The Trigram of the Cauldron

（巽下　離上）鼎：元吉亨。革物者莫若鼎，此陶賢鑄聖、烹佛煉祖之器也，安得不元吉而亨哉。彖曰：鼎，象也。以木巽火，亨飪也。聖人亨以享上帝，而大亨以養聖賢。巽而耳目聰明，柔進而上行，得中而應乎剛，是以元亨。初陰為足，二三四陽為腹，五陰為耳，上陽為鉉，非鼎象乎；以木巽火而亨飪，非鼎用乎。勿謂鼎之道小，聖人亨以享上帝，亦此鼎耳；即大亨以養天下聖賢，亦此鼎耳。何必離事別求理哉。且以卦德言之，內則巽順，外則離而耳目聰明；六五以柔為離之主，進而上行，得中位而應九二之剛。此豈非聖賢佛祖自陶自鑄、自烹自煉之道，其元亨也宜矣。

The lower trigram is Xun (Wind) and the upper trigram is Li (Fire), forming the Hexagram of the Cauldron. The Hexagram Statement says: Great auspiciousness, smooth and unimpeded. Zhu Xiu explains: There is no transformation more thorough than the cauldron, which is used to mold virtuous men and sages, and to cook the Buddha and the sages. How could it not be great auspiciousness and smooth? The Commentary on the Judgment says: The cauldron is taken as an image of an object. Putting firewood into the fire is cooking. The sage cooks to offer sacrifices to the Supreme Deity, and also cooks on a large scale to nourish the sages of the world. The lower trigram is Xun, which is flexible and yielding, and the upper trigram is Li, which is bright and clear, with keen eyesight and hearing. The yao (lines) of yin ascend, occupying the central position and corresponding with the yang lines, thus achieving great smoothness and unimpededness. He then explains the image of the hexagram: The first line is yin, like the legs of the cauldron; the second, third, and fourth lines are yang, like the body of the cauldron; the fifth line is yin, like the handle of the cauldron; and the top line is yang, like the pole used to carry the cauldron. Is this not the image of the cauldron? Putting firewood into the fire to cook, is this not the function of the cauldron? Do not think the way of the cauldron is small: the sage uses this cauldron to offer sacrifices to the Supreme Deity, and also uses this cauldron to nourish the sages of the world. Why should one seek principles apart from concrete phenomena? In terms of the hexagram's virtue, inside is Xun, which is flexible and yielding, and outside is Li, which is bright and clear, with keen eyesight and hearing. The sixth line, which is yin, becomes the main line of the upper trigram Li, ascending and occupying the central position, and corresponding with the second line, which is yang. Is this not the way of sages and Buddhas molding themselves and cooking themselves? Its "originally smooth" is natural.

象曰：木上有火，鼎。君子以正位凝命。鼎者，國之重寶，君位之所寄也。得其道以正其位，則命可凝；德不稱位，則命去而鼎隨去矣。約象明之：德如木，命如火，有木則有火，木盡則火亡；有德以正其位則命凝，德亡則命亡，故曰惟命不於常也。

The Great Image Commentary says: Wood has fire upon it, which is the image of the Ding hexagram; the gentleman takes inspiration from this, rectifies his position and gathers the mandate of heaven. -- Zhixu's explanation: The Ding is the precious treasure of a state, and the position of the ruler is entrusted to it. By attaining the right path to rectify his position, the mandate of heaven can be held; if virtue is not equal to the position, the mandate will depart, and so will the Ding. In terms of the hexagram image: virtue is like firewood, and the mandate is like fire; there is fire only when there is firewood, and when the firewood is burned out, the fire ceases. When virtue is used to rectify the position, the mandate is gathered; when virtue is lost, the mandate is also lost. Therefore, the Book of Documents says, "The mandate does not remain with one family forever" -- the mandate of heaven is not fixed to one family.

初六：鼎顛趾，利出否，得妾以其子，無咎。象曰：鼎顛趾，未悖也；利出否，以從貴也。初為鼎趾，應四故顛。然及其未烹物而顛之，舊積否惡從此可出矣。顛趾如得妾，出否如得子，母以子貴。因其子而知得妾之未悖，因出否而知顛趾之有功也。

The line statement for the initial line six says: The tripod has overturned its foot, and thus the filth inside is expelled; having taken a concubine and having a son from her who attains honor, there is no fault. The small image commentary says: The tripod's foot overturning is not against the norm; it is advantageous to expel the filth because it follows the superior. - Zhixu's explanation: The initial line six represents the tripod's foot, which is overturned because it corresponds with the ninth line four. However, overturning the tripod before cooking is advantageous, as the accumulated filth can now be expelled. Overturning the tripod's foot is like taking a concubine, expelling the filth is like having a son, and the mother becomes honored through her son. Through the son's honor, one realizes that taking a concubine is not against propriety; through expelling the filth, one realizes that overturning the tripod's foot was actually beneficial.

九二：鼎有實，我仇有疾，不我能即，吉。象曰：鼎有實，慎所之也；我仇有疾，終無尤也。二當鼎腹之下分，陽剛故為有實，上應黃耳金鉉之六五，能護守之。初雖顛趾而有疾，終不害及我也。然在二，則宜慎所之矣。

The line statement for the second line says: There is something tangible in the tripod; my rival has illness and cannot approach me, which is auspicious. The small image commentary says: There is something tangible in the tripod; one should be cautious about where one is going; my rival has illness and ultimately has no fault. - Zhixu's explanation: The second line is in the lower part of the tripod body, with a yang line representing firmness and substance, hence it says 'there is something tangible.' It is in correspondence with the sixth line in the fifth position, the yellow ear and golden chain, which can protect and guard it. Although the first line has overturned the tripod foot and is suffering from illness, it ultimately cannot harm me. However, standing in the position of the second line, one should still be cautious about where one is going.

九三：鼎耳革，其行塞，雉膏不食，方雨虧悔，終吉。象曰：鼎耳革，失其義也。三當鼎腹之中分，其實腴美，有雉膏可食矣，上無應與，如鼎方革耳而不可行者焉。賴六五柔中之黃耳，貫上九剛而不過之玉鉉，方將舉二以及三，如陰陽之和而得雨，則可以虧悔而終吉矣。懷道而不思致用，故失其義，猶所云不仕無義，激之使及時行道也。

The statement of the third line says: The tripod's handle has changed, it cannot be lifted, and the delicious wild chicken cannot be eaten; when it rains, regret decreases, and finally good fortune is obtained. The Small Image Commentary says: The tripod's handle has changed, which is losing the proper meaning. - Zhixu explains: The third line is in the middle of the tripod's belly, where the contents are most delicious, and there should be wild chicken to eat; however, there is no corresponding line above, just like the tripod's handle has changed and cannot be lifted. Fortunately, there is the flexible and centered yellow ear of the fifth line, and the strong but not excessive jade handle of the top line, which is about to lift up both the second and third lines together, just like yin and yang harmonize and rain comes down, thus reducing regret and finally obtaining good fortune. Holding the Dao without wanting to use it, so it is said 'losing its meaning,' just as the Analects says 'not taking office is unrighteous' — this is encouraging the third line to act out the Dao in time.

九四：鼎折足，覆公（攸-文+束），其形渥，凶。象曰：覆公餗，信如何也。四當鼎腹之上分，其實既滿，而下應初六，則不勝其重，足云折矣，形貌能無赧汗乎。始也不自知其德薄，知小力小，妄據尊位，而謀大任重；今一旦不勝其任，此其所自信者為如何也。

The fourth line statement says: The tripod breaks its legs, spills the delicacies of the prince, and the body of the tripod is stained with dirt, resulting in misfortune. The Small Image Commentary says: The delicacies of the prince are spilled, what was his former confidence now? Zhu Xiu explains: The nine in the fourth line is located at the upper part of the tripod body, which is already full, yet it connects downward with the weak six at the beginning. It cannot bear the weight, so the tripod legs naturally break. How can his face not be ashamed and sweaty? At first he did not know his virtue was shallow, his knowledge was limited, and his strength was small, yet he rashly occupied a high position and planned great affairs and shouldered heavy responsibilities. Now that he cannot bear the burden, what was his former confidence now? (The character '餗' in the line statement is written in the original text with a combination of radicals as '(you - wen + shu)', referring to the food in the tripod. The original form is preserved here.)

六五：鼎黃耳金鉉，利貞。象曰：鼎黃耳，中以為實也。五為鼎耳，而有中德，故其色黃；以虛受實，故為金鉉，鉉即指上九也。以鉉貫耳，以耳舉鼎，盡天下聖賢而養之，豈非聖人大亨之正道乎。然六五自本無實，特下應九二之剛中以之為實，即以此而養天下，所謂為天下得人者耳。

The line statement of the fifth line says: The tripod has yellow ears and a metal handle, and it is appropriate to maintain uprightness. The small image commentary says: The yellow ears of the tripod are symbolic of the virtue of being in the center as its substance. —— Zhixu explains: The fifth line represents the ear of the tripod, and it possesses the virtue of being in the center, so it takes the color yellow, which is the central color among the five colors. It uses the hollow earhole to receive the solid handle, so it is said 'metal handle,' where 'handle' refers to the upper nine. By using the handle to pass through the earhole, and using the earhole to lift the entire tripod, it can support the sages of the world. Is this not precisely the correct path of the sage 'greatly prosperous to nourish the sages'? However, the fifth line itself is a yin line, originally without substance, but it corresponds downward with the yang line nine two, which is upright and in the center, taking nine two as its substance. By relying on this to nourish the world, it is exactly what Mencius said 'to obtain the right people for the world.'

上九：鼎玉鉉，大吉無不利。象曰：玉鉉在上，剛柔接也。上為鼎鉉，自六五觀之，則如金之剛；自其剛而不過之德言之，則如玉之潤矣。金遇猛火則鎔，玉非火所能壞，以此舉鼎，故大吉無不利也。

The statement for the top line says: The tripod is carried by a jade pole, which brings great good fortune and benefits in all directions. The Small Image Commentary says: The jade pole is on top, indicating the meeting of firmness and softness. —— Zhixu explains: The top line represents the pole of the tripod. From the perspective of the fifth line, it appears as hard as metal; but in terms of its moderate firmness, it is as gentle as jade. Metal melts when exposed to fierce fire, but jade is not harmed by fire; therefore, using a jade pole to carry the tripod brings great good fortune and benefits in all directions.

（震下　震上）震：亨。震來虩虩，笑言啞啞。震驚百里，不喪匕鬯。主重器者莫若長子，長子未有不奮動以出者也，故震則必亨。然其亨也，必有道以致之。方其初動而來，虩虩乎如蠅虎之周環顧慮，仍不失其和，而笑言啞啞。夫惟存於己者既嚴且和，以此守重器而為祭主，縱遇震驚百里之大變，能不喪其匕鬯矣。佛法釋者：一念初動，即以四性四運而推簡之，名為虩虩；知其無性無生，名為笑言啞啞；煩惱業境種種魔事橫發，名為震驚百里；不失定慧方便，名為不喪匕鬯也。

The lower trigram is Zhen (Thunder) and the upper trigram is also Zhen (Thunder). The hexagram statement of Zhen says: It is smooth. When the thunder strikes, one is startled and looks around in all directions, but then laughs and speaks freely. The thunder's sound shakes a hundred miles away, yet the ladle in one's hand and the fragrant wine do not fall. Zhu Xiu explains: The person who presides over the ancestral temple's sacred objects has no one more suitable than the eldest son; the eldest son will not fail to rise up and take on great responsibilities, so the hexagram Zhen must be smooth. However, its smoothness must be achieved through a certain path. When the thunder begins to strike, one is startled and looks around in all directions, like a fly spider (a small spider that catches flies) that looks all around and is cautious everywhere, yet the mind remains peaceful and joyful, so one can still laugh and speak freely. It is precisely because the mind is cultivated with both seriousness and peace that one can guard the sacred objects of the ancestral temple and serve as the chief priest. Even when encountering a great disturbance that shakes a hundred miles, one can still hold onto the ladle and the fragrant wine without losing them. Zhu Xiu then uses Buddhist teachings to explain it: When a thought first arises, one uses the "Fourfold Examination of Nature" (examining whether this thought arises by itself, from another, from both, or without cause) and the "Fourfold Examination of Mind Movement" (examining the stages of no thought, desire for thought, actual thought, and after thought) to carefully distinguish it. This is called "xuxu" — being startled and looking around, examining repeatedly; after careful examination, one realizes that this thought has no self-nature and is originally unborn, thus the mind becomes tranquil, which is called "xiaoyan yaya" — laughing and speaking freely. When various afflictions arise in practice, when past karmic conditions appear, and when various demonic disturbances arise, this is called "zhengzhong bai li" — a great disturbance shaking a hundred miles. While maintaining the stability of meditation, wisdom, and skillful means, this is called "bu sang bi chang" — not losing the ladle and the fragrant wine.

彖曰：震，亨。震來虩虩，恐致福也；笑言啞啞，後有則也。震驚百里，驚遠而懼邇也。出可以守宗廟社稷，以為祭主也。恐懼乃能致福，福不可以幸邀，所謂生於憂患也；啞啞亦非放逸，仍不失其法則也。惟其養之有素如此，故雖當驚遠懼邇之變，人皆退避，而偏能出此凝定之神以當之，可以守宗廟社稷而為祭主也。為祭主，即是不喪匕鬯註腳。

The Commentary on the Judgment says: The hexagram Zhen is smooth and unimpeded. When the thunder comes, it causes alarm and looks around, because knowing fear brings about blessings; afterwards, one can talk and laugh freely, because there is still order after the event. The thunder's sound shakes a hundred miles, causing those far away to be startled and those nearby to be frightened. Such a person rises up to take responsibility, capable of guarding the ancestral temple and state, and serving as the chief priest. - Zhixu explains: Knowing fear brings about blessings, and blessings are not obtained by chance; this is exactly what Mencius said, "Born of hardship." The "yayay" laughter and talk is not indulgence or slackness, but still maintains one's own order. It is precisely because he has cultivated himself in this way all along that even when encountering great upheavals that cause distant people to be startled and nearby people to be frightened, while others retreat, he can still take up this calm and steady spirit to shoulder the responsibility, thus being able to guard the ancestral temple and state and serve as the chief priest. The phrase "as the chief priest" is precisely the explanation of the hexagram's statement "not losing the sacrificial wine."

象曰：洊雷震。君子以恐懼修省。君子不憂不懼，豈俟雷洊震而後恐懼修省哉。恐懼修省，正指平日不睹不聞慎獨功夫。平日功夫能使善長惡消，猶如洊雷能使陽舒陰散也。惟其恐懼修省慣於平日，故雖遇洊雷，亦復不憂不懼矣。問曰：孔子迅雷風烈必變，復云何通？答曰：此是與天地合德，變則同變，亦非憂懼。

The Great Image Commentary says: Continuous thunder sounds, this is the Zhen hexagram; the gentleman takes this as a model, maintaining fear and self-cultivation. - Zhixu's explanation: The gentleman originally has no worry or fear, how could he wait until thunder sounds continuously before he begins to fear and cultivate himself? Here, "fear and self-cultivation" refers precisely to the daily practice of being cautious in solitude as mentioned in the Zhongyong. Daily practice allows good thoughts to grow and evil thoughts to diminish, just as continuous thunder allows yang energy to expand and yin energy to dissipate. Precisely because fear and self-cultivation have become habitual in daily life, even when encountering continuous thunder, he remains untroubled and fearless. Someone asks: The Analects records that Confucius would change his expression and show concern when encountering sudden thunder and fierce winds, how can this be explained? The answer is: That is in harmony with the virtue of heaven and earth; when heaven and earth change, he also changes accordingly, which is not out of worry or fear.

初九：震來虩虩，後笑言啞啞，吉。象曰：震來虩虩，恐致福也；笑言啞啞，後有則也。六爻皆明恐懼修省之道，而德有優劣，位有當否，故吉凶分焉。初九剛正，為震之主，主器莫若長子，吉可知矣。

The line statement for the first line (Initial Nine) says: When thunder strikes, one is startled and looks around, but later laughs and remains calm, which is auspicious. The Small Image Commentary says: When thunder strikes and one is startled and looks around, it is knowing that fear brings blessings; later, when one laughs and remains calm, it is because there is still order after the event. Zhu Xiu explains: All six lines explain the principle of being fearful and self-cultivating, but since each line has different virtue and position, whether appropriate or not, they are divided into auspicious and inauspicious outcomes. The first line is yang and in the correct position, and it is the main line of the Zhen hexagram. The "Sequence of Hexagrams" says that there is no one more suitable than the eldest son to hold the ancestral temple's important objects, so its auspiciousness is evident.

六二：震來厲，億喪貝，躋于九陵，勿逐，七日得。象曰：震來厲，乘剛也。六二乘初九之剛，蓋嚴憚切磋之畏友也。藉此深自惕厲，以振刷我陰柔懦弱之習，舉吾平日所謂中正純善多種寶貝盡喪不顧，直躋於乾健高明之九陵，勿更留意求逐。然至於七日，復其故位，則中正純善之德仍在矣。

The line statement for the second line says: When thunder strikes, there is danger and hardship, and one estimates that wealth will be lost, and one ascends to a high hill of nine layers; there is no need to pursue, for after seven days the lost wealth will be regained. The small image commentary says: The danger and hardship caused by the thunder is because it is overpowering the yang strength above it. —— Zhixu's explanation: The line six two is pressing upon the yang strength of the first line nine, and the first line nine towards it is like a respectful and awe-inspiring friend who can sharpen and refine. It uses this pressure to deeply alert and motivate itself, thoroughly cleansing its own soft and weak nature, and completely abandoning even the various 'treasures' it once thought to be upright and pure. It directly ascends to the high and noble hill of the virtue of Qian, no longer paying attention to the things it has lost. However, by the seventh day, it returns to its original position, and the virtue of being upright and pure remains as before.

六三：震蘇蘇，震行無眚。象曰：震蘇蘇，位不當也。三遠於初，初之所以驚發我者，蘇蘇而不切矣。三當自以震行，勿因遠於畏友，而緩其恐懼修省之功，則無眚也。九四：震遂泥。象曰：震遂泥，未光也。九四亦震主也，以陽居陰，復陷四陰之間，雖似洊至，遂失其威而入泥，豈能如虩虩啞啞之有光哉。

The line statement for the third line says: The thunder shakes weakly and moves forward in the shaking, thus there is no calamity. The small image commentary says: The shaking is weak because its position is improper. ——Zhixu explains: The sixth line is far from the initial nine. The initial nine is used to awaken and stimulate my strength, but by the time it reaches here, it has become slack and not closely connected. The sixth line should take the initiative to exert the strength of shaking forward. It should not relax the effort of fear and self-cultivation just because it is far from a close friend. Only then can there be no calamity. The line statement for the fourth line says: The thunder is stuck in the mud. The small image commentary says: The thunder is stuck in the mud because it is not yet broad. ——The fourth line is also a main line in the thunder hexagram, but it is a yang line in a yin position, and it is also surrounded by four yin lines. Although it seems as if the thunder sounds continuously, it quickly loses its power and gets stuck in the mud. How can it compare with the initial nine, which has the sounds of 'xīxī' and 'yǎyǎ', which are bright?

六五：震往來厲，億無喪有事。象曰：震往來厲，危行也；其事在中，大無喪也。震六二者惟初九，故但云來厲；震六五者，則初九與九四也，初震既往，四震復來，五得藉此以自惕厲，令所行日進於高明，故曰危行，猶所云邦有道危言危行也。以六居五，不過於柔，又得中道，故其德甚多，而毫無所喪，但有恐懼修省之事耳。

The line statement of the fifth line says: Thunder shaking comes and goes with danger and hardship, but there is no loss, only matters to be dealt with. The small image commentary says: Thunder shaking comes and goes with danger and hardship, indicating that actions are lofty and not careless; it deals with matters staying on the middle path, so there is no loss. Zhu Xi explains: The shaking that affects the sixth line (yao) is only from the first line (initial nine), so the line statement only mentions 'coming with hardship'; the shaking that affects the fifth line involves both the first line and the fourth line. The first line's shaking has already passed, while the fourth line's shaking comes again. The fifth line uses this coming and going to be cautious, making its actions gradually more refined, so the small image commentary says 'dangerous conduct,' just as the Analects says 'when the state is well governed, speak and act with caution and integrity.' When the state is clear, both speech and conduct should be lofty and not careless. The fifth line, being a yin line in the fifth position, does not become overly weak, and it stays on the middle path, so its virtue is abundant, with no loss, except that it has more fear and self-cultivation.

上六：震索索，視矍矍，征凶。震不于其躬，于其鄰，無咎。婚媾有言。象曰：震索索，中未得也；雖凶無咎，畏鄰戒也。初九之剛，固不足以及我；九四震亦遂泥，聲已索索無餘威矣。而陰柔弱極，方且視矍矍而惶惑無措，以此徵往，則中心無主，神已先亂，凶可知也。然震既不及其身，止及其鄰，即因震鄰而恐懼修省，亦可無咎。但禍未至而先防，乃明哲保身之道，儻與婚媾商之，必反以為迂而有言矣。君子可弗自勉乎。

The line statement of the sixth line above says: Thunder sounds diminish and fade away, the eyes are startled and look around, moving forward brings misfortune. The shaking has not fallen upon itself, but upon the neighbor, thus there is no fault; only the relatives by marriage will speak ill. The Small Image Commentary says: Thunder sounds diminish because it has not yet reached the center; although there is danger, there is no fault because seeing the neighbor's plight brings awareness and caution. - Zhixu explains: The yang strength of the first line is originally too weak to reach the sixth line; the fourth line's shaking is submerged in mud, and the thunder sound has already completely faded. However, the sixth line, being extremely weak in yin, still shows startled eyes and clumsy movements; proceeding in such a state, the mind is without direction, and the spirit is already disordered, so misfortune is inevitable. Nevertheless, since the shaking has not fallen upon itself but upon the neighbor, if it can be frightened by the neighbor's experience and thus reflect and reform, there would be no fault. However, being cautious before the calamity has arrived is a way of self-preservation; if it is discussed with relatives by marriage, they will certainly think it too cautious and speak ill. Should a gentleman not encourage himself?

（艮下　艮上）艮其背，不獲其身；行其庭，不見其人，無咎。夫動與止，雖是相對待法，亦是相連屬法，又是無實性法，究竟是無二體法也。不動曰止，不止曰動，此約相對待言也；因動有止，因止有動，此約相連屬言也；止其動則為靜，止其靜則為動，動其止則為動，動其動則為止，此約無實性言也；止即是動，故即寂恆感，動即是止，故即感恆寂，此約無二體言也。知動止無二體者，始可與言止矣。

The lower trigram is Gen and the upper trigram is Gen. The Hexagram Statement of Gen says: "Stopping on the back, not feeling one's own body; walking through the courtyard, not seeing anyone, without fault." Right from the beginning, Zhi Xu uses the fourfold perspective of Buddhist teachings to explain "movement" and "stillness": Movement and stillness are a pair of phenomena that depend on each other, are connected and interdependent, have no substantial self-nature, and ultimately are not two separate entities. Not moving is called stillness; not still is called movement, which is said in terms of mutual dependence. Because there is movement, there is stillness; because there is stillness, there is movement, which is said in terms of connection and interdependence. Stopping movement becomes stillness; stopping stillness becomes movement. Moving stillness again becomes movement; moving movement again becomes stillness, which is said in terms of no substantial self-nature. Stillness is movement at the same time, so even though it is quiet, it is always responsive; movement is stillness at the same time, so even though it is responsive, it is always quiet, which is said in terms of not being two separate entities. Only those who understand that movement and stillness are not two separate entities are qualified to discuss "stillness" with him.

夫人之一身，五官備於面，而五臟司之；五臟居於腹，而一背繫之。然玄黃朱紫陳於前，則紛然情起；若陳於背，則渾然罔知，故世人皆以背為止也。然背之止也，縱令五官競騖於情慾，而仍自寂然；逮情之動也，縱復一背原無所分別，而畢竟隨往。故以面從背，則背止而面亦隨止；以背從面，則面行而背亦隨行。究竟面之與背，元非二體，不可兩判。

He then continued to explain from the perspective of the human body: the eyes, ears, nose, tongue, and other five senses are all located on the face, governed by the five internal organs. The five internal organs are located in the abdomen, connected entirely by the spine. However, when black, yellow, red, and purple things are placed before someone, they become excited with desires; but if the same things are placed behind, they remain completely unaware. Therefore, people regard the back as a symbol of "stopping." However, this "stopping" of the back remains still even if the five senses compete for desires. When desire arises, although the back itself does not distinguish, in the end it still follows. Therefore, if the face follows the back, when the back stops, the face also stops. If the back follows the face, when the face moves, the back also moves. In the end, the face and the back are not two separate entities, and cannot be divided into two parts.

今此卦上下皆艮，止而又止，是艮其背者也。艮背何以能無咎哉？是必不獲其身，行其庭不見其人，斯無咎耳。身本非實，特以情慾錮之，妄見有身。今向靜時觀察：其中堅者屬地，潤者屬水，暖者屬火，動者屬風；眼耳鼻舌異其用，四支頭足異其名；三百六十骨節，八萬四千毫竅，畢竟以何為身。身既了不可得，即使歷涉萬變，又豈有人相可得哉，故行其庭而亦不見其人。此則止不礙行，即行恆止，故無咎也。

Now the hexagram has both upper and lower trigrams as Gen, meaning it is a double stop. This is exactly "Gèn qí bèi" (stopping at the back). But merely stopping at the back, how can it be without fault? One must certainly achieve "bù huò qí shēn" (not obtaining the self) and "xíng qí tíng bù jiàn qí rén" (walking through the courtyard without seeing a person), before it can be said to have no fault. The body is originally not real, but because it is bound by desires, one mistakenly perceives a self. Now, when quiet, observe it carefully: the hard part belongs to "dì dà" (earth element), the moist part to "shuǐ dà" (water element), the warm part to "huǒ dà" (fire element), and the moving part to "fēng dà" (wind element) (these four elements, earth, water, fire, and wind, are the basic elements in Buddhist teachings that constitute the physical body). The eyes, ears, nose, and tongue each have their own functions; the limbs and head and feet each have their own names. There are three hundred and sixty joints and eight ten thousand pores—so which one should be taken as the "body"? Since the body cannot be found and is ultimately empty, then even though one undergoes myriad changes, where can one find a "person's form"? Thus, walking through the courtyard, one does not see a person. In this way, stopping does not hinder action; the present moment is within action while constantly being still, so there is no fault.

彖曰：艮，止也。時止則止，時行則行，動靜不失其時，其道光明。艮其止，止其所也。上下敵應，不相與也，是以不獲其身，行其庭不見其人，無咎也。止其行而為靜，止其止而為動，動靜以時，無非妙止，故其道光明也。止非面牆之止，所非處所之所，特以法法本不相知，法法本不相到，猶此卦之上下敵應而不相與，是以覓身了不可得；雖行其庭，而亦了無人相可見，合於光明之道而無過也。

The Commentary on the Judgment says: "Gèn" means to stop. When it is time to stop, stop; when it is time to act, act. Motion and stillness do not miss their proper timing, and this path is bright. What is meant by "Gèn qí zhǐ" (to stop at the proper place) is to stop at the place where it should stop. The yao of the upper and lower trigrams correspond to each other and are of the same nature, opposing each other, not being close or harmonious. Therefore, one does not feel the presence of one's own body, and when walking through the courtyard, one does not see a person, and there is no mistake. - Zhixu's explanation: To stop movement becomes stillness; to stop stillness becomes motion. Motion and stillness both conform to the proper timing, and all are subtle forms of "stopping," so this path is bright. Here, "stopping" does not refer to sitting in meditation facing a wall, a form of dead stop; and "place" does not refer to a specific location. It is because all dharmas are originally not knowing each other, and all dharmas are originally not reaching each other, just like the trigram where the upper and lower trigrams oppose each other without being close. Therefore, seeking the "body" is ultimately unattainable; even when walking through the courtyard, one sees no trace of a "person." This conforms to the bright path and has no error.

象曰：兼山艮。君子以思不出其位。兩山並峙，各安其位者也，是故草木生之，禽獸居之，寶藏興焉，位位無非法界故也。君子於此非不思也，知離此現前之位，別無一法可得，故思不出其位。不出位而恆思，則非枯槁寂滅；思而不出其位，則非馳逐紛紜。恆思則能盡其位之用，故一切旋乾轉坤事業，無不從此法界流；不出則能稱其位之量，故一切位天育物功能，無不還歸此法界。

The Great Image Commentary says: Two mountains overlapping, this is the Gen hexagram; the gentleman takes this as a model, and his thoughts do not go beyond his own position. —— Zhixu's explanation: Two mountains standing side by side, each resting in its own place, so grass and trees grow upon them, birds and beasts dwell upon them, and treasures are nurtured within them — this is because each "position" is without exception a "dharma realm" (the complete reality of all dharmas). The gentleman here is not without thought, but knows that beyond this present position, there is nothing else to be obtained, so his thoughts do not go beyond his position. Constant thinking without going beyond the position is not the dead meditation of emptiness; thinking without going beyond the position is not the disturbance of chasing external phenomena. Only by constantly thinking can the function of this position be fully realized, so all great transformations of the world have no origin other than this dharma realm; only by not going beyond the position can one be in harmony with the measure of this position, so all functions of participating in the workings of heaven and earth and nurturing all beings have no other source than this dharma realm.

初六：艮其趾，無咎，利永貞。象曰：艮其趾，未失正也。居艮之下，其位為趾，止之於初，不令汨於所欲往，斯固未失正而無咎矣。然必利於永貞，時止則止，時行則行，乃獲敦艮之吉耳。六二：艮其腓，不拯其隨，其心不快。象曰：不拯其隨，未退聽也。趾也，腓也，股也，皆隨心而為行止者也。然趾無力，不能自專，又正行時趾元自止。今六二其位為腓，而以陰居陰，當艮之時，力能專止而不隨心動，故曰不拯其隨。此非動靜不失其時之道，蓋由未肯謙退而聽命於天君，故令其心不快。

The line statement for the first line says: To stop the toe, there is no fault, it is favorable to maintain constancy and uprightness. The small image commentary says: To stop the toe, is to have not yet lost the right path. -- Zhixu's explanation: The first line is located at the very bottom of the mountain (Geng) trigram, corresponding to the toe. When about to take a step, it stops the movement, preventing it from being lost in the direction it wishes to go. This naturally means not losing the right path and having no fault. However, it is also necessary to maintain constancy and uprightness for benefit: when it is appropriate to stop, it stops; when it is appropriate to move, it moves. Only in this way can one eventually reach the top line "Dun Gen" which is auspicious. The line statement for the sixth line says: To stop the calf muscle, it cannot rescue the part it follows, the mind is not at ease. The image commentary says: It cannot rescue what it follows, because it does not yield and obey. -- Zhixu's explanation: The toe, calf muscle, and thigh all follow the command of the mind to move or stop. However, the toe has no strength and cannot decide on its own, and when a person is walking, the toe naturally moves and stops step by step. Now the sixth line corresponds to the calf muscle, and with a yin line in a yin position, it is exactly the time for stopping. It has the strength to stop on its own without following the mind's movement, thus saying "not rescuing what it follows." This is not the correct path of "not missing the right time" for movement and stillness, but rather because it refuses to yield and obey the mind, which is the "heavenly sovereign," resulting in an uneasy mind. (The original text says "the toe originally stops" with the character "yuan," which should be "yuan," and is recorded as such.)

九三：艮其限，列其夤，厲薰心。象曰：艮其限，危薰心也。三位在限，而以剛居剛，為艮之主，則腰臗硬直，不可屈申者也。夫上下本自相聯，猶如夤然，今分列而不相繫屬，其危厲不亦薰心矣乎。

The third line statement says: "Stopping at the waist, tearing the muscles between the spine, danger scorches the heart." The Small Image Commentary says: "Stopping at the waist, danger scorches the chest." Zhu Xiu explains: The third line is positioned exactly at the waist, and it is a yang line in a yang position, also the main line of the lower trigram Gen (Mountain). Therefore, the hips become stiff and straight, making bending and stretching difficult. The upper body and lower body are naturally connected, just as the muscles between the spine link the upper and lower parts. Now, these are forcibly torn apart, disconnected from each other, and that sense of danger naturally scorches the heart.

六四：艮其身，無咎。象曰：艮其身，止諸躬也。四位在於胸腹，彖云艮其背，而此直云艮其身，身止則背不待言矣。夫千愆萬繆皆由身起，今陰柔得正，能止諸躬，何咎之有。楊龜山曰：爻言身，象言躬者，伸為身，屈為躬。屈伸在我不在物，兼爻與象，是屈伸兼用矣。

The fourth line statement says: To stop the entire body, there is no fault. The Small Image Commentary says: To stop the body, is to stop oneself. —— Zhixu explains: The fourth line is located in the chest and abdomen. The hexagram statement speaks of 'stopping the back,' but here it directly says 'stopping the body.' Once the body is stopped, the back does not need to be mentioned again. A thousand kinds of faults and errors all arise from this body. Now, the sixth line in the fourth position, being a yin line in a yin place and thus correct, is able to stop itself, so how could there be any fault? He also cites Yang Guishan's words: The line statement says 'body' while the Small Image says 'bowing,' because when extended it is called 'body,' and when bent it is called 'bowing.' The initiative of bending and extending lies within me, not in external things. Combining the line statement with the Small Image, it is precisely the use of both bending and extending.

六五：艮其輔，言有序，悔亡。象曰：艮其輔，以中正也。五位在心，心之聲由輔以宣，而以陰居陽，又復得中，能於言未出口前豫定其衡，故言無妄發，發必有序，而口過終可免矣。上九：敦艮，吉。象曰：敦艮之吉，以厚終也。為艮之主，居卦之終，可謂止於至善、無所不用其極者矣。性德本厚，而修德能稱性復之，故曰以厚終也。震為長男，故舉乾之全體大用而虩於其初；艮為少男，故舉乾之全體大用而敦於其上。一始一終，知及仁守之功備，非動非靜之體復矣。

The fifth line statement says: Stop the mouth and tongue, speak in an orderly manner, regret disappears. The Small Image Commentary says: Stop the mouth and tongue because it is in the central position and upright. —— Zhixu explains: The fifth line corresponds to the heart, and the voice of the heart is expressed through the mouth and tongue. The sixth line at the fifth position, being a yin line in a yang position, and located in the central position of the upper trigram, can first establish a standard before speaking. Therefore, speech is orderly and there is no disorder in words, and mistakes in speech can be avoided. The top ninth line statement says: Stop in a sincere and earnest manner, it is auspicious. The Image Commentary says: Stopping in a sincere and earnest manner is auspicious because it can conclude with sincerity and goodness. —— Zhixu explains: The top ninth line is the main line of the Gen trigram, and it is located at the end of the trigram. It can be said to be the 'stopping at the highest good' mentioned in the Great Learning, achieving the utmost in everything. The inherent virtue is originally sincere and earnest, and later heaven cultivation can align with the nature to restore it, so it is said 'concluding with sincerity.' —— Finally, he combines the two trigrams: Zhen is the eldest son, so the full use of Qian is lifted up and placed at the beginning of the trigram, showing the 'fearful' alertness. Gen is the youngest son, so the full use of Qian is lifted up and placed at the end of the trigram, showing the 'sincere and earnest' thickness. One beginning and one end, the practice of 'knowledge reaching it and benevolence guarding it' mentioned in the Analects is complete, and the original nature, which is neither movement nor stillness, is restored.

（艮下　巽上）漸：女歸吉，利貞。夫敦艮既非面牆，則止而不失其行之時矣。行之以巽，故名曰漸。君子將致身以有為，必如女之歸夫，始終以禮而非苟合，乃得吉耳。苟不利貞，則躁進固足取辱，雖漸進亦豈能正人哉。佛法釋者：理則頓悟，乘悟並銷，如震虩而艮敦；事非頓除，因次第盡，如女歸而漸進。又次第禪門名之為女，即事禪而達實相名之為歸，以圓解遍修事禪名之為貞。

The Hexagram Statement of the Hexagram "Gradual Progress" says: It is auspicious for a woman to marry; it is proper to maintain rectitude. - Zhixu explains: Since the Upper Trigram is Gen (Mountain), which represents "Dun Gen" (firm and steadfast), if it is not merely facing a wall and being rigidly fixed, then it is stopping but not missing the right time to act. When taking action, it uses the softness of Xun (Wind) to gradually enter, hence it is called "Gradual Progress." A gentleman who is about to commit himself to some endeavor must act like a woman getting married, from beginning to end following propriety, not engaging in a hasty or improper union, in order to achieve auspiciousness. If one cannot maintain rectitude, then rushing forward recklessly will surely bring disgrace, and even if advancing slowly, how can one properly guide others? - He continues to connect with Buddhist teachings: In terms of principle, one moment of enlightenment leads to complete sudden enlightenment, and all delusive thoughts vanish with the moment of awakening, just like the caution of the first line of Zhen (Thunder) and the firmness of the top line of Gen (Mountain). However, in terms of practice, one cannot eliminate all defilements at once, but must gradually eliminate them step by step, just like a woman marrying and proceeding gradually. Moreover, the "gradual stages" of the Chan school, which are compared to a woman, are compared to the practice of meditation in terms of phenomena leading to realization, which is compared to "returning" (marriage leading to a proper destination). Using the comprehensive and sudden correct understanding to universally practice various meditative practices in terms of phenomena is compared to "maintaining rectitude" (keeping proper conduct).

彖曰：漸之進也，女歸吉也。進得位，往有功也；進以正，可以正邦也。其位，剛得中也。止而巽，動不窮也。進有頓漸，今明以漸而進，故如女歸則吉也。得位則往有功，儻進不得位，則不可往明矣；以正則可正邦，儻進不以正，則不能正邦明矣。然此卦何以為進得位？則由九五剛得中耳。何以為往有功？則由止而巽，故動不窮耳。止者動之源，設無止體，則一動即窮，如溝澮因雨暫盈，可立待其涸也。象曰：山上有木，漸。君子以居賢德善俗。木在山上，以漸而長，觀者不覺；君子居德亦復如是。山有喬木，則山益高；俗有居賢德之君子，則俗益善。

The Commentary on the Judgment says: The hexagram of Gradualness speaks of advancing in an orderly manner, hence it is auspicious, like a woman going to marry. Advancing and obtaining a proper position, then proceeding forward can achieve success; advancing while following the right path can correct the state. The term 'position' refers to the Nine in the Fifth, which is yang and central. The lower trigram is K'un (Earth), which represents stillness, and the upper trigram is Xun (Wind), which represents compliance, so movement does not become exhausted. - Zhixu explains: Advancing can be of two kinds, sudden and gradual. Here it refers to gradual advancement, hence it is auspicious, like a woman going to marry. Obtaining a position and then proceeding forward can achieve success; conversely, if advancing without obtaining a position, one should not proceed forward, which is obvious. Following the right path can correct the state; conversely, if advancing without following the right path, one cannot correct the state, which is also obvious. Then why is this hexagram considered 'advancing to a proper position'? Because the Nine in the Fifth is yang and central. Why is it considered 'proceeding forward with success'? Because it is able to stop and comply, so movement does not become exhausted. 'Stopping' is the source of 'movement'; if there is no fundamental 'stopping', movement would quickly become exhausted. It is like a small ditch in the fields that fills up temporarily after rain, and one can stand still waiting for it to dry out. The Great Image says: Mountains with trees, this is the hexagram of Gradualness; the gentleman takes inspiration from this, cultivating virtue to improve customs. - Trees growing on a mountain, growing gradually, are not noticeable to those who look at them; the gentleman cultivating virtue is also like this. A mountain with tall trees appears even higher; customs with virtuous gentlemen become even more refined.

初六：鴻漸于于，小子厲，有言，無咎。象曰：小子之厲，義無咎也。洪覺山曰：漸何以象鴻也？鴻，水鳥，木落南翔，冰泮北徂，出則有時，居則有序。蘇眉山曰：鴻，陽鳥而水居，在水則以得陸為安，在陸則以得水為樂者也。初六陰爻，如鴻在水，上無應與，故為漸於水涯。於人則為小子，正宜乾乾惕厲，且宜有言以求人之切磋琢磨，如鴻在乾而哀鳴覓伴，乃無咎也。無應本宜有咎，以當漸初而能自厲，則其義可無咎矣。

The line statement of the first line says: Wild geese gradually fly to the water's edge, a child is in danger, and there is blame, but there is no fault. The Small Image Commentary says: The danger of the child is, by nature, without fault. (Note: The original text says 'gradually fly to the water's edge,' but the text here is recorded as 'gradually fly to the water's edge.') -- Zhi Xu first cites Hong Jueshan's words saying: Why does the gradual change hexagram take its image from wild geese? Wild geese are water birds, flying south when the leaves fall, and returning north when the ice melts. Their travel has a definite season, and their resting has a definite order. He also cites Su Shi's words saying: Wild geese are yang birds but rest by the water. When they are in the water, they find safety in being able to go on land; when they are on land, they find joy in being able to return to the water. He then continues saying: The first line is a yin line, like the wild geese still in the water; there is no corresponding line above, so it says gradually flying to the water's edge. In terms of human affairs, it is like a child who should be constantly diligent and cautious all day long; and should speak out, seeking others' discussion and refinement, just like the wild geese standing on the high ground by the water, calling for companions, thus having no fault. Originally, there is no fault when there is no corresponding line, but because it is at the beginning of the gradual change hexagram and can be self-aware, by nature it can have no fault.

六二：鴻漸于磐，飲食衎衎，吉。象曰：飲食衎衎，不素飽也。二亦在水，而應九五，則如漸於磐石，飲啄皆和樂矣。養道以待時，豈無事而食哉。九三：鴻漸于陸，夫征不復，婦孕不育，凶，利禦寇。象曰：夫征不復，離群醜也；婦孕不育，失其道也；利用禦寇，順相保也。九三陽爻，如鴻在陸，上無應與，則無水矣。鴻不亂配，而六四亦無應與，與三相鄰。設三征而從四，則為離鴻群而可丑；設四俯而就三，則為失其道而雖孕亦不敢育，凶可知已。夫非配而私相為配，以理言之則寇也。三若守正而御之，則在我既無離群之丑，在四亦無失道之凶，乃可順相保耳。

The line statement for the second line says: The wild geese gradually fly to the rock, eating and enjoying themselves, which is auspicious. The small image commentary says: Eating and enjoying themselves, they are not just idling around. —— Zhixu explains: The second line is still in the water, but it corresponds with the fifth line. It is like the geese gradually landing on the rock, drinking water and feeding themselves happily. It is cultivating its own virtue in order to wait for the right time, how could it be idling around and eating for nothing? The line statement for the third line says: The wild geese gradually fly to the land; the husband goes to war and does not return, the wife is pregnant but dares not give birth, which is ominous; it is appropriate to resist strong enemies. The image commentary says: The husband going to war and not returning is leaving the flock, which is shameful; the wife being pregnant but not giving birth is losing the right path; it is appropriate to resist strong enemies, which is to preserve both by being gentle and harmonious. —— The third line is a yang line, like the geese resting on the land. Above it there is no corresponding line, so there is no water. The geese do not form improper pairings, and the fourth line also has no corresponding line, but it is close to the third line. If the third line goes to war to follow the fourth line, that would be leaving the flock, which is shameful; if the fourth line bends down to the third line, that would be losing the right path, even if pregnant, it dares not give birth, which is ominous. Any improper pairing is, by reason, called 'enemy'. If the third line keeps to the right path and resists this private relationship, then neither I nor the fourth line will suffer shame or danger, and thus both can be preserved by being gentle and harmonious.

六四：鴻漸于木，或得其桷，無咎。象曰：或得其桷，順以巽也。四亦在水，而乘九三之剛，不足安身，如漸於木，非鴻之所能棲，以鴻之趾連，不能握木故也。或得其橫而且大有如桷者，庶幾可以無咎。意指上附九五言之。蓋以陰居陰則順，為巽之主則巽，故可冀其無咎耳。

The Line Statement for the fourth line says: The wild geese gradually fly up to the tree, perhaps finding a straight branch like a beam, without fault. The Small Image Commentary says: Perhaps being able to find a straight branch is because it is gentle and can enter by following the wind. —— Zhixu explains: The fourth line is also on the side of water, yet it is pressing upon the yang strength of the third line, unable to rest securely, like the wild geese flying to the tree — the tree is not a place where wild geese can rest, because their toes are webbed and cannot grasp the branches. Only if it happens to find a branch that is both horizontal and thick, like a beam, would it be almost without fault. This means it is leaning upward to rely on the fifth line. Because it is a yin line in a yin position, it is gentle, and as the main line of the upper trigram Xun, it can enter by following the wind, so it can be expected to have no fault.

九五：鴻漸于陵，婦三歲不孕，終莫之勝，吉。象曰：終莫之勝吉，得所願也。五本在陸，而居尊位，則如高陵矣。下應六二之婦，方飲食衎衎以自養，非九三之所能汙，故三歲不孕，終莫之勝而吉也。聖王得名世之臣，滿其夢卜求賢本願，不亦快乎。

The line statement of the fifth line says: The wild geese gradually fly up to the high hill; the wife does not conceive for three years, ultimately no one can surpass them, auspicious. The small image commentary says: Ultimately no one can intervene and achieve auspiciousness, because it is fulfilled as desired. —— Zhixu explains: The fifth line was originally on land, but because it occupies the exalted position, it becomes the high hill. It connects downward with the second line, which is the 'wife,' and the second line is on the solid rock 'eating and drinking joyfully' cultivating itself, not something that can be defiled by the third line. Therefore, it does not conceive for three years, ultimately no one can intervene between them, thus achieving auspiciousness. This is like a wise king obtaining a renowned virtuous minister, fulfilling his long-cherished wish and divination, is it not delightful?

上九：鴻漸于陸，其羽可用為儀，吉。象曰：其羽可用為儀吉，不可亂也。上亦在陸者也，但九三為木落南翔之陸，入於人中，故凶；上九為冰泮北歸之陸，超於天外，故吉。所謂鴻飛冥冥，弋者何慕，但可遠望其羽，用為高人達士之儀則耳。又凡鴻飛之時，成配者以次在後，孤而無侶者獨在於前。今上九超然物外，下無應與，如世間義夫，志不可亂，故吉也。以羽為儀，則其為用也大矣，故曰聖人百世之師。

The line statement for the top nine says: The wild geese gradually fly to high places, their feathers can be used for ceremonial adornment, which is auspicious. The small image commentary says: The feathers can be used for ceremonial adornment and are auspicious because their aspirations are not disturbed. Zhixu explains: The top nine also falls on land, but the 'land' of the third nine is the place where the geese land when they fly south in autumn, falling into the world, hence it is inauspicious. The 'land' of the top nine is the place where the geese land when they fly north in spring, beyond the heavens, hence it is auspicious. Just as Yang Xiong said, 'The wild geese fly in the vast sky, how can the hunter dare to shoot them?' The wild geese fly high in the boundless sky, and the hunter can only admire from afar. People can only look at their feathers from afar and take them as a model for the virtuous and the enlightened. Moreover, when the wild geese fly, the paired ones follow one after another, while the single ones fly ahead alone. Now the top nine is beyond worldly matters, with no corresponding line below, like a man who keeps his virtue and does not remarry, his aspirations are not disturbed, hence it is auspicious. Using its feathers for ceremonial adornment has great significance, so the Mengzi says that the sage is the model for a hundred generations.

（兌下　震上）歸妹：征凶，無攸利。夫漸而進者，未有不歸其所者也。以少女而歸長男，過以相與，亦既得其所歸。然一歸則當終身守之，若更他往則凶；又設以少女用事擅權，則無所利。佛法釋者：修次第禪，蓋攝世間事定而歸佛法正慧者也。儻直用此事定而設化儀，則必墮於愛見之網而凶；若耽著此定，則紆偏權曲徑而無所利也。

The lower trigram is Dui (Lake) and the upper trigram is Zhen (Thunder), forming the hexagram Guimei (Following the Bride). The hexagram statement says: Going forward brings misfortune; there is no benefit. Zhi Xu explains: Those who proceed step by step will surely reach where they belong. The image of a young maiden marrying an elder son represents a close union, which is considered a proper conclusion. However, once married, one should remain faithful for life; if she goes elsewhere, misfortune will follow. If the maiden were to take charge of the household, there would be no benefit. He then connects this with Buddhist teachings: Practicing "Sequential Meditation" (meditation practiced step by step according to depth), is originally meant to bring worldly phenomena under control and return them to the correct wisdom of Buddhism. But if one directly uses such worldly meditation as a standard for teaching and guiding others, it will fall into the trap of "love and self-view" (attachment and ego), leading to misfortune. If one clings to this meditation without letting go, it is like taking a wrong and narrow path, which brings no benefit.

彖曰：歸妹，天地之大義也。天地不交，而萬物不興。歸妹，人之終始也。說以動，所歸妹也。征凶，位不當也；無攸利，柔乘剛也。如人有正配而不育，則必取少女以育子，此亦天地之大義。以例國君用名世為宰輔，不妨用小才小德為百官；觀心用妙定合妙慧，不妨用次第諸禪助神通。設使天地不交，則萬物不興，故歸妹者，乃人道之以終而成始者也。夫如是，則歸妹何過？獨恨其以說而動，則名為繼嗣，實在情慾。

The Commentary on the Judgment says: "Returning to Marriage" represents the great principle between heaven and earth. If heaven and earth do not interact, myriad things will not arise. "Returning to Marriage" is the end of human conduct and also the beginning of human conduct. Because of joy, one acts; the one being married is a young maiden. Going forward brings misfortune, because the lines are not in proper position; there is no benefit, because the yin is superior to the yang. -- Zhixu explains: It is like a man who has a wife but she has not given birth, so he must take a young concubine to bear children, which is also the great principle of heaven and earth. Taking this as an analogy: A sovereign may employ a renowned virtuous person as a prime minister, but he may also employ a less capable person to serve as a minister; a practitioner of the contemplative mind may combine subtle meditation with subtle wisdom, but he may also use the gradual stages of meditation to assist in supernatural powers. If heaven and earth do not interact, myriad things will not arise, so "Returning to Marriage" is precisely the turning point where human conduct moves from its end back to its beginning. If this is the case, then why is "Returning to Marriage" considered a fault? What is regrettable is that it "acts because of joy" -- acting out of desire and pleasure, nominally for the continuation of the lineage, but actually falling into desire.

如國君名為群寮，實在便嬖；觀心名為助道，實在味禪。故所歸者名為妹也。女舍夫而他適，臣舍君而他往，定舍慧而獨行，則必得凶，以卦中陰爻之位皆不當故；女恃愛而司晨，臣恃寵而竊柄，定久習而耽著，則無攸利，以卦中六三之柔乘九二初九之剛、六五上六之柔乘九四之剛故。

Similarly, the sovereign nominally employs officials, but actually favors those close attendants around him; those who practice meditation nominally use it to aid their spiritual path, but actually indulge in the pleasure of meditation. Therefore, the one who is married is called 「妹」 (a young woman, a concubine). A woman abandoning her husband to marry another, a minister abandoning the sovereign to seek another master, and meditation abandoning wisdom to act alone, will certainly result in misfortune—because the yin lines in the hexagram are in inappropriate positions. A woman relying on her favor to act like a rooster crowing at dawn, taking over the household beyond her place, and a minister relying on his favor to seize power, and meditation practiced for too long leading to attachment, will bring no benefit—because the yin lines at positions six three and six five overpower the yang lines at positions nine two and nine one, and the yin lines at positions six five and upper six overpower the yang line at position nine four.

象曰：澤上有雷，歸妹。君子以永終知敝。方雷之動，必感於澤，而雷則易息，澤恆如故。此豈可為夫婦恆久之道？亦豈君臣相遇之道？亦豈定慧均平之道乎？君子之於事也，未暇問其所始，先慮永其所終；苟以永終為慮，則知歸妹之敝矣。

The Great Image Commentary says: There is thunder above a marsh, which is the hexagram of Returning Wife; the gentleman takes inspiration from this, considering the long-term outcome and foreseeing the hidden faults. —— Zhixu's explanation: When thunder moves, it certainly causes a response from the marsh water; but thunder is easily exhausted, while the marsh remains as it is. How can this be considered the way of a husband and wife remaining together for a long time? How can it be considered the way of a ruler and minister meeting in harmony? How can it be considered the way of wisdom and insight being balanced and used together? The gentleman dealing with a matter does not wait to inquire about its beginning, but first considers how to maintain its long-term outcome; once he keeps the idea of 'eternal end' in mind, the faults in the matter of Returning Wife become clear.

昔有賢達，年高無子，誓不取妾。其妻以為防己之妒也，宛轉勸曰：君勿忌我，以致無後。賢達曰：吾豈不知卿有賢德哉，吾年老矣，設取幼妾，未必得子，吾沒之後，彼當如何？是以誓弗為耳。其妻猶未深信，乃密訪一少艾，厚價買之，置酒於房，誘其夫與之同飲，抽身出房，反鎖其門。賢達毅然從窗越出，喻其妻曰：吾豈以衰頹之身汙彼童女，令彼後半世進退失措也。幸速還彼父母，勿追其價。

Zhi Xu then told a story: Once there was a wise and virtuous man who had grown old and had no son, so he vowed not to take a concubine. His wife thought he was being suspicious of her jealousy, so she gently advised him: Do not worry about me, lest you cut off your descendants. The wise man said: Do I not know your virtue? It is only that I have grown old, and even if I take a young concubine, she may not be able to bear a son. After I die, what will become of her? That is why I have vowed not to do this. The wife still did not believe, so she secretly found a young woman, bought her at a high price, and set a banquet in the room, luring her husband to drink with her, while she herself left the room and locked the door behind her. The wise man resolutely climbed out of the window, and addressed his wife, saying: How could I use this aged body to defile that young girl, putting her in a difficult position for the rest of her life? Please quickly return her to her parents, and do not ask for the money you paid for her.

於是妻及親友無不歎服。未幾，妻忽受胎，連育三子，後皆顯達。噫，此所謂永終知敝、以德動天者乎。聖人於彖傳中隨順恆情，則以天地大義許之；於大象中勸修陰德，則以永終知敝醒之。知此義者，亦可治國，亦可觀心矣。

Thus, his wife and relatives could not help but admire him. Soon after, his wife suddenly became pregnant and gave birth to three sons, who later all achieved great success. Alas, this must be what is meant by "thinking of the long-term outcome and foreseeing the drawbacks" and a person who moves heaven with virtue. - Zhi Xu thus pointed out the two intentions of the sages: in the Commentary on the Judgment, following human common sense, it uses "the great righteousness of heaven and earth" to approve it; in the Great Image, encouraging people to accumulate Yin virtue, it uses the four characters "eternal end and knowing the drawbacks" to awaken people. Those who understand this can use it for governing the country or for observing the mind.

初九：歸妹以娣，跛能履，征吉。象曰：歸妹以娣，以恆也；跛能履吉，相承也。此卦以下兌為妹，以震為所歸者也。兌三爻中，六三為妹，而初九九二從嫁者為娣；震三爻中，九四為所歸主，而六五如帝乙之主婚，上六如宗廟之受祭。今初九以剛正之德，上從六三之妹，歸於九四而為其娣。六三如跛，待初能履，故得征吉。娣之為德，貴在能恆，相承於三，則三吉而初亦吉矣。

The first line statement says: A young maiden is married with her accompanying concubine; a lame person can walk, and going forward is auspicious. The Small Image Commentary says: Accompanying the maiden with a concubine indicates the ability to maintain constancy; a lame person can walk and is auspicious because of mutual support. Zhixu explains: This hexagram uses the lower trigram兑 (Lake) as the maiden being married off and the upper trigram震 (Thunder) as the person she is marrying. In the trigram兑, the third line six three represents the maiden, while the first line nine one and the second line nine two are the accompanying concubines. In the trigram震, the fourth line nine four represents the husband, and the fifth line six five symbolizes the host of the marriage like King Yi, while the sixth line six six represents the ancestral temple receiving worship. Now, the first line nine one, with its yang strength and correctness, follows upward to the third line six three, the maiden, and marries the fourth line nine four. The third line six three is like a lame person, who can walk only with the support of the first line nine one, so going forward is auspicious. The virtue of being a concubine lies in maintaining constancy; by supporting the third line six three, the third line is auspicious, and so is the first line nine one.

九二：眇能視，利幽人之貞。象曰：利幽人之貞，未變常也。以剛中之德，亦從六三而為娣。六三如眇，待二能視。夫不自有其明，而使人獲其視，非幽人之貞其孰能之。然亦止是娣德之常耳。六三：歸妹以須，反歸以娣。象曰：歸妹以須，未當也。為兌之主，恐其說之易動也，故誡之曰：須待六五之命，勿令人輕我而反重我之娣以歸也。由位未當，故誡之。九四：歸妹愆期，遲歸有時。象曰：愆期之志，有待而行也。三既須五命而後歸我，則我之歸妹不愆期乎？然雖遲歸，會須有時，如大舜不得父命，則待帝堯之命而行也。

The line statement for Nine in the Second says: A one-eyed person can still see, it is suitable for the virtuous person who lives in seclusion and maintains quietude. The Small Image Commentary says: It is suitable for the person in seclusion to maintain virtue, meaning she does not change the constant way. —— Zhixu explains: Nine in the Second, with its yang strength in the center, also follows Six in the Third as a secondary wife. Six in the Third is like a one-eyed person, who can only see with the help of Nine in the Second. She does not claim the brightness for herself, but allows others to gain sight. Who could be the virtuous person in seclusion who can do this? However, this is only the usual role of a secondary wife. The line statement for Six in the Third says: Marrying a young maiden requires waiting, yet she is sent out as a secondary wife. The Small Image Commentary says: Marrying a young maiden requires waiting, because her position is improper. —— Zhixu explains: Six in the Third is the main line of the lower trigram Dui. The sage fears that it may act rashly due to its eagerness for pleasure, so it warns it: you must wait for the command of Six in the Fifth, do not let others look down on you, and instead send your secondary wife to marry. Because its position is improper, it is thus warned. The line statement for Nine in the Fourth says: Marrying a young maiden and missing the wedding date, marrying later will have its time. The Small Image Commentary says: Missing the wedding date is an intention of waiting before acting. —— Since Six in the Third needs to wait for the command of Six in the Fifth before marrying, then my side's marriage will not be on time. However, even though the marriage is delayed, there will eventually be a time for it. Just like Shun could not obtain his father's approval, so he waited for the command of Emperor Yao before acting.

六五：帝乙歸妹，其君之袂，不如其娣之袂良，月幾望，吉。象曰：帝乙歸妹，不如其娣之袂良也；其位在中，以貴行也。五為帝乙，六三為妹，亦稱女君，初九九二為娣。以袂而論，則三不如初之與二；以女而論，則如月幾望而圓滿矣。夫以帝女之貴，而能行嫁於下，不驕不亢，豈非吉之道乎。

The line statement of the fifth line says: King Yi married his younger sister, but the sister's sleeve was not as beautiful as the sleeves of the accompanying bride's attendants; the moon is about to be full, which is auspicious. The small image commentary says: King Yi married his younger sister, but the main wife's sleeve was not as beautiful as that of the attendants; she was in the central position, and with her noble status she married down. - Zhixu explains: The fifth line represents King Yi, the sixth line is the young woman being married, also called 'the female ruler', and the first line and the second line are the attendants. In terms of the beauty of the sleeves, the sixth line is not as good as the first and second lines; but in terms of the woman herself, the sixth line is like the moon about to be full. A princess of the king, with her noble status, is willing to marry into a family of a minister, neither arrogant nor haughty, this is not precisely the way to gain auspiciousness?

上六：女承筐無實，士刲羊無血，無攸利。象曰：上六無實，承虛筐也。震為兌所承之筐，兌為震所刲之羊。三承於六，筐則無實；六刲於三，羊則無血，故無攸利。蓋生不積德，死後無靈，不能使子孫繁衍，至於不獲已而歸妹，此非女士之過，皆上六無實之過也。君子永終知敝，早見及於此矣。

The line statement for the sixth line above says: The woman holds a basket but it is empty, the man slaughters a sheep but there is no blood, there is no benefit. The Small Image Commentary says: The sixth line above is empty and lacks substance, holding an empty basket. -- Zhixu explains: The upper trigram Zhen represents the basket that Dui is holding, and the lower trigram Dui represents the sheep that Zhen is slaughtering. Six in the third line presents to the sixth line above, but the basket is empty; the sixth line above slaughters six in the third line, but the sheep does not bleed, so there is no benefit. This is because the ancestor did not accumulate virtue in life, and after death there is no spiritual response, unable to produce descendants, so they had to marry a young girl to seek continuation of the lineage. This is not the fault of the newlyweds, but entirely the fault of the sixth line above being empty and lacking substance. The gentleman 'forever knows the end and understands the decay,' has already seen this.