encountering Kun. Kun represents the body of the Cauldron. When encountering the upper interacting trigram of the Cauldron, Dui, it is equivalent to encountering Gen. Gen represents the shoulder of the Cauldron. When encountering the upper trigram of the Cauldron, Li, it is equivalent to encountering Kan. Kan represents the handle of the Cauldron. Every part of the image of the Cauldron, from bottom to top, is perfectly consistent.

自旁通失傳，人不知鼎象全在屯。鄭玄以乾金兌澤中含水為說，信如是也，大過亦可象鼎，革亦可象鼎矣。大過乾金兌澤，亦中含水也；革下火巽木乾金兌澤，亦中含水也。乃易不以為象者，誠以大過與革，皆與鼎足鼎耳之象不合也。彖傳曰「鼎，象也」，以無第二二卦可以為象也。

Since the principle of mutual transformation (旁通) was lost, people no longer knew that the image of the "Ding" hexagram actually fully corresponds to the "Zun" hexagram. The combined image of the "Ding" hexagram through mutual transformation exactly matches the structure of the "Zun" hexagram. Zheng Xuan explained it by using the "Qian" (Heaven) metal and "Dui" (Lake) marsh, with water in the middle. If this were true, then the "Da Guo" and "Ge" hexagrams could also represent the image of a cauldron. The "Da Guo" hexagram contains "Qian" metal and "Dui" marsh, with water in the middle; the "Ge" hexagram has fire in its lower trigram, along with "Xun" wood, "Qian" metal, and "Dui" marsh, with water in the middle. However, the "Zhou Yi" does not use them to represent the image of a cauldron, because both "Da Guo" and "Ge" do not match the image of a cauldron's legs and handle. The "Commentary on the Judgment" says "Ding, an image," precisely because there is no other hexagram that can serve as the image of a cauldron.

此其義創於端木國瑚，而引而申之者杭辛齋也。惟杭氏尚不知易與易林視本象與對象往復相通之旨，其所駁舊說則是，所說鼎象亦是，至鼎象之何以在屯，則未明澈也。然端木氏之靜悟優矣。毛西河以巽股兩開為趾，尤非。

This view was first proposed by Du Menghu and further developed by Hang Xinzhai. However, Hang did not fully understand the principle of the Zhou Changes and the Yi Lin, which regard the original image and the corresponding image as mutually connected and interpenetrating. He criticized the old views correctly, and his interpretation of the tripod image was also correct. Yet he did not thoroughly explain why the tripod image appears in the Tun hexagram. Nevertheless, Du Menghu's insights, gained through careful contemplation, were indeed profound. Mao Qiling, who interpreted the two branches of Xun as the legs of the tripod, was even more mistaken.

鼎初六鼎顛趾利出否得妾以其子及象曰從貴解。自東漢至清，皆宗虞義，謂初應四，大壯震為趾，折入大過（鼎初至五大過，兌毀折，故曰折入大過），大過顛也，故鼎顛趾。後之說者小有異同，總不出此義。豈知鼎之象在屯，鼎之爻詞亦時時取象於屯。

The first line of the Hexagram of the Cauldron, "The cauldron's foot is overturned, it is advantageous to expel the obstruction, obtaining a concubine with her son," and the Image Commentary, "Following the noble," have been followed since the Eastern Han Dynasty until the Qing Dynasty according to Yu Fan's interpretation: the first line corresponds with the fourth line. The Great Strength hexagram contains the Zhen trigram as the foot, which is transformed into the Great Overturning hexagram (the first line to the fifth line of the Cauldron hexagram form the Great Overturning hexagram; the Dui trigram represents destruction, hence "entering the Great Overturning"). The Great Overturning hexagram has the meaning of overturning, hence "the cauldron's foot is overturned." Later commentators have slight variations, but they all follow this approach. They do not realize that the image of the Cauldron hexagram is from the Zun hexagram, and the line statements of the Cauldron hexagram also frequently draw upon the image of Zun.

按易林乾之鼎云「弱足刖跟」，鼎下巽，對震，震為足，震形滅，故曰刖足。又謙之鼎云「狗無前足」，亦以震伏為無足；初二形艮，艮為狗，艮無下爻，形短，故曰無前足，神妙。夫足而曰刖、曰無，則顛趾矣。顛，隕也，落也，易林每以巽為隕落，是其義也。鼎趾顛則鼎僕，故利出否。否者，惡也，坤為惡，震出，皆指對象也。巽為反兌，兌為妾，而巽伏震，震子，故曰得妾以其子，言遇巽卽遇震，仍用旁通，非如虞說四動成震為子，祇演空象，不顧經義也。

According to Jiao's Forest of Changes, in the entry on the "Ding" hexagram of the "Qian" hexagram, it says "weak feet with the heel cut off": the lower trigram of the "Ding" hexagram is "Xun", and the object trigram is "Zhen". "Zhen" represents feet, but now "Zhen" is hidden, so it is said "the foot is cut off". In another entry on the "Ding" hexagram of the "Qian" hexagram, it says "the dog has no front feet", also taking "Zhen" being hidden as having no feet. The first and second lines form the shape of "Gen", and "Gen" represents a dog, but "Gen" is missing its lower line, so its form is incomplete, hence "no front feet" — the precision of taking images is like this. It says the foot is cut off, and also says there is no foot, which means "upside down feet". "Upset" means falling or dropping, and the Forest of Changes often uses "Xun" to represent falling, following this meaning. When the feet of the ding overturn, the ding will fall over, hence "favorable to go out of the gate" — "Pu" means filth, "Kun" represents evil, "Zhen" represents going out, all referring to the object. "Xun" is the opposite of "Dui", and "Dui" represents a concubine; while "Xun" contains "Zhen", which represents a son, so it is said "obtaining the concubine through the son". This is saying encountering "Xun" is equivalent to encountering "Zhen", still using the method of mutual transformation, unlike Yu Fan's idea that the fourth line changes to "Zhen" to have the image of a son — that would only produce an empty hexagram, completely ignoring the meaning of the original text.

至象曰「利出否，以從貴也」，乃謂初陰從二陽為從貴。貴不必五，凡陽皆可謂為貴，屯初九曰「以貴下賤，大得民也」，初陽亦可謂貴。乃虞氏必使五變為陽，以實從貴之義。洵如虞說，六十四卦必皆變為既濟而後能說也，有是理乎？又此爻之義皆兼對象言，而以震伏為顛趾，遇巽卽遇震為得子，象尤明晰，乃仲翔竟不用旁通，以初應四大壯震為說，則以師傳中絕也。非易林，孰能正之？

As for the "Image Commentary" saying "It is advantageous to emerge from obscurity, following the superior," it means that the yin of the first line follows the yang of the second line, which is called "following the superior." "Superior" does not necessarily refer to the fifth line; any yang line can be called superior. In the "Gua of Zhun," the "Image Commentary" of the first line says "By the superior descending to the humble, one gains the people," showing that a yang line in the first position can also be called superior. However, Yu Fan insists on making the fifth line a yang line to confirm the meaning of "following the superior." If we truly follow Yu Fan's interpretation, would all sixty-four gua not have to become the "Gua of Already Perfect" to be explained? That would make no sense at all. Moreover, the meaning of this line statement uses both the object and the subject: using the hidden "Zhen" as "upturned foot," and encountering "Xun" as encountering "Zhen" as "having a son," the imagery is especially clear. Yet Yu Fan does not use the method of mutual transformation, but instead explains it by the correspondence between the first line and the fourth line, and by the presence of "Zhen" in "Da Zhuang," because the transmission from the master has been broken. Without the "Forest of Changes" by Jiao, who could correct this?

鼎九二鼎有實我仇有疾不我能卽解。此以易林陰陽相遇為朋友及陽遇陽則阻之例推之，至易解也。乾為實，二之前皆陽，陽遇陽則阻，故象曰慎所之。仇，匹也，詩君子好逑，匡衡引作好仇，是其證，謂五也，陰陽為仇匹。初至五大坎，坎為疾。不我能卽者，言二為三四所疾害，不能應五，故曰不我能卽。然二五究為正應，終得相應而吉也。

The interpretation of the line "The tripod has its contents, my match is ill, unable to approach me" in the hexagram "Tripod" (鼎). This line is easily explained by applying the two principles from Jiao's Forest of Changes: "Yin and Yang meeting are friends" and "Yang meeting Yang meets resistance." The hexagram "Tripod" has an interchanged hexagram of "Heaven," and "Heaven" represents reality, hence "the tripod has its contents." The second line is a Yang line, and all the lines before it are also Yang lines, so Yang meeting Yang meets resistance, hence the Image Commentary says "be cautious in your movement" (be careful where you go). "Match" refers to a suitable partner; in the Book of Songs, "a gentleman's good match" is expressed as "good match," and Huanheng cited it as "good match," which is clear evidence. Here, it refers to the fifth line. Yin and Yang are mutual matches. The first to fifth lines of the hexagram "Tripod" form the great "Kan" trigram, and "Kan" represents illness. The phrase "unable to approach me" means that the second line is harmed by the third and fourth lines, and thus cannot correspond with the fifth line. However, the second and fifth lines are a proper correspondence, so they will eventually correspond and gain good fortune.

乃虞仲翔解仇為讎敵，謂二據初，奪四之婦，故四為二仇；乃三動，四體坎，坎為疾，四之二歴險，故不我能卽。夫以二奪四婦，四為坎險所隔，不能報奪婦之仇，以能卽為尋仇，其說既可哂，而忘二陽五陰相應為相卽，詁亦疏甚矣。且何以解於利涉大川？虞凡遇大川，必以坎當之，此處坎險既能阻四，則彼之坎險不能利涉，亦已明矣，虞不啻自供其誤矣，而後之說易者多用虞說。又陽遇陽則阻之義，自東漢以來知之者鮮，故詁慎所之三字，二千年來皆不知其所謂，殊可慨也。

But Yu Fan interpreted "chou" as "enemy," saying that Nine in the Second occupies the First Line and takes away the wife of Nine in the Fourth, so Four regards Two as an enemy. He also said that after the Third Line changes, the Fourth Line is in the structure of Kan, and since Kan represents danger, Four must go to Two and has to go through peril, hence "not being able to approach me." Taking Nine in the Second taking away the wife of Four, Four being blocked by Kan's danger and unable to avenge the loss of the wife, and interpreting "neng ji" as seeking revenge—this interpretation is already laughable, and he also forgot that the Yang of Nine in the Second corresponds with the Yin of Six in the Fifth, which is "xiang ji" (approaching). His interpretation is too crude. Moreover, how could he explain "beneficial to cross a great river"? Yu Fan always used Kan to represent "great river" whenever he encountered it. Since the danger of Kan here blocks the Fourth Line, then the danger of Kan elsewhere would not be "beneficial to cross," and the reasoning is clear. Yu Fan was essentially admitting his mistake. However, later scholars who interpreted the Book of Changes mostly followed Yu's view. Moreover, the principle that "Yang meets Yang and they block each other" has been known by very few since the Eastern Han Dynasty. Therefore, the three characters "shen suo zhi" (be cautious about where you go) have remained unclear for two thousand years, which is truly regrettable.

鼎九三鼎耳革方雨虧悔說。此以易林用象例之。坎為耳，乃三爻為陽，坎形革，故曰鼎耳革，猶四爻之鼎折足也。四陰位，宜為陰爻成震，乃竟為陽，折入兌，震足毀，故曰鼎折足。乃折足之義人多不知之，耳革之義則不知，多用虞翻說，使三變成兩坎以取耳象。豈知三當位，胡可使之不正？且動成兩坎，耳方多矣，胡云革哉？

The "Ding" hexagram's line nine in the third position says, "The handle of the tripod is changed; rain comes and regret follows." This requires comparison with the symbolic meanings in Jiao's Forest of Changes. The "Kan" trigram represents the ear, but the third line is a yang line. Therefore, the form of "Kan" changes, hence "the handle of the tripod is changed" (the handle has changed). This is similar to the fourth line's statement, "the tripod's foot is broken." The fourth line is a yin position, which should be a yin line representing "Zhen," but it is actually a yang line, thus entering the "Dui" trigram. The foot represented by "Zhen" is destroyed, hence "the tripod's foot is broken." However, the meaning of "broken foot" is not well understood by most people, and the meaning of "changed handle" is even more obscure. Therefore, many people adopt Yu Fan's interpretation, allowing the third line to change into two "Kan" trigrams to obtain the image of the ear. They never consider that the third line was originally in the correct position; how can it be forced to become incorrect? Moreover, after the change into two "Kan" trigrams, the ears become more numerous, so how can it be called "change" (革)?

至方雨虧悔，自來詁者尤不合。吳摯甫先生易說云：「悔，晦也。」證以易林復之鼎云「陰霧作匿，不見白日」，不見白日，虧也；陰霧作匿，晦也。吳讀是也。卦互大坎，故曰曰匿。又按司馬相如子虛賦云「岑崟參差，日月蔽虧」，枚乘七發云「覆虧丘陵」，似皆義取蔽覆虧晦。然則方雨虧悔者，卽方雨晦冥也，易原用大坎也。

As for the phrase 「方雨亏悔」, previous interpretations have been particularly inappropriate. Wu Rulun (styled Zhi Fu) in his work 「Yi Shuo」 says: 「悔」 is the same as 「晦」. He uses the entry from 「Jiao's Forest of Changes」 under the hexagram 「Fu」 changing into 「Ding」, which says 「dark clouds gather and conceal, the sun is not visible」, to illustrate that 「the sun not being visible」 is 「亏」, and 「dark clouds gathering and concealing」 is 「晦」. Wu's interpretation is correct. Since the hexagram 「Ding」 has the mutual transformation of the great 「Kan」, it is said 「to conceal」. Furthermore, according to Sima Xiangru's 「Zi Xu Fu」, which says 「mountains rise high and uneven, the sun and moon are obscured」, and Mei Cheng's 「Qi Fa」, which says 「covering and obscuring the hills」, these all take the meaning of obscuring, covering, and loss of light. Thus, 「方雨亏悔」 means that it is raining and the sky is dark and gloomy. The 「Zhou Yi」 originally uses the image of the great 「Kan」.

鼎初六震子說。易林遵說卦之義，凡但言子者皆指震，無指艮坎者，察之易亦然。易凡言子者四：蒙九二云子克家，以互震也；蠱初六有子考無咎、鼎初六得妾以其子，子皆謂伏震，卽易林本象與對象相通之旨也；中孚九二鶴鳴在陰，其子和之，此子亦謂三至五之覆震也。若易林言小子乾，必專指艮，後察之易亦然。

The line "The 'Zhen' (Thunder) is the Son" in the initial line of the "Ding" hexagram. The "Jiao's Forest of Changes" follows the same principle as the "Shuo Gua Zhuan" when it mentions "Zi" (Son) alone, referring to "Zhen" and not to "Gen" or "Kan". This is also the case in the "Zhou Changes". In the "Zhou Changes", the term "Zi" appears four times: in the second line of the "Meng" hexagram, "Zi ke jia" (the son manages the household), because the interacting lines contain "Zhen"; in the first line of the "Gu" hexagram, "You zi, kao wu jiu" (having a son, the father has no blame), and in the first line of the "Ding" hexagram, "De qie yi qi zi" (obtaining a concubine with her son), both instances of "Zi" refer to the hidden "Zhen", which is exactly the principle of the "Forest of Changes" where the image and the object correspond; in the second line of the "Zhongfou" hexagram, "He ming zai yin, qi zi he zhi" (the crane calls in the dark, its son responds), the "Zi" here also refers to the covered "Zhen" from the third to fifth lines. As for the "Forest of Changes" saying "Xiao zi gan" (the young son dries), such phrases always specifically refer to "Gen" (Mountain), since "Gen" represents the young male, hence "xiao zi". Later examination of the "Zhou Changes" confirms this as well.

故易林之所有，無不本之易，非得孔氏嫡傳如孟喜者以為授受，胡能如斯？而施梁二家之徒黨，既妬孟喜之能陰陽（易本以道陰陽），以形其短，謂田生不絕於孟喜手中，並誣焦延壽之易為得隱士之說，若其傳不自孔門者，而劉向誤信之，班書照書之，豈知皆二家護短之詞哉！宋晁景迂常疑之，而不知皆二家之妬語。

Therefore, all the symbolic images used in the "Yilin" originate from the "Zhou Yi." Without attaining the direct transmission from the Confucian school as Meng Xi did, how could one reach such a level? The disciples of Shi Chou and Liang Qiu He, jealous of Meng Xi's mastery of yin and yang studies (since the "Zhou Yi" itself is about yin and yang), in order to cover up their own shortcomings, claimed that the transmission of Tian Wangsun's teachings had not been cut off in Meng Xi's hands, and falsely accused Jiao Yanshou's "Yi" learning as having been obtained from a reclusive hermit, as if his lineage did not come from the Confucian school. Liu Xiang mistakenly believed these words, and Ban Gu's "Han Shu" copied them down. How could one know that all these statements were merely excuses by Shi and Liang families to cover up their own inadequacies! Chao Shuozhi of the Song dynasty once suspected this, but he still did not realize that all these were false accusations born of jealousy from the Shi and Liang schools.

震上六婚媾有言解。此其義亦二千年長夜矣。第一，不知婚媾之義，而以為姻婭，以為親戚；第二，不知有言為爭訟，及爭訟之象從何而來；第三，更不知婚媾何以有言。易象失傳之害如是。

The hexagram Zhen, line six, "marriage and union have words," signifies a meaning that spans two millennia of darkness. First, the term "marriage and union" originally refers to the mating of male and female, yet it has been mistakenly interpreted as referring to in-laws or relatives. Second, the term "have words" actually means mutual contention and litigation, yet no one can explain from which hexagram the image of contention originates. Third, even less understood is why the matter of marriage would lead to contention. The damage caused by the loss of the Yi's images has reached such a level.

按易林姤之震云「二桃三口」，三口者，上下震，二至四反震，震為口，共三口也。又隨之震云「驪姬讒嬉，譖我恭子」，震二至四反震，與上震相背，故曰讒、曰譖。又蠱之艮云「眾口嘈嘈，雖貴必危」，艮初至五與震二至上同，亦兩震言相背，故曰眾口嘈嘈。凡此皆震為有言之的解也。

According to Jiao's Forest of Changes, in the entry on "Gou" with "Zhen," it says "two peaches and three mouths." The "three mouths" refer to the two Zhen trigrams above and below, plus the reversed Zhen from the second to fourth lines. Since Zhen represents a mouth, altogether there are three mouths. In the entry on "Sui" with "Zhen," it says "Li Ji's slander and flirtation, falsely accusing my respectful son." The Zhen trigram from the second to fourth lines is reversed, and it opposes the upper Zhen trigram, hence the terms "slander" and "false accusation." In the entry on "Gu" with "Gen," it says "numerous mouths clamoring, even the noble will be in danger." The Gen trigram's structure from the first to fifth lines is the same as the Zhen trigram from the second to top lines, which are again two Zhen trigrams opposing each other, hence the phrase "numerous mouths clamoring." All these examples are accurate interpretations of "Zhen represents speech."

婚媾有言者，震長中少三男俱備，無一女象，不能婚媾；又六爻無一爻有應與，尤不能婚媾。故聖人察其象，於最後繫之曰婚媾有言，言陰陽常相求，今三男俱求，故有言。有言者，相爭相訟也。先儒必欲與上文詞義相屬，所以難通也。

The phrase "marriage and union have words" refers to the Zhen hexagram, which contains three young men: the upper and lower trigrams are Zhen, representing the eldest son; the second to fourth lines form Gen, representing the youngest son; and the third to fifth lines form Kan, representing the middle son. There is no female image in the hexagram, making marriage impossible. Moreover, none of the six lines have corresponding lines, so marriage is even more impossible. Therefore, the sage observed this hexagram and added the phrase "marriage and union have words" at the last line. This means that yin and yang usually pursue each other, but now three young men are seeking a wife without a female to match, leading to "having words"—that is, disputes and litigation. Previous scholars insisted on connecting this phrase with the previous text to form a single meaning, but their interpretations have never made sense.

艮彖用中爻九三用中爻兼用對象說。彖云「行其庭，不見其人」，中爻震，為人為行；坎隱伏，故不見。九三云厲熏心，坎為心，亦中爻象；來矣鮮雲坎錯離，故曰熏，則兼用對象也，易林每如此也。

The *Gèn* hexagram's *tuàn cí* uses the middle line and the line nine in the third position, employing both the middle line and the object symbolism. The *Gèn* hexagram statement says, "Walking through the courtyard, one does not see a person." The middle line generates the *Zhèn* hexagram, which represents people and movement, hence "walking." The middle line also generates the *Kǎn* hexagram, which represents concealment, hence "not seeing." The line nine in the third position says, "Dangerous and burning in the heart." The *Kǎn* hexagram represents the heart, and it is also the image of the middle line. Lai Zhide (styled Yixian) says that the opposite hexagram of *Kǎn* is *Lí* (*Lí* represents fire), so "burning" is used—this is an example of using both the middle line and the object symbolism. The *Jiao Shi Yi Lin* often uses this method.

艮彖傳用覆象。凡易象，同體者無不相往來反覆。革九四云改命吉，謂巽覆也；小畜大畜雲輿脫輹，震為輹，卦皆旁通，艮為覆震，故曰脫輹。艮震同體，震為辰，故為時。時在震，故行；時在艮，震反，故不行。震動艮靜，隨時故不失。純以艮震反覆言，與巽之先庚後庚同也。虞氏以上九為靜，九三為動，互震為說，善矣，若以易林往來反覆之旨推之，義未盡也。

The Commentary on the Judgment of the "Mountain" hexagram employs the concept of reversed imagery. All images in the Book of Changes, when the original and reversed forms of the same hexagram are considered, are necessarily interrelated and reciprocal. The fourth line of the "Great Change" hexagram says "changing the destiny is auspicious," referring to the reversed form of the "Wind" hexagram. The hexagrams "Small Accumulation" and "Great Accumulation" both mention "the cart axle is loose," where the "Thunder" hexagram represents the cart axle. Both hexagrams use lateral connection, and the "Mountain" hexagram is the reversed form of the "Thunder" hexagram. When the "Thunder" hexagram is reversed, the cart axle becomes loose, hence the phrase "the cart axle is loose." The "Mountain" and "Thunder" hexagrams are originally the same hexagram (one upright and one reversed). The "Thunder" hexagram is associated with "Chen," which represents "time." Time in the "Thunder" hexagram leads to movement, while time in the "Mountain" hexagram is the reversal of the "Thunder" hexagram, hence no movement. The "Thunder" hexagram represents action, while the "Mountain" hexagram represents stillness. By following the time, movement and stillness are appropriately applied, thus not missing the proper timing. The Commentary on the Judgment entirely discusses the reversal between the "Mountain" and "Thunder" hexagrams, following the same approach as the "Wind" hexagram's discussion of "three days before and three days after the seventh day." Yu Fan used the top line as stillness, the third line as movement, and the interacting lines containing the "Thunder" hexagram to explain this, which is already a good interpretation. However, if we apply the principle of mutual transformation and interconnection from the "Forest of Changes," the meaning is not yet fully explained.

艮六五言有序解。王弼作序，虞作孚，序孚形近，故訛。然六五與六二皆陰，不相應與，彖傳云上下敵應，敵應卽不孚也。然易林晉之艮云「學靈三年，聖且聰明」，則以艮三至上正反兩震言相對，下言如何出，上卽如言而反，故曰學靈。學靈者，學言語，謂下震孚於上震也。又中孚之艮云「噂噂囁囁」，噂囁者，對語貌，似皆於有孚義近。誠以艮三至五之震言，與初至三之覆震體同也，故曰有孚。然則作孚者與易林合也。

The interpretation of the line "speech is orderly" in the sixth line of the "Mountain" hexagram. The Wang Bi version reads "orderly," while the Yu Fan version reads "faith." Since the characters "orderly" and "faith" are similar in form, they may have been confused. However, both the sixth line and the second line are yin lines, and they do not correspond with each other. The Commentary on the Judgment says "the upper and lower lines are in opposition and response," and "opposition and response" means they do not have mutual trust. However, the "Jiao's Forest of Changes" under the "Jin" hexagram mentions "learning to speak for three years, becoming wise and intelligent." This is because the third line to the top line of the "Mountain" hexagram consists of one yang line and one yin line, representing two "Zhen" trigrams, which are in opposition: the lower "Zhen" trigram produces sound, and the upper "Zhen" trigram responds in kind. Therefore, it is said "learning to speak." "Learning to speak" means the lower "Zhen" and upper "Zhen" trigrams have mutual trust. The "Zhongfu" hexagram under the "Mountain" hexagram says "chattering and whispering," and "chattering and whispering" describes the manner of two people conversing, which seems close to the meaning of "having faith." In reality, the "Zhen" trigrams in the third to fifth lines of the "Mountain" hexagram are similar in structure to the inverted "Zhen" trigram formed by the first to third lines, so it is said "having faith." Therefore, the version reading "faith" is consistent with the "Forest of Changes."

漸初六有言解。易林屯之漸云「二人俱東，道路爭訟」，賁之漸云「讒佞所言，語不成全」，益之漸云「伯仲言留，叔子云去」，易林之釋漸有言，可謂明晰矣。有言者，相爭相訟也，故一言留，一言去；否則為讒，左氏云敗言為讒。誠以震為言，震覆為艮，則言敗矣。又三四形兌，兌為言，與下震言相背；而上卦反兌，與下反震復相對；又初與四不相應，故言不一致而爭也。舊詁皆不得解，而虞氏尤非。

The interpretation of the line "There is speech" in the first line of the "Gradual" hexagram. In "Jiao's Forest of Changes," the entry for "Gradual" derived from "Zhen" says "Two people both go east, and they quarrel on the road," and from "Ben" it says "Words spoken by flatterers, speech does not result in fullness." From "Yi" it says "The elder brother says to stay, the younger brother says to go." These interpretations from "Jiao's Forest of Changes" make it clear that "There is speech" refers to mutual contention and litigation, so one says to stay and the other says to go; otherwise, it becomes slander. As "Zuo Zhuan" says, "False words are slander." This is indeed because "Zhen" represents speech, and when "Zhen" is inverted, it becomes "Gen," and speech is thus corrupted. Moreover, the third and fourth lines form the shape of "Dui," which also represents speech, conflicting with the speech represented by the hidden "Zhen" in the lower trigram (since "Gen" covers "Zhen"). The upper trigram "Xun" is the opposite of "Dui," and it also opposes the inverted "Zhen" below. In addition, the first line does not correspond with the fourth line, so speech is inconsistent and contention arises. The old interpretations do not make sense, and Yu Fan's explanation is especially incorrect.

漸九三征不復三句解。此用覆也。震為夫、為徵、為復，震覆，陽在上，故不復。震為孕育，易林晉之益云「胎卵不生」，震為胎為生，坤殺，故不生，是以震為胎也，胎卽孕也。又震之觀亦云「胎卵不生」，觀互艮，為反震，故曰不生。由是證漸之婦孕不育，亦以震為孕育，震覆坎破，故不育，易皆用覆也。坎為寇，三上下皆陰，附之者眾，故利禦寇。象曰順相保，坤為順，卽謂陰也。舊解不知覆象，以離大腹為孕，由易林證之，離虛不孕也。

The explanation of the third line of the "Gradual Progress" hexagram, "The husband goes on a journey and does not return," uses the concept of reversed imagery. The hexagram "Zhen" (Thunder) represents the husband, a journey, and returning; the lower trigram of "Jian" (Gradual Progress) is "Gen" (Mountain), which is the reversed form of "Zhen." The yang lines have moved to the top, hence "does not return." "Zhen" also represents pregnancy; according to "Jiao's Forest of Changes," in the case of "Jin" (Progress) transforming into "Yi" (Increase), it says "fetus and egg do not hatch." "Zhen" represents the fetus and birth, while "Kun" (Earth) signifies destruction, hence "does not hatch" — this shows that "Zhen" is used to represent pregnancy, and pregnancy is equivalent to gestation. In another instance from "Zhen" transforming into "Guan" (Observation), it also says "fetus and egg do not hatch." The hexagram "Guan" contains the trigram "Gen" as its interacting trigram, and "Gen" is the reverse of "Zhen," hence "does not hatch." This demonstrates that the statement in "Jian" hexagram, "the wife is pregnant but does not give birth," also uses "Zhen" to represent gestation. Since "Zhen" has been reversed, the middle trigram "Kan" (Water) is also disrupted, hence "does not give birth." The "Zhou Yi" (I Ching) uses such reversed imagery. "Kan" represents a bandit, and the third line of "Jian" has both upper and lower yin lines, indicating many people relying on it, hence "favorable for defending against bandits." The "Image Commentary" says "harmonious protection," where "Kun" represents harmony, referring to these yin lines. Old commentaries did not understand reversed imagery and took "Li" (Fire) as the large abdomen as "pregnancy." Using "Jiao's Forest of Changes" for verification, "Li" is hollow in the middle, which is the image of infertility.

漸九五婦三歲不孕。易林遇巽，卽以為漏敝、為枯，下虛故也。九五巽體下虛，故不孕。巽為婦，離數三，故婦三歲不孕。易林震之觀云「缺破不成，胎卵不生」，觀上巽，正釋此也。

The "Gradual" hexagram, line nine five, says "the wife is unable to bear children for three years." In Jiao's Forest of Changes, when encountering the hexagram of Xun, it is interpreted as leakage and breakage, or withered and dry, because the lower yao of Xun is empty. The nine five line is located within the upper trigram Xun, and since the lower part of Xun is empty, it results in infertility. Xun represents the wife; the hexagram Gradual has the trigrams Li from lines three to five, and the number of Li is three, hence the statement "the wife is unable to bear children for three years." In the Forest of Changes, the entry for Zhen's transformation into Guan says "defect and breakage prevent completion, and eggs and embryos do not develop." The upper trigram of Guan is exactly Xun, which is precisely an explanation of this line statement.

歸妹上六女承筐無實士刲羊無血解。震為筐，兌女，在下，故曰女承筐。震為竹為葦，中虛，故無實；又下無應，亦無實也。震為士，兌為，易林本左傳，每以震為殺為誅，故曰士刲羊。陰陽類為血，血者，天地之雜，今上六無應，離其類，故無血；又離虛，亦無血也。此爻曾見於左傳，服虔？謂上六變成離，離為戈兵，故曰刲。豈知震為殺，左氏有明文。又各家詁承字尤不協。

The interpretation of the line statement for the Upper Sixth line of the hexagram "Gui Mei" ("Return of the Bride") says: "A woman carries a basket but it is empty, a man cuts a sheep but there is no blood." The hexagram "Zhen" (Thunder) represents a basket, and "Dui" (Lake) represents a woman situated in the lower trigram, hence "a woman carries a basket." "Zhen" also represents bamboo and reeds, which are hollow in the middle, hence "empty." Moreover, there is no corresponding line below the Upper Sixth line, which also indicates "empty." "Zhen" represents a man, and "Dui" represents a sheep (the missing character is likely "sheep" as per the original text). According to "Jiao's Forest of Changes," which is based on the "Zuo Zhuan," "Zhen" often represents killing and punishment, hence "a man cuts a sheep." Yin and yang of the same kind combine to form blood, which is generated from the mingling of heaven and earth's yin and yang. Now, since the Upper Sixth line has no corresponding line and is separated from its kind, there is "no blood." Moreover, "Li" (Fire) is empty in the middle, which also symbolizes the absence of blood. This line statement has appeared in the divination words of Shi Su from the fifteenth year of Duke Xiu in the "Zuo Zhuan." Fu Qian (the missing character here is unclear) thought that the Upper Sixth line changes into "Li," and since "Li" represents weapons, it is said "to cut." But he did not realize that "Zhen" represents killing, and the "Zuo Zhuan" clearly states this. In addition, the interpretations of the character "cheng" (carry) by other schools are even more inappropriate.

豐卦名解。離先天東，震後天東，同居一位，故曰豐，猶火天大有、水地比之義也。象曰「雷電皆至」，卽皆至東方也，皆至，故豐。

The explanation of the卦 name "Feng" (Abundance). In the Earlier Heaven arrangement, "Li" (Fire) is located in the East, and in the Later Heaven arrangement, "Zhen" (Thunder) is also located in the East. Since both occupy the same direction, it is called "Feng" (abundance). This is similar to "Da You" (Great Possession), which refers to Fire over Heaven, and "Bi" (Following), which refers to Water over Earth. The "Great Image Commentary" says "Thunder and lightning both arrive," meaning that Thunder and Lightning both reach the East and gather together, thus resulting in abundance.

豐卦用大象。豐上震，震旦；下離，離為日為午，皆光明象。乃二三四五上象皆黑闇，則以中爻互大坎也。坎為雲，虞氏謂日蔽雲中稱蔀，正謂下離日為大坎雲所蔽也。乃易象失傳，虞氏得其義而不知大象坎，以噬嗑為穿鑿，甚無謂也。

The hexagram 丰 uses the great image. The upper trigram is 震, which represents dawn (sunrise); the lower trigram is 离, which represents the sun and the hour of wu, both symbols of brightness. However, the images of the second, third, fourth, fifth, and upper lines are all dark, because the middle trigrams form a large Kan. Kan represents clouds, and Yu Fan said that sunlight being obscured by clouds is called "pu," which precisely describes the sun in the lower trigram 离 being obscured by the large Kan trigram's clouds. However, the images of the Book of Changes have been lost, so although Yu Fan understood this meaning, he did not know about the great image of Kan. Instead, he forced an interpretation using the hexagram Shihe, which was quite unreasonable.

觀於彖言憂，二爻言蔀、言志、言疑、言疾、言孚，三爻言沛，四爻言蔀、言幽不明，上爻言不覿、言藏，皆坎象也。祗六五憂其隱，章顯而有慶也；未來之時，仍黑闇也，則其用大坎也復何疑哉！乃東漢人不知易用大象，至朱漢上始悟得之，來矣鮮始昌言之，而解豐卦則不用此義，則以嚇於大師皆不如此言也。

In the Commentary on the Judgment of the Hexagram of Great Brightness, it speaks of "anxiety." The Second Line discusses "covering," "will," "doubt," "sickness," and "trust." The Third Line refers to "abundance." The Fourth Line mentions "covering" and "darkness and lack of clarity." The Top Line speaks of "not seeing" and "concealment." All these concepts of obstruction, anxiety, doubt, illness, and concealment are symbolic representations of the Great Water (Kan). Only the Fifth Line, due to "coming into prominence," has hidden anxieties and emerging virtue, thus bringing praise and honor. However, before "coming into prominence," the entire hexagram remains in darkness. Therefore, the Hexagram of Great Brightness uses the Great Water (Kan) as its symbolic representation; there is no doubt about this. However, people of the Eastern Han dynasty did not understand the use of great symbolic images in the Zhou Changes, and it was only Zhu Zhen (also known as Zhu Hanshang) who realized this, and Lai Zhide who openly explained it. Yet Lai Zhide's interpretation of the Hexagram of Great Brightness did not follow this principle, because he was intimidated by the fact that the great masters did not do so.

豈知易林泰之豐云「龍蛇所聚，大水來處，滑滑沛沛，使我無賴」，豐震龍巽蛇，坎為水，大坎故曰大水，曰滑滑沛沛。又大壯之豐云「遭離滿沸，河川決潰」，亦謂大坎也。他若遇豐卽言病、言北、言豕者尤多，皆指大坎，特東漢人不知耳。東漢人不知，後治漢易者遂皆不知，亦以卦變為說矣。豈知祗五爻來章可用卦變，未來則本象仍存，易固以本象為體也。後言卦變者直滅本象，則入魔矣。

They had no idea that in Jiao's Forest of Changes, under the hexagram Tai, the line Feng says, "Dragons and snakes gather, great water comes, slippery and flowing, making me helpless." The hexagram Feng uses Zhen as dragon, Hui as snake, and Kan as water. Since it is a great Kan, it is called "great water," and "slippery and flowing" refers to this. In another line, Da Zhuang to Feng, it says, "The lake is full and boiling, rivers and streams break out," which also refers to great Kan. Other instances of the hexagram Feng often mention illness, the north, and pigs, all pointing to great Kan, but the people of the Eastern Han did not know this. Since the people of the Eastern Han did not know, later scholars who studied the Han interpretation of the Zhou Changes also did not know, so they used hexagram transformation to explain it. They had no idea that only the fifth line "Come Chapter" can be explained by hexagram transformation. Before "Come Chapter," the original image still exists. The Zhou Changes originally take the original image as its body. Later scholars who spoke of hexagram transformation directly canceled out the original image, which is going against the way.

行唐尚秉和節之撰

Shang Binghe, from Xingtang in Zhili (now Xingtang County, Hebei Province), with the style name Jiezi, wrote the work.

旅卦名解。旅之命名，自來詁者皆於卦象不切。觀爻辭曰得資、曰喪童僕、得童僕、得資斧，古童僕亦財物之一，似皆以商旅販貿資財為說。易林本之，剝之旅云：「三奇六耦，相隨俱市，王孫善賈，先得利寶，居止不安，大盜為咎。」蓋卦一陰從一陽，二陰隨二陽，故曰三奇六耦。陰陽相隨，有若行旅，故曰旅，純以卦形命名。

The name of the "Travel" hexagram has been interpreted by many throughout history, but their explanations have not accurately reflected the hexagram's imagery. Looking at its line statements, it says "obtaining resources," "losing one's servant," "regaining the servant," and "obtaining tools and resources." In ancient times, servants were also considered part of one's possessions, suggesting that these statements are referring to merchants traveling and transporting goods. Following this meaning, the "Jiao's Forest of Changes" explains in the section on "Travel" under the hexagram "Peeling": "Three Marvels and six pairs, accompanying each other in trade, the noble gentleman is skilled in commerce, first obtaining valuable treasures, but his dwelling is unstable, and great thieves bring misfortune." Originally, the "Travel" hexagram represents one yin line following a yang line, two yin lines following two yang lines (six in the fifth line follows nine at the top, initial six and six in the second follow nine in the third and fourth). Yang lines are called "marvels" and there are three of them, while yin lines are called "pairs" and there are six of them, hence "three marvels and six pairs." Yin and yang lines follow each other, resembling travelers going together, so it is called "Travel" — entirely named based on the hexagram's form.

又易林晉之旅云「逐旅失群」，又履之旅云「願慕群旅」，又噬嗑之姤云「失儷後旅」，皆以旅為行旅中之伴侶為說，深與一陰一陽耦行之義梧。後儒以火炎於上、去所止而不居，並以獲罪去邦、羈旅於外釋卦名者，於卦象皆不切也，而易林逐旅之詁，尤酷肖卦形。

The "Yi Lin" commentary under the "Jin" hexagram's "Lu" line says "chasing the travelers and losing the group," under the "Lv" hexagram's "Lu" line it says "yearning to join the group," and under the "Shi He" hexagram's "Gou" line it says "losing the pair and then traveling behind." Following the group, longing to join the group, and losing one's partner and falling behind the group—all these interpretations take "Lu" as companions on a journey. This aligns deeply with the meaning of the "Lu" hexagram, which represents a single yin and yang moving together. Later Confucian scholars sometimes explained the hexagram name by referring to fire from the "Li" trigram rising above and leaving its resting place, or by referring to being exiled and traveling abroad, but these interpretations do not fit the hexagram's imagery. The "Yi Lin" explanation of "chasing travelers" is especially similar to the shape of the "Lu" hexagram.

旅初六旅瑣瑣斯其所取災解。有以斯為語助者，陸績是也；有以斯為斯役卑賤者，王弼、王應麟是也；又有本詩經、爾雅釋言「斯，離也」，說文斤部「斯，析也」，史記張耳陳餘傳有「斯養卒」，韋昭曰「析薪為斯」，列子黃帝篇「不知斯齊國幾千萬里」，張湛注「斯，離也」，以離析訓斯者，嚴元照、俞樾、吳冀州是也。

The interpretation of the phrase "旅琐琐，斯其所取灾" in the initial line of the "Travel" hexagram. The character "斯" has traditionally been interpreted in three ways. The first view treats "斯" as a meaningless particle, a position supported by Lu Ji. The second view interprets "斯" as "sir", referring to a lowly servant, a view held by Wang Bi and Wang Yinglin. The third view relies on the meaning of "斯" as "to separate" from the "Shi Jing" (Book of Songs), the "Er Ya · Xiyán" (Shi Jing · Xiyán), and the "Shuo Wen Jie Zi" (Shuo Wen Jie Zi), as well as the meaning of "to split" from the "Shi Ji · Zhang Er Chen Yu Lie Zhuan" (Records of the Grand Historian · Zhang Er Chen Yu Biographies), and the meaning of "to separate" from the "Lie Zi · Huangdi" (Laozi · Huangdi), thus interpreting "斯" as "to separate," a view supported by Yan Yuanzhao, Yu Yue, and Wu Rulun.

茲按易林履之旅云「願慕群旅，不離其巢」，不離其巢，正斯其所之反也。斯其所者，離其所也，卽離其巢之義也。又大畜之旅云「安其室盧，傳母何憂」，安其室盧仍斯其所之反。又復之旅云「二人輦車，徙去其家，井沸釡鳴，不可以居」，徙家正斯其所也，不可居卽取災也。蓋艮為巢、為室盧、為家，而艮以止為義，能艮止，故不離其巢、安其室家而吉；不能艮止，則徙去其家而凶，凶則災也。易林之解此語，可謂至明晰矣。

Now, according to the entry in Jiao's Forest of Changes under the hexagram "Lu" (Travel), it says, "Wish to join the group, not leave its nest." "Not leaving its nest" is exactly the opposite of "to go to its place." "To go to its place" means to leave its nest. Another entry in the Forest of Changes under the hexagram "Lu" says, "Rest in its house, why worry about the mother?" "Rest in its house" is still the opposite of "to go to its place." Another entry under the hexagram "Fu" (Return) says, "Two people in a cart, moving away from their home, the well boils and the pot makes noise, it is not suitable to live there." "Moving away from their home" is exactly "to go to its place," and "not suitable to live there" is what the line statement calls "taking disaster." These three entries in the Forest of Changes all refer to the hexagram "Lu," and the lower trigram of "Lu" is "Gen" (Mountain), which represents a nest, a house, and a home. "Gen" also has the virtue of "stopping" or "resting." Therefore, if one can stop and remain still, it does not leave its nest, rests in its home, and thus attains good fortune; if one cannot stop, it must move away from its home, leading to misfortune, which is also disaster. The explanation of this line statement in the Forest of Changes clarifies it very well.

由易林以證前解，陸績讀斯為語助，所亦為語助，於易象無根；王弼、王應麟詁斯為卑斯賤役，於艮象合矣，而所字亦作為語助，於文理不適，正定王定柱常駁之矣（見翁注困學紀聞）；獨最後之俞氏、吳氏，與易林旨吻合。

Using the "Yi Lin" to test the previous interpretations: Lu Ji read "斯" as a particle, and also treated "所" as a particle, which has no basis in the Yi imagery; Wang Bi and Wang Yinglin interpreted "斯" as mean and lowly servants, which is consistent with the image of "Gen" (Mountain), but they also treated "所" as a particle, which does not make sense in terms of textual logic, and a person named Wang Dingzhu of the Zhengding school once refuted this (see Wang Yuanqi's annotation in "Kunxue Jiwen"); only the interpretations of Yu Yue and Wu Rulun finally align with the meaning of the "Yi Lin".

易林謂斯其所為離其所，是以三字為句也。俞氏亦謂斯其所句，並謂斯其所與下旅卽次對文。愚按，與三爻焚其次亦對文。吳謂斯其所句與上旅瑣瑣為韻，尤能還西漢以前之舊讀。皆不本易林而能與易林闇合，二千年之誤詁由斯而明，二千年之錯讀由斯而正。然非易林，孰能證俞吳二家之詁之當哉！

The *Forest of Changes* (*Jiao Shi Yi Lin*) interprets "斯其所" as "离其所," treating these three characters as a complete sentence. Yu Yue also advocates for "斯其所" to be considered as a single sentence, and he points out that "斯其所" corresponds with the phrase "旅即次" in the second line as a pair of contrasting sentences. I note that it also corresponds with "焚其次" in the third line. Wu Rulun believes that the sentence "斯其所" rhymes with the preceding "旅琐琐," which particularly restores the old reading from the Western Han dynasty. Both these scholars did not base their interpretations on the *Forest of Changes*, yet their views coincidentally align with it. Thus, two thousand years of misinterpretation are now clarified, and two thousand years of incorrect reading are corrected. However, without the *Jiao Shi Yi Lin*, who could prove that Yu and Wu's interpretations are correct?

至斯之為賤役，易林每用之。渙之大畜云「卑斯內侍」，既濟之坎云「更為斯吏」，姤之需云「卑斯似鬼」，皆以艮為斯役。然按韋昭注，斯養離析，義實一也。後來以斯為撕，或作廝，皆俗字，失古義。又斯為離析，至今土語仍用之，凡裂物皆曰斯；至市肆市布，亦曰斯若干，而俗遂加手作撕，尤失古義。

As for the term 「斯」, it is often used to refer to menial labor in the Jiao's Forest of Changes. In the hexagram Huan changing to Da Xu, it says 「卑斯内侍」; in Ji Ji changing to Kan, it says 「更为斯吏」; and in Gou changing to Xu, it says 「卑斯似鬼」. In all these instances, the term 「斯」 refers to a servant, associated with the trigram Gen (Mountain). However, according to Wei Zhao's commentary, the 「斯」 in 「斯养」 and the 「斯」 in 「离析」 actually share the same meaning. Later, the character 「斯」 was written as 「撕」 or 「厮」, which are vulgar forms and have lost the original meaning. Furthermore, the term 「斯」 used to mean 'to split apart' is still used in some dialects today: whenever something is torn, it is called 「斯」; when buying cloth in the market, one says 「斯若干」. When the character is written with a hand radical as 「撕」, it further loses its ancient meaning.

旅九三以艮為火。艮火之象，至東漢卽不知，祗邵子皇極經世以艮為火，為後儒所疑。乃邵子坤水之象，既與易合、易林合、九家合，則知其它亦皆有本，非自創也。後征之易林，解之謙云「三火起明，雨滅其光」，是以艮為火，艮納丙，數三，故曰三火；謙互艮，故雨滅其光。

The Traveler hexagram's third line takes the mountain (Gèn) as fire. The image of mountain as fire was unknown by the Eastern Han dynasty, and only Shao Yong in his "Huang Ji Jing Shi" took mountain as fire, yet it was doubted by later scholars. However, the image of earth (Kūn) as water that Shao Yong proposed is consistent with the Zhou Changes, with Jiao's Forest of Changes, and with the Nine Schools' interpretations of the Zhou Changes. Therefore, it can be known that his other images also have sources and are not made up by himself. Later verification using the Forest of Changes shows that in the "Qian" section of the "Jie" hexagram, it says, "Three fires arise in brightness, rain extinguishes their light." This is taking mountain as fire — mountain receives the dry (Gān) element as Bing (which belongs to fire), and its number is three, so it says "three fires"; the "Qian" hexagram has an intermingled mountain, hence "rain extinguishes their light."

又大壯之遯云「火爛銷金」，遯上乾，金；下艮，艮火，故銷金。他若坎之謙云「門燒屋燔」，蹇之渙云「從風放火」，皆以艮為火。而火爛銷金、三火起明，尤以艮為火之確證，以數定之。因由易林而求之易，旅九三云「旅焚其次」，次者舍也，艮為舍為火，故焚其次。離火在上，非艮火，不能焚次也。

The entry in The Great Strength (Da Zhuang) on The Retreat (Dun) says "fire burns and melts metal": The upper trigram of The Retreat is Qian (Heaven), which represents metal; the lower trigram is Gen (Mountain), which represents fire, so it can melt metal. Other examples include The坎 (Kan) trigram in The Humility (Qian) saying "the gate is burned and the house is set on fire," and The蹇 (Jian) trigram in The Dispersal (Huan) saying "to set fire to the wind," all of which use Gen as fire. The two entries "fire burns and melts metal" and "three fires start the light" are especially clear evidence that Gen represents fire, since they also use the number of Gen to confirm it. Therefore, turning back to The Zhou Changes (I Ching), the ninth line of the Traveler (Lv) trigram says "the traveler burns his lodging," where "lodging" refers to the traveler's shelter. Gen represents a shelter and also fire, so it says "burns his lodging." The fire of Li (Fire) is on the upper trigram, but without the fire of Gen on the lower trigram, the lodging cannot be burned.

巽初至四，正反兩兌口相背，兌為口舌，史巫皆以口舌為用者也，故曰用史巫。史巫既並稱，當然為祝史。左傳桓六年「祝史正詞」，昭十八年「吾事鬼神而疾病，是祝史之罪也」，周官大祝史四人、司巫史一人是也。乃荀爽以書勳之史當之，失易象矣。書勳之史，乃南狐之流，胡能與巫並列？後注家遵用不改，則以易象失傳，不知史巫皆取象於口舌也。

The first to fourth lines of the hexagram 巽 consist of one yang line and one yin line, forming two trigrams of 兑 facing each other. 兑 represents the mouth and tongue, and both historians and shamans rely on speech and words in their work, so the line statement of nine in the second line says "use the historian and shaman." Since "historian" and "shaman" are mentioned together, the "historian" here must refer to the shaman-historian. The Zuo Zhuan mentions in the sixth year of Duke Huan "the shaman-historian speaks truthfully," and in the eighteenth year of Duke Zhao "my illness comes from serving ghosts and spirits, which is the fault of the shaman-historian." In the Zhou Li, under the Grand Shaman there are four historians, and under the Master of the Shamans there is one historian, which refers to this kind of official. However, Xun Shuang mistakenly used the historian responsible for recording achievements and events, which lost the meaning of the Yi. The historian who records achievements and events is a person like Nan Shi or Dong Hu, how can he be placed alongside the shaman? Later commentators continued to use this without change, because the Yi imagery had been lost, and they did not know that both "historian" and "shaman" take their image from the mouth and tongue.

茲證以易林，萃之巽云「眾口銷金，愆言不驗」，巽正反三兌，故曰眾口、曰愆言。又大壯之巽云「犬吠非主，上下膠擾」，巽二至四兌，伏艮，故曰犬吠；震為主，震伏，故曰非主；膠擾卽紛若也。又剝之巽云「三人俱行，一人言北，伯仲欲南，少叔不得」，亦以巽正反兩兌口為說。凡此皆史巫紛若之義也。自易象失傳，荀爽卽不知此用覆象，故紛若之義，二千年來無一人能覺察者。非易林，孰能證明之？又孰肯信之？

Now using the "Jiao's Forest of Changes" to verify: The entry "Cui" to "Xun" says, "Many mouths melt gold, false words do not verify." —— The "Xun" hexagram has three "Dui" trigrams, both positive and negative, so it says "many mouths" and "false words." The entry "Da Zhuang" to "Xun" says, "A dog barks, not the master; above and below are disturbed." —— The "Xun" hexagram has "Dui" trigrams from the second to the fourth lines, and "Dui" contains "Gen," which is the dog, so it says "a dog barks"; "Zhen" is the master, but "Zhen" is hidden, so it says "not the master"; "disturbed" is the meaning of "feng ruo" in the line statements. The entry "Bo" to "Xun" again says, "Three people walk together, one says north, the elder and middle brother want south, the younger and younger brother cannot." This is also based on the mouths of the two "Dui" trigrams in the "Xun" hexagram. All these are the meaning of "shi shu fen ruo." Since the images of the "Book of Changes" have been lost, Xun Shuang did not know that this used the reversed image, so the meaning of "fen ruo" has not been understood for two thousand years. If there were no "Jiao's Forest of Changes," who could prove it? And who would believe it?

巽九五無初有終先庚三日後庚三日解。此其義，余曾說之，載周易古筮考中，然仍按十干生克之理為解，雖於初終之義有合，然以易林本象與對象往來返復之義證之，其無當與舊解等也。按易林夬之巽云「與神往來，長樂以安」，震為帝為神，言巽與震常往來返復也。蓋震究為巽，巽之初原為震，終成巽，故曰無初、曰有終。震主庚，一爻當一日，先庚三日者，言巽之前三日為震也；今成巽，而巽之究仍為震，後庚三日者，言巽之後三日仍將復於震也。

The interpretation of the line "Without beginning but with end, three days before庚 and three days after庚" in the line Nine in the Fifth of the卦《巽》: I have explained this before, and it is recorded in The Ancient Divination of the Zhou Changes. However, at that time I still explained it according to the principles of the ten heavenly stems and their generation and overcoming relationships, although it somewhat coincided with the meanings of "beginning" and "end." But when verified with the examples of mutual transformation and interaction in the Jiao's Forest of Changes, it still did not fully match the old interpretations. According to the Jiao's Forest of Changes, the line "With the divine, coming and going, long joy and peace" in the case of 《夬》transforming into 《巽》: 《震》represents the Emperor and the divine, and this line is precisely describing the frequent coming and going between 《巽》and 《震》. Originally, 《震》ultimately transforms into 《巽》, and the beginning of 《巽》was originally 《震》, and only at the end does it become 《巽》; since the initial 《震》is no longer present, it is said "without beginning," and since it finally becomes 《巽》and has an end, it is said "with end." 《震》receives the heavenly stem 庚, so 庚 represents 《震》; one line corresponds to one day, so "three days before 庚" means the three days before 《巽》were originally 《震》; now that it has become 《巽》, yet 《巽》ultimately still returns to 《震》, so "three days after 庚" means the three days after 《巽》will again revert to 《震》.

震巽相往來反覆，故易林否之巽云「代伯受患」，小畜之巽云「伯氏失利」，伯者，震也，言此時震伏，巽暫代震受事也。說卦云「其究為躁卦」，朱震云「巽三變成震，震三變成巽，震，躁卦也」，正釋此也。後解此者，惟虞仲翔謂庚為震，與易林旨合。而後之人見聖人言庚，便於十干中討生活，錘幽鑿險，刻剔玲瓏，豈知聖人言庚，祗以代震耳，並無其它深奧。至其義理，祗震巽相往復耳，尤顯近易解。其以幽深相錘鑿者，則以易說失傳，不知本象與對象常往來反覆之理也。

The trigrams 《Zhen》 and 《Xun》 move back and forth with each other, so in the 《Forest of Divination》, the line on 《Xun》 in 《Pu》 says "taking the place of Bo to suffer misfortune," and the line on 《Xun》 in 《Xiu Xu》 says "Bo loses the advantage." "Bo" refers to 《Zhen》 (as 《Zhen》 represents the eldest son, hence called Bo), meaning that at this time 《Zhen》 is hidden and 《Xun》 temporarily takes over to bear the responsibilities. The 《Commentary on the Trigrams》 says about 《Xun》, "its ultimate form is the restless trigram." Zhu Zhen says, "When 《Xun》 changes its third line, it becomes 《Zhen》, and when 《Zhen》 changes its third line, it becomes 《Xun》, and 《Zhen》 is the restless trigram," which is an explanation of this statement. Later commentators who interpreted these sentences only Yu Fan said that "Geng" refers to 《Zhen》, which aligns with the meaning of the 《Forest of Divination》. However, later people, upon seeing the sage mention "Geng," would search among the ten heavenly stems, digging deeply into obscure and intricate interpretations, carving it into something delicate and refined. They did not realize that the sage mentioned "Geng" merely as a reference to 《Zhen》, without any other profound meaning. As for the meaning behind it, it is simply the mutual movement between 《Zhen》 and 《Xun》, which is especially simple and easy to understand. Those who carved it into something obscure and difficult to comprehend did so because the teachings of the 《Book of Changes》 had been lost, and they did not understand the principle that the original form and the corresponding form constantly move back and forth with each other.

附先甲三日後甲三日解。此二句義，餘亦曾說之，載古筮考中，今以易林推之，義極簡也。蠱者否之始，蠱通隨，隨者泰之始，否泰皆有乾，乾納甲，故以甲代乾。蠱為否始，而蠱之先為泰，泰下乾，為先甲三日。乃泰初升上成蠱，為反否之始一日；二升成漸為二日；三升成否為三日。至三日而否運終矣，先甲變為後甲矣。

Appendix: Explanation of "First three days before the Jia, then three days after the Jia" in the hexagram "Gǔ". The meaning of these two lines I have explained before, and it is recorded in "Ancient Divination of the Zhou Changes". Today, using "Jiao's Forest of Changes", the reasoning is extremely clear. The hexagram "Gǔ" is the beginning of "Pǐ", and "Gǔ" is opposite to "Suí", which is the beginning of "Tài". Both "Pǐ" and "Tài" contain "Qián", and "Qián" is assigned the stem "Jia" through the method of "Najia", so "Jia" is used to represent "Qián". Since "Gǔ" is the beginning of "Pǐ", and before "Gǔ" is "Tài", the lower trigram of "Tài" is "Qián", which is why it is called "First three days before the Jia". Specifically, when the first line and the top line of "Tài" are exchanged, it becomes "Gǔ", which is the first day towards "Pǐ"; when the second line and the fifth line are exchanged, it becomes "Jiàn", which is the second day; when the third line and the fourth line are exchanged, it becomes "Pǐ", which is the third day. By the third day, the movement of "Pǐ" has ended, and "First three days before the Jia" has turned into "Three days after the Jia".

隨為泰始，隨之先為否，否上乾，為後甲三日。乃否上返初成隨，為返泰之始一日；五隨返成歸妹為二日；四隨返成泰為三日。至三日而泰運終矣，後甲復為先甲矣。始而終，終而始，循環不已，故彖傳曰「終則有始，天行也」。後解此者，惟虞氏謂甲為乾，惟姚配中說始終得解，而解先庚後庚則非。

The hexagram "Following" is the beginning of the hexagram "Great Passage," and before "Following" is "Opposition." The upper trigram of "Opposition" is "Heaven," which is referred to as "the third day after Jia." Specifically, the top line of "Opposition" returning to its original position forms "Following," which is the first day of returning to "Great Passage"; the fifth line following and returning forms "Return of the Maiden," which is the second day; and the fourth line following and returning forms "Great Passage," which is the third day. By the third day, the movement of "Great Passage" has ended, and "the day after Jia" reverts back to "the day before Jia." There must be an end to every beginning, and an beginning to every end, continuing in a cycle. Therefore, the "Commentary on the Judgment" of the hexagram "Guilt" says, "After an end comes a beginning, this is the way of Heaven." Later interpretations of these two sentences only Yu Fan correctly identified "Jia" as "Heaven," and only Yao Peizhong properly explained the concept of "beginning and end." However, his interpretation of "before Geng" and "after Geng" was incorrect.

兌大象朋友講習解。凡易言小有言、聞言不信、有言不信、慎言語節飲食、鶴鳴子和及講習者，無不以正覆兩震或兩兌相對（相對卽相背）為說，乃虞氏皆不用，獨解此曰兌兩口對為講習。相對者，以二至四正覆兩兌口相對，非謂上兌下兌為相對；上兌下兌，口皆外向，如何對乎？

The Great Image of the卦《兑》 says "friends discussing together." In general, whenever the Zhou Changes mention "a little talk," "words not believed," "words not trusted," "being cautious in speech and moderate in diet," "the crane calls and the child responds," or "discussion," they all refer to the use of one upright line and one inverted line of the trigram Zhen or two Dui trigrams facing each other (facing each other means opposing each other). However, Yu Fan never uses this method, but in this particular case he says, "the two mouths of Dui facing each other represent discussion." By "facing each other," it refers to the two Dui trigrams, one upright and one inverted, in the lines two to four facing each other, not the upper Dui trigram facing the lower Dui trigram. The mouths of both upper and lower Dui trigrams face outward, so how could they face each other?

虞此說似用覆象，與易林合，乃後儒釋者竟以上下兌為相對。後安陸李道平作集解篡疏，覺其不安，又以兌上陰開兩口為相對，則以易說失傳，東漢人耳聞覆象之例，不敢通用，偶用之，後儒卽不知所謂矣。惟虞謂兌二陽同類為朋，絕不知陰陽相遇為類為朋之義，故所詁又誤也。

Yu Fan's approach seems to have used the concept of inverted images, which aligns with Jiao's Forest of Changes; however, later commentators mistakenly took the upper and lower Dui trigrams as opposites. Later, Li Daoping from Anlu, in his Collected Explanations of the Zhou Changes, realized this was incorrect and tried to explain the opposite relationship by splitting the yin line of the top line of Dui into two mouths. This is because the principles of the I Ching have been lost: during the Eastern Han dynasty, people only heard about the concept of inverted images but did not dare to use it widely. They used it occasionally, but later Confucian scholars no longer understood what it meant. Additionally, Yu Fan said that the two yang lines in Dui are considered "peng" because they are of the same type, but he completely misunderstood the principle that yin and yang meeting constitutes the concept of "peng" and being of the same type. Therefore, this interpretation is also wrong.

渙利涉大川解。彖傳曰「乘木有功也」，巽木，中爻震木，木在水上，故利涉。易凡言大川者，獨此似可以坎為大川也。然二居坤水之中，前臨二陰，陽遇陰遇通，故利涉。必以坎為大川，坎險坎陷，誰利涉乎？仍不如以坤為水之義長也。

The hexagram "Huan" says "It is advantageous to cross a great river." The Commentary on the Judgment states "It is beneficial because the wood is carried upon water." The upper trigram is Xun (Wind), representing wood, and the middle trigrams are Zhen (Thunder), also representing wood. Wood floats on water, hence "advantageous to cross." In the Zhou Changes, whenever the term "great river" appears, only this instance seems to interpret the trigram Kan as the great river. However, the second line, Nine Two, is located within the trigram Kun (Earth), which represents water. It faces two yin lines ahead, and yang meets yin to achieve communication, hence "advantageous to cross." If we insist on taking Kan as the great river, then the nature of Kan is danger and entrapment. How can it be advantageous to cross? Therefore, it is still more reasonable to interpret Kun as water.

節卦名解。水澤亦先後天同位，故曰節。節者，符節，以相合為用，言坎居西，兌亦居西，若合符節也。節者，信也，言凡事皆有一定制節，不容改變，故君子以制度數，天地以成四時。天地節者，天地信也，全以先後天同位取義也。虞翻以泰三之五艮止為節，失古義矣。

The explanation of the卦名 "Jie" (Restraint). Water and marsh are both located in the same position in the Earlier Heaven and Later Heaven, hence the name "Jie." "Jie" means a symbol or token, which is used by joining two halves together: In the Earlier Heaven, the trigram Kan (Water) is located in the west, and in the Later Heaven, the trigram Dui (Lake) is also located in the west, just like a token being joined together. "Jie" also means trust: all things have a fixed limit, which cannot be changed. Therefore, the Great Image says "the gentleman regulates numbers and measures," and the Commentary on the Judgment says "the heavens and earth regulate and the four seasons are formed." The phrase "heavens and earth regulate" means that the heavens and earth are trustworthy. This meaning is entirely derived from the fact that the Earlier Heaven and Later Heaven share the same position. Yu Fan took the third line of the卦 Tai (Peace) and moved it to the fifth position, using the trigram Gen (Mountain) representing stillness as "Jie," thus losing the ancient meaning.

節初九九二爻詞解。吳冀州易說說此云：「易以陽在前為塞，陰在前為通。初之不出，以九二在前，故曰知通塞；二則可出而不出，故有失時之凶。」此發前人所未發，與易林大旨合若符契。節初九何以不宜出？陽在前為阻也。九二何以宜出？陰在前則通也。不宜出而靜，故無咎；宜出而不出，故失時。

The "Jie" hexagram's first line and second line statements are explained. Wu Rulun's "Yi Shuo" discusses these two lines, saying: "In the Zhou Changes, a yang line in front indicates obstruction, while a yin line in front indicates smoothness. The first line does not go out of the door because the second line, a yang line, is in front of it, so the Image Commentary says 'knowing the obstruction and smoothness.' The second line could go out but does not, hence the凶 (misfortune) of missing the right time." This is an insight not previously expressed and aligns with the main idea of Jiao's Forest of Changes as if it were a matching seal. The first line of the Jie hexagram is not suitable for going out because it is obstructed by a yang line in front. The second line is suitable for going out because a yin line in front allows passage. Not going out when it is not suitable and remaining quiet leads to 'no blame'; going out when it is suitable but not doing so leads to 'missing the right time.'

此與說大畜初二三三爻云：「凡陽之行，遇陰則通，遇陽則阻，故初二皆不進而三利往也。」初二何以不進？陽遇陽也。三何以利往？陽遇陰也。自東漢以來，以此旨解經者少，豈知此實全易之精髓、陰陽之樞機。學者試就其言求之全易，但玩卦象，不讀爻詞，而何爻吉、何爻凶，已瞭然在目矣。

This agrees with Wu's explanation of the first, second, and third lines of the Great Accumulation hexagram. He said, "Whenever a yang line advances, it meets a yin line and thus proceeds smoothly; when it meets a yang line, it is obstructed. Therefore, the first and second lines of the Great Accumulation do not advance, while the third line says 'favorable to go forward.' " Why do the first and second lines not advance? Because yang meets yang. Why is the third line favorable to go forward? Because yang meets yin. Since the Eastern Han dynasty, few have used this principle to interpret the classics; they do not realize that this is actually the essence of the entire Zhou Changes and the key to the waxing and waning of yin and yang. Scholars may test this by applying it to the entire Zhou Changes: if one only contemplates the hexagram images without reading the line statements, one can already clearly discern which lines are auspicious and which are inauspicious.

中孚卦名解。杭氏曰：「後天東南巽，卽先天兌位，故風澤曰中孚。」孚者，交相孚也。

Hang Xinzhai says: "In the Later Heaven arrangement, the Southeast direction is Xun, which corresponds to the position of Dui in the Earlier Heaven. Therefore, the hexagram of wind over marsh is called 'Zhong Fu.' 'Fu' means mutual trust and belief between each other."

中孚豚魚解。自易象失傳，東漢人不知魚象。荀爽謂豚處艮山、魚止兌澤，皆不能確指其象，是其證。至虞翻知巽魚象，仍不知豚象，乃讀豚為遯，後儒非之者多矣，而至今仍不得其象。按易林賁之中孚云「騎豚逐羊」，中孚震為騎，艮為豚。又師之旅云「豚彘不至」，亦以艮為豚，艮止，故不到；艮少，故為豚。自艮豚之象失傳，於是虞、黃以豚魚為遯魚，毛奇齡以豚魚為江豚，王引之謂為士庶禮品，遂以次穿鑿矣。

The interpretation of "pork and fish" in the Zhongfou hexagram. Since the images in the Book of Changes were lost, people in the Eastern Han dynasty did not understand the image of fish. Xun Shuang said that the pig was in the Gen hexagram (mountain) and the fish was in the Dui hexagram (lake), but neither could clearly indicate the origin of the image, as evidenced by this. Until Yu Fan understood that the Xun hexagram had the image of fish, but he still did not know the image of the pig, so he read "pork" as "Dun" (retreat). Later scholars criticized him greatly, yet to this day, the image of "pork" has not been found. According to Jiao's Forest of Changes, in the Fen hexagram leading to Zhongfou, it says "riding a pig to chase a sheep": the mutual hexagram of Zhongfou is Zhen (thunder), which represents riding, and Gen (mountain), which represents the pig. In the Shi hexagram leading to Lv (travel), it says "the pig and the boar do not arrive," also using Gen to represent the pig - Gen represents stopping, so it says "do not arrive"; Gen represents the young male, hence the term "pork" is used for the small pig. Since the image of "pig" in Gen was lost, Yu Fan and Huang Ying interpreted "porn fish" as "Dun fish," and Mao Qilin interpreted it as the Jiangtun fish. Wang Yinzhi said it refers to gifts used by commoners and scholars, and thus one after another, interpretations became increasingly forced.

中孚利涉大川解。彖曰「乘木舟虛也」，王肅曰「外實內虛，有似可乘虛木之舟」，最為得之。有舟卽可利涉大川，乃虞翻不知坤水在中、九二臨之、陽遇陰則通之理，必以坎為大川。二變不成坎，須三再變始能成坎，坎象成而利涉不辨為何爻。豈知易凡言利涉者皆確有所屬，如中孚之利涉則指二也。二前臨坤水，陽遇陰則通也，所謂乘木也，與大畜之九三同也。中孚二至五，卽大畜三至上也。然非易林坤水之象，孰能正虞氏之誤哉！

The interpretation of the phrase "favorable for crossing great rivers" in the Zhongfu hexagram. The Commentary on the Judgment says "riding on a wooden boat which is hollow," and Wang Su explains "the outer part is solid and the inner part is hollow, like a hollow wooden boat that can be ridden," which is the most accurate explanation. With a boat, one can "favorably cross great rivers." However, Yu Fan did not understand the principle that the water of the Kūn hexagram is in the middle, with the Nine in the Second Line closely adjacent to it, and that a Yang line meeting a Yin line allows communication. Instead, he insisted on taking the Kan hexagram as the great river. The Second Line changing does not form the Kan hexagram; it requires the Third Line to change as well before the Kan image is completed. Although the image of Kan is formed, it is unclear which line is responsible for "favorable crossing." He did not realize that in The Zhou Changes, whenever "favorable crossing" is mentioned, it always refers to a specific line. In Zhongfu, "favorable crossing" refers specifically to the Nine in the Second Line. The Nine in the Second Line faces the water of Kūn directly, and when a Yang line meets a Yin line, communication is possible. This is called "riding on wood," similar to the Nine in the Third Line of Daxu. The Second to Fifth Lines of Zhongfu correspond exactly to the Third to Top Lines of Daxu. However, without the image of "Kūn as water" from Jiao's Forest of Changes, who could correct Yu Fan's mistake?

中孚九二鶴鳴在陰其子和之我有好爵吾與爾靡之解。此其義二千年長夜矣，則以不知覆象也。不知覆象，卽不知其子為誰、和聲從何而出、陰為何象。按易林晉之艮云「學靈三年，聖且聰明」，學靈者，學語也。艮三至上，正反兩震言相對，下言如何出，上卽如言而返，故曰學靈，學靈卽和也。中孚二至五，亦正反兩震言相對。

The interpretation of the line Nine in the Second in the hexagram 中孚, "The crane calls in the dark, its young respond; I have a good cup of wine, I will share it with you," has become obscure like a night of two thousand years. The reason is the failure to understand the reversed image. Without understanding the reversed image, one does not know who "its young" refers to, where the harmonious sound comes from, or what the "dark" signifies. According to the entry in Jiao's Forest of Changes under the hexagram 晋 and 艮, it says, "Learning to speak for three years, the sage becomes wise and clever." "Learning to speak" refers to learning to speak. In the hexagram 艮, the third line to the top line consists of one positive and one negative line of 震, representing speech that is mutually responsive: the lower 震 speaks, and the upper 震 responds in kind, hence "learning to speak," which is also "harmony." Similarly, in the hexagram 中孚, the second line to the fifth line also consists of one positive and one negative line of 震, representing speech that is mutually responsive.

震為鶴，九家逸象震為鵠，項氏云「鵠鶴古通用，當作鶴」。按呂覽「鵠乎其羞」，注「讀如浩，大也」，音正與鶴通。劉孝標辯命論「龜鵠千秋」，費昶搗衣詩「開韞舒龜鵠」，皆鶴鵠通用之證。正字通謂為？[言為]字者，非也。吳草盧曰「黃鶴樓因黃鵠山而得名」，亦鵠鶴通用之證。

The trigram 《震》 represents a crane. The 《Nine Schools Commentary on the Yi Jing》 mentions it as 「《震》 represents a goose」, and Xiang Anshi explains that 「goose and crane were commonly used interchangeably in ancient times, and here it should be read as crane.」 According to the 《Book of Lord Shang》, 「the goose is proud」, and the annotation says 「read it as hao, meaning great」, which is phonetically similar to 「crane.」 Liu Xiaobiao's 《Discourse on Fate》 says 「turtle and goose live for a thousand years」, and Fei Chang's poem 《Striking Clothes》 says 「open the treasure chest to display turtle and goose」, all of which are evidence of the interchangeability of 「goose」 and 「crane.」 The 《Comprehensive Dictionary of Characters》 claims it is the character 「？[yan wei]」 (the original character is missing, and only the radical is indicated, so it is not appropriate to guess the character), which is incorrect. Wu Cheng (who used the style name Caolou) says 「the Yellow Crane Tower is named after the Yellow Goose Hill」, which is also evidence of the interchangeability of 「goose」 and 「crane.」

為鳴，為子，下震出聲，上震卽如聲而反，故曰和。子指三至五之覆震也。在陰者，仍用覆象，二至五正反兩震，卽兩艮，子指上之覆震，陰則指下之覆艮也。易林頤之中孚云「熊羆豺狼，在山陰陽」，艮為山，納丙，丙南，故曰山陽；艮之反卽山北矣，山北曰陰，故又在山陰。而下之震鶴正當反艮，故曰鳴鶴在陰，言鶴鳴于山陰也。

The trigram Zhen also represents a sound and a son: the lower Zhen produces a sound, and the upper Zhen responds in kind, hence the term "harmony." "Son" refers to the inverted Zhen from the third to fifth lines. Regarding "in yin," the inverted image is still used: the second to fifth lines contain one positive and one negative Zhen, which when viewed in reverse become two Gen trigrams. "Son" refers to the upper inverted Zhen, while "yin" refers to the lower inverted Gen. The entry "Bears and wolves, in the mountain yin and yang" from "Jiao's Forest of Changes" under "Yi" and "Zhongfú" explains that Gen represents a mountain, and the dry branch is Ji, which is located to the south, hence "mountain yang." When Gen is inverted, it becomes the northern side of the mountain, which is called "yin," hence "in the mountain yin." The lower Zhen represents a crane, which is positioned at the place of the inverted Gen, hence "a crane calling in yin" — meaning the crane is calling on the northern side of the mountain.

周易用覆之妙，匪夷所思，至東漢卽不知此義。見孟氏逸象以離為鶴也，而以訟之離當之，其誤一；不知陰象用反艮，而以訟之坎夜當之，其誤二；不知易無以艮坎為子之例，又不知子指覆震，而以二動成益、艮為子當之，其誤三；不知和為反震，而以益之震巽同聲相應解之，其誤四也。上亦失位，若再不能解，則將用節，豈有窮哉！

The Zhou Changes employ the subtle principle of inverted images, which is really beyond the comprehension of ordinary people. By the Eastern Han dynasty, no one understood this principle anymore. Commentators saw Meng Xi's extraordinary images that associate "Li" with a crane, and thus used "Li" in the Gua of "Strife" to represent it, which was the first mistake. They did not know that the image of "Yin" comes from the reversed Gen, yet they used "Kan" in the Gua of "Strife" to represent "night," which was the second mistake. They did not know that the Zhou Changes do not use Gen or Kan to represent "Zi," nor did they know that "Zi" refers to the inverted Zhen, yet they used the second line changing into Yi and Gen to represent "Zi," which was the third mistake. They did not know that "He" comes from the reversed Zhen, yet they explained it using the resonance between Zhen and Xun in the Gua of "Benefit," which was the fourth mistake. They also said that the top line is out of position. If this still does not make sense, they will then use the Gua of "Restraint" to fit it, and there is no end to this!

至於爵象，原屬大離，不必用訟離。兌爵為酒器，坎六四以震為樽，易林本之，凡遇震卽以為酒樽酒杯，則爵亦震象也。以貞悔言之，下貞上悔，貞我悔彼，而正反兩震要皯，則爾我也。爾我同此器，則共之矣。

As for the image of "jue" (a type of wine vessel), it originally belongs to the Great Li trigram, and there is no need to use the Li trigram from the卦 of讼. "Dui jue" is a type of wine vessel. The sixth line of the fourth position in the Kan trigram uses Zhen as the vessel. Based on Jiao's Forest of Changes, whenever Zhen appears, it is taken as a wine vessel or cup. Therefore, "jue" also carries the image of Zhen. If we consider the concepts of zhen and hui, the lower trigram represents zhen (the self) and the upper trigram represents hui (the other). A single positive and a single negative Zhen trigram are in mutual interaction, meaning "er" (the other) and "wo" (the self). Both the self and the other share the same vessel, which is "wu yu er mi zhi" — meaning that both possess it together.

此亦用覆也。震為鼓也，乃三至五震覆，則罷矣。震為歌笑，震覆則泣矣。而三當震與覆震之間，故其詞如此。舊解但謂不當位，故有此象者，義殊未盡也。與二爻用覆象詞也。

The line statement of the sixth line of the hexagram Zhongfu is also based on the concept of "covering image" (taking the image by inverting the hexagram). The second to fourth lines of Zhongfu form the trigram Zhen (Thunder), which has the image of drumming, hence the phrase "or drumming." Looking further up, the third to fifth lines form an inverted Zhen, which is Gen (Mountain), so the drumming image is reversed, and the drumming stops, hence "or stopping." Zhen also has the image of singing and laughing; when it is inverted, the singing and laughing turn into crying, hence "or weeping" and "or singing." The sixth line is located at the junction of the mutual Zhen and the inverted Zhen, thus possessing both images, which is why the line statement alternates between drumming and stopping, weeping and singing. Old commentaries only mention that the sixth line, being a yin line in a yang position, is inappropriate, which is far from a thorough explanation. This is similar to the second line, which also uses the concept of covering image in its statement.

考《左傳》昭五年明夷之謙曰：「日之謙當鳥。」日之謙卽離變艮，艮為鳥，故曰當鳥。若以離為鳥，卽離當離矣，有是理乎？故知杜注誤也。《易林》本之，《恆》之《小過》云：「燕雀銜茅。」是以艮為燕雀。又《困》之《小過》云：「鳳有十子。」亦以艮為鳳。又《明夷》之《艮》云：「鴟鴞娶婦。」又《噬嗑》之《漸》云：「鸋鴂鴟鴞。」皆以艮為鴟鴞，是艮之為鳥明矣。《小過》之飛鳥亦謂艮也，音則謂震也。不宜上宜下者，上謂五，下謂二。五乘剛，《屯》六二日：「六二之難，以乘剛也。」柔乘剛不順，故《傳》曰上逆；二承陽勢順，故《傳》曰下順。又《小過》為正覆兩艮，上震為覆艮，以飛鳥言，首向下，故亦曰上逆也。

A study of the divination example from the year Zhao Gong 5 in the Zuo Zhuan: A divination was made using the hexagram Mingyi (Brightening) changing to Qian (Modesty), and the divination statement said, "The modesty of the sun is like a bird." What is meant by "the modesty of the sun" is that the lower trigram of Mingyi, Li (Fire), changes to the lower trigram of Qian, Gen (Mountain), which has the image of a bird, hence the statement "like a bird." If Du Yu were to take Li as a bird, then it would be Li changing to Li, which is illogical. Therefore, Du Yu's commentary is wrong. The Jiao Forest of Changes also follows this image: In the hexagram Heng (Permanence) changing to Xiaoguo (Minor Excess), it says "swallows and sparrows carry reeds," taking Gen as swallows and sparrows; in the hexagram Kun (Obstruction) changing to Xiaoguo, it says "the phoenix has ten sons," also taking Gen as a phoenix; in the hexagram Mingyi changing to Gen, it says "crows and ravens marry," and in the hexagram Shike (Breaking the Bones) changing to Jie (Gradual Progress), it says "the nightingale and crows and ravens," all taking Gen as crows and ravens. This clearly shows that Gen is taken as a bird. Therefore, the "flying bird" in the hexagram Xiaoguo refers to Gen, and the "sound" in "left behind its sound" refers to Zhen (Thunder). The phrase "not suitable to go up, but suitable to go down" refers to "up" as the sixth line five, and "down" as the sixth line two. The sixth line five, being a yin and flexible line, is above the ninth line four, which is yang and strong, thus the line five is overbearing over line four. The image of line two in Tun (Obstruction) says, "the difficulty of line two is because it is on top of a strong line," and the situation of a flexible line being on top of a strong line is not harmonious, so the Commentary on the Judgment says "going against the trend." Line two is below, receiving the yang of lines three and four, which is a harmonious situation, so the Commentary on the Judgment says "going in harmony." Furthermore, the entire hexagram Xiaoguo is a upright Gen trigram and an inverted Gen trigram stacked together. The upper trigram Zhen is the inverted form of Gen, and in terms of the flying bird, it is like the head pointing downward, hence also called "going against the trend."

自艮為黔喙，《易林》作黔啄，純指鳥，東漢人誤以為獸類，而艮鳥之象失傳。於是《小過》之飛鳥、《左傳》之當鳥，皆不知其屬艮而誤解矣。宋衷以卦二陽在內、四陰在外象飛鳥，固誤；虞翻用卦變，謂飛鳥指《晉》離者尤穿鑿，則以不知艮鳥之象也。又上下專指二五，不指三四。四為陽遇陰則利往，《豫》九四、《大壯》九四、《豐》九四皆利，是其證也。三居艮終，《蹇》彖曰「其道窮」，正與上逆下順之言相反。乃自來解者往往涉及三四，不能分明，故經義愈晦也。然非《易林》艮鳥之象，孰能知《小過》及《左傳》之舊解皆誤哉！

The trigram Gen (Mountain) originally referred specifically to birds, as written in the "Yi Lin" as "Qian Zhuo" (black beak). Since the Eastern Han scholars mistakenly identified it as wild beasts like jackals, the image of Gen representing birds was lost. Therefore, the "flying bird" in the hexagram statement of Xiaoguo and the "bird" in the divination text of the "Zuo Zhuan" were no longer understood to originate from Gen, leading all later interpretations to be wrong. Song Zhong explained based on the hexagram diagram, believing that the two yang lines in the inner trigram and four yin lines in the outer trigram of Xiaoguo formed the shape of a flying bird, which was already incorrect. Yu Fan changed his approach by using hexagram transformation, saying that the flying bird referred to Li in the hexagram Jin, which was even more forced. The root of these errors lies in not knowing that Gen has the image of a bird. Moreover, the terms "upper" and "lower" specifically refer to lines six in the fifth and six in the second, and do not involve nine in the third and nine in the fourth. Nine in the fourth is a yang line encountering a yin line above, indicating favorable movement. Examples such as Yu in the fourth, Da Zhuang in the fourth, and Feng in the fourth all take the meaning of favorable movement, which is clear evidence. Nine in the third is at the end of the lower trigram Gen. The "Tian Zhuan" of Jian says, "Not favorable to the northeast, its path is exhausted," and the northeast is Gen, showing that the end of Gen represents a path exhausted, which is exactly opposite to the saying of "upper reversal and lower compliance." However, traditional commentators often bring in lines three and four, causing confusion and making the meaning of the classics increasingly obscure. Yet without the image of Gen as a bird from the "Yi Lin," who could recognize that the old interpretations of the hexagram statement of Xiaoguo and the divination text of the "Zuo Zhuan" were all wrong?

悲哉易象之失傳也！象既失傳，故竭數千年學者之力而不能通其詞。此爻祖象，據《易林》則謂艮也。《易林》《乾》之《蠱》云：「彭祖九子。」《蠱》上艮，艮為壽，故曰彭祖。又《隨》之《節》云：「思吾皇祖。」《節》上坎為思，中爻艮為祖。又《大壯》之《渙》云：「亡其祖考。」《渙》中爻艮，艮為祖，坎伏故亡。又《既濟》之《漸》云：「疆場有瓜，獻進皇祖。」是《易林》以艮為祖也。後思《易》《豫》象云：「以配祖考。」《豫》下互艮，故曰祖考。《易》原以艮為祖也。

The loss of the images in the I Ching is truly regrettable! Since the images have been lost, scholars have devoted themselves for thousands of years yet still cannot fully understand this line of text. In this line, the image of "zu" (ancestor) refers to Gen (Mountain) according to Jiao's Forest of Changes. In the Forest of Changes, the line of "Guz" (Guz) in the "Gan" hexagram mentions "Peng Zu's nine sons": the upper trigram of the "Guz" hexagram is Gen, which symbolizes longevity, hence the reference to Peng Zu. In the line of "Jie" in the "Sui" hexagram, it says "thinking of our royal ancestor": the upper trigram of the "Jie" hexagram is Kan, representing thought, and the interacting trigrams produce Gen, which is the ancestor. In the line of "Huan" in the "Da Zhuang" hexagram, it says "losing the ancestors": the interacting trigrams of the "Huan" hexagram produce Gen, which is the ancestor, and the lower trigram Kan represents concealment, hence the word "losing." In the line of "Jian" in the "Ji Ji" hexagram, it says "there are melons by the border, presented to the royal ancestor": the lower trigram of the "Jian" hexagram is Gen. This shows that the Forest of Changes uses Gen to represent the ancestor. Later, upon re-examining the Zhou Changes, the "Yu" hexagram's Great Image says "sacrificing to the Supreme Deity to accompany the ancestors": the interacting trigrams of the "Yu" hexagram produce the Gen trigram, hence the term "ancestors." This shows that the Zhou Changes originally used Gen to represent the ancestor.

妣象，據《易林》則謂巽也。《易林》《萃》之《渙》云：「公劉文母。」《渙》上巽，巽母，互大離，故曰文母。又《益》之《困》云：「二母不親。」《困》互巽，巽為母，上兌為反巽，故曰二母；兌先天數二，正反兩巽相背，故曰不親。又《損》之《巽》云：「太姒文母。」巽為母，互離為文，故曰文母。又《訟》之《隨》云：「入門見母。」《隨》艮為門，巽母，兌見，故曰見母。是《易林》顯以巽為母。後思《蠱》九二云：「幹母之蠱。」《蠱》下巽，是《易》原以巽為母也。

The image of "妣" is taken as the trigram Xun according to the "Yi Lin." In "Yi Lin," in the transformation from "Cui" to "Huan," it says "Gong Liu's cultural mother": the upper trigram of "Huan" is Xun, which represents a mother, and the lines two to five of the entire hexagram form a large Li trigram, which represents culture, hence it is called "cultural mother." In the transformation from "Yi" to "Kun," it says "two mothers are not close": the mutual trigrams of "Kun" produce Xun, which represents a mother, and the upper trigram Dui is the reverse of Xun, so one positive and one negative form two Xuns, hence it is called "two mothers"; Dui is the second trigram in the Earlier Heaven sequence, and the two Xuns facing each other, hence it is said "not close." In the transformation from "Sun" to "Xun," it says "Tai Si, the cultural mother": Xun represents a mother, and the mutual trigram Li represents culture, hence it is called "cultural mother." In the transformation from "Song" to "Sui," it says "entering the door to see the mother": the mutual trigram of "Sui" is Gan, which represents a door, and the upper trigram Dui is the reverse of Xun and represents a mother, and Dui also means "to see," hence it is said "to see the mother." Clearly, the "Yi Lin" explicitly takes Xun as the mother. Later, upon reconsidering the "Zhou Yi," the line "Nine in the Second" of "Gu" says "to rectify the蛊 of the mother," and the lower trigram of "Gu" is precisely Xun, showing that the "Zhou Yi" originally also took Xun as the mother.

過其祖遇其妣者，《小過》下艮，六二前承二陽，利往，故曰過其祖，言二過艮也，艮為祖也；中爻巽為妣，六二正當巽初，故曰遇其妣。妣卽母也。虞翻本《禮記》以母死為妣，取中爻大過死為義，後儒不察而盲從之。豈知《尚書》曰「如喪考妣」，夫母既死矣，尚何言喪？且又胡能遇之？況父考母妣，無死生之別，郭璞注《爾雅》論之詳矣，《禮記》之言不必拘也。

The phrase "passing by his father and meeting his mother" refers to the lower trigram of "Small Overstep" being艮 (Mountain), with the second line, six two, approaching the third and fourth lines, which are yang lines. This movement is favorable for proceeding forward, hence "passing by his father," meaning that the second line passes over the Mountain trigram, which represents the father. The lines from two to four form the trigram巽 (Wind), which represents the mother. The second line is precisely at the first line of this Wind trigram, hence "meeting his mother." The mother is referred to as "bi." Yu Fan relied on the "Rites of Zhou" which states that a living mother is called "mu" and a deceased mother is called "bi," and also used the meaning of the middle line from the trigram "Great Overstep" to explain the concept of a coffin and mourning. Later scholars followed this without careful examination. They did not consider that the "Book of Documents" mentions "as if mourning one's father and mother," but if the mother has already died, how can there be mourning? How can one meet her? Moreover, the distinction between "father" and "mother" does not depend on life or death. Guo Pu's commentary on the "Erya" has already explained this clearly, so there is no need to be overly strict about the statement in the "Rites of Zhou."

至君與臣象，據《易林》則以震為君，以艮為臣。《夬》之《小過》云：「終不見君。」《小過》震為君，互大坎，故不見。又《夬》之《坎》云：「君臣擾憂。」《坎》中爻艮震，震君艮臣，坎憂震動，故曰擾憂。又《兌》之《艮》云：「臣圍其君。」亦以艮為臣，震為君。蓋震為帝為王，故為君；艮為僮為僕，故為臣，臣與僕古不分。不及其君者，言震在上，二艮止而無應，故不及；二居艮中，故遇其臣。後思《易》《蹇》六二云：「王臣蹇蹇。」《蹇》下艮，以艮為臣。又《遯》九三云：「畜臣妾吉。」《遯》下艮，故曰臣妾。是《易》本以艮為臣。而自東漢以來，知乾君坤臣，不知震艮亦為君臣，故愈解愈晦也。

As for the images of "sovereign" and "subject," according to the "Yi Lin," the trigram Zhen represents the sovereign and Gen represents the subject. In the hexagram "Gua" changing into "Xiao Guo," it says "the sovereign is never seen at the end": the upper trigram of "Xiao Guo" is Zhen, which represents the sovereign. The lines two through five of the entire hexagram form a large Kan, which signifies concealment, hence the statement "the sovereign is never seen." In the hexagram "Gua" changing into "Kan," it says "sovereign and subject are disturbed and anxious": the middle trigrams of Kan produce Gen and Zhen, with Zhen representing the sovereign and Gen representing the subject. Kan signifies worry, and Zhen signifies action, hence the statement "disturbed and anxious." In the hexagram "Dui" changing into "Gen," it says "the subject surrounds the sovereign," again using Gen for the subject and Zhen for the sovereign. Generally, Zhen represents the emperor and the king, hence it is taken as the sovereign; Gen represents a servant or a slave, hence it is taken as the subject—originally, "subject" and "servant" were not distinguished. The phrase "not reaching the sovereign" refers to Zhen being in the upper trigram, while line six-two is located within Gen, which signifies stillness and has no responding line, hence it cannot reach the sovereign; line six-two is located within the lower Gen, hence it is said "meeting the subject." Later, upon further reflection on the "Zhou Yi," line six-two of "Jian" says "the king's subject is resolute," and the lower trigram of "Jian" is Gen, hence Gen is taken as the subject. Line nine-three of "Dun" says "keeping the subjects and concubines is auspicious," and the lower trigram of "Dun" is also Gen, hence "subjects and concubines" are mentioned. This shows that the "Zhou Yi" originally used Gen to represent the subject. However, since the Eastern Han dynasty, scholars have only known that Qian represents the sovereign and Kun represents the subject, and have not realized that Zhen and Gen can also represent sovereign and subject, so this line statement has become increasingly obscure over time.

自易象失傳，東漢人不知先天象，故解東鄰西鄰者靡不錯誤。祗鄭玄、崔憬能覺察離東坎西方合，以離為日，日出東；以坎為月，月生西為說，而不知先天象離坎本東西也，無庸以日月為解。按《易林》《復》之《未濟》云：「東鄰西國，福喜同樂。」是以上離為東鄰，下坎為西國。又《履》之《訟》云：「受福西鄰。」《訟》下坎，故曰西鄰，是不啻明解禴祭受福也。《升》之《歸妹》云：「東鄰西家。」謂《歸妹》中爻離坎也。《易林》之言離東坎西，可謂至明白矣。乃宋後之治漢易者，既知先天方位，猶申述東漢之誤解，是誠何心哉！

Since the transmission of the Yi images was lost, scholars of the Eastern Han dynasty did not understand the Earlier Heaven arrangement of the trigrams. Therefore, none of their explanations of the "east neighbor" and "west neighbor" in the line Nine in the Fifth of the Ji Ji hexagram were correct. Only Zheng Xuan and Cui Jing realized that in order for the explanation to make sense, the trigram Li (Fire) should be in the east and the trigram Kan (Water) in the west. However, they based their reasoning on the idea that Li represents the sun, which rises in the east, and Kan represents the moon, which rises in the west. They did not realize that in the Earlier Heaven arrangement, Li and Kan were originally located in the east and west respectively, so there was no need to refer to the sun and moon. According to the Yi Lin, in the Fu hexagram's transformation to Wei Ji, it says "east neighbor, west country, happiness and joy shared together." This clearly refers to the upper trigram Li as the east neighbor and the lower trigram Kan as the west country. In the Li hexagram's transformation to Song, it says "receiving blessings from the west neighbor," since the lower trigram of the Song hexagram is Kan, it is called the west neighbor—this is clearly stating the line Nine in the Fifth of Ji Ji, "the west neighbor's sacrifice, actually receiving its blessing." In the Sheng hexagram's transformation to Gui Mei, it says "east neighbor, west house," referring to the trigrams Li and Kan that emerge in the middle of Gui Mei. The Yi Lin clearly assigns Li to the east and Kan to the west. However, scholars after the Song dynasty, who were well aware of the Earlier Heaven arrangement, still continued to follow the incorrect interpretations of the Eastern Han dynasty. What was their intention?

上既曰征凶，下又言利涉，義自違反。朱子疑「利」上有「不」字，吳摯父先生疑「徵」為「貞」，二者必有一當，義始能通。經文既有缺誤，故此之大川遂不能解。此與《無妄》六二云「不耕穫，不菑畬，則利有攸往」，上下語皆不能通，不能強說也。

In the hexagram "Wei Ji," the line "Six in the Third" first says "going forward brings danger," and then later says "it is advantageous to cross a great river." The meaning before and after seems contradictory. Zhu Xi doubted that a "not" character was missing above the "advantageous" character, while Mr. Wu Zifu (Wu Rulun) thought that "going forward" might be a mistake for "uprightness." One of these two interpretations must be correct for the meaning to be coherent. Since the text has missing characters or errors, it is impossible to determine the meaning of "great river" here. This is similar to the line "Six in the Second" of "Wu Wang," which says "not plowing and not harvesting, not clearing and not cultivating, then it is advantageous to go somewhere." The two parts do not connect well, so we can only leave it in doubt and not force an interpretation.

《易林》以坎為大首。坎為水，一陽陷四、上二陰之中，而上六居坎之上，故曰濡其首。《未濟》上九亦曰濡其首，則用旁通也。虞翻以乾為首，說《既濟》上六尚可，說《未濟》上九遂不能通，則以旁通之說不明也。

The "Forest of Divination" (Yi Lin) takes Kan as the primary trigram. Kan also represents water, with one yang line submerged between the two yin lines at the Fourth and the Top positions. Since the Top line of the "Final Completion" (Ji Ji) is exactly on top of the Kan trigram, it says "dampening the head." The Top line of the "Not Yet Completed" (Wei Ji) also says "dampening the head," because the "Not Yet Completed" and the "Final Completion" have all their lines reversed, and they are mutually connected through their opposite relationships. It takes the image from the opposite trigram. Yu Fan took Qian as the primary trigram, which could be acceptable for explaining the Top line of the "Final Completion," but it does not make sense for explaining the Top line of the "Not Yet Completed." The reason is that he did not understand the principle of mutual connection through opposites.

行唐尚秉和節之撰。

This volume was written by Shang Binghe, a native of Xingtang in Zhili (now Xingtang County, Hebei Province). His given name is Jiezi.

九家專以艮為柝象，似不協。震為鳴、為口、為聲，形又宛然一柝也。艮為手、為小木，手持小木擊之，則口出聲而鳴矣。柝之象固非震莫屬，艮方為擊也。然九家云「從外示之艮」，此最與《易林》用覆象旨合。

The Great Treatise says, "Guarding the gates with repeated knocks of a wooden梆 to await robbers, this is derived from the hexagram 'Ease.'" The Shujia Commentary on the Yi assigns the "bamboo梆" (a wooden clapper used for night watch) to the image of Gen (Mountain), which seems inappropriate. Zhen represents sound, speech, and the mouth, and the shape of the hexagram itself resembles a wooden clapper. Gen represents hands and small wood; when a hand holds a small piece of wood and strikes it, sound is produced from the mouth. Thus, the image of the clapper belongs to Zhen, while Gen is only associated with the action of striking. However, the Shujia Commentary's statement that "the Gen image is seen from outside" aligns well with the principle of using inverted images in the Yi Lin.

《易林》《大壯》之《離》云：「丑寅不行。」是艮居丑寅也。丑者一歲之終，故艮成終；寅者一歲之始，故艮成始。成始成終，故曰「成言乎艮」。

The "Yi Lin" under the hexagram "Da Zhuang" in the "Li" section says "Chou and Yin are not suitable for movement," indicating that the position of Gen is precisely Chou and Yin. Chou marks the end of the twelfth lunar month, so Gen is said to "complete the end"; Yin marks the beginning of the first lunar month, so Gen is said to "complete the beginning." Since it completes both the end and the beginning, the "Shuo Gua" states, "It is the place where all things complete their end and begin anew, hence it is called 'Gen' which signifies completion."

帝出乎震，凡《易林》言帝者無不屬震。至於神，則人不知其象。虞翻謂神卽《易》，韓康伯以八卦當之，謂八卦變化推遷，莫有使之然者；惠棟、張惠言等皆用虞說，李道平謂卽乾坤，豈知仍謂震也。帝卽神，神卽帝也。《易林》《蒙》之《節》云：「眾神集聚。」《節》互震，震為神，坎眾，故曰眾神。《夬》之《巽》云：「與神往來。」言震究為巽，巽反為震，常相往來，故曰與神往來。

The "Say on the Trigrams" says, "The Emperor comes forth from Zhen." In all instances where the "Jiao's Forest of Changes" mentions "Emperor," none of them refer to anything other than Zhen. As for "Shen," later scholars did not know its symbolic meaning: Yu Fan said "Shen" is the Book of Changes itself; Han Kangbo used the Eight Trigrams as its representation, saying that the Eight Trigrams change and transform without any external force driving them. Hui Dong, Zhang Huiyan, and others all followed Yu Fan's view. Li Daoping, however, said "Shen" refers to Qian and Kun. They did not realize that "Shen" still refers to Zhen — Emperor is Shen, and Shen is Emperor. The "Forest of Changes" and the "Meng" hexagram "Jie" say, "All the gods gather together": the "Jie" hexagram's mutual trigrams produce Zhen, and Zhen represents Shen. The upper trigram is Kan, representing a multitude, so it is said, "All the gods gather together." The "Gua" hexagram "Xun" says, "Interacting with the gods": this refers to Zhen reaching its extreme and transforming into Xun, and Xun reverting back to Zhen, the two constantly interacting, hence "Interacting with the gods."

又《大有》之《觀》云：「神明所伏。」言《觀》上巽，巽伏震，故曰神伏。又《履》之《漸》云：「聖哲且神。」《漸》坎為聖，離為哲，巽通震，故曰聖哲且神。又《需》之《萃》云：「神使伸言。」《萃》通《大畜》，《大畜》中爻震，震為神，震言，故曰神使伸言。凡此皆以震為神之確證。蓋震之為卦，一陽復始，萬物由此出生，變化推移，有莫知其然而然者，無能形容，祗可謂之帝、謂之神也。

The commentary on "Great Possession" (Da You) under "Observation" (Guan) says "the divine is concealed": This refers to the fact that the upper trigram of Guan is Xun, which is the hidden trigram of Zhen. Therefore, it is said that the divine is concealed. The commentary on "Following the Path" (Lv) under "Gradual Progress" (Jian) says "sages and the divine": The mutual trigrams of Jian include Kan, representing sages, and Li, representing wisdom, while the upper trigram Xun connects with Zhen, which represents the divine. Therefore, it is said "sages and the divine." The commentary on "Necessity" (Xu) under "Convergence" (Cui) says "the divine enables expression": Cui and Da Xu are complementary trigrams. Da Xu's inner trigrams produce Zhen, which represents the divine, and Zhen also governs speech, so it is said "the divine enables expression." All these examples are clear evidence that Zhen represents the divine. Generally speaking, the trigram Zhen has one yang line rising from the bottom, initiating the birth of all things. In the process of change and movement, there is a power that operates naturally without known cause, which cannot be described, and can only be called "Emperor" or "Divine."

震言兌口，皆見於《易》，而《易林》每以兌為言，以震為口。蓋兌二動卽成震，震二動卽成兌，而言從口出，故二卦關於言語口舌之象，實不能分，故《易林》每混合用之。「說言乎兌」，實其所本。

The trigram Zhen represents speech and the trigram Dui represents the mouth, as mentioned in the Zhou Changes itself; however, the Yi Lin often reverses this, using Dui to signify speech and Zhen to signify the mouth. This is because the second line of the Dui trigram changes into Zhen, and the second line of the Zhen trigram changes into Dui. Since speech originates from the mouth, the imagery associated with speech and the mouth in these two trigrams is inseparable. Therefore, the Yi Lin frequently uses them together. The phrase "say something through Dui" from the Shuo Gua serves as the basis for this usage.

虞翻云：「薄，入也。」言陽入陰，陰牝陽也，故曰相薄。是以《易林》《夬》之《坤》云：「歲暮花落，陽入陰室。」《坤》十月卦，故歲暮花落；陽伏陰下，故曰陽入陰室，則陰牝陽也。又《中孚》之《坤》云：「符左契右，相與合齒。」夫合齒若符契，則陰陽交也，皆相薄之義也。薄卽戰，戰卽交也。

Yu Fan explained that "thin" means "entering." This refers to Yang entering Yin, and Yin taking Yang into itself ("pu" meaning receptive and yielding), hence called "xiang bo." Therefore, in the "Yi Lin" under the hexagram "Gua," it says, "At the end of the year, flowers fall, Yang enters the Yin chamber." The hexagram "Kun" corresponds to the tenth month in the twelve trigrams, hence the reference to the end of the year when flowers wither; at this time, Yang energy is hidden beneath Yin, hence "Yang enters the Yin chamber," which is the Yin taking in Yang. In the "Zhong Fu" under the hexagram "Kun," it says, "The symbol on the left and the token on the right join together, mutually matching." The symbol and token, as two halves, fit perfectly together, which is the image of the union of Yin and Yang. All these are expressions of "xiang bo." Therefore, "bo" is "zhan," and "zhan" is "jiao."

蓋《坤》闢於亥，而《乾》原居亥位，至十月，乾消剝入坤，則不見矣。胡以不見？為陰所牝也。陰牝陽則交矣，故曰合齒，故曰入室。後人因《坤》上六曰「龍戰于野，其血玄黃」，若陰陽實行戰爭而相傷者；由《易林》合齒之言釋之，實相交也，交卽戰也。《坤》彖曰：「西北喪朋，乃終有慶。」慶此也。

The hexagram Kūn is the ruler of the亥 month in the twelve trigrams of division. The hexagram Gān was originally located in the亥 position (northwest) in the Earlier Heaven arrangement. By the tenth month, the yang of Gān has been completely eliminated and absorbed into Kūn, thus becoming invisible. Why is it invisible? Because it is contained within yin. When yin contains yang, it is considered a union, so the "Yì Lín" says "joining teeth" and "entering the room." Later scholars, seeing the line "dragon fighting in the wild, its blood is black and yellow" in the upper sixth line of Kūn, mistakenly thought that yin and yang are really fighting and harming each other. But if we use the "joining teeth" phrase from "Yì Lín" to explain it, it clearly refers to mutual union. And mutual union is called "fighting." The "Tuán" section of Kūn says "loss of companions in the northwest, yet finally there is celebration," the celebration refers precisely to this.

此爻不以闢卦解之，不能明也。龍者，陽也，何以至《坤》上六而戰？則以闢卦《剝》當戌，至亥消剝入坤，至上六而純陰。乃陽本居亥，陽伏陰下，陰牝陽，故《易林》曰：「陽入陰室，相與合齒。」陽求出，出震則《復》矣，仍闢卦。當其未出，乾元坤元靜默感通，氤氳姤合，無以名之，強名曰龍戰而已。其血玄黃者，卽出震時天地所遺氤氳之氣也。震為玄黃、為出，六子之生以此也。此血非陰非陽，乃天地之雜也。然非卽《易林》「陽入陰室，相與合齒」之言以求之，鮮不為聖人神化之筆所迷矣。

If this line is not explained with the twelve Great Trigrams, it will remain unclear. The dragon represents Yang, so why does it need to "fight" in the Upper Sixth line of the Earth Trigram? Because in the Great Trigrams, the Trigram of Splitting occurs in the month of戌, and by the month of亥, the Yang energy has been completely consumed and enters the Earth Trigram. At the Upper Sixth line, it becomes entirely Yin. However, the original Yang of Heaven is located at the亥 position, where Yang is hidden beneath Yin and is contained within it. Therefore, the "Yi Lin" says, "Yang enters the Yin chamber, and they mutually bite their teeth." Yang desires to emerge; when it emerges as Zhen, it becomes the Trigram of Return, still within the cycle of the Great Trigrams. Before it emerges, the Primordial Yang of Heaven and the Primordial Yin of Earth are silently feeling each other and blending in a misty and turbid state, which cannot be named, so it iswith difficulty called "dragon fighting." As for "its blood is black and yellow," this refers to the misty and turbid energy left by heaven and earth when Yang emerges in Zhen. Zhen has the color black and yellow and the meaning of birth; the six sons are generated precisely through this. This "blood" does not belong to Yin or Yang, but is a mixture of the two energies of heaven and earth. However, if one does not trace back to the "Yang enters the Yin chamber, and they mutually bite their teeth" from the "Yi Lin," few people will not be confused by the mysterious and subtle style of the sage.

「疑」之與「凝」，自漢以來不能決，而「嫌」字之異讀尤多：鄭作「謙」，荀、虞、陸、董作「隒」，《九家》作「兼」，少「無」字。以文理言，《九家》似順，清儒治漢《易》者各有所主。今以《易林》證之，《夬》之《坤》曰：「陽入陰室。」是陽為陰為凝也，卽陽為陰所牝也。陰牝陽，陽伏不見，有無陽之嫌，故稱龍以明之，明非無陽，特伏耳。伏必求出，出必戰。

The character "yi" in this passage has always been uncertain since the Han dynasty, whether it should be read as "yi" or "ning." The character "xian" has even more variant readings and spellings: Zheng Xuan wrote "qian," Xun Shuang, Yu Fan, Lu Ji, and Dong Yu wrote "yan," and the "Nine Schools Commentary on the Yi" wrote "jian," and also omitted the character "wu." Looking at the meaning alone, the reading of the "Nine Schools Commentary on the Yi" seems more coherent. Modern scholars studying the Han dynasty's "Yi" have each held their own views. Now, using the "Yi Lin" for verification: In the "Gua" hexagram's "Kun" section, it says "Yang enters the Yin chamber," which is precisely Yang being gathered and contained by Yin. Once Yin has contained Yang, Yang becomes hidden and invisible, hence the suspicion that there is no Yang, so a "long" character is specially added to clarify — indicating that there is still Yang, but it is merely hidden. Since it is hidden, it must eventually emerge; once it emerges, there must be "battle."

故《易林》《中孚》之《坤》云：「乾坤利貞，乳生六子。」利貞卽凝也，六子之生，凝之功也。夫子生則出震矣。又曰：「長大成就，風言如母。」夫不曰如父而曰如母，曰風言，正釋嫌於無陽也。後儒謂王弼從俗本增「無」字，又有謂「嫌於無陽」與下「稱龍」句文不順者，豈知自西漢已然哉！

Therefore, the "Kun" section of the "Yi Lin" from the "Zhongfu" says, "Kun and Qian are favorable and upright, giving birth to six sons." "Favorable and upright" refers to "congealing," and the reason the six subordinate hexagrams, Zhen, Kan, Gen, Xun, Li, and Dui, are generated is precisely due to the effect of "congealing." Once the sons are born, yang arises from Zhen. The "Yi Lin" then continues, "They grow and mature, the wind speaks like a mother." It does not say "like a father" but "like a mother," and it specifically mentions "wind speech" (Xun represents wind, and Xun is precisely where Zhen is hidden). This is precisely explaining the phrase "because it is suspected of lacking yang." Later scholars claim that Wang Bi added the character "wu" (no) according to the vulgar version, and some say that "suspected of lacking yang" does not flow smoothly with the next sentence "called dragon." But they do not realize that the text was already like this in the Western Han dynasty, when Jiao Yanshou lived.

餘向疑《坤》上六稱龍，《文言》釋此，謂「陰凝於陽必戰，為其嫌於無陽，故稱龍」。及《說卦》云：「戰乎乾。乾，西北之卦也，言陰陽相薄也。」夫若無闢卦坤居亥之說，則《坤》上六純陰耳，胡得言龍？乾獨居西北耳，胡得言陰陽相薄？是文、孔心目中皆有坤居亥之象也。又《臨》「八月有凶」，謂《臨》《遯》也；《復》「七日反覆」，謂《復》《姤》也。

I have always been puzzled as to why the Sixth Line at the Top of the Hexagram Qian is called "dragon." The Wenyan explains this line by saying, "When yin accumulates against yang, there must be a struggle, for it is suspicious of the absence of yang, hence it is called dragon." The Shuogua also says, "Struggle in Qian. Qian is the hexagram of the northwest, meaning the mutual confrontation of yin and yang." Imagine: if there were no concept of the twelve trigrams with Qian located at the亥 position, then the Sixth Line at the Top of Qian would merely be a pure yin. How could it be called "dragon"? Qian is merely located alone in the northwest. How could it be called "mutual confrontation of yin and yang"? This shows that in the minds of King Wen of Zhou and Confucius, there was originally the image of Qian located at the亥 position. Now looking at the Hexagram Lin's statement, "Until the eighth month there is danger," refers to the eight months between Lin and Dun. The Hexagram Fu's statement, "Seven days to return," refers to the mutual generation between Fu and Guo.

《左傳》晉與楚戰，筮得《復》，曰：「南國蹙，射其元王中厥目。」是亦以《復》居正北也，闢於子也，是十二闢自古有也。餘持是說既久，後見干寶《周禮》注引《歸藏》云：「《復》子、《臨》丑、《泰》寅、《大壯》卯、《夬》辰、《乾》巳、《媾》午、《遯》未、《否》申、《觀》酉、《剝》戌、《坤》亥。」正十二闢也，無惑乎《易》與《左氏》皆用之也。卽漢人注《易》，往往用闢卦而不明言，若其例為人所共知者，亦足以證其說之古矣。

The *Zuo Zhuan* records that during a battle between the State of Jin and Chu, a divination using the *Fu* hexagram was performed, and the oracle said, "The southern state will be pressed, shooting at its king, hitting his eye." This also placed the *Fu* hexagram in the direction of due north, which is the position of the *Bi* hexagram during the month of Zi. This shows that the twelve *Bi* hexagrams have existed since ancient times. I have held this view for a long time. Later, I saw that Gan Bao's commentary on the *Zhou Li* cited the *Gui Cang* saying: "The *Fu* hexagram corresponds to Zi, the *Lin* hexagram to Chou, the *Tai* hexagram to Yin, the *Da Zhuang* hexagram to Mao, the *Gua* hexagram to Chen, the *Qian* hexagram to Si, the *Gou* hexagram (i.e., *Gou*) to Wu, the *Dun* hexagram to Wei, the *Pǐ* hexagram to Shen, the *Guan* hexagram to You, the *Bo* hexagram to Xu, and the *Kun* hexagram to Hai." This is exactly the twelve *Bi* hexagrams. It is no wonder that both the *Zhou Yi* and the *Zuo Zhuan* used them. Even commentators on the *Yi* during the Han dynasty often implicitly used the *Bi* hexagrams without explicitly mentioning them, as if it was a universally known convention. This sufficiently proves that the theory of *Bi* hexagrams has a long history.

文王演《易》，蓋多因襲舊義，而今無可考。如《坤》上六不以闢卦解卽不能通，是文王用闢卦也。乃干寶《周禮》注引《連山》云：「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。」與今《說卦》文多同。又朱漢上引《歸藏》易，有乾大亦、乾為天、為君、為父、為闢、為卿、為馬、為禾，又為血卦。可見《說卦》之文皆自古相傳之易說，又以見後天方位不始於文王，古連山氏已有。然則《周易》之文因襲於二易明矣。

King Wen of the Zhou dynasty compiled the Zhou Yi, probably mostly following the existing interpretations from previous dynasties, though we can no longer verify this. For example, the line 'Upper Sixth' in the Hexagram of Kūn does not make sense if interpreted using the twelve trigrams of the dividing trigrams, which suggests that King Wen did use the dividing trigrams. Gan Bao, in his commentary on the Zhou Li, cited a passage from the Lianshan: 'The Emperor emerges from Zhen, aligns with Xun, meets at Li, exerts labor at Kūn, speaks at Dui, fights at Qian, toils at Kan, and completes speech at Gen.' This is largely the same as the text in the Shuigu. Zhu Zhen, also known as the Han Shang Master, also cited the Yijing from the Guicang, which included 'Gan Da Yi' and other entries such as 'Qian represents Heaven, Sovereign, Father, Ruler, Minister, Horse, Millet, and the Blood Trigram.' This shows that the text in the Shuigu has been passed down since ancient times as interpretations of the Yijing. It also shows that the Later Heaven Trigrams were not started by King Wen, but existed even in the time of the ancient Lianshan dynasty. Therefore, it is clear that the wording of the Zhou Yi has inherited the interpretations from the Lianshan and Guicang.

坎之為耳，古今說者極錘鑿之能，無一有當，則以求之過深也。《坎》初云：「入于坎窞。」《說文》云：「窞，坎內之坎也。」又曰：「旁入也。」案耳空旁入，屈曲難通，正坎內之坎也，《說文》正釋坎為耳之義也。學者能卽《說文》坎窞之義求之，則坎為耳象如繪出矣。

The reason why the trigram Kan is taken as representing the ear has been extensively explained by scholars throughout history, yet none of their interpretations have been satisfactory. The problem lies in their overcomplicating the issue. The hexagram Kan, specifically the line "Initial Six" says, "entering the deep pit of Kan." The "Shuo Wen Jie Zi" explains: "Kan means a small Kan within Kan." It also says, "Kan is entering from the side." The ear hole is indeed an entrance from the side, winding and deep, difficult to reach, which precisely corresponds to "Kan within Kan." The explanation in the "Shuo Wen Jie Zi" actually clearly illustrates why Kan is taken as the ear. Scholars only need to follow this explanation to clearly understand the symbolic representation of Kan as the ear.

茲再證之《易林》。《同人》之《坎》云：「孔德如玉，出於幽谷。」《坎》中爻震，為孔、為玉、為出，震在坎上，故曰出於幽谷。幽谷卽坎窞也，卽耳象也，純以形言，並無他義。後儒謂北方主聰，故為耳；又有以坎屬腎，腎水衰則耳聾為說者，皆賢者失之過也。

Take the "Yi Lin" to verify this. The "Tong Ren" hexagram's "Kan" says, "A great virtue is like jade, emerging from a deep valley." The "Zhen" trigram arises in the middle of the "Kan" hexagram. "Zhen" has the image of a hole, the image of jade, and the image of emergence. And this "Zhen" trigram is exactly above the "Kan" hexagram, so it is said "emerging from a deep valley." "Deep valley" refers to the "Kan" pit, which is also the image of the ear—this is purely based on shape, with no other meaning. Later scholars said that the north is associated with hearing, so "Kan" represents the ear. Others cited that "Kan" corresponds to the kidney in the human body, and when kidney water declines, hearing becomes impaired. These are all interpretations that over-examine and go beyond the original meaning.

《說卦》獨以震為長子，坎、艮卽不言。《易林》本之，凡單言子者皆指震；若言艮，則小子、少子也。反而求之《易》亦然，詳見首卷。此義至東漢卽失傳。虞翻往往以艮為子，又往往以震為子，恐與艮、坎不分而必曰長子，皆不知此例之證也。

The Say卦 only refers to Zhen as "the eldest son," but does not use this term for Kan or Gen. The Yi Lin followed the same convention: whenever it mentions the character "zi" alone, it refers to Zhen; if it refers to Gen, it uses "xiaozi" or "shaoshi." Conversely, when checking the Zhou Changes, the situation is the same, as detailed in the first volume of this book. This principle was lost by the Eastern Han dynasty. Yu Fan sometimes took Gen as "zi" and sometimes Zhen as "zi," while the Say卦 probably insisted on adding the character "chang" to call Zhen "changzi" in order to avoid confusion between Zhen, Gen, and Kan. Yu Fan's approaches are clear evidence of his lack of understanding of this principle.

前已為龍，此不應作龍審矣。虞翻、干寶皆作「駹」，雲蒼色；鄭作「尨」，雲取日出色。案《左傳》閔二年「尨奇無常」，又「衣之尨服」，注：「尨，雜也。」是鄭義與虞、乾義同，後儒多從之。案《易林》《觀》之《頤》云：「尨降庭堅。」《頤》上艮，艮為庭、為堅；下震，震為尨、為出，故曰尨降。又《謙》之《頤》、《需》之《大畜》語同，是《易林》亦作「尨」，讀與鄭同，但取象則異。

The "Say on the Trigrams" had already stated that Zhen represents "dragon," so it is clear that it should not be written as "dragon" again here. Both Yu Fan and Gan Bao wrote it as "long," interpreting it as a bluish-green color. Zheng Xuan wrote it as "mang," explaining it as the mixed colors at sunrise. According to the "Zuo Zhuan" Min Gong Er Year, there is "mang qi wu chang" and "yi zhi mang fu," with the commentary stating: "mang means mixed." This shows that Zheng Xuan's interpretation is the same as Yu Fan's and Gan Bao's, and later scholars mostly followed this. Looking at the "Yi Lin," in the "Guan" trigram changing to "Yi," it says "mang jiang ting jian." The upper trigram of "Yi" is Gen, which represents courtyard and firmness; the lower trigram is Zhen, which represents mang and movement, hence "mang jiang." The same expression appears in "Qian" changing to "Yi" and "Xu" changing to "Da Xu." This shows that the "Yi Lin" also wrote it as "mang," pronounced the same as Zheng Xuan, but with a different symbolic meaning.

鄭作雜，此則訓為犬類。《詩·召贈》「無使尨也吠」，《說文》云：「尨，多毛犬。」案震、巽相對，巽為寡髮，震當然為多毛。《易林》《節》之《謙》云：「首髮如蓬。」是以震為長髮也，故曰尨降。尨降庭堅雖皆人名，此則象取多毛犬也。尨多而狀善吠，無一不與震象合，較以尨為蒼雜者義似勝矣。艮為狗取其守，此則取多毛而善吠，義絕不復也。

Zheng Xuan interpreted "mang" as a mixture of colors, but here it is interpreted as a type of dog. The Book of Poetry, Zhuan Nan, contains "do not let the mang bark," and the Shuo Wen Jie Zi says, "mang is a dog with much hair." Since the Zhen and Xun trigrams are opposite, and Xun is interpreted as "sparse hair," Zhen naturally represents much hair. The Yi Lin, Jie zhi Qian, says "the hair starts like a thorn bush," which takes Zhen as long hair, hence "mang xiang." Although "mang xiang" and "ting jian" are both names of ancient people, here they are taken as the image of a dog with much hair. A dog with much hair, fierce in appearance and good at barking, matches the image of Zhen perfectly; compared to interpreting "mang" as a mixture of green and blue colors, this interpretation seems more reasonable. The reason why Gen is taken as a dog is because of its meaning of guarding; here, it is taken as a dog with much hair and good at barking, and the two meanings are not repeated.

《九家》逸象震為玉，是以《易林》每遇震卽言珠玉、珪璋、瑚璉。而「玉」或訛作「王」，《釋文》從之。豈知《易林》凡遇震言堯、舜、湯、武者，皆本帝出乎震，以帝為象也。「玉」不訛也。

The "Nine Schools of the Book of Changes" records an unusual image called "Zhen represents jade," so whenever the Zhen hexagram appears in the "Forest of Divination," it refers to things like pearls, jade, gui zhang, and hu lian. However, in some versions, the character "zhu" (jade) was mistakenly written as "wang" (king). Lu Deming's "Commentary on the Classics" also reads it as "wang." They did not realize that whenever the "Forest of Divination" mentions Yao, Shun, Tang, and Wu in connection with Zhen, it is based on the "Explanation of the Hexagrams" which states "the Emperor comes from Zhen," taking the image of "Emperor," which has nothing to do with the character "wang." This shows that the character "zhu" (jade) in "Zhen represents jade" was not written incorrectly.

震為旉，虞作專靜之專，延叔堅作敷布，干寶以旉為花之通名，後儒各有所主，莫衷一是。案《易林》每遇巽卽言花葉落去，以震伏也；又每遇震卽曰桃李生華，是亦訓旉為華也，象形也。後儒多駁乾說，豈知乾說與焦氏同也。其作專、作敷者，於卦象殊空泛不切；旉為花萼，則於震象恰合也。

The entry "Zhen represents Fu" in "Shu Gua" is interpreted by Yu Fan as "Zhuan," meaning "exclusive stillness," while Yan Du (whose courtesy name was Shuqian) reads it as "Fu," meaning "to spread out." Gan Bao thought "Fu" refers generally to flowers, and later scholars have each held their own views, unable to reach a consensus. According to "Yi Lin," whenever the Xun trigram appears, it speaks of withering flowers and leaves, because the Xun trigram contains the hidden image of Zhen (flowers thus wither); and whenever the Zhen trigram appears, it speaks of peach and plum blossoms blooming. This shows that "Yi Lin" also interprets "Fu" as flowers, taking the meaning from its symbolic representation. Later scholars mostly rejected Gan Bao's interpretation, without realizing that Gan Bao's view is actually the same as Jiao Yanshou's. Reading "Fu" as "Zhuan" or "Fu" in the context of trigrams is too vague and not precise; only by interpreting "Fu" as the calyx of a flower does it fit perfectly with the image of Zhen.

《說卦》震為竹、為葦，《易林》本此，凡遇震卽言周、言孔、言管。《坎》六四以震為樽、為簋、為缶，《易林》遇震卽以為酒杯、為盈。《明夷》以震為箕，《歸妹》以震為筐，《易林》遇震卽言蕢、言筥、言籩豆，凡竹器之屬皆象之。《說卦》言鳴，《易林》遇震，凡物之能鳴者皆屬之。《中孚》言鼓，《豫》卦言樂，《易林》遇震，凡一切樂器皆屬之。《說卦》言稼，《易林》遇震，凡一切黍稷菽豆禾麻之類皆屬之。《說卦》言蕃鮮，《易林》遇震，凡草萊之屬皆屬之。

The "Shuo Guà" says that Zhen represents bamboo and reed. The "Yì Lín" follows this: whenever Zhen appears, it refers to "zhou," "kong," and "guan" (bamboo and reed have hollows with holes, and cutting them forms tubes). In the "Kan" hexagram, line six in the fourth position, "zun wine, gui twice, using fǒu," Zhen is taken as zun, gui, and fǒu. The "Yì Lín" takes Zhen as a wine cup and a full vessel. In the "Ming Yi" hexagram, line six in the fifth position, "Jizi," Zhen is taken as ji. In the "Gui Mei" hexagram, line six at the top, "female holding a basket," Zhen is taken as a basket. In both hexagrams, Zhen is present, and the "Yì Lín" takes Zhen as kei (a basket made of grass), jǔ (a round bamboo container), and bian and dou (types of vessels), all kinds of bamboo containers are attributed to Zhen. The "Shuo Guà" says that Zhen represents horses "as good at making sounds." The "Yì Lín" takes Zhen as anything that can make sound. In the "Zhong Fu" hexagram, line six in the third position, it says "drum," and in the "Yu" hexagram's "Da Xiang," it says "make music." The "Yì Lín" takes Zhen as all musical instruments. The "Shuo Guà" says that Zhen represents crops. The "Yì Lín" takes Zhen as all kinds of millet, sorghum, beans, lentils, grain, and flax. The "Shuo Guà" says that Zhen represents flourishing vegetation. The "Yì Lín" takes Zhen as all kinds of grasses and wild plants.

《說卦》言足、言決躁，於是如鹿、如兔、如蝗蟲，凡以足見長而躁急者，《易林》皆屬之。又《易林》於國名，凡言晉者取震往也，言荊楚者取叢木也，陳者震出，亦取戰陳也，衛者震為警衛也，韓者乾也，亦取震木也，英蓼取草莽也。于姓氏言張者，震健也；蘇李者，震為草木也；言白者，本馵足的顙義也。然不能以此為增象，以皆由《說卦》推演而出。若坤水、坤魚、艮火、巽石之類，方謂之增象，以其至東漢卽失傳。然不明其推演之象，讀《易林》卽不解其所謂也。

The *Sayings on the Trigrams* says that the trigram *Zhen* (Thunder) represents "the foot" and "impetuousness," thus resembling deer, rabbits, and locusts, all of which rely on their feet and are characterized by restlessness. The *Yi Lin* (Commentary on the Changes) classifies all such things under *Zhen*. The *Yi Lin* also uses proper nouns: when it mentions "Jin" (advancement), it refers to *Zhen* as the main trigram moving forward; when it mentions "Jingchu" (a region), it refers to *Zhen* as the dense growth of trees; when it mentions "Chen," it refers to *Zhen* as the main trigram moving out, and also to the meaning of "battle formation"; when it mentions "Wei," it refers to *Zhen* as the guard; when it mentions "Han," it refers to the "dry" in "Han" being the same as the "dry" in *Zhen*, which still relates to wood. When it mentions surnames: "Zhang" refers to the strength and vigor of *Zhen*; "Su" and "Li" refer to *Zhen* as grass and trees; "Bai" is based on *Sayings on the Trigrams* that *Zhen* represents "white hooves" and "white forehead" of a horse. However, these are not new images, since they are all derived from *Sayings on the Trigrams*. Images such as *Kun* (Earth) representing water and fish, *Gen* (Mountain) representing fire, and *Xun* (Wind) representing stone are called added images, as they were lost by the Eastern Han dynasty. However, without understanding these derived images, one cannot comprehend what the *Yi Lin* is actually saying.

寡之於宣，字形本近。虞翻讀為宣，以白為義，並謂馬融讀寡之非，後儒多從之。按《易林》《隨》之《豐》云：「身多禿癩。」《豐》二至四巽，巽為寡髮，故曰禿。又《復》之《坎》云：「髠刑受法。」《坎》通《離》，《離》中爻巽，故曰髠。又《蒙》之《漸》云：「鳥飛無翼。」《漸》上巽，巽為毛羽、為寡，故無翼。又《需》之《否》云：「毛羽憔悴。」《否》中爻巽，為毛羽、為寡，故憔悴。夫曰禿、曰髠、曰無翼，皆以寡為義，不以白為義。又《需》之《小畜》云：「紝績獨處，寡居無夫。」是焦贛明明讀為寡也。

In the "Say on the Trigrams" (《说卦》), the character "寡" in the phrase "巽为寡发" (Xun represents sparse hair) is originally similar in form to the character "宣". Yu Fan read it as "宣", taking the meaning of white, and criticized Ma Rong for reading it as "寡", which was wrong. Later scholars mostly followed Yu's interpretation. However, according to the "Yi Lin" (《易林》), in the hexagram "Following" (《随》) changing into "Great Excess" (《丰》), it says "the body has many bald patches": the second to fourth lines of the "Great Excess" hexagram produce Xun, which represents sparse hair, hence "bald". In the hexagram "Returning" (《复》) changing into "Water" (《坎》), it says "shaved head and legal punishment": "Water" and "Fire" are opposite, and the middle lines of the "Fire" hexagram produce Xun, hence "shaved head" (a punishment involving shaving the head). In the hexagram "Obstruction" (《蒙》) changing into "Gradual Progress" (《渐》), it says "birds flying without wings": the upper trigram of "Gradual Progress" is Xun, which represents feathers and also sparseness, hence "no wings". In the hexagram "Necessity" (《需》) changing into "Opposition" (《否》), it says "feathers withered and憔悴": the middle lines of the "Opposition" hexagram produce Xun, which represents feathers and also sparseness, hence "withered and憔悴". The meanings of "bald", "shaved head", and "no wings" all take the meaning of "sparse", not "white". Furthermore, in the hexagram "Necessity" changing into "Small Accumulation" (《小畜》), it says "spinning silk alone, living alone without a husband", which clearly shows that Jiao Gong (Jiao Yanshou) read it as "寡".

乃《易林》《節》之《井》云：「宣髮龍叔。」各本皆作宣勞就力，祗宋本如此，是又明明讀為宣髮也。然《易林》全部觀之，凡遇巽卽言禿、言髠、言落者不可勝數，皆主寡言，而宣髮祗此一見，故吾深疑《易林》原作寡髮龍叔，後人改寡為宣，以就虞義。清惠棟得此，據為宣發之確證，而不知《易林》言此者至多，皆以寡為義，無以宣為義者。又李道平謂寡於巽無取，豈知巽內虛，《易林》遇巽，不曰耗減寡薄，卽曰花葉落去，於風散之義取象最切，較宣義深遠矣。

However, the "Jing" section of the "Yi Lin" mentions the phrase "Xuan Fa Long Shu" — this phrase is recorded as "Xuan Lao Jiu Li" in all editions, except the Song edition, which reads "Xuan Fa Long Shu," clearly pronounced as "Xuan Fa." Yet, when examining the entire "Yi Lin," there are numerous instances where the trigram Xun is associated with baldness,髡, or withering, all of which take the meaning of "few and thin." The phrase "Xuan Fa" appears only once. Therefore, I suspect that the original text of the "Yi Lin" was "Guo Fa Long Shu," and later editors changed "Guo" to "Xuan" to accommodate Yu Fan's pronunciation. Hui Dong of the Qing dynasty took this phrase as evidence for "Xuan Fa," but he did not realize that throughout the "Yi Lin," whenever Xun is mentioned in such contexts, it always refers to the meaning of "few and thin," and there is no instance where it refers to "Xuan (white)." Li Daoping also said that the character "Guo" has no relevance to the trigram Xun — he did not realize that the inner yao of the Xun trigram is empty, and whenever the "Yi Lin" refers to Xun, it either speaks of depletion and reduction or of withering leaves, which is most appropriate in the sense of "wind dispersing," a meaning far more profound than that of "Xuan (white)."

鄭作乾，虞讀為乾溼之幹。案《易林》《巽》之《艮》云：「使乾口來。」《艮》中爻震為口，互離，故曰乾口。又《乾》之《訟》云：「喉焦唇乾，舌不能言。」亦以互離為乾，是虞讀與焦同也。蓋以《噬嗑》九四干胏、九五乾肉為義也。

The passage in "Shu Gua" stating "Li represents Qian hexagram" is interpreted by Zheng Xuan as "Qian," while Yu Fan reads it as "gan" from the term "gan shi" meaning dry and wet. According to "Yi Lin," in the hexagram "Xun" changing into "Gen," it says "make the dry mouth come." The hexagram "Gen" has a mutual hexagram Zhen in the middle, which represents mouth, and within the hexagram there is also Li, which represents dryness, hence "dry mouth." In the hexagram "Qian" changing into "Song," it says "throat dry, lips dry, tongue cannot speak." The hexagram "Song" has lines two to four producing Li, which again uses Li to represent dryness. This shows that Yu Fan's reading is the same as Jiao Yanshou's. They probably both based their interpretation on "Shi He" nine four "shì gan zōng" and nine five "shì gan ròu" (the upper trigram of "Shi He" is Li), establishing the meaning accordingly.

馬、鄭、王肅皆讀為黔喙，皆以為豺狼之屬、山居之獸。按《易林》《賁》之《否》云：「東風啟戶，黔啄翻舞。」《否》互艮，故曰黔啄；互巽，故曰翻舞。無惟鳥稱啄，能翻舞空中，獸則不能，故《易林》遇艮卽言鷹隼鷂。蓋艮剛在上，為堅，故《易》與《易林》常以艮為角，鳥啄之堅與角同耳。若豺狼之喙，與堅義不合也。又獸屬黔喙者少，若中原之鳥，十九黔啄，故《易林》獨以鳥當之。

The passage in "Shuo Gu" stating "Gèn represents black-beaked animals" is interpreted by Ma Rong, Zheng Xuan, and Wang Su as "Qian Zhui," meaning animals like jackals and wolves that live in mountains. According to "Yi Lin," in the "Ben" hexagram changing into "Po," it says "East wind opens the door, black-beaked birds dance and turn." The second to fourth lines of the "Po" hexagram produce Gèn, hence "black-beaked birds"; the third to fifth lines produce Xun, which represents wind and movement, hence "dance and turn." Only birds are called "zhui," and only birds can fly and dance in the air, which wild animals cannot do. Therefore, "Yi Lin" always uses eagles, falcons, and hawks when referring to Gèn. Generally, Gèn is a single yang line at the top, symbolizing hardness, so the "Zhou Yi" and "Yi Lin" often associate Gèn with horns. The hardness of a bird's beak and horns are of the same kind. If we refer to the beak of jackals and wolves, it does not match the meaning of "hard." Moreover, black-beaked wild animals are rare, while most birds in Central China have black beaks, so "Yi Lin" uses birds specifically to represent this image.

由斯證喙為啄之訛字，在西漢時尚未訛也。後儒有覺其不安，兼鳥獸言者，亦誤也。且艮既為狗、為鼠、為虎、為狐，此不宜重言獸也。此有確證：《左傳》昭五年明夷之謙云：「日之謙當鳥。」日之謙卽離變艮，變艮而云當鳥，則艮為鳥明矣。又《小過》云：「飛鳥遺之音。」亦以艮為鳥。自艮鳥之象失傳，後儒謂《小過》卦形象飛鳥，虞翻謂離為鳥，於是解《易》而誤，解《左氏》亦誤矣。

From this we can prove that "喙" is a corrupted form of "啄," and there was no such corruption in the Western Han dynasty. Later, some people realized this explanation was unsatisfactory, so they proposed a compromise that "黔喙" refers to both birds and beasts, but this is also wrong. Moreover, the trigram Gen (Geng) already includes animal symbols such as dogs, mice, tigers, and foxes, so it should not be repeated here. There is also conclusive evidence: In the fifth year of Duke Zhao of the State of Lu, the "Zuo Zhuan" records the hexagram "Mingyi" (Brightening) and its "Qian" (Hexagram Statement), which says, "When the sun is humble, it becomes a bird." Here, "sun's humility" refers to the trigram Li (Fire) transforming into Gen (Mountain). By transforming into Gen and saying "it becomes a bird," it is clearly evident that Gen represents a bird. Similarly, the "Hexagram Statement" of "Xiao Guo" (Small Crossing) says, "A flying bird leaves its sound," which also uses Gen to represent a bird. Since the symbolic meaning of Gen as a bird was lost, later scholars mistakenly interpreted the entire shape of the "Xiao Guo" hexagram as a flying bird. Yu Fan, on the other hand, said Li represents a bird, leading to incorrect interpretations of both the "Zhou Yi" (Book of Changes) and the "Zuo Zhuan."

前已為狗，當然義復，故虞氏作拘。按《易林》《坤》之《艮》云：「入我邦郭，妻子係獲。」係獲卽拘也。《隨》上六云：「拘係之。」上六伏艮，是《易》亦以艮為拘也。虞讀與焦同也，皆以《易》為本也。

The "Say on the Trigrams" had already stated that Gen is "dog," so if it were repeated here as "dog," the meaning would be redundant. Therefore, Yu Fan wrote "jū" (confinement). According to the "Forest of Divination," in the trigram Kun changing into Gen, it says "entering my city walls, wife and children are captured" — "captured" means "confinement." In the trigram Suí, the sixth line says "confinement." The sixth line is in the upper trigram Dui, whose hidden trigram is Gen. This shows that the "Zhou Changes" also takes Gen as "confinement." Yu Fan's interpretation is the same as Jiao Yanshou's. Both base their interpretations on the "Zhou Changes" itself.

《易林》凡遇艮，卽以為壽考、為仙道、為長生、為松喬，皆取象于堅，此以人為說也。若於木，《節》之《萃》云：「千歲槐根，身多斧瘢。」蓄謀互艮，千歲謂堅，斧瘢謂多節，是焦讀本有堅字也。乃《釋文》云本無堅字，《集解》亦無，虞氏亦祗訓節，不及堅，是虞讀亦無堅字也。若《易林》則有也。

The "Forest of Divination" (Yilin) takes the trigram Gen (Mountain) as representing longevity, immortality, long life, and the immortals Chiguangzi and Wang Zijing. These associations are based on the quality of firmness (jian) inherent in Gen. When referring to human affairs, the term "jian" is used to signify this quality. However, when referring to trees, in the hexagram Jie (Restriction) and Cui (Gathering), there is a line: "A thousand-year locust tree has many axe marks on its trunk." The hexagram contains the structure of Gen (Mountain), and the phrase "accumulated plans" (xu mou) is suspected to be a misreading or omission. The phrase "a thousand years" directly refers to the firmness of Gen, while "axe marks" directly refers to the many knots of Gen. This shows that the version of the "Sayings on the Hexagrams" (Shuigu) used by Jiao Yanshou originally included the word "jian" (firmness), and was expressed as "representing firmness with many knots." However, Lu Deming's "Commentary on the Classics" (Jingjing xingsheng) states that the word "jian" was not present in the original text, and Li Dingzuo's "Collected Explanations of the Zhou Changes" also lacks it. Yu Fan similarly only explains "knots" and does not mention "firmness," indicating that the version he used also lacked the word "jian." In contrast, the version of the "Forest of Divination" (Yilin) used does include the word "jian."

舊謂陽在上故止者，非也。《雜卦》云：「震起也，艮止也。」此互文也，解最有味。蓋艮震同體，震為行故起，震反則不行而止矣。《艮》彖云「時行則行」，謂震也；「時止則止」，謂震覆為艮也。《易》用覆象，莫明於止，莫妙於此，可互為註腳也。自覆象失傳，真詁遂晦。

Old interpretations claimed that Gen (Geng) is a single yang line at the top, thus governing stillness, but this is incorrect. The "Zagua Zhuan" says: "Zhen is movement, Gen is stillness." These two sentences are examples of mutual explanation, and their meaning is particularly interesting. Originally, Gen and Zhen are the same hexagram structure: Zhen represents action, hence it is called "movement." When Zhen is reversed to become Gen, it becomes stillness. The "Tuan" section of the Gen hexagram says, "When the time comes to act, act; when the time comes to stop, stop." The former refers to Zhen, and the latter refers to Zhen reversed into Gen. The "Zhouyi" uses the concept of reversed images, and nowhere is the meaning of "stillness" more clear, nor is the usage more subtle. These two sentences can serve as mutual explanations. Since the example of reversed images has been lost, this true interpretation has become obscure and unclear.

《易林》凡遇兌則曰魯。《坤》之《離》云：「齊魯爭言。」《離》中爻兌巽，巽齊兌魯，通《易林》凡數十用，無作滷者。又鹽滷之地，皆湖澤之舊陂，或近湖澤者始生鹽滷，皆因溼潤，非因剛堅。《書·洪範》「潤下作鹹」，疏云：「水性本甘，久浸其地，變而為鹹。」是其證。又《左傳》襄三十五年，楚子木使表淳滷，注：「淳滷，埆薄之地。」淳者，漬也，沃也。夫必漬而後咸鹵，剛保能咸鹵？

The "Yi Lin" mentions "Lu" whenever the Dui hexagram appears. In the case of the Kun hexagram transforming into the Li hexagram, it says "Qu and Lu contend in speech." The Li hexagram has the Dui and Xun hexagrams emerging in its middle, where Xun represents Qi and Dui represents Lu. Upon examining the "Yi Lin" thoroughly, there are dozens of instances where this usage occurs, none of which use the term "hu." Moreover, the land that produces salt and brine is usually the old embankments of lakes or areas near lakes, where salt and brine are formed due to moisture and dampness, not because the soil is hard and solid. The "Shang Shu · Hong Fan" states, "Moisture descending produces salt." Kong Yingda's "Zhengyi" explains, "Water is originally sweet; after long immersion in the soil, it becomes salty." This is evidence. Additionally, the "Zuo Zhuan" records in the 35th year of Duke Xiang (which should be the 25th year) that the commander of the state of Chu, Zi Mu, sent people to mark the "chun hu" land. Du Yu's annotation says, "Chun hu refers to barren land." "Chun" means soaking and watering. Thus, it is clear that only after water has soaked the land can salt and brine form; how could hard land produce salt and brine?

又案《漢官儀》，天子出入後衛甲楯曰鹵簿；《高帝紀》「毋得掠滷」，皆以威猛強暴取義。又《莊子·則陽篇》：「昔予為禾，耕而鹵莽之，則其實亦鹵莽而報。」注：「鹵莽，麁粗也。」又《釋名》：「地不生物曰滷。」若依《莊子》《釋名》為訓，剛滷二字方可連屬。剛者，堅也勁也；滷者，粗也。剛滷者，謂土地磽确，粗疏而不柔和也。《易林》之訓，蓋與《莊子》《釋名》同也。然不作滷而作魯者，滷魯古通用。

In the "Han Officials' Ceremonies" (Han Guan Yi), it is recorded that when the emperor went out, the shield bearers at the rear of the procession were called "lu bo." The "Han Shu · Gao Di Ji" says, "Do not take or plunder lu," and in these instances, the character "lu" is used to denote strength and ferocity. The "Zhuangzi · Ze Yang" states: "In the past, I cultivated crops, and when I plowed the fields, I was careless and hasty (lu mang), and the harvest I received was also poor." Commentators explain: "Lu mang means carelessness." The "Xinamei" also says: "Land that does not grow anything is called lu." If we take the meanings from the "Zhuangzi" and the "Xinamei," the term "gang lu" makes sense: "Gang" means hard and firm, while "lu" means rough and coarse, so "gang lu" refers to land that is hard, rough, and not soft. The meaning of "gang lu" in the "Yi Lin" is probably similar to that in the "Zhuangzi" and the "Xinamei." As for why the "Yi Lin" uses "lu" instead of "lu," it is because the characters "lu" and "lu" were interchangeable in ancient times.

《史記·遊俠傳》滷公孺，《漢書》作魯公孺，是其證。虞翻訓滷為鹹，不誤也；但以訓剛滷之滷亦為鹹，則誤矣。後人不察，作為定詁。今以《史記》《漢書》證《易林》，由《易林》證《易》，知剛滷之滷確訓為粗鹵，而不訓為鹹。若訓咸，則《易林》不作魯矣。至於《說文》以西方咸地訓滷，殆亦因《說卦》兌西而誤。不然，西方咸地不如東方多也明矣。《禹貢》云：「海濱廣斥。」《史記》釋之云：「海濱廣舄，厥田斥鹵。」是其證也。

In the "Records of the Grand Historian" (Shiji), the name "Hulu Gongru" appears, while the "Book of Han" (Hanshu) writes it as "Lu Gongru," which is clear evidence. Yu Fan interpreted "Hulu" as "Xian" (salt), which is not wrong; but when he also interpreted the "Halu" in the "Discourse on the Trigrams" as "Xian," he made a mistake. Later scholars did not examine this carefully and accepted it as a fixed interpretation. Now, by using the "Shiji" and "Hanshu" to verify the "Yi Lin," and then using the "Yi Lin" to verify the "Zhou Yi," we can see that the "Halu" in "Discourse on the Trigrams" should indeed be interpreted as coarse or inferior, not as "Xian." If it were interpreted as "Xian," the "Yi Lin" would not have written it as "Lu." As for the "Shuowen Jiezi" explaining "Halu" as "Western Xian land," it is likely due to the association of the trigram Dui (Lake) with the West; otherwise, the salt-alkali land in the West is not more than that in the East, which is clearly evident. The "Shangshu · Yugong" mentions "hainan guangxi," and the "Shiji" explains it as "hainan guangxi, jue tian xilu," which is evidence.

上已為羊，此不應復，虞作羔是也。但虞謂羔仍與羊無別，訓為女使，其義甚澀。治虞易者謂鄭作陽，與養通，謂養無家女，行賃炊爨，賤於妾，虞訓女使，正與鄭合。若然，謂羔為養之訛字則可，趕訓羔為斯養，則義不能通也。茲《易林》《晉》之《臨》云：「羔羊皮弁。」是以兌為羔也。羔者小羊，兌少，故為羔。虞訓為女使，非也。艮為手復為指，兌為羊復為羔，與艮指同耳。疑與羊無別者非也。

The previous passage in "Shuo Gua" already states that Dui represents "sheep," so repeating it would be inappropriate. Therefore, Yu Fan's use of "gao" (lamb) is correct. However, Yu Fan also claims that "gao" and "yang" (sheep) are essentially the same, and interprets "gao" as a female servant, which seems awkward. Scholars studying Yu's "Yi" have pointed out that Zheng Xuan's version uses "yang," which is related to "yang" (nourish), referring to a woman without a family who is employed to cook, her status lower than a concubine. Yu Fan's interpretation of "gao" as a female servant aligns with Zheng Xuan's view. If this is indeed the case, then interpreting "gao" as a corruption of "yang" makes sense. However, directly interpreting "gao" as "si yang" (a person to be served) is not reasonable. Now, the "Yi Lin" in "Jin" under "Lin" mentions "gao yang pi bian," using Dui to represent "gao." "Gao" is simply a young sheep, and Dui represents a young girl in "Shuo Gua," taking the meaning of youth. Therefore, Dui is represented as "gao." Yu Fan's interpretation of "gao" as a female servant is incorrect. Just as Ben represents the hand and further represents the finger, Dui represents sheep and further represents "gao" — the reasoning is the same as that for Ben representing the finger. Doubting the view that "gao" and "yang" are the same is wrong.

《易林》《履》之《節》云：「安上宜官，一日九遷。」《節》互艮，艮陽在上而貴，故曰宜官。又《豫》之《艮》云：「厄窮上通，與堯相逢，登升大麓，國無凶人。」厄窮者坎，上通者艮，陽在上，故曰上通；互震為帝，故曰堯；艮山為大麓，震為登為升，亦以艮為貴也。後思《易》《蠱》上九云「不事王侯，高尚其事」，《賁》六五云「束帛戔戔，賁于丘園」，《大畜》上九何天之衛，《剝》上九君子得輿，皆艮象，皆有在上而貴之象，是《易》本以艮為貴，故《易林》本之。

The "Yilin" commentary on the "Lv" hexagram changing into the "Jie" hexagram says, "It is appropriate to hold office and to be promoted nine times in one day." The "Jie" hexagram has the Gen trigram in its middle intercalary position. Gen represents a single yang line at the top, occupying a high position and being honored, hence it is appropriate for holding office. The "Yu" hexagram changing into the "Gen" hexagram says, "In times of hardship, the superior path is open; meeting Yao, ascending the great mountain, the country has no villains." "Hardship" comes from the intercalary Kan trigram (Kan represents danger and peril), "the superior path is open" comes from Gen, because the yang line is at the top, thus the path is open; the hexagram also contains the intercalary Zhen trigram, which represents the emperor, hence Yao is mentioned; Gen represents a mountain, which is the "great mountain," and Zhen represents ascending and rising—this also shows that Gen represents honor. Later, upon further reflection on the "Zhou Yi," the "Gu" hexagram's upper ninth line says, "Not serving princes and nobles, but pursuing lofty matters," the "Ben" hexagram's sixth line five says, "Bundled silk is meager, but it is used to decorate the hills and gardens," the "Da Xu" hexagram's upper ninth line says, "Who will guard the sky (road)?" and the "Bo" hexagram's upper ninth line says, "The gentleman receives a carriage." All these instances involve the Gen trigram, and they all contain the meaning of occupying a high position and being honored. This shows that the "Zhou Yi" originally regarded Gen as representing honor, and the "Yilin" follows this principle.

《左傳》僖十五年，晉筮嫁伯姬於秦，遇《歸妹》之《睽》，卽震變離也。乃曰：「為雷為火，為嬴敗姬，車脫其輹，火焚其旗。」自服虔？杜預，不知姬與旗之象而誤釋。茲《易林》《賁》之《復》云：「姬伯出走。」震為伯、為走。《易林》以震為周，姬者周姓，故震亦為姬，亦猶巽為齊、亦為姜也。為嬴敗姬者，兌西，嬴西方國，震為姬，震變離形毀，故曰敗姬。火焚旗者，震為旗，震變離，故火焚旗。《易林》《豫》之《中孚》云：「干旄旌旗。」他若《師》之《隨》、《履》之《解》，亦皆以震為旗，是其證也。

In the fifteenth year of Duke Xi of the State of Jin, a divination was performed to determine the auspiciousness of marrying Bo Ji to the State of Qin. The result was the hexagram "Guimei" changing into "Kui," meaning the upper trigram Zhen (Thunder) transformed into Li (Fire). The divination text said: "It is Thunder and Fire, leading to the defeat of the嬴 clan and the loss of Bo Ji. The chariot loses its axle, and the banner is burned by fire." From Fu Qian to Du Yu, none understood the symbolic meanings of "Ji" and "flag," thus leading to incorrect interpretations. Now, the "Yi Lin" hexagram "Ben" changing into "Fu" says "Bo Ji flees away": Zhen represents "Bo" and "fleeing"; the "Yi Lin" also takes Zhen as the Zhou dynasty, and since "Ji" is the royal surname of the Zhou dynasty, Zhen also represents "Ji." This is similar to taking Xun as the State of Qi, thus Xun also represents the surname Jiang. The phrase "leading to the defeat of the嬴 clan" refers to Dui being in the west, and "Ying" is the surname of the western State of Qin, while Zhen represents "Ji"; when Zhen changes into Li, the shape of Zhen is destroyed, hence "defeat of Ji." The phrase "fire burns the banner" refers to Zhen representing the banner, and when Zhen changes into Li, which represents fire, thus fire burns the banner. The "Yi Lin" hexagram "Yu" changing into "Zhongfu" says "dry grass and banners," and other instances such as "Shi" changing into "Sui" and "Lv" changing into "Jie" also take Zhen as the banner, which is clear evidence.

總《左傳》所用之象，為東漢人所不知者，《易林》無不用之，此又易象至東漢失傳之證也。又車說其輹者，孔疏引《子夏傳》云：「輹，車下伏兔，今謂之車屐。」案震為車、為履，屐與履同，然則輹亦震象也。車脫其輹者，言震變離，震象毀，故脫輹。孔疏知為車屐，而不言其為震象，則以賈、服、杜諸儒皆不言而不敢決也。豈知《大壯》九四云「壯于大輿之輹」，卽以震為輿、為輹，輹在車下，正震履也。

In summary, all the images used in the "Yi Lin" are found in the "Zuo Zhuan," but the Eastern Han people no longer recognized them. This is another evidence that the images of the Yi hexagrams were lost by the Eastern Han period. Furthermore, the phrase "che shuo (duo) qi fu" (the chariot's axle is broken): Kong Yingda's "Zhengyi" cites Zixia's Commentary on the Changes, stating that "fu" is the part under the chariot called "fu tu," which is now called "che ji." Since Zhen represents a chariot and shoes, "ji" and "li" are the same, so "fu" is also an image of Zhen. The phrase "che duo qi fu" means that Zhen changes to Li, the image of Zhen is destroyed, so the chariot's axle falls off. Kong Yingda knew that "fu" was the same as "che ji," but he did not say it belonged to the image of Zhen, because Jia Kui, Fu Qian, Du Yu, and others did not mention it, and he did not dare to make his own judgment. He did not realize that the "Dazhuang" hexagram's line nine four says "zhuang yu da yu zhi fu," which uses Zhen as the chariot and the axle; since the axle is under the chariot, it exactly matches the image of Zhen as shoes.

行唐尚秉和節之撰。

This volume is still written by Shang Binghe, a native of Xingtang in Zhili (now Xingtang County, Hebei Province). His name is Zhezi.

一、乾南坤北。目得此象，而天尊地卑、天地定位等詞始能解。東漢人不知此象，故以卦變為解。然東漢人深疑其有此象，管輅云：「吾不解古之聖人何以位乾於西北、坤於西南？夫乾元資始統天，何由有別位也。」是疑乾在南也，而訖無如何。豈知《左傳》大有之幹，卽離變乾，而曰「敬如君所」，所者，位也，古人敬離位如干位也，是《左傳》卽以乾為南也。又晉與楚戰，筮遇《復》，云：「南國蹙，射其元王中厥目。」元者首也，乾為首為王。乾若不居南，自北射南，祗中離目可矣，如何能射中王首哉？

First, Qian is in the south and Kun is in the north. With this image, statements such as "Heaven is exalted and Earth is humble" from the Great Treatise and "Heaven and Earth are positioned" from the Discourse on the Hexagrams make sense. People in the Eastern Han dynasty did not know this image, so they had to use hexagram transformations to explain it. However, people in the Eastern Han dynasty also doubted that this image should have existed. Guan Lu said, "I do not understand why the ancient sages placed Qian in the northwest and Kun in the southwest. Qian originates from Heaven and is the beginning of all things; how could it be placed in a different position?" This shows his doubt that Qian should originally be in the south, but he was ultimately helpless. He did not realize that the divination example of the Great Having卦 in the Zuo Zhuan, where the lower trigram Li transforms into Qian, has the divination statement "respect as the ruler's position" — "position" refers to the place. The ancients regarded the direction of Li as the direction of Qian and paid homage to it. This shows that the Zuo Zhuan regarded Qian as being in the south. Also, during the battle between Jin and Chu, the divination resulted in the hexagram Fu, with the divination statement "the southern state is compressed, shoot its chief king, hit his eye." "Chief" refers to the head, and Qian represents the head and the king. If Qian were not in the south, then shooting from the north to the south could only hit the eye governed by Li, how could it hit the king's head?

管輅徒知乾位西北，不知春秋時卽以乾為南，卽西漢末仍以乾為南。《太玄》云「南北定位」，是以南北代天地也，仍以乾為南也。《說卦》明言後天方位者，恐人生疑，管輅卽其一人。至先天方位，為法象所固有，在春秋時人人皆知，故無須明言，況天地水火雷風山澤一再對舉之，無異於明言哉！然至東漢末竟失傳，故雖神於《易》若管輅，亦祗心疑其如是，而不敢定其如是也。

Guan Lu knew only that in the Later Heaven arrangement, Qian is located in the Northwest. He did not know that in the Spring and Autumn period, people already regarded Qian as South. Even in the late Western Han dynasty, they still regarded Qian as South. Yang Xiong's "Tai Xuan" says "north and south are fixed," using north and south to represent Heaven and Earth, indicating that Qian was still considered South. The "Shuo Gua" explicitly mentions the Later Heaven arrangement to prevent people from doubting. Guan Lu was one of those who raised doubts. As for the Earlier Heaven arrangement, it was originally an inherent part of the hexagram forms and symbolic representations, known to everyone in the Spring and Autumn period, so there was no need to mention it explicitly. Moreover, the "Shuo Gua" repeatedly contrasts Heaven and Earth, water and fire, thunder and wind, mountains and marshes, which is no different from stating it clearly. However, by the end of the Eastern Han dynasty, this knowledge had been lost. Therefore, even someone as skilled in the Yi as Guan Lu could only suspect that things should be this way, but dare not confirm it as fact.

二、離東坎西。自得此象，而《既濟》九五爻詞始能解。東漢人亦疑其必離東坎西方合，而不敢竟言，以日東月西當之，用心良苦，而不知離坎之象本如此也。三、艮西北兌東南震東北巽西南。自得此象，而山澤通氣、雷風相薄如能解，而東漢人不知，故祗以同氣同聲為解。

Second, the trigram Li is in the east and Kan is in the west. With this image, the line statement "east neighbor" and "west neighbor" in the hexagram "Already Perfect" makes sense. The people of the Eastern Han dynasty also suspected that Li must be in the east and Kan in the west for the meaning to be consistent, but they were too hesitant to say so directly. Instead, they used the analogy of the sun rising in the east and the moon rising in the west. Their efforts were sincere, yet they did not realize that the original positions of Li and Kan are indeed east and west respectively. Third, Gen is in the northwest, Dui in the southeast, Zhen in the northeast, and Xun in the southwest. With this image, the statement in "Discourse on the Trigrams" "mountain and marsh communicate through the air" and "thunder and wind interact" makes sense. However, the people of the Eastern Han dynasty did not know this, so they could only vaguely explain it with terms like "same qi" and "same sound."

四、乾日兌月。自得此象，《乾》三終日乾乾之終日，及《大畜》日閒輿衛之日，始得解。《恆》彖傳「日月得天而能久照」，始知日月指互兌互乾。他若《小畜》上九、《歸妹》六五、《中孚》六四之月幾望，及《離》卦《蠱》卦彖傳之言月，始知其皆指兌，舊解皆曲說也。

Fourthly, Qian represents the sun and Dui represents the moon. When this image is obtained, the term 'zong ri' ('all day') in 'Jian' Nine in the Third, 'junzi zong ri qianqian', and the term 'ri' ('sun') in 'Da Xu' Nine in the Third, 'ri xian yu wei', are given meaning. The 'Tuan Zhuan' of 'Heng' says 'ri yue getian er neng jiu zhao', which reveals that the 'sun and moon' refer to the Dui and Qian trigrams emerging from the mutual trigrams of 'Heng' (the second to fourth lines contain Qian, and the third to fifth lines contain Dui). Other instances such as 'Yue Ji' Upper Nine and 'Zhong Fu' Six in the Fourth mentioning 'yue ji wang' ('moon nearly full'), and the mention of the moon in the 'Tuan Zhuan' of 'Li' and 'Gu' hexagrams, all refer to Dui. The old interpretations were all mistaken.

五、離星震辰。自得離星象，《豐》六二之見斗、九三之見沬，始知斗沬之取象於離。自得震辰象，《艮》彖之時止則止、時行則行、動靜不失其時，始知時之為震。蓋艮震相反覆而體則同，故艮亦為時，時卽辰也。此與《左傳》艮為言、以艮為覆震同也。又按《漢上易》引虞翻云：「離艮為星。」是離星之象虞氏亦知，而解《豐》不用，何哉？

Fifth, Li represents stars and Zhen represents the moon. By obtaining the image of Li as stars, we find in the line "the sun is seen with the Big Dipper" in line six of the second position of the Fu hexagram, and "the sun is seen with the Milky Way" in line nine of the third position, we realize that the Big Dipper and the Milky Way are both taken as images of Li. By obtaining the image of Zhen as the moon, we find in the "Tao" section of the Gen hexagram, "when it is time to stop, it stops; when it is time to move, it moves; stillness and motion do not miss their time," we realize that the "time" here refers to Zhen. Originally, Gen and Zhen are reverse hexagrams with the same structure, so Gen can also represent time, and "time" is "Chen." This is the same reasoning as in the "Zuo Zhuan," which takes Gen as speech and considers Gen as the reverse of Zhen. Also, according to Zhu Zhen's "Han Shang Yi Zhuan," citing Yu Fan's statement that "Li and Gen represent stars," it is clear that Yu Fan also understood the image of Li as stars. However, he did not use this interpretation when explaining the Fu hexagram. Why was that?

六、坤水艮火。自得坤水象，凡《易》言利涉大川者皆可解；自得艮火象，《旅》九三之旅焚其次始得解，《旅》火在外，炎上不能焚次也。坤水之象，除《易林》用之外，《九家易》獨知之，《九家》又以乾為南，故吾謂《九家》必西漢易師。七、坎土巽石。坎土之象，在《易》祗《震》九四云震遂泥，九四互坎，坎為泥，於為土之義較近，蓋坎為塞而中實，自然土象，故《易林》用之，邵子本之。至巽石之象，《易》《困》六三曰：「困于石，據于蒺藜。」蒺藜者下坎，石則自東漢以來皆用伏艮，向疑其於六三無涉，今得巽石之象，於是困于石三字始得真解。

Sixth, the Earth (Kun) represents water, and the Mountain (Gen) represents fire. When the Earth (Kun) as water appears, the Zhou Changes (I Ching) can be interpreted wherever it mentions "favorable to cross a great river"; when the Mountain (Gen) as fire appears, the line "the traveler burns his lodging" in the Traveler (Lv) hexagram makes sense—since the fire (Li) in the upper trigram of the Traveler hexagram rises upward and cannot burn the lower lodging, the fire that burns the lodging must come from the lower trigram, which is the Mountain (Gen). The Earth (Kun) as water image is used in the Yi Lin (Commentaries on the Changes) and only the Jiujia Yi (Nine Schools of the Changes) still recognizes it. Since the Jiujia Yi also takes the Heaven (Qian) as south, I conclude that the Jiujia Yi must have originated from the school of the Western Han dynasty. Seventh, the Water (Kan) represents earth, and the Wind (Xun) represents stone. The Water (Kan) as earth image appears in the Zhou Changes only in the Thunder (Zhen) hexagram, line nine in the fourth position, which says "the thunder becomes muddy"—since the fourth line is in the position of the intercalated trigram Kan, and Kan represents mud, which is close to the meaning of "earth." Generally, Kan is blocked but has a full central line, so it naturally has the image of earth, which is why the Yi Lin uses it, and Shao Yong also inherited it. As for the Wind (Xun) as stone image, the line "trapped by stone, resting on thornweed" in the Troubled (Kun) hexagram: "thornweed" refers to the lower trigram Kan, while "stone" has been interpreted since the Eastern Han dynasty as the hidden Mountain (Gen). I have always suspected that this has nothing to do with line six in position three; now that we have the Wind (Xun) as stone image (the third to fifth lines of the Troubled hexagram intercalate Xun, and line six in position three is precisely the first line of Xun), the phrase "trapped by stone" has a true explanation.

八、乾山乾河。自得乾山象，《同人》九三升其高陵始得解；自得乾河象，《同人》利涉大川始得解。而乾河之象，亦《九家》知之。九、坤魚兌華。自得此象，《剝》六五貫魚始得解，《大過》九五枯楊生華亦得解，知舊說皆誤也。十、震神震南震父震公震翁同。自得震神象，始知《繫詞》所謂神、《說卦》所謂神皆謂震；自得震南象，始知《易》《明夷》九三明夷於南，及《升》卦詞之甫征吉、《左傳》之南國蹙，皆指震為南；自得震父震公象，始知《蠱》之幹父，《解》及《小過》上卦之公之皆指震。余初解《易林》《復》之《巽》，有伯仲欲南之語，以為巽通震，震上升為南；又閱惠氏《易說》，說《允升》云「進升向南，故曰南征」，亦以上進為南，方喜餘說之不孤，後知《易林》卽以震為南，然後悟前說之皆非。易象失傳之難於索解如此，詳皆見前。

Eighth, the trigram Qian represents mountain and river. When the image of Qian as mountain is obtained, the statement "Rise to the high hill" in the line "Nine in the Third" of the hexagram Tongren makes sense; when the image of Qian as river is obtained, the statement "Beneficial to cross a great river" in the hexagram Tongren's statement makes sense. The image of Qian as river is also known in the "Nine Families Commentary." Ninth, the trigram Kun represents fish, and the trigram Dui represents flowers. When these two images are obtained, the statement "Pass through fish in sequence" in the line "Six in the Fifth" of the hexagram Bao and the statement "Withered willow produces flowers" in the line "Nine in the Fifth" of the hexagram Da Guo make sense, and thus it is known that previous interpretations were entirely wrong. Tenth, the trigram Zhen represents deity, south, father, and public. "Weng" and "Gong" are the same. When the image of Zhen as deity is obtained, it is known that the "deity" mentioned in the "Great Treatise" and the "Sayings of the Hexagrams" refers to Zhen; when the image of Zhen as south is obtained, it is known that the statement "Bright darkness in the southern hunt" in the line "Nine in the Third" of the hexagram Mingyi, the statement "Southward march is auspicious" in the hexagram Sheng's statement, and the statement "The southern country is squeezed" in the "Zuo Zhuan" all take Zhen as south; when the image of Zhen as father and public is obtained, it is known that the statement "Dry father" in the hexagram Gu and the "public" mentioned in the upper trigram Zhen of the hexagrams Jie and Xiao Guo refer to Zhen. At first, when I interpreted the hexagram Fu of Xun in the "Yi Lin," I saw the phrase "Bo Zhong wishes to go south," and thought it was because Xun and Zhen are connected, and since Zhen rises upward, it is south. Later, when I read Hui Dong's "Yi Shuo," he explained the line "Yun Sheng" in the line "Six at the Beginning" of the hexagram Sheng as "Advancing upward to the south, hence called 'southward march'," also taking upward movement as south. I was happy that my view was not alone. Later, I found out that the "Yi Lin" directly takes Zhen as south, and thus realized that previous interpretations were all wrong. After the loss of the Yi images, it is difficult to interpret the Yi to such an extent, and details are all mentioned in the previous text.

十一、艮壽艮貴艮鳥。自得艮壽象，知堅多節確有堅字；自得艮貴象，知《蠱》上九、《剝》上九、《賁》與《大畜》上九爻詞皆指艮貴也；自得艮鳥象，《小過》之飛鳥、《說卦》之黔喙、《左氏》日之謙當鳥，始俱得解。十二、坎為大首為肉。自得大首象，而《明夷》九三、《既濟》上六爻詞皆可解；自得肉象，而《噬嗑》三四五爻詞皆可解，而知舊解之皆誤也。

Eleventh, Gen represents longevity, nobility, and birds. When the image of Gen as longevity is obtained, it is known that the statement in the "Shuo Gu" that Gen "represents wood as firm and full of knots" originally included the character "firm"; when the image of Gen as nobility is obtained, it is known that the line statements of the Upper Nine of the "Gu" and "Bo" hexagrams, and the Upper Nine of "Bian" and "Da Xu" all take the dignity of Gen; when the image of Gen as a bird is obtained, the mention of "flying birds" in the "Xiao Guo" hexagram statement, "black beak" in the "Shuo Gu," and "the sun's humility, when the bird comes" in the "Zuo Zhuan" all make sense. Twelfth, Kan represents the great head and flesh. When the image of Kan as the great head is obtained, the line statements of "Ming Yi" Nine Three "to obtain the great head" and "Ji Ji" Upper Six "to wet the head" can be understood; when the image of Kan as flesh is obtained, the line statements of the third, fourth, and fifth lines of "Shi He" can be understood, and it is also known that the old annotations were entirely wrong.

十三、巽母艮臣艮祖。自得此三象，《小過》六二爻詞始能解。自東漢迄今，治《易》者不啻千百，震君之象知之者已少，至巽母艮臣艮祖三象知者尤少，故竭群儒之力不能通此爻，不能通而強說，於是以初六為祖而穿鑿矣，虞氏其尤也。及《易林》揭出此象，詳卷三，遂迎刃而解，又甚易也。十四、震射震孕。自得射象，《解》上六爻詞、《井》九二爻詞之言射，及《左氏》之射其元，始知射皆指震；自得孕象，始知《漸》九三九五婦孕之皆指震。

Thirteenth, Xun represents the mother, Gen represents the minister, and Gen also represents the ancestor. Only with these three images does the line statement of Xiao Guo's six at the beginning make sense. From the Eastern Han dynasty to the present, there have been more than a thousand scholars studying the Zhou Changes, but few know that Zhen represents the ruler. Even fewer understand the images of Xun as mother, Gen as minister, and Gen as ancestor. Therefore, the scholars have exhausted their efforts but still cannot comprehend this line. Unable to understand it, they force their own interpretations, leading some to say that initial six represents the ancestor, which becomes even more forced. Yu Fan is especially guilty of this. When the Yi Lin reveals these images (see volume three of this book for details), the meaning becomes clear and easy to understand. Fourteenth, Zhen represents shooting and represents pregnancy. With the image of Zhen as shooting, we understand that the "shooting" in Xie's upper six "the public shoots the falcon" and Jing's nine two "shooting the minnow" refers to Zhen. With the image of Zhen as pregnancy, we understand that the "pregnancy" mentioned in Jie's nine three and nine five "the wife is pregnant" refers to Zhen.

十五、震姬震旗。自得此象，《左傳》為嬴敗姬、火焚其旗，姬與旗之象始能解，而知杜注之不當。凡《易林》云姬姜者，皆謂震巽也，震為周，故為姬，猶之以巽為齊、亦為姜也。初讀《易林》，皆不知姬與旗之所指，後由《左氏》證《易林》，由《易林》證《左氏》，始確知其象，覺杜注孔疏之空泛無根。十六、巽敝巽落。自得此象，《井》卦之甕敝漏、《鼎》初六之鼎顛趾始得解。十七、震車震輹。自得此象，《小畜》九三、《大畜》九二之輿脫輹，《大壯》九四之輿輹，始皆得解。

Fifteenth, Zhen represents Ji and Qi. When these two images are obtained, the references to Ji and Qi in the "Zuo Zhuan" "as Ying defeated Ji" and "fire burned its flag" become coherent, and it becomes clear that Du Yu's annotations are inappropriate. Whenever the "Yi Lin" mentions "Ji" or "Jiang," it refers to Zhen and Xun: Zhen represents Zhou, hence Ji; this is similar to Xun representing Qi, hence Xun also represents Jiang. When I first read the "Yi Lin," I had no idea what Ji and Qi referred to. Later, by using the "Zuo Zhuan" to verify the "Yi Lin" and the "Yi Lin" to verify the "Zuo Zhuan," I finally understood their images and realized that Du Yu's annotations and Kong Yingda's commentary are vague and lack foundation. Sixteenth, Xun represents Bi and Luo. When these two images are obtained, the phrase "weng bi lou" in the "Well" hexagram and "ding dian zhi" in the first line of the "Ding" hexagram become coherent. Seventeenth, Zhen represents Che and Fu. When these two images are obtained, the phrases "yu she (tuo) fu" in line three of the "Xiu Xu" hexagram and line two of the "Da Xu" hexagram, and "da yu zhi fu" in line four of the "Da Zhuang" hexagram all become coherent.

十八、艮角巽羸。自《易林》以艮為角，始知《晉》《姤》上九之角、《大壯》九三之角，皆以陽在上而取象。虞氏祗以乾首為說，豈知陽在下，《易》無言角者，《易林》所本也。自得巽羸象，始知《姤》初之羸豕、《井》卦之羸瓶皆指巽，《大壯》九三之羸角，則以上卦之伏巽。十九、震飛震翼。《易林》每以震為飛為翼，因是推之，《易》《泰》六四之翩翩、《小過》飛鳥之飛，皆以震也。

Eighteen, Gen represents the horn, and Xun represents weakness. Since the "Forest of Divination" (Yi Lin) first used Gen to represent the horn, we now understand that the "horn" in the "Jin" hexagram's upper yao, "Jiu Jiū" (upper nine), the "horn" in the "Gou" hexagram's upper yao, "Gou Jiū" (upper nine), and the "horn" in the "Da Zhuang" hexagram's third yao, all refer to the image of a yang line at the top. Yu Fan only explained it by taking Qian as the first, but he did not realize that in any hexagram with a yang line at the bottom, the "Zhou Yi" never mentions "horn." This is exactly the principle on which the "Yi Lin" is based. By understanding Xun as representing weakness, we now know that the "weak pig" in the "Chou" hexagram's first yao, and the "weak vessel" in the "Well" hexagram both refer to Xun. The "weak horn" in the "Da Zhuang" hexagram's third yao is derived from the Xun hidden within the upper trigram Zhen. Nineteen, Zhen represents flying and wings. The "Yi Lin" often uses Zhen to represent flying and wings. By analogy, the "pian pian" (graceful movement) in the "Tai" hexagram's fourth yao, and the "fly" in the "Xiao Guo" hexagram's "flying bird" all derive their imagery from Zhen.

右四十三象，於《易林》之多年矣，而訖不知其所謂。後由各書推《易林》，由《易林》推《易》，反覆推勘，勞精弊神者數年，始通《易林》之詞，始得此四十三象，而經義始通，誤解如黜。鉤深索隱，厥維艱哉！然失傳而未尋得者尚不知有幾也。

The above forty-three images, I have read them for many years in the Jiao's Forest of Changes, but I have never understood what they refer to. Later, I used various classical texts to explore the Forest of Changes, and then used the Forest of Changes to explore the Zhou Changes, repeatedly examining and verifying, spending several years of mental effort, until I finally understood the Forest of Changes' verses, and thus obtained these forty-three images; the meanings of the classic texts became clear, and my old misunderstandings were also dispelled. Investigating the hidden and obscure is indeed arduous! However, there are still many lost images that have not yet been discovered.

至以巽為齊，以兌為魯，以艮為宋，《說文》以木架屋曰宋，正艮象也；為燕，取東北；為魏，魏闕，艮象；以坎為鄭，坎為平，鄭者，《說文》：地町町然平也；以兌為秦，以震為朝鮮、為趙，《說文》：趨也；為韓等，以及人名、地名、鳥獸蟲魚名、蠻夷名，脫口而出，若不經意，然無不與卦象密合。不惟見其用象之能，且證其小學之精。然皆由《說卦》推演之象，而非失傳之象。

As for the "Yi Lin" using Xun to represent Qi state, Dui to represent Lu state, Gen to represent Song state—"Shuo Wen Jie Zi" says "using wooden frames to build houses is called Song," which matches the image of Gen; representing Yan state, taking Gen's position in the Northeast; representing Wei state, because "Wei Qu" is high and fits the image of Gen. Using Kan to represent Zheng state—Kan represents flatness, and "Shuo Wen" explains "Zheng" as "the land is flat," which also fits. Also using Dui to represent Qin state, and Zhen to represent Chosun and Zhao state—"Shuo Wen" explains "Zhao" as "to run quickly," which matches Zhen's meaning of active movement; and also representing Han state, etc. In addition, there are names of people, places, birds, beasts, insects, fish, and the four barbarians, all spoken out naturally, as if carelessly, yet none fails to conform exactly to the hexagram images. This not only shows Jiao's skill in using hexagram images, but also proves the depth of his expertise in textual and phonetic analysis. However, all these are images derived from "Shuo Gua," not lost or forgotten images.

《說卦》巽為長女，兌為少女，乃《易林》遇兌則謂為老婦。《旅》之《大壯》云：「獨夫老婦。」獨夫謂震，老婦則兌也。《需》之《剝》云：「老婦無夫。」《剝》通《夬》，《夬》上兌，故曰老婦。又《觀》之《睽》云：「老女無夫。」亦以兌為老女，是與《說卦》反也。至遇巽則謂之少。《同人》之《渙》云：「少齊在門。」《渙》上巽，故曰少齊。

The *Shuo Gua* says that Xun represents the elder daughter and Dui represents the younger daughter. However, the *Yi Lin* refers to Dui as "old woman" whenever it appears. In the *Lv* hexagram changing into *Da Zhuang*, it says "the solitary man and the old woman": "solitary man" refers to Zhen, and "old woman" refers to Dui. In the *Xu* hexagram changing into *Bo*, it says "the old woman without a husband": *Bo* is yin-yang complementary to *Gua*, and *Gua* has Dui as its upper trigram, so it is called "old woman." In the *Guan* hexagram changing into *Kui*, it says "the old woman without a husband," again using Dui to represent the old woman. This is exactly opposite to what is said in the *Shuo Gua*. As for Xun, it is instead called "young." In the *Tong Ren* hexagram changing into *Huan*, it says "the young woman is at the gate": *Huan* has Xun as its upper trigram, so it is called "young woman."

齊卽姜也，《左傳》晉人謂之少齊是也。又《革》之《復》、《觀》之《屯》皆曰少姬，亦皆以伏巽為少，是皆用《大過》象也。《大過》以巽為女妻，兌為老婦也。東漢人不知，詁皆誤，而虞以二應上、以五應初，尤顛倒錯亂。至《易林》以巽為長女、兌為少女，偶有之，甚少也。

"Qi" refers to the Jiang clan. The "Zuo Zhuan" records that the people of Jin referred to someone as "Shao Qi," using this same meaning. Also, the "Gai" hexagram's "Fu" and the "Guan" hexagram's "Zun" both mention "Shao Ji," employing the hidden Xun trigram as "Shao." These instances all use the imagery from the "Da Guo" hexagram: in "Da Guo" hexagram, the second line, "Lao Fu De Qi Nu Qi," uses the lower trigram Xun as the female wife, while the fifth line, "Lao Fu De Qi Shi Fu," uses the upper trigram Dui as the old woman. The Eastern Han scholars did not understand this level, and their interpretations were all incorrect. Yu Fan further explained it by saying that the second line corresponds with the sixth line above and the fifth line corresponds with the first line below, which is especially inverted and confused. As for the "Yi Lin," which follows the "Shuo Gua" and takes Xun as the eldest daughter and Dui as the youngest daughter, there are occasional instances of this, but they are rare.

《易林》《賁》之《否》云：「各樂其類，咸得生處。」是以《否》陰陽相應與分類也。由《易林》推之，《易》《頤》六二象云：「六二征凶，行失類也。」謂三四五皆陰，故曰失類，故曰征凶。由是推《文言》曰各從其類、未離其類，《坤》傳曰乃與類行，《繫辭》云方以類聚，皆以陰陽相遇為類，非如常詁以陰與陰、陽與陽為類也。端木國瑚以對卦為類卦，真深於易詁者也。

The "Yi Lin" commentary on the "Bian" hexagram's "Po" says, "Each finds joy in its own kind, and all find their place for survival." This refers to distinguishing the yao (lines) of the "Po" hexagram based on their yin and yang correspondence as their own kind. Extending from this statement in the "Yi Lin," the "Xiang Zhuan" of the "Yi" hexagram "Yi" says, "The second line is not auspicious for going forward, because it loses its kind." This means that the third, fourth, and fifth lines are all yin, and the second line moving upward encounters only yin, hence it is called "losing its kind," and thus it is said to be "not auspicious for going forward." Further examining the "Wenyan" saying, "Each follows its own kind," and "has not left its kind," as well as the "Tuan Zhuan" of the "Kun" hexagram saying, "It moves with its kind," and the "Xici" saying, "Things are gathered together according to their kind," we can see that all of them regard yin and yang meeting as "kind," rather than the usual interpretation that considers yin with yin and yang with yang as the same kind. Du Mugu Guohu refers to opposite yao in paired hexagrams as "class hexagrams," which truly shows a deep understanding of the interpretation of the Yi.

《易林》不見朋字，疑其有所諱，疑其家諱，而友字則數十見。《兌》象云：「君子以朋友講習。」是《易》於朋友不分也。但《易林》詁朋友，不與荀、虞同。《大有》之《同人》云：「可以享老，樂我嘉友。」謂《同人》二陰與五陽為友也。《解》之《坎》云：「失時無友。」《坎》中爻艮，艮為時，坎失，故曰失時；五陽二亦陽，六爻無相應者，故曰無友。

The entire text of the "Yi Lin" does not contain the character "peng," and I suspect Jiao Yanshou avoided it, perhaps out of family taboo; while the character "you" appears dozens of times. The "Dui" hexagram's "Great Image" says "the superior man acts with friends to discuss and study," showing that the "Zhou Yi" does not distinguish between "peng" and "you." However, the interpretation of friends in the "Yi Lin" differs from that of Xun Shuang and Yu Fan. In the "Tong Ren" hexagram of "Da You," it says "it can be enjoyed in old age, happy with my good friends," referring to the yin of the sixth line of "Tong Ren" and the yang of the fifth line being friends with each other. In the "Jie" hexagram of "Kan," it says "losing the time, no friends": the middle of the "Kan" hexagram produces "Gen," which represents time, and "Kan" has the meaning of falling into a pit, so it is said "losing the time"; the fifth line is yang, and the second line is also yang, with no pair of yin and yang corresponding between the six lines, so it is said "no friends."

又《無妄》之《噬嗑》云：「戴喜抱子，與利為友。」《噬嗑》下震，震通巽，巽為利，故與為友，是又以陽遇陰為友也。無以同性為友者，與類同也。蓋《易》之道如電然，同性則相違，異性則相感，相感者類也，朋友也。陽遇陽、陰遇陰，則相敵相讎而不相友，《革》彖云「二女同居，其志不相得」，《艮》彖云「上下敵應」是也。全《易》大旨畢於斯矣。乃自東漢以來幾兩千年，皆以同性為朋，設無《易林》，誰復知朋友之定詁哉！

The "Wu Wang" hexagram's explanation of "Shi He" says, "Wearing joy and carrying offspring, one associates with benefit." The lower trigram of "Shi He" is Zhen, which connects with Xun, and Xun represents benefit, hence the association with "benefit." This is also about a yang line meeting a yin line as friends. In the "Yi Lin," there is no instance where like lines are considered friends, which is the same principle as mentioned earlier regarding "class." Generally, the principles of the "Zhou Yi" are like electricity: like charges repel, unlike charges attract; those that attract are called "class" and "friends." Yang meeting yang and yin meeting yin will only lead to enmity and hatred, not friendship. The "Ge · Tuang" says, "Two women living together, their aspirations do not harmonize," and the "Gen · Tuang" says, "Opposing responses above and below, they do not associate," which means exactly this. The main idea of the entire "Zhou Yi" is fully contained here. However, since the Eastern Han dynasty, for nearly two thousand years, everyone has regarded like lines as "friends." If there were no "Yi Lin," who would still know the true meaning of the word "friend"?

朋友之詁既定，全《易》之朋友可得言矣。案朋字始見於《坤》彖之西南得朋、東北喪朋。虞翻以月生明於庚，至丁上弦，兌納丁，兌二陽同類為朋，讒馬、荀以陰遇陰為朋之非。豈知陰與陰固不為朋，陽與陽尤不為朋，與馬、荀之陰與陰為朋同也。其它朋解，皆以兌朋為搪塞，絕不知陰陽互為朋友之義。《坤》正伏皆無兌象，胡以月生明至兌丁為穿鑿，只大言嚇人耳，於經義毫未得解也。

The meaning of "friend" has already been established, so all references to "friends" in the entire Zhou Yi can now be explained. The character "朋" first appears in the "Tuan" section of the "Kun" hexagram, which says, "In the southwest, friends are gained; in the northeast, friends are lost." Yu Fan used the theory of stem assignment based on the moon's phases, stating that the moon's initial brightness appears in the direction of Geng, and by the time it reaches the direction of Ding, it becomes a waxing half-moon. Since the trigram Dui is assigned to Ding, and Dui has two yang lines that are similar and gather together, this is called "friend." He also criticized Ma Rong and Xun Shuang for considering two yin lines meeting as "friends," which he considered incorrect. How could he know that not only can yin and yin not be friends, but yang and yang also cannot be friends? In fact, his own theory is just as unsound as Ma Rong and Xun Shuang's idea that yin and yin are friends. Others who discuss "friend" also generally use "Dui represents friend" as an excuse, completely failing to understand the principle that yin and yang are friends with each other. Moreover, the "Kun" hexagram, whether in its main form or hidden form, does not contain the image of Dui. So why should one resort to the fabricated explanation of "the moon's brightness appears in the direction of Geng and the waxing half-moon appears in the direction of Dui"? That is nothing more than grandiose talk, and it does not at all clarify the meaning of the classic text.

案《泰》九二朋亡，得尚于中行，言陽往居五也。《復》彖云朋來無咎，言陽復也。《損》《益》之十朋，亦謂陽也。《蹇》九五之大蹇朋來、《解》九四之朋至斯孚，亦謂陽入陰，是陰以陽為朋也。《豫》九四云大有得，無疑朋盍簪，言陽往居四，得群陰為助而聚合也。《咸》九四之朋從爾思，言初六應九四也，是陽以陰為朋也。至友義，《損》六三云一人行則得其友，言《泰》三往上得二陰為友，是陽以陰為友也。《兌》象云君子以朋友講習，似又以一陰遇二陽為友也。

According to the line Nine in the Second of the hexagram Tai, "Friends vanish, but one gains support from the middle path," it means that the yang line Nine in the Second moves forward to occupy the position of line Six in the Fifth. The line "Friends come without blame" in the hexagram Fu's commentary refers to the return of yang energy. In the hexagram Dun's line Six in the Fifth and the hexagram Yi's line 六二, the term "ten friends of the tortoise" also refers to yang. In the hexagram Jian's line Nine in the Fifth, "Great difficulty, friends come," and in the hexagram Jie's line 九四, "Friends arrive and trust is established," both refer to yang entering into yin, which indicates that yin takes yang as friends. The line 九四 of the hexagram Yu says, "Great gain, without doubt, friends gather like hairpins," meaning that yang moves forward to occupy the fourth position and gains support from the many yin lines, thus gathering together. The line 九四 of the hexagram Xian says, "Friends follow your thoughts," meaning that line 初六 corresponds with line 九四—these two lines indicate that yang takes yin as friends. As for the meaning of "friend," the line 六三 of the hexagram Dun says, "If one person travels, he finds a friend," meaning that in the hexagram Tai's line Nine in the Third, the yang line ascends to the upper position and gains two yin lines as friends, indicating that yang takes yin as friends. The "Great Image" of the hexagram Dui says, "The superior man uses friends to discuss and study," which seems to indicate that one yin line meets two yang lines as friends.

全《易》之朋友既明，《坤》彖之得朋喪朋可得而解矣。蓋陰陽常相求，而坤逆行，自西而南，由《剝》《觀》厯《否》《遯》《姤》，陽日增，故曰得朋。彖傳曰乃與類行，謂逆行而得其類也，《頤》六二行失類是其證，類謂陽也。自東而北，由《夬》《大壯》厯《泰》《臨》《復》，陽遞滅，故曰喪朋。夫朋既喪矣，而《傳》反曰終有慶者，何也？終謂亥，謂坤自東而北，至亥而終也。坤行至亥，陽喪盡矣，乃乾本居亥，純陰與純陽相遇，陰陽合居，天地合德，萬物資始，六子由此出生。

Having clarified the meaning of the concept of friendship in the entire Zhou Yi, the terms "getting friends" and "losing friends" in the Commentary on the Judgment of the Kun hexagram can now be understood. Generally, yin and yang are always seeking each other, but the Kun hexagram moves in the opposite direction. It moves from west to south, passing through the hexagrams Bao (Xu), Guan (You), Pǒ (Shen), Dùn (Wei), and Gòu (Wu), with the yang lines gradually increasing, hence it is said to "get friends." The Commentary on the Judgment says "it goes with its kind," which refers to the Kun hexagram encountering its like while moving in the opposite direction. The line Six in the Second of the Yi hexagram, "moving and losing its kind," serves as the opposite evidence. Here, "kind" refers to yang. Conversely, moving from east to north, passing through the hexagrams Guài (Chen), Da Zhuang (Mao), Tai (Yin), Lin (Chou), and Fu (Zi), the yang lines gradually disappear, hence it is said to "lose friends." Since friends have already been lost, the Commentary on the Judgment says "it finally brings joy," why is that? "Finally" refers to the亥 position, meaning that the Kun hexagram, moving from east to north, reaches the end at亥. When the Kun hexagram reaches亥, all yang has been lost; however, the Qian hexagram originally resides at亥, so pure yin and pure yang meet, yin and yang coexist in one place, the virtue of heaven and earth combine, and all things are thus given their beginning. The six sons, Zhen, Kan, Gen, Xun, Li, and Dui, also emerge from this.

《坤》上六曰：「龍戰于野，其血玄黃。」《文言》曰：「陰凝於陽必戰。」《易林》曰：「陽入陰室，相與合齒。」又曰：「乾坤利貞，乳生六子。」有慶者，慶此也。文孔皆目視消息卦而為之辭 也。此用消息，杭辛齋常言之，特杭必謂陰以陽為朋、陽以陰為友，征之全《易》實不盡然；又謂有慶乃坤行至兌，兌有慶也，豈知有慶乃《兌》九四一爻之象，非兌全旨。此等尖巧之詁，實得虞氏之秘傳，而非《易》之真諦也，故不敢盡從其說。

The Upper Sixth line of the Hexagram Kūn says, "A dragon fights in the fields, its blood is black and yellow." The Wenyan explains, "When Yin accumulates over Yang, there must be a struggle." The Yilin says, "Yang enters the chamber of Yin, and they join together." It also says, "Kun and Qian are favorable in uprightness, giving birth to six sons"—this is referred to as "having a celebration," celebrating precisely this event. King Wen of Zhou and Confucius both saw this hexagram and wrote these words. Using the message hexagram to explain this passage, Hang Xinzhai often mentions it; however, Hang insists that Yin takes Yang as its companion and Yang takes Yin as its friend, dividing them so rigidly that when applying this to the entire Zhouyi, it is not entirely accurate. He also says that "having a celebration" is because Kun reaches Dui, and Dui has joy and celebration—how little he knows that "having a celebration" is merely the image of the ninth line in the fourth position of Dui, not the overall meaning of the Dui hexagram. Such subtle and intricate interpretations are indeed in the secret tradition of Yu Fan, not the true essence of the Zhouyi, so I dare not fully follow his views.

彖曰行、曰終，則非以西南東北相對為義，而以自西而南、自東而北流行為義，故至亥而終有慶。謂陽，言坤行至亥，純陰與純陽相遇，天地合德，故有慶。乃虞氏謂過西北，月又將出庚生明，為有慶。就如虞說，乾盈甲乃有慶耳，出庚胡足言慶？

The Commentary on the Judgment speaks both of "movement" and "completion," indicating that it does not establish meaning by contrasting the Southwest and Northeast directions, but rather by referring to the movement of the Earthly Mother (Kun) from west to south and from east to north. Therefore, when Kun reaches the亥 position, it is said to "complete with celebration." This "celebration" refers to the Yang: when Kun reaches亥, the pure Yin meets the pure Yang, and the virtue of Heaven and Earth combine, hence the celebration. Yu Fan, however, says that after the moon passes the Northwest, it will again reveal the light of a new moon from the direction of Geng. Therefore, it is called "celebration." Even according to Yu Fan's view, the moon should be full at the direction of Jia (Qian's stem assignment) to be called "celebration." Just as a sliver of new moon appears at Geng, it is nowhere near being called "celebration."

《易林》《噬嗑》之《漸》云：「鸋鴂鴟鴞，治成遇災，周公勤勞，綏德安家。」毛傳：「鴟鴞，鸋鴂也。」陸機云：「似黃雀而小，幽州人謂之鸋鴂。」則非惡鳥也。《韓詩》：「鴟鴞所以愛其子者，適以害之。」說周公《鴟鴞》詩意也。依《韓詩》意，則以鴞為梟，《說文》所謂不孝鳥，陸機所謂其子長大還食其母也，故曰愛子適以害之。

The Forest of Divination (Yilin) under the hexagram Zhan (Gradual Progress) in the book Shike says: "The birds Tiji and Chixiao, when governance is completed, encounter calamity; the Duke of Zhou works diligently, ensuring virtue and securing the family." The Mao Transmission explains: "Chixiao is the same as Tiji." Lu Ji's Mao Shi Cao Mu Niao Shou Chong Yu Shu says: "It resembles a yellow sparrow but is smaller; people in Youzhou call it Tiji." According to this, it is not an evil bird. However, the Han Shi says: "The reason why Chixiao loves its young is precisely what harms itself." This is an explanation of the meaning of the poem Chi Xiao from the Book of Songs, Bing Feng, traditionally attributed to the Duke of Zhou. According to the Han Shi's interpretation, it treats "Xiao" as "Xiao," which is the bird described in the Shuowen Jiezi as an unfilial bird, and as the young bird that later eats its mother, as described by Lu Ji. Thus, loving one's children ends up harming oneself.

按《詩·大雅·瞻卬》云有梟有鴟，毛傳：「梟鴟，惡聲鳥。」《魯頌》翩彼飛鴞，毛傳亦訓為惡聲鳥。《巴蜀異物志》：「鵬鴞又名訓狐，一作梟。」是鴞卽梟。然毛傳不訓《鴟鴞》詩之鴞為梟者，以周公不宜以梟喻所親也，《韓》則不然。《易林》云治成遇災，正母被子害之意，故知焦習《韓詩》。

According to the "Book of Poetry, Grand Odes, Zhanying," there is the line "as a screech owl or a crow." The "Mao Transmission" explains that both the screech owl and the crow are birds with unpleasant calls. In the "Lu Songs, Pan Water," there is the line "the flying screech owl flies gracefully," and the "Mao Transmission" also interprets this bird as one with an evil sound. The "Ba-Shu Strange Objects Record" says that the screech owl is also called Xunhu, and is also written as xiao. This shows that "xiao" is the same as "xiao." However, the "Mao Transmission" does not interpret the "xiao" in the poem "Chi Xiao" from the "Bing Feng" section as a screech owl, because the Duke of Zhou could not use the screech owl to metaphorically refer to his closest relative. The "Han Shi" does not consider this. The "Yi Lin" says "after achieving success, a disaster occurs," which means the mother bird is harmed by the young bird. From this we can know that Jiao Yanshou studied the "Han Shi."

凡說《易》，以前後能通為貴。雷風為同聲，山澤為同氣，漢儒無異說也，至當也。然震與巽、艮與兌，皆陰陽相對之卦，而聲氣相同，同則通矣，《文言》所謂旁通也。乃東漢人於此則能解，至《易》遇巽卽言震、遇兌卽言艮，如《大過》九二九五、《鼎》初六、《履》彖之類，則不能解。《易林》，字字步趨《周易》者也，於是後人亦不能解《易林》。

When discussing the Zhou Yi, it is important to connect the beginning and the end. Thunder and wind have the same sound and breath, and mountains and lakes share the same breath. Han scholars had no different views on this, and their explanation was very appropriate. However, Zhen and Xun, Gen and Dui, are pairs of hexagrams where each line is opposite in yin and yang. Yet they share the same sound and breath. Since they are the same, they can be connected with each other. This is what the Wenyan says: "mutual communication." Scholars of the Eastern Han dynasty could understand this, but when they encountered places in the Zhou Yi where the hexagram of Xun is used to explain the image of Zhen, or the hexagram of Dui is used to explain the image of Gen, such as in the second and fifth lines of Da Guo, the first line of Ding, and the Commentary on the Judgment of Liu, they could not understand. The Yi Lin follows the Zhou Yi line by line, so later people could not even understand the Yi Lin.

又異性者始同聲氣，同性者絕不同聲氣。由是推《易》之所謂類、所謂朋友，義皆如此也。《頤》六二象云行失類也，謂三四五皆陰，陰遇陰，故失類。《復》彖云朋來無咎，陰以陽為朋，至為明白矣。乃自東漢以來，皆以陰遇陰、陽與陽為類為朋，豈知與同聲相應、同氣相求義同也。卽所謂各從其類，亦謂陰從陽、陽求陰為類也。姚配中詁失類，顯謂陰遇陰為類，非。

Furthermore, only different elements can be in harmony and communication, and like elements will never be in harmony. From this we can infer that the concept of 'class' and 'friends' in the Zhou Yi are essentially the same. The Image Commentary of line six-two in the Yi hexagram Yi says 'acting against the class,' meaning that lines three, four, and five are all yin, and yin meeting yin, thus 'losing the class.' The Taiji section of the Fu hexagram says 'friends come without blame,' which clearly indicates that yin takes yang as friends. However, since the Eastern Han dynasty, people have regarded yin meeting yin and yang meeting yang as 'class' and 'friends,' which is entirely wrong. They do not realize that this is the same principle as the Wenyan of the Qian hexagram, which says 'like voices respond, like qi seek each other.' Even the phrase 'each follows its class' refers to yin following yang and yang seeking yin as being of the same class. Yao Peizhong's explanation of 'losing the class' clearly treats yin meeting yin as being of the same class, which is incorrect.

先天者，天地自然之法象也。天尊地卑，而盈天地之間皆物，物無不有陰陽，無不有牝牡，相對待於兩大之間，莫之為而為，莫之致而致，故曰先天而天弗違。而先天八卦方位，則專闡明此弗違之理者也。乃乾坤一動則坎離矣，坎離一動則震兌矣。坎離震兌為四時，四時錯行，日月代明，陰陽往來，流行不息，時而少則少，時而壯則壯，老則老，死則死，來往循環，雖天地不能違其例，何況於人，故曰後天而奉天時。而後天八卦方位，則專申明此宜奉天時之故者也。

The concept of "Earlier Heaven" refers to the natural patterns and forms inherent in heaven and earth. Heaven is above and exalted, while earth is below and humble. All things in between heaven and earth contain yin and yang, and there is no distinction without male and female. Two things are in mutual opposition within the great dualities of heaven and earth. Nothing is done by any particular force, yet things naturally come into being; nothing is promoted by any particular force, yet things naturally reach their state. Therefore, the "Commentary on the Literary Meaning of the Qian Hexagram" states, "Before the heavens act, the heavens do not violate." The arrangement of the Earlier Heaven Trigrams is specifically meant to explain this principle of "the heavens not violating." When the Qian and Kun trigrams move, the Kan and Li trigrams are generated. When the Kan and Li trigrams move, the Zhen and Dui trigrams are generated. The Kan, Li, Zhen, and Dui trigrams represent the four seasons. The four seasons alternate in their operation, the sun and moon take turns shining, and yin and yang continuously flow and transform. When it is time for youth, youth comes; when it is time for strength, strength comes; when it is time for old age, old age comes; when it is time for death, death comes. This cycle repeats endlessly, and even heaven and earth cannot violate this order. How much less can humans? Therefore, it is said, "After the heavens act, one follows the heavenly timing." The arrangement of the Later Heaven Trigrams is specifically meant to explain the necessity of following the heavenly timing.

乾坤二象，先天也；摩而為八，蕩而為六十四，後天也。乾坤定，卑高陳，貴賤位，先天也；變化見，剛柔斷，吉凶生，後天也。《易》無思也，無為也，寂然不動，先天也；感而遂通，後天也。天命之謂性，銜天也；率性之謂道，後天也。喜怒哀樂之未發，先天也；發而皆中節，後天也。孔子曰性相近，先天也；習相遠，後天也。孟子曰性善，先天也；荀子曰性惡，後天也。《大學》曰明德，先天也；明明德，後天也。

The two fundamental hexagrams, Qian (Heaven) and Kun (Earth), belong to the Earlier Heaven. When paired with each other, they generate the Eight Trigrams, and through mutual interaction, they form the sixty-four hexagrams, which belong to the Later Heaven. The Great Treatise says, "Qian and Kun are established; the high and low are arranged, and the noble and humble are in their proper places," which belongs to the Earlier Heaven; then it says, "change is evident, yin and yang are divided, and fortune and misfortune arise," which belongs to the Later Heaven. The Great Treatise also says, "The Book of Changes has no thoughts, no actions, and is still and unmoving," which belongs to the Earlier Heaven; "when moved by external influences, it comprehends all things beneath heaven," which belongs to the Later Heaven. The Doctrine of the Mean says, "Heaven's mandate is called nature," which belongs to the Earlier Heaven (the original text "xian tian" should be "xiān tiān"); "to follow nature is the Way," which belongs to the Later Heaven. The Doctrine of the Mean also says, "before joy, anger, sorrow, and joy are expressed," which belongs to the Earlier Heaven; "when expressed, they are all in harmony with the proper measure," which belongs to the Later Heaven. Confucius says, "human nature is similar," which belongs to the Earlier Heaven; "but through habituation, they become distant," which belongs to the Later Heaven. Mencius says, "human nature is good," which belongs to the Earlier Heaven; Xunzi says, "human nature is evil," which belongs to the Later Heaven. The Great Learning says, "bright virtue," which belongs to the Earlier Heaven; "to illuminate bright virtue," which belongs to the Later Heaven.

道家釋家以後天為可畏，必欲盡棄其後天，以返於先天，不奉天時者也。儒家知先天之可貴，修而明之，率而行之，至否泰剝復之屬於後天者，乃天道之自然，陰陽之定理，不惟不畏而避之，且居而安之，則以《易》本如此，天且弗違也。此悟儒之所以與二氏異也。

Daoist and Buddhist schools regard Later Heaven as something terrible and must entirely discard it in order to return to Earlier Heaven. This is not following the way of Heaven. The Confucian school knows the value of Earlier Heaven, so it cultivates it, makes it clear, and practices it according to its innate nature. As for changes belonging to Later Heaven such as the hexagrams of 'Obstruction', 'Prosperity', 'Decrease', and 'Return', these are natural ways of Heaven and certain principles of yin and yang. Confucians not only do not fear or avoid them, but instead dwell in them calmly and at ease, because the Zhou Changes (I Ching) is like this, and even Heaven does not contradict it. This is the difference between our Confucian school and the schools of Buddhism and Daoism (the original text says 'wu ru' which should be 'wu ru').

先天也，後天也，一而二，二而一者也。瞬息卽先天，瞬息卽後天，合之固不能，分之亦不可。此本難以跡象求，然舍邵子之稱天圖、後天圖，則不能得其彷佛矣。只有《易》卽有先天、有後天，伏羲與文王不異也，文王與伏羲無二也，奈之何欲分屬乎？奈之何有先天之學之名，欲專屬之邵子乎？使邵子而祗明先天也，邵子為不知《易》者也。反之，謂《易》有後天無先天者，其於《易》亦可知矣。

The concepts of Earlier Heaven and Later Heaven are one and two, two and one. One moment is Earlier Heaven, the next is Later Heaven. It is wrong to force them into one single entity, and equally wrong to separate them into two distinct parts. This is inherently difficult to grasp through form or appearance. However, if we abandon Shao Yong's diagrams of Earlier Heaven and Later Heaven, we would not even be able to grasp a rough outline. Since the Zhou Changes (I Ching) exists, there has always been the concepts of Earlier Heaven and Later Heaven. Fuxi and King Wen are not different, nor are King Wen and Fuxi different. Why then must they be divided into two schools? Why must there be a specific term 'Learning of Earlier Heaven' and try to attribute it solely to Shao Yong? If Shao Yong only understood Earlier Heaven, then he would not have understood the I Ching. Conversely, those who claim the I Ching contains only Later Heaven and not Earlier Heaven would have a very limited understanding of the I Ching.

東漢人處易象失傳之後，不知先天象，然管輅深疑其有先天，謂後天方位為不合，輅真神於《易》哉！使《易》而無先天方位也，則後天乾坤所處真不合矣，以祗得《易》之半也。輅之言曰：「乾統天，豈容有別位也。」又曰：「《易》之道，水火而已。」彼夫先天象，乾上坤下，水火在中，正與輅言合也。

During the Eastern Han dynasty, people were already unaware of the Earlier Heaven patterns since the images of the I Ching had been lost. However, Guan Lu deeply suspected that the Earlier Heaven should exist, believing that the Later Heaven directional arrangement made no sense. Guan Lu can truly be said to have mastered the principles of the I Ching! If the I Ching indeed lacked the Earlier Heaven arrangement, then the positions of the trigrams Qian and Kun in the Later Heaven would indeed be illogical, as that would only account for half of the I Ching. Guan Lu said, "Qian governs the heavens; how could there be another separate position for it?" He also said, "The principles of the I Ching are merely water and fire." The Earlier Heaven trigram arrangement has Qian on top and Kun below, with Kan water and Li fire positioned to the east and west respectively, which exactly matches Guan Lu's words.

史謂輅輕視何晏、鄧揚、鍾毓諸人，為不知《易》，並謂晏說《易》美而多偽。由是觀之，輅之於《易》，東漢人不惟遜其學，能喻其言者蓋亦寡也。嗚呼！古之人不知先天象，疑其有而苦求之；乃後之人既已知之，謂為妄而排擯之，則其意固不在於經學之是非，而在黨爭之勝敗。《易》曰有孚失是，夫至於失是而不惜也，尚何言學乎？

Historical records state that Guan Lu looked down upon He Yan, Deng Yang, and Zhong Yu, believing they did not understand the Book of Changes. He also said that He Yan's interpretation of the Book of Changes was eloquent but full of falsehoods. From this, we can see that Guan Lu's study of the Book of Changes was such that not only were the scholars of the Eastern Han dynasty inferior to him in learning, but those who could even understand his words were probably few. Alas! Ancients did not know the images of the Earlier Heaven, yet they doubted their existence and pursued them anxiously; later people, who had already understood them, instead called them absurd and rejected them. Thus, their intentions were not concerned with the correctness or incorrectness of the classics, but with the victory or defeat of their own factional struggles. The upper ninth line of the hexagram "Not Yet Completed" says, "With sincerity, one loses the right path" (although sincere, one loses the correct way). When a person has reached the point of no longer caring about right and wrong, what use is there in talking about learning?

陰陽遇為類。《否》上乾下坤，《泰》上坤下乾，又泰極而否，否極而泰，反覆無窮，故曰反其類。言在《泰》則干與坤為類，在《否》則坤與乾為類，乾坤上下當相反覆也。此與《文言》不離其類，自來說者皆模糊影響，不詁其所以然，則誤以陰與陰為類之蔽也。

Yang and Yin meeting together is called "li." The hexagram "Pu" has the upper trigram Qian (Heaven) and the lower trigram Kun (Earth), while the hexagram "Tai" has the upper trigram Kun and the lower trigram Qian. Moreover, when Tai reaches its extreme, it turns into Pu, and when Pu reaches its extreme, it turns into Tai, thus continuing endlessly. Therefore, the "Zagua Zhuan" says, "Pu and Tai reverse their kinds." This means that in the hexagram Tai, Qian takes Kun as its kind, and in the hexagram Pu, Kun takes Qian as its kind. The positions of Qian and Kun should be reversed and exchanged. This sentence is similar to the phrase "Bu li qi lei" in the "Wenyan" of the hexagram Qian. However, throughout history, commentators have been vague and speculative, unable to explain clearly. The problem lies in mistakenly considering Yin and Yin as the same kind.

乾陽上升，坤陰下降。天者陽，地者陰。本乎天者親上，言凡為陽者必上升，如干二升坤五是也；本乎地者親下，言凡屬陰者必下降，如坤五下居乾二是也。親上者由下而上，故下少上老，此《大過》所以以巽為女妻、以兌為老婦也；親下者由上而下，故上少下老，此《頤》對《大過》，所由以艮為士夫、以震為老夫也。而皆為《易林》之所本。又上升者順，下降者逆，《易林》謂乾順行、坤逆行，亦本此也。

Heaven's yang energy rises upward, while Earth's yin energy descends downward. Heaven belongs to yang, and Earth belongs to yin. The "Wenyan" section of the Qian hexagram says, "Those originating from Heaven are close to above," meaning that all yang elements necessarily rise, for example, the Nine in the Second position of Qian rising to the Fifth position of Kun. It also says, "Those originating from Earth are close to below," meaning that all yin elements necessarily descend, for example, the Six in the Fifth position of Kun descending to the Second position of Qian. "Being close to above" refers to movement from below to above, so the younger below and the older above—this is why the Daguover hexagram takes the lower trigram Xun as "woman-wife" and the upper trigram Dui as "old woman." "Being close to below" refers to movement from above to below, so the younger above and the older below—this is why the Yiqi hexagram, which is the opposite of Daguover, takes the upper trigram Gen as "scholar-man" and the lower trigram Zhen as "old man." These are the bases for the imagery used in the Yilin. Furthermore, rising is considered smooth, while descending is considered reverse. The Yilin says that Qian moves smoothly and Kun moves in reverse, based on this principle.

乃學者於親上親下之旨多知之，至乾順坤逆則知之者鮮；順行者下少上老，敢行上少下老，則知之者尤鮮。後惟俞樾說震起艮止云：「陽始於下而極於上，故震起艮止。」說兌見巽伏云：「陰始於上而極於下，故兌見巽伏。」又云：「冬至之日，一陽自地而升；夏至之日，陰自天而降。此陽升陰降之定理也。」案陽升陰降，卽乾順坤逆，卽親上親下也。俞氏自謂發前人所未發，豈知東漢人誠不知，若西漢焦氏則知之悉也。然俞氏之《易貫》，所獲多矣，惟俞氏仍不能以此理推及於《大過》也，何哉？

But scholars generally understand the meaning of 'qin shang' and 'qin xia', but few know about the 'Qian' moving in a forward direction and 'Kun' moving in a reverse direction. Even fewer understand that the forward direction involves the lower part being young and the upper part being old, while the reverse direction involves the upper part being young and the lower part being old. Later, only Yu Yue explained the 'Zha Gua' saying 'Zhen qi Gen zhi' as: 'Yang rises from below to reach the top, so Zhen is movement and Gen is stillness.' He also explained 'Dui xian Xun fu' as: 'Yin begins from above and reaches the bottom, so Dui is manifestation and Xun is concealment.' He further said: 'On the winter solstice, one yang rises from beneath the earth; on the summer solstice, yin descends from above. This is the fixed principle of yang rising and yin descending.' Yang rising and yin descending correspond to Qian moving forward and Kun moving backward, which is 'qin shang' and 'qin xia'. Yu Yue believed he had discovered something new, but he did not realize that although people in the Eastern Han dynasty did not understand this, Jiao Yanshou in the Western Han dynasty fully understood it. However, Yu Yue's 'Yi Guan' has already gained much, though he was still unable to extend this principle to the 'Da Guo' hexagram. Why was that?

此其義，自來說者皆不能明，則以不知「類」字之確詁也。類說見前。未離其類者，言陰陽相遇方為類；既為類，卽相合而不能相離，故凝而為血。血者，坎也。坎得乾之中爻而居坤中，陰牝陽，乾流坤，合而不分，故又曰「天地之雜」。《說文》：雜者，合也。言此血非乾非坤，亦乾亦坤。震之生由於血，血之凝由於類。設離其類而為純陽純陰也，則出震無由矣。

The "Kun · Wenyan" says, "It has not yet separated from its kind, hence it is called blood." The meaning of this sentence has always been unclear to those who interpret the Book of Changes, the problem lying in not understanding the precise meaning of the character "类." Regarding the explanation of "类," see the previous text. What is meant by "not yet separated from its kind" is that yin and yang meet to form a kind; once it has become a kind, they combine and cannot be separated, thus coagulating into blood. Blood is the image of Kan — Kan is formed when the middle line of Qian falls into Kun. Yin takes yang as its female counterpart, and the yang of Qian flows into Kun, combining without separation, so the "Wenyan" of Kun also calls it "the mixture of heaven and earth." The "Shuowen Jiezi" explains "杂" as "combination." This blood does not belong to Qian or Kun, yet it is both Qian and Kun. The generation of Zhen is due to blood, and the coagulation of blood is due to its kind; if it were to separate from its kind and become pure yang or pure yin, then the sprouting of the Zhen image would be impossible.

雜卦之語，有不以先後天卦位萬不能解者。如「大畜，時也」，凡卦皆有時義，豈祗大畜？後儒強說，如何通說？時者，時而先天則居戌亥，時而後天則乾居戌亥，故曰時。而天山則為遯，遯則退也。以退詁卦名則可，然卦名從卦象生，卦象乾健艮止，胡有退義？退者，言天山先後天皆退居戌亥也。戌亥數無，幽潛無用之地。《後漢·杜林傳》「上下相遯」，遯者隱也，同退隱於西北也。

In the "Zagua Zhuan," some statements cannot be fully understood without reference to both the Earlier Heaven and Later Heaven systems of hexagram positions. For example, the phrase "Da Xu, Shi ye" (Great Accumulation, timing) refers to the hexagram Da Xu. Which of the sixty-four hexagrams does not have the meaning of "time"? It is not only Da Xu. Later scholars have attempted to explain itwith difficulty, but how can their interpretations be convincing? The term "time" here refers to the hexagram Da Xu, which is composed of the trigrams Qian (Heaven) above and Gen (Mountain) below. In the Earlier Heaven system, Gen is located in the Northwest (Xu Hai), and in the Later Heaven system, Qian is also located in the Northwest (Xu Hai). The same direction changes with the Earlier Heaven and Later Heaven systems, hence it is called "time." Furthermore, when Heaven (Qian) and Mountain (Gen) overlap, they form the hexagram Duan (Retreat), and Duan means retreat. Although using "retreat" to explain the hexagram name is acceptable, the hexagram name originates from the hexagram image. The virtue of Qian is strength, and the virtue of Gen is stillness; where is the meaning of "retreat"? The term "retreat" refers to the fact that Qian and Gen both retreat to the Northwest (Xu Hai) in both the Earlier Heaven and Later Heaven systems. Xu Hai in terms of numbers is "wu" (nothing), representing a hidden and concealed place where nothing can be applied. The "Hou Han Shu · Du Lin Zhuan" mentions the phrase "shangxia xiang duan," meaning "upper and lower retreat," where "duan" means concealment. Qian and Gen both retreat and conceal themselves in the Northwest.

又曰「困，相遇也」。夫兌坎胡有遇義？說者謂為剛柔相遇，凡卦有陰陽爻者皆可以此為說，其不當可知。相遇者，言兌坎先後天相遇於西方也。又如「節，止也」「中孚，信也」，皆於卦象無關，亦謂水澤同止於西，如符節之合；風澤同居東南，不失信也。又如「大有，眾也」「同人，親也」，夫一陰五陽之卦多矣，胡以獨此謂之眾、謂之親？則以天火同居於南，同居故親，猶水地比於北也；同居勢眾，猶地水之謂師也。

The *Zagua Zhuan* also says, "The *Gen* hexagram signifies meeting." The *Gen* hexagram has Dui above and Kan below. How can Dui and Kan themselves imply "meeting"? Some people explain it as the meeting of yang lines and yin lines, but this explanation applies to any hexagram with both yin and yang lines, which clearly is not appropriate. The term "meeting" refers to the fact that Dui and Kan both appear in the west in both the Earlier Heaven and Later Heaven systems: in the Earlier Heaven system, Kan is located in the west, and in the Later Heaven system, Dui is located in the west. Similarly, "Jie" means "to stop," and "Zhongfu" means "trust." These meanings are not evident from the hexagram images themselves, but they must be explained through the concept of position. The *Jie* hexagram has Kan above and Dui below; water and marsh both stop in the west, like the two halves of a seal coming together. The *Zhongfu* hexagram has Xun above and Dui below; wind and marsh both reside in the southeast (in the Earlier Heaven system, Dui is in the southeast, and in the Later Heaven system, Xun is in the southeast), and thus they maintain their trust. Similarly, "Dayou" means "many," and "Tongren" means "to be close." There are many hexagrams with one yin line and five yang lines, yet only these two are said to be "many" and "close." This is because Heaven (Qian) and Fire (Li) both reside in the south—in the Earlier Heaven system, Qian is in the south, and in the Later Heaven system, Li is in the south—so they reside together and thus are close, just as water (Kan) and earth (Kun) both reside in the north and are called *Bi*; residing together brings great strength, just as earth and water overlapping is called *Shi*.

以八月為遯者，鄭康成、虞翻也；以八月為否者，荀爽、蜀才也；以八月為觀者，禇仲都也。茲以《易林》決之，則鄭虞說合也。《易林·恆之臨》云：「神之在丑，逆破為咎，不利西南，商人休止。」臨震為神，月卦值丑，而沖丑者未也，故曰逆破，早不利西南。申與未雖皆在西南，然既曰神之在丑，則害丑者未，而非申明矣，酉觀更無涉也。鄭虞說與《易林》合也。

The hexagram statement of 《Lín》 says, "By the eighth month there will be calamity." Those who interpret the eighth month as referring to the hexagram 《Dùn》 are Zheng Xuan and Yu Fan; those who interpret it as referring to the hexagram 《Pǐ》 are Xun Shuang and Shu Cai; and those who interpret it as referring to the hexagram 《Guān》 are Chu Zhongdu. Now, using the 《Jiao's Forest of Changes》 to determine, it is clear that the views of Zheng Xuan and Yu Fan are consistent. The forest statement of 《Héng》 changing into 《Lín》 in 《Jiao's Forest of Changes》 says: "The divine is in the position of Chou, reversed and broken, leading to misfortune, not favorable to the southwest, the Shang people should rest." The second to fourth lines of the hexagram 《Lín》 form the trigram 《Zhèn》, which represents the divine. The hexagram 《Lín》 is in the position of Chou in the twelve-month sequence, and the earthly branch that conflicts with Chou is Wei. Therefore, the forest statement says "reversed and broken," and "not favorable to the southwest." Although Shen and Wei are both in the southwest, since the forest statement says "the divine is in Chou," the one that harms Chou must be Wei, the one conflicting with Chou, not Shen. Therefore, it is clear. As for the hexagram 《Guān》, which is in the position of You, it has nothing to do with this. Thus, the views of Zheng Xuan and Yu Fan are consistent with 《Jiao's Forest of Changes》.

先儒避丑未沖之說，而以遯子弒父、否臣弒君為凶。若然，自姤至剝皆陰消陽，皆凶也，胡獨八月？又先儒數八月，往往糾纏建子、建丑、建寅為說，豈知此自言爻數，與七日來復同。復以一爻為一日，六爻畢，來復則七日矣；臨以一爻為一月，月卦始子復，丑臨為二月，至未遯則八月矣。此泛言爻數消息循環之理。陽爻六，陰爻六，正與十二月律呂相合，故謂之月卦，與某帝王建某辰為正者無涉也。

Previous scholars avoided the idea of the conflict between Chou and Wei, and instead used the hexagram Duan (Avoidance) to explain the son killing the father, and the hexagram Pǐ (Obstruction) to explain the minister killing the king, to interpret the meaning of "fearful." If we follow this approach, from Gòu (Meeting) to Bō (Decline), all represent the decline of yang and should be called "fearful." Why then is it specifically about the eighth month? Moreover, earlier scholars often got entangled in the question of which of the three starting points—Zi, Chou, or Yin—was the correct first month of the Three Dynasties, without realizing that here it is simply about the number of lines. This is the same principle as the statement in the hexagram Fù (Return): "seven days to return." The hexagram Fù uses one line to represent one day, and after six lines are completed, returning to the original hexagram is the seventh day. The hexagram Lín (Approach) uses one line to represent one month, and the twelve-month sequence starts from the hexagram Fù at the Zi position. The hexagram Lín is at the Chou position, representing the second month. Counting up to the hexagram Duan at the Wei position, it is exactly the eighth month. This is merely a general discussion of the cyclical principle of the movement of lines. The six yang lines and the six yin lines correspond exactly to the six laws and six lutes of the twelve months, so it is called the "month hexagram." It has nothing to do with which dynasty's ruler took which zodiac sign as the first month.

後儒解此者，謂乾二上變為革，然此與九四何涉？又有以乾坤交成否泰為說者，其無理與二上變同。夫乾道至四而革者，因乾貞子午，陽盡午中，而四正值午，言陽道至此終，而陰始用事也，仍消息卦之理也。先儒避丑未沖之說，故說八月有凶永不能通；避納甲之說，故解此句亦永不能合。豈知干甲坤乙、震庚離己，經並未諱言也。

The Wenyan of the Qian hexagram, at line nine in the fourth position, says, "The way of Qian leads to change." Later interpreters have said that the change of the second line and the top line of the Qian hexagram forms the hexagram of Ge (Change), but how is this related to line nine in the fourth position? Others have explained it by saying that the interaction of Qian and Kun forms the hexagrams of Bo (Obstruction) and Tai (Great Exceeding), but this explanation is just as unreasonable as the previous one. The change of the way of Qian at the fourth line is because the yao (lines) of the Qian hexagram are associated with the twelve zodiacal hours, with the first line associated with Zi and the fourth line associated with Wu. Yang energy reaches its peak at Wu and then ends, and since the fourth line is at Wu, it is said that the way of Yang ends here and the way of Yin begins. This is still the principle of the twelve message hexagrams. Earlier scholars avoided the idea of the conflict between Chou and Wei, so their explanation of the sentence "There is misfortune in August" in the hexagram of Lin (Approaching) never made sense. They also avoided the concept of Na Jia (stem assignment), so their explanation of this sentence never fit. They do not realize that Qian is assigned the stem Jia, Kun is assigned the stem Yi, Zhen is assigned the stem Geng, and Li is assigned the stem Ji. The classics of the Yi (such as the Gu (Guilt) hexagram which mentions "before and after Jia," the Xun (Wind) hexagram which mentions "before and after Geng," and the Ge (Change) hexagram which mentions "on the day of Ji, trust is established") do not avoid mentioning these explicitly.

乾坤坎離頤大過中孚小過八卦，正覆不變，而聖人卽使之相對，此示人以本象對象常相通也。《文言》曰「旁通情也」，情者感也，言陰陽常相感而不能相離。《繫辭》云「齊大小者存乎卦」，言本卦陽少，對象必多，惟陰亦然。又曰「鉤深索隱」，言顯於此者必伏於彼。故既濟其顯，尚須察其隱。全易之辭，如此者甚多，而漢儒察見者少，此《易林》之所以獨異也。

The eight hexagrams 乾, 坤, 坎, 离, 颐, 大过, 中孚, and 小过, when viewed upside down, appear the same as their original form. Therefore, the sage arranged them in pairs facing each other. This indicates that the image of the primary hexagram and its corresponding hexagram (the one formed by reversing each line) often connect with each other. The Wenyan section of the Qian hexagram says, "Six lines unfold, and the meaning is communicated through mutual connection," where "meaning" refers to feeling or response, indicating that yin and yang constantly respond to each other and cannot be separated. The Xici section says, "The distinction between large and small lies within the hexagram," meaning that if the primary hexagram has few yang lines, its corresponding hexagram must have many yang lines, and the same applies to yin lines. The Xici section also says, "Delve deeply and seek the hidden," meaning that whatever is evident on one side must be concealed on the other. Therefore, once the visible aspect is understood, one must also examine the hidden aspect. There are many instances in the Yijing's hexagram line statements where this occurs, but few Han dynasty scholars noticed this. This is the unique contribution of the Jiao's Forest of Changes.

除上列八列外，餘五十六象，正為一卦，覆為一卦，而實一體，故祗二十八卦。聖人必使此一正一覆相次者，卽示人以覆象也。乃漢儒於易用覆之語，察見者尤少，此《易林》之所以獨異也。

In addition to the eight trigrams that remain unchanged when viewed upright or inverted, the remaining fifty-six trigrams appear as one when viewed upright and another when viewed inverted. In reality, they belong to the same trigram structure, so there are actually only twenty-eight distinct trigram forms. The sages deliberately arranged each trigram and its inverted counterpart together, indicating that people should use the 'inverted image' or 'reversed trigram' to derive meanings. However, Han dynasty scholars noticed very few instances of the use of inverted trigrams in the Book of Changes, which is precisely what makes the Jiao's Forest of Changes unique.

困傳云「剛掩也」，言剛皆為陰爻所掩也。故井彖云「往來井井」，言往來皆坎窞也，並大坎言也。又上經終坎離，先之以頤大過，頤離，大過坎；下經之中孚小過亦然。乃漢人於易卦爻辭用大象者，概未察見，此《易林》之所以獨異也。

The Commentary on the Judgment of the Hexagram Guan says "the yang lines are covered," meaning that all the yang lines are concealed by yin lines. Therefore, the Commentary on the Judgment of the Hexagram Jing says "coming and going in the well," meaning that movement up and down occurs within the trap of the坎 (water) trigram, which refers to the entire hexagram as a large坎 (water) trigram. Looking further, the Upper Canon ends with the trigrams Kan and Li, and before these, the hexagrams Yi and Da Guo are arranged. The hexagram Yi has two yang lines at the ends and four yin lines in the middle, forming the image of a large Li (fire) trigram; the hexagram Da Guo has four yang lines in the middle and two yin lines at the ends, forming the image of a large Kan (water) trigram. Similarly, in the Lower Canon, Zhong Fu represents a large Li trigram, and Xiao Guo represents a large Kan trigram. However, people of the Han dynasty failed to notice the use of "great images" in the line statements of the hexagrams, which is precisely what makes the Jiao's Forest of Changes unique.

管輅曰：「易之道，水火而已。」由輅言推之，坎中爻互艮震，離中爻互兌巽，山澤通氣，雷風相薄，皆在坎離之中。且坎中爻互離，示水中有火也；離中爻互坎，示火中有水也。此易所由以水火終也。

Guan Lu of the Three Kingdoms period said, "The principle of the Book of Changes is nothing but water and fire." Following Guan Lu's statement, in the double坎 (Water) hexagram, the middle lines produce the images of Zhen (Thunder) and Gen (Mountain); in the double离 (Fire) hexagram, the middle lines produce the images of Xun (Wind) and Dui (Lake). Thus, the saying in the "Commentary on the Hexagrams" that "mountains and marshes communicate with each other" and "thunder and wind interact" are all contained within Kan and Li. Moreover, the lines two through five of the Kan hexagram form a large Li, indicating fire within water; the lines two through five of the Li hexagram form a large Kan, indicating water within fire. This is the reason why the upper part of the Book of Changes ends with Kan and Li, and the lower part ends with Ji Ji and Wei Ji.

行唐尚秉和節之撰

This volume was compiled by Shang Binghe, a native of Xingtang (now Xingtang County, Hebei Province), whose courtesy name was Jiezi.

震武人象以下皆續行摭拾易林之象。

From the entry "Zhen represents a warrior" onwards, the following passages are all about searching for and collecting the images from the Yi Xiang used in the Jiao's Forest of Changes.

履六三、巽初六皆言武人。虞翻以乾健為象，毛奇齡以巽躁為象，自來無確詁。按《易林·大畜之中孚》云「武王不豫」，中孚震為王，又為武；又《臨之旅》云「篤生武王」，旅通節，震為王，又為武。按《國語》，重耳筮，遇貞屯悔豫，皆有震象，曰「車有震武」，故震為武為人。履六三之武人，以伏震也；巽初六之武人，以初至四正反伏震，正為進，反則退，故曰「進退，利武人之貞」，言正反皆震，進退皆利也。且易獨於履六三之陰爻曰武人，則非指乾明甚。至於巽為進退不果，以巽順為義，毛氏所用象尤非。

The sixth line of the Hexagram "Foot" and the first line of the Hexagram "Wind" both mention "military men." Yu Fan interpreted this image using the strength and vigor of the Hexagram "Heaven," while Mao Qilin used the restlessness of the Hexagram "Wind." There has never been a clear explanation. According to the "Forest of Divination" in the "Book of Changes," the line statement of the Hexagram "Great Accumulation" within "Middle Trust" says, "King Wu was not ill." The second to fourth lines of the Hexagram "Middle Trust" form the Hexagram "Thunder," which represents a king and also martial strength. The line statement of the Hexagram "Traveling" within "Tour" says, "A great king is born." The Hexagram "Traveling" is opposite to "Restraint," and "Restraint" contains "Thunder," which again represents a king and also martial strength. Furthermore, according to the "Discourses of the States," when Prince Chong'er of Jin was in exile, he consulted the oracle and received the primary Hexagram "Obstruction" and the changing Hexagram "Ease." Both Hexagrams contain the image of "Thunder." The diviner said, "The chariot has martial strength." This shows that "Thunder" represents both martial strength and people. The line statement of the sixth line of the Hexagram "Foot" mentions "military men," taking the hidden image of "Thunder." The Hexagram "Foot" is opposite to "Humility," and the third to fifth lines of "Humility" form "Thunder." The first line of the Hexagram "Wind" mentions "military men" because the Hexagram "Wind" is opposite to "Thunder." When viewed from the first line to the fourth line, it forms "Thunder," which represents advancement, and when viewed in reverse, it forms "Mountain," which represents stopping or retreat. Therefore, the line statement says, "Advancing and retreating, it is advantageous for the military man to maintain his integrity." This means that whether viewed upright or inverted, it forms the image of "Thunder," so both advancing and retreating are advantageous. Moreover, the "Book of Changes" specifically mentions "military men" on the sixth line, which is a yin line, so it is clearly not referring to "Heaven." As for the "Commentary on the Hexagrams" stating that "Wind" represents "advancing and retreating" and "indecision," it takes the meaning of the softness and flexibility of "Wind," so Mao Qilin's interpretation is even more incorrect.

《詩·陳風》「斧以斯之」，毛傳「斯，析也」。《易林·賁之遯》云「析薪熾酒」，以遯艮為析也。自得此象，旅初六之「斯其所」，始知斯為艮象。斯者，析也，離也。詳卷七。

The poem "Mumen" from the "Shijing · Chen Feng" contains the line "Fu yi si zhi," which the "Mao Transmission" explains as "si is the same as xi," meaning to split. The "Yilin · Ben Zhun" states "xi xin chi jiu," using the "Gen" trigram as the image for "xi." Since obtaining this image, the "Lv" hexagram's first line statement "Si qi suo qu zai" has the word "si," which is also understood as the image of "Gen." "Si" means to split or separate. See Volume Seven of this book.

《易林·復之豫》云「挈瓶之使，不為憂懼」，豫艮手為挈，震為瓶，故曰挈瓶。又《損之剝》云「毀罌傷瓶」，震為罌瓶，剝上艮震覆，故毀傷。自得此象，始知井彖之羸瓶，指伏震，與甕同。

The forest oracle of "Fu" to "Yu" says, "The person carrying a jar is not worried or afraid." The second to fourth lines of "Yu" form the trigram Gen, which represents hands, hence the term "qie" (to carry). The upper trigram of "Yu" is Zhen, which represents a jar, hence "qie ping" (carrying a jar). In the forest oracle of "Sun" to "Po," it says, "Breaking the jar and damaging the bottle." Zhen represents both jar and bottle, and the upper trigram of "Po" is Gen, which is the inverted form of Zhen, symbolizing overturning and thus collapse, hence the terms "huí" (to break) and "shāng" (to damage). Since we have obtained the image of Zhen as a bottle, we now understand that the "lái qí píng" (breaking the bottle) in the "Jing" hexagram's hexagram judgment refers to the hidden Zhen within "Jing." "Jing" is connected to "Shihe," and the lower trigram of "Shihe" is precisely Zhen. Thus, the image of "wèng bì lòu" (a broken jar) at line nine two comes from the same source of imagery.

《易林·謙之鼎》云「狗無前足」，鼎初二形艮，艮為狗，艮無初爻，故無前足，用半象也。又《渙之未濟》云「三虎上山」，謂三半艮也。由是推未濟彖曰小狐，艮為狐，半艮形矮，故曰小狐；艮為尾，尾短，故似濡於水。又九四曰「震用伐鬼方」，四五形震，故曰震，曰伐，曰三年，皆半象。

The "Lin Ci" of "Qian Zhi Ding" says "the dog has no front legs." In the "Ding" hexagram, the first line and the second line consist of one yin and one yang, forming the upper half of "Gen" (Mountain), which is a single yang over two yins. "Gen" represents a dog; since this "Gen" is missing the bottom line, it is said to "have no front legs," which is an example of using the "half image." Similarly, the "Lin Ci" of "Huan Zhi Wei Ji" says "three tigers on the mountain," referring to the fact that the "Wei Ji" hexagram has six lines with alternating yin and yang, containing three half "Gen" images, and "Gen" represents a tiger. From this, we can infer that the "hexagram statement" of "Wei Ji" says "a small fox approaches the river," where "Gen" represents a fox, and a half "Gen" has a short body, hence called "small fox"; "Gen" also represents a tail, and a half "Gen" tail is short, hence "its tail is wet," as if immersed in water. The line statement of the fourth line says "Zhen is used to attack the Ghost Country," because the fourth line and the fifth line consist of one yang and one yin, forming a half "Zhen" (Thunder), hence "Zhen" and "attack"; the mention of "three years" also comes from the half image.

既濟六二「婦喪其茀」。茀，馬融謂為首飾，干寶作馬髴，鄭玄作車蔽，子夏傳、虞翻作髴，董遇作髢。凡易如此等字，皆從卦象生，無無因而至者。而既濟正互皆無此象，以半象考之，則作髮飾者合。二三形巽，巽寡髮，胡喪茀？虞以坎玄雲為象，非也。

The line statement of the sixth line of the hexagram Ji Ji says, "The woman loses her hair ornament." The character "fú" is interpreted by Ma Rong as the woman's hair ornament, Gan Bao writes it as "ma fú," Zheng Xuan writes it as "che bi," Zixia's Commentary on the Changes and Yu Fan write it as "fú," and Dong Yu writes it as "di" (false hair). All such characters in the Changes arise from the hexagram imagery and do not appear without reason. However, both the primary hexagram and the nuclear hexagram of Ji Ji do not contain corresponding imagery, so a "half-image" approach is used. This shows that interpreting it as a hair ornament is appropriate: the sixth line and the third line consist of one yin and one yang, forming the lower half of Xun, which represents sparse hair. If the hair is already sparse, how can the hair ornament remain? Therefore, it is said, "loses her hair ornament." Yu Fan's interpretation using Kan as black and as cloud is incorrect.

二三形巽，為高；三四形震，震為王為宗為伐；坎為鬼，故曰高宗伐鬼方。

The line Nine in the Third of the Hexagram of Completion says, "High King subdued the Gua Fang." The Second Line and the Third Line form half of the trigram Xun, which represents height; the Third Line and the Fourth Line form half of the trigram Zhen, which represents king, clan, and military campaign; the upper trigram is Kan, which represents ghosts. Together, they exactly form the phrase "High King subdued the Gua Fang."

繻襦同。《易林·復之益》云「襦燒袴燔」，益下震為襦，上巽為袴，艮火，故燔燒，是以震為襦也。既濟三四形震，為襦，故曰襦有；四五形巽，巽為敝為絮，袽，敗絮也，言有襦而衣敗絮，故下曰戒也。戒之故，以四上下皆陽，故象曰有所疑。以上既濟數象，與家人之嘻嘻嗃嗃、困之困于石據于蒺藜、解之負且乘，皆由本爻視上下爻取象，皆半象也。

The characters "繻" and "襦" (short clothing) are the same character. In the "Forest of Divination" section of the "Book of Changes" (Yijing), under the hexagram "Fu" (Return) changing to "Yi" (Benefit), the line says "Rú shāo kù fán": The lower trigram of the hexagram "Yi" is Zhen (Thunder), which represents "rú" (short clothing); the upper trigram is Xun (Wind), which represents "kù" (trousers); the trigrams three to five form the trigram Gen (Mountain), which represents fire, hence the idea of burning. This shows that Zhen represents "rú". In the sixth line four of the hexagram "Ji Ji" (Completion), the trigrams three and four form half of Zhen, which represents "rú", hence the phrase "rú has". The trigrams four and five form half of Xun, which represents broken cloth and stuffing; "rú" refers to rotten cotton stuffing, meaning there is short clothing with broken stuffing inside. Therefore, the text continues with "zong ri jie" (being constantly cautious). The reason for being cautious is that the sixth line four is between two yang lines (nine three and nine five). Thus, the "Image Commentary" says "zong ri jie, you suo yi" (being constantly cautious, there is doubt). The above examples from the hexagram "Ji Ji" are similar to the "Jia Ren" (Family) hexagram's "xi xi" (laughing) and "he he" (grumbling), the "Kun" hexagram's "kun yu shi, ju yu ji li" (being blocked by stone, resting on thorn bushes), and the "Jie" hexagram's "fu qie cheng" (carrying and riding), all of which take images from the current line and its adjacent lines above and below, using half-images.

小過飛鳥遺之音。遺字自來無的解，由卦象失傳故也。今既得其象，艮震皆為鳥，而震為音。下艮為覆震，震口向下，若遺音於人者。遺者送也。易之用覆，有非目視其象而不能得其意者，此也。

The hexagram statement of 《Xiao Guo》 says, "A flying bird leaves behind its sound." The character "遗" has never had a definite interpretation throughout history, due to the loss of the original hexagram imagery. Now that we have recovered its image: both Gen and Zhen can represent a bird, and Zhen also represents sound; the lower trigram of 《Xiao Guo》, Gen, is actually the inverted form of Zhen, known as the reversed image. When Zhen is reversed, its mouth faces downward, resembling the act of giving sound to those below. Therefore, "遗" means to give or present. The 《Book of Changes》 uses reversed images in some instances, where one must actually see the hexagram inverted to fully understand its meaning, and this is one such example.

《易林》以艮震皆為鴻為鳥。小過下艮上震，故彖與初上爻皆言飛鳥。漸卦下艮上巽，艮為鴻，巽通震，震亦為鴻，故六爻皆言鴻。杭辛齋謂卦有半對者，如雷澤歸妹上震對巽，成風澤中孚，故兩卦皆曰月幾望。以此例小過漸，亦上卦震巽對易也，故兩卦皆言鳥。本象與對象不分，觀此益明。

In Jiao's Forest of Changes, both Gen and Zhen can represent wild geese or birds. The hexagram Xiao Guo has Gen below and Zhen above, so the hexagram statement and the lines Six at the Beginning and Six at the Top all mention "flying birds." The hexagram Zhen has Gen below and Xun above, with Gen representing geese and Xun being related to Zhen, so Zhen also represents geese, and all six lines mention "geese." Hang Xinzhai said that hexagrams can have "half pairs," for example, the hexagram Lei Ze Guimei, which changes the upper trigram Zhen to its opposite Xun, becoming Feng Ze Zhongfu. Thus, both hexagrams mention "the moon nearly full." Applying this example to Xiao Guo and Zhen, it is exactly that the upper trigrams Zhen and Xun have exchanged places, so both hexagrams mention birds. The image of the original hexagram and the image of the opposite hexagram are not separate; looking at this example makes it clearer.

離對坎，坎中爻艮震，震為鼓為缶為歌，故曰鼓缶而歌；艮為壽，故曰大耋；震為樂，震之反則嗟也，言三至五震覆也。舊解用象多誤。

The third line of the Li hexagram says, "Without drumming on a jar and singing, there would be lamentations of old age." The opposite hexagram of Li is Kan. In the middle lines of Kan, the trigrams Gen and Zhen emerge. Zhen represents drumming, a jar, and singing, hence "drumming on a jar and singing." Gen represents longevity, hence "great old age," meaning eighty years old. Zhen represents joy, but when Zhen is inverted, it becomes sorrow, which refers to the inverted Zhen formed by the third to fifth lines of the Kan hexagram. Traditional interpretations of this line are mostly incorrect.

或作告，或作梏，或作角，漢儒與漢儒卽聚訟，故至今不決。若以《易林》釋之，則陸續作角者是也。《易林·乾之屯》云「蒼龍單獨，與石相觸，折其兩角」，屯互坤，數二，互艮，為角，故曰兩角，坎為折也。大畜上艮，艮為童，坤為牛，乃坤上變剛，則牛之童者已角矣，是易亦以艮上剛為角也。四為艮初而柔，故曰童牛之角，言角初生而柔。柔當位有應，故吉。

The character "gù" in line six-four of the hexagram "Da Xu" ("Great Accumulation") is sometimes written as "gào," "gù," or "jiǎo." Han scholars debated this issue extensively, and the question remains unresolved to this day. If we refer to the "Jiao's Forest of Changes," the interpretation that it is written as "jiǎo" is more accurate. In the "Forest of Changes" under the hexagram "Qian" changing to "Zun," the commentary says, "A blue dragon alone, colliding with stone, breaking its two horns." The hexagram "Zun" has the second to fourth lines forming the hexagram "Kun," which is associated with the number two, and the third to fifth lines forming "Gen," which represents horns. Therefore, the phrase "two horns" is used. The upper trigram of "Zun" is "Kan," which represents breaking. In the hexagram "Da Xu," the upper trigram is "Gen," which represents youth, and "Kun" represents cattle. Moreover, "Gen" is derived from the upper line of "Kun" changing to a yang line, indicating that the young cattle has already grown horns. This shows that the "Book of Changes" also associates the yang line on top of "Gen" with horns. Line six-four is the first line of "Gen" and is yin and soft, so it is called "child cattle's horn," meaning the horn is newly grown and still tender. This line is in a yin position and is in the correct place, and it corresponds with line one, so it is auspicious.

鄭康成詁何為荷，雲艮為手，手上，肩也；乾為首，首肩之間，荷物處也。虞翻、何妥則以何為當，王弼以為語辭，而宋儒竟從之。今以《易林》決之，王弼掃象演空理固誤，虞何以何為當仍誤，鄭讀何為荷，與噬嗑「何校滅耳」、《詩》「何蓑何笠」同，詁確定矣，故清儒治漢易者皆從之。惟康成詁何字是，而取象則非，從無一人能知之。

The Upper Ninth line of the hexagram "Great Accumulation" says "Heaven's broad avenue." Zheng Xuan interpreted "he" as "he," meaning to bear or carry, explaining that the trigram Gen represents the hand, and above the hand is the shoulder; the trigram Qian represents the head, and between the head and the shoulder is the place where things are carried. Yu Fan and He Tu interpreted "he" as "dang," meaning appropriate or suitable. Wang Bi simply treated it as a particle of speech, and later Song dynasty scholars followed Wang Bi's approach. Now, using the "Forest of Changes" by Jiao to determine, although Wang Bi's approach of eliminating the trigrams and focusing only on meaning was wrong, Yu Fan and He Tu's interpretation of "he" as "dang" was also incorrect. Only Zheng Xuan's interpretation of "he" as "he," meaning to bear, is correct, as it matches the usage in the Upper Ninth line of the hexagram "Devouring the Cricket" "He xiao mie er" (carrying a yoke on the shoulder and injuring the ear) and in the "Book of Songs" "He suo he li" (wearing a cloak and a hat). This interpretation can be confirmed, so Qing dynasty scholars studying the Han dynasty interpretation of the Book of Changes followed him. However, although Zheng Xuan's interpretation of "he" is correct, the imagery he used is inappropriate, and no one has ever noticed this.

按《易林·鼎之萃》云「聚蹠荷兵」，《咸之萃》云「擁兵荷糧」，是焦氏皆以艮為何；又《同人之無妄》云「負牛上山」，《需之屯》云「恃強負力」，皆以艮為負也；又艮彖云「艮其背」，易卽以艮為背也。為背為負，故曰荷也。乃康成不知此象，以艮為手，手上肩，乾為首，首肩之間，詁何字，迂曲甚矣。故夫卦象失傳，雖象在目前而不能覩也。又何天之衢者，形容畜極忽通之意，而不能泥其詞。凡易詞如此者，十蓋八九也。如泥其詞，謂衢如何荷，而訓為語辭，則天又何有衢哉？

According to the "Forest of Divination" in the "Book of Changes" under the "Ding" hexagram's "Cui" section, it says "gathered跖 and armed with soldiers," and under the "Xian" hexagram's "Cui" section, it says "holding soldiers and carrying supplies." This shows that Jiao Yanshou took Gen as "he (荷)." Again, in the "Tongren" hexagram's "Wuwang" section, it says "carrying a cow up the mountain," and in the "Xu" hexagram's "Zun" section, it says "relying on strength and carrying power," both taking Gen as "fu (负)." Looking further at the "Gen" hexagram's "Tuan" text, which says "keeping the back still," we see that the "Book of Changes" originally took Gen as "back." Since Gen is both "back" and "to carry," it can be interpreted as "he." Zheng Kangcheng did not understand this image, so he took a roundabout approach, explaining Gen as hand, with the hand being the shoulder,乾 as head, and the area between head and shoulder being able to carry things, using this path to explain the character "he." This is too convoluted. This shows that once the hexagram images are lost, even when the images are right before our eyes, they cannot be recognized. Moreover, the phrase "he Tian Qi Qu" describes a state of accumulation reaching its peak and then suddenly becoming unobstructed. It cannot be taken literally. Such expressions in the "Book of Changes" are mostly like this. If one insists on taking the words literally and asks how a great road in the sky can be carried on the shoulder, thus interpreting "he" as an interjection, then where would there be a great road in the sky?

孔疏引子夏傳，以輹為車屐，由是知輹為震象，推之易與左氏皆合，說已詳前矣。茲按釋名云「輹似人屐，在軸上」，仍以輹為車屐也。震為車為履，則震之為輹益明矣。

Kong Yingda in The Correct Meaning of the Zhou Changes cites Zixia's Commentary on the Changes, interpreting 'fu' (a part under the carriage, resembling a rabbit's foot) as the wooden sole of a carriage. From this, he understands that 'fu' represents the trigram Zhen (Thunder), and uses it to verify examples of divination in the Zhou Changes and the Zuo Zhuan, which are consistent. This point has already been explained in detail before. Now, according to the Shiming, 'fu' is described as resembling the wooden sole of a shoe, mounted on the carriage axle. This still treats 'fu' as a carriage sole. Since Zhen represents both a carriage and a shoe, it becomes even clearer that Zhen can take the image of 'fu'.

郭璞洞林筮避亂，遇明夷，曰「桑梓之邦，其為魚乎」，明夷震為桑梓，坤為邦為魚也，故曰為魚。又漢上易引郭璞洞林云，筮得豫之小過，曰「五月晦日，群魚來入州城寺舍」，是亦以坤為魚也。坤之艮，艮為城舍，故魚入州城寺舍。原注以乙未為魚，坤貞未也。乃朱漢上不知坤魚象，謂原注為非，而以小過巽為魚。巽固為魚，而此則用坤魚也，漢上不知此象也。

Guo Pu's "Dong Lin" records that he used divination to predict the future when fleeing from chaos, obtaining the卦 of Mingyi, and his interpretation said, "The homeland will become a land of water," meaning his hometown will turn into a water country. The trigrams three to five of Mingyi form Zhen, which represents mulberry and梓 trees; the upper trigram is Kun, which represents a country and also fish, hence the statement "it will become fish." Also, Zhu Zhen's "Han Shang Yi Zhuan" cites Guo Pu's "Dong Lin," stating that when obtaining the卦 of Yu changing into Xiao Guo, the interpretation said, "On the last day of May, a group of fish will swim into the official buildings and temples of the state city," which also uses Kun to represent fish. The change from Yu to Xiao Guo is due to the lower trigram Kun changing into Gen, which represents a city and a building, so the fish enter the city's official buildings and temples. The original note uses Yiwei as representing fish, because the inner trigram of Kun includes Yiwei. However, Zhu Zhen did not understand that Kun can also represent fish, and instead said the original note was wrong, changing to use Xun in Xiao Guo as representing fish. Although Xun can also represent fish, this instance uses the image of fish from Kun, which Zhu Zhen was unaware of.

朱漢上曰：「乾坤為大父母，故能生八卦；姤復為小父母，故能生六十四卦。」是以震巽為父母，與《易林》合。然朱漢上知姤復為父母，而不知姤復為父母之故由於震巽，故於蠱之父母、小過之妣，皆不得其象。

Zhu Zhen (also known as Zhu Hanshang) said: "Qian and Kun are the great parents, so they can give rise to the Eight Trigrams; Gu and Fu are the small parents, so they can give rise to the sixty-four Trigrams." In reality, this is taking Zhen and Xun as the parents, which aligns with the use of images in Jiao's Forest of Changes. The lower trigram of Fu is Zhen, and the lower trigram of Gu is Xun. However, Zhu Zhen only knew that Gu and Fu are the parents, but he did not realize that Gu and Fu can act as parents precisely because they contain Zhen and Xun. Therefore, when he encountered the line statement of the Gu卦 mentioning "father" and "mother," and the line statement of Xiao Guo at line six in the second position mentioning "bi," he was unable to find the corresponding images.

胡渭謂唐以前無言先天象乾，曾於首卷證其不然矣。茲按荀爽注「陰陽之義配日月」云：「乾舍於離，配日而居；坤舍於坎，配月而居。」是乾南坤北，荀氏已一再言之。注同人亦云，與管輅之幹無別位同也。

Hu Wei said that no one before the Tang dynasty had discussed the image of Qian in the southern direction in the Earlier Heaven arrangement of hexagrams. I have already proved in the first volume of this book that this is not the case. Now looking at Xun Shuang's commentary on the Great Treatise, where he says, "The principles of yin and yang correspond to the sun and moon," he explains, "Qian resides in Li, corresponding to the sun; Kun resides in Kan, corresponding to the moon." Since Qian is in the position of Li and Kun is in the position of Kan, and in the Earlier Heaven arrangement Li is in the south and Kan is in the north, this means Qian is in the south and Kun is in the north. Xun Shuang has said this more than once. He also said the same thing when commenting on the Hexagram of Fellowship. This is the same meaning as Guan Lu's statement that Qian does not have a separate position, meaning that Qian resides in the position of Li.

黃梨洲等謂易無先天象，恃說卦未明言為護符。豈知離南坎北，說卦祗明言六卦方位耳，坤兌皆未言也，而何以治漢易者皆以坤為西南、兌為西，是何據耶？梨洲則曰由卦爻推得。後天卦位可由卦爻推得，先天卦位獨不可由卦爻推得耶？既濟九五言東西，正離坎方位也，胡又不推乎？真王氏所謂無理取鬧也。

Huang Zongxi, who styled himself Li Zhuo, and others claim that the Yi Jing does not contain the Earlier Heaven hexagrams, using the fact that the Shuogua Zhuan does not clearly state them as a shield. But they do not realize that the Shuogua Zhuan mentions Li in the south and Kan in the north, which only clearly explains the directions of six hexagrams, leaving out the directions of Kun and Dui. Then why do scholars of the Han dynasty Yi all place Kun in the southwest and Dui in due west? What is their basis? Huang Zongxi would say it is derived from the hexagram lines. Later Heaven hexagram positions can be deduced from the hexagram lines; why then can't Earlier Heaven hexagram positions be deduced in the same way? The Ji Ji hexagram, line nine in the fifth position, says, "The eastern neighbor sacrifices an ox, but the western neighbor's simple sacrifice is better," which refers precisely to the Earlier Heaven position of Li in the east and Kan in the west (Ji Ji has Li below and Kan above). So why does it not use this deduction here? This is truly what Wang Shi called senseless disturbance.

惠棟於荀此注，謂荀用鬼易，而以乾歸合離、坤歸合坎為解。夫乾坤歸魂為大有比，荀注所言乃同人師，同人師為離坎歸魂，非乾坤歸魂。荀曰舍離舍坎，則乾坤正居離坎之位也，非離坎居乾坤之位也。惠氏非不知其說之顛倒，冀崑崙其詞以愚初學而滅其證，故不得不釋之。

Hui Dong commented on Xun Shuang's annotation, saying that Xun Shuang used Jing Fang's "Ghost Yi" eight palace method, and therefore explained the returning soul of the Qian palace combining with Li and the returning soul of the Kun palace combining with Kan. In fact, the returning soul of the Qian palace is the hexagram "Da You," and the returning soul of the Kun palace is the hexagram "Bi." However, the hexagrams mentioned in Xun Shuang's annotation are "Tong Ren" and "Shi," where "Tong Ren" is the returning soul of the Li palace and "Shi" is the returning soul of the Kan palace, not the returning souls of the Qian and Kun palaces. Xun Shuang said that Qian "abandons Li" and Kun "abandons Kan," meaning that Qian and Kun are located in the positions of Li and Kan, not the reverse. Hui Dong was not unaware that his own statement reversed the cause and effect, but he intended to speak in a vague and general way to confuse beginners and eliminate this evidence, so I have to clarify this point.

凡卦之相反者，義必反。如巽為寡髮，《易林》見震則以為多髮多羽翰；艮為鼻，《易林》遇兌則以為劓；震為足，《易林》遇巽則以為刖；艮為山，艮覆則山崩；艮為山陽，艮覆則為山陰。由《易林》推之，易卦爻辭如此者不可勝數，而其義甚隱。彖象傳只渾言大義，而未明言，因之後儒於對象偶識之而不能盡，若覆象則十未察及一二也。聖人蓋已慮及此，故又於最後之雜卦明申其義。

Whenever two hexagrams are opposite to each other, their meanings are also opposite. For example, Xun represents sparse hair; when Jiao's Forest of Changes encounters Zhen, which is opposite to Xun, it takes the image of dense hair and full feathers. Gen represents the nose; when Jiao's Forest of Changes encounters Dui, which is opposite to Gen, it takes the image of cutting the nose, known as "yi." Zhen represents the foot; when Jiao's Forest of Changes encounters Xun, which is opposite to Zhen, it takes the image of cutting off the foot, known as "yue." Gen represents a mountain; when Gen is reversed, it becomes an earthquake or mountain collapse. The southern side of Gen becomes the northern side when reversed. By extending this reasoning from Jiao's Forest of Changes, there are countless instances in the Yi Jing where the line statements follow this pattern, but the underlying principles are very obscure. The Commentary on the Judgment and Image Commentary only give a general idea without clearly stating it, so later scholars could only occasionally recognize a couple of instances of this opposite relationship, but could not fully grasp it. As for the concept of reversed images, hardly any scholars have even noticed a fraction of it. The sages must have foreseen this, so they clearly explained this idea in the last section of the Ten Wings, the Miscellaneous Hexagram Commentary.

雜卦曰：乾剛坤柔，離上坎下，小過過也，中孚信也，信則無過，過則不信矣；大過顛也，頤養正也，顛則失養，養則不隕矣。皆言本象對象相反之義也。曰比樂，反之則憂；曰臨與，反之則求；曰屯不失其居，言陽當位也，乃屯反則雜而不當位；曰震起，震反則止；曰損衰始，損反則盛始；曰大畜時，反之則災而不時；曰萃聚，反之則不聚；曰謙輕，輕者不足也，乃謙反則自足而怡矣；曰噬嗑食，食者實也，頤中有物也，乃噬嗑反則空而為色矣。

The *Zagua Transmission* says, "Heaven is strong and firm, Earth is soft and yielding; the *Li* is above and the *Kan* is below; *Xuguo* is excess, and *Zhongfu* is trustworthiness"—keeping trust means there is no excess, and having excess means there is no trustworthiness; it also says, "Great Excess is overturning; *Yi*, is nourishing the right way"—overturning means losing nourishment, and being able to nourish the right way means not falling. All these are talking about the meaning of the primary hexagram and its opposite hexagram being opposite in meaning. It also says, "Comparison is joy," and when *Bi* is reversed to become *Shi*, it becomes sorrow; it says, "Approach is giving," and when *Lin* is reversed to become *Guan*, it becomes seeking; it says, "Zun does not lose its place," meaning the yang lines of *Zun* are each in their proper position, but when *Zun* is reversed to become *Meng*, it becomes disorderly and lines are not in their proper positions; it says, "Zhen is movement," and when *Zhen* is reversed to become *Gen*, it becomes stillness; it says, "Loss is the beginning of decline," and when *Sun* is reversed to become *Yi*, it is the beginning of prosperity; it says, "Great Accumulation is timely," and when reversed to become *Wuwang*, it becomes disaster and losing the right time; it says, "Cui is gathering," and when reversed to become *Sheng*, it is not gathering; it says, "Qian is humility," and humility is self-aware insufficiency, but when *Qian* is reversed to become *Yu*, it becomes self-satisfaction and contentment; it says, "Shihe is eating," and eating means being full, meaning having something in the mouth, but when *Shihe* is reversed to become *Ben*, the mouth becomes empty and only has ornamentation."

曰兌見，反之則伏；曰隨無故，故者事也，反之則有事；曰剝爛，反之則不爛；曰晉晝，反之則夜而光滅，誅者滅也；曰井通，反之則不通；曰咸速，反之則不速而久；曰渙離，離，去也，反之則不去而止；曰解緩，反之則不舒緩而急難；曰睽外，反之則內；曰大壯則止，反之則不止而退；曰革去故，反之則取新；曰豐多，反之則寡。凡此皆言正象覆象相反之義也，故於否泰明揭其義，曰反其類也。

The "Zagua Zhuan" also says "Dui appears," and when Dui is reversed to become Xun, it signifies concealment; it says "Su without cause," and "cause" refers to affairs, and when reversed to become Gu, it signifies having affairs; it says "Bo, meaning decay," and when reversed to become Fu, it signifies not decaying; it says "Jin, meaning daylight," and when reversed to become Mingyi, it signifies night with extinguished light, meaning "Mingyi, meaning punishment," where punishment means extinction; it says "Jing, meaning communication," and when reversed to become Kun, it signifies obstruction; it says "Xian, meaning quickness," and when reversed to become Heng, it signifies not quickness but duration; it says "Huan, meaning separation," and "separation" means going away, and when reversed to become Jie, it signifies not going away but stopping; it says "Jie, meaning ease," and when reversed to become Jian, it signifies not ease but difficulty; it says "Kui, meaning external," and when reversed to become Jiaoren, it signifies internal; it says "Da Zhuang then stops," and when reversed to become Duan, it signifies not stopping but retreat; it says "Ge, meaning removing the old," and when reversed to become Ding, it signifies taking the new; it says "Feng, meaning abundance of affairs," and when reversed to become Lu, it signifies scarcity. All these examples illustrate that the meaning of the upright trigrams and their reversed counterparts are opposite. Therefore, the "Zagua Zhuan" clearly explains this principle in the hexagrams "Po" and "Tai," saying "Po and Tai reverse their categories."

韓康伯解雜卦曰，或以同根類，或以異相明。以異相明是也，以同相類無有也。後，來知德知其言反象，至卦反則義亦反之意，來氏毫未察知，故詁經多誤。如以坎為孕，較虞氏以離為孚勝矣，乃漸三尚可，漸五遂不合。雜卦之言易象，正如此，反如彼，可謂活潑飛舞，示人讀易當作如是觀、作如是解也。

Han Kangbo's interpretation of the "Zagua Transmission" pointed out that it sometimes groups similar hexagrams together and sometimes contrasts different ones. He was correct in noting the contrast between different hexagrams. However, the grouping of similar hexagrams does not actually occur as he described. Later, in the Ming dynasty, Lai Zhide realized that the "Zagua Transmission" deals with reversed images, but he failed to recognize that when a hexagram is reversed, its meaning also reverses. Therefore, his interpretations often contained errors. For example, he interpreted Kan as representing pregnancy, which is better than Yu Fan's interpretation of Li as representing trust. However, when applying this to the line "the wife is pregnant but does not give birth" in "Zhen" nine three, it iswith difficulty acceptable, but when applied to "the wife is unable to bear children for three years" in "Zhen" nine five, it does not fit. The "Zagua Transmission" discusses the images of the Book of Changes, where the meaning is one way when viewed directly and another way when viewed reversed. It is dynamic and flexible, suggesting that people should read and interpret the Book of Changes in this way.

又以示文王所以必使此四對象相次、二十八正覆象相次者，卽具有此意。故於序卦之外，離其舊序，俾義愈明。不然，人或疑蒙與需、此與小畜有涉也。自雜卦之義不明，於是易之言反象者遂不解矣。

The "Zagua Transmission" also suggests that King Wen had a specific intention in arranging the four groups of elements in pairs and the twenty-eight pairs of positive and negative images. Therefore, the "Zagua Transmission" deliberately disrupts the original order, in order to make this meaning more apparent. Otherwise, people might question the connection between the hexagram "Meng" following "Xu" and this hexagram following "Xiao Xu." Since the intention of the "Zagua Transmission" has become unclear, there has been no one able to understand the parts of the "Book of Changes" that discuss reverse images.

愚嘗卽十翼考之，是否為孔子所作則不敢知，然為一人之文無疑也。其釋經由淺及深，漸次而進。文言釋乾坤，六十四卦之本也；至彖傳則釋上下卦往來上下之義，教初學識本象矣；象傳則言及中爻，教人識互象也；繫傳初言剛柔動靜，次言錯綜變化，無義不備，無象不包，然皆崑崙言之。至說卦，遂明言八卦方位矣。方位者，易之本，乾鑿度所謂「八卦成列，天地之道立，雷風水火山澤之象定」也，先天而天弗違也；又為易之用，乾鑿度所謂「及其散佈用事，四時迭終，五行更廢」也，後天而奉天時也。

I once examined the Ten Wings: whether they were composed by Confucius, I cannot be certain, but it is without doubt that they were written by a single person. They explain the text from simple to profound, gradually advancing. The Wenyan only interprets the Qian and Kun hexagrams, because these two are the foundation of the sixty-four hexagrams; the Commentary on the Judgment explains the meaning of the upper and lower trigrams moving up and down, teaching beginners to recognize the image of the primary hexagram; the Image Commentary discusses the middle lines, teaching people to recognize the image of the nuclear hexagram; the Great Treatise first discusses the yin and yang, movement and stillness, then talks about the reversal and interchanging transformations, covering all meanings and including all hexagram images, though all are expressed in a general and comprehensive manner. It is only in the Shuogua Commentary that the positions of the eight trigrams are clearly explained. Position is the fundamental aspect of the Book of Changes; as the Ganzaodu says, "When the eight trigrams are arranged in order, the principles of heaven and earth are established, and the images of thunder, wind, water, fire, mountain, and marsh are determined," which refers to the earlier heaven trigram positions, also known as the "pre-heaven" mentioned in the Wenyan; position is also the function of the Book of Changes; as the Ganzaodu says, "When they are spread out and put into use, the four seasons alternate, and the five phases succeed each other," which refers to the later heaven trigram positions, also known as the "post-heaven" mentioned as "following the heavenly timing."

方位不明，易不能通。至對象，較互象又進矣。互象有形可察，對象則伏於虛，無形可據，明言之，俾人知象之顯於此者尚有隱於彼。雜卦明申其義。互象漢魏人皆知，對象則不盡知，覆象則知者益少，果不出聖人之所略焉。

If one does not understand directions, one cannot comprehend the Book of Changes. As for 'objects' (of the hexagram), they go a step further than mutual images: mutual images have visible traces that can be observed, but objects are hidden in the void, without any visible traces to rely on. Therefore, they must be clearly stated so that people can know both the manifest image present in this hexagram and the hidden aspect present in another. The Zaji Zhuan precisely explains this meaning. Mutual images were understood by Han and Wei scholars, but objects are not understood by everyone, and even fewer understand the inverted images. Indeed, they all fall into the neglect that the sages had already foreseen.

凡易之所言，皆天地間之公例公理，為萬物萬事所不能逃。先儒謂其專言天道，或專言人事者，皆不知天道不如人事者也。天道與人事，無二理也。仁者見之謂之仁，智者見之謂之智，如執其辭，將一句不能通。

The teachings of the Book of Changes deal with the universal principles and laws of heaven and earth, which all things in the world cannot escape. Some scholars of previous generations said the Book of Changes specializes in the ways of heaven, while others said it specializes in human affairs. These views fail to recognize that the ways of heaven and human affairs are not two separate paths. The ways of heaven and human affairs are not two different principles. The Great Treatise says, "The benevolent person sees it and calls it benevolence; the wise person sees it and calls it wisdom." If one takes this literally, then not a single sentence makes sense.

凡易辭無不從象生。如舍象不求，而只演空理，則聖人之立言，無乃太怪奇乎？且如睽六三上九、小過六二等詞，如不從象生，直謂之發狂可也，尚何聖之足云，是誣聖也。故夫王弼反古，避難就易，去實蹈虛，以諛媚後學，真易之罪人也。

The words of the Book of Changes are not a single sentence that does not arise from the images of the hexagrams. If one ignores the images and does not investigate them, and instead only deduces empty principles, then would not the words of the sage be too strange and odd? For example, in the hexagram Kui, line six in the third place says "He has the face of heaven and the mark of the nose," and in the top line, "He carries a cartload of ghosts, first stretching the bow," and in the hexagram Xiao Guo, line six in the second place says "He passes by his ancestor and meets his mother." If these words are not derived from the images, they can be considered as mad mutterings. How can they be attributed to the sage? That would be a slander against the sage. Therefore, Wang Bi deviates from the ancient method, avoids difficulty and seeks ease, abandoning real images and entering into empty talk, in order to please later learners. He is truly a criminal to the study of the Book of Changes.

凡象用於此而合，用於彼而不合，必誤，如以離為斧是也。又象用於此而合，於彼不合，所取必誤。誤而不求其故，須再三變而始得其象者，皆曲說也。二千年易解之晦，由此也。茲有一證，述之如下。

Whenever an image works well in one context but fails in another, it must be wrongly selected, such as taking Li as an axe. Similarly, if an image fits in one place but not in another, the selection is certainly incorrect. If one selects wrongly and does not investigate the reason, but instead forces the hexagram and its lines to change several times just to make the image fit, these are all distortions. For two thousand years, the interpretation of the Book of Changes has remained obscure, and the root of the problem lies here. Here is an example to illustrate this point.

離彖離為牝牛，說卦坤為牛，左傳云純離為牛，此半象之本也。乃人於睽六三年之牛、革初九之牛、旅上九之牛，除遵用虞氏誤解、不取左氏外，餘皆知此以離為牛，詁甚得也。乃於無妄六三之牛、大畜六四之牛、遯六二之牛，皆知以坤為牛，不誤也，而皆不得解者何也？所取誤也。明之如下。

The Hexagram Li states, "Keeping a female ox is auspicious." The Sayings of the Hexagrams say that Kun represents an ox. An example from the Zuo Zhuan, dated to the fifth year of King Zhao of the State of Zhao, says, "Pure Li represents an ox," which is the basis for using the half-image to represent an ox. As for the ox mentioned in the line Six in the Third of Hexagram Kui, the line Nine at the Beginning of Hexagram Ge, and the line Nine at the Top of Hexagram Lu, except for those who reject Yu Fan's incorrect interpretation and do not follow the Zuo Zhuan, everyone else knows that these instances use Li to represent an ox, and their interpretations are appropriate. However, for the ox in the line Six in the Third of Hexagram Wuwang, the line Six in the Fourth of Hexagram Daxu, and the line Six in the Second of Hexagram Duan, everyone also knows that these use Kun to represent an ox, and there is no mistake in their choice, yet they cannot explain why. Why is this so? It is because the position of the image has been misused. The following explanation will clarify this.

六三巽體，巽為繩，故曰繫；坤為牛，乃坤下剛成震，震為行為人，則牛之繫者已行矣，故曰行人之得。此雖以坤為牛，因坤形滅，故牛亦亡。其措詞之妙，有非凝目注視卦象而不能喻者，徒捃拾舊解無益也。大畜六四之牛，解已見前。

The line "Or a cow may be tied, which the traveler gains but becomes a calamity for the townsmen" from the sixth line of the third position in "Wu Wang" describes a situation where the cow is tied. The sixth line of the third position is located within the trigram Xun (Wind), which represents a rope, hence the term "tied." The trigram Kun (Earth) represents a cow, but the lowest line of Kun turns into a yang line, transforming it into Zhen (Thunder), which is the lower trigram of "Wu Wang." Zhen represents movement and people, so the tied cow has been led away by a traveler, hence "the traveler gains it." Although the cow is symbolized by Kun, since the form of Kun has disappeared, the cow also disappears. The wording is subtle and can only be understood by closely observing the hexagram, not by relying on old interpretations. The cow in the sixth line of the fourth position in "Da Xu" has already been explained earlier.

坤為黃為牛，乃坤上而剛，則牛之革也，此艮之所以為膚也。艮為手，故曰執；艮為守為拘，故莫能脫。

The line "Hold fast with the hide of a yellow ox, none can escape" from the hexagram "Retreat" (Dun) refers to the fact that the lower trigram of Dun is Gen (Mountain), which is the upper line of the trigram Kun (Earth) transformed into a yang line. Since the ox has already been transformed, only its hide remains, which is why Gen can take the image of "skin" (fu). Gen represents the hand, so it is said to "hold fast," meaning to grasp. Gen also represents guarding and confinement, hence no one can escape.

以上牛象，倏有倏無，若隱若見，於卦象恰合，胡用強變成坤以取象哉？坤為牛，乃坤之震，則牛之繫者已行矣（無妄）；坤之艮，則牛之童者已角矣（大畜）；坤之艮，則牛而成革矣（遯卦）。此雖非焦義，乃由焦用象推測，其神妙如此也。

The images of oxen and elephants mentioned above appear and disappear, being visible and invisible, perfectly matching the hexagram symbols. Why then should we force the changing line to become the hexagram of Kūn to fit the image? Kūn represents an ox; when Kūn changes into Zhèn, the ox that was tied up has already been led away, which corresponds to the line six in the third of the hexagram Wúwàng; when Kūn changes into Gèn, the young ox has already grown horns, which corresponds to the line six in the fourth of the hexagram Dàxù; and when Kūn again changes into Gèn, the ox is left only with its hide, which corresponds to the line six in the second of the hexagram Dùn. Although these statements are not the exact words of Jiao Yanshou, they are conclusions drawn by following Jiao's method of interpreting images, and their subtlety is remarkable.

《易林》雖以震為箕、為箕子，本明夷彖傳也。至六五箕子之明夷，自西漢以來無作紂臣解者。蜀趙賓讀箕子為荄茲，荄茲者，萬物方荄茲也，師古云「言根荄方滋茂也」，見孟喜傳，蓋古文原如此。而班固非易家，不知其為確詁，反摭拾梁邱施二家毀謗孟喜之詞，謂孟喜喜為名之，後賓死，因不肯仞云云。

Jiao's Forest of Changes takes Zhen as Ji and Ji Zi, based on the Commentary on the Judgment of Mingyi which says, "Though there is internal difficulty, one can maintain one's correct will, which is what Ji Zi did." As for the Line Statement of the fifth line, "Ji Zi's Mingyi," since the Western Han dynasty, no one has interpreted it as referring to Ji Zi, a minister of Yin Zou. A man from Shu, Zhao Bin, read "Ji Zi" as "Gai Zi," meaning that all things are just beginning to sprout and grow from the roots. Yan Shigǔ's annotation says, "It refers to the sprouting and flourishing of grass roots." This is recorded in the biography of Meng Xi in the Han Shu's Rulín Zhuan, showing that the original text was written this way. However, Ban Gu was not an expert in the study of the Yi Jing, and did not know this was the correct interpretation. Instead, he picked up the criticisms of Meng Xi made by Liangqiu He and Shi Chou, saying that Meng Xi liked to boast about this interpretation. Later, when Zhao Bin died, Meng Xi refused to acknowledge it.

若讀箕子為荄茲，為趙賓創解且大誤者，豈知劉向云「今易箕子作荄滋」，與賓讀同也。向所據皆中古文，非依賓讀，可見賓讀之為舊詁，非所自創，更可見孟喜傳嘲譏孟喜之語之為誣詞。宋晁景迂嘗再四不平，欲為孟喜辨誣，而不能求得其故，至惠定宇始昌言之，惠氏真善於讀史者也。

Some people think that reading "Jizi" as "Gai Zi" is a mistaken innovation by Zhao Bin. But they are unaware that Liu Xiang had previously stated that the current edition of the "Book of Changes" writes "Jizi" as "Gai Zi," which is exactly the same as Zhao Bin's reading. Liu Xiang's reference was to ancient texts preserved in the imperial library, not following Zhao Bin's interpretation. This shows that the reading "Gai Zi" for "Jizi" was an existing scholarly interpretation, not Zhao Bin's own creation. It also demonstrates that the criticism of Meng Xi in the "Book of Han" is entirely false. In the Song dynasty, Chao Yuezi (who styled himself Jingyu) repeatedly expressed his disagreement with this false accusation, trying to clear Meng Xi's name but failing to find supporting evidence. It was only in the Qing dynasty that Hui Dong (styled Dingyu) clearly explained this point, showing that Hui Dong was truly skilled in reading history.

至東漢馬融，始詁六五之箕子亦為殷太師。豈知彖傳所言之箕子，與六五所言之箕子，在當時字必不同，蜀才箕作其，是其證；卽王弼亦讀子為茲，與趙賓同，後人以其音近混同之耳。設六五之箕子卽為殷之箕子，彖傳萬不能引以解易，六十四卦彖傳之辭，有一例如是者乎？可覆按也。凡彖傳皆自出新義，無有引爻詞以解彖者。是皆因卦象失傳，故駭怪荄滋之讀。豈知明夷六五，震體也，震為生，故曰滋；震為萌芽，故曰荄。請還以《易林》明之。

Until Ma Rong of the Eastern Han dynasty, the term "Jizi" in the line statement of "Six in the Fifth" was not interpreted as Ji Zi, the Grand Tutor of the Yin dynasty. In fact, the "Commentary on the Judgment" and the "Jizi" mentioned in "Six in the Fifth" must have used different characters at that time—this is clearly shown by the fact that Shu Cai used "qi" instead of "ji" for the character. Even Wang Bi read "zi" as "zi", consistent with Zhao Bin, but later people confused them due to their similar sounds. If the "Jizi" in "Six in the Fifth" was indeed the Ji Zi of the Yin dynasty, the "Commentary on the Judgment" would not have used it to explain the hexagram. Is there any precedent in the sixty-four "Commentaries on the Judgment" where this happened? It can be checked. All the "Commentaries on the Judgment" originate from new interpretations and do not cite the line statements to explain the hexagram. These misunderstandings arose because the hexagram images were lost. Therefore, people were surprised by the reading of "gai zi". But they should know that in the hexagram "Mingyi", the line "Six in the Fifth" is in the mutual trigram Zhen, which represents growth, hence it is called "zhi". Since Zhen also represents sprouting, it is called "gai". Please use "Jiao's Forest of Changes" to further verify this.

《易林·升之中孚》云「百草嘉卉，萌芽將出」，以震為萌芽也；《小畜之睽》云「芽櫱生達，陽昌於外」，震為芽櫱，睽通蹇，陽居五，故曰生達，故曰陽昌於外。夫所謂芽櫱，卽荄也；生達，卽滋也。明夷互震，陽在下，不得昌於外，故曰荄滋之明夷，言根荄芽櫱，正當坎冬，不得生達，故明夷也。

The "Forest Commentary" of the "Book of Changes" under the hexagram "Ascending" in "Zhongfou" says, "All kinds of grass and flowers, their sprouts are about to emerge." Therefore, Zhen is used to represent sprouts - in hexagram "Zhongfou," lines two to four form an intercalary Zhen; in "Xiaoxu" to "Kui," it says, "Sprouts emerge and reach outward, yang is flourishing externally." Zhen represents sprouts, and "Kui" is opposite to "Jian." In "Jian," the yang lines are in the fifth position, so it is said "sprouts emerge" and "yang is flourishing externally." The term "sprouts" refers to "gai," and "emergence and reaching outward" refers to "zi." Although the intercalary hexagram of "Mingyi" also contains Zhen, the yang lines are at the lower position, so they cannot flourish externally, hence it is called "gai zi zhi Mingyi," meaning the tender sprouts of plants meet the cold water of Kan in winter, unable to sprout and grow, thus suffering damage to their brightness.

又《坎之解》云「寒露所凌，漸至堅冰，草木瘡瘍，華葉落亡」，解下坎，為寒露為堅冰，震為草木，陽在下，故瘡瘍。瘡瘍卽明夷，草木瘡瘍，華葉落亡，卽荄滋明夷也。解與明夷二至上同，說解卽說明夷，與賓詁同也，紛紜之聚訟可以解矣。惠定宇於此爻厯史，辨之綦詳，有功先儒，嘉惠後學，惟不知震為萌芽為胎為孕，故不知荄滋之象，乃讀荄滋為亥子。易明言天干則有之，言十二辰則未見也。

Another passage from the "Forest of Divination" in the "Book of Changes" says: "Cold dew invades, gradually leading to hard ice, grass and trees suffer wounds, flowers and leaves fall off." The "Jie" hexagram has the trigram Kan at the bottom, which represents cold dew and hard ice, and Zhen at the top, which represents grass and trees. The yang line is at the bottom, so grass and trees suffer wounds. Wounds and sores correspond to "Mingyi," meaning injury and loss of brightness. Grass and trees suffering wounds, flowers and leaves falling off, is exactly "Gai Zi Mingyi." The "Jie" hexagram, from the second line to the top line, has the same structure as "Mingyi," which is also Kan at the bottom and Zhen at the top. Therefore, explaining "Jie" is equivalent to explaining "Mingyi," and this aligns completely with Zhao Bin's interpretation. All the disputes can be resolved here. Hui Dong examined the origin of this line very thoroughly, contributing greatly to predecessors and benefiting later scholars. However, he did not realize that Zhen represents sprouting, pregnancy, and gestation, so he did not understand the image of "Gai Zi." The "Book of Changes" clearly mentions heavenly stems, but has not yet mentioned the twelve earthly branches.

賁下離，離下震上艮，故初九曰趾，曰舍車而徒，徒，徒步行也，趾與徒皆震象。六二曰賁其須，艮為須也。《易林·同人之否》云「繫於虎鬚」，否巽為繫，艮為虎為須；又《蹇之旅》云「棘掛我須」，亦以旅艮為須。賁其須與賁其趾對文，治虞易者詁須為待，非也。易皆用半象也。

The lower trigram of the hexagram 贲 is Li (Fire), and the lower two lines of Li form half of Zhen (Thunder), while the upper two lines form half of Gen (Mountain). Therefore, the line Nine at the Beginning says "贲其趾" and "舍车而徒" — "徒" means to walk on foot, and both "趾" and "徒" come from the image of Zhen, which represents foot and movement. The line Six in the Second says "贲其须," which takes Gen as the image of beard. In the "Forest of the Book of Changes" under the hexagram Tongren changing to Pinyin, the line says "系于虎须," where the lines three to five of Pinyin form a mutual trigram Xun (Wind), which represents rope and binding, and the lines two to four form a mutual trigram Gen (Mountain), which represents tiger and beard. In the hexagram Jian and Li, it says "棘挂我须," which also uses the trigram Gen from the lower trigram of Li to represent beard. "贲其须" and "贲其趾" form a parallel structure. Those who study Yu Fan's interpretation of the Book of Changes mistakenly take "须" as waiting, which is incorrect. Both these lines use half-images.

京作撍，子夏傳作簪，雲疾也，鄭云速也，馬作臧，荀作宗，虞作戠，雲聚會也，獨侯果訓為括髮之簪。清之毛奇齡惠士奇惠棟孫星衍錢大蚚焦循王引之翁元圻等，各有所主，大抵皆駁侯果之說，惟毛奇齡翁元圻用侯說，謂簪為冠簪，所以括髮固冠。

The *Yü* hexagram, line nine-four, says "friends gather like hairpins." The character "zān" is rendered as "wēn" in Jing Fang's version, as "zān" in Zixia's Commentary on the Changes, with the meaning "hastening," as "sù" by Zheng Xuan, as "zāng" by Ma Rong, as "zōng" by Xun Shuang, and as "yì" by Yu Fan, with the meaning "gathering." Only Hou Guo of the Tang dynasty interpreted it as a hairpin used to fasten hair and secure a cap. In the Qing dynasty, Mao Qilin, Hui Shiqi, Hui Dong, Sun Xingyan, Qian Daqian, Jiao Xun, Wang Yinzhi, and Wang Yuanqi each held their own interpretations, mostly refuting Hou Guo's view. Only Mao Qilin and Wang Yuanqi adopted Hou Guo's interpretation, considering "zān" as a hairpin used to bind hair and fix the cap.

其駁侯說者，謂古祗有笄，無有簪，簪之名至漢始有。儀禮士喪禮「簪衣於裳」，鄭注云「簪，連也」，儀禮仍漢世之書，不足據也，簪於冠無涉也。繁徵博引，以炫其博，豈知六經何者非漢儒所傳，而能謂六經皆漢世書乎？況簪之與笄，名異而實同，在周則多稱曰笄，在漢則多稱曰簪。說文：笄，簪也；簪，無首笄也。鄭注士冠禮云「笄，今之簪」，其為一物甚明，而惠棟必謂漢時始有簪名。豈知儀禮外，李斯諫逐客書云「宛珠之簪」，韓非子「周主亡玉簪」，其不始於漢甚明。

Those who refute Hou Guo argue that in ancient times there was only "ji" and not "zhan," and the term "zhan" appeared only during the Han dynasty. The "Yili · Sisangli" mentions "zhan yi yu chang," and Zheng Xuan's commentary says "zhan is the same as lianzhui," but since "Yili" was transmitted during the Han dynasty, it is not sufficient evidence. Moreover, this zhan has nothing to do with hats. They cite extensively to show their erudition, but they do not consider that none of the Six Classics were not transmitted by Han scholars; can they say all the Six Classics were written during the Han dynasty? Furthermore, although "ji" and "zhan" have different names, they are actually the same object. In the Zhou dynasty, people mostly called it "ji," while in the Han dynasty, they mostly called it "zhan." The "Shuowen Jiezi" says "ji is the same as zhan" and "zhan is a ji without decoration." Zheng Xuan's commentary on "Yili · Siguangli" also says "ji is the same as today's zhan," clearly indicating that they are the same thing. Yet Hui Dong insists that the term "zhan" appeared only in the Han dynasty. He does not realize that besides "Yili," Li Si's "Jianzhuke Shu" mentions "Wan Zhu Zhan," and the "Hanfeizi" mentions "Zhou Zhu Wang Yu Zhan," clearly showing that zhan existed before the Han dynasty. This is quite clear.

又後儒見漢人訓簪為連為聚，必謂與笄異物，以駁侯說。豈知釋名云「笄，繫也，所以繫冠，使不墮也」，繫之與連，有以異乎？笄貫紐武，注「冠鼻，使與髮連，繫冠不墜」，簪之用猶是也。漢之時冠式或與周小異，其固冠之法則不異也。

Later scholars saw that Han dynasty commentators interpreted "zān" as "lián" and "jù," and thus concluded that it was a different object from "jī," using this to refute Hou Guo. But they failed to realize that the "Shiming" says "jī is the same as xì, used to fasten the hat so that it does not fall." How could "xì" and "lián" be different? The jī passes through the button and wǔ (the rim of the hat), and the commentary says that these are the nose buttons on the hat, which connect the hat to the hair and fasten it so it does not fall. The function of the zān is exactly the same. Although the style of hats in the Han dynasty might have differed slightly from that in the Zhou dynasty, the method of securing the hat was essentially the same.

後儒徒執簪哀於裳之鄭注，訓簪為連，豈知連衣於裳之必有物乎？物卽簪也。又簪衣於裳者，乃死者之衣裳，非復者招魂之衣裳。死者之衣裳上下殊，故以簪連之；復者持以招魂。今必謂簪為連衣裳之物，更不可用以括冠髮，有是理乎？況易如此等字，無不從象生。後儒訓此字，動至千言，然從無有返本歸根、求之卦象者，故愈說愈晦也。

Later scholars only focused on Zheng Xuan's commentary on the phrase "zān yī yú cháng" in the "Rites of Zhou," interpreting "zān" as meaning to connect. But they did not think: in order to connect the upper robe to the lower skirt, there must be an object, and that object is the zān. Moreover, "zān yī yú cháng" refers to the deceased's clothing, not the set of clothes used by the person performing the "fu li" ritual to summon the soul. The deceased's clothing was split into upper and lower parts, so it was connected with a zān. The person performing the ritual carried the clothes to summon the soul. Now, insisting that the zān is only used to connect clothes, and never to fix hair and secure the cap, is there any such logic in the world? Moreover, all the characters in the "Book of Changes" are derived from the trigrams. Yet later scholars, when interpreting a single character, often write thousands of words, but never return to the original trigrams to seek their meaning. Thus, their explanations become more obscure over time.

按《易林·恆之咸》云「簪短帶長」，咸互巽，為帶為長，艮為簪也，兌折，故簪短；又《復之節》語同，節三至五互艮，亦以艮為簪。豫九四艮以一陽統率群陰，若簪之穿物，故曰盍簪；陽以陰為朋，震為髮，言群朋附四，若簪之括冠髮也，故曰朋盍簪。此有一確注，杜詩云「盍簪喧櫪馬」，艮為小木為簪，言群馬之韁共繫於橫木之上，故曰盍簪。能解杜詩，則朋盍簪三字之形容如繪出矣。又艮為小木，古士庶之家嘗以桑為笄，見儀禮；以蓍為簪，見韓詩外傳；以荊為釵，見列女傳，故艮為簪。自艮簪震髮之象失傳，於是此語之神妙都不解，而為無味之聚訟。

According to the "Forest of Divination" in the "Book of Changes," the statement of the "Heng" hexagram's "Xian" forest says "The hairpin is short and the sash is long": In the "Xian" hexagram, the second to fourth lines form the trigram Xun, which represents the sash and its length; the lower trigram is Gen, representing the hairpin; the upper trigram is Dui, representing destruction, so the hairpin is short. The "Jie" hexagram's forest statement is the same. In the "Jie" hexagram, the third to fifth lines form the trigram Gen, which also represents the hairpin. In the "Yu" hexagram, the ninth line in the fourth position is a yang line that commands the five yin lines above and below, like a hairpin passing through many things, so it is said "He Zan" (gathered hairpin); yang is associated with yin as companions, and the upper trigram Zhen represents hair, meaning that the companions rely on the ninth line in the fourth position, just as a hairpin holds the hair of a crown, so it is said "Peng He Zan." There is a clear supporting evidence: Du Fu's verse "He Zan Xuan Li Ma" (the hairpins make a noisy sound as the horses in the stable are restless). Gen represents small wood and a hairpin, describing how the reins of many horses are tied together on a single crossbar, hence "He Zan." If this can be understood, then the scene described by "Peng He Zan" is as vivid as a painting. Gen also represents small wood; in ancient times, the families of scholars and commoners used mulberry wood for hairpins, as recorded in the "Rites of Zhou"; they used the herb yarrow for hairpins, as mentioned in the "External Transmission of the Han Poetry"; and they used osier for hairpins, as recorded in the "Biographies of Women of Virtue." Therefore, Gen can represent a hairpin. Since the images of Gen as a hairpin and Zhen as hair have been lost, the subtle meaning of this line has been ignored, leaving only a meaningless dispute.

又杜詩蔡註解此句雲朋友燕會，可謂大誤。題為杜位宅守歲，時子美尚未官京師，故在從弟家守歲。曰「四十明朝過」，則除夕也；曰「列炬散林鴉」，則深夜也。以唐時風俗，豈有此時會朋友哉？而王應麟謂杜詩注詳博，但不知詩用侯果注，亦未察知蔡注大誤之所在，以此嘆解人千古難索。

Now speaking of the commentary on Du Fu's poetry by the Cai family, interpreting this line as a gathering of friends is a grave mistake. This poem is titled "Keeping the New Year at Du Wei's House," and at that time Du Fu (whose courtesy name was Zimei) had not yet been appointed as an official in the capital, so he was keeping the New Year at his cousin's house. The poem says "At forty, the next morning will pass," indicating it is New Year's Eve; it also says "The torches are lit, scattering the crows in the woods," showing it is already deep into the night. According to the customs of the Tang dynasty, where would people gather friends at such a time? Wang Yinglin praised the commentary on Du Fu's poetry for being detailed and comprehensive, but he did not realize that this line actually follows the interpretation of Hou Guo, and he failed to notice the major error in Cai's commentary. This is truly lamentable, as genuine interpreters of poetry are rare throughout the ages.

漢魏人但知坤為邦國，於是卦無坤象者遂不能解。茲按《易林·師之賁》云「惠我邦國」，《乾之艮》云「寇賊大至，入我邦國」，皆以艮為邦。以是推坎蹇漸中孚彖傳皆曰邦，皆以正互艮為邦，非以坤為邦。

Han and Wei scholars only knew that坤 represented a state or country, so when they encountered hexagrams without the image of坤, their interpretations did not make sense. Now, according to the verses in the "Yi Lin" from the "Shi" hexagram to the "Ben" hexagram, it says "Kindness to my state," and from the "Qian" hexagram to the "Gen" hexagram, it says "Robbers come in great numbers, entering my state," both take Gen as the state. From this we can infer that in the "Kan," "Jian," "Jian," and "Zhongfou" hexagrams, when the term "state" appears in the Commentary on the Judgment, it refers to Gen rather than坤, either as the main trigram or as an interacting trigram.

《易林·姤之遯》云「展轉空床」，以遯艮為床也；《旅之同人》云「床傾簀折」，同人通師，師二至四艮覆，故曰床頭。自得此象，始知剝初六六二六四之床之皆以艮，易原以剝為大艮也。舊解統以巽為床，解巽卦尚可，解剝卦遂不合矣。

The "Forest Discourse" of the "Yi Lin" on "Gou" changing to "Dun" says "turning and twisting on an empty bed," taking the lower trigram of "Dun," Gen, as the bed. In the case of "Lv" changing to "Tong Ren," it says "the bed tilts and the bamboo mat breaks." "Tong Ren" is in mutual opposition with "Shi," and the trigrams two to four of "Shi" form Zhen, which is the inverted image of Gen. Inversion leads to overturning, so the "Forest Discourse" refers to the bed tilting. Since we have obtained this image, we now understand that the bed mentioned in the first line of "Bo" ("peeling the bed from the foot"), the second line ("peeling the bed from the knee"), and the fourth line ("peeling the bed from the skin") all refer to Gen. The "Yi Jing" originally regarded the entire "Bo" hexagram as a large Gen, with five yin lines covering one yang line. Old commentaries all took Xun as the bed, which iswith difficulty for explaining the "Xun" hexagram, but does not fit for explaining the "Bo" hexagram.

虞翻謂面指四，非也，伏艮為面也。《易林·遯之蒙》云「雲過吾面」，蒙坎為雲，艮為面也；又《泰之觀》云「無面有頭」，亦以艮為面。革上六艮伏，故曰革面。面者，向也，史記項羽本紀「馬童面之」是也。

The Sixth line at the top of the "Revolution" hexagram says "small people change their faces." Yu Fan said that the "face" refers to the fourth line, which is incorrect. In fact, it refers to the hidden image of Gen (Mountain). In the "Forest of Divination" under the hexagram "Retreating to Innocence," the line says "clouds pass over my face." The lower trigram of "Innocence" is Kan (Water), representing clouds, and the upper trigram is Gen (Mountain), representing the face. In the "Observing" hexagram, it says "without a face but with a head," also using Gen to represent the face. Since the "Revolution" hexagram is opposite to "Innocence," and the upper trigram of "Innocence" is Gen, the "Revolution" hexagram's Sixth line at the top contains the hidden image of Gen, hence "changing the face." The term "face" here means "direction" or "orientation." The "Records of the Grand Historian: Biography of Xiang Yu" mentions Liu Mato "turning his face toward him," which is exactly this usage.

舊解皆以離為貝。茲按《易林·剝之蒙》云「齎貝贖狸」，蒙艮為手為貝，故曰齎貝；又《謙之蠱》《訟之大畜》皆曰喪貝，亦皆以艮為貝。蓋艮剛在上，亦可為貝。震六二艮體，故曰貝；坎失，故曰喪貝。

The line "Yi Sang Bei" in line six-two of the Zhen hexagram. Old commentaries all took Li as Bei. Now according to the phrase "Ji Bei Shu Li" in the "Yi Lin·Bao Zhi Meng," the term "Ji Bei" refers to carrying Bei, which is explained as the upper trigram Gen representing hand and also Bei, so "Ji Bei" means carrying Bei. The two phrases "Sang Bei" in "Qian Zhi Gu" and "Song Zhi Da Xu" also take Gen as Bei. Probably because Gen is a single strong line covering above, resembling the shape of a shell, so it can also represent Bei. In the Zhen hexagram, lines two to four form the trigram Gen, and line six-two is exactly within this Gen trigram, hence "Bei"; lines three to five form the trigram Kan, which represents loss, hence "Sang Bei."

《易林·節之謙》云「伯去我東，首髮如蓬」，以震為髮也；《訟之需》云「引髯牽須」，需通晉，晉艮為髯須為手，故曰牽須，以艮為須也。蓋震為生，髮向上生，故震為髮；而震反為艮，鬚髯皆向下生，故艮為須。其取象皆以卦形。

The "Yi Lin · Jie Zhi Qian" passage says, "The elder brother goes east, his hair is like thorns," using Zhen to represent hair. In the "Qian" trigram, lines three to five form Zhen; in "Song Zhi Xu," it says, "Pulling the beard and mustache," in "Xu" the opposite trigram is "Jin," and lines two to four of "Jin" form Gen. Gen represents beard and mustache, as well as hands, hence the phrase "pulling the mustache." This uses Gen to represent the mustache. Generally, Zhen governs hair growth, which grows upward, so Zhen represents hair; when Zhen is inverted, it becomes Gen, which represents beard and mustache that grow downward. Thus, Gen represents the mustache. These images are derived from the shape of the hexagram lines.

自得震髮象，始知既濟九二之喪髴，從子夏傳，謂半震也。震為髮，髴者髮飾，二四又形巽，巽寡髮，故喪髴。又自得艮須象，始知賁六二之賁其須，為鬚髯之須，與上賁其趾對文。虞氏訓須為待，固非；惠士奇謂須當為斑，尤非；毛西河惠棟本說文，謂須為面毛，得解矣，而皆不知須究為何象，於是毛西河以口上頤下為說，易焉有如此取象者哉？賁上艮為須，下離為文，而二為離中，言下離文上艮也，故象曰「與上興也」。上謂上卦艮，諸儒謂指六五或指上九言者，皆非也。

Since I obtained the image of Zhen (Thunder) representing hair, I understood that the phrase "sang fú" in the line "Nine in the Second" of the Hexagram 63 (Ji Ji) refers to half of the Zhen image. Zhen represents hair, and "fú" refers to hair ornaments. Between the second and fourth lines, the image of Xun (Wind) appears, and Xun represents sparse hair, so it is said that the hair ornaments are lost. Also, since I obtained the image of Gen (Mountain) representing beard, I understood that the term "xu" in the line "Six in the Second" of the Hexagram 2 (Ben) refers to beard, which corresponds with the previous line "Ben its toes," which is a parallel expression. Yu Fan's interpretation of "xu" as waiting is incorrect. Hui Shiqi's suggestion that "xu" should be read as "ban" (white hair) is even more wrong. Mao Qilin (pen name Xihé) and Hui Dong, based on the Shuowen Jiezi, said that "xu" refers to hair on the face, which is somewhat correct. However, they did not know the origin of the image of "xu." Therefore, Mao Qilin explained "xu" as being above the mouth and below the chin, but the Book of Changes does not use such a method of imagery. In fact, the upper trigram of Ben is Gen (Mountain), representing beard, and the lower trigram is Li (Fire), representing ornamentation. The line "Six in the Second" is within the lower trigram Li, meaning that the ornamentation of the upper trigram Gen is done by the decorative patterns of the lower trigram Li. Therefore, the Image Commentary says, "Ben its beard, with the upper trigram rising." The term "upper" refers to the upper trigram Gen. Various scholars have interpreted it as referring to line six in the fifth position or line nine at the top, but these interpretations are incorrect.

《易林·坤之謙》云「修其翰翼」，《大壯之震》云「晨風文翰」，皆以震為翰也。自得此象，賁六四之白馬翰如，始知翰為羽翰之翰，言馬行迅速，其形容似之。馬荀作高，鄭作白，清儒作乾，皆失翰如形容之妙。又自得此象，中孚上九之翰音登于天，人知翰音之為巽雞，而不知翰音之用伏。中孚上巽伏震，震為音為翰，故曰翰音。虞氏謂翰為高音，指互震，非。

The "Forest of Divination" in the "Book of Changes" under the hexagram "Kun" to "Qian" says "cultivate its wings and feathers," and under "Da Zhuang" to "Zhen" it says "morning wind with feathered wings." Both use Zhen to represent "hàn," meaning feathers. Since this image was established, the line "White horse with wings like flying" in the sixth line of "Ben" (Hexagram 2) came to be understood as "hàn" meaning feathered wings, indicating the horse's speed resembles the swift flight of a bird's wings. Ma Rong and Xun Shuang interpreted it as "gao" (high), Zheng Xuan took it as "bai" (white), and Qing dynasty scholars took it as "gan" (dry), all missing the poetic beauty of the description "hàn rú" (like flying wings). Furthermore, since this image was established, the line "Hán yīn dēng yú tiān" (Hán sound ascends to heaven) in the top line of "Zhong Fu" (Hexagram 42) also gained meaning: people only know that "hán yīn" refers to Xun as a chicken, but they do not realize that here the hidden image is used. The upper trigram of "Zhong Fu" is Xun, and the hidden trigram (the opposite) is Zhen, which represents sound and wings. Therefore, it is called "hán yīn." Yu Fan's interpretation that "hán" refers to high sound and points to the mutual trigrams of Zhen is incorrect.

《易林·困之泰》云「陰雲四方，日在中央」，以泰上坤為雲也；又《未濟之升》云「雲興蔽日」，亦以升上坤為雲。自得此象，始知小畜小過之密雲，皆以重陰，而非取象於坎，故曰不雨。不雨之故，皆以下有艮火也。

The "Forest of Divination" in the "Yi Lin" under the hexagram "Kun" to "Tai" says, "Dark clouds surround all directions, the sun is in the center." Therefore, the upper trigram of "Tai," which is "Kun," is taken as clouds. Similarly, in the "Forest of Divination" under the hexagram "Wei Ji" to "Sheng," it says, "Clouds rise and obscure the sun," again taking the upper trigram of "Sheng," which is "Kun," as clouds. Since obtaining this image, it has become clear that the "dense clouds without rain" mentioned in the hexagrams "Xiao Xu" and "Xiao Guo" are both taking the multiple yin lines as clouds, not as the trigram "Kan." Therefore, it is said "without rain" — if it were really "Kan" water, rain would occur. The reason for no rain is that there is "Gen" below, and "Gen" represents fire.

《易林·師之萃》云「鴻雁啞啞，以水為家」，以艮為鴻雁也；《臨之師》云「鴻鵠失珠」，以震為鴻也。自得此象，漸之六鴻遂能解。漸下艮為鴻，上巽通震，震亦為鴻，故六爻皆言鴻。此見巽卽言震，亦猶解上六見震卽言巽高墉也。易原視本象與對象不分也。自此象失傳，後儒以互離為鴻，互離不能及六爻也。

The "Forest of Divination" in the "Book of Changes" under the hexagram "Military" to "Gathering" says, "Wild geese cry in unison, taking water as their home," so the hexagram Gen (Mountain) is used to represent the wild geese—lines two to four of the hexagram "Gathering" form the hexagram Gen. The "Forest of Divination" under the hexagram "Approaching" to "Military" says, "Wild cranes lose their pearls," so the hexagram Zhen (Thunder) is used to represent the wild cranes—lines two to four of the hexagram "Military" form the hexagram Zhen. Since this image was established, all six lines of the hexagram "Gradual Progress" can be interpreted as referring to "wild geese": the lower trigram of "Gradual Progress" is Gen (Mountain), representing wild geese, and the upper trigram is Xun (Wind), which is connected to Zhen (Thunder), and Zhen (Thunder) also represents wild geese, so all six lines can be interpreted as referring to wild geese. This is because when the trigram Xun is seen, Zhen is also taken into account, just as in the hexagram "Release" with line six, when Zhen is seen, Xun is also taken into account and interpreted as "high rampart" (Xun represents height). The "Classic of Changes" originally regarded the image of the primary hexagram and the image of its opposite hexagram as inseparable. Since this image was lost, later scholars changed to using the interacting trigrams Li (Fire) as representing wild geese, but the interacting trigram Li cannot cover all six lines.

艮鳥震鳥。《易林·履之咸》云「鳥升鵲舉」，以咸下艮為鳥也；《蠱之解》云「鳥返故巢」，以解上震為鳥也。自得此象，始知小過上下卦皆有鳥象，故彖與上初稱飛鳥，舊解皆誤。

The trigram Gen (Mountain) represents a bird, and the trigram Zhen (Thunder) also represents a bird. The "Forest Commentary" of the Book of Changes, in the section "Lu to Xian," says "birds rise and cranes fly," so the lower trigram Gen in Xian represents a bird. In the section "Gu to Jie," it says "birds return to their old nests," so the upper trigram Zhen in Jie represents a bird. Since we have obtained this image, we now realize that both the upper and lower trigrams of Xiao Guo contain the image of a bird—the lower trigram Gen and the upper trigram Zhen. Therefore, the hexagram statement and the lines Six at the Top and Six at the Beginning all refer to "flying birds," and all previous annotations were wrong.

《易林·恆之臨》云「商人休止」，又旅林云「不利旅客」，以震為商旅也。震為行，故為商旅。因思復象云「商旅不行」，以震為商旅也，坤閉，故不行。舊說非。

The "Forest Commentary" of the "Forest of Changes" says "merchants rest" for the hexagram "Constant," and "unfavorable for travelers" for the hexagram "Traveler," both taking Zhen as merchants and travelers. In the hexagram "Constant," lines two to four form an interacting Zhen; in the hexagram "Traveler," it is opposite to "Restraint" and contains Zhen. Zhen represents movement, hence it can represent merchants and travelers. This leads to the thought that the "Image Commentary" of the hexagram "Returning" says "the former kings closed the borders on the winter solstice, and merchants and travelers did not move," which also takes Zhen as merchants and travelers. The lower trigram of "Returning" is Zhen, and the upper trigram is Kun, which represents closure, hence saying "they do not move." The old interpretation is incorrect.

自得此象，大過枯楊、離科上槁皆得解，詳卷四。統易林凡言枯者，不啻數十，無以乾老為枯者，虞翻用象誤也。

Since the image of Li (Fire) as withered branches was established, the reference to "withered elm" in Da Guo (Great Excess) lines Nine in the Second and Nine in the Fifth, as well as the statement in Shu Gua Zhuan that Li "relates to wood as the withered branches on the tree top," all make sense. Details are given in Volume Four of this book. A thorough examination of Jiao's Forest of Changes reveals that there are dozens of instances mentioning "withered," none of which use Qian (Heaven) as old age and derive "withered" from it. This shows that Yu Fan's use of the image was incorrect.

《易林·剝之中孚》云「隙大牆壞」，以巽為隙也。自得此象，井九二甕敝漏之義愈明，詳卷六。

The "Forest Divination" section of the "Yi Lin" on the hexagram Zhongfū says "the wall cracks and collapses," using Xun to represent the crack—since the upper trigram of Zhongfū is precisely Xun. Since this image was adopted, the meaning of the line "the jar is broken and leaks" in the hexagram Jing becomes clearer: the lower trigram of Jing is Xun, which represents a crack, so the ceramic jar breaks and leaks water. See Volume Six of this book.

自得此象，中孚正覆震，於是和字始能解；正覆艮，於是陰字始知為山陰，覆艮，詳見前。

Since the image of Zhen (Thunder) as a crane was established, the line "A crane calls in the shade, its young respond in harmony" from Zhongfou (Trustworthiness) Nine Two makes sense. The second to fourth lines of Zhongfou form Zhen, and the third to fifth lines form Gen. Gen is an inverted Zhen, so the upright Zhen and the inverted Gen correspond to each other, making the word "harmony" understandable. Similarly, this upright and inverted pair are both Gen, so the word "shade" becomes clear as referring to the north side of a mountain—the inverted Gen represents the north side of a mountain. See the previous discussion for details.

舊解皆本繫辭，以渙為舟。豈知刳木為舟，指渙之互震也；剡木為楫，指渙之上巽也，非以重卦渙為舟也。解繫辭而誤，於是中孚之乘木舟虛，遂不知舟象之何屬。按《易林·大有之謙》云「方船備水」，謙上坤為方，互震為船。自得此象，於是中孚之舟虛遂能解。

Old commentaries all rely on the "Great Treatise" saying "carving wood into a boat, cutting wood into oars... this is taken from the Hexagram of Dispersal," and take the entire Hexagram of Dispersal as a boat. But they do not realize that "carving wood into a boat" refers to the trigram Zhen (Thunder) formed by the second to fourth lines of the Hexagram of Dispersal, and "cutting wood into oars" refers to the upper trigram Xun (Wind) of the Hexagram of Dispersal. It is not about taking the Hexagram of Dispersal itself as a boat. Since the interpretation of the "Great Treatise" is already wrong, the statement in the "Commentary on the Judgment" of the Hexagram of Middle Trust, "riding a wooden boat in emptiness," also fails to explain where the image of the boat comes from. According to the "Forest of Divination" in the "Great Having" hexagram, the line says "a square boat is prepared for water." The upper trigram of "Humility" is Kun (Earth), representing squareness, and the third to fifth lines form Zhen (Thunder), representing a boat. Since the image of a boat has been taken as Zhen (Thunder), the "boat in emptiness" in the Hexagram of Middle Trust can now be understood.

震船之象，自來人不知。杭辛齋謂日本學易者有意象，以震為船，若中國無此象者。豈知《易林》有且多，至東漢失之耳。又意象以離為鏡，杭亦稱之，豈知《易林·恆之未濟》云「蔽鏡無光」，以離為鏡；又《升之賁》云「日鏡不明」，亦以賁下離為鏡。

The image of Zhen (Thunder) as a boat has never been understood by others. Hang Xinzhai mentioned that Japanese scholars of the Book of Changes have a concept called "Intentional Image," using Zhen as a boat, as if China did not have this image. In fact, the Jiao's Forest of Changes not only includes this image but uses it frequently, though it was lost by the Eastern Han dynasty. The concept of "Intentional Image" also takes Li (Fire) as a mirror, which Hang Xinzhai also praised. However, he did not know that in the Jiao's Forest of Changes, the section "Heng to Wei Ji" says "the mirror is covered and has no light," which takes Li as a mirror; and in "Sheng to Ben," it says "the sun mirror is unclear," which also takes Li, the lower trigram of Ben, as a mirror.

《易林·無妄之中孚》云「有兩赤鷂，從五隼噪」，兩鷂謂兌震，五隼謂巽艮也，兌數二，巽數五也，是以艮為隼也。因思解上六「射隼高墉之上，獲之，無不利」，艮隼覆，故獲也。唐黃賀說小過云「鳥墮雲間」，亦以艮鳥覆為墮，墮卽獲矣。

The "Yi Lin · Wu Wang Zhong Fu" says, "There are two red hawks following five falcons": the two hawks refer to Dui and Zhen, while the five falcons refer to Xun and Gen. In the Earlier Heaven hexagram numbers, Dui is two and Xun is five, so "two" comes from Dui and "hawks" from Zhen, "five" comes from Xun and "falcons" from Gen. Thus, Gen is taken as the falcon. This leads to thinking about the "Jie" hexagram's upper sixth line, which says, "The public shoots a falcon on a high wall, and captures it, with no disadvantage." Here, Gen is the falcon, but it is inverted as a reversed Gen, so the falcon falls, hence "capturing it." Tang dynasty scholar Huang He explains the "Xiao Guo" hexagram as "birds falling from the clouds," also viewing the bird in Gen as inverted to represent falling, and falling equates to being captured.

左氏云「三蟲為蠱」，蠱者，壞也。壞之故，以蠱多；多之故，以風止山下也。《易林》每以巽為蠱，本之左氏也。

The *Zuo Zhuan* says that the character "蛊" is a combination of a vessel and three insects, symbolizing decay. Therefore, decay arises from too many insects; insects proliferate because the wind is blocked by the mountain and stops beneath it. The *Guzh* hexagram, which has *Gen* (mountain) above and *Xun* (wind) below, represents wind stopping beneath the mountain, leading to stagnation and the growth of insects. The *Jiao's Forest of Changes* often associates *Xun* with *Guzh*, based on this explanation from the *Zuo Zhuan*.

《易林·漸之臨》云「斧斤卽折」，臨兌為斧，兌毀，故折；又《節之萃》云「千歲槐根，身多斧瘢」，萃中爻艮，艮多節，故曰瘢，兌斧，故曰斧瘢。統《易林》凡十數用，皆以兌為斧，無以離為斧者。蓋兌為剛魯，為附決，為毀折，斧者決物之器，亦折物之器，故為斧。虞翻以離為斧說旅九四之得斧，尚可通；說巽上九之喪斧，遂不合。於是虞翻命三變離毀，以詁喪字，其為曲解，尚足辨乎？旅九四之得斧，以互兌也；巽上九之喪斧，以兌覆也。《易林·萃之訟》云「亡錐失斧」，訟兌覆，故失斧，正注此也。凡象反者，義必反，雜卦所釋，至明白也。此亦二千年之誤象，由《易林》而明也。至資為齊，舊解甚詳，茲略。

In Jiao's Forest of Changes, the commentary on "Gradual" leading to "Approaching" says, "The axe immediately breaks." The lower trigram of "Approaching" is Dui, which represents an axe, and Dui also signifies destruction and breaking, hence the meaning of breaking. In the commentary on "Restriction" leading to "Cessation," it says, "A thousand-year elm tree, its body has many axe marks." The trigrams two to four of "Cessation" form a Geng trigram, which signifies many branches and knots, hence the meaning of "marks." The upper trigram of "Cessation" is Dui, which represents an axe, hence the meaning of "axe marks." Upon examining several instances in Jiao's Forest of Changes, all use Dui as the axe, and none use Li as the axe. Probably because Dui is strong and fierce, representing cutting and breaking, and the axe is an instrument for cutting and breaking things, so Dui can represent an axe. Yu Fan's use of Li as the axe to explain "Travel" nine four "obtaining his axe" is勉强 acceptable, but it does not fit when explaining "Wind" upper nine "losing his axe." Therefore, Yu Fan changed the爻 position to the third, saying that Li has been destroyed, using this to explain the word "losing," but is such a forced interpretation worth debating? In "Travel" nine four, "obtaining the axe" is because trigrams three to five form Dui; in "Wind" upper nine, "losing the axe" is because the Dui there has been reversed. In Jiao's Forest of Changes, "Cessation" leading to "Strife" says, "losing the awl and the axe." The trigrams three to five of "Strife" are reversed Dui, hence the meaning of "losing the axe," which can serve as a commentary for this line. Whenever a trigram is reversed, its meaning necessarily becomes opposite. The explanation in the "Zajiaguanzhuan" is precisely based on this principle, which is clear. This has been a misunderstanding for two thousand years, but it was clarified by Jiao's Forest of Changes. As for "zi" being interpreted as "qi," the old annotations explain it in detail, so I will omit it here.

《易林·師之旅》云「空槽住豬，豚彘不到」，旅下艮為豬豚，艮止故不到；又《頤之遯》云「豶豕童牛」，遯下艮，艮為豕，是《易林》顯以艮為豚豕，與坎同也。自得此象，凡易之言豕，除睽上九用伏坎外，餘大畜六五之豶豕，謂艮為豕也，艮少，故曰豶豕；姤初六羸豕孚躑躅，艮為豕，初二半艮，足短，《易林·謙之鼎》云「狗無前足」，鼎初二半艮，故足短，又體巽，故曰羸豕；中孚彖曰豚魚吉，亦以互艮為豚。蓋艮為虎為狐，故亦為豚豕，不必再三變成坎也。

Jiao's Forest of Changes says in the section on the Hexagram of the Army: "An empty trough with pigs, but no pigs come." The lower trigram of the Hexagram of Travel is艮, which represents pigs and young pigs, and since艮 also signifies stillness, it is said that the pigs do not come. In the section on the Hexagram of Retreat, it says "castrated pig and young bull." The lower trigram of Retreat is also艮, which represents pigs: this shows that Jiao's Forest of Changes clearly uses艮 to represent pigs, just as坎 does. Since this image has been established, whenever the Classic of Changes mentions pigs, except for the line "a pig carrying mud" in the upper ninth line of the Hexagram of Parting, which uses the hidden坎, all other instances use艮 to represent pigs. For example, in the sixth line of the fifth in the Hexagram of Great Accumulation, "the tooth of a castrated pig,"艮 is used to represent pigs. Since艮 represents the young male, it is called "castrated pig." In the first line of the Hexagram of Encountering, "a weak pig with faith, moving about,"艮 represents the pig, but the first line and the second line only form half of艮, so the legs are short, just as Jiao's Forest of Changes says in the section on the Hexagram of Humility: "a dog without front legs" — the first and second lines of the Hexagram of the Cauldron are half of艮, so the legs are short. Also, the lower trigram of Encountering is巽, which signifies weakness, so it is said "a weak pig." The Hexagram of Middle Trust says "young pigs and fish are auspicious," which also uses the interacting trigram艮 to represent pigs. Probably, since艮 can represent tigers and foxes, it can naturally also represent pigs and young pigs, without needing the lines to change three times to form a坎.

《易林·無妄之益》云「東之樂邑」，益下震為東為樂，艮為邑也；又《需之離》云「中留北邑」，離中爻伏艮，為邑也。自得此象，無妄行人之得、邑人之災，始知人謂震、邑謂艮。蓋艮為居為止為室廬，故為邑；又艮為火，故曰焚。舊說取象皆誤。

The "Forest of Divination" in the "Yi Lin" under the hexagram "Wu Wang" says "eastern pleasant town." In the hexagram "Yi," the lower trigram is Zhen, which represents east and joy, and the lines three to five form the trigram Gen, which represents town. In the hexagram "Xu" under "Li," it says "middle stay northern town." In the hexagram "Li," the middle lines conceal Gen (since Li communicates with Kan, and Kan contains Gen), and Gen represents town. Since obtaining this image, the line six in the third position of "Wu Wang" says "the traveler's gain is the town's calamity," we now know that "person" refers to Zhen and "town" refers to Gen. Since Gen represents dwelling, stillness, and buildings, it can represent town; Gen also represents fire, so the calamity for the town refers to burning. Previous interpretations of this imagery are incorrect here.

《易林·同人之坎》云「鼓其羽翼，飛上喬木」，坎中爻震，為鼓為飛為羽翼；又《坤之謙》云「修其翰翼」，亦以謙中爻震為羽翼。自得此象，始知漸上九之羽之指伏震；明夷初九之飛翼象似指明夷之六四，六四應初，且震體也，而未必為離。離在地下，尚何言飛？然舊解俱如此。今既得震飛震翼象，心有所疑，故指出以俟知者。

The "Forest of Divination" in the "Yi Lin" under the hexagram "Tong Ren" to "Can" says, "Beat its wings and fly to the tall tree." In the hexagram "Can," the middle lines are interrelated with "Zhen," which represents beating, flying, and wings. The "Kun" hexagram to "Qian" says, "Repair its wings," also using the interrelated "Zhen" in the middle lines of "Qian" as wings. Since obtaining this image, it has become clear that the "feathers" in the "Jian" hexagram's upper nine, "Its feathers may be used as a standard," refers to the hidden "Zhen" within the hexagram. The "Jian" hexagram has "Xun" above, and "Zhen" is the corresponding trigram. As for the image of flying and wings in the "Ming Yi" hexagram's initial nine, "Ming Yi in flight, hanging its wings," it seems to refer to the fourth line of "Ming Yi," since the fourth line corresponds with the initial nine and is located within the interrelated "Zhen." The "Li" trigram is below in the "Ming Yi" hexagram, so how can there be flying? Yet old interpretations have always said so. Now that we have obtained the image of "Zhen" as flying and wings, we have doubts, so we point this out, waiting for those who understand to judge.

《易林·屯之坤》云「采薪得麟」，以坤為薪也；《剝之坤》云「荻芝俱死」，亦以坤為荻薪。荻卽茅茹也。自得此象，否泰初爻之拔茅茹，始知其為坤象，拔茅茹卽采薪也。泰用旁通，詳卷三。

The "Forest Divination" in the "Forest of Changes" under the hexagram "Zun" (Obstruction) says "gathering firewood and obtaining a qilin," using the earth hexagram to represent firewood. The "Forest Divination" in the hexagram "Bo" (Breaking) says "both reeds and herbs die," also using the earth hexagram to represent reeds and firewood. Reeds refer to a type of grass like mao ru. Since this image was adopted, the "initial line" of the hexagram "Pu" (Obstruction) and the "initial line" of the hexagram "Tai" (Peace) saying "pulling out mao ru," we now know that it originates from the earth image. Pulling out mao ru is equivalent to gathering firewood. The lower trigram of the hexagram "Tai" is Qian (Heaven), but it uses the opposite trigram Kun (Earth), as explained in volume three of this book.

虞翻但知坤為鬼，豈知坎為隱伏，亦鬼象也。既濟九三曰鬼方，未濟九四曰鬼方，皆以互坎也，而虞氏必以為坤象，誤之遠矣。《易林·姤之需》云「卑斯似鬼」，以需坎為鬼，是其證。

Yu Fan only knew that Kun represents ghosts, but he did not realize that Kan represents concealment, which is also an image of ghosts. The line "High King attacked the ghost lands" in the line nine of the third in "Ji Ji" and the line "Zhen was used to attack the ghost lands" in the line nine of the fourth in "Wei Ji" both take the mutual trigram Kan as representing ghosts. Yu Fan insisted on interpreting them as Kun, which was a great mistake. The "Yi Lin · Gou Zhi Xu" says "Bi Si Si Gui", which takes the upper trigram Kan of Xu as representing ghosts. This is the evidence.

《易林·坤之隨》云「衣裳簋簋」，以隨震為簋也。自得此象，始知坎六四之簋、損彖之二簋皆謂震，而漢魏人皆不知。

The "Forest Statement" of the "Forest of Changes" on "Kun following" says "clothes, caps and vessels," so the vessel (gui) refers to Zhen (Thunder) in the lower trigram of "Following." Only after obtaining this image did we realize that the gui in the line "six in the fourth" of Kan (Water) "Zun wine and two gui" and the gui in the "Hexagram Statement" of "Loss" "two gui can be used for sacrifice" both refer to Zhen. This is because the second to fourth lines of Kan form Zhen, and the same applies to the second to fourth lines of "Loss." However, people of the Han and Wei dynasties were unaware of this.

《易林·坤之隨》云「舉袂覆目」，以震為舉為袂也。自得此象，始知歸妹六五之袂之謂震也。袂，袖口也。歸妹上震下兌，皆有口象，而六五陰，九二陽，故五不如二良。

The "Forest Statements" of the "Forest of Changes" under the hexagram "Kun following" say "raising sleeves to cover the eyes." Therefore, the trigram Zhen is taken as "raising" and "sleeve." Since we have obtained this image, we now know that the "sleeve" mentioned in the line statement of "Return of the Bride" hexagram six in the fifth refers specifically to Zhen. A sleeve is the opening of a sleeve. The upper trigram of "Return of the Bride" is Zhen and the lower trigram is Dui, both of which have the image of a mouth. The sixth line is a yin line, while the second line is a yang line, and yin is less than yang. Therefore, the line statement says that the sleeve of the ruler is not as good as the sleeve of the bride's younger sister.

歸妹六五曰「其君之袂」，以震為君也；小過六五不及其君，亦以上震為君。《易林》本之，凡遇震卽言君，而二千年不知其象，故小過六二不能解。

The sixth line of "Guimei" says "the sleeve of the ruler," taking Zhen as the ruler. "Xiaoguo" says "not reaching the ruler, meeting the minister," also taking the upper trigram Zhen as the ruler. Based on this, "Jiao's Forest of Changes" always refers to the ruler when encountering Zhen. However, for two thousand years no one has understood this image, so the second line of "Xiaoguo" has never been properly explained.

《易林·大有》云「白虎張牙」，以兌為牙也。自得此象，始知大畜六五豶豕之牙，易原以兌為牙。五應二，二體兌也。鄭玄讀牙為互，清儒治漢易者多宗之，此卦象失傳之過也。艮為角，故曰牛角；兌為牙，故曰豶牙。若以牿為告，以牙為互，則非對文矣。

The "Lin Ci" of the "Yi Lin" for the hexagram "Da You" says "White Tiger spreads its teeth," taking the trigram Dui as teeth. Since obtaining this image, it has been understood that in the hexagram "Da Xu," line six five "the teeth of the castrated pig" refers to Dui as teeth: line six five corresponds with line nine two, and line nine two is located within the Dui trigram formed by the lines two to four. Zheng Xuan read "teeth" as "mutual," meaning the horizontal pole used to restrain animals, and many Qing dynasty scholars studying the Yi Jing followed him, which was an error caused by the loss of the hexagram images. Gen represents the horn, so line six four refers to the ox's horn; Dui represents the teeth, so line six five refers to the teeth of the castrated pig. If "gù" is read as "gào" and "yá" is read as "hù," these two lines would no longer form parallel phrases.

《易林·同人之豫》云「玉杯文案」，又《益之大壯》云「罍尊重席」，杯尊皆謂震也。自得此象，始知坎六四之尊之為互震，自漢迄清，皆不知其象。

The "Yubai Wenxian" in the "Yilin · Tongren Zhī Yu" says, "Jade cup and documents," and the "Li Zhi Dazhuang" says, "Léi respectful seating." Cup and léi both refer to Zhen. The upper trigram of "Yu" is Zhen, and the upper trigram of "Dazhuang" is also Zhen. Since obtaining this image, it is known that the "Zunji Gui'er" in the "Kan" hexagram six in the fourth line comes from the interacting trigram Zhen. From the Han dynasty until the Qing dynasty, no one understood this image.

解負且乘，以震為乘，艮為負也。《易林·乾之隨》云「乘龍上天」，以震為龍為乘；《同人之無妄》云「負牛上山」，以艮為負，是其證。

The hexagram 解 has the line Six in the Third saying "carrying something and riding on it, leading to the arrival of thieves," using 震 as the riding and 艮 as the carrying. The forest of the 易林, in the entry from 干 to 随, says "riding a dragon to heaven," using 震 as dragon and as riding — the lower trigram of 随 is exactly 震; in the entry from 同人 to 无妄, it says "carrying a bull up the mountain," using 艮 as carrying — the trigrams from the second to fourth lines of 无妄 form 艮: these are the evidence.

《易林·大畜之履》云「箕子佯狂」，履通謙，以震為箕子為狂。自得此象，知明夷彖傳之箕子之為震象，六五則字異。並知易於人名皆取卦象，如明夷文王、泰帝乙皆是也。

The "Forest of Divination" section of the "Book of Changes" titled "Great Accumulation" and "Walking" states, "Jizi feigned madness." The "Walking" hexagram is in mutual opposition with "Humility," and the third to fifth lines of "Humility" form the trigram Zhen (Thunder). This uses Zhen to represent Jizi and his feigned madness. Since obtaining this image, it has been understood that the "Commentary on the Judgment" of "Brightening Darkness" refers to the trigram Zhen as the image of Jizi. As for the "Jizi" in the fifth line of the sixth line, it is originally a different character and should be read as "gai zi." It has also been realized that the names of people in the "Book of Changes" are all derived from the hexagram images, such as "Wen Wang" in the "Commentary on the Judgment" of "Brightening Darkness" and "Di Yi" in the fifth line of "Greatness," which are all examples of this.

說卦乾為金，而易言金者五，皆非乾象，於是虞氏謂陽為金，毛奇齡謂兌為金，種種揣測，皆不得其象。按《易林·隨之屯》云「金玉滿堂」，以屯艮為金；《剝之蒙》云「齎金贖狸」，以蒙艮為金；又《升之噬嗑》云「金城鐵郭」，亦以噬嗑互艮為城郭為金鐵。蓋艮為堅，故為金。

The *Say卦Transmission* says that Qian represents metal, but the *Book of Changes* mentions metal in five places, none of which are associated with Qian. Yu Fan therefore proposed that yang lines represent metal, while Mao Qiling suggested that Dui represents metal. All these interpretations have failed to find the true symbolic meaning. According to the *Forest of Divination* in the *Yi Lin*, in the hexagram *Following* changing to *Sprouting*, the phrase "gold and jade fill the hall" uses the intermediately generated Gen in lines three to five to represent gold. In the hexagram *Splitting Through* changing to *Ignorance*, the phrase "presenting gold to redeem a cat" uses the upper trigram Gen of *Ignorance* to represent gold. In the hexagram *Rising* changing to *Breaking the Bones*, the phrase "a golden city with iron walls" uses the intermediately generated Gen in lines two to four to represent city walls and metal. Probably because Gen is solid and firm, it can represent metal.

說卦本為不完之書，如干為馬，震坎亦為馬；坤為輿，坎亦為輿；乾為亦，坎亦為赤，說卦皆言之。至坎為水坤亦為水，坎為月兌亦為月，乾為金艮亦為金，則不兼詳也。虞翻等知其一，不知其二，於是遇此等象，遂穿鑿百出。而易漢注存今者，虞氏獨多，於是治漢易者所當猛醒也。

The "Shuo Gua Zhuan" is originally an incomplete work. For example, it says that Qian represents a horse, as do Zhen and Kan; Kun represents a cart, as does Kan; Qian represents red, as does Kan—these are all discussed in the "Shuo Gua Zhuan." However, it does not mention that Kan represents water and Kun also represents water, or that Kan represents the moon and Dui also represents the moon, or that Qian represents metal and Gen also represents metal. Yu Fan and others only know one aspect but not the other, so when encountering such symbolic representations, they resort to forced interpretations and come up with various fanciful explanations. Yet, among the Han dynasty commentaries on the "Yi," the ones preserved today are the most numerous from Yu Fan. This is precisely the warning that scholars studying the Han dynasty "Yi" should take seriously.

自得艮金象，於是易之言金者皆得解。蒙六三云「見金夫」，三應上，上艮，故曰金；三體震，震為夫，故曰金失。而三至五坤，坤為躬，坤死，故不有其躬。噬嗑九四云「得金矢」，亦以艮為金，坎為矢，故曰得金矢；六五云得黃金，離為黃，艮為金，故曰得黃金。

Since obtaining the image of mountain (Gen) representing metal, all references to metal in the Yi Jing can be explained consistently. In the line "Seeing a man of metal, one does not possess one's own body" from the line Six in the Third of the Meng hexagram, the line Six in the Third corresponds with the line Nine at the Top, which is in the Gen trigram, hence called "metal." The line Six in the Third is also in the Zhen trigram, which is formed by the interaction of lines two to four, and Zhen represents a husband, thus combining to form "a man of metal." The lines three to five interact to form the Kun trigram, which represents the body and also signifies death, hence the phrase "one does not possess one's own body." In the line "obtaining a metal arrow" from the line Nine in the Fourth of the Shihe hexagram, metal is also represented by Gen. The hexagram Shihe has the Gen trigram formed by lines two to four, and the Kan trigram represents the arrow, hence "obtaining a metal arrow." The line "obtaining yellow metal" from the line Six in the Fifth refers to the Li trigram representing yellow and the Gen trigram representing metal, hence "obtaining yellow metal."

困九四云「困于金車」，困通賁，四體艮，互震為車，故曰金車。鼎六五云「金鉉利貞」，鼎通屯，五體艮，故曰金；坎為木，為穿，故曰鉉。鉉，鼎扛也，卽貫耳以舉鼎者也，卽士喪禮「左執匕抽扃」之扃。扃者，橫木關於鼎耳，左傳宣十二年「楚人惎之脫扃」是也。而此則不為木而為金，故曰金鉉。總此爻全用旁通，上句曰鼎黃耳，耳卽用屯坎。

The line "困于金车" in the fourth line of the hexagram "困" says: "Trapped by a golden chariot." The hexagram "困" is related to "贲" through mutual opposition. The fourth line in "贲" is located within the structure of the mountain (Gèn), which represents metal, hence "golden." The third to fifth lines of "贲" form the trigram of thunder (Zhèn), which symbolizes a chariot, thus the term "golden chariot." The line "鼎黄耳金铉, 利贞" in the fifth line of the hexagram "鼎" says: "A bronze cauldron with yellow ears and a golden bar, beneficial to maintain rectitude." The hexagram "鼎" is related to "屯" through mutual opposition. The fifth line in "屯" is located within the structure of the mountain (Gèn), which represents metal, hence "golden." The upper trigram of "屯" is water (Kǎn), which represents wood and penetration, hence "bar." The bar is the horizontal pole used to lift the cauldron, which is the same as the "jiōng" mentioned in the "Rites of the Zhou: Funeral Rites for a Scholar," where it says "left hand holds the knife and draws the jiōng." The jiōng is a horizontal pole inserted through the cauldron's ear, as mentioned in the "Zuo Zhuan" during the twelfth year of Duke Xuan's reign, where it says "the Chu people taught him to remove the jiōng." Here, the jiōng is not wooden but golden, hence "golden bar." In summary, this line uses the method of mutual opposition to derive its imagery. The previous line says "鼎黄耳," where the "ear" also uses the water (Kǎn) from "屯."

凡易辭，有其象而不必有其事。昔儒謂豚魚無知，焉能感格，易若如此解，將無一句可通矣。艮之為須，既從《易林》得其象，歸妹六三之須，疑亦用伏艮，為鬢毛之須，而未必為待。何以知之？下九四象曰「有待而行也」，知六三無待義。六三象曰「歸妹以須，未當也」，言女不應有須也；若訓為待，有何不當，且與九四義復矣。惟其未當，故反歸以娣。反者，退也，言以須之故，降而為娣也。娣者本象，須者伏象，本象與對象雜用，易恆列也。愚向持是說，而不敢定，後讀《易林·渙之歸妹》云「妹為貌慹，敗君正色」，莊子「慹然似非人」，言可怖也。貌慹謂須，《易林》原有此訓也。慹，之涉切，與色韻。

The words of the Book of Changes often only contain the image, not necessarily referring to actual events. Previously, there were scholars who said that pigs and fish have no sense of perception, so how could they be moved by sincerity? If the Book of Changes were interpreted in this way, then none of its statements would make sense. The trigram Gen represents beard, and since we have already obtained this image from the Forest of Changes by Jiao, then the term "mustache" in line six of the hexagram Guimei likely refers to the beard on the side of the face, which is hidden within the trigram Gen (as Guimei is opposite to Zhen, and Zhen's lower trigram is Gen). Therefore, it may not mean "waiting." How do we know this? The Image Commentary for line nine in the fourth position says, "The intention of delay is waiting for an opportunity to act," which shows that line six does not mean "waiting." The Image Commentary for line six says, "Guimei with a beard is inappropriate," meaning that a woman should not have a beard. If we interpret "beard" as "waiting," then waiting would not be inappropriate, and it would be redundant with the meaning of line nine. It is precisely because having a beard is inappropriate that one "returns to be a younger sister" — "return" means to retreat, meaning that because of the beard, one has to lower one's status and become a younger sister in marriage. The term "younger sister" comes from the original hexagram's image, while "beard" comes from the hidden trigram's image. The original and the opposite images are used together, which is a common practice in the Book of Changes. I once held this view but was uncertain. Later, when I read the Forest of Changes under the hexagram Huan to Guimei, it says, "The younger sister is concerned with appearance and looks frightening," and the Zhuangzi mentions, "Looks frightening, as if not human," which describes something terrifying. "Appearance and looks" clearly refers to a beard. Thus, the Forest of Changes originally had this interpretation. The character "tian" is a phonetic loan character, and it rhymes with the character "se."

舊解皆以離為矢，說噬嗑九四之金矢、解九二之黃矢尚可通，至旅六五之矢亡，亡字遂不能解，其誤與以離為斧同也。按《易林·豐之坎》云「枉矢西流」，坎為矢為矯輮，故曰枉矢；又《遯之師》云「鹿下西山，欲歸其群，逢羿箭鋒，死於矢端」，師互震為鹿，坎為箭矢，坤死，故曰死於矢端；又《大有之賁》云「楚烏逢矢」，賁離為鳥，坎為矢，坎在離前，故曰楚烏逢矢，說文「楚烏，雅也」。《易林》之以坎為矢，可謂明白矣。

Old commentaries all take Li as an arrow, which can still make sense when explaining the "golden arrow" in line nine two of "Shihe" and the "yellow arrow" in line nine two of "Jie." But when it comes to line six five of "Lv" saying "one arrow is lost in shooting a pheasant," the word "lost" cannot be explained. This error is of the same kind as taking Kan as an axe. According to the "Forest of Changes" in "Jiao's Forest of Changes," in the divination for "Feng" over "Kan," it says "crooked arrow flows west," where Kan is the arrow and also represents bending and twisting, so it refers to a curved arrow. In the divination for "Dun" over "Shi," it says "a deer goes down the western mountain, wanting to return to its herd, meets the arrowhead of Yi and dies at the end of the arrow." The lines two to four of "Shi" form Zhen, representing a deer, and the upper trigram Kan represents the arrow, while Kun signifies death, so it says dying at the end of the arrow. In the divination for "Dayou" over "Ben," it says "a crow meets an arrow." The lower trigram of "Ben" is Li, representing a bird, and the interacting trigram Kan is the arrow. Since Kan comes before Li, it says the crow meets the arrow. The "Shuo Wen Jie Zi" says "Chu Wu is a crow." The "Forest of Changes" by Jiao takes Kan as the arrow, which is clearly explained.

蓋坎為棘為七為穿，故為矢。矢象既得，於是凡易之言矢者皆得其解。噬嗑九四曰「得金矢」，艮為金，互坎為矢；解九二曰「得黃矢」，互離為黃，下坎為矢，坎為獲，故曰得；旅六五云「射雉一矢亡」，則以伏坎為矢，坎伏，故曰矢亡。繫辭說睽象云「剡木為矢」，坎為木為矢，兌斧，故曰剡矢。

The trigram Kan represents thorns, the number seven, and penetration, so it can be used to represent an arrow. Once the image of an arrow is established, any mention of arrows in the Book of Changes can be interpreted. In the line "Nine in the Fourth" of the hexagram Shihe, it says "obtaining a golden arrow," where Gen represents metal and the interacting trigrams contain Kan, which represents the arrow. In the line "Nine in the Second" of the hexagram Jie, it says "obtaining a yellow arrow," where the trigrams from the second to the fourth lines contain Li, which represents yellow, and the lower trigram Kan represents the arrow. Since Kan also represents capture, it is said "to obtain." In the line "Six in the Fifth" of the hexagram Lu, it says "shooting a pheasant with one arrow, losing it," where the hidden trigram Kan represents the arrow. The hexagram Lu is opposite to Jie and contains Kan, which is hidden and not visible, hence "the arrow is lost." The Great Treatise explains the imagery of the hexagram Kui by saying "carving wood into arrows," where Kan represents both wood and the arrow, and Dui represents the axe, hence cutting wood to make an arrow.

凡易象用於此而合，施之全易而或有不能通者，其取象必誤。漢魏人以離為矢，噬嗑及解已不如用坎之親切，然猶可強說；獨旅卦上離，而反曰一矢亡，於是二千年人不知亡字之義，且不知一數之何指。豈知易原以坎為矢，坎後天數一，坎伏，故曰一矢亡。二千年易家之大誤，見說卦以離為雉，所有鳥象皆欲屬之；以離為甲兵，所有兵器皆欲屬之；以離為蚌蟹，所有介族皆以專屬之。豈知不若是之專一哉？

Whenever an image from the Book of Changes is used in a particular context and fits well, but when applied throughout the entire text leads to inconsistencies, then the image must be incorrect. Han and Wei scholars took Li (Fire) as an arrow, and used it in the hexagrams "Shihe" (噬嗑) and "Jie" (解), but this was not as appropriate as using Kan (Water) instead. However, it could still bewith difficulty explained. But in the hexagram "Lv" (旅), the upper trigram is Li, yet the line statement says "one arrow is lost." For two thousand years, people have not understood the meaning of the character "亡" (lost) and have also not known what the number "一" (one) refers to. In fact, the Book of Changes originally took Kan as the arrow. In the Later Heaven arrangement, Kan represents the number one. In the hexagram "Lv," the Kan is hidden, hence the statement "one arrow is lost." The great mistake of scholars for two thousand years has been that, upon seeing the "Shu Guan Zhuan" (Sayings of the Trigrams) say that Li represents a pheasant, they tried to assign all bird images to Li; upon seeing that Li represents armor and weapons, they tried to assign all weapons to Li; upon seeing that Li represents a clam and a crab, they tried to assign all shellfish and armored creatures exclusively to Li. They did not realize that the imagery in the Book of Changes is not so singular.

震為夫，見孟氏逸象，於是解易者皆用之，豈知坎亦為夫。左傳坎變巽，曰「夫從風，風隕不可娶」，是以坎為夫也。《易林·觀之訟》云「讒夫在堂」，亦以訟坎為夫，坎上下兌口相背，故曰讒夫；又《無妄之比》云「夫亡從軍」，亦以比坎為夫，夫在外，故曰亡。亡者，往也。

The trigram Zhen represents a husband, as mentioned in Mengxi's extraordinary images. Therefore, interpreters of the Book of Changes adopted this view, but they did not realize that Kan also represents a husband. In the divination examples recorded in the Zuo Zhuan, when Kan changes to Xun, the interpretation states, "The husband follows the wind, the wind falls, and it is not suitable to marry," which uses Kan to represent the husband. In the "Yinlin" section of the Yilin, under the hexagram Guan changing to Song, the verse says, "A slanderous husband is in the hall," which also uses the lower trigram Kan of Song to represent the husband. Since the upper and lower halves of Kan each form a Dui trigram mouth facing opposite directions, the mouths are opposing, hence it is called "slanderous husband." In the hexagram Wuwang changing to Bi, it says, "The husband has gone to join the army," which also uses the upper trigram Kan of Bi to represent the husband. Since the husband is in the outer trigram, it is said "has gone," where "gone" means to go out, indicating being away from home.

自得此象，知比後夫，以上坎為失；蒙六三曰見金夫，以下坎為夫；大過九二曰老夫，以伏震為夫；至小畜九三曰夫妻反目，則以伏坎為夫；睽九四曰遇元夫，則以互坎為夫；漸九三曰夫征不復，亦正以互坎為夫。乃知左氏與《易林》仍本之易也。夫妻反目、夫征不復，解並見前，皆以震為夫，乃得坎夫象，故並著之，以資商搉。

Since the image of the坎 (Kan) as husband is obtained, the statement of the 《Bi》 hexagram says "the husband is inauspicious," which refers to the upper trigram Kan as husband; the line 《Meng》 six three says "seeing a noble husband," which refers to the lower trigram Kan as husband; the line 《Da Guo》 nine two says "the old husband marries his daughter as wife," which refers to the hidden trigram Zhen as husband, because 《Da Guo》 is connected with 《Yi》 and the lower trigram of 《Yi》 is Zhen; the line 《Xiao Xu》 nine three says "husband and wife quarrel," which refers to the hidden trigram Kan as husband, because 《Xiao Xu》 is connected with 《Yu》 and the trigrams three to five of 《Yu》 are Kan; the line 《Kui》 nine four says "meeting the original husband," which refers to the interacting trigram Kan as husband; the line 《Jian》 nine three says "the husband goes on a journey and does not return," which also refers to the interacting trigram Kan as husband. From this we can see that the 《Zuo Zhuan》 and 《Jiao's Forest of Changes》 still base themselves on the 《Yi Jing》."Husband and wife quarrel" and "the husband goes on a journey and does not return" are both explained in the previous text, where previously the trigram Zhen was taken as husband, but now the trigram Kan is also taken as husband, so they are recorded together for discussion.

說卦兌為口，而頤無兌，象曰自求品食，於是後人以伏兌為口。至飲食象，說卦無明文，於是荀氏以坎為飲食，後儒多從之，乃以坎說需漸之飲食皆當，而於大畜之不家食、頤之口食、節飲食、明夷之不食，皆不合。豈知震亦為口為飲食也。

The *Shuo Gua Zhuan* says that Dui represents the mouth, but the *Yi* hexagram does not contain Dui, and the hexagram statement also mentions seeking food from the mouth. Therefore, later scholars had to take the hidden Dui as the mouth. As for the image of food and drink, the *Shuo Gua Zhuan* does not explicitly mention it, so Xun Shuang interpreted Kan as representing food and drink, and later scholars mostly followed his interpretation. Using Kan to explain the food and drink in the *Xu* and *Jian* hexagrams is quite appropriate, but when applying it to the "not eating at home" in *Da Xu*, the "mouth food" and "regulating food and drink" in *Yi*, and the "not eating" in *Ming Yi*, it does not fit well. In fact, Zhen also represents the mouth and food and drink.

《易林·需之解》云「一指食肉，口無所得」，以解震為口為食，坎為肉；《蒙之艮》云「攫飯把肉，以就口食」，亦以艮中爻震為口為食。自得此象，於是大畜頤明夷之口象食象皆得解。大畜曰不家食，艮為家，震為食，故曰家食，皆在外，故不家食。

The "Forest Statement" in the "Forest of the Book of Changes" under the hexagram "Need" followed by "Release" says, "One finger eats meat, but the mouth gets nothing." Therefore, in the upper trigram of "Release," Zhen (Thunder) represents the mouth and food, while the lower trigram Kan (Water) represents meat. In the "Forest" statement under the hexagram "Meng" followed by "Gen," it says, "Grabbing food and meat to satisfy the mouth," which also uses the trigram Zhen (Thunder) representing the mouth and food, derived from the intermediate lines of Gen (Mountain). Since this image was established, the images of the mouth and food in the hexagrams "Da Xu," "Yi," and "Ming Yi" can all be explained. The hexagram "Da Xu" states, "Not eating at home, auspicious." Since Gen (Mountain) represents home and Zhen (Thunder) represents food, it is said "home eating." However, these images are located in the outer trigram, hence "not eating at home."

頤曰自求口實，阮氏校謂閩本監本汲古本皆作食，非。然詩曰「以就口食」，管子曰「並口而食」，《易林》亦每以口食連文。洪頤煊雲山井鼎《周易考文》作口食，然則汲古等本必有據，未必非。坤為目，艮為求，震為口食。鄭作食，鄭注云「坤載養物，而人所食之物存焉，觀其求可食之物，而貪廉之情可別也」，是鄭原讀為食。食亦震象，故曰自求口食。若作實，則卦無其象。

The hexagram Yi says, "Self-seeking for food." When Ruan Yuan was checking the texts, he said that the versions from Min, Jing, and Jiguge all read "mouth food," which is incorrect. However, the Book of Poetry has the phrase "to obtain food for the mouth," and the Guanzi mentions "eating together from the same mouth." The Jiao's Forest of Changes often uses "mouth food" together. Hong Yixuan said that the Zhou Changes Examination by Yan Jingding in Japan also reads "mouth food," so the versions from Jiguge and others must have their basis, and they may not be wrong. The hexagram Yi has an interchanging trigram of Kun, which represents the eye, the upper trigram is Gen representing seeking, and the lower trigram is Zhen representing the mouth and food. Zheng Xuan's version reads "food," and his commentary says, "Kun can carry and nurture all things; the food people eat is stored within it. By observing what kind of food he seeks, one can discern whether he is greedy or virtuous." Thus, Zheng Xuan originally read it as "food." "Food" is also the image of Zhen, so it is said "self-seeking for mouth food." If it were "real," there would be no corresponding image in the hexagram.

象曰節飲食，亦以震為食。須知頤者口旁肉，必正覆震口相合，然後為頤。虞氏以伏兌為口，取象似得矣，豈知必正覆震口上下相合，方為頤；若大過正覆兌，則不為頤，仍誤也。明夷初九曰三日不食，亦以互震為食，震在外，初離虛，故不食，離卦數三，故曰三日不食。

The Image Commentary of the Hexagram "Yi" says, "The superior man uses caution in speech and regulates his diet." It also uses Zhen as representing food. To understand this, we must note that "Yi" refers to the cheek beside the mouth, which requires a properly positioned Zhen mouth above and an inverted Zhen mouth below to form the complete "Yi." Yu Fan took the hidden Dui as representing the mouth, which seems plausible, but he failed to recognize that two Zhen mouths, one upright and one inverted, must be combined above and below to form "Yi." If, like in the Hexagram "Da Guo," there is only one upright and one inverted Dui, it cannot form "Yi," showing that Yu Fan was still incorrect. The line "Three days without food" in the line "Chu Ji" of the Hexagram "Ming Yi" also uses the Zhen in the mutual structure as representing food: Zhen is located outside (lines three to five), while the line "Chu Ji" is in the lower trigram, which is Li and is empty in the center, hence the statement of not eating. Since Li is numbered three in the Earlier Heaven sequence, it is said "Three days without food."

說卦離為目，故為觀。乃頤曰觀頤，曰觀我，曰虎視，觀六爻皆言觀，而皆無離象。按《易林·蒙之謙》云「日月相望」，則以艮為望，謙正反艮，故曰相望；又《蒙之大壯》云「千里望城」，大壯通觀，觀艮為城為望；又《坤之渙》云「舉首望城」，《乾之隨》云「遊觀四海」，亦皆以艮為觀望。乃知頤卦觀卦之方觀言視，皆取象於艮。蓋艮陽在上，故為明為觀，能居高以視下也。《易林》如此等逸象，遇之多年，皆不知其所謂，今以《易林》注易耶，抑以易注《易林》耶，吾亦不知也。

The *Say of the Trigrams* says that *Li* represents the eye, so it is used for "observation." However, the *Yi* hexagram's statement says "Observing the nourishment," the *Initial Nine* says "Observing my plump cheek," and the *Sixth Four* says "The tiger stares intently." The *Guan* hexagram's six lines all mention "observation," yet neither the *Yi* nor the *Guan* hexagram has the *Li* image. According to the *Forest of Changes* from *Jiao's Forest of Changes*, in the *Meng* to *Qian* forest statement, it says "the sun and moon gaze at each other," using *Gen* to represent "gazing." The *Qian* hexagram has one upright and one inverted *Gen*, so it says "gazing at each other." The *Meng* to *Da Zhuang* says "looking from a thousand miles at a city," and since *Da Zhuang* is opposite *Guan*, the third to fifth lines of *Guan* form an intercalary *Gen*, which represents a city and "gazing." The *Kun* to *Huan* says "raising one's head to gaze at a city," and the *Qian* to *Sui* says "wandering and observing the four seas," all using *Gen* to represent "observation" and "gazing." Thus, we know that wherever the *Yi* and *Guan* hexagrams speak of "observation" or "viewing," they use the *Gen* image. Probably because *Gen* has a yang line at the top, it represents brightness and observation, enabling it to look down from a high position. These kinds of unusual images from *Jiao's Forest of Changes* I have encountered for many years without understanding what they mean. Now I am unsure whether to use *Forest of Changes* to explain *Classic of Changes* or use *Classic of Changes* to explain *Forest of Changes*. I myself cannot clarify this.

離為日為光明，乾為大明，故坤曰光大，謂伏乾也；需曰光亨，履曰光明，謂互離也。泰九二象曰光大，同人彖傳曰文明以健，夬彖傳曰其危乃光，皆謂乾也。大有九四象曰明辨，噬嗑象曰明罰，賁曰文明，晉彖傳曰大明，此為乾日之確解，故乾彖傳曰大明，與此以離為大明同。明夷曰明，井九三曰王明，皆謂離也。屯九五曰未光，困初六曰幽不明，謂離伏也。漢魏人皆知也。

The trigram Li represents the sun and brightness, and Qian represents great brightness. Therefore, the Commentary on the Judgment of the Hexagram Kun says "embracing magnificence and radiance," referring to the hidden Qian. The Commentary on the Judgment of the Hexagram Xu says "radiant and smooth," and the Commentary on the Judgment of the Hexagram Li says "brightness," referring to the trigram Li in the interacting trigrams. The Image Commentary of line nine two in the Hexagram Tai says "because of radiance and magnificence," the Commentary on the Judgment of the Hexagram Tongren says "civilization with strength," and the Commentary on the Judgment of the Hexagram Guai says "its danger leads to radiance," all referring to Qian. The Image Commentary of line nine four in the Hexagram Dàyǒu says "clear discernment," the Image Commentary of the Hexagram Shìkē says "the former kings used brightness to enforce punishment and regulate laws," the Commentary on the Judgment of the Hexagram Ben says "civilization," and the Commentary on the Judgment of the Hexagram Jin says "smooth and attached to great brightness," all of these are correct interpretations of Qian as the sun, so the Commentary on the Judgment of the Hexagram Qian also says "great brightness from beginning to end," which is consistent with taking Li as great brightness. The Hexagram Mingyi mentions "brightness," and line nine three of the Hexagram Jing says "the king is bright," referring to Li. The Image Commentary of line nine five in the Hexagram Tun says "the application is not yet bright," and the Image Commentary of line six one in the Hexagram Kun says "darkness and not bright," referring to Li being hidden and not visible. These were all understood by the Han and Wei scholars.

乃《隨》九四曰「在道以明」，《大畜》彖傳曰「輝光」，《頤》九四象曰「上施光也」，《益》彖傳曰「其道大光」，《謙》《艮》彖傳皆曰「光明」，《觀》《渙》六四皆曰「光」。卦無干離，而亦曰光明。虞翻求其象不得，遂曰：謂某爻已變成離，故曰光明。凡清儒解易者皆宗之。此端一開，易尚有不解者哉？甚矣其自欺也。愚初解易，而知其為曲說，謂《隨》《益》《艮》《渙》之言光明之皆以大離也。

But the "Nine in the Fourth" of the "Following" hexagram says, "There is sincerity in the path, and thus there is clarity." The "Commentary on the Judgment" of the "Great Accumulation" hexagram says, "Strong and vigorous, firm and solid, radiating brilliance." The "Nine in the Fourth" image text of the "Nourishing" hexagram says, "The superior one spreads light." The "Commentary on the Judgment" of the "Increase" hexagram says, "Its way is great brightness." Both the "Humility" and "Stillness" hexagrams' commentaries on the judgment mention "brightness." The "Observing" hexagram's "Six in the Fourth" says, "Observing the light of the state," and the "Dispersing" hexagram's "Six in the Fourth" image text says, "Great brightness." All of these mention "light." These hexagrams do not contain Qian or Li, yet they still speak of brightness. Yu Fan could not find a corresponding image, so he said that one line had already transformed into Li, thus allowing the statement of brightness. Most Qing dynasty scholars who interpreted the Yi Jing followed this as a standard. Once this opening was made, is there any explanation in the Zhou Yi that cannot be interpreted? This self-deception is too severe. I knew from the beginning that this was a forced interpretation, and I believed that the brightness mentioned in the "Following," "Increase," "Stillness," and "Dispersing" hexagrams was derived from the image of "Great Li"—that is, viewing the entire six lines as a magnified form of the Li hexagram.

乃《謙》彖傳曰「天道下濟而光明」，《觀》六四曰「觀國之光」，二卦皆不互大離，而亦曰光明，愚心始疑之，乃返求之《易林》。《易林》《訟》之《觀》云「欽明之德」，以艮為明也；《訟》之《震》云「六位光明」，亦以互艮為位為光明；又《蒙》之《謙》云「光明盛昌」，亦以《謙》下艮為光明。蓋艮陽在上，故為火為光為明為觀，乃恍悟得艮為光明，凡《易林》之言光明者皆渙然永釋。此以《易》注《易林》也。易象失傳之難於摸索如此。

But the Commentary on the Judgment of the Qian hexagram says, "Heaven's way descends and brings brightness," and the sixth line of the fourth position in the Guan hexagram says, "Observing the light of the state." These two hexagrams do not produce the image of "Great Fire," yet they both speak of brightness. This made me suspicious, so I went back to Jiao's Forest of Changes to look for an explanation. In the entry "Strife to Guan," it says, "The virtue of reverence and clarity." The derived hexagram Guan has four yin lines below and two yang lines above, forming the entire hexagram as Gen. This shows that Gen is regarded as brightness. In the entry "Strife to Zhen," it says, "Six positions are bright." The derived hexagram Zhen has the second to fourth lines forming Gen, which is regarded as "position" and "brightness." In the entry "Meng to Qian," it says, "Brightness flourishes and thrives." The lower trigram of the derived hexagram Qian is Gen, which again regards Gen as brightness. Now I finally realized that Gen has the image of brightness. All the entries in the Forest of Changes that refer to brightness are now clear and free from doubt. This is using the Zhou Changes to explain the Forest of Changes. After the loss of the images of the Changes, it was so difficult to understand them.

《易林》《未濟》之《恆》云「甕破缶缺」。《恆》上震，為甕為缶；互兌，為破缺，自得此象。《井》九二之甕，乃知其確指伏震；《坎》六四之缶，乃知其指互震。舊解以離為甕，離無口，為大腹則可，為甕似非。至缶象，舊解皆以坤為缶，豈知《比》初六可以坤為缶，《坎》六四則以互震為缶，與樽、簋皆象震形，為最切也。

In Jiao's Forest of Changes, the entry for "Wèi Jì" (The Unfinished) to "Héng" (Permanence) says "the jar is broken and the vessel is missing." The upper trigram of the "Héng" hexagram is Zhen (Thunder), which represents the jar or vessel; the trigram Dui (Lake) appears in the third to fifth lines, and Dui signifies destruction, hence "broken" and "missing." The imagery in the Forest of Changes comes entirely from this. With this entry, we understand that the jar in the line "Wèng bì lòu" (the jar is broken and leaks) in the "Jǐng" (Well) hexagram's line nine two refers specifically to the hidden Zhen trigram (the lower trigram of Jǐng is Xun, and when its yin and yang are fully transformed, it becomes Zhen). Similarly, the vessel in the line "Zūn jiǔ guǐ èr yòng fǒu" (a cup of wine, two bowls, and a vessel) in the "Kǎn" (Lake) hexagram's line six four refers to the hidden Zhen trigram (the second to fourth lines of Kǎn form Zhen). Old interpretations took Li (Fire) as the jar, which is somewhat reasonable since Li is hollow in the middle, but calling it a jar seems incorrect. As for the vessel, old interpretations uniformly took Kun (Earth) as the vessel; however, they failed to recognize that in the line "Yǒu fú yíng fǒu" (having sincerity, filling the vessel) of the "Bǐ" (Comparison) hexagram's line one six, Kun can be used as the vessel. In the case of the "Kǎn" hexagram's line six four, however, the hidden Zhen trigram must be used as the vessel. Zhen has one yang line at the bottom and two yin lines above, and it resembles the shape of vessels like zun and gui, making it the most appropriate choice for symbolic representation.

行唐尚秉和節之撰。

This volume was compiled by Shang Binghe, a native of Xingtang in Zhili (now Xingtang County, Hebei Province), whose courtesy name was Jiezi.

象者，易辭之所本；數者，易道所由成也。故自春秋以迄東漢，靡不重之。自王弼解縛去滯，避難就易，掃象不言，專演空理，是終日期菽粟豆麥之佳善，而不知其生於地也。象且不言，何有於數？

"The 'Xiang' (image) is the fundamental basis of the hexagram line statements in The Zhou Yi (I Ching), and 'Shu' (number) is the support upon which the principles of The Zhou Yi rest. Therefore, from the Spring and Autumn period up to the Eastern Han dynasty, those who interpreted The Zhou Yi never failed to value both Xiang and Shu. Since Wang Bi sought to break free from constraints and remove obstacles, choosing the easy path instead of the difficult one, he entirely dismissed the discussion of hexagrams, focusing only on abstract reasoning. This is like constantly praising the virtues of beans, millet, soybeans, and wheat without realizing they all grow from the soil. If one refuses to discuss Xiang, how can one even talk about Shu?"

凡數有十，而實盡於五，參天兩地也。五合一為六，合二為七，合三作八，合四為九，合五為十。十不能變，仍與一同，故易祗用六、七、八、九，以六、七、八、九包一、二、三、四、五於其中也。此《大玄》所由以第一首當水，第二首當火，第三首當木，四首當金，五首當土；至六、七、八、九，復為水火木金也。可見一、二、三、四與六、七、八、九同，祗以五為樞紐耳。故卽此六、七、八、九之數，參伍之，錯綜之，而策數之變化以見，而易道之根本以成。茲卽《易林》所用者分晰言之：一曰卦數，二曰爻數，三曰五行數，四曰十日數，五曰九宮數，六曰策數，七曰十二辰數。

The numbers total only ten, but they are exhausted by five, which is the meaning of the phrase "three in heaven, two on earth" from the "Commentary on the Diagrams." Adding one to five gives six, adding two gives seven, adding three gives eight, adding four gives nine, and adding five gives ten. Ten has no further change and returns to the same as one. Therefore, the "Zhou Changes" only use the numbers six, seven, eight, and nine, because these numbers already include one, two, three, four, and five. Yang Xiong's "Tai Xuan" first associates the first section with water, the second with fire, the third with wood, the fourth with metal, the fifth with earth; the sixth, seventh, eighth, and ninth sections again cycle through water, fire, wood, and metal, precisely for this reason. This shows that one, two, three, and four are essentially the same as six, seven, eight, and nine, with five serving as the central pivot. Therefore, by combining the numbers six, seven, eight, and nine in groups of three or five, or by arranging them in a mixed and complex manner, the various changes of the divination numbers become apparent, and the fundamental principles of the "Changes" are thus established. The following section will explain the numbers used in the "Jiao's Forest of Changes" separately: first, the numbers of the hexagrams, second, the numbers of the lines, third, the numbers of the Five Phases, fourth, the numbers of the ten days, fifth, the numbers of the nine palaces, sixth, the numbers of the divination rods, and seventh, the numbers of the twelve earthly branches.

先天八卦圖（略）。朱漢上以九宮為卦數者，非也。卦數者，八卦之次第，故數祗有八，不及九，然相對者皆九也，亦猶十日數卽以其次為數也。《周易》定位首乾，乾始坤終，乾作坤成。《繫傳》曰：「易有太極，是生兩儀，兩儀生四象，四象生八卦。」八卦之次皆出於自然：乾一、兌二、離三、震四、巽五、坎六、艮七、坤八。凡《易林》所用之數，卦數幾居其半，乃至東漢卽失傳。及邵子揭出此數，後人拘於河洛之數，謂與法象不合。豈知爻尚有數，卦之次又何不可為數哉？其詳已見卷一。

There was originally an Earlier Heaven Trigrams diagram here, but it is omitted in this text. Zhu Zhen, who was known as the Master of Han Shang, regarded the nine numbers of the Nine Squares as trigram numbers, which was incorrect. The term "trigram numbers" refers to the order of the eight trigrams, so the number is only eight, not nine. However, when the numbers of trigrams that are opposite to each other are added together, they equal nine, just like the ten suns, which are determined by their sequence. The Zhou Changes establishes directions with Heaven (Qian) as the first, and Earth (Kun) as the last. Heaven represents the beginning, and Earth represents the completion of things. The Great Treatise says, "The Book of Changes contains the Taiji, and the Taiji produces the two principles, the two principles produce the four images, and the four images produce the eight trigrams." The order of the eight trigrams comes entirely from nature: Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, Kun eight. The numbers used in Jiao's Forest of Changes include trigram numbers almost half the time, but they were lost by the Eastern Han dynasty. Later, Shao Yong revealed this system. Later people were rigid in their adherence to the numbers of the Yellow River Chart and the Luo Writing, claiming they did not conform to the principles of the Book of Changes. But they did not realize that even the lines (yao) have numbers, so why should the order of the trigrams not be considered numbers? A detailed account is given in Volume One of this book.

爻數圖（略）。右圖爻數，自初數之。或以一爻為一歲一年，《同人》九三「三歲不興」，《既濟》九三「三年克之」；或以一爻為一月，《臨》「至于八月有凶」；或以一爻為一日，《復》「七日來復」；或以一爻為一人，《損》六三「三人行則得其友」。皆爻數也。

There was originally a diagram showing the number of lines, but it is omitted here. The lines listed in the diagram above are counted starting from the first line. Sometimes one line represents one year, for example, in the Hexagram of Tongren, line nine in the third position says "three years without success," and in the Hexagram of Ji Ji, line nine in the third position says "three years to overcome." Sometimes one line represents one month, for example, in the Hexagram of Lin, the Hexagram Statement says "danger occurs by the eighth month." Sometimes one line represents one day, for example, in the Hexagram of Fu, the Hexagram Statement says "seven days until it returns." Sometimes one line represents one person, for example, in the Hexagram of Shen, line six in the third position says "if three people walk, one is lost; if one person walks, he will find a friend." All of these belong to the concept of line numbers.

若《易林》所用，如《乾》之《晉》云「三痴俱走」，坤為痴，三則用爻數，故曰三痴。《恆》之《節》云「一華千葉」，《節》震一，兌為華，故曰一華，用爻數也。又《恆》之《小過》云「一息十子」，一仍震之爻數也。又《易林》或以巽為七，疑與《復》七日同例：自《姤》而《復》七日，自《復》而《姤》亦七日，所謂反覆也；《姤》則下巽，亦爻數也。

In the "Forest of Changes" by Jiao, the number of lines used refers to the line numbers. For example, the entry "Gan's Progress" says "three fools flee": the lower trigram of Gan's Progress is Kun, which represents foolishness and ignorance. Since Kun occupies the lower three lines, the number "three" refers to the line number, hence "three fools." Another example is "Heng's Festival" which says "one flower, a thousand leaves": the trigram Zhen emerges from the second to fourth lines of the lower trigram of Festival, with Zhen's single yang line at the bottom, making its line number one. The lower trigram of Festival is Dui, which represents a flower, hence "one flower." This also uses line numbers. Another example is "Heng's Small Overstep" which says "one breath, ten children": the "one" still refers to the line number of Zhen, as the upper trigram of Small Overstep is Zhen. Sometimes the "Forest of Changes" assigns the number seven to Xun, similar to the example in the "Reversal Trigram" where "seven days to return" is mentioned. Counting from the first yin line of Guo, through Guo, Duan, Pian, Guan, Po, and Kun, to Fu, the return of the first yang line, there are exactly seven positions. Counting back from Fu to Guo is also seven positions, which is called "reversal." The lower trigram of Guo is Xun, so Xun is assigned the number seven, which is also a line number.

五行數圖（略）。上圖，朱漢上謂之洛書數，朱子則謂為河圖數。郭璞《洞林》云「坎數六，木數三」，是也。《易林》《晉》之《節》云「四壁無戶，三步一止」，《節》震木數三，坎水數一，皆用五行數也。又按：《易》《震》六二曰「九陵」，虞仲翔以初九當之，《易》無如此用數者；而《易林》遇震亦往往本《易》言九。震納庚，疑用金數也。

There was originally a diagram of the Five Phases numbers here, but this version omits it. The diagram above is called the Luo Book numbers by Zhu Zhen, but Zhu Xi refers to it as the Yellow River Chart numbers. Guo Pu's "Dong Lin" states, "The坎 (Water) trigram has the number six, and the wood trigram has the number three," which matches this diagram exactly. In the "Jiao's Forest of Changes," under the entry "Jin's Jie," it says, "Four walls with no doors, three steps and one stop." The trigram Jie contains the trigram Zhen in its middle position. Zhen belongs to wood, and the number of wood is three, hence the phrase "three steps." The upper trigram of Jie is Kan, which belongs to water, and the number of water is one, hence the phrase "one stop." These are all examples of using the numbers of the Five Phases. Also, in the Zhou Changes, the Zhen trigram's line six two says, "Rising to the nine hills." Yu Fan used the first line, initial nine, to explain the "nine," but the Zhou Changes does not provide such an example of using numbers. However, when the Forest of Changes encounters the Zhen trigram, it often follows the Zhou Changes in referring to it as "nine." In the system of Najia, Zhen is assigned the stem Geng, which belongs to metal, and the completed number of metal is nine. This "nine" is probably derived from the number of metal in the Five Phases.

十日數圖（略）。上卽納甲數：乾納甲壬，配一九；坤納乙癸，配二十；震納庚，配七；巽納辛，配八；坎納戊，配五；離納己丁六；艮納丙，配三；兌納丁，配四。《易林》《解》之《謙》云「三火起明」，《謙》下艮納丙，數三，用日數也。又《易林》及虞翻等往往以兌為十，則以後天兌位當癸十之終，仍用日數，而非納甲也，祗兌如此用，他卦則未見。

There was originally a diagram of the ten-day numbers, but this text omits it. The diagram above shows the numbers used in the Najia system: Qian (Heaven) takes Jia and Ren, paired with one and nine; Kun (Earth) takes Yi and Gui, paired with two and ten; Zhen (Thunder) takes Geng, paired with seven; Xun (Wind) takes Xin, paired with eight; Kan (Water) takes Wu, paired with five; Li (Fire) takes Ji, paired with six; Gen (Mountain) takes Bing, paired with three; Dui (Lake) takes Ding, paired with four (the ten heavenly stems are Jia one, Yi two, Bing three, Ding four, Wu five, Ji six, Geng seven, Xin eight, Ren nine, Gui ten). In the "Jiao's Forest of Changes," the entry "Jie Zhi Qian" (Decomposing Humility) says "three fires arise to illuminate": the lower trigram of the hexagram "Humility" is Gen, which takes Bing, the third heavenly stem, hence "three fires," using the ten-day numbers. Also, the "Forest of Changes" and Yu Fan often use Dui as ten, because in the Later Heaven Trigrams, Dui is located in the west, corresponding to Gui water, the tenth heavenly stem, still using the ten-day numbers, not the Najia system (Dui should take Ding, which is four). Only Dui is used this way; other trigrams are not found to be used this way.

九宮數圖（略）。上圖，劉牧、朱震等謂之河圖，朱子謂之洛書，於古皆無確徵，故其名無定。考《大戴禮·明堂篇》曰「明堂凡九室」，「二九四七五三六一八」，與茲數正同。九室者，九宮也。是以《乾鑿度》、張衡、鄭康成等皆謂為九宮，故名曰九宮數。

There was originally a diagram of the nine-square number arrangement, but it is omitted here. The diagram above was called the Yellow River Chart by Liu Mu and Zhu Zhen, but Zhu Xi called it the Luo Writing. There is no conclusive evidence in ancient texts to confirm which name is correct, so the name has never been fixed. A reference in the "Great Dai Li Ji · Bright Hall Chapter" states, "The Bright Hall has nine rooms," and lists the sequence "two nine four seven five three six one eight," which is exactly the same as the numbers in this diagram. The term "nine rooms" refers to the nine-square grid. Therefore, the "Yi Wei · Qian Zao Du" and Zhang Heng, Zheng Xuan (styled Kangcheng) and others all referred to it as the nine-square grid. Hence, we have decided to call it the nine-square number arrangement.

惟九宮之數皆以後天八卦配之。《易林》《蠱》之《師》云「二人共路」，後天坤位值二，《師》上坤，互震，震人，故曰二人。又《大壯》之《否》云「三痴六狂」，《否》下坤為痴，三用爻數；乾位值六，故曰六狂。二與六皆用九宮數也。其見於別書者，朱漢上云：郭璞謂巽別數四，兌數七。又曰：坎為一年，《易鑑》所謂震三、艮八也。惟朱漢上謂此為卦數，殊非。卦數須從定位起，此入用位，故以配九宮。

The numbers of the Nine Palaces are all paired with the Later Heaven Trigrams. In the Later Heaven arrangement, the positions are: Kan (Water) at one,坤 (Earth) at two, Zhen (Thunder) at three, Xun (Wind) at four, the center at five, Qian (Heaven) at six, Dui (Lake) at seven, Gen (Mountain) at eight, and Li (Fire) at nine. In the "Forest of Changes" by Jiao, the entry "Gǔ zhī shī" (Guilt and Army) says "two people walking together": the upper trigram of the hexagram Shī (Army) is坤, which corresponds to the position of two in the Nine Palaces. The second to fourth lines of Shī also produce the trigram Zhen, which represents people, hence the phrase "two people." Another entry, "Dà zhuàng zhī pǐ" (Great Strength and Obstruction), says "three foolish and six mad": the lower trigram of the hexagram Pǐ (Obstruction) is坤, which represents foolishness and ignorance. The number "three" is taken from the line count (Kun covers the lower three lines), and Qian is at six in the Nine Palaces, hence "six mad." The numbers two and six here are both based on the Nine Palaces system. Other sources mention that Zhu Zhen said Guo Pu used the number four for the trigram Zhen and seven for Dui, and also said Kan represents a year, as mentioned in "Yi Jian" where Zhen is three and Gen is eight. However, Zhu Zhen regarded these as trigram numbers, which is inappropriate. Trigram numbers must be calculated from the Earlier Heaven arrangement, while this system is based on the positions used in divination, so it can only be paired with the Nine Palaces.

大衍數，卽策數。《漢上易》云：「四因九，得三十六」，「四因六，得二十四」。太極不用，所用者四象，故以四因九六。九者陽數，六者陰數也。陽用極數，故九；陰用中數，故六。九而四之，得三十六，為乾一爻之策；六而四之，得二十四，為坤一爻之策。

The number of the Great Transformation is the number of the divination rods. Zhu Zhen's "Han Shang Yi Zhuan" says: "Four multiplied by nine gives thirty-six," "Four multiplied by six gives twenty-four." This is because the Taiji itself does not participate in the counting process, and only the four images are used, so four is multiplied by nine and six. Nine is the number of Yang, and six is the number of Yin; Yang takes the extreme number, so nine is used, and Yin takes the middle number, so six is used. Nine multiplied by four gives thirty-six, which is the number of the divination rods for one line of the Qian hexagram; six multiplied by four gives twenty-four, which is the number of the divination rods for one line of the Kun hexagram.

「六因三十六，得二百一十有六。」六者，一卦有六爻。乾一爻之策三十有六，以三十六而六之，則二百一十有六，為乾一卦之策。「六因二十四，得百四十有四。」六者，一卦有六爻。坤一爻之策二十有四，以二十四而六之，則百四十有四，為坤一卦之策也。

Zhu Zhen also said: "Six multiplied by thirty-six gives two hundred and sixteen." Here, the "six" is because a single hexagram has six lines. For the Qian hexagram, each line has a value of thirty-six. Multiplying thirty-six by six lines gives two hundred and sixteen, which is the value of the Qian hexagram, exactly as stated in the "Great Treatise" that "the measure of Qian is two hundred and sixteen." He also said: "Six multiplied by twenty-four gives one hundred and forty-four." Here, the "six" again refers to the six lines in a hexagram. For the Kun hexagram, each line has a value of twenty-four. Multiplying twenty-four by six lines gives one hundred and forty-four, which is the value of the Kun hexagram, exactly as stated in the "Great Treatise" that "the measure of Kun is one hundred and forty-four."

「乾坤之策凡三百有六十。」二百一十有六合百四十有四，則三百六十也。按九六策數六因之，共得三百六十，當期之日；若二十八、三十二，七八之數，各以六因之，亦共得三百六十，當期之日也。「三十二因二百一十有六，得六千九百一十二。」陽卦有三十二卦，以二百一十有六而三十二之，則六千九百一十二，為三十二陽卦之策數也。「三十二因百四十有四，得四千六百八。」陰卦有三十二卦，以百四十有四而三十二之，則四千六百八，三十二陰卦之策數也。

The Great Treatise says: "The number of lines in the Qian and Kun hexagrams together total three hundred and sixty." Two hundred and sixteen plus one hundred and forty-four equals exactly three hundred and sixty. This is because the numbers nine and six, which are the numbers of lines, each multiplied by six lines, result in three hundred and sixty, which corresponds exactly to the number of days in a year. If instead the numbers seven and eight are used (seven multiplied by four gives twenty-eight lines, eight multiplied by four gives thirty-two lines), then each line has twenty-eight lines and thirty-two lines respectively. Multiplying each by six lines gives one hundred and sixty-eight and one hundred and ninety-two, which together also total three hundred and sixty, again corresponding exactly to the number of days in a year. Zhu Zhen also said: "Thirty-two multiplied by two hundred and sixteen gives six thousand nine hundred and twelve." Among the sixty-four hexagrams, there are thirty-two yang hexagrams. Multiplying two hundred and sixteen by thirty-two gives six thousand nine hundred and twelve, which is the total number of lines for the thirty-two yang hexagrams. "Thirty-two multiplied by one hundred and forty-four gives four thousand six hundred and eight." The thirty-two yin hexagrams are similarly calculated by multiplying one hundred and forty-four by thirty-two, resulting in four thousand six hundred and eight, which is the total number of lines for the thirty-two yin hexagrams.

「二篇之策，萬有一千五百二十。」三十二陽卦之策六千九百一十二，三十二陰卦之策四千六百八，合而為萬有一千五百二十，所謂二篇之策也。按全易三百八十四爻，陰陽爻各一百九十二，以九六策數因之，仍合為萬有一千五百二十。

The number of lines in the upper and lower parts totals 11,520. The 32 yang hexagrams account for 6,912 lines, and the 32 yin hexagrams account for 4,608 lines. Together they make exactly 11,520, which is what the Great Treatise says "the two parts of lines." Note: The entire Zhou Changes contains 384 lines, with 192 yang lines and 192 yin lines. Multiplying the number of lines by the respective number of lines (each yang line is worth 36 lines, each yin line is worth 24 lines) still results in a total of 11,520.

右大衍數，邵康節傳其子伯溫。按此必傳其用，若數則人共知。按《易林》《萃》之《夬》云「千歡萬悅」，用乾策也；《噬嗑》之《損》云「遠望千里」，用坤策也；《萃》之《大畜》云「大樹百根」，用震策也。惟祗遇乾坤震三卦言之，他卦則不見也。

The above is the number of the Great Derivation. Shao Yong (posthumously known as Kangjie) passed it on to his son Shao Bowen. Note: what he passed down must have been the application of these numbers, while the numbers themselves are well known to everyone. Another note: in the entry "Cui followed by Gua" from Jiao's Forest of Changes it says "a thousand joys and ten thousand pleasures," using the numerical count of the Qian trigram; in the entry "Shihe followed by Sun" it says "looking far off for a thousand miles," using the numerical count of the Kun trigram; in the entry "Cui followed by Da Xu" it says "a big tree with hundreds of roots," using the numerical count of the Zhen trigram. Generally, the numerical counts of the yang trigrams are in the thousands, and those of the two chapters are in the ten thousands, so the words in the Forest of Changes use "thousand" and "ten thousand." However, the numerical count of the Zhen trigram is only over a hundred, so it uses "hundred." Nevertheless, the Forest of Changes only uses these numerical counts when encountering the trigrams Qian, Kun, and Zhen; for other trigrams, such usage does not appear.

十二辰數圖（略）。朱震云：十二辰卽月數，月數卽消息數，或用之為日數，則京房之積算也。《易林》《大壯》之《離》云「丑寅不徙，辰巳有咎」，則以坎互艮震，先後天皆居丑寅；離互兌巽，先後天皆居辰巳。又《革》之《賁》云「亥午相錯」，則以艮居亥，丑居午，皆論十二辰也。

There was originally a diagram of the twelve earthly branches and their numbers, but this text omits it. Zhu Zhen said: the twelve earthly branches are the numbers of the moon, and the numbers of the moon are the numbers of the changing hexagrams; sometimes they are used as the numbers of the day, which is the method of accumulated calculation used by Jing Fang. In "The Forest of Changes by Jiao," under the hexagram "Da Zhuang" and its trigram "Li," it says, "Chou and Yin do not move, Chen and Si bring misfortune." The hexagram here is "Li." The hidden hexagram of "Li" (with all yin and yang reversed) is "Kan." The trigrams formed by the second to fourth lines of "Kan" are "Zhen," and those formed by the third to fifth lines are "Gen." "Zhen" is located in the northeast in the Earlier Heaven, and "Gen" is located in the northeast in the Later Heaven. Both the Earlier Heaven and Later Heaven occupy the position of Chou and Yin, hence the statement "Chou and Yin." The hexagram "Li" itself forms the trigrams "Xun" from the second to fourth lines and "Dui" from the third to fifth lines. "Dui" is located in the southeast in the Earlier Heaven, and "Xun" is located in the southeast in the Later Heaven. Both the Earlier Heaven and Later Heaven occupy the position of Chen and Si, hence the statement "Chen and Si." Another example is from "The Forest of Changes by Jiao," under the hexagram "Ge" and its trigram "Ben," which says, "Hai and Wu are conflicting." The upper trigram of "Bene" is "Gen," which is located in the northwest in the Earlier Heaven, corresponding to the position of Hai. The lower trigram is "Li," which is located in the due south in the Later Heaven, corresponding to the position of Wu. All these statements are based on the twelve earthly branches.

由《左氏》證之，象至東漢卽失傳；西漢失傳與否，無從證明。然由《易林》考之，凡《左氏》所謂者，《易林》皆有也；其它各逸象所有者，《易林》無不有。若各逸象所無、為《易林》所獨有者，則象之失傳者也。其實此象皆在易辭中，易象失傳，後人遂瞠目莫覩矣，如坤魚、兌月，其著者也。故《易林》實集象學之大成。由斯推西漢時，象似未失傳也。茲分別述之於下。

Using the "Zuo Zhuan" for verification, we can see that the images of the "I Ching" had already been lost by the Eastern Han dynasty; as for whether they were lost in the Western Han dynasty, there is no evidence. However, examining the "Jiao's Forest of Changes," we find that all the images used in the "Zuo Zhuan" are present in the "Jiao's Forest of Changes." Other collections of lost images from various schools also contain all the images found in the "Jiao's Forest of Changes." As for images that are not found in the collections of other schools but are unique to the "Jiao's Forest of Changes," these are precisely the lost images. In fact, these images originally existed in the hexagram line statements of the "Zhou Changes." Because the images of the "I Ching" had been lost, later people could not recognize them even if they looked closely, such as the image of the Earth as a fish and the image of the Lake as the moon, which are the most obvious examples. Therefore, the "Jiao's Forest of Changes" is indeed a comprehensive collection of image studies. From this, we can infer that the images of the "I Ching" had not yet been lost in the Western Han dynasty. Now I will explain them in categories as follows.

凡卦爻辭皆從象生，其見於《說卦》及各家逸象者，人能解；其不見者，則不能解，如干日、兌月、坤魚、乾南、坤北、離東、坎西等是也。而《易林》則無不知之。

All hexagram statements and line statements arise from the hexagram images. Those found in the "Commentary on the Hexagrams" and in the collected lost images by various schools can still be explained. But those not found in these texts are no longer understood, for example, the images of乾 as the sun, 兑 as the moon, 坤 as a fish, 乾 located to the south, 坤 located to the north, 离 located to the east, and 坎 located to the west, and so on. However, the "Forest of Changes" by Jiao Shi understands all these images without exception.

乾健坤順，言八卦性情者八象；乾馬坤牛，遠取諸物者八象；乾首坤腹，近取諸身者八象，共二十四象。及下所廣之百十有四家，後天八卦象、中男少男二象，共百五十象，《易林》無不用也。

In the "Sayings on the Trigrams" (Sayi Zhuan), there are eight images describing the nature of the Eight Trigrams, such as "Qian represents strength, Kun represents compliance." There are another eight images that take distant objects as symbols, such as "Qian represents a horse, Kun represents an ox." There are also eight images that take close objects of the body as symbols, such as "Qian represents the head, Kun represents the abdomen." In total, there are twenty-four images. Adding to these the one hundred and fourteen images introduced later in the text, as well as the images of the Later Heaven Trigrams, and the two images of the younger male and the younger male, the total becomes one hundred and fifty images. The "Jiao's Forest of Changes" makes use of none of these images without employing them.

共三十有一象。此本非逸象，徒以傳流之本字多寡不同，後儒慎之，命為逸象。此亦唯《易林》知之，若東漢人則不盡知。

Xun Shuang and nine other schools transmitted thirty-one lost images. These were originally not considered 'lost images,' but later scholars, due to the varying lengths of the transmitted texts, hesitated to make definitive judgments, and thus named them 'lost images.' This set of images was understood by all in the Jiao Forest of Changes, but people from the Eastern Han dynasty may not have all known them.

其普通皆知之象不録。除十翼外，詁易者莫先於《左傳》。其說易，無一字不從象生。惟其所用之象，為《說卦》及各逸象所有者，杜注孔疏能解；無者遂不能解。杜孔之時，賈逵服虔之注皆在，可見賈服卽不知，象至東漢而失傳，此最明確矣。茲將《左傳》失傳之象，分述如左。

Among the common images that everyone understands, none are included. Apart from the "Ten Wings," the earliest interpretations of the Zhou Yi are found in the Zuo Zhuan. The Zuo Zhuan discusses the Yi, and every word it uses comes from the images of the hexagrams. However, the images it employs, if they are found in the Shuo Gua Zhuan or in the lost images of various schools, can still be explained by Du Yu's annotations and Kong Yingda's commentary. But if they are not found there, they cannot be explained. At the time of Du Yu and Kong Yingda, the old annotations by Jia Kui and Fu Qian were still available, indicating that even Jia Kui and Fu Qian did not fully understand them. This clearly shows that the images of the Yi had already been lost by the Eastern Han dynasty. Now I will list the lost images from the Zuo Zhuan item by item.

一、閔元年，畢萬筮仕於晉，遇《屯》之《比》，震變坤也，而曰「車從馬」，以震為車。又《晉語》：「震，車也。車有震武。」是以震為武。而漢魏人解《易》《履》《巽》之武人，無以震為武者。若《易林》則遇震卽言武。又震殺之象，孔疏能解，漢人解《易》亦無用者，而《易林》每用之。

The first point: In the first year of Duke Min of the State of Zheng, Bi Wan went to the State of Jin to seek a position and cast a divination, obtaining the hexagram Zhun (屯) changing to Bi (比), meaning the lower trigram Zhen (Thunder) changed to Kun (Earth). The divination commentary said, "A chariot following a horse," which took Zhen as representing a chariot. Also, the Guoyu (Book of States) says: "Zhen is the chariot; the chariot carries the might of Zhen." This took Zhen as representing martial strength. However, Han and Wei scholars interpreting the Zhou Changes (I Ching) at the line Li (履) six in the third and Xun (巽) six at the beginning, where the term "military man" appears, did not use Zhen to represent martial strength. Jiao's Forest of Changes, however, always associates Zhen with martial strength. Moreover, Zhen represents the image of military action and killing, and Kong Yingda's commentary could still explain this, but Han scholars interpreting the Changes did not use it, while Jiao's Forest of Changes frequently did.

二、閔二年筮季友生，遇《大有》之《乾》，卽離變乾，而曰「同復於父，敬如君所」，言離所在南與乾南同也，而杜注不能解。若《易林》則每以乾為南。三、莊二十二年筮敬仲生，遇《觀》之《否》，曰「若在異國，必姜姓也」，因遇卦之卦皆有巽，巽為齊，姜者齊姓，故巽為姜，而漢魏人皆不知此象。若《易林》遇巽卽言姜，初讀之不知其所指，後乃知其本於《左氏》。

Rule two: In the second year of Min Gong, a divination was made for the birth of Ji You, resulting in the hexagram "Da You" changing to "Qian." This means the lower trigram of "Da You," Li, changed to Qian. The divination text says, "Returning to the father, respecting as the king commands." This refers to the fact that the position of Li is in the south, and the position of Qian is also in the south (Qian is in the south in the Earlier Heaven arrangement, and Li is in the south in the Later Heaven arrangement). Du Yu's commentary could not explain this. However, the "Jiao's Forest of Changes" often takes Qian as representing the south. Rule three: In the twenty-second year of Zhuang Gong, a divination was made for the birth of Chen Jingzhong, resulting in the hexagram "Guan" changing to "Po." The divination text says, "If in a foreign country, it must be the Jiang surname." This is because the original hexagram "Guan" has the upper trigram Xun, and the changing hexagram "Po" has Xun again in lines three to five. Both the original and changing hexagrams contain Xun. Xun represents the state of Qi, and Jiang is the royal surname of Qi. Han and Wei scholars did not understand this symbolic meaning. However, the "Jiao's Forest of Changes" often refers to Xun as Jiang. I did not understand what it meant when I first read it, but later I realized it was based on the "Zuo Zhuan."

四、僖十五年晉筮嫁伯姬於秦，遇《歸妹》之《睽》，卽震變離，曰「為嬴敗姬，車說其輹，火焚其旗」。姬、輹、旗皆震象，震形毀，故曰敗、曰脫、曰焚，詳見卷七。乃杜注不知，解之皆誤。若《易林》則以震為姬為旗，皆與《左氏》合。又曰「敗於宗丘」，震為主，故為宗；為反艮，故曰丘；震形毀，幫敗。兼用覆象，尤與《周易》《易林》合，而杜注不解。

Rule four: In the fifteenth year of Duke Xi's reign, the State of Jin used divination to predict the marriage of Lady Bo Ji to the State of Qin, and obtained the hexagram "Return of the Maiden" changing to "Strife." This means that the lower trigram of "Return of the Maiden," Zhen (Thunder), transformed into Li (Fire). The divination text says, "It will be defeated by Ying, the chariot will break its axle, and the banner will be burned by fire." Here, "Ji," "Fu," and "Qi" all represent the image of Zhen. When Zhen changes, its form is destroyed, hence the words "defeat," "break," and "burn." Details can be found in volume seven of this book. Du Yu's annotations fail to grasp this level of meaning and are all incorrect. The "Forest of Changes" by Jiao, however, interprets Zhen as representing "Ji" and "Qi," and is consistent with the "Zuo Zhuan" throughout. The divination text also says, "Defeated at Zong Qu." Since Zhen is the main trigram, it represents "Zong." When viewed upside down, Zhen becomes Gen (Mountain), hence "Qu." The destruction of Zhen's form leads to "defeat." Here, the reversed image is also used, which aligns particularly well with both the "Zhou Changes" and the "Forest of Changes," whereas Du Yu's annotations cannot explain it.

五、襄二十五年筮娶棠姜，遇《困》之《大過》，卽坎變巽，曰「夫從風，風隕，不可娶也」，巽為隕。東漢人不知，故虞仲翔《鼎》初六「鼎顛趾」，不知其故在巽，而以《大過》顛為說。又秦筮伐晉，遇《蠱》，曰「歲云秋矣，我落其實」，以艮為果實，巽為落也，而杜注不詳。若《易林》，則遇巽言隕落者，不可勝數也。至坎夫象，亦失傳。

Rule five: In the twenty-fifth year of Duke Xiang's reign, Cui Zhu took a divination to marry Tang Jiang, and obtained the hexagram "Kun" changing to "Da Guo," meaning the lower trigram of "Kun" changed from Kan to Xun. The divination text said, "The husband follows the wind, the wind falls, it is not suitable to marry," which used Xun to represent falling. The people of the Eastern Han dynasty did not understand this image, so Yu Fan interpreted the first line of the hexagram "Ding" as "the tripod is overturned," not realizing that the reason for "overturned" was the trigram Xun on top (the lower trigram of "Ding" is Xun), but instead used "overturned" from "Da Guo" to force an interpretation. When the State of Qin took a divination to attack the State of Jin, they obtained the hexagram "Gu." The divination text said, "The year is nearly autumn, I have fallen from the fruit." The upper trigram of "Gu" is Gen representing fruit, and the lower trigram is Xun representing falling, yet Du Yu's annotations were unclear. The "Forest of Changes" by Jiao also frequently used Xun to represent falling, and there were countless instances. As for the image of Kan representing "husband," it also became lost.

六、昭五年筮穆子生，遇《明夷》之《謙》，卽離變艮，曰「日之謙當鳥」，艮為鳥，故曰當鳥。乃杜注不知艮鳥象，以離鳥當之，是離當離矣，於之《謙》何涉？是不通也。若《易林》，則以艮為鳥，故讀「黔喙」為「黔啄」。又曰「於人為言，敗言為讒」。「於人為言」者，謂三至五互震也，震為人為言；乃震覆為艮，則言敗矣；《謙》正覆雨震言相背，則讒言矣，全用覆也。乃杜注不知。若《易林》，則遇《謙》卽曰讒也。

Rule six: In the fifth year of Duke Zhao, a divination was made for the birth of Shu Sun Mu Zi, resulting in the hexagram "Mingyi" transforming into "Qian." This transformation occurs when the lower trigram of "Mingyi," Li (Fire), changes into Gen (Mountain). The divination text says, "The sun's humility is like a bird," since Gen represents a bird, thus "when it is a bird." Du Yu's commentary fails to recognize that Gen can represent a bird, and instead interprets Li as bird, leading to Li being interpreted as Li, which has nothing to do with the transformed hexagram "Qian." This makes no sense. However, the "Jiao's Forest of Changes" interprets Gen as a bird, thus reading "Qianzhuo" in the "Shuo Gua Zhuan" as "Qianzhuo" (black-beaked birds). The divination text also says, "speaking for others, speaking falsehoods is slander." "Speaking for others" refers to the mutual trigrams of the third to fifth lines of "Qian" forming Zhen (Thunder), which represents people and speech. When Zhen is viewed upside down, it becomes Gen, meaning "speech" is ruined. The hexagram "Qian" viewed upright is Zhen, and viewed upside down is still Zhen, resulting in two "speeches" opposing each other, forming slander. The entire passage makes use of inverted images. Du Yu's commentary fails to understand this, but "Jiao's Forest of Changes" immediately associates slander with the hexagram "Qian."

七、成十六年晉筮與楚戰，遇《復》，曰「南國蹙，射其元王，中厥目」。《復》下震為南，坤為國，故曰南國；震為射，故射其元。震南震射之象，解易者皆不知。又乾為元、首也，為王，乾位南，故自北射中元王，而杜注不知。若《易林》則均知之。

Rule seven: In the sixteenth year of Chenggong, the State of Jin cast a divination to engage in battle with Chu and obtained the hexagram "Fu" (Return). The divination text says, "The southern state is squeezed, shoot its chief king, and hit his eye." The lower trigram of "Fu" is Zhen, which represents the south; the upper trigram is Kun, which represents the state, so it is said "the southern state." Zhen also represents shooting, so it is said "shoot its chief." The images of Zhen representing the south and Zhen representing shooting are not understood by those who interpret the Book of Changes. Moreover, Qian represents "original" (the first) and also "king," and Qian is located in the south, so it is from the north to shoot the original king in the south. Du Yu's commentary does not understand this, but the "Forest of Changes" by Jiao fully understands it.

孟氏逸象，傳者多寡不同，一三百餘象，一四百餘象。杬氏云：以兩漢經師各守師說，故多寡不同。惟先儒謂此象傳自焦氏，今以《易林》考之，焦氏所用極要之象，此皆無之，傳自焦氏似不然也。又此象採自本經，頗有誤者，推其解皆虞義。如焦以艮為虎，與九家合，此以坤為虎；焦以震為鶴，此以離為鶴；焦以震為孕，此以離為孕，顯皆虞氏詁經之誤解。故吾疑此象純為虞仲翔所輯，否則後儒採自虞注中，而未必為孟氏也。焦氏易傳自孟氏，如此象為孟氏所輯，豈有《左傳》之象焦氏皆知，孟氏反不知哉？此其證也。茲從其多者録之，至其義有可疑，或與《易林》異者，則隨文注出，以資參考。

The strange images (xiang) transmitted by Meng Xi differ in number among different versions: some have over three hundred images, others over four hundred. Yuan Shi said this was because the scholars of the Han dynasty each followed their own teachers' interpretations, hence the differences in quantity. Earlier scholars thought these images were passed down from Jiao Yanshou. But when we examine the "Jiao's Forest of Changes," we find that the most important images used by Jiao are entirely absent here, so it is unlikely they were transmitted from Jiao. Moreover, these images are taken from the original text of the "Zhou Changes," and there are some errors in their selection. When examining their explanations, they all use Yu Fan's interpretations. For example, Jiao Yanshou took Gen (mountain) as tiger, which agrees with Xun Shuang's nine schools, but here it is Kun (earth) that is taken as tiger. Jiao took Zhen (thunder) as crane, but here Li (fire) is taken as crane; Jiao took Zhen as pregnant, but here Li is taken as pregnant. Clearly these are misunderstandings from Yu Fan's interpretation of the classics. Therefore, I suspect these images were purely compiled by Yu Fan, or else later scholars took them from Yu Fan's annotations, and they may not really come from Meng Xi. Jiao Yanshou's "Changes" was transmitted from Meng Xi. If these images were indeed compiled by Meng Xi, how could it be that the images in the "Zuo Zhuan" were fully understood by Jiao but not by Meng Xi? This is evidence. Now I will transcribe the version with more images, noting those with questionable meanings or differing from the "Forest of Changes," for reference.

乾為王、先王、明君、人、大人、聖人、賢人、君子、武人、行人、物、易、立、直（九家）、敬、畏、威、嚴、剛堅、道、德、盛德、行、性（卽乾元）、精、言（九家）、信、揚善、善、積善、良、仁、愛、忿、生、祥、慶、天休、嘉、福、介福、祿、先、始、知、大、盈、蔑、肥（此與上武人皆虞氏誤象）、好施、利、清、治、大謀、高、揚、宗、族、高宗、甲、老、舊、古、大明（乾，日也，兼月言者非）、遠、郊、野、門、道門、百歲、頂、朱、衣（九家）、圭、蓍、瓜、龍（九家）。

Now I will record the entries according to the version with more emphasis on the symbolic and numerical aspects, starting with the Qian hexagram. The missing symbolic interpretations of Qian include: king, former kings, enlightened rulers, people, great men, sages, virtuous men, gentlemen, warriors, travelers, things, the Book of Changes, establishment, straightness (this symbol is also found in the nine schools including Xun Yu Fan), respect, fear, authority, strictness, firmness, the Way, virtue, great virtue, conduct, nature (which corresponds to the "Yuan" in the Qian hexagram), essence, speech (also found in the nine schools), trustworthiness, promoting goodness, goodness, accumulation of goodness, goodness, benevolence, love, anger, birth, auspicious signs, celebration, heavenly grace (goodness bestowed by heaven), joy, blessing, great blessing, official rank, first, beginning, knowledge, greatness, fullness, contempt, fat (the symbols of "fat" and "warrior" are both incorrectly interpreted by Yu Fan), generosity, benefit, clarity, governance, great strategy, high, rising, clan, family, great ancestor, Ji (a heavenly stem), old, old, ancient, great brightness (Qian represents the sun, and the moon is also mentioned in the interpretation, which is incorrect), distant, outskirts, field, gate, gate of the Way, hundred years, top, red, clothing (also found in the nine schools), jade bi (a ceremonial jade), chi (a type of herb used for divination), melon, dragon (also found in the nine schools).

坤為臣、順臣、民、萬民、姓、小人、邑人（誤）、鬼、形、身、牝、母、躬、我、自、至、安、康、富、財、積、聚、萃、重、致、用、包、寡、徐、營、下、容、裕、虛、書、邇、近、疆、無疆、思、惡、理、體、禮、義、事、業、大業、庶政、俗、度、類（誤象）、閒、藏、密、默、恥、欲、過、丑、積惡、迷（九家）、弒、亂、怨、害、遏惡、終、永終、敝、死、喪、冥、晦、夕、莫夜、暑、乙、年、十年、戶、義門、闔戶、閉關、盍、土、階、積、土田、邑、國、邦、大邦、萬國、異邦、方（九家）、鬼方、裳（九家）、紱、車、器、缶、輹（誤象）、囊、虎（虞氏誤象）、兕、黃牛、牝牛。九家帛、漿象，此無。

The second is the Kun hexagram. The symbolic meanings associated with Kun include: subject, obedient subject, people, all people, surname, commoner, people of the town (this symbolic meaning is incorrectly recorded), ghost, form, body, female (female sex), mother, self, me, myself, ultimate, peaceful, healthy, wealthy, wealth, accumulation, gathering, weight, to achieve, to use, to include, few, slow, to plan, lower, to accommodate, ample, empty, book, near, close, boundary, boundless, thought, evil, order, body, ritual, righteousness, affair, career, great career, various government affairs, custom, measure, kind (incorrect symbolic meaning), restraint, concealment, silence, shame, desire, excess, disgrace, accumulation of evil, confusion (also found in the nine schools), regicide, chaos, resentment, harm, to suppress evil, end, permanent end, decay, death, loss, darkness, dusk, evening, night (i.e., "dusk," meaning the time when the sun sets and it gets dark), heat, Yi, year, ten years, door, righteous door, closed door, closing the gate, to combine, earth, step, accumulation, land, field, town, country, state, great state, all states, foreign state, region (also found in the nine schools), the region of ghosts, skirt (also found in the nine schools), sash (a ribbon used to tie the seal), carriage, vessel, jar, the part of the carriage axle (this is an incorrect symbolic meaning), bag, tiger (this is a wrong symbolic meaning taken by Yu Fan),兕 (a fierce beast resembling a bull with a single horn), yellow ox, female ox. The nine schools also include the symbolic meanings of silk and soup, which are not included here.

震為帝、主、諸侯、人、士、兄、夫、元夫、趾、出、行、徵、作、遂、驚走、警衛、定、百、言、講議、問、語、告、響、聲、音、鳴、夜、交（疑）、徵、反、後、後世、從、守、左、生、嘗、緩、寬仁、樂、笑、喜笑、笑言、道、際、祭、鬯、禾稼、草莽、鼓（九家）、筐、馬、麋鹿。九家有玉、鵠，此無。巽為命、命令、號令、教令、誥、號、號咷、處女、婦、妻、商旅、隨、入、處、伏、列、齊、同、交、進、退、舞、谷、長木、苞、楊、果木、芽、白芽、蘭、草木、草莽、杞、葛藟、薪、庸（卽墉）、床、繩、帛、腰帶、繘、蛇、魚、鮒。九家有鸛象，此無。

The next are the trigrams Zhen and Xun. The extraordinary images of Zhen include: Emperor, ruler, feudal lords, people, scholars, elder brother, husband, great man (a virtuous man), foot, going out, traveling, marching, starting, succeeding, alarm, running, guarding, settling, hundred, speech, discussion, inquiry, speaking, telling, echo, sound, voice, crying, night, union (this image is questionable), marching, returning, later, later generations, following, guarding, left, birth, tasting, slow, leniency, joy, laughing, smiling, joyful speech, path, boundary (place of meeting), worship, and the sacrificial wine used in worship. The Nine Schools of Xun add the images of jade and crane, which are not included here. The extraordinary images of Xun include: command, order, decree, proclamation, edict, cry, wailing, maiden, wife, spouse, merchants, following, entering, residing, lying low, array, alignment, same, union, advancing, retreating, dancing, grain, tall tree,丛生 grass, willow, fruit tree, sprout, white sprout, orchid, grass and trees, grassland, mulberry (a type of willow), and vine. The Nine Schools of Xun add the image of stork, which is not included here.

坎為聖（鄭玄《周禮》注：聖，通也。《洪範》「睿作聖」，睿，明也，水明而無不通，故為聖。張惠言謂得乾二，非）、雲、玄雲、川、大川（紀磊謂此象非）、河、心、志、思、慮、憂、謀、惕、疑、艱、蹇、恤、悔、逖（此以逖為憂，顯為虞義）、忘、勞、濡、涕、洟、眚、病、疾病、疑疾、災、破、罪、悖、欲、淫、寇盜、暴、毒、瀆（《說卦》）、孚、平、法、罰、獄、則、經、習、入、內、聚、脊、要、臀、膏、陰夜、歲、三歲、尸、酒、木、叢木、叢棘（九家）、棘匕、穿木、校、弧、弓彈、車、馬。九家有為宮、為律、為可、為棟、為狐、為桎梏，此無。

The extraordinary images associated with the trigram Kan (Water) include: sage, cloud, dark cloud, river, great river, river, heart, will, thought, consideration, worry, plan, vigilance, doubt, hardship, difficulty, care, regret, distant (this is interpreted as worry, clearly derived from Yu Fan's view), forgetfulness, toil, dampness, tears, nasal discharge, calamity, illness, illness and worry, disaster, destruction, guilt, disorder, desire, excess, robbers, violence, poison, violation (as mentioned in the "Commentary on the Hexagrams"), faith, peace, law, punishment, court case, rule, standard, practice, entry, inside, gathering, spine, waist, buttocks, fat, darkness, night, year, three years, corpse, wine, wood, thick wood, thorny wood (also mentioned by the nine schools), thorny spear (a spoon made of Chinese date tree wood), to pierce wood, restraints (a type of枷械), bow, bowstring, chariot, horse. The nine schools also mention additional images: palace, musical scale, possibility, beam, fox, restraints, which are not included here.

離為女子、為婦、孕（《易林》以震為孕，此似誤）、惡人、見、飛、爵、日、明、光、甲、黃、戎、折首、刀、斧（《易林》以兌為斧詁易，義長）、資斧、矢、飛矢、黃矢、綱、罟、甕（《易林》以震為甕）、鳥、飛鳥、鶴（此誤解《中孚》而取）、隼（此誤解《解》上六而取）、鴻（此誤解《漸》鴻而取）。九家有牝牛象，此無。虞翻注《離》彖，謂以離為牝牛為俗說，豈知《左氏》明曰純離為牛，《左氏》亦俗說乎？由此證虞翻未見《左傳》，又以證孟氏逸象純為虞氏逸象。

The extraordinary images associated with the trigram Li include: woman, wife, pregnancy (the "Yi Lin" uses Zhen for pregnancy, which seems to be an error here), evil person, seeing, flying, cup, sun, brightness, light, Jia, yellow, war, cutting off the head, knife, axe (the "Yi Lin" uses Dui for axe to explain the classics, with longer reasoning), means of subsistence, arrow, flying arrow, yellow arrow, net, trap, jar (the "Yi Lin" uses Zhen for jar), bird, flying bird, crane (this is a misunderstanding of the Zhongfou hexagram), falcon (this is a misunderstanding of the Jiegua hexagram's upper sixth line), wild goose (this is a misunderstanding of the Jiegua hexagram's goose). Xu Jiuzia also mentions the image of a female ox, which is not included here. Yu Fan's commentary on the Li hexagram's zhuang ci says that taking Li as a female ox is a common saying; but the "Zuo Zhuan" clearly states that pure Li (Li below and above) represents an ox. Could the "Zuo Zhuan" also be a common saying? This shows that Yu Fan had not seen the "Zuo Zhuan," and also proves that the so-called Mengshi extraordinary images are in fact merely Yu's own extraordinary images.

艮為弟、小子、君子、賢人、童、童蒙、僮僕、官、友、閽、時、豐、星、沫、霆、果、慎、節、待、制、執、小、多、厚、取、舍、求、篤實、道、門庭、宗廟、社稷、鼻（九家）、肱、背、腓、皮、膚、小木、碩果、豹、狼、小狐、尾。九家有為虎、為狐二象，此無。虞氏以坤為虎，訖不知艮虎象，豈知《易林》及九家皆以艮為虎。後郭璞又以兌為虎，兌西方虎宿，又兌為剛魯、為毀折，義亦勝於坤。兌為妹、妙、妻、朋友（此虞氏不知朋友真詁誤取，與類同）、講習、小、少、刑人、密、通、見、右、下、少知、契。九家有為常、為輔頰二象，此無。

The extraordinary images associated with the mountain (Gèn) include: younger brother, young person, gentleman, virtuous person, child, child who is learning, servant, official, friend, gatekeeper, time, abundance, star, foam, thunder, fruit, cautiousness, restraint, waiting, control, holding, small, many, thick, taking, choosing, seeking, sincerity, way, gate and courtyard, ancestral temple, state and people, nose (also found in the nine schools), upper arm, back, calf, skin, body, small tree, large fruit, leopard, wolf, small fox, tail. The nine schools of Xun (Sūn) also include two additional images: tiger and fox, which are not listed here. Yu Fan associated the earth (Kūn) with the tiger, but never realized that the mountain (Gèn) also has the image of a tiger. In fact, both the Forest of Changes (Jiāo Shì Yì Lín) and the nine schools associate the mountain (Gèn) with the tiger. Later, Guo Pu associated the lake (Duì) with the tiger — since the lake (Duì) is located in the western position of the white tiger star mansion, and the lake (Duì) represents strength and coarseness (the Commentary on the Hexagrams says "strong and coarse"), and destruction, it is more appropriate to associate the lake (Duì) with the tiger than the earth (Kūn). The extraordinary images associated with the lake (Duì) include: younger sister, skillful, wife, friend (this is an incorrect interpretation by Yu Fan, who misunderstood the true meaning of "friend," similar to the case of the earth (Kūn) "class" image mentioned earlier), study and discussion, small, few, executioner, secrecy, communication, sight, right, lower, little knowledge, agreement. The nine schools of Xun (Sūn) also include two additional images: constant and auxiliary cheek, which are not listed here.

除《說卦》外，凡《左氏》所用之象、九家逸象，《易林》無不知之，無不用之。至孟氏逸象，則《易林》不與盡同。然較其義於經，則《易林》無滯義；而孟氏逸象，則用於此而合者，用於彼常不合，如以離為斧，《旅》斧可解，《巽》斧遂不合，於是虞翻命卦再三變，以就其象。夫一卦可變為六十四卦，尚何求而不得乎？經義之不明，此等曲說障之也。

In addition to the "Commentary on the Figures" (Say Gua Zhuan), Jiao's Forest of Changes (Jiao Shi Yi Lin) does not fail to know or use any of the images used in the "Zuo Zhuan" or the nine schools of Xu Shuang's lost images. As for Meng Xi's lost images, the Forest of Changes does not fully agree. However, when comparing them with the classic text, the images in the Forest of Changes are always coherent and without obstruction, while Meng Xi's images are inconsistent. For example, taking Li as an axe, the phrase "obtain his tools" in the fourth line of the Traveler hexagram (Lv) makes sense, but when it comes to the top line of the Wind hexagram (Shun), "losing his tools" (the hexagram has Shun both above and below, with no Li), it does not fit. Thus Yu Fan had to change the hexagram repeatedly to accommodate his image. But a single hexagram can transform into sixty-four hexagrams; what image could be out of reach? The obscurity of the classic meaning is precisely obscured by such forced interpretations.

焦氏易傳自孟氏，以西漢時之重師承，豈有焦氏故背其說而立異如此哉？故夫孟氏逸象，純為虞氏一家之說，可斷言也。乃先儒又有謂此逸象傳自焦氏者，今以《易林》考之，重要之象迥不相同，傳自焦氏之說，似尤無稽。茲將《易林》失傳之象，標出如左。

Jiao Yanshou's study of the Book of Changes was passed down from Meng Xi. Considering how highly the Western Han scholars valued their teachers, it would be unreasonable to think that the Jiao school deliberately deviated from their teacher's teachings to such an extent. Therefore, it can be concluded that Meng's lost images are merely the views of Yu Fan alone. However, some previous scholars have suggested that these lost images were passed down from the Jiao school. When we examine the "Forest of Changes" by Jiao, the most important images are entirely different, making the claim that they were passed down from Jiao even less credible. Now, I will list below the lost images preserved in the "Forest of Changes."

乾：為日、河、海、山、陵、南、順。坤：為水、江、淮、河、海、魚、淵、雲、虛（同墟）、薪、逆、北。震：為武、旗、鴻、隼、鳥、箕子、南、射、爵、樽食、鶴、君、伐、姬（周姓）、甕、胎（卽孕）、舟船、飛、翼、老夫、商旅、公（父同）、口、神、襦、缶、瓶、辰、簋、登、狩、乘、華、羽、東北、萌芽、翰、髮、袂。巽：為母、齊、姜、少姜、寡、隕、落、羸、蠱、石、隙、袽。

Qian: represents the sun, the river, the sea, the mountain, the hill, the south, and obedience. Kun: represents water, the river, the Huai River, the sea, fish, the deep pool, clouds, emptiness (same as 'xu', meaning ruins), firewood, reverse, and the north. Zhen: represents military power, the flag, the wild goose, the falcon, birds, Ji Zi, the south, shooting, the drinking vessel, the food, the crane, the ruler, the act of cutting down, the Ji surname (the royal surname of the Zhou dynasty), the jar, pregnancy, the boat, flying, the wing, the old man, merchants, the father (same as 'fu'), the mouth, the deity, the short robe, the jar, the bottle, the hour, the ritual vessel, the ascent, the hunting, the carriage, the flower, the feather, the northeast, the sprout, the flying bird, the hair, and the sleeve. Xun: represents the mother, the state of Qi, the Jiang surname, the young Jiang, the few, the falling, the falling off, the weak, the chaos, the stone, the gap, and the broken silk cloth.

坎：為大首、肉、土、眾、胏、楫、西、脯、鬼、矢、夫。離：為枯、星、東。艮：為火、鳥、鴂、隼、面、簪、須、祖、臣、臣妾、角、啄、豚、負、何、壽、貴、邑、邦、床、西北、斯析、貝、金、觀、光、明、龜、視。兌：為月、華、老婦、魯、資斧、牙。右從《易林》尋得失傳之象，共百廿一；又有為《易林》所無，祗見於《左傳》者一象：震為輹（詳卷七）。

The trigram Kan represents: a large head, flesh, soil, a multitude, dry meat with bone, a boat oar, the western direction, dried meat, a ghost, an arrow, and a husband. The trigram Li represents: withered things, stars, the eastern direction. The trigram Gen represents: fire, birds, the nightingale, the falcon, the face, a hairpin, beard, an ancestor, a minister, a minister's wife, a horn, a beak, a pig, to carry, to bear, longevity, honor, a city, a state, a bed, the northwest, to split, a shell, metal, observation, light, brightness, a tortoise, and sight. These are one hundred and twenty-one lost images derived from Jiao's Forest of Changes. Additionally, there is one image not found in the Forest of Changes but mentioned in the Zuo Zhuan, which is Zhen representing the hub of a chariot (see volume seven of this book).

共百廿二象，至漢魏皆失傳。除姬、旗、姜數象可釋《左傳》外，餘無一字不與《易》有關，可據以更正昔儒誤解誤象，如撥雲霧而見青天，如闇夜之逢華燭也。至其所推廣之象，奇詭百出，如一一列舉，雖數倍於孟氏逸象而不能盡也。

The total number of images amounts to one hundred and twenty-two. By the Han and Wei dynasties, all of them had been lost. Except for a few images such as Ji, Qi, and Jiang, which can only be used to explain the Zuo Zhuan, all the others are related to the Zhou Yi and can be used to correct previous misunderstandings and misinterpretations of the classic text. This is like clearing away clouds to see the blue sky, or encountering a bright candle in the dark. As for the parts of the Yi Lin that continue to elaborate on these images, they are even more strange and intricate. If we were to list them all, even a text several times longer than the lost Yi Xiang of Mengzi would not be sufficient.

而尤要者，《易林》視本象與對象不分，由是易用旁通之處始明；《易林》以覆象與正象雜用，妙不可階，由是易用覆象之處，其神妙亦漸解；推之半象大象，無不皆然。初觀其辭，妙義環生，玲瓏剔透，不可端倪，若焦氏用象，獨擅天機；及推求其例，無不源本於經，無絲毫之逾越規矩也。昔人知《太玄》擬易，故往往卽玄首以解經，而不知焦氏《易林》之亦擬易也。嗚呼！後之人有究心易數者乎？愚以為《太玄》其階。有究心易象者乎？《易林》其數也。

It is especially important to note that the "Forest of Changes" by Jiao Yanshou treats the image of the primary hexagram and the image of the opposite hexagram (the parallel hexagram) as one, not distinguishing between them. This makes it possible to understand clearly the use of the parallel hexagram in the "Zhou Changes." Furthermore, the "Forest of Changes" combines the image of the reversed hexagram (the entire hexagram viewed upside down) with the normal image, using them skillfully in a way that is beyond comparison. Thus, the mysterious and profound use of the reversed image in the "Zhou Changes" becomes gradually understandable. When extending this to half-images and full-images, the same principle applies. At first reading the hexagrams of the "Forest of Changes," the meanings are intricate and transparent, leaving one puzzled, as if Jiao Yanshou alone had grasped the secret of the images. But when one carefully examines his method and examples, it becomes clear that everything is based on the classic text, without ever going beyond the established rules. Previously, people knew that Yang Xiong's "Tai Xuan" was modeled after the "Zhou Changes," so they often used the "Tai Xuan" "Shou" (the beginning) to interpret the classic text. But they did not realize that Jiao Yanshou's "Forest of Changes" was also modeled after the "Zhou Changes." Alas! Are there any later scholars who are willing to study the numerical aspects of the "Zhou Changes" diligently? I believe the "Tai Xuan" is the first step for them. Are there any who are willing to study the symbolic images of the "Zhou Changes" diligently? Then the "Forest of Changes" is their entrance.