The Great Excess Hexagram

大過，下巽上兌。澤以潤木，乃至滅木，有大過之象。陽大陰小，中四陽極盛，初上二陰不能勝，大者過也，故名大過。大過次頤。按《序卦》：頤者，養也，不養則不可動，故受之以大過。凢物養成，而後所動者大，非常之事，大過於人，由於所養者大，大過所以次頤也。

The hexagram "Great Excess" has the lower trigram "Xun" (Wind) and the upper trigram "Dui" (Lake). Normally, water from the lake nourishes the trees, but now it completely drowns them, showing the image of "excess." Yang represents the great, and Yin represents the small. The four middle yang lines are extremely strong, while the two yin lines at the bottom and top cannot withstand this. The "great" aspect has gone beyond its limit, hence the name "Great Excess." The hexagram "Great Excess" follows "Yi" (Nourishment). According to the "Sequence of Hexagrams," "Yi" means nourishment; without nourishment, there can be no action, so "Great Excess" comes next. Once something is fully developed, it can then move with great momentum; extraordinary actions that far exceed ordinary ones are precisely due to the vast cultivation accumulated over time—this is the reasoning behind "Great Excess" following "Nourishment."

又六十四卦次序多由相綜，惟乾與坤錯，坎與離錯。此則澤風與山雷相錯，下經則以風澤與雷山相錯也。全彖以四陽雖過，而二五得中，內順外說，其道可行，故所往皆亨。六爻則以剛柔相濟者為善，而過剛過柔者皆凶。二四爻剛而位柔，故二利而四吉；初爻柔而位剛，故無咎；三五重剛而三又不中者也，故三凶而五丑；至上則以柔居柔，過於柔者也，故凶。大抵剛柔相濟，則有大過人之才，行大過人之事；否則過於剛、過於柔，皆失之於過者也。此全卦六爻之大旨也。

In addition, the arrangement of the sixty-four hexagrams mostly depends on the "comprehensive" method, which involves flipping the previous hexagram upside down to form the next one; only the hexagrams Qian (Heaven) and Kun (Earth), Kan (Water) and Li (Fire) are "opposite" hexagrams, meaning all six lines are reversed in yin and yang. Here we also have opposite hexagrams: Zhefeng Da Guo (Lake Wind Great Excess) and Shanlei Yi (Mountain Thunder Nourishment); in the lower section of the book, Fengze Zhongfu (Wind Lake Middle Trust) and Leishan Xiaoguo (Thunder Mountain Small Excess) are also opposite hexagrams. Looking at the hexagram statements from the Tuang (Commentary on the Hexagrams), although four yang lines are excessive, nine two and nine five each occupy the central positions. The inner trigram Xun (Wind) is smooth and the outer trigram Dui (Lake) is joyful, so the path is still feasible, hence the overall situation is favorable. Looking at the six lines, it is good when yin and yang are balanced; excessive yang or excessive yin is bad: nine two and nine four are yang lines in yin positions, so nine two is beneficial and nine four is favorable; initial six is a yin line in a yang position, so there is no blame; nine three and nine five are both yang lines in yang positions and are heavy yang, and nine three is not in the central position, so nine three is bad while nine five is "not good"; upper six is a yin line in a yin position, and the yin is excessive, so it is bad. In general, only when yin and yang are balanced can one possess extraordinary ability to accomplish extraordinary things; otherwise, being overly yang or overly yin leads to excess. This is the main idea of the entire hexagram.

大過：棟橈，利有攸往，亨。大，陽也。四陽居中過盛，故為大過，上下二陰不能勝。又卦之大象坎，坎為棟又為矯揉，故有棟橈之象。然二五得中，內巽外說，有可行之道，故所往皆亨也。既有棟橈之象，而又利於往而可亨者，有陽剛之才，則雖當甚危之時，無不可為之事，此所以大過乎人也。

The Hexagram Statement says: "Great Excess" refers to a bent house beam, suitable for going forward, and it is smooth and unimpeded. The term "great" refers to the yang. Four yang lines are in the center and are excessive, hence called "Great Excess." The two yin lines above and below cannot support it. Looking at the overall structure of the hexagram: the middle is solid, while the upper and lower parts are empty, forming the shape of "Kan." "Kan" symbolizes a beam and also the act of bending wood, hence the image of a bent house beam. However, Nine in the Second and Nine in the Fifth each occupy the central positions. The inner trigram "Xun" is compliant, and the outer trigram "Dui" is joyful, indicating a path that can be taken, so going forward is smooth and unimpeded. Although the image of a bent beam is presented, it still says it is suitable to go forward and smooth, because if a person has yang strength, even in extremely dangerous situations, nothing is impossible. This is precisely his superiority over ordinary people.

彖曰：大過，大者過也。謂陽過也。此以卦體釋卦名義也。棟橈，本末弱也。本謂初，末謂上，弱謂陰柔也。此又以卦體釋卦辭也。剛過而中，巽而說行，利有攸往，乃亨。以卦體言之，剛雖過而二五得中；以卦德言之，巽順而和悅以行。如此則不激於意氣，不拂於物情，調劑合宜，委曲盡善，所往皆利，乃可亨也。乃者，難之之辭。大過之時義大矣哉。以大過人之材，立非常之大事，創不世之大功，成絕俗之大德，唯其時為之。無其時，不可過；有其時無其才，不能過也。

The Commentary on the Judgment says: "Great Excess" refers to the excess of the yang element, which is excessive. This is an explanation of the meaning of the hexagram name based on the structure of the hexagram. It also says, "The beam is bent, because the beginning and the end are weak." Here, "beginning" refers to the first line, "end" refers to the sixth line, and "weak" refers to their being yin and soft. This is still an explanation of the hexagram statement based on the structure of the hexagram. Furthermore, it says, "Yang is excessive but in the center, the inner trigram 'Xun' is yielding and the outer trigram 'Dui' is joyful, thus it is advantageous to go somewhere and then success comes." In terms of the structure of the hexagram, although yang is excessive, the lines nine in the second and nine in the fifth are in the central positions. In terms of the trigram qualities, the inner trigram 'Xun' is yielding and the outer trigram 'Dui' is joyful, so acting upon this will not be impulsive, nor will it go against human feelings and reason. It is well balanced, flexible and thorough, so that going anywhere is advantageous and success is achieved. The word "then" in the sentence indicates a tone of difficulty and the need for some effort. The last sentence, "The meaning of the time of Great Excess is great indeed," means that with extraordinary ability, one can accomplish great things, create great achievements, and attain great virtue. However, this depends on the opportunity. Without the opportunity, one should not exceed. If there is the opportunity but not the ability, exceeding is not possible.

象曰：澤滅木，大過。君子以獨立不懼，遯世無悶。澤以潤木，而今滅沒之，大過之象也。君子之行，不求同俗而求同理。天下非之而不顧，獨立不懼也；不求人知而求天知，舉世不知而不悔，遯世無悶也。此皆大過人之行也。

The Great Image Commentary says: A marsh flooding trees is the image of the hexagram Great Excess; thus, the gentleman is able to stand alone and act with courage, retreating from the world without distress. A marsh should nourish trees, but now it drowns them, which is the image of 'excess'. The gentleman's conduct does not seek to conform to the common ways, but only to align with righteousness: although the world criticizes him, he does not change his course, which is 'standing alone without fear'; he does not seek recognition from people, but only from heaven: even if the whole world does not know him, he does not regret, which is 'retreating from the world without distress'. These are all virtues far beyond the ordinary.

初六：藉用白茅，無咎。卦以棟橈為象，初則本之弱者，然但以棟橈為言，則天下事付之不可為矣，故又因爻取象。巽為木，有茅象；初在下，以柔承剛，有藉用白茅之象。初六以陰居陽，雖弱猶愈於上；又大過之初，居事之始，苟能過於謹慎，猶可自全。如木中剛本柔，苟錯於地，或致缺折，藉以白茅，庶幾無傷。以其能畏懼，故得無咎也。象曰：藉用白茅，柔在下也。下柔承剛，當過於慎也。

The line statement for the first line says: Using white reeds as a cushion, there is no fault. The entire hexagram takes the image of a bent beam, with the first line representing the root, which is soft and weak. However, if we only say that the beam will break, then all worldly affairs would be considered irreversible. Therefore, another image is taken from the position of the line. "Xun" represents wood, which has the image of reeds; the first line is at the very bottom, and with its softness it supports the strength above, symbolizing the use of white reeds as a cushion beneath. The first line is a yin line in a yang position, though weak, it is still stronger than the sixth line above. Moreover, it is at the beginning of the hexagram "Da Guo," meaning the matter has just begun. As long as one is cautious to an excessive degree, one can preserve oneself. For example, a piece of wood may be strong in the middle but weak at the root. If it is casually placed on the ground, it may be damaged. But if white reeds are used as a cushion, it is unlikely to be harmed. Because it knows fear, there is no fault. The image commentary says, "Using white reeds as a cushion, softness is at the bottom." Softness at the bottom supporting strength is naturally a matter of being overly cautious.

九二：枯楊生稊，老夫得其女妻，無不利。稊，根之榮於下者；女妻，年之少者。九二陽之過，有枯楊象；二三四互純乾，有老夫象；初陰在下，有女妻象。既處於陰，又與初比，得陰之滋，有稊根復秀、女妻得遂生育之象，其占無不利也。此剛資於柔以成務者也。象曰：老夫女妻，過以相與也。二剛之過，得初陰以相與，以成天下之事也。

The line statement of the second line says: A withered poplar tree produces new shoots from its roots, an old man marries a young wife, there is no disadvantage. "Tí" refers to new shoots growing from the root, and "nǚ qī" refers to a young wife. The second line is a yang line in a yin position, so it has the image of a withered poplar tree; the second, third, and fourth lines together form the trigram "Qian" (Heaven), which represents old age, so it has the image of an old man; the first line is a yin line in a lower position, so it has the image of a young wife. The second line, being a yang line in a yin position, is adjacent to the first line, thus receiving the nourishment of yin energy, resulting in the image of the withered roots regrowing and the young wife being able to bear children. The divination concludes that there is no disadvantage. This is an example of a strong force achieving success by relying on flexibility. The Image Commentary says, "Old man and young wife, excess is balanced by mutual interaction": the second line has excessive yang, and only by receiving the yin line of the first line can it achieve success in the world.

九三：棟橈，凶。三四居卦之中，三又變坎，皆有棟象。全卦弱在初上，乃於三言棟橈者，蓋以剛居剛，又與上應，上以柔居柔，既不能勝，三過剛必折，是故橈者在三。此大臣之過於剛，而不勝其任者也。象曰：棟橈之凶，不可以有輔也。剛強之過，不能取於人，人亦不能輔之。

The Line Statement for the third line says: "The roof beam bends, which is ominous." The third and fourth lines are located in the middle of the hexagram. The third line, when changed, becomes "Kan" (Water), and both lines carry the image of a roof beam. The weak points of the entire hexagram are originally at the first line and the top line, but the warning about "the roof beam bending" is specifically given at the third line. This is because the third line has a Yang line in a Yang position, representing excessive strength and rigidity, and it corresponds with the top line, which has a Yin line in a Yin position, representing excessive softness and weakness. The top line cannot support the third line, and the third line's excessive strength will inevitably lead to breaking. Therefore, the bending of the roof beam falls upon the third line. This is like a minister who is overly stubborn and cannot bear the responsibility of his own duties. The Image Commentary says, "The ominousness of the bent roof beam is because it cannot be assisted." A person who is overly strong refuses to take advantage of others' strengths, and others cannot assist him.

九四：棟隆，吉，有他，吝。九四在三之上，以剛居柔；上與初應，以柔居剛，剛柔相濟，以成天下之務者也，故其棟橈有隆起之象，而占則吉也。有他吝，反言以決之。謂當大過之時，必剛柔相濟，如四乃可；不然而或失之剛，或失之柔，皆吝道也。

The statement of the fourth line says: The roof beam is raised, which is auspicious; but if there is another desire, there will be regret. The fourth line is above the third line, with a yang line in a yin position; it is in a high position and corresponds with the first six, which is a yin line in a yang position. The two sides are perfectly balanced between yang and yin, forming a proper combination to accomplish all affairs under heaven. Therefore, the beam that should be bent is instead raised, and the judgment is auspicious. The phrase "there is regret" is said from the opposite side: it means that at the time of the Great Excess, it is necessary to balance yang and yin, and the fourth line is the right way to do it. Otherwise, if one is too yang or too yin, it will lead to regret.

象曰：棟隆之吉，不橈乎下也。四以剛居柔，初亦以柔遇剛，則其下不致橈折矣。《本義》以應初為有他，以不繫於初為不撓。然細觀全卦，以陽之過而有棟橈之象，蓋凡物以過剛而遇過柔，必有橈折也。三四皆棟象，而三獨言橈，以三之過於剛也；初上本末皆弱，而上獨最凶，以上之過於柔也。三以應上得凶，則四以應初得吉可知矣，故不必以應初嫌也。

The Image Commentary says, "The good fortune of the beam being strong is because it does not bend under the weight below." Nine in the Fourth, which is a yang line in a yin position, and Six at the Beginning, which is a yin line in a yang position, are connected, so the lower part does not bend. However, Zhu Xi's The Original Meaning of the Zhou Changes interprets "there is another" as corresponding with Six at the Beginning, and "not bending" as not being connected to Six at the Beginning, which is exactly the opposite. But if we examine the entire hexagram, the image of the beam bending arises because yang is excessive. Whenever something is overly strong and meets something overly soft, it will break. Nine in the Third and Nine in the Fourth both have the image of a beam, but only Nine in the Third is said to "bend," because it is overly strong. Six at the Beginning and Six at the Top are both weak at the ends, but Six at the Top is most dangerous because it is overly weak. Nine in the Third corresponds with Six at the Top and thus meets misfortune, so it is clear that Nine in the Fourth, corresponding with Six at the Beginning, meets good fortune. Therefore, there is no reason to be concerned about its correspondence with Six at the Beginning. Chen's argument here, which deviates from The Original Meaning, is based on this reasoning.

九五：枯楊生華，老婦得其士夫，無咎無譽。九五亦陽之過，有枯楊象；陰爻在上，以五變為震，震為，有華生於枯楊之象。五陽爻，變為震，又少於上，有士夫象；比於上六，有為老婦所得之象。蓋陽爻為夫，陰爻為婦，又以爻之上下分老少，取象不可易也。陰雖過極，得陽不為無益，故亦無咎，蓋陰欲陽，非陽之咎也。然二之老夫女妻，以剛為主而柔輔之；五之老婦士夫，則以柔為主，而剛反輔之矣，何譽之有。

The line statement of the fifth line says: A withered poplar tree produces flowers, an old woman marries a young man, there is no blame and no praise. The fifth line is also a yang line, so it has the image of a withered poplar tree; the sixth line, a yin line, is above it, and the fifth line changes, making the upper trigram 'Zhen' (Thunder). 'Zhen' represents something (the original text is missing one character here), hence the image of flowers blooming on a withered poplar tree. The fifth line was originally a yang line, but after changing to 'Zhen', it is younger than the sixth line, so it has the image of a young man; it is adjacent to the sixth line, so it has the image of being taken by an old woman. Generally, a yang line represents a husband and a yin line represents a wife, and according to their positions above and below, they are divided into old and young. This system of imagery is fixed. Although yin has reached its extreme, receiving yang is still not entirely without benefit, so it says 'no blame'—because it is yin seeking yang, not the fault of yang. However, the 'old man and young wife' in the second line is a case where the strong (yang) is the main and the weak (yin) assists; whereas the 'old woman and young man' in the fifth line is a case where the weak (yin) is the main and the strong (yang) assists, so what is there to praise?

象曰：枯楊生華，何可久也；老婦士夫，亦可醜也。枯楊生華，旋即枯矣；老婦雖得士夫，安能成生育之功乎。上六：過涉滅頂，凶，無咎。兌為澤，涉水之象；一變為乾，為坎，又居最上，有過涉於水、滅沒其頂之象。其凶甚矣，而得無咎者，四陽方過盛，上以陰爻居位，陰不敵陽，自其分也。如棟之橈，必自其最弱之處橈折，理勢固然，無足怪者。以人事言之，則當大過之時，才弱不能自濟，然理窮勢極，殺身成仁，於義為無咎也。

The Image Commentary says, "A withered willow tree produces flowers, how can this last long? An old woman marries a young man, yet how can she bear children?" A withered tree produces flowers, but it will soon wither again; an old woman may marry a young man, but she cannot fulfill the function of bearing children. The line statement of the sixth line at the top says: crossing a deep river, the head is submerged, which is dangerous, yet there is no blame. In terms of imagery, "Dui" represents a marsh, which symbolizes crossing water; the sixth line changes the upper trigram to "Qian," making the entire hexagram close to "Kan." Moreover, since the sixth line is at the top, it symbolizes crossing water too deeply, with the head submerged. Although danger is extreme, it is said there is no blame, because four yang lines are in proper position, and the sixth line, being a yin line, is above them. Yin cannot overcome yang, which is natural. Just as a beam will break, it will break at the weakest point, which is the natural way and trend, so it is not surprising. In terms of human affairs, when the hexagram "Da Guo" is in effect, one's strength is insufficient to save oneself; yet when reason is exhausted and the situation is at its limit, sacrificing oneself to achieve righteousness is in accordance with the way, and thus there is no blame.

象曰：過涉之凶，不可咎也。事雖無濟，理勢當然，不可咎之也。全卦以陽過乎陰，取棟橈之象。大過不能無橈，卦中二五陽皆在中，故猶可亨。六爻皆欲其剛柔相濟，以適乎中，然後當大過之時，不至於有過。大抵剛中有柔、柔中有剛者吉，偏剛偏柔者凶；陽剛在上為主而陰柔輔之者宜，陰柔在上為主而陽剛輔者否。

The Image Commentary says, "The danger of crossing a river is not to be blamed": although the matter could not be saved, the principles and circumstances were naturally like this, so it cannot be blamed. Looking at the whole hexagram, because the yang is excessive over the yin, it takes the image of a bent house beam. Since it is called "Great Excess," it is impossible not to bend; fortunately, the two yang lines, nine two and nine five, are in the central positions, so it can still be smooth. All six lines require the mutual adjustment of yang and yin, leading to the middle path, so during the time of "Great Excess" it does not really become excessive. In general: good fortune comes from yang containing yin and yin containing yang; misfortune comes from being overly yang or overly yin. It is appropriate when yang is dominant at the top and yin supports from the side; it is not appropriate when yin is dominant at the top and yang goes to support.

初上本末皆弱，然上以柔居柔，又居最上，故凶；初以柔居剛，又所處下，故無咎。三四皆象於棟，然四以剛居柔，以居上而下取初之輔，故吉；三以剛居剛，以自下而附上之柔，故凶。五以剛居剛，又自下而上比於上，故丑；二以剛居柔，在上而取初之比，故利。人當大過之時，必以剛為主，以柔為輔，非剛無以任天下之重，非柔無以成天下之功。在下位，則當柔而能剛，敬以承（文瀾本「承」作「成」）上，庶幾白茅之義；身上上位，則當剛而能柔，求賢自輔，得棟隆之吉、老夫之利矣。若以剛居剛，反上附於陰，不凶必丑；若柔弱已極，而居最上，唯有取凶而已。

Chu Li, Shang Liu, both are the beginning and the end, and are both weak. However, Shang Liu is a yao of yin in a yin position, and is located at the top of the entire hexagram, so it is ominous. Chu Li is a yao of yin in a yang position, and is located at the very bottom, so it has no blame. Ji San and Ji Si both take the image of a beam, but Ji Si is a yao of yang in a yin position, located above and taking the initial Chu Li as support, so it is auspicious. Ji San is a yao of yang in a yang position, and from below it clings to the above yin, so it is ominous. Ji Wu is a yao of yang in a yang position, and moves upward closely to Shang Liu, so it is 'not good'. Ji Er is a yao of yang in a yin position, located above and taking Chu Li as a neighbor, so it is beneficial. When a person is in the time of Da Guo, they must take yang as the main and yin as the auxiliary: without yang, they cannot bear the weight of the world; without yin, they cannot achieve the success of the world. If one is in a lower position, they should be soft yet strong, and respectfully serve above. Approximately, this corresponds to the meaning of 'using white reed grass'. If one is in a higher position, they should be strong yet soft, seeking out virtuous people to assist themselves, thus obtaining the auspiciousness of 'the beam being strong' and the benefit of 'an old man marrying a young wife'. If a yang yao is in a yang position and instead clings to the yin above, it will not be ominous but certainly not good. If one is already weak to the extreme yet occupies the highest position, then there is only the path of misfortune.

坎卦，一陽陷於二陰之中，陽實陰虛，上下無據，為坎陷之義，故卦名坎。坎次大過。按《序卦》：物不可以終過，故受之以坎。坎者，陷也。理無過而不已，過極必陷，坎所以次大過也。坎為險陷，全彖取一陽在中，以為內實有常，剛中可以有功，時世有險而此心無險，故雖險而亨，此全卦之大旨也。

The Hexagram of Kan represents a single yang line trapped between two yin lines: yang signifies reality and yin signifies emptiness, with neither support above nor below, precisely matching the meaning of "falling into a pit." Therefore, the hexagram is named Kan. Kan follows Da Guo in the sequence. According to the Xugua Zhuan, things cannot continue to "exceed" indefinitely, so Kan comes next; "Kan" means a pit. By nature, there is no exceeding without stopping; when exceeding reaches its extreme, it must fall into a pit, which is the reason Kan follows Da Guo. Kan signifies danger and falling into a pit, yet the Commentary on the Hexagram focuses on the central yang line: since the center is solid, there is a constant principle within; being strong and centered, one can achieve accomplishments. Although the situation is dangerous, the mind remains steadfast, so even in perilous circumstances, one can still achieve success. This is the main idea of the entire hexagram.

六爻皆不言吉。二五雖剛中，而皆在險中，五得位而二不得位，故五既平而二僅小得也。四陰爻亦皆從陽爻起義，三四在陽爻之中，猶愈於初上在陽爻之外。三以失位乘陽而無功，四以得位承陽猶得無咎；若初上則在兩陽之外，初居險之下，而上居險之極，故凶為最甚。此六爻之大略也。

The six lines of the hexagram do not mention 'auspiciousness' in any of them. Although nine two and nine five are strong and in the center, they are still in danger. Nine five is in the proper position while nine two is not, so nine five says the danger is about to be calm, while nine two only says 'a small gain'. The meanings of the four yin lines are all derived from the two yang lines: six three and six four are between the two yang lines, so they are better than initial six and upper six which are outside the two yang lines. Six three is out of position and dominates nine two, so it has no merit; six four is in the proper position, follows nine five, and thus can avoid blame. As for initial six and upper six, they are both outside the two yang lines: initial six is at the very bottom of the danger, while upper six is at the extreme of the danger, so they have the heaviest misfortune. This is the general principle of the six lines.

習坎：有孚，維心亨，行有尚。習，重習也；坎，險陷也，水象。陽陷陰中，外虛內實，險陷之象。此卦上下皆坎，是為重險，故言習。乾坤六爻同一爻，可不言習。坎卦序在六子之先，此言習，而他皆以重習起義可知矣。坎卦中實而水內明，有有孚心亨之象。世可險而心不可險，身可陷而心不可陷，誠信在中，則安於義命而不僥倖苟免；此心有主，不為利害所動而心亨矣。心亨則洞察時勢，取必於理，而行自必有功，此所以為處坎之道也。

The Hexagram Statement says: In a situation of repeated dangers and difficulties, one must maintain sincerity and integrity; only with this sincerity can one achieve smoothness and success in moving forward. "Xí" means repetition or overlap; "Kǎn" represents danger or difficulty, symbolized by water. A yang line is trapped within yin, appearing externally empty but internally solid, which is the image of danger. This hexagram has "Kǎn" both above and below, representing repeated danger, so the character "Xí" is specially used to indicate this. The hexagrams "Qián" and "Kūn" have six lines of the same type stacked together, so there is no need to mention "Xí." "Kǎn" is the first among the "Liù Zǐ" (six sons), which are Zhen, Kǎn, Gen, Xun, Li, and Dui. Here, "Xí" is pointed out, and the other repeated hexagrams can be understood in the same way as repetition. The middle line of "Kǎn" is solid, like muddy water that is clear from within, symbolizing sincerity in the center and smoothness of the mind. The world may be dangerous, but the human heart should not be. The body may be trapped, but the mind should not be. If sincerity is present in the heart, one can be at ease with righteousness and fate, without seeking escape throughby chance (taking chances). When the mind has a master, it is not moved by gains and losses, and the mind naturally becomes smooth. With a smooth mind, one can perceive the situation clearly, and everything depends on reason, so actions naturally bring success. This is the way to deal with danger.

彖曰：習坎，重險也。危難洊至，險而又險也。此釋卦之名義。水流而不盈，行險而不失其信。水流足此通彼，無有盈溢，雖奔突險阻，專赴於壑，而不失不盈之信。蓋水性趨下，不盈即趨下也。此以卦象釋有孚之義也。

The Commentary on the Judgment says, "To practice hardship, it is a repetition of danger": dangers follow one after another, danger upon danger, which explains the meaning of the hexagram's name. It also says, "Water flows without overflowing; it moves through danger without losing its faithfulness": water flows on, filling this place and then flowing to the next, never overflowing; even when rushing through dangerous terrain, it always flows downward to the lower gullies, without losing its constant nature of not overflowing. The nature of water is to flow downward, and not overflowing is precisely its expression of continuous movement downward. This uses the hexagram's image to explain the meaning of the hexagram statement "having sincerity."

維心亨，乃以剛中也；行有尚，往有功也。二五以剛在中，實心無累，何往不通。如是而行，必有功也。蓋坎以能行為功，若止而不行，則常在險中矣。天險不可升也，地險山川丘陵也，王公設險以守其國，險之時用大矣哉。

The Commentary on the Judgment says, "The mind is open and smooth, because it is strong and centered; when moving forward, there is a high regard, and when going forward, there will be success." Nine Two and Nine Five, with their strong yang in the central position, have sincere hearts without any entanglements, so where they go they can achieve success. By acting in this way, they will certainly achieve results. Because in the situation of "Kan" (Water), action leads to success. If they stop and do not move, they will be forever trapped in danger. Then it continues, "Heaven's danger is something that cannot be climbed, and Earth's danger includes mountains, rivers, hills, and ridges. Kings and princes set up dangers to guard their countries. The use of danger is indeed great." The meaning shifts from "being in danger" to "using danger."

不可升，無形之險；山川丘陵，有形之險；王公因有形之險為無形之險，是謂人險。坎卦四陰二陽，二陽，中實之象，體水之德，為有孚心亨，處險之道也；四陰，險陷之象，因坎之形，而設險守國，用險之方也。往有功以上，皆言處險之道，此則言用險之方。

Heaven is high and cannot be climbed, representing an invisible danger; mountains, rivers, hills, and valleys are tangible dangers. Kings and princes rely on tangible mountains and rivers, and further strengthen their defenses with city walls, gates, laws, and commands, creating an invisible威慑, which is called man-made danger. The "Kan" hexagram has four yin lines and two yang lines: the two yang lines represent the充实 in the middle, embodying the virtue of water, achieving "having sincerity in the heart and thus the way is unimpeded," which is the way of dealing with danger. The four yin lines represent the image of danger, relying on the form of "Kan" to set up defenses and protect the country, which is the method of using danger. The Commentary on the Judgment from the beginning to "going forward and achieving success" discusses the way of dealing with danger; these sentences now turn to discuss the method of using danger.

象曰：水洊至，習坎。君子以常德行，習教事。水流不已，以成大川；人學不已，以成大賢。君子於己之德，務於常久；於教人之事，務於熟習。初六：習坎，入于坎窞，凶。坎中小穴旁入者曰窞。以陰柔居重險之下，其陷益深，故其象占如此。

The Great Image says: Water flows continuously, wave after wave, which is the image of the hexagram Kan; thus, the gentleman cultivates his virtue constantly and repeatedly practices teaching. Water flows without ceasing, thus forming great rivers; people study without ceasing, thus becoming great sages. The gentleman insists on the constancy of his virtue and the mastery of teaching. The line statement of the first line says: In a deep pit, falling into a small hole at the bottom, which is ominous. A small opening beside a pit is called "kann." The first line, with its yin and soft nature, resides at the very bottom of a deep peril, thus sinking especially deeply, so its image and judgment are as such.

象曰：習坎入坎，失道凶也。深入於險，失出險之道也。有孚心亨，所謂道也。九二：坎有險，求小得。處重險之中，未能自出，故為有險之象；然剛而得中，故有求而小得之象。象曰：求小得，未出中也。雖有剛中之才，未能出坎中之險。

The Image Commentary says, "To be immersed in danger, losing the path of safety, leads to misfortune." The depth of the peril is due to having lost the way out. The Hexagram Statement mentions "having sincerity, the heart is unimpeded," which refers to the "path" mentioned here. The Line Statement for the Second Line says: "There is still danger within the peril; what is sought can only be a small gain." The Second Line is in a situation of double peril and has not yet been able to escape on its own, hence the image of "there is still danger." However, it is yang and occupies the central position, hence the image of "seeking something and obtaining a little." The Image Commentary says, "seeking a small gain, not yet having emerged from the center": although possessing the quality of being strong and centered, it has not yet escaped the perilous situation of the坎陷.

六三：來之坎坎，險且枕，入于坎窞，勿用。陰柔不中正，而履重險之間，來往皆險，前險而後又枕於險之象。其陷益深，不可用也。初入于坎窞則曰凶，此曰勿用，初不可出，此猶可出也。象曰：來之坎坎，終無功也。未有出險之道。

The Line Statement for the third line says: coming is dangerous, going is dangerous, both ahead and behind are dangerous, falling into a deep pit, there is nothing to be done. The third line is yin and weak, not in the center and not in the proper position, standing at the junction of two dangers. Coming and going are both dangerous, with danger ahead and danger behind. It is deeper in the danger, so there is nothing to be done. The Line Statement for the initial line says 'entering the deep pit' and is judged as 'dangerous,' but here it says 'do not act,' the difference being that the initial line is trapped at the very bottom and cannot escape, while the third line still has a chance to get out. The Image Commentary says 'coming through the danger, ultimately without success,' because it has not yet found a way out of the danger.

六四：樽酒簋貳，用缶，納約自牖，終無咎。貳，副貳之意，益之也；牖，室之所由以明者。坎有酒食之象，四變互巽木，樽簋之象；互離中虛，有瓦缶及牖象。按《本義》，以樽盛酒，以簋盛食，復以瓦缶為副樽；按來注，一樽之酒，二簋之食，樂用瓦缶。

The line statement of the fourth line says: one vessel of wine, two bowls of food, placed in earthenware vessels, and offered through the window with simple sincerity, ultimately without fault. "Er" means secondary or additional; "you" refers to the window through which light enters a house. In terms of symbolic imagery, "Kan" represents wine and food; the fourth line, when transformed, forms the trigram "Xun" (Wood), symbolizing the vessel and bowl. The trigram "Li" in the middle is hollow, symbolizing the earthenware vessel and the window. There are two interpretations of this line: Zhu Xi in The Original Meaning of the Zhou Changes interprets it as using a vessel for wine and a bowl for food, and using earthenware jars as secondary vessels. Lai Zhide's commentary, however, reads it as "one vessel of wine and two bowls of food," and interprets the earthenware jars as musical instruments to accompany the offering.

覺來注為順，且與象傳合。總言當險難之時，不事多儀而尚誠實也。自牖，言不由正道，因其所明者而進結之，蓋當艱險之時，不能直致，自間道以上達也。六四居大臣之位，處險之中，本其至誠，因君之所明者委曲獻納，則雖歷艱險而終得無咎也。

Compared to other interpretations, Lai Zhide's approach seems smoother and more consistent with the Image Commentary. The overall idea is that in times of danger, one should not focus on elaborate rituals but instead emphasize sincerity. The phrase "self from the window" means approaching the matter without taking the main path, but rather by seizing on the point that the other party already understands, to make a connection. In times of difficulty, direct communication is not possible, so one must take a side path. The Sixth Line is in a position of a high official, yet in a dangerous situation, and with sincere intent, it gently presents its suggestion to the ruler at the point where the ruler already has an understanding. Thus, despite the difficulties along the way, there will be no mistake.

象曰：樽酒簋貳，剛柔際也。《本義》謂無貳字。人情同樂則相猜，共患則相倚。四與五比，君臣相接，在險難之中，不事煩文，以誠相向可以上達，將出於險矣。九五：坎不盈，只既平，無咎。九五在坎之中，陰之下，有不盈之象。只，至也。以陽剛中正居尊位，上止一陰，勢將出險，有既平之象。不盈猶有險也，既平則無險矣。二居重險之中，故有險；五出重險之外，故既平。將出於險，可無咎矣。

The Image Commentary says, "A cup of wine and a pair of bowls, indicating the interaction between the strong and the flexible." Zhu Xi in The Original Meaning of the Zhou Changes believes that the character "贰" was originally not present here. Human nature is such that when people enjoy together, they tend to suspect each other, but when they face difficulties together, they rely on each other. The sixth line and the ninth line in the second are closely adjacent, representing the moment when a ruler and a minister meet. In times of danger, they do not observe elaborate formalities, and sincerity allows them to reach above, and they are about to escape the danger. The line statement of the ninth line in the fifth says: "The water in the Kan is not yet full, until it reaches the level of the bank, there is no fault." The ninth line in the fifth is in the Kan, with a yin line above it, so there is the image of "not full." "只" should be understood as "to reach." It is in a position of strong yang and upright, holding a noble position, with only one yin line above it, indicating that the momentum is about to escape the danger, hence the image of "already level." The water is not yet full, indicating that the danger still exists; when it reaches the level of the bank, the danger is gone. The ninth line in the second is trapped in a double danger, hence "there is danger"; the ninth line in the fifth is already outside the double danger, hence "already level." Approaching the escape from danger, naturally there is no fault.

象曰：坎不盈，中未大也。剛中居尊，宜濟天下之險，乃猶在坎中，有中德而未光大也。大有六五以柔居中乃曰大中，此以剛居中反曰未大者，大有柔能統剛，坎則剛猶陷於柔也。上六：係用徽纆，寘于叢棘，三歲不得，凶。

The Image Commentary says, "The water is not full, for the center is not great." The nine in the fifth is yang and strong, residing in the center and holding a high position. It should be able to rescue the world from danger, but now it is still in the坎 (water) trigram, possessing virtue but not yet able to fully manifest it. In the hexagram Da You, the six in the fifth, being yin and in the center, is called "great center" by the Commentary on the Judgment. Here, the nine in the fifth, being yang and in the center, is called "not great," because in Da You, the yin is able to lead all the yangs, while in Kan, the yang is still trapped within the yin. The line statement of the upper six says: bound with ropes and thrown into a prison full of thorns, unable to escape for three years, resulting in misfortune.

三股曰徽，兩股曰纆，皆索名。叢棘，獄牆所設。坎為刑獄，上變巽為繩，上六以陰柔居險極，故有此象。《周禮》司圜收教罷民，能改者三年而舍，其不能改而出圜土者殺。三歲不得，罪大不能改者也，占者得之，則不能出險可知。象曰：上六失道，凶三歲也。

Three strands twisted together are called "huī," and two strands twisted together are called "mò," both being names for ropes. "Cóngjí" refers to brambles planted outside the prison walls. In terms of symbolic meaning, "Kan" represents punishment and litigation. The sixth line at the top, when changed, becomes "Xun," which symbolizes rope. Also, the sixth line at the top, being a yin and flexible line in the extreme dangerous position, gives this symbolic meaning. The "Rites of Zhou" records that the official in charge of prisons manages those who are morally corrupt. Those who reform after three years are released, but those who do not reform and escape from the prison are executed. Here, "three years without success" refers to a serious crime with no willingness to reform. When this line appears in divination, it is clear that one cannot escape from danger. Therefore, the "Image Commentary" states, "The sixth line at the top loses the right path, resulting in misfortune for three years."

三歲，久之極。所以至此者，失處險之道也。全卦二五中實，故有有孚心亨之象，然處險之道即在是矣，故六爻惟二五得有孚心亨之道。二在險下，但可小得；五在險上，則既平也（文瀾本「也」作「矣」）。初以最下而凶，上以險極而甚，三以處前後險之間而勿用，惟四際五，僅得無咎，然樽酒納約，亦得有孚心亨之義故也。

"Three years" is used to emphasize the length of time. The situation has reached this point because the method of dealing with danger has been lost. Looking at the entire hexagram, the middle part between nine two and nine five is full, so there is the image of "having sincerity, the way is smooth." The way to deal with danger is precisely here, so among the six lines, only nine two and nine five possess the way of "having sincerity, the way is smooth." Nine two is at the lower part of the danger, so it can only gain a little; nine five is at the upper part of the danger, indicating that the danger is "already calm" (in the Wenlan edition, the word "also" here is written as "already"). Initially, because it is at the very bottom, it is dangerous; the top line, because it is at the extreme of danger, is even more dangerous. Six three is between the front and back dangers and cannot act. Only six four, which is close to nine five, can barely achieve "no blame" — this is also because it offers a single cup of wine and makes a simple offering, which is consistent with the meaning of "having sincerity, the way is smooth."

離卦，一陰麗於上下之陽，有附麗之義；中虛有光明之義。離，麗也，明也。於象為火，體虛麗物而明者也；又為日，亦麗天而明者也，故卦名離。離卦次坎。按《序卦》：坎者，陷也，陷必有所麗，故受之以離。離者，麗也。陷於險難之中，必有所附麗，理之自然，離所以次坎也。

The hexagram "Li" consists of a yao (line) that is yin situated between two yang lines above and below, symbolizing the meaning of "attachment." The middle is empty, which also represents "light." Therefore, the character "Li" contains two meanings: one is "attachment," and the other is "brightness." In terms of physical objects, it represents fire, which has no physical form and requires attachment to something else in order to burn and emit light; it also represents the sun, which shines by being attached to the sky. Hence, the hexagram is named "Li." The hexagram "Li" follows "Kan." According to the "Xu Guan Zhuan," "Kan" means a pit or a trap; when one falls into a dangerous situation, there must be something to rely on, so "Li" comes next; "Li" means attachment. When a person is in a dangerous situation, they must find something to rely on, which is a natural principle, so "Li" follows "Kan."

又按，上經終於離，下經終於既濟未濟。六十四卦以乾坤為首，而坎離居其中。蓋坎離二卦，天地之心也，造化之本也。天一生水，地二生火。坎藏天之陽中，受明為月；離麗地之陰中，含明為日。坎為水而司寒，離為火而司暑；坎為月而司夜，離為日而司晝。故先天之圖乾南坤北，後天則離南而坎北。

Furthermore, the Upper Classic ends with the trigram Li, and the Lower Classic ends with Ji Ji and Wei Ji. The sixty-four trigrams begin with Qian and Kun, while Kan and Li are exactly in the middle of the entire Classic. This is because the trigrams Kan and Li are the hearts of heaven and earth, the fundamental principles of creation and transformation. The Yellow River Chart states, "Heaven produces water with the first heavenly number, and earth produces fire with the second earthly number." Kan is hidden within the yang of heaven, receiving sunlight to become the moon; Li is attached to the yin of earth, containing brightness to become the sun. Kan represents water and governs cold, while Li represents fire and governs heat. Kan represents the moon and governs night, while Li represents the sun and governs day. Therefore, the Earlier Heaven Trigrams of Fuxi have Qian in the south and Kun in the north, while the Later Heaven Trigrams of King Wen have Li in the south and Kan in the north.

坎離為乾坤之繼體，此上經終坎離、下經終既濟未濟之意。而道家亦以人身為小天地，以心腎分屬坎離，而其功用取於水火之既濟，蓋亦從易說而旁通之者也。全卦以柔順得正為吉，六爻以二陰爻為主，二中正而五非正，故不如二。其四陽爻則從陰爻起義（文瀾本「義」作「意」），初上在陰爻之外，勝於三四在陰爻之中。三日昃而四焚如，以在二五兩陰之內也；初能敬而上出征，以在二五兩陰之外也。蓋坎離二卦奇耦反對，故爻象之吉凶亦相反也。

The hexagrams Kan and Li are the continuation of Qian and Kun. This is why the Upper Canon ends with Kan and Li, and the Lower Canon ends with Ji Ji and Wei Ji. Daoism also regards the human body as a small universe, matching the heart with Li and the kidney with Kan. Their cultivation draws upon the harmonious union of water and fire, known as Ji Ji, which is an interpretation derived from the principles of the Book of Changes. In terms of the entire hexagram, it is considered auspicious to be gentle and proper. Among the six lines, the two yin lines are the main ones. Six Two is both central and properly positioned, while Six Five is central but not properly positioned, so Six Five is less favorable than Six Two. The meanings of the other four yang lines are derived from the yin lines: Chou Qi and Shang Qi are outside the yin lines, thus surpassing Ji San and Ji Si, which are between the yin lines. Ji San is "the sun setting" and Ji Si is "burning bright," because they are sandwiched between Six Two and Six Five. Chou Qi can maintain "respect" and Shang Qi can "march out," because they are outside the influence of Six Two and Six Five. In summary, the positions of the yang and yin lines in the hexagrams Kan and Li are exactly reversed, so the fortune and misfortune of the lines are also exactly opposite.

離：利貞，亨，畜牝牛，吉。離之為麗，猶亂之為治，以陰麗於陽也。物之所麗，貴乎得正，故正則有可亨之道也。又離得坤之中畫，牝牛皆取陰象。坤以全體配乾而行，故為牝馬之行；離以二五附乾而居，故當為牝牛之畜。蓋所麗得正則亨，又當柔順自處則吉也。坎離二卦爻畫反對，故其義其占皆相反。蓋坎之明在內，當以剛健行之於外；離之明在外，當以柔順養之於中。坎水潤下，愈下則陷，故以行為尚；離火炎上，愈上則焚，故以畜為吉也。

The Hexagram Statement says: "The Hexagram of Li is favorable for maintaining correctness and achieving success; raising a female ox is auspicious." The term "Li" is interpreted as "attachment," just as the character "luan" can be interpreted as "zhi" (order), which is a reverse interpretation; here it refers to yin attaching to yang. All things that depend on something else must attach correctly, so maintaining correctness leads to success. Now looking at the symbolic representation: the central line of "Li" comes from "Kun," and the female ox also represents the image of yin's softness. "Kun" is paired with the entire structure of "Qian" and moves accordingly, so the Hexagram of Kun says "the constancy of a mare," taking its ability to move. "Li" is characterized by the two yin lines, six two and six five, attaching to the structure of "Qian" and settling in place, so it says "raising a female ox," taking its ability to nurture. In summary, correct attachment leads to success, and being gentle and compliant brings auspiciousness. The lines of the Hexagrams of Kan and Li are reversed, so their meanings and interpretations are entirely opposite: "Kan" has its brightness inside, so it is appropriate to act outwardly with strength; "Li" has its brightness outside, so it is appropriate to be gentle and cultivate inwardly. Water in Kan flows downward, the deeper it goes, the more it sinks, so "movement" is commendable; fire in Li rises upward, the higher it goes, the more it burns, so "nurturing" is auspicious.

彖曰：離，麗也。日月麗乎天，百穀草木麗乎土，重明以麗乎正，乃化成天下。日月麗天，以氣麗氣而成明；百穀草木麗土，以麗形而成文。君臣上下皆有明德，而處於中正，則可以成天下文明之化。此皆以釋卦之名義也。柔麗乎中正，故亨，是畜牝牛吉也。二中正，五中而不正，中正，統言之。此以卦體釋卦辭也。

The Commentary on the Judgment says: "Li" means attachment. The sun and moon are attached to the sky, and all grains and plants are attached to the earth. The upper and lower parts are both bright and attached to the right path, thus being able to cultivate and form the world. The sun and moon are attached to the sky, thus producing light by attaching their qi to the sky's qi; grains and plants are attached to the earth, thus producing color by attaching their form to the earth's form. The king and ministers, as well as the upper and lower ranks, all possess the virtue of brightness and are in the middle and upright positions, thus being able to achieve the civilization of the world. These sentences are all explaining the meaning of the hexagram name. It also says, "Softness is attached to the middle and upright, thus being smooth, which is why it is auspicious to raise a female ox." In reality, the sixth line in the second position is both middle and upright, while the sixth line in the fifth position is only middle but not in the correct position. Here, the term "middle and upright" refers to both lines combined and spoken of generally. This sentence uses the structure of the hexagram to explain the hexagram statement.

象曰：明兩作，離。大人以繼明照于四方。明兩作，兩明相繼而起也。繼明，猶以聖繼聖也。前言重明，以上下言之，取象於君臣；此言兩作，以先後言之，取象於帝王之父子。若以人事言之，則日新又新、緝熙不已，繼明之義也；洞達事理、光被四表，照于四方之義也。

The Great Image Commentary says: Two lights rising together symbolize the image of the Fire hexagram. Great persons thus cause the light to continue generation after generation, illuminating all directions. "Two lights rising" refers to two successive lights appearing one after another. "Continuing the light" is like having sages succeeding one another. Previously, the Commentary on the Judgment spoke of "double brightness," referring to the superior and inferior positions, symbolizing the ruler and minister. Here, "two lights rising" refers to the sequence of time, symbolizing the father and son of the sovereign. When applied to human affairs, it means renewal without end and unceasing brightness, as the Book of Poetry says "collecting and brightening," which means "continuing the light." Understanding things thoroughly and shining throughout the four seas is what "illuminating all directions" means.

初九：履錯然，敬之無咎。剛明在下，其性炎上。剛則，明則察，二者襍於胸中，所履交錯之象。能敬則心有主，不至於錯，可以無咎矣。火在下而未上炎，猶有可制，雖戒占者之辭，亦其象然也。象曰：履錯之敬，以辟咎也。剛明而不妄動，咎可闢矣。

The line statement for Chou Jiuping says: When actions are confused and entangled, maintaining reverence will result in no blame. Chou Jiuping is strong and bright, located at the very beginning, and the nature of fire is to rise upward. Being strong (the missing character here is likely 'and' or 'but'), being bright allows for clear discernment; these two qualities are mixed within the heart, thus giving the appearance of confused actions. If one maintains reverence, the mind will have a master, not becoming confused, thus avoiding blame. Fire is at the bottom and has not yet risen, so there is still room to control it. Though these words are a warning to the person casting the divination, the yao image is indeed like this. The Image Commentary says, "Walking with confusion requires reverence to avoid blame": being strong and bright without acting recklessly, one can avoid mistakes.

六二：黃離，元吉。黃，中色，坤為黃，離中爻乃坤土，有黃象。柔麗乎中而得其正，以此事君，將順而能匡救；以此治民，渾厚而能精明。上可正君，下可成化，純臣之道，大善而吉之占也。象曰：黃離元吉，得中道也。言中而正在其中矣。

The line statement for the second line says: "Yellow adheres, great auspiciousness." Yellow is the central color among the five colors, and "Kun" is associated with yellow. The middle line of "Li" originates from "Kun" earth, hence the image of yellow. The second line is soft and adheres to the central position, and it is in the correct place. With such character, serving the sovereign can both follow and uphold his virtue, and correct his mistakes. Governing the people, it is both broad and harmonious, yet precise and sincere. It can correct the sovereign above and accomplish education below. This is the way of a pure minister, hence the divination is great good fortune and auspicious. The Image Commentary says, "Yellow of Li, great auspiciousness, attains the middle way": it mentions only the word "middle," but "correctness" is already included within it.

九三：日昃之離，不鼓缶而歌，則大耋之嗟，凶。重離之間，前明將盡，有日昃之象。離中虛缶象，互五為兌口，歌與嗟之象。死生猶晝夜之常理，鼓缶而歌，安常以自樂可也；不然而徒以大耋為嗟，則窮蹙以死而已，故凶。蓋數之所至，當安於命也。象曰：日昃之離，何可久也。求人以繼其事，退處以休其身可也。

The line statement for the third line says: When the sun is setting, if one does not sing by beating a clay pot, one will lament the approaching end of life, which is ominous. The third line is sandwiched between the two 'Li' trigrams above and below. The previous light is about to be exhausted, hence the image of the sun setting. The 'Li' trigram is hollow in the middle, resembling a clay pot; the upper interacting trigram to the fifth line forms 'Dui', which represents the mouth, hence the image of singing and sighing. Life and death are like the alternation of day and night, which is a natural occurrence. Singing by beating a clay pot, accepting the natural order and finding joy in it, is appropriate. If one does not do so, and instead only laments the approaching end of life, then one is merely waiting for death in hardship and suffering, hence the ominous outcome. When the fate has reached this point, one should accept the heavenly mandate. The 'Image Commentary' says, 'The sun is setting in the 'Li' trigram, how long can it last?' At this time, seeking someone to continue one's affairs and retiring to cultivate one's body and mind is the proper course of action.

九四：突如其來如，焚如，死如，棄如。前明盡而後明忽迫，有突如其來如之象；其炎正盛，焚如之象；履非其位，逼近至尊，勢不能終，死如之象；無應無承，眾無所容，棄如之象。象曰：突如其來如，無所容也。無所容總釋上文，舉突如句可該。

The statement of the fourth line (Nine in the Fourth) says: It comes suddenly, like a burning fire, like death, like being cast away. The previous brightness has just vanished, and the next brightness suddenly rushes in, hence the image of 'suddenly coming.' Its fire is at its height, hence the image of 'burning like fire.' It is a yang line in a yin position and is not in the proper place, and it is closely approaching the supreme yin line five, so this trend will not end well, hence the image of 'like death.' It has no support above and no continuation below; everyone cannot accommodate it, hence the image of 'like being cast away.' The Image Commentary says, 'Suddenly coming, there is no place for it.' 'No place for it' is a summary of the above statements, and the phrase 'suddenly coming' alone is sufficient to encompass the entire line.

六五：出涕沱若，戚嗟若，吉。以柔順剛，不得其正，而迫於上下之陽。互卦兌澤之流，兌口之開，故有出涕沱若、戚嗟若之象。然居尊位而知憂懼，故占得吉也。象曰：六五之吉，離王公也。居王公之位而知憂懼，故吉也。三前明將盡，則不宜為大耋之嗟；五柔中居尊，則宜以戚嗟自戒。

The Line Statement of the Fifth Line says: tears flow in torrents, sorrow and sighing never cease, and it is auspicious. The Fifth Line, though possessing a gentle and compliant nature, is positioned above the strong, and is not in the proper place, further being pressed by the two yang lines above and below. In terms of imagery, the mutual trigrams form 'Dui' (Lake), which symbolizes a marsh, and the outflow of water from the marsh represents tears; 'Dui' also represents the mouth, and the opening of the mouth signifies sighing. Thus, there is an image of torrential tears and sorrowful sighing. However, because it holds a position of honor and knows to be cautious and vigilant, the divination is auspicious. The Image Commentary says, 'The auspiciousness of the Fifth Line is due to its resemblance to a prince or duke.' Being in a position of honor and knowing to be cautious and vigilant leads to auspiciousness. Although both involve sighing, the Third Line, at the moment when the previous phase of brightness is about to end, should not merely express sorrow for old age coming to an end; whereas the Fifth Line, being gentle and compliant in the center and holding a position of honor, should instead use sorrow and sighing as a self-restraint. The meanings derived from these two instances are exactly opposite.

上九：王用出征，有嘉折首，獲其匪丑，無咎。離為甲冑戈兵，故有出征之象；上九為五所麗，有王用之之象。有嘉，言有嘉美之功；折首，但誅首惡也；獲匪其醜，言不及其徒眾也。陽剛在上，有出征有嘉之象；離為科上槁，折首之象；剛明在上，所照及遠，有折首不及其丑之象。如此則威震而刑不濫，何咎之有。

The line statement of the top nine says: The king sent him on a military campaign, achieving a glorious merit, cutting off the head of the principal offender, and capturing not his followers, thus having no fault. In terms of symbolic representation, "Li" represents armor and weapons, thus indicating a military campaign; the top nine relies on the sixth five, thus indicating "the king employing him." "Having a glorious merit" refers to achieving a glorious military achievement; "cutting off the head" means only executing the principal offender; "capturing not his followers" means not involving his followers. A yang line at the top of the entire hexagram thus indicates a military campaign and achieving merit; the "Sayings of the Hexagram" states "Li is the withered branches on top," where the upper part of the tree is withered and easy to break, which is the image of "cutting off the head." The brightness and clarity at the top illuminate far away, thus indicating only executing the principal offender without involving his followers. Thus, the power is intimidating while punishment is not excessive, so there is no fault to speak of.

象曰：王用出征，以正邦也。寇賊亂邦，上能以剛明除天下之惡，所以正邦也。全卦以居中得正，有可亨之道，而以柔順自處，自能獲吉。六爻惟二兼中正柔順之德，故為最吉；五中而不正，而居尊位以照臨四方，故雖憂懼而亦有吉道。又火性炎上，在下則有勢易制，在上則其明及遠，所以皆無咎。若三處前明之盡，四居後明之逼，則凶不待言矣。

The Image Commentary says, "The king uses military force to correct the state": thieves and bandits disturb the state, and the superior nine can eliminate evil throughout the world by relying on his strength and clarity, hence it is said to correct the state. Looking at the entire hexagram, the way to achieve success is to be in the center and upright, and to be gentle and compliant, thus naturally attaining good fortune. Among the six lines, only the six two possesses both the virtues of being in the center and upright and being gentle and compliant, hence it is most auspicious; the six five is in the center but not in the proper position, yet it is in a high position to illuminate all around, hence although it is anxious, it still has a path to good fortune. Furthermore, fire tends upward: when it is in a lower position, the fire is still small and easy to control; when it is in a higher position, it shines brightly and reaches far. Hence both the initial nine and the superior nine can avoid blame. As for the nine three, it is at the end of the first layer of brightness, and the nine four is under the pressure of the second layer of brightness, so misfortune is inevitable.