The Great Changes: Examples of Divination and the Original Oracle of卜筮

建安　蕭吉文　撰集

This book was compiled and arranged by Xiao Jiwen from Jian'an. "Jian'an" is an old name for the area around present-day Jianou in Fujian province, and during the Song and Yuan dynasties, it was a major center for printing books in the southeast. This book originated from that region. The term "zhuanjie" indicates the method of compilation: it is not based solely on personal opinion, but rather collects old methods and formulas of divination from previous dynasties, eliminates the inferior ones, and arranges them in an organized manner to form a book that can be consulted by category for interpreting hexagrams.

予嘗滴露研朱，對梅讀易，逆爻位之得失，卜氣運之變遷，莫不如影隨形，如谷應聲。獨怪夫今之易卜君子，其於爻辭象義皆莫之究，反以枝杆蔓說而文之，是致禍福無憑也。

I often spend the early morning dripping water to grind ink, facing the plum shadows to read the Zhou Changes, working backwards to determine the gains and losses of the six lines, and divining the shifts of destiny and fortune. The results have never failed to be as accurate as a shadow following its form or a valley responding to a sound. What puzzles me alone is that these people who talk about divination today do not deeply study the meanings of the line statements and the implications of the hexagram images, but instead use trivial and superficial words to embellish their arguments, making the criteria for good fortune, misfortune, blessings, and calamities no longer clear and reliable.

予因是，上窺聖人之經旨，下竊六君子之傳義，旁參鬼谷先生之遺文，演作歌詩，述為斷例。以之決憂疑，定猶豫。觀往知來，吉凶截然先定。命之曰《卜筮元龜》。不敢私秘，敬刻諸梓，以廣其傳。

Therefore, I trace back to the original intention of the sages in establishing hexagrams and the Great Treatise in the text of the Zhou Yi, and take the principles passed down by the ancient sages and virtuous men such as Fuxi, King Wen, the Duke of Zhou, and Confucius in the Ten Wings. I also refer to the divination methods attributed to Master Guiguzi. I have compiled these into rhymes and verses, forming established examples for interpreting hexagrams. With these, I can judge the worries and doubts in my mind, and settle the hesitation in matters of advance or retreat. By observing the past, I can foresee the future, and the auspicious or inauspicious outcomes become clearly evident before the matter occurs. I have named this book The Oracle of Divination Essentials, and I dare not keep it secret for myself. Instead, I respectfully commit it to woodblock printing so that it may be widely circulated.

時　大德十一年復五　　　　平水進德齋為之記

The date in the colophon is written as "Dade 11 Fu 5." "Dade" is the era name of Yuan Chengzong Tietumu'er, and the 11th year corresponds to the Dingwei year. "Fu" refers to the month of the return of the yang energy, which is the 11th lunar month, and "Fu 5" means the 5th day of the 11th lunar month. The signature "Pingshui Jindezhai" is the name of the bookshop responsible for printing the text. Pingshui is located in the area of present-day Linfen, Shanxi, and was the center of northern woodblock printing during the Yuan dynasty. This colophon is from the hand of this bookshop.

易有太極。已具之標，形器已具，而其太極者，象數未形而其理無朕之。目在河圖洛書，皆虛中之象也。周子曰：「無極而太極。」邵子曰：「道為太極。」又曰：「心為太極。」此之謂也。

The Great Treatise of the Zhou Changes says, "The Book of Changes has the Taiji." The original text here is corrupted and missing some characters. Comparing it with Zhu Xi's "Easy Enlightenment in the Study of the Changes," it should read, "Taiji is the term used to describe the state where the images and numbers have not yet taken form, but its principle is already complete; when the forms and objects are already present, the principle is still not evident at all, and this is also called Taiji." This means that when the hexagrams and the method of divination with yarrow stalks have not yet taken shape, the principle is already fully present, and this is called Taiji; when the tangible objects are already formed, the principle is still not visible at all, and this is also called Taiji. When viewed in the River Chart and the Lo Shu Square, the center of both diagrams is left empty, which is referred to as the image of Taiji being "empty in the center." Zhou Dunyi said, "From the state of no extreme, there comes Taiji," Shao Yong said, "the Dao is Taiji," and also said, "the mind is Taiji," all referring to this same meaning.

是生兩儀。太極之□，始生一奇一偶。而為一畫者二，是為兩儀。其數則陽一而陰二，在河圖洛書則奇偶是也。周子所謂：「太極動而生陽，動極而靜。靜而生陰，靜極復動。一動一靜，互為其根。分陰分陽，兩儀立焉。」邵子所謂「一分為二」者，皆謂此。

The Great Treatise continues by saying, "From this arise the two principles." After the Taiji is divided, the first thing to emerge is a single odd line and a single even line, forming two symbols each with only one line. These are called the "two principles." In terms of numbers, yang is paired with one and yin with two; in the context of the River Chart and the Lo Shu, these correspond to the white dots representing odd numbers and the black dots representing even numbers. Zhou Dunyi's "Taisi Tu Shuo" explains, "When Taiji moves, it produces yang; when movement reaches its extreme, it turns to stillness; stillness produces yin; when stillness reaches its extreme, it turns back to movement. Movement and stillness mutually form the basis of each other, and yin and yang separate, thus establishing the two principles." Shao Yong speaks of "dividing one into two," referring to this very step. The original text has a missing character after "Taiji," which should be either "judgment" or "division," but it is left blank as it originally was, without conjecture.

大陽、少陰、少陽、大陰：一、二、三、四。

The diagram lists the four trigrams horizontally with their names and order: the first is "Great Yang" which is also called Old Yang, the second is "Less Yin," the third is "Less Yang," and the fourth is "Great Yin" which is also called Old Yin. Each trigram in the diagram is drawn with two lines: Old Yang has both lines as Yang, Less Yin has the lower line as Yang and the upper line as Yin, Less Yang has the lower line as Yin and the upper line as Yang, and Old Yin has both lines as Yin. This arrangement of first Yang then Yin, from inside out, matches exactly with the four numbers obtained by divination with yarrow stalks: nine, eight, seven, and six.

兩儀生四象。兩儀之上，各生一奇一偶，而為二畫者四，是謂四象。□□所謂「水火木金」，康節所謂「二分為四」。揲蓍數中所謂「九八七六」者，皆是也。

The Great Treatise says, "The two principles give rise to the four images." On each of the two principles of yin and yang, another odd line and another even line are added, resulting in four symbols composed of two lines. This is called "the four images." The original text here is missing two characters, and according to the book "Yi Xue Ming Lun," it should be "Zhou Zi." Zhou Dunyi associated the four images with "water, fire, wood, and metal"; Shao Yong, who was known as Kangjie, referred to this step as "dividing two into four." The four numbers obtained when divining with yarrow stalks—nine, eight, seven, and six—correspond precisely to the four images: old yang, young yin, young yang, and old yin.

乾、兌、離、震、巽、坎、艮、坤：一、二、三、四、五、六、七、八。

The eight trigrams are arranged horizontally with their names and numbers: Qian (Heaven) one, Dui (Lake) two, Li (Fire) three, Zhen (Thunder) four, Xun (Wind) five, Kan (Water) six, Gen (Mountain) seven, and Kun (Earth) eight. This is the sequence of the Earlier Heaven Trigrams from Fuxi. They are formed by adding one line to each of the four yao: adding a yang line to old yang produces Qian, and adding a yin line produces Dui; adding a yang line to young yin produces Li, and adding a yin line produces Zhen; adding a yang line to young yang produces Xun, and adding a yin line produces Kan; adding a yang line to old yin produces Gen, and adding a yin line produces Kun. The first four trigrams all have a yang line at the bottom, while the last four all have a yin line at the bottom, hence the fixed sequence: "Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, Kun eight."

四象生八卦。四象之上，各生一奇一偶，為三畫者八。於是三才略具，而有八卦之名矣。《周禮》所謂「三易，經卦皆八」，《大傳》所謂「八卦成列」，康節所謂「四分為八」者，皆指此而言也。

The Great Treatise says, "The four images give rise to the Eight Trigrams." On each of the four images, one odd line and one even line are added, resulting in eight trigrams composed of three lines each. The three lines correspond to the positions of Heaven, Earth, and Humanity, the Three Powers. With this structure, the framework of the Three Powers is largely complete, and the names of the Eight Trigrams thus emerge. The Zhou Li (Rites of Zhou), Spring Officials, Grand Diviner section, mentions the "Three Yis" of the Xia, Shang, and Zhou dynasties—the Lian Shan, Gui Zang, and Zhou Yi—each using eight basic trigrams. The Great Treatise, formerly known as the Big Treatise, says, "The Eight Trigrams are arranged in order." Shao Kangjie says, "Four are divided into eight," referring to this same step.

水、金、木、火。

This is a diagram of four markings on the Dragon and Horse Carrying the Diagram (He Tu). The diagram is drawn with north at the top, south at the bottom, west on the left, and east on the right. The top is marked 「water」, representing the Northern direction with the number one and six for water. The bottom is marked 「fire」, representing the Southern direction with the number two and seven for fire. The left side is marked 「metal」, representing the Western direction with the number four and nine for metal. The right side is marked 「wood」, representing the Eastern direction with the number three and eight for wood. The center is not marked with any character, indicating that the number five and ten for earth are located in the center. The numbers of the four directions surround the center, which corresponds to the following passage 「Heavenly One gives birth to water」 discussing the directional arrangement of the Five Phases.

河圖。天一生水，地六成之；地二生火，天七成之；天三生木，地八成之；地四生金，天九成之；天五生土，地十成之。此五行祖。

The above is the He Tu. It uses numbers one to ten to correspond with the "generation" and "formation" of the Five Phases: the heavenly number one generates water, and the earthly number six forms water, combining to make the Northern one-six water; the earthly number two generates fire, and the heavenly number seven forms fire, combining to make the Southern two-seven fire; the heavenly number three generates wood, and the earthly number eight forms wood, combining to make the Eastern three-eight wood; the earthly number four generates metal, and the heavenly number nine forms metal, combining to make the Western four-nine metal; the heavenly number five generates earth, and the earthly number ten forms earth, combining to make the Central five-ten earth. Odd numbers belong to heaven and are called "generative numbers"; even numbers belong to earth and are called "formative numbers." When generative and formative numbers are paired, one phase is complete. This is the origin of the numbers of the Five Phases, so the He Tu is called the "ancestral diagram of the Five Phases."

巽、離、坤；震、兌；艮、坎、乾。

This is the arrangement of the Eight Trigrams on the diagram of the Lo Shu (River Chart) carried by the divine turtle. The diagram is oriented with south at the top and north at the bottom, east on the left and west on the right. The top row, from left to right, is Xun, Li, and Kun. The middle row has Zhen on the left and Dui on the right. The bottom row, from left to right, is Gen, Kan, and Qian. This is exactly the arrangement of the Later Heaven Trigrams of King Wen. Li is in the south, Kan in the north, Zhen in the east, and Dui in the west. Xun is located in the southeast, Kun in the southwest, Gen in the northeast, and Qian in the northwest. The center position is left empty for the element earth, which corresponds exactly to the nine numbers in the Lo Shu as described later.

洛書。戴九為離，履一為坎；左三為震，右七為兌；二四為眉，是為坤巽；六八為足，是為乾艮；此八卦源。

The above is the Luo Shu. It arranges the numbers one through nine on the back of a turtle: the number nine, placed on top of the turtle's head, corresponds to the Li trigram; the number one, beneath the turtle's feet, corresponds to the Kan trigram; the number three on the left corresponds to the Zhen trigram, and the number seven on the right corresponds to the Dui trigram; the numbers two and four are positioned on either side of the turtle's head, like two eyebrows (the common version says 'two and four are the shoulders,' meaning the same), corresponding to the Kun trigram and the Xun trigram respectively; the numbers six and eight are at the back, like the turtle's hind legs, corresponding to the Qian trigram and the Gen trigram respectively. The nine numbers add up to fifteen in all directions—vertical, horizontal, and diagonal—thus determining the positions of the eight trigrams. Therefore, it is said that the Luo Shu is the source of the eight trigrams.

伏羲畫八卦之圖：山澤通氣，水火不相射，天地定位，雷風相薄。

This is the diagram of the Eight Trigrams arranged by Fuxi, with four phrases from the "Commentary on the Trigrams" inscribed on each side. "Heaven and Earth are positioned" refers to Qian (Heaven) above and Kun (Earth) below, with Heaven and Earth opposite each other and each occupying its proper place. "Mountains and marshes communicate their energies" refers to Gen (Mountain) and Dui (Lake) facing each other, with mountain energies rising and lake energies descending, thus connecting through their energies. "Thunder and wind interact closely" refers to Zhen (Thunder) and Xun (Wind) facing each other, with thunder stirring and wind following, thus approaching each other and enhancing their power, where "thin" means approaching. "Water and fire do not mutually harm" refers to Kan (Water) and Li (Fire) facing each other, with their natures opposing yet not harming each other, where "shoot" is read as "yi," meaning aversion or harm. The four pairs of opposing trigrams form the structure of the Earlier Heaven Trigrams, characterized by "opposite trigrams with complete reversal of yin and yang."

文王重易六爻圖：勞乎坎，成言乎艮，說言乎兌，戰乎乾。南、南。相見乎離，致役乎坤，帝出乎震，齊乎巽。東、西、北、北。

This is a diagram of the directional arrangement of the six lines derived from the eight trigrams by King Wen. The outer circle of the circular diagram is marked with the eight directions according to the passage "The Emperor arises from Zhen" in the "Commentary on the Changes." "The Emperor arises from Zhen" signifies the sprouting of all things in the east with the spring thunder; "It is harmonized with Xun" indicates the orderly growth in the southeast with the gentle wind; "They meet in Li" represents the clarity and meeting of things in the south under the summer sun; "It is cultivated in Kun" shows the nurturing and labor in the southwest on fertile land; "It is expressed in Dui" signifies the joy and maturity in the west during autumn rains, where "say" is read as "joy"; "It is fought in Qian" represents the struggle of yin and yang in the northwest; "It is toiled in Kan" indicates the rest and comfort in the north, where things return and are concealed; "It is completed in Gen" shows the completion and renewal in the northeast, achieving the work of a year. The characters "South" and "North" each appear twice, indicating the directional markers on the left and right sides of the diagram frame, while "East" and "West" each appear once, marked on the sides. In Yuan dynasty printed versions, the directional diagram usually places the south at the top and the north at the bottom, which is opposite to the modern map's orientation with north at the top. When reading the diagram, one must be careful to take this into account.

蓍室圖說（私雲本八圖，今存說三也）

This is the explanation of the "Aishi Tu" diagram. The notes in parentheses are annotations by the holder of the old collection: the original book was accompanied by eight diagrams, but now only three diagrams remain with textual explanations. It is evident that the earlier diagrams were lost in the process of transmission, copying, and re-creation, so the following text only provides explanations without the actual diagrams.

蓍生嘉林，無以草，如蓍者代之。擇地潔處為蓍室，中設包羲、文王、周公、孔子四聖人像。次設案於像前，案上置蓍五十莖，韜以重帛，貯以皂囊，內於櫝中。櫝用竹筒為之，如蓍之長，半為底，半為蓋，下刮為臺函之，使之不覆僕。

The divination herbs grow in a beautiful forest or grove; if there is no genuine divination herb, then a herb that resembles it may be used instead. Choose a clean place to set up the 'herb chamber,' where the images of Fuxi, King Wen, the Duke of Zhou, and Confucius are enshrined. Before the images, place a table, on which fifty divination herbs are arranged, wrapped in double silk cloth and placed in a black cloth bag, then stored in a box. The box is made of bamboo tubes, of the same length as the herbs, with half serving as the base and half as the lid. The base is carved to form a platform to hold it steady and prevent it from tipping over.

櫝前設元龜，在之前置壺，壺用陶器或古銅器尤佳，壺前置香爐。室前南向為牖，設大案於牖下，為布蓍之案，旁設小案，案上備筆紙墨硯。將筮則灑掃拭滌，硯注水及筆，正衣冠盥漱，訖出蓍於壺。占畢，反於櫝，致敬而退。

Before the box containing the divination tools, there is placed a "Yuan Gui," which refers to the large turtle shell revered in divination, symbolizing the equal importance of both turtle shells and yarrow stalks. In front of the turtle shell is a jar, preferably made of clay, and if an ancient bronze vessel is available, it is even better. In front of the jar is a censer. The room for the yarrow stalks has a window facing south. Below the window is a large table used for dividing the yarrow stalks and arranging the divination sticks. Beside it is a smaller table with writing materials: brush, paper, ink, and inkstone. Before beginning the divination, the room is first swept and cleaned, the inkstone is filled with water, and the brush and ink are prepared. One also tidies one's clothes, washes one's hands, and rinses one's mouth. Only after completing these preparations is the yarrow stalks taken out from the jar. After the divination is completed, the yarrow stalks are returned to the box, and one bows in respect before leaving.

謹按：經云：「大衍之數五十，其用四十有九。分而為二以象兩，掛一以象三，揲之以四以象四時，歸奇於扐以象閏，五歲再閏，故再扐而後掛」。云云。「是故，四營而成易，十有八變而成卦，八卦而小成。引而伸之，觸類而長之，天下之能事畢矣」。

Carefully recorded: The "Great Treatise" of the "Zhou Changes" states that the total number of divination sticks is fifty, but only forty-nine are actually used. The forty-nine sticks are randomly divided into two piles, symbolizing the two principles of heaven and earth. One stick is taken from the right pile and held between the fingers, symbolizing human participation with heaven and earth to form the three elements. Each pile is then counted in groups of four, symbolizing the four seasons. The leftover sticks from the counting are placed between the fingers, symbolizing the accumulation of extra days to form a leap month. Since a leap month is added every five years, the leftover sticks are placed twice, and then the sticks are rehung. The text also says that after completing the four steps, one change is formed; after repeating this process eighteen times, one hexagram is completed. The initial three lines form the "small completion" called "small trigrams." Then, by expanding and deriving them according to categories, all matters that can be questioned are included. This passage is the classic basis for the method of divination with yarrow stalks, and the following specific operations are all derived from this.

擇地潔處為蓍室，南戶，置床於室中央。（床大約長五尺，廣三尺，毋太近壁。）蓍五十莖，韜以纁帛，貯以皂囊，納之櫝中，置於床北。（櫝以竹筒，或堅木，或布漆為之。圓徑三寸，如蓍之長。半為底，半為蓋，下別為臺函之，使不偃仆。）設木格於櫝南，居床二分之北。（格，以橫木板為之，高一尺，長竟床。當中為兩大刻，相距一尺。大刻之西為三小刻，相距各五寸許。下施橫足，側立案上。）

Choose a clean place to set up the room for divination with the yarrow stalks. The door should face south, and in the center of the room place a table. The table should be about five feet long and three feet wide, not too close to the wall. Place fifty stalks of yarrow in a shallow red silk cloth, put them in a black cloth bag, and store them in a box. Place the box at the northern end of the table. The box should be made of bamboo tubes, or strong wood, or a wooden frame covered with lacquer. The diameter should be three inches, and its length should match the stalks. Half of it should be the bottom and half the cover, and make a stand underneath to hold it steady so it does not tip over. On the southern side of the box, set up a wooden frame. Its position should be one-third of the way from the north to the south of the table. The wooden frame should be made of a single horizontal board, one foot high, and the same length as the table. In the middle of the board, make two large grooves, which are deep recesses, spaced one foot apart. To the west of the large grooves, make three small grooves, spaced about five inches apart. Underneath the board, attach cross-shaped legs so that the frame stands upright on the table. The two large grooves are used to place the two piles of stalks on the left and right. The three small grooves are used to place the stalks obtained from the three changes in sequence.

置香爐一于格南，香合一於爐南，日炷香致敬。將筮，則灑埽拂拭，滌硯一、注水，及筆一、墨一、黃漆板一，於爐東。東上，筮者齊潔衣冠，北面，盥手焚香致敬。（筮者北面，見《儀禮》。若使人筮，則主人焚香畢，少退，北面立。筮者進立於床前少西，南向受命。主人直述所占之事，筮者許諾。主人右還，西向立；筮者右還，北向立。）

A incense burner is placed on the south side of the wooden case, and a incense box is placed on the south side of the incense burner. Every day, incense is burned as an offering. When about to cast a divination, first water is sprinkled and the floor is swept, and the objects are wiped clean. The inkstone is washed and filled with water, along with one brush, one piece of ink, and one yellow-painted writing board, all placed on the east side of the incense burner, with the east as the main position. The diviner should fast, take a bath, and dress neatly, facing north, washing hands, burning incense, and performing the ritual. (The instruction that the diviner faces north is found in the Book of Rites. If divining for someone else, the host burns incense first, then slightly steps back and stands facing north; the diviner approaches and stands at a position slightly west of the bed, facing south to receive the commission. The host directly states the matter to be divined, and the diviner responds in agreement. Then the host turns slightly to the right, facing west, and the diviner also turns slightly to the right, facing north.) This sequence of movements and positions treats divination as a ritual, with the host stating the matter and the diviner receiving the commission, each having their own designated position.

兩手奉櫝蓋，置於格南爐北。出蓍於櫝，去囊解韜，置於櫝東。合五十策，兩手執之，熏於爐上。（此後所用蓍策之數，其說並見《啟蒙》。）命之曰：「假爾泰筮有常，假爾泰筮有常。某官姓名，今以某事云云，未知可否，爰質所疑，於神於靈。吉凶得失，悔吝憂虞，惟爾有神，尚明告之。」

Take the cover of the box in both hands and place it to the south of the wooden frame and to the north of the incense burner. Remove the bundle of divination stalks from the box, take off the cloth bag and untie the silk wrapping, and place them to the east of the box. Combine the fifty stalks together, hold them in both hands, and pass them over the incense burner. (The numbers of stalks used in the following steps and their explanations are all found in Zhu Xi's "Yixue Mengting.") Then address the divination stalks with a prayer: "By your great divination spirit, there is certainly a constant method; by your great divination spirit, there is certainly a constant method. My name is so and so, official rank so and so, today I am seeking to know about a certain matter, how it is, whether it is feasible or not. I specially come to question my doubts and report to the divine. Whether it is auspicious or ominous, whether it is gain or loss, whether it is regret or worry, whether it is anxiety or fear, only you, the divine, have the spirit to know. Please clearly tell me." This passage repeats "Jia er Tai shi you chang" twice, expressing respect and sincerity; the four characters "Hui lin you yu" are taken from the "Xici Zhuan," and generally refer to minor flaws or troubles between auspicious and ominous.

乃以右手取其一策，反於櫝中而以左右手中分四十九策，置格之左右兩大刻。（此第一營，所謂「分而為二以象兩」者也。）次以左手取左大刻之策執之，而以右手取右大刻之一策，掛於左手之小指閒。（此第二營，所謂「掛一以象三」者也。）次以右手四揲左手之策。（此第三營之半，所謂「揲之以四，以象四時」者也。）次歸其所餘之策，或一，或二，或三，或四，而扐之左手無名指閒。（此第四營之半，所謂「歸奇於扐，以象閏」者也。）

Then he used his right hand to take one stick from the fifty and put it back into the box without using it; then he used both his left and right hands to randomly divide the remaining forty-nine sticks into two piles, placing them into the left and right large grooves of the wooden frame. (This is the first procedure, as mentioned in the classic text: "Divide them into two to represent the two primal forces.") Next, he used his left hand to pick up and hold the sticks in the left groove, while using his right hand to take one stick from the right groove and insert it between the fingers of his left little finger. (This is the second procedure, as mentioned: "Hang one to represent three.") Then he used his right hand to count the sticks held in his left hand in groups of four. (This is the first half of the third procedure, as mentioned: "Count them by fours to represent the four seasons.") When he reached the end, he noted the remaining sticks, which could be one, two, three, or four, and inserted them between the fingers of his left ring finger. (This is the first half of the fourth procedure, as mentioned: "Return the remainder to the fingers to represent the leap month.") "Ying" refers to a step in the process of operation; four ying steps together constitute half of the transformation.

次以右手反過揲之策於左大刻，遂取右大刻之策執之，而以左手四揲之。（此第三營之半。）次歸其所餘之策，如前，而扐之左手中指之閒。（此第四營之半，所謂「再扐以象再閏」者也。一變所餘之策，左一則右必三，左二則右亦二，左三則右必一，左四則右亦四。通掛一之策，不五則九。五以一其四而為奇，九以兩其四而為耦；奇者三，而耦者一也。）

Then use the right hand to put back the counted bamboo sticks from the previous step into the large bundle on the left, and take the bamboo sticks from the large bundle on the right, holding them in the right hand. Then switch to the left hand and count the sticks in groups of four. (This is the latter half of the third procedure.) The remaining sticks are counted in the same way as before and are placed between the fingers of the left middle finger. (This is the latter half of the fourth procedure, which is called "again separating to symbolize another leap." The number of remaining bamboo sticks from the first change is determined: if one remains on the left, three must remain on the right; if two remain on the left, two also remain on the right; if three remain on the left, one must remain on the right; if four remain on the left, four also remain on the right. Including the previously hanging bamboo stick, the total number is either five or nine. Five equals one four, and is considered "odd"; nine equals two fours, and is considered "even." In terms of probability, getting five occurs three times, while getting nine occurs only once, so odd numbers are more frequent than even ones.)

次以右手反過揲之策於右大刻，而合左手一掛二扐之策，置於格上第一小刻。（以東為上。後放此。）是為一變。

Now use your right hand to put the counted bundles back into the large notch on the right side. Then take the bundles from the left hand, which were once 'hung' and twice 'pulled', and combine them together, placing them into the first small notch at the top of the wooden frame. (The three small notches are ordered with the one on the east side as the first, and the rest follow this rule.) This completes the first change. The term 'hung and pulled bundles' refers to the bundles that were drawn out and not involved in the counting of four. The number of these bundles determines whether this change is odd or even.

再以兩手取左右大刻之蓍合之。（或四十四策，或四十策。）復四營，如第一變之儀，而置其掛扐之策于格上第二小刻，是為二變。（二變所餘之策，左一則右必二，左二則右必一，左三則右必四，左四則右必三。通掛一之策，不四則八。四以一其四而為奇，八以兩其四而為耦；奇耦各得四之二焉。）

Now take the yarrow stalks from the left and right large grooves with both hands and put them together into one pile. (At this point, there are either forty-four stalks or forty, depending on whether five or nine stalks were removed in the first change.) Repeat the same procedure as in the first change, dividing into two, hanging one, separating four, and returning the remainder, performing these four steps again. Put the number of stalks removed in the hanging step into the second small groove of the wooden frame, which is the second change. (The number of remaining stalks for the second change is also predetermined: if the left side has one remaining, the right side must have two; if the left has two, the right has one; if the left has three, the right has four; if the left has four, the right has three. Including the one stalk that was hung up, the total number is either four or eight. Four is considered 'odd' (qí), and eight is considered 'even' (ǒu). Among the four possible situations, two are odd and two are even, each accounting for half.)

又再取左右大刻之蓍合之。（或四十策，或三十六策，或三十二策。）復四營，如第二變之儀，而置其掛扐之策于格上第三小刻，是為三變。（三變餘策，與二變同。）

Again, combine the yarrow stalks from the left and right large divisions. (At this point, there may be forty stalks, or thirty-six, or thirty-two, depending on how many were removed in the previous two changes.) Perform the same four procedures as in the second change again, placing the stalks from the hanging division into the third small division, which is the third change. (The remaining stalks in the third change follow the same pattern as in the second change, still not four but eight.) After completing the third change, the yin and yang old and young of one line are determined.

三變既畢，乃視其三變所得掛扐過揲之策，而畫其爻於版。（掛扐之數，五、四為奇，九、八為耦。掛扐三奇，合十三策，則過揲三十六策，而為老陽，其畫為o，所謂「重」也。掛扐兩奇一耦,合十七策，則過揲三十二策，而為少陰，其畫　－－，所謂「拆」也。掛扐兩耦一奇,合二十一策，則過揲二十八策，而為少陽，其畫為—，所謂「單」也。掛扐三耦,合二十五策，則過揲二十四策，而為老陰，其畫為x，所謂「交」也。）

After completing the three transformations, one examines the number of lines obtained from the hanging and the passing counts. The lines are drawn on the lacquered board. If the hanging count is five or four, it is called 'qi'; if it is nine or eight, it is called 'ou'. If all three transformations are 'qi', the total hanging count is thirteen, leaving thirty-six for the passing count. Thirty-six divided by four gives nine, which is old yang, drawn as a circle 'o', termed 'chong'. If two are 'qi' and one is 'ou', the total hanging count is seventeen, leaving thirty-two for the passing count. Thirty-two divided by four gives eight, which is young yin, drawn as a broken line '－－', termed 'chai'. If two are 'ou' and one is 'qi', the total hanging count is twenty-one, leaving twenty-eight for the passing count. Twenty-eight divided by four gives seven, which is young yang, drawn as a solid line '—', termed 'dan'. If all three transformations are 'ou', the total hanging count is twenty-five, leaving twenty-four for the passing count. Twenty-four divided by four gives six, which is old yin, drawn as a cross 'x', termed 'jiao'. The passing count is obtained by subtracting the hanging count from forty-nine. The passing count is then divided by four to get nine, eight, seven, or six, which are the numbers of the four yao. Old yang and old yin change, while young yang and young yin remain unchanged.

如是每三變而成爻，（第一、第四、第七、第十、第十三、第十六，凡六變並同。但第三變以下不命，而但用四十九蓍耳。第二、第五、第八、第十一、第十四、第十七，凡六變亦同。第三、第六、第九、第十二、第十五、第十八，凡六變亦同。）

In this way, each three changes make up one line (yao). (Among the eighteen changes, the first, fourth, seventh, tenth, thirteenth, and sixteenth are all considered as the first change; the ritual is the same; however, after the third change, there is no need to recite the incantation, and one may directly begin with forty-nine yarrow stalks. The second, fifth, eighth, eleventh, fourteenth, and seventeenth are all considered as the second change. The third, sixth, ninth, twelfth, fifteenth, and eighteenth are all considered as the third change.) That is to say, the eighteen changes are grouped into six cycles of three changes each. Within each group, the first, second, and third changes are performed according to their respective methods, and the six lines (yao) are drawn from bottom to top in sequence.

凡十有八變而成卦，乃考其卦之變，而占其事之吉凶。（卦變別有圖，說見《啟蒙》。）禮畢，韜蓍襲之以囊，入櫝加蓋，斂筆硯墨版，再焚香致敬而退。（如使人筮，則主人焚香，揖筮者而退。）

The process of divination involves a total of eighteen changes to form a hexagram. Then, one examines which lines have changed and into which hexagram they have transformed, using this to determine the fortune or misfortune of the matter being consulted. (There is a special diagram for hexagram changes, which is explained in the "Easy Introduction to the Study of the Yi Jing.") After the ritual is completed, the divining stalks are wrapped in silk cloth, then placed into a bag and stored in a wooden box, with the lid closed. The brush, inkstone, ink, and lacquered board are also put away. A final incense offering is made, and then one exits. (If it is for someone else, the host will offer the incense and bow to the diviner, then leave.)

□法□鑑明斷　某私加之歌並多智耳

This line is a self-commentary by the collector of the old edition, missing two characters. The general meaning is that the following set of "method for divining with yarrow stalks" comes from some kind of clear and decisive manual, and is a verse added privately by "I" (the collector referring to himself), intended merely to gain more knowledge. Therefore, this section differs from the "method for divining with yarrow stalks" in Zhu Xi's "Sì Yí" tradition, and belongs to another set of oral rules for divining with yarrow stalks added by later scholars.

大衍之數五十，其用四十有九。分而為二以象兩，掛一以象三，揲之以四以象四時，歸奇於扐以象閏，五歲再閏，故再扐而後掛。

The number of the Great Derivation is fifty, but only forty-nine are actually used. The forty-nine divination sticks are divided into two groups, symbolizing the two principles of Heaven and Earth. One stick is drawn out and held between the fingers, symbolizing a human standing between Heaven and Earth to form the three elements. Counting four sticks at a time, this symbolizes the four seasons of a year. The remaining leftover sticks are placed between the fingers, symbolizing the accumulation of surplus to form a leap month. In five years, two leap months are required, so the leftover sticks are placed twice, and then the sticks are rearranged. These four sentences are still the original text from the Great Treatise. They are repeated here as a general guideline for the following section on the method of divination with yarrow stalks.

揲蓍之法：取蓍五十莖，置其一不用（以象太極無為），其為用之策四十有九。筮者焚香執蓍，祝之曰：太極即判，幽贊神明而生蓍，聖人則之。觀變陰陽而立卦，始之卜祈不徒尚占而議數。觀其吉凶，則在經世而濟人。

The method of divining with yarrow stalks is as follows: take fifty stalks of yarrow, remove one stalk and set it aside (to symbolize the emptiness and non-action of the Supreme Ultimate), leaving forty-nine stalks for actual use. The diviner burns incense, holds the yarrow stalks in hand, and prays: after the Supreme Ultimate has divided into yin and yang, the sage, receiving divine assistance in the hidden realm, produced the yarrow stalks; the sage took them as a model. Observing the changes of yin and yang, the sage established the lines of the hexagram. Initially, the practice of divination and inquiry was not merely about valuing calculation and numbers; the reason for looking at fortune and misfortune is to manage worldly affairs and benefit others.

所以決疑特備於蓍龜，□□應同於影□□□將大道輒佈於羲氏文王，敢擬凡情，尚扣於周公孔子。四營統舉，百世可知，感而遂通，求之則得。今有某某國鄉貫某人云云何復等。

Therefore, to decide on difficult matters, special tools of yarrow stalks and turtle shells were prepared; their responsiveness is like a shadow following its form. There are some missing characters in this text, and they are not to be guessed. The great Dao was spread throughout the world by Fuxi and King Wen. We, with our mundane feelings, still need to inquire into the principles passed down by the Duke of Zhou and Confucius. The four procedures—dividing into two, hanging one, dividing four, and returning the odd—summarize the entire process, and even matters of a hundred generations later can be predicted. When the mind is moved, it can be understood; when sincere inquiry is made, the answer is obtained. Now, someone from a certain country, village, and family, asking about a certain matter, comes to consult—here is a blank space, which is filled in when the actual consultation takes place with the person's place of origin, name, and the matter being inquired about.

以蓍四十九策，信手分為二，各執於手（蒙而儀也），掛右手一策於左手小指間（象三才也），遂以四揲左手之策（象四時也），歸其餘策，或一或二或三或四，扐於左手四指間（以象閏也），又以四揲右手之策，而再歸其餘策，扐於左手第三指之間（象再閏也），是謂一變。其掛扐之數，不五則九，置於案右。

Divide the forty-nine stalks into two heaps at random, holding each heap in one hand (without concern, allowing them to be natural, which represents the 'Two Principles' or 'Two Yin-Yang'). Take one stalk from the right heap and insert it between the index finger and thumb of the left hand (symbolizing the Three Principles). Then count the remaining stalks in the left hand in groups of four (symbolizing the four seasons). The leftover number, which can be one, two, three, or four, is inserted between the fourth finger (ring finger) and the third finger (middle finger) of the left hand (symbolizing an intercalary month). Next, count the remaining stalks in the right hand in groups of four, and insert the leftover number between the third finger (middle finger) and the second finger (ring finger) of the left hand (symbolizing a leap year every five years). This is called one transformation. The number of stalks obtained from this transformation, either five or nine, is placed on the right side of the table for reference.

一變之後，除前餘數後，合其見存之策，或四十或四十四。其分二掛一揲四，一如前法，是謂再變其掛扐之數。不四則八，置於案右。

After the first change, subtract the number of bamboo sticks removed during the first hanging and combine the remaining sticks, resulting in either forty or forty-four sticks. Then, again follow the previous method: divide into two, hang one, shake four, and return the remainder. This is the second change. The number of sticks removed during the second hanging is either four or eight, and these are placed on the right side of the case. The forty and forty-four here correspond to the two situations of subtracting nine sticks and five sticks respectively in the first change.

再變之後，除前兩次餘數外，後合其見存之策，或四十或三十六或三十二，其分二掛一揲四亦如前法，是謂三變其掛扐之數，如再變例。

After the second change, subtract the number of stalks removed during the first two changes, and combine the remaining stalks, which will be either forty, thirty-six, or thirty-two; then proceed again with the same method: divide into two, hang one, shake four, and return the remainder. This is the third change. The number of stalks removed during the third change follows the same pattern as the second change, also not being divisible by four but by eight.

三變既畢，乃視其變所得掛扐之策，合而數之：其策合一十三數，而為老陽，是之謂重，其畫o（奇數也）。其策合一十七數，而為少陰，是之謂折，其畫－－（偶數也）。其策合二十一數，而為少陽，是之謂單，其畫—（奇數也）。其策合二十五數，而為老陰，是之謂交，其畫x（偶數也）。

After completing the three changes, the numbers obtained from the three hangings are combined for counting: those totaling thirteen are called old yang, termed "chong," and are drawn as a circle "o" (an odd number). Those totaling seventeen are called young yin, termed "zhe" or "chai," and are drawn as a broken line "－－" (an even number). Those totaling twenty-one are called young yang, termed "dan," and are drawn as a solid line "—" (an odd number). Those totaling twenty-five are called old yin, termed "jiao," and are drawn as a cross "x" (an even number). Subtracting these four numbers from forty-nine gives thirty-six, thirty-two, twenty-eight, and twenty-four, respectively. Dividing each by four results in nine, eight, seven, and six.

凡三變而成一爻，即畫爻於版，合四十九策後分掛扐□，並如前式。每三變成一爻，六爻成一卦，是謂十有八變而成卦。然後其爻變與不變，以占休咎。

Each three changes make one line, and then the line is drawn on the lacquered board. Then the forty-nine stalks are gathered together again, and the process of dividing into two, hanging one, and returning the remaining is repeated, following the same procedure as before. Each three changes make one line, and six lines form a hexagram, which is called "ten thousand eight hundred changes to form a hexagram." After the hexagram is formed, one examines which lines are old yang or old yin and need to change, and which are young yang or young yin and remain unchanged, thereby determining fortune and misfortune. The original text here has a missing character, which is left as is with doubt and not corrected.