Gehua (Reform)

革革卦，下離上兌。火燃則水涸，水決則火滅。又二女同居，志不相得。有變革之義，故為革。革卦次井。按，《序卦》：井道不可不革，故受之於革。井之為物久則汙，易之則潔。不可不革，革所以次井也。全彖以改革之事，不信於初而信於後，其占可以大亨，而必利於正固，見革之不可輕也。六爻下三爻有不輕於革之意。上三爻則革之善者。而上革道已成，又不可過有所更。此全卦六爻之大畧也。

The lower trigram of the Gé hexagram is Li (Fire), and the upper trigram is Dui (Lake). Fire burns and water dries up; water flows and fire is extinguished. It also represents two women living together with conflicting intentions, embodying the meaning of change, hence the name "Gé" (Change). The Gé hexagram follows the Jing hexagram. According to the "Xu Guashu" (Sequence of Hexagrams), since the well needs to be cleaned and changed, the Gé hexagram comes after Jing. A well, if left untouched for long, becomes dirty; it must be changed to become clean, hence the necessity of change, which explains why Gé follows Jing. From the hexagram statement, change begins with people's disbelief, and only after the change is achieved do they believe. Divination may lead to great success, but it must be favorable to uprightness, showing that change should not be easily initiated. Looking at the six lines, the lower three lines indicate a cautious attitude towards change, while the upper three lines show skill in change. The sixth line at the top signifies that the way of change is already established, and further changes should not be made. This is a general summary of the six lines of the hexagram.

革。巳日乃孚，元亨利貞，悔亡。革卦澤上火下，火燃水乾，水決火滅。又中少二女，合為一卦。少上中下，志不相得。故卦為革。日為離象。日入澤，有巳日象。民可與樂成，難於慮始。故不信於方革之時，而信於已革之日。內有文眀之德，外有和說之氣，占可大亨。然而改革之事，非可妄舉[文瀾本“舉”作“取”]。必得其正，則所革皆當而悔可亡。若不貞，則不孚而有悔矣。

The Hexagram Statement says: "Revolution. People only believe when the time comes, thus it is greatly smooth and favorable for uprightness. Regret disappears. The Revolving Hexagram has a lake above and fire below. Fire burns and water dries up; water breaks through and fire is extinguished. It is also composed of the Middle Young Girl (Fire) and the Young Girl (Lake), with the Young Girl above and the Middle Young Girl below, their hearts not in harmony, hence the name 'Revolution.' 'Day' is the image of Fire. When the sun falls into the lake, it becomes the image of 'Si day.' The people can share the fruits with them, but cannot plan the beginning with them. Therefore, they are unwilling to believe at the beginning of a change, but believe when the change is already accomplished. The Inner Trigram has the virtue of civilization, and the Outer Trigram has the atmosphere of harmony, thus the divination is greatly smooth. However, the matter of reform should not be taken lightly (the text in the Wenlan Pavilion edition says 'take' instead of 'take'). It must be done uprightly, so that each change is appropriate and regret disappears. If one does not uphold uprightness, then one cannot gain trust and will leave regret."

彖曰。革，水火相息。二女同居，其志不相得，曰革。以卦象釋卦名義，與睽相似。相違背為睽，相滅息為革。二女不同行，離而去之而已。不相得則相剋矣，故為革。

The Commentary on the Judgment says, "Revolution: water and fire mutually extinguish each other; two women living together, their aspirations do not harmonize, called revolution." This uses the hexagram image to explain the meaning of the hexagram name, similar to the hexagram of parting ways: mutual contradiction is called "parting ways," mutual destruction is called "revolution." The hexagram of parting ways is two women taking different paths, each departing separately; this hexagram, however, involves aspirations that do not align, leading to mutual control, hence it is called "revolution."

巳日乃孚，革而信也。文明以說，大亨以正。革而當，其悔乃亡。眀則燭事理，能見於已革之先。說則順人情，能孚於已革之後。大亨者。除弊興利，一事之大亨。伐暴救民，興世之大亨。正者，順天理合人心也。又亨以正，則革之當。革當而悔乃亡，見革之不可輕也。

The Commentary on the Judgment says, "On the fourth day, faith is established; through change, trust is gained; with civilization and joy, great success is achieved through correctness; change that is appropriate, and regret will vanish." "Brightness" can illuminate matters, seeing clearly even before change occurs; "Joy" can conform to human feelings, and after change, it can gain the trust of the people.the so-called great success refers to removing evils and promoting benefits, which is great success in a matter; waging war against tyrants and saving the people, which is great success in an era.the so-called "correctness" means above conforming to heavenly principles and below conforming to human hearts. It is also necessary for success to be in harmony with correctness, so that change is appropriate; when change is appropriate, regret vanishes, showing that change should not be undertaken lightly.

天地革而四時成。湯武革命，順乎天而應乎人。革之時大矣哉。天地帝王之革，皆視其時。先時後時[文瀾本“先時後時”作“後時先時”]，皆不可也。象曰。澤中有火。革。君子以治曆明時。四時之變，革之大者。歷之因時修改，革之義也。

The Commentary on the Judgment says, "Heaven and Earth change, and the four seasons are formed; King Tang and King Wu brought about a revolution, following the way of Heaven and responding to the will of people; the time of change is great indeed." Both the transformation of Heaven and Earth and the revolution of kings depend on grasping the right moment: acting too early or too late, as the Wenlan Pavilion edition states "after the time and before the time," is equally ineffective. The Great Image Commentary says, "Fire in the marsh, change; the superior person thus regulates the calendar and clarifies the time." The movement of the four seasons is the greatest form of change; revising the calendar according to the heavenly time is precisely in line with the meaning of "change."

初九。鞏用黃牛之革。黃，中色。牛，順物。離得坤之中，皆有牛象。雖當革時而居初位卑，無可革之權。無應，無共革之人。未可有為，當堅固以守，不可輕有所革。如用牛皮以束物者。故其鞏固，有用黃牛之革之象。當以中順自固也。初變為艮止，故有此象。象曰。鞏用黃牛，不可以有為也。時位不可。

The line statement for the first line (Initial Nine) says: "Use the hide of a yellow ox to bind firmly." Yellow is the color of the center, and an ox is a gentle creature; the line Li (Fire) receives the middle line of the trigram Kun (Earth), so both have the image of an ox. Although the Initial Nine is at the time of change, it is in the lowest position, lacking the authority for change; also, it has no proper correspondence, so there are no allies to act together. At this time, there should be no action, but rather firm self-preservation, not lightly making changes, just as using the hide of an ox to bind something tightly. Therefore, there is the image of "using the hide of a yellow ox" indicating firmness. One should maintain firmness through the middle way and gentleness. The first line changes into Gen (Mountain), which signifies stopping, hence this image. The Small Image Commentary says, "Binding with the hide of a yellow ox, there should be no action": both the timing and position do not permit action.

六二。巳日乃革之。征吉。無咎。六二柔順中正，文眀之主。有應於上，可以革矣。猶必巳日乃革，則征吉而無咎。彖言巳日，已革之日也。爻言巳日，日已至然後革也。蓋德與位皆可革，猶俟其時也。象曰。巳日革之，行有嘉也。行，將然之辭。革必俟時，將有嘉美。

The line statement of the second line says: Only after the proper day arrives should one initiate a change; going forward will be auspicious and without fault. The second line is gentle and upright, being the main line of the hexagram of civilization. Above it is the nine in the fifth position, which corresponds with it. It is originally appropriate to initiate a change, yet it still must wait until the day of 'Si' before changing. Only then will going forward be auspicious and without fault. The hexagram statement refers to the day of 'Si' as the day when the change has already taken place; the line statement refers to the day of 'Si' as the day when the time has arrived and then action is taken. This shows that although both virtue and position are suitable for change, one still needs to wait for the right opportunity. The Small Image Commentary says, 'On the day of Si, the change is made; going forward will bring good results.' 'Going forward' here has the meaning of something about to happen — change must wait for the right opportunity, and there will be good results.

九三。征凶貞厲。革言三就。有孚。應兌互乾為口為言，離居三，革言三就之象。中實，有孚之象。九三過剛不中，居離之極。自恃剛眀，躁於革[文瀾本“革”作“進”]者。故戒以征則凶，雖貞亦厲也。然時當可革，爻位居三。審量所革再三，已有成說，亦可見信於人，而在所當革矣。象曰。革言三就，又何之矣。至於再，至於三，無所待矣。

The line statement for the third line says: To act rashly is dangerous, even if one remains upright, there is still peril. The discussion about change has been considered three times, so it can be trusted by others. The third line corresponds to the sixth line above, which belongs to the trigram Dui, and the interacting trigram is Qian. Dui represents mouth, and Qian represents speech, while Li is exactly at the third line, thus forming the image of 'three times the discussion of change.' The middle line of the Li trigram represents reality, which is the image of 'having faith.' The third line is overly strong and not in the center, located at the top of the Li trigram, relying on its strength and wisdom, and eager for change (the Wenlan Pavilion edition reads 'change' as 'progress'), so it is warned: acting rashly is dangerous, even if one remains upright, there is still peril. However, the situation has indeed reached a time for change, and the line is at the third position. The matter to be changed has been thoroughly considered three times, forming a definite conclusion, thus being able to gain the trust of others, which is appropriate for change. The Small Image Commentary says 'three times the discussion of change, where else can it go?' By the second and third times, there is nothing more to wait for.

九四。悔亡。有孚。改命吉。以陽居陰，有悔之象。然卦已過中。水火之際，乃革之時。剛柔不偏，又革之用。故有悔亡之象。然必有孚則改命而吉矣。下三爻猶不輕革，至此則已革而改為新矣。三議革而後孚，四有孚而始改，革之序也。象曰。改命之吉，信志也。謂上下信九四之志也。

Nine in the Fourth Line Statement says: Regret disappears, there is sincerity, and changing the old fate brings good fortune. Nine in the Fourth is a Yang line in a Yin position, which originally indicates regret; however, the entire hexagram has passed the central position, and it is at the moment when water and fire meet, which is the time for change. Since the yin and yang are balanced, it is exactly the function needed for change, so there is the image of "regret disappearing." However, one must first have sincerity before changing the old fate can bring good fortune. The three lines below are still unwilling to change easily, but here, at Nine in the Fourth, there is truly a renewal by changing the old. Nine in the Third is about confirming a decision and gaining the trust of others, while Nine in the Fourth is about having sincerity first and then taking action to change. This shows the order of change. The Small Image Commentary says, "The good fortune of changing the fate is due to sincerity of will." This means that all above and below are convinced of the will of Nine in the Fourth.

九五。大人虎變。未占有孚。變，希革，毛毨。毛落更生，潤澤鮮好[文瀾本“好”作“明”]也。乾以純陽為龍，以剛健亦為虎。五互乾有虎象。九五陽剛中正，當革之時而居尊位。湯武之順天應人者也，故有大人虎變之象。有孚在未占之先，則致此者有素矣。象曰。大人虎變，其文炳也。炳者，如火日之光眀也，改正朔，易服色，制禮作樂皆是也。即彖所謂文眀以說也。

The line statement of the fifth line says: A great person is like a tiger that changes suddenly, possessing credibility without needing to consult omens. The term 'change' refers to the meaning of '希革' and '毛毨' in the Book of Documents, Yao's Classic, which means the shedding of old feathers or fur and the growth of new ones, resulting in a moist and bright appearance (in the Wenlan Pavilion edition, '好' is written as '明'). The trigram Qian, with its pure yang, is represented as a dragon, but it can also be represented as a tiger due to its strength and vigor. The fifth line is located within the trigram Qian, hence the image of a tiger. The fifth line is yang and upright, and it is at the proper time for change while occupying a position of honor, which is exactly the character of Shang Tang and King Wu of Zhou, who followed the will of heaven and responded to the people. Therefore, there is the image of 'a great person changing like a tiger.' Credibility is already present before any consultation, indicating that reaching this point is the result of accumulated effort over time. The Small Image Commentary says, 'A great person changes like a tiger, his virtue shines brightly.' 'Shine brightly' refers to brightness like fire or sunlight. Changing the calendar, altering clothing colors, and establishing rituals and music all fall under this category, which is what the Commentary on the Judgment calls 'civilization with joy.'

上六。君子豹變。小人革面。征凶。居貞吉。虎文疏而著，故曰炳。豹文密而理，故曰蔚。九五皆陽，大人虎變之象。上六皆陰，君子豹變之象。兌說見於上，有革面象。君子小人，以位則有上下，以德則有邪正。上六處革之極，革道已成。君子變革其外而有文，小人變革其外而順君，復何所求哉。若他有所往，則梗化之民凶矣。況上六之才亦不可有為，惟有居貞靜守則吉耳。蓋革非得已之事。初未可革，當中順以自守。上既已革，當靜正以自居。蓋九五湯武之事，上六則伊呂之事也。

The line statement of the sixth line above says: A gentleman is like a leopard, changing and transforming; a petty person also changes his appearance. If one goes forth at this time, it will be dangerous, but if one remains in place and adheres to the right path, it will be auspicious. The tiger's pattern is clear and distinct, hence called "Bing"; the leopard's pattern is intricate and orderly, hence called "Wei." The ninth line in the fifth position is a yang line in a yang position, purely yang and strong, symbolizing the image of "a great man changing like a tiger." The sixth line above is a yin line in a yin position, purely yin and soft, symbolizing the image of "a gentleman changing like a leopard." Joy is evident in the trigram of Dui (Joy), hence the image of "changing one's face." A gentleman and a petty person differ in status as superior and inferior, and in virtue as righteous and wicked. The sixth line above is at the extreme of transformation, and the way of transformation has already been completed: the gentleman transforms his outer appearance with elegance, while the petty person also changes his face to conform to the superior, so what more is there to seek? If one goes forth again, those stubborn people who resist the way of education will meet misfortune. Moreover, the quality of the sixth line is inherently insufficient for great deeds, so remaining in place and maintaining the correct path is auspicious. Transformation is not something to be done lightly: the first nine is not yet the time for transformation, and one should remain in the middle and follow the proper course; when the sixth line above has completed the transformation, one should remain quiet and upright. The fifth line is doing the deeds of Tang and Wu, while the sixth line is doing the deeds of Yi Yin and Li Shang.

象曰。君子豹變，其文蔚也。小人革面，順以從君也。蔚者，隱然有文之謂。上六柔故也。全卦言變革之事，皆不得已而為之。初用黃牛，不敢輕於未革之先也。上言居貞，不敢擾於已革之後也。二之征吉，必俟巳日。三已三就，猶戒征凶。當革之時，必孚以信乎人心，當以合乎天理。乃可言四之改命，為五之虎變也。革豈易言哉。

The Small Image Commentary says, "The superior person changes like a leopard, his patterns are splendid; the inferior person changes his face, following the ruler smoothly." "Splendid" refers to being subtly and subtly adorned with literary grace, because the upper sixth line is yin and flexible. Overall, the changes discussed in the entire hexagram are all done out of necessity. The initial ninth line says "using a yellow ox," meaning it does not dare to act rashly before the change. The upper sixth line says "maintaining firmness," meaning it does not dare to disturb after the change. The sixth line two says "a journey is auspicious," which must wait until "the fourth day." The ninth line three has already "three approaches," yet it is still warned "a journey is凶." When the change is appropriate, one must rely on sincerity to gain the people's trust, and align with heavenly principles, only then can the ninth line four's "changing destiny" and the ninth line five's "tiger transformation" be considered. How can change be spoken of lightly?

鼎鼎卦，下巽上離。取其象，亦取其義。取象有二。以全體言之。下植為足，中實為腹，對峙於上為耳，橫亙於上為鉉。以二體言之。中虛在上，下有足以承之。皆鼎象也。取義則以木從火，烹飪之義。故為鼎。鼎卦次革。按，《序卦》：革物者莫若鼎，故受之以鼎。水火不可同處，能使相合為用而不相害。易堅為柔，變生為熟，能革物也。鼎所以次革也。

The lower trigram of the Dǐng hexagram is Xùn (Wind), and the upper trigram is Lí (Fire). Naming is based both on its image and its meaning. The image has two interpretations: considering the six lines as a whole, the lowest line is vertical like the legs of a tripod, the middle three lines are full like the body of the tripod, the two lines on the top are opposite like the handles, and the top horizontal line is like the beam used to lift the tripod. Considering the upper and lower trigrams separately, the upper trigram is hollow in the middle and supported by the lower trigram, which represents the legs of the tripod—both are images of a tripod. In terms of meaning, wood is placed into fire, implying the process of cooking, hence the name "Dǐng" (tripod). The Dǐng hexagram comes after the Gé hexagram. According to the "Xù Guà Zhuàn," no change is more thorough than the tripod, so the Dǐng hexagram follows the Gé hexagram. Water and fire naturally cannot coexist, yet the tripod allows them to combine for use without conflict; it transforms hardness into softness and the raw into the cooked, which is the essence of changing things, hence the reason the Dǐng hexagram comes after Gé.

全彖以內巽順而外文明，柔進居尊，得中應剛，可以大亨。而六爻之義則以上出為功。初幸其出否。二幸其遠仇。三不知六五之君則為失義。四不知應於初六之小人則為失信。唯五之中實，與上剛柔之節，有吉占焉。蓋井與鼎，皆以上出為功故也。此全卦六爻之大畧也。

Looking at the hexagram statement: the inner trigram is Xun, representing flexibility and compliance, and the outer trigram is Li, representing civilization. The flexible lines ascend and occupy a position of honor, remaining centered and responding to the strong lines below, thus achieving great success. The meaning of the six lines is based on the function of removing the contents of a cauldron for use. Initially, the line at the beginning is fortunate in being able to remove old filth; the line at the second position is fortunate in being able to distance oneself from enemies; the line at the third position is unfortunate in not knowing where to turn to the sovereign at the fifth position, thus losing the principle of ruler and subject; the line at the fourth position should not respond to the line at the beginning, which is a petty person, thus losing the trust bestowed upon it; only the line at the fifth position, which is empty in the center and solid in the middle, and the line at the top, which is properly balanced between strong and weak, can have a favorable judgment. The reason is that both the Well hexagram and the Cauldron hexagram achieve their function through 'ascending upwards'. This is a general summary of the six lines of the hexagram.

鼎。元吉、亨。吉字衍文。彖曰。鼎、象也。以木巽火、亨飪也。聖人亨以享上帝、而大亨以養聖賢。象，卦畫取鼎之象也。亨飪，以二體言鼎之用也。亨飪不過祭祀賓客。祭之大者莫過於上帝，賓之大者莫過於聖賢。享帝貴誠，用犢而已，故言亨。聖賢備饔飱牢醴之盛，故言大亨。此以卦體釋卦名義也。

The Hexagram Statement says: "The Cauldron, originally auspicious, is prosperous." The character "吉" is an added word. The Commentary on the Judgment says: "The Cauldron is an image; using wood to assist fire, it is used for cooking. The sage uses it to offer sacrifices to the Heavenly Deity, and great prosperity is used to nourish the sages and virtuous ones." The term "image" refers to the hexagram's diagram taking the form of a cauldron. The term "cooking" refers to the function of the cauldron as represented by the upper and lower trigrams. Cooking is mainly used for worship and entertaining guests. The greatest form of worship is sacrificing to the Heavenly Deity, and the greatest form of entertaining guests is nourishing the sages and virtuous ones. Sacrificing to heaven values sincerity and respect, and using a single ox is sufficient, so it is only said to be "prosperous." Nourishing the sages and virtuous ones requires a full and abundant offering of food, wine, and sacrificial animals, hence it is said to be "greatly prosperous." This is using the structure of the hexagram to explain the meaning of the hexagram's name.

巽而耳目聰明，柔進而上行，得中而應乎剛，是以元亨。以卦象言，則內巽而五為鼎耳、離為目。此心順巽[文瀾本“順巽”作“巽順”則入乎義理、耳目聰明則審乎事幾，有其德矣。以卦綜言，則革下卦之離二，上行居五，有其位矣。以卦體言，則五有虛中之君，而二應以剛中之臣，有其輔矣。明良道合，治化大成，宜占為元亨也。柔進上行得中應剛與睽同。而占不同於睽之小事，反同於大有之元亨，其時與德之異也。

The Commentary on the Judgment says, "Gentle and yielding, the ears and eyes become sharp and discerning; the flexible and advancing line rises upward, attains the center, and responds to the strong, thus achieving the great and harmonious." From the hexagram's image, the inner trigram is Xun, and the sixth line in the fifth position is the ear of the cauldron, while Li represents the eyes: if the heart is gentle, yielding, and humble, it can penetrate the meaning of things, and with sharp perception, it can discern the right timing—this is possessing virtue. From the inverted hexagram, the lower trigram of Gai is Li, and the second line ascends to the fifth position—this is possessing the right position. From the structure of the hexagram, the sixth line in the fifth position is a king who is empty and open to the wise, and the nine in the second position, a strong and central minister, corresponds with him—this is possessing support. When the ruler is wise and the minister is virtuous, their way is in harmony, and great achievements are realized, so the divination naturally concludes with "great and harmonious." The statement "flexible and advancing, rising upward, attaining the center and responding to the strong" is the same as in the hexagram Kui, but the divination conclusion is not like Kui's, which is only suitable for small matters, but instead is the same as in the hexagram Da You's "great and harmonious," because the situation and virtue are different.

象曰。木上有火。鼎。君子以正位凝命。離為聽政之位。巽為命令。天之命，亦命也。恭已以正其位，而凝因[文瀾本“因”作“固”其所受於天之命。蓋鼎為重器，故有正位凝命之象。

The Great Image Commentary says, "Fire on wood, the Cauldron; the gentleman takes up his proper position and consolidates his mandate." The trigram Li represents the position of governance, while Xun signifies command. The bestowal from Heaven is also a mandate. The gentleman maintains reverence and self-discipline to properly occupy his position, thus consolidating the mandate he has received from Heaven. The Cauldron is a significant vessel of the state, hence the image of "proper position and consolidating the mandate."

初六。鼎顚趾、利出否、得妾以其子、無咎。初居鼎之下，趾象。上應九四，有顚趾之象。然當卦初，鼎未有實。舊有否惡之積，因顛而出去之，有利出否之象。六以陰居初不正，有妾之象。趾不宜顛而利以出否，妾得不足貴而以得子。蓋因敗以為功，因賤以致貴也。故占可無咎。

The Line Statement for the first line (Initial Six) says: The tripod's legs are overturned, and the filth is poured out; it is like taking a concubine who gives birth to a son, with no fault. The Initial Six is at the very bottom of the tripod, symbolizing the tripod's legs. It corresponds to the Nine in the Fourth position, being drawn upward, hence the image of 'upturned legs'. However, at the beginning of the hexagram, the tripod is still empty, and the old filth is conveniently removed by overturning, hence the image of 'favorable for expelling filth'. The Yin line in the initial position is not proper, symbolizing a concubine. The tripod's legs should not be overturned, yet overturning them is favorable for expelling filth; a concubine is not esteemed, yet she becomes esteemed through giving birth to a son. Both are cases of success through failure and honor through lowliness, so the divination has no fault.

象曰。鼎顚趾、未悖也。利出否，以從貴也。顚趾悖矣。可以出否，則未悖。從貴，去鼎中否之可賤，以從珍羞之可貴者也。九二。鼎有實。我仇有疾。不我能即。吉。以剛居中，有實之象。我仇，謂初。陰陽相求而不相得，所謂怨耦曰仇也。二以剛中自守，初雖近而顛趾，不能就之。有我仇有疾，不我能即之象，故吉。

The Small Image Commentary says, "The tripod is overturned, but this is not contrary; it is advantageous to expel what is blocked, in order to welcome the noble." The overturning of the tripod is naturally contrary, but since it allows the removal of filth, it is not contrary. "To follow the noble" means removing the contemptible filth in the tripod to welcome the precious delicacies. The line statement of the second line says: The tripod contains actual food; my enemy is ill and cannot approach me, which is auspicious. The second line, with a strong yang in the center, symbolizes the presence of actual food in the tripod. "My enemy" refers to the initial line six. Yin and yang naturally seek each other but fail to harmonize, as the Zuo Zhuan says, "mutual resentment is called 'enemy'." The second line maintains its strong and central position, so although the initial line is close, it cannot approach due to the overturned tripod feet, thus forming the image of "my enemy is ill and cannot approach me," resulting in auspiciousness.

象曰。鼎有實、慎所之也。我仇有疾，終無尤也。雖有實而不愼所之，則為仇所即而有尤矣。不暱於初，上從六五之正應，所以有吉無尤。九三。鼎耳革。其行塞。雉膏不食。方雨虧悔。終吉。革，變革也。九三以陽居鼎腹之中，本有美實者也。然與五不相應。五為鼎耳。鼎耳方革，不可舉移，故有鼎耳革，其行塞之象。上卦離為雉。

The Small Image Commentary says, "The tripod has something in it; be cautious about where you go; my enemy is ill, and there will be no blame." Although there is something in the tripod, if one does not be careful about where one goes, one will be approached by an enemy and suffer misfortune. Nine Two does not get close to Six at the Beginning, but instead follows upward to Six in the Fifth, which is the correct match, thus resulting in good fortune without blame. The statement of the third line says, "The ears of the tripod are deformed, movement is blocked, and the delicious wild chicken cannot be eaten; when yin and yang harmonize and rain falls, regret decreases, and ultimately good fortune is achieved." "Change" refers to transformation. Nine Three, with a yang line in the middle of the belly of the tripod, is originally holding delicious food; however, it does not correspond with Six in the Fifth. Six in the Fifth is the ear of the tripod, which is deformed and cannot lift or move, hence the image of "the ears of the tripod change, and movement is blocked." The upper trigram is Li, representing the wild chicken.

三變為坎為膏。互兌三變則兌口不成。承上卦文明之腴而不見應於五。有雉膏不為人所食之象。又變坎為雨。陰陽和剛雨。三以陽居陽為得其正。然以正自守而五將求之，如陰陽之和而雨，悔可虧而終得吉矣。象曰。鼎耳革，失其義也。仕以行義。三不應五而應上，失君臣之義。

Nine in the Third changes to Kan, which represents rain; Kan also signifies fat. Originally there was an intercalated Dui, but when the third line changes, Dui's mouth is no longer formed. It inherits the richness of the upper trigram, but does not receive a response from line six, hence the image of 'fat meat not eaten by people'. Also, changing to Kan signifies rain; when yin and yang are in harmony, rain comes (the original text's 'yang' is likely a mistake for 'then'). Nine in the Third occupies a yang line in a yang position, thus it is correct; being able to hold to correctness, line six will eventually seek it, just as yin and yang harmonize to produce rain, regret can be reduced and ultimately result in good fortune. The Small Image Commentary says 'the handle of the tripod changes, losing its meaning': serving in office is for upholding righteousness. Nine in the Third should not respond to line six but instead to upper nine, thus losing the meaning of ruler and minister.

九四。鼎折足、覆公餗，其形渥。凶。九四居上任重，有實之鼎也。而下應初六之陰，大臣信任匪人，敗壞國事，傾覆天祿，享上帝養聖賢之用皆廢矣。初在下，足象。互兌為毀折，折象。四變為震，震動顚覆，有折足而覆公餗之象。形渥作刑，謂重刑也。《周禮》所謂不於市而以適甸師氏者也。不勝任而被重刑也。初否未出，顛之，猶可舍舊而求新。四鼎有實，折之，則鼎毀而用廢。吉凶所以異也。

The statement of the fourth line says: The tripod's leg breaks, overturning the delicacies of the prince and the person himself becomes stained with filth, resulting in misfortune. The fourth line holds a high position and bears a heavy responsibility, like a tripod full of things; yet it responds to the sixth line at the beginning, which is a yin line, symbolizing a minister trusting the wrong person, thus ruining state affairs, overturning the heavenly grant of position, and abandoning the function of worshiping the heavenly gods and nurturing the sages. The sixth line at the beginning is at the bottom, symbolizing the foot; the interacting lines form the trigram Dui, which represents destruction and breaking, symbolizing the breaking. The fourth line changes to Zhen, which represents movement and overturning, hence the image of breaking the foot and overturning the delicacies. "Xing Wu" should be read as "Xing Zhen," meaning severe punishment, referring to the punishment mentioned in the "Rites of Zhou" that is not carried out in the market but handed over to the Di Shī氏 for handling, meaning suffering severe punishment due to being unable to bear the responsibility. When the sixth line at the beginning is present, the filth in the tripod has not yet been removed, and turning it over can still discard the old and seek new; but when the fourth line is present, there are already things in the tripod, and once the leg breaks, the tripod is destroyed and its function is completely lost—the distinction between good and bad fortune lies here.

象曰。覆公餗，信如何也。才不勝任，無以自信，亦失君上信任之意矣。六五。鼎黃耳。金鉉。利貞。五有耳象。黃中色。五居中，有黃耳象。金，剛物。鉉，貫耳以舉鼎者。五變乾，金鉉象。五以柔中下應九二之剛中，有黃耳金鉉之象。六五非正，故勉以利貞。蓋以柔中之君下用剛中之臣，即彖所謂得中而應乎剛者也。或以鉉為上九，則與玉鉉重複，且失象意。

The Small Image Commentary says, "Covering the food in the tripod, how can one be trusted?" This refers to a person whose ability is insufficient for the task, to the point where they cannot even trust themselves, thus failing the original intention of the ruler's trust. The line statement of the fifth line says: "A tripod is paired with a yellow ear and a metallic handle, which is favorable for upholding the correct path." The fifth line originally has the image of an ear; yellow is the color of the center, and since the fifth line is in the center, it has the image of a "yellow ear." Metal is a hard substance, and the "handle" is a horizontal bar that passes through the ear of the tripod to carry it; since the fifth line changes to the trigram Qian, which represents metal, it has the image of a "metallic handle." The fifth line, being a yin line in a yang position, is not appropriate for the correct position, so it is encouraged to "uphold the correct path." This means a ruler of gentle and moderate virtue, in a lower position, employing a minister of strong and moderate virtue, which is what the Commentary on the Judgment calls "being in the center and responding to the strong." Some people interpret "handle" as referring to the top line, but this would repeat the image of "jade handle" from the top line and miss the original meaning of the image.

象曰。鼎黃耳，中以為實也。五中虛，以得中為實德。上九。鼎玉鉉。大吉無不利。舉鼎在鉉，故上有鉉象。以剛居陰，剛而能溫。又上變為震為玉。有玉鉉之象。玉非可為鉉，取象不可拘也。鼎道貴和。至此，則陰陽和而鼎之功成。可舉鼎實以成養人之功矣，故其占大吉無不利。時解以言相道之得中者，亦可。

The Small Image Commentary says, "The tripod has a yellow ear, because the middle is filled with substance." The fifth line is in the middle and empty, but it is precisely by "being in the center" that it possesses the virtue of being full. The top line says: "The tripod is adorned with a jade handle, great good fortune, no disadvantage." Lifting the tripod depends on the handle, so the top line has the image of a handle. The top line is a yang strong line in a yin position, strong yet gentle. When the top line changes to a zhen trigram, zhen represents jade, so there is the image of a jade handle. Jade itself cannot really be used as a handle, showing that taking images does not need to be literal. The way of the tripod values harmony, and at this point yin and yang are harmonious and the function of the tripod is completed. The substance in the tripod can then be lifted to achieve the function of nourishing people, so the divination is great good fortune with no disadvantage. The old interpretation used it to explain the importance of being in the center for the prime minister's way, which also makes sense.

象曰。玉鉉在上，剛柔節也。爻剛位柔，剛柔中節，故成變理之功也。全卦有元亨之象，而六爻獨五上為最吉。蓋井與鼎皆以上出為功。五為主鼎之君，上輔鼎之臣。二應五，亦輔鼎者也。君臣相得以成至治而致元亨，故皆吉。初在下附勢，猶幸能因敗以為功。三有德不仕，亦終能守正以待遇。唯四以大臣比匪，遂致覆餗。雖因事為占，不必過拘。而就君臣治道言之，則大畧如是矣。

The Small Image Commentary says, "The jade pendants are above, indicating the proper balance between the strong and the gentle." The line is yang and the position is yin, the strong and the gentle are in proper balance, so they can achieve the function of harmonizing and transforming. Overall, the hexagram shows the image of great beginning and flourishing. Among the six lines, only line six in the fifth position and line nine at the top are most auspicious. This is because the well hexagram and the tripod hexagram both achieve their success through "emergence from above." Line six in the fifth position is the sovereign of the tripod, and line nine at the top is the minister assisting the tripod. Line nine in the second position corresponds to line six in the fifth position and is also a minister assisting the tripod. The sovereign and minister work well together, achieving the highest order and attracting great beginning and flourishing, so they are auspicious. Line six at the beginning is at the bottom and relies on power, yet it is fortunate to succeed through failure; line nine in the third position has virtue but is not appointed, yet it can ultimately remain upright and wait for an opportunity. Only line nine in the fourth position, as a great minister, is close to an evil person, leading to the misfortune of losing the tripod. Although these are divinations based on specific circumstances and should not be overly rigid, in terms of the principles of sovereign and minister governance, this is roughly the case.

震震卦，一陽動於二陰之下。動而震驚，故為震。震卦次鼎。按，《序卦》：主器者莫若長子，故受之以震。鼎者，器也。震為長男，承主重器，震所以次鼎也。全彖以震有可亨之道。蓋人能戒懼，則雖震動不失其常，不喪其所主[文瀾本“主”作“主者”]之重也。六爻以初為震主，與彖同占。四陷二陰之間，則失所以震矣。四陰皆受震者。二乘初剛而厲，三稍遠則無眚矣。五乘四剛以居中不至有喪，上遠四則不于其躬矣。此全卦六爻之大畧也。

The Zhen hexagram represents a yang line moving over two yin lines, causing a sudden shock, hence it is called "Zhen." Zhen comes after Ding. According to the "Xu Gua Zhuan," the eldest son is the most suitable to hold the sacred vessels of the ancestral temple, hence Zhen follows Ding. "Ding" refers to a vessel, and "Zhen" represents the eldest son, who takes charge of the important vessels, which explains why Zhen comes after Ding. From the hexagram statement, Zhen contains the way of success: if a person maintains constant vigilance, then even when encountering shocks, he will not lose his composure and will not lose the important vessels he is entrusted with. Considering the six lines, the initial nine is the main line of Zhen, and its interpretation is the same as the hexagram statement. The ninth line in the fourth position is trapped between two yin lines, thus losing its function as Zhen. The other four yin lines are all affected by Zhen: the sixth line in the second position, riding on the strength of the initial nine, is in danger; the sixth line in the third position, being a little further away, may not suffer disaster; the sixth line in the fifth position, riding on the strength of the ninth line in the fourth position, yet remaining in the center, will not suffer loss; the sixth line at the top, being far from the ninth line in the fourth position, is not affected by Zhen. This is a general explanation of the six lines of the hexagram.

震。亨。震來虩虩、笑言啞啞。震驚百里、不喪匕鬯。虩虩，恐懼驚顧之貌。啞啞，言笑自如也。匕，所以舉鼎實。鬯，所以和秬黍。皆主祭之君所親執者。震一陰方動而上為二陰所掩，有虩虩之象。陰破而上達，有啞啞之象。雷鳴及遠，有震驚百里之象。長子主器，有不喪匕鬯之象。震有可亨之道。虩虩，震也。笑言以下，震之亨也。以人心言之。苟能常自戒懼，如震之來虩虩不寧。然仰不愧，俯不怍，從容自得。雖憂患之至如雷，震驚百里之遠。在我亦不至失所守之重也。

The Hexagram Statement says: Zhen, meaning Thunder, is smooth and unimpeded. When the thunder strikes, people are startled and look around, but then they laugh and talk freely; the thunder's sound shakes a hundred miles away, yet the sacrificial knife and wine held by the chief priest remain untouched. "Xixi" refers to the appearance of fear and looking around, while "yayay" refers to speaking and laughing calmly. "Bi" is the utensil used to take meat from the cauldron, and "Chang" is a fragrant wine made from millet, both of which are held personally by the chief priest. The first line of the Zhen hexagram is just beginning to move, but it is covered by two yin lines above, thus showing the image of "xixi"; when yang energy breaks through the yin layer and rises, it shows the image of "yayay"; the thunder's sound is heard over a hundred miles, showing the image of "shaking a hundred miles"; the eldest son is in charge of the ancestral ritual objects, showing the image of "not losing the knife and wine." Zhen contains the way of being smooth and unimpeded: "xixi" is the nature of Zhen itself, while "laughing and speaking" is the smoothness and unimpededness of Zhen. In terms of human nature: if one can always maintain self-restraint and vigilance, like the fear and alarm caused by thunder, yet remain upright without guilt towards heaven and people, and be at ease and composed, then even if calamities come like thunder, shaking a hundred miles away, they will not cause one to lose the important responsibilities one holds.

彖曰。震、亨。震則自亨、唯震故亨，兼二義。震來虩虩、恐致福也。笑言啞啞、後有則也。恐致福，恐懼以致福。所謂生於憂患也。後，恐之後也。有則者，言笑有常，不以震驚而變也。震驚百里、驚遠而懼邇也。出可以守宗廟社稷，以為祭主也。

The Commentary on the Judgment says, "Zhen, Heng." This sentence contains two meanings: the natural smoothness of the movement of Zhen, and the fact that Heng is achieved precisely because of the movement. The Commentary on the Judgment then says, "Zhen comes with fear, which brings good fortune; laughter and speech are harmonious, indicating a proper conduct afterward." "Fear bringing good fortune" refers to the bringing of good fortune through fear and carefulness, which is what Mencius called "born of worry and hardship." "After" refers to after the fear; "proper conduct" means that speech and laughter are in proper measure, not distorted by the shock. The Commentary on the Judgment further says, "The shock is felt over a hundred li, startling the distant and frightening the near; it is capable of defending the ancestral temple and state, serving as the chief in sacrifice."

驚遠懼邇，言雷威之可畏也。此句之下，程子謂脫不喪匕鬯四字，從之。出字，或云即鬯字之誤。今應作帝出乎震之出，謂繼世而主祭也。當其執匕鬯以祭，心存誠敬，雖震驚百里而莫之聞，可以為宗廟社稷之主矣。如舜之烈風雷雨弗迷，堯乃使之嗣位是也。

"The phrase 'jīng yuǎn jù ěr' refers to the terrifying power of thunder. Below this sentence, Cheng Yi believed that the four characters 'bù sàng bǐ chàng' were missing, and we follow his view. The character 'chū' is said by some to be a mistake for 'chàng'. Now it should be read as 'chū' in 'Dì chū hū zhèn' from the 'Shuo Gua Zhuan', meaning to inherit the lineage and preside over the worship. When he held the 'bǐ chàng' in his hands and performed the sacrifice, his heart was sincere and focused. Even if thunder roared a hundred li away, he would not hear it. In this way, he could become the master of the ancestral temple and the state. Just as the 'Shang Shu' records that Shun did not lose his way in fierce winds, thunder, and rain, Yu therefore appointed him as the successor to the throne. This is exactly the meaning."

象曰。洊雷震。君子以恐懼修身。上下皆震，重襲而至，故曰洊。恐懼存於心，修省見於事。恐懼繼以修省，所以盡畏天之實，象雷之洊也。初九。震來虩虩。後笑言啞啞。吉。初九九四二爻，震之所以為震者。下餘四陰爻，皆受震者。而初又成卦之之主也，故占與彖同。爻之吉，即彖之亨也。

The Great Image says, "Recurring thunder, the superior man thus cultivates himself with reverence." Both upper and lower trigrams are Zhen, representing thunder, and the sound of thunder follows one after another, hence "recurring." Reverence resides in the heart, while self-cultivation is expressed in actions; after reverence comes self-cultivation, which fully fulfills the duty of respecting the mandate of heaven, just as thunder continues without end. The line statement of initial nine says: When thunder strikes, one is startled and looks around, but afterward can laugh and be at ease, which is auspicious. The lines of initial nine and nine in the fourth are the essence of Zhen; the other four yin lines below are all influenced by Zhen. Initial nine is the main line of the hexagram, so its judgment is the same as the hexagram statement; the "auspicious" in the line statement is the "smooth" in the hexagram statement.

象曰。震來虩虩、恐致福也。笑言啞啞、後有則也。六二。震來厲。億喪貝。躋于九陵。勿逐七日得。億，大也，十萬曰億。貝，介蟲，古者用為寶貨也。躋，升也。九陵，猶九皐，高處也。二變為離貝象。六二乘初九之剛，有震來甚厲必喪其重寶之象。上互三四為艮，有升於九陵以避之之象。占者為震動而有所失，能中正自守，則不求而終獲也。

The Small Image says, "Thunder comes with fear, which may bring good fortune; laughter and joy, which indicate a precedent." This is the same as the text explained by the Commentary on the Judgment. The line statement for the second line says: Thunder comes with great danger, estimating the loss of valuable treasures, climbing high hills to take refuge; there is no need to search for them, they will be regained after seven days. "亿" refers to a large number, ten thousand being one "亿"; "贝" refers to a shellfish, which was used as a treasure by ancient people; "跻" means to climb; "九陵" is similar to "九皋," meaning high places. The second line changes to Li, which has the image of "贝." The second line overpowers the strong nature of the first line, thus producing the image of thunder coming with great force and inevitably losing the valuable treasures. Moving upward, it forms with the third and fourth lines the image of Gen, which represents a mountain, indicating climbing the high hills to take refuge. If a person loses something due to a disturbance, as long as they remain centered and upright, and do not search for it, they will eventually regain it.

象曰。震來厲，乘剛也。近雷之威，故危。六三。震蘇蘇。震行無眚。蘇蘇，緩散自失之狀。以陰居陽。當震時而所居不正，有蘇蘇自失之象。然去震初稍遠，因震而能行。去其不正，猶可以避災眚。三互坎為眚，變陽則無眚之象。象曰。震蘇蘇，位不當也。不中不正，故宜急去。

The Small Image Commentary says, "Shaking comes with danger, because it is riding on strength": being close to the power of thunder, hence danger. The statement of the third line says: shaking causes confusion; due to shaking, there is no misfortune. "Su su" refers to a state of slow and scattered confusion. The third line, being a yin line in a yang position, is exactly at the time of shaking but is in an improper position, hence the image of "su su" confusion; however, it is somewhat distant from the initial nine, the source of shaking, so it can act through fear, remove its own improperness, and thus can avoid misfortune. The third line interacts with kan, which represents misfortune; when this line becomes yang, it becomes "wu sheng" (no misfortune). The Small Image Commentary says, "Shaking with confusion, because the position is improper": being neither in the center nor in the proper position, so it should hurry to leave its original place.

九四。震遂泥。遂者，不反之意。泥滯溺也。以剛居柔，不中不正，陷於二陰，互坎為泥，故有遂泥之象。蓋無奮發之才而溺於宴安之私者也。象曰。震遂泥，未光也。陽本光眀。陷陰，故未光。

The fourth line statement says: "A sudden shock leads to being trapped in mud." "Sui" means to go away and not return, and "ni" refers to being stuck, sinking and drowning. The nine in the fourth line is a yang line in a yin position, neither in the center nor in the proper place, sinking between the upper and lower yin lines. The mutual trigrams form Kan, which represents mud, hence the image of "sui ni" (going away and being trapped in mud). This describes a person who lacks the spirit to strive and is instead immersed in private ease. The Small Image Commentary says, "Zhen sui ni, wei guang ye": Yang is originally bright, but once it falls into yin, it is said to be unable to expand its brightness.

六五。震往來厲。億無喪有事。以柔居尊，當震之時，下乘四剛。初始震為往，四洊震為來。五為君位震主，故有往來厲之象。然柔而得中，不至於大有喪。而震動戒懼之後，事功因之以立。故有億無喪有事之象。五與二皆乘剛，而四遂泥，其勢稍緩。故往來厲較之來厲者稍殊，而無喪又不同於喪貝，有事則又不但勿逐而已。象曰。震往來厲，危行也。其事在中，大無喪也。往來皆厲，行則有危矣。得中德而能有事，故可無大喪。

The line statement of the fifth line says: There is danger in movement and coming and going, but it is estimated that nothing will be lost, and something can still be accomplished. The fifth line, being a yin line in a noble position, is at the time of shaking. Below it is the strong line nine at the fourth. The first line nine initiates the shaking, called 'coming'; the fourth line nine follows with a second shaking, called 'going'. The fifth line is the ruler position and the main subject of the shaking, so there is the image of 'coming and going with danger'. However, it is soft and in the center, so it does not result in great loss; and after being cautious through the shaking, achievements are actually established, hence the image of 'no loss, there is something to do'. The fifth line and the second line both ride on strong lines, but the fourth line has already 'succeeded in being stuck', so the coming is somewhat slower, thus 'coming and going with danger' is somewhat different from the 'shaking comes with danger' of the second line; 'no loss' is also different from the 'loss of a coin' of the second line; 'there is something to do' goes beyond the 'do not pursue' of the second line. The Small Image Commentary says: 'Shaking with coming and going is dangerous behavior; the matter is in the center, so there is no great loss.' Coming and going are both dangerous, so behavior naturally has peril; but since it has the virtue of the center and can establish achievements, it does not result in great loss.

上六。震索索。視矍矍。征凶。震不于其躬。于其鄰。無咎。婚媾有言。索索，神氣不存也。矍矍，視不定也。鄰謂五。婚媾指三。以陰柔處震之極，有震索索之象。上變離為目，有視矍矍之象。三居位不正，故宜行則無眚。六居上正矣，而過懼。行必有失，故有征凶之象。四剛近五而遠上。然能因此以自戒懼，知畏天者也。故有不于其躬于其鄰，而於義無咎之象。上變離為中女，坎為中男，婚媾之象。三與上皆陰柔而不相應，有婚媾有言之象。親者尚議之，則疎者可知。

The line statement of the topmost yao says: The thunder causes trembling throughout the body and the eyes are restless and uncertain; proceeding forward at this time is dangerous. The thunder does not fall upon oneself but upon the neighbor, and there is no fault; however, there will be gossip among the marital relations. "Suo suo" indicates a scattered spirit, and "jue jue" indicates wandering eyes. "Neighbor" refers to the sixth line in the fifth position, and "marital relations" refers to the sixth line in the third position. The topmost yao, being a yin line in the extreme position of the Zhen trigram, thus presents the image of "Zhen suo suo"; the topmost yao, when changed to Li, which represents the eye, thus presents the image of "shi jue jue." The sixth line in the third position is not in the correct position, so it is appropriate to take action without calamity; the topmost yao, being a yin line in a yin position, is already in the correct position, yet it is excessively fearful, and any movement will result in a mistake, thus presenting the image of "zheng xiong." The ninth line in the fourth position is yang and is close to the sixth line in the fifth position but distant from the topmost yao; yet the topmost yao can use this to self-restrain, which is the behavior of someone who understands reverence for heavenly authority, thus presenting the image of "not falling upon oneself but upon the neighbor" without fault in terms of righteousness. The topmost yao, when changed to Li, which represents the middle female, and Kan, which represents the middle male, presents the image of "marital relations"; the sixth line in the third position and the topmost yao, both being yin lines, are not in harmony, thus presenting the image of "marital relations have words" — even close relations may speak ill, let alone distant ones.

象曰。震索索，中未得中也。雖凶無咎，畏鄰戒也。中未得，謂處震極，中心有所未安也。因鄰戒而知畏，可以無咎矣。全卦皆言震懼，而六爻皆無凶咎之言。上雖征凶，而亦無咎。大抵人心泰侈則致禍，戒懼則致福也。

The Small Image Commentary says, "Zhen (Thunder) is trembling, for it has not yet reached the center; although it is dangerous, there is no blame, because of the warning from the neighboring line." What is meant by "has not yet reached the center" is that one is at the extreme point of movement and feels inner unease. By being aware of the warning from the neighboring line and thus being cautious and fearful, one avoids mistakes. Overall, the entire hexagram discusses trembling and fear, yet none of the six lines are judged as having misfortune. Although the top line says "a journey is dangerous," it still says "there is no blame." Generally, when the human heart becomes arrogant, complacent, and indulgent, it invites misfortune; but if one remains cautious and fearful, one gains blessings.

艮艮卦，一陽居二陰之上。陽動至上則止，陰性本靜。上止下靜，故為艮。不曰止而曰艮，止有畜止之義，艮有安止之義。又其象為山，有安重堅實之意。故曰艮也。艮卦次震。按，《序卦》：震者，動也。物不可以終動，止之，故受之艮。艮者，止也。動靜相因，艮所以次震也。全彖以上下不相應而相背，為各止其所之義。動靜皆止，無我無人。此全彖之大旨也。

The Gèn hexagram is composed of a yang line situated above two yin lines. Yang moves upward from below, reaching the top and then stopping; yin by nature is quiet. The upper line stops, the lower line remains still, hence it is called "Gèn." It is not called "Zhǐ" (stop) but "Gèn" because "Zhǐ" implies a forced cessation, whereas "Gèn" suggests a natural and tranquil stopping. Moreover, the image of the hexagram is a mountain, which conveys the meaning of stability, solidity, and firmness. Therefore, it is called "Gèn." The Gèn hexagram follows the Zhèn hexagram. According to the "Xù Guà Zhuàn," Zhèn represents movement, and things cannot continue moving indefinitely; they must eventually stop, hence Zhèn is followed by Gèn. "Gèn" means to stop. Movement and stillness depend on each other, which explains why Gèn comes after Zhèn. From the hexagram statement, all lines are not in correspondence with each other but are facing opposite directions, indicating that each line stops in its proper place. Movement stops, stillness also stops; there is neither self nor other. This is the main idea of the hexagram statement.

六爻從二陽爻起義，而全艮之時用者獨在乎上。蓋九三互震，失止之義，故有厲薰心之占。九五近上艮，故悔亡。四遠之，則亦艮其身而已。二近下艮，能艮腓而不能拯。初則遠之，但未失正而已。此六爻之大畧也。

In the context of the six lines of a hexagram, the principles of meaning originate from two yang lines. However, only the line at the top (上九) can preserve the goodness of the mountain (艮) trigram. The line at the third position (九三), when combined with others to form the trigram of thunder (震), loses the original meaning of 'stopping,' hence the judgment of 'dangerous and burning in the heart.' The line at the fifth position (九五), being close to the top line (上九) of the mountain trigram, results in 'regret disappearing.' The line at the fourth position (六四), being further away, only achieves 'stopping oneself.' The line at the second position (六二), being close to the lower mountain trigram, can stop its own lower leg but cannot save others. The line at the beginning (初六), being even further away, merely means 'not losing the correct position.' This is a general explanation of the six lines.

艮其背。不獲其身。行其庭。不見其人。無咎。艮，一陽止於二陰之上。陽自下升，至上而止，其象為山。取坤地而隆其上之狀，亦止而不進之意也。人以面前為身，後為背。一身皆動，而背則靜。耳目口鼻皆有欲，唯背無慾。止之至也。卦體似人背面而立，故有艮其背之象。蓋天下之理，止於其所當止也。然理有所當止而多所擾者，起於有我之私。唯艮其背則無我之見，是以有不獲其身之象。理有所當止而多所歧者，又起於有人之見。唯艮其背，雖應事接物，各因其宜，無人之見，是以有行其庭不見其人之象。內外兩忘，動靜皆定，所以無咎。

The Hexagram Statement says: "Stopping at the back, one does not perceive one's own body; entering his courtyard, one does not see the person; there is no fault." The hexagram of Gen represents a single yang stopping over two yin: yang rises from below, reaches the top and stops, its image being a mountain—taking the shape of the earth's rising form, also containing the meaning of stopping and not proceeding further. A person takes the front side as the body and the back side as the back; the whole body moves, but the back remains still; the ears, eyes, mouth, and nose each have desires, but the back has no desire—this is the ultimate meaning of "stopping." The hexagram's form is like a person standing with the back facing outward, hence the image of "stopping at the back." The principle of the world lies in stopping at the proper place. However, although the principle has proper places to stop, people often disturb and move about; the root of the problem lies in the private self-centeredness of "having a self." Only "stopping at the back" has no self-view, hence the image of "not perceiving one's own body." Although the principle has proper places to stop, people often create differences and disputes; the root of the problem again lies in the view of "having a person." Only "stopping at the back," although still responding to things and acting according to circumstances, does not have the opposing view of self and other, hence the image of "entering his courtyard without seeing the person." Forgetting both internal and external, being still in motion and motionless, therefore there is no fault.

彖曰。艮，止也。時止則止，時行則行。動靜不失其時，其道光明。此釋卦名也。時止而止固止，時行而行亦止。非膠於止，唯其時各當，所以為止也。人心無主則昏。中有定止，自然光眀。又艮一陽見於二陰之上，光眀著見，陰莫能掩，有光眀之象。

The Commentary on the Judgment says, "Gèn means stopping; when the time comes to stop, one stops; when the time comes to move, one moves; if one's actions and inactions do not miss their proper time, then one's path is bright." This explains the name of the hexagram. To stop when it is appropriate is indeed stopping; to act when it is appropriate is also stopping—this is not being rigidly stuck in place. It is only because every step conforms to the right time that it is called "stopping." The human mind, without a central focus, becomes confused and dark; but when the mind has a fixed point of rest, it naturally becomes bright. Furthermore, Gèn is a yang line appearing above two yin lines, its brightness is evident, and the yin cannot conceal it, hence the image of brightness.

艮其止，止其所也。上下敵應，不相與也。是以不獲其身，行其庭不見其人，無咎也。背即止之所，故易背為止，以見背即止也。以卦體言之，內外相敵而不相與。陽上而陰下，一陽而統二陰，理無可加。陰陽各正其性，無外求之意。所以內不見己，外不見人也。

The Commentary on the Judgment says, "Gentleman stops at the proper place; the upper and lower trigrams are in opposition, not interacting with each other; thus, he does not see himself, walks through the courtyard but does not see a person, and there is no blame." "Back" is precisely the place where one should stop, so the Commentary on the Judgment replaces the character "背" with "止" to clarify that back means stopping. From the structure of the hexagram, the inner trigram and the outer trigram are in opposition without interaction; yang is above and yin is below, with one yang governing two yins, and there is no need for further addition. Yin and yang each maintain their proper nature, without seeking outside, so they do not see themselves internally and do not see others externally.

象曰。兼山。艮。君子以思不出其位。內外皆山，故曰兼山。理之所止為位。思各得其所止，不出其位也。不出位，身之止。思不出位，心之止。亦兼山之義也。

The Great Image Commentary says, "Combined mountains, Gen; the gentleman thinks without going beyond his position." Both inner and outer are mountains, hence it is called "Combined mountains." The place where reason should stop is called "position"; thinking each within its proper place is to not go beyond one's position. Behavior not going beyond one's position is the stillness of the body; thinking not going beyond one's position is the stillness of the mind—both body and mind together correspond to the meaning of "Combined mountains."

初六。艮其趾。無咎。利永貞。趾，所以行。初陰在下，方行之初。當止而止，不失其正，故有艮其趾無咎之象。止貴有終。恐陰柔不能固守，故勉以利永貞。象曰。艮其趾，未失正也。當止而行則非正，事初而止則正未失。

The line statement for the first line says: "Stopping the toe, no fault, favorable for enduring steadfastness." The toe is used for walking. The first line, with a yin line at the very bottom, is at the point just before action begins. When it should stop, it stops, thus not losing its correctness, hence the image of "stopping the toe without blame." Stopping is valuable when it is sustained; the fear is that the yin and soft nature may not be maintained for long, so it encourages "favorable for enduring steadfastness." The Small Image Commentary says "stopping the toe, not losing correctness": when stopping is appropriate but action is taken instead, that is not correct. When the matter is just beginning and stopping occurs, the correct path is not lost.

六二。艮其腓。不拯其隨。其心不快。二居限之下，趾之上，有腓象。居中得正，有艮其腓之象。三為限，腓之所隨。三過剛不中，止於上而薰心。二柔弱不能往而拯之，然非其心之所欲也。故有不拯其隨，其心不快之象。象曰。不拯其隨，未退聽也。三止於上，亦不肯退而聽二也。

The line statement for line six two says: 'It stops the calf of the leg, but cannot save the part it follows, and the mind is not pleased.' Six two is located below the waist and above the toes, which corresponds to the calf of the leg (the腓). It is in the central position and upright, hence the image of 'stopping the calf of the leg.' Nine three is the waist, and the calf of the leg originally moves with the waist. Nine three is overly strong and not in the central position, forcefully stopping above and causing danger and inner turmoil. Six two is weak and cannot go up to save it, but this is not what it wishes for, hence the image of 'not saving what it follows, and the mind is not pleased.' The Small Image Commentary says 'not saving what it follows, not yet retreating and listening.' Nine three stubbornly stops above and does not retreat to listen to six two.

九三。艮其限。列其夤。厲薰心。限，身上下之際。夤，腰膂也。九三上下卦之間，有限之象。人身榮衛上下流通，則身舒而心泰。九三以剛限於上下二柔之間，止而不動。如腰脊中強，上下榮衛隔絕，百骸不屬，危懼驚心。故有艮其限，列其夤而危厲薰心之象。艮以九居三為得正，乃至於薰心者。蓋三互四五為震為動，艮之反也。當動之時而止，猶腰膂本轉動之處，乃中強不能屈伸。所以危厲薰心，亦有震驚之象也。

The third line statement says: "Stopping at the waist, tearing the flesh of the spine, dangerous and alarming as fire scorching the heart." "Limit" refers to the boundary between upper and lower parts of the body, and "yin" refers to the flesh along the waist and spine. The third line is located between the upper and lower trigrams, hence the image of "limit." The body's defensive and nutritive qi flows up and down, allowing the body to be comfortable and the mind to be at ease. The third line, being a strong yang, is positioned between two yin trigrams, stopping and remaining still, like a stiffness in the middle of the waist and spine, blocking the flow of defensive and nutritive qi up and down, causing the limbs to be disconnected, which leads to a sense of danger and alarm, hence the image of "stiffening the limit and tearing the yin flesh" resulting in a feeling of danger and alarm as if the heart is scorched by fire. In the mountain trigram, having a yang line in the third position is considered correct, yet it leads to a feeling of being scorched in the heart, because the third and fourth, fifth lines interact to form the thunder trigram, which represents movement, the opposite of the mountain trigram. When movement should occur, it instead stops forcefully, like the waist and spine, which should be flexible, yet becomes stiff and unable to bend or stretch, hence the feeling of danger and alarm, with an element of shock as well.

象曰。艮其限，危薰心也。震上動極不寧，故心不安。艮三則所止不適，故心危厲也。六四。艮其身。無咎。以陰居陰，時止而止，有艮其身之象。可以無咎矣。咸與艮皆以人身取象。艮四正當心位，不言心而言身，兼動靜而言也。心不可見，身止則心之得所止可知矣。

The Small Image Commentary says, "Gentle restraint of the waist, danger in the heart": In the Zhen hexagram, the top line is moving to the extreme and cannot rest, hence the heart is restless; in the Gen hexagram, the nine in the third line is stopping at an inappropriate place, hence danger arises in the heart. The line statement for the sixth line four says: "Restrain the upper body, no fault." The sixth line four, being a yin line in a yin position, stops when it should, thus showing the image of "restraining the body," which results in no fault. The Xin hexagram and the Gen hexagram both use the human body as a symbol; in the Gen hexagram, the fourth line corresponds to the heart area, yet it does not say "heart" but "body," to include both movement and stillness. The heart is invisible, but when the body is restrained, the heart has already found its proper place, which can be inferred.

象曰。艮其身，止諸躬也。成已未能成物也。六五。艮其輔。言有序。悔亡。輔，頰兩傍骨。不言頰舌止言輔，背後所見也。六五正當輔之地，言所由出也。以柔居尊，發則為絲綸之言。然柔而得中，言不輕發。發必有秩秩之德音，故為艮其輔，言有序之象。以陰居陽，疑於有悔。然能得中，悔可亡矣。人莫大於言行，艮趾艮腓慎其行，艮輔慎其言也。

The Small Image Commentary says, "Gentleman's body is stopped, stopping all parts of himself": this refers to being able to achieve oneself but not others. The line statement of the fifth line says: stopping the jaw, speech is orderly, regret disappears. "Auxiliary" refers to the bones on both sides of the face; the term "cheek" and "tongue" are not used because this is the part visible from behind. The fifth line is in the position of "auxiliary," which is the source of speech. It is a yin line in a yang position, so when it speaks, it issues commands as if from the heavens; yet it is gentle and moderate, not speaking lightly, and when it does speak, it is orderly and virtuous, thus forming the image of "stopping the auxiliary, speech is orderly." Being yin in a yang position, it is naturally doubtful and may bring regret; but because it maintains the middle, regret disappears. In life, the most important things are speech and action: "stopping the foot" and "stopping the ankle" refer to careful action, while "stopping the auxiliary" refers to careful speech.

象曰。艮其輔，以中正也。以其中故可兼正。上九。敦艮。吉。以陽剛居止之極，自始至終一止於理而不變，敦厚於止者也。自初至五皆囿於一體，未能盡止道之善。獨上為成艮之主，於當止之地而止焉，所謂止於至善者。又陽在上不為陰揜，即彖所謂其道光明者。故占曰吉，與悔亡無咎者異矣。

The Small Image Commentary says, "Gentle in the auxiliary, because it is upright and correct." It is because it is in the center that it can achieve correctness. The line statement for the top yang line says: "Stop with sincerity, it is auspicious." The top yang line, being a yang yang line at the extreme point of stopping, stops consistently according to righteousness without change, thus being sincere in "stopping." From the first six to the fifth six, each is limited to a particular part of the body and fails to fully achieve the goodness of "stopping." Only the top nine is the main line of the mountain hexagram, stopping at the proper place. This is exactly what the Great Learning refers to as "stopping at the highest good." Moreover, a yang line at the top is not obscured by yin, which is precisely what the Commentary on the Judgment calls "its path is bright." Therefore, the judgment says "auspicious," which is quite different from the other lines that only say "regret disappears" or "no blame."

象曰。敦艮之吉，以厚終也。天下事有終為難，而厚道有終尤難。今於卦終敦厚其止，宜其吉也。全卦為震體之反，其吉凶之反亦然。震之吉在初，動之主也。艮之吉在上，止之終也。震之四下互二陰為艮，失所以為震矣，故遂泥。艮之三上互二陰為震，失其所以為艮矣，故薰心。趾腓下體，取象於行。輔在上，取象於言。而全卦取象於背。言行得其所止可無咎悔之憂。若夫忘我忘人，事事安於所止，必以上之敦艮為極乎。[文淵本“所止”下為“則唯上之敦艮能厚於終所以獨得吉也”無“必……乎”九字]

The Small Image Commentary says, "The virtue of being firm and earnest brings good fortune because it maintains sincerity until the end." The affairs of the world have a beginning and an end, which is already difficult, and to maintain sincerity throughout is even more difficult. Now, at the end of a hexagram, if one still remains firm and earnest, it is appropriate to attain good fortune. Overall, the hexagram is the reverse of the Zhen hexagram, and thus its fortune and misfortune are exactly opposite: the good fortune of Zhen is in the first line, because the nine at the beginning is the main moving line; the good fortune of Gen is in the top line, because the nine at the top is the end of stillness. In the Zhen hexagram, the nine in the fourth line gives rise to two yin lines below the interacting lines, forming Gen, thus losing the nature of Zhen, so it becomes "sinking into confusion." In the Gen hexagram, the nine in the third line gives rise to two yin lines above the interacting lines, forming Zhen, thus losing the nature of Gen, so it becomes "burning the heart." The toes and ankles belong to the lower part, symbolizing "movement"; the auxiliary parts are in the upper part, symbolizing "speech"; and the entire hexagram symbolizes "back." If both speech and action are in their proper places of rest, one can avoid calamity and regret; but if one forgets self and others and is content to stop at whatever is appropriate, then one must reach the extreme of the nine at the top, "being firm and earnest." (The Wen Yuan Ge edition, below "where it stops," reads "only the top line's firmness and earnestness can maintain sincerity until the end, thus alone attaining good fortune," without the nine characters "must...")