A Plain Account of the Zhou Changes, Volume Six

漸漸卦，下艮上巽。上順下止而不遽進。以象言之，則山上有木，其高以漸。故曰漸。漸卦次艮。按，《序卦》：艮者，止也。物不可以終止，故受之以漸。漸者，進也。止必有進，消長自然之理，漸所以次艮也。全彖以艮男下於巽女，有女歸之象。然必正而有漸，乃吉。而為士進身之道，亦即此可推矣。六爻取象於鴻。皆自下而上，皆以論士進之義。故唯二五以正應而吉。初在下無應故厲。三過剛無應故凶。四之無咎，以順巽也。上羽儀之吉，超乎世外者也。此全卦六爻之大畧也。

The lower trigram of the Gradual hexagram is Gen (Mountain), and the upper trigram is Xun (Wind). The upper is soft and yielding, and the lower is still and motionless, so there is no sudden progress. In terms of the hexagram image, trees grow on a mountain, and their growth is gradual, hence the name "Gradual." The Gradual hexagram comes after the Gen hexagram. According to the "Sequence of Hexagrams" transmission, Gen represents stopping, and things cannot remain stopped forever, so after Gen comes the Gradual hexagram; "Gradual" means progress. After stopping, there must be movement, which is the natural principle of increase and decrease, rise and fall, hence the reason the Gradual hexagram follows Gen. In terms of the hexagram statement, Gen represents a young male, and it is in a subordinate position to Xun, which represents an elder female, symbolizing a woman going to her husband's home. However, one must be upright and proceed step by step to achieve good fortune. As for the way of a scholar's advancement, this can be inferred similarly. All six lines of the hexagram take the image of wild geese, all moving upward from below, and are used to discuss the meaning of a scholar's advancement: thus only the second line and the fifth line are fortunate because they are properly aligned; the first line is in a low position and has no proper correspondence, so it is dangerous and perilous; the third line is overly strong and has no correspondence, so it is ominous; the fourth line is without blame because it is gentle, respectful, and humble; the top line attains good fortune by being "feathered and adorned," representing someone who is beyond worldly concerns. This is a general summary of the six lines of the hexagram.

漸。女歸吉。利貞。漸，漸進也。木生於山雖高，然必以漸而長。卦德止於下而巽於上。皆有不遽進之義。以二體言，則艮男下於巽女。女之適人必俟媒妁之言、六禮之備亦有其漸，故有女歸之象。禮義廉恥之重，天下國家之本，無如女之歸，故以取象。時解作士之進必以漸，是又因類推言之也。女歸以漸為吉，而又利於得正。不漸則為淫奔，不貞亦未合禮。卦中唯二五以得正而吉，故曰利貞也。咸卦止而悅，其感以正，取女者之吉也。漸卦止而巽，其進以正，女歸者之吉也。彖曰。漸之進也，女歸吉也。

The Hexagram Statement says: "Gradual progress, a woman going to her husband is auspicious, and it is favorable to maintain uprightness." "Gradual" means advancing step by step. A tree growing on a mountain may be tall, but it certainly grows gradually. In terms of the nature of the hexagram, the lower trigram is艮 (Gèn, mountain, representing stillness) and the upper trigram is巽 (Xùn, wind, representing flexibility), both implying a gradual advance rather than sudden movement. In terms of the upper and lower trigrams, it is the image of a young man (Gèn) being subdued by a mature woman (Xùn). A woman marrying must wait for the mediation of a matchmaker, and the six rites of betrothal, asking for the name, presenting auspiciousness, presenting gifts, requesting the date, and the wedding ceremony must be carried out in proper order, hence the image of "a woman returning." The importance of propriety, righteousness, integrity, and shame, and the foundation of the world and the state, nothing surpasses the marriage of a woman, so it is taken as the symbol. The ancient interpretation regarded it as a metaphor for a scholar's advancement, which is an extension of this idea. A woman's marriage is auspicious when it proceeds gradually, and it is also favorable to maintain uprightness: failure to proceed gradually becomes elopement, and failure to maintain uprightness is against propriety. In the entire hexagram, only the lines Six in the Second and Nine in the Fifth are auspicious because they are upright. The Commentary on the Judgment says: "Gradual progress, a woman going to her husband is auspicious."

之字，疑亦漸字。進得位，往有功也。進以正，可以正邦也。以卦綜釋利貞之義。按，此卦綜歸妹。歸妹下卦之兌進為漸上卦之巽，九得五之位。九進居五，又為得位之正。其進以正，正己正人可以正邦，即所謂有功也。

In the phrase "gradual progress" from the Commentary on the Judgment, the character "之" is suspected by Chen Menglei to have originally been the character "渐" due to a transmission error. Since the name of the hexagram is derived from the idea of gradual progress, the repetition of the character "渐" in the sentence would correspond better with the meaning of the hexagram. Zhu Xi's "Basic Meaning" had already doubted that there was an error or omission here, and Chen Menglei followed this line of reasoning. The next two sentences, "progressing to a proper position, and proceeding with success; progressing with correctness, one can correct the state," use the concept of "hexagram reversal" to explain the phrase "favorable to uprightness" in the hexagram statement.所谓 hexagram reversal refers to viewing the hexagram upside down. When the hexagram "Gradual Progress" is reversed, it becomes "Return of the Maiden." The lower trigram of "Return of the Maiden," which is "Guan," when reversed becomes the upper trigram "Xun" of "Gradual Progress." The originally lower yao (line) that was yang thus moves up to the fifth line. A yang line advancing to the fifth position is consistent with "progress," and since it is a yang line in a yang position and occupies the central position of the upper trigram, it is called "correct position." Proceeding with correctness, first rectifying oneself and then others, is sufficient to correct the state, which is what the Commentary on the Judgment refers to as "having success."

其位，剛得中也。剛得中，釋上文進得位之言。止而巽，動不窮也。止，不輕動。巽，不躁動。然如是而動必有功，不至於困窮矣。凡進之心愈急，則進之機愈沮。今內止，則未進之先廉靜無求。外順，則方進之時相時而動。所以進不窮也。按，本義以卦德言漸進之義。今按，文義似亦承上進以正可以正邦而釋之。

The Commentary on the Judgment then says, "Its position, the yang is in the center," which explains the previous statement "advancing to a proper position." The nine in the fifth not only rises to a high position, but also the yang is located in the center of the upper trigram, hence called "in the center." "Stopping and being yielding, movement is not exhausted" then shifts to discuss the trigram characteristics: the lower trigram is艮 (stop), stopping prevents rash action; the upper trigram is巽 (yielding), yielding prevents impetuous movement. Thus, when movement occurs, it will surely be effective, without falling intopredicament (difficulty). Whenever the desire to advance is more urgent, the opportunity to advance is more obstructed. Now, internally being able to stop, before advancing, one remains modest and self-restrained, making no demands; externally being able to yield, when advancing properly, one considers the situation before acting. This is the reason for "movement is not exhausted." Zhu Xi's "Ben Yi" treats these two sentences as explaining the trigram characteristics and the meaning of gradual progress. Chen Menglei, however, believes that from the textual meaning, these two sentences seem to also follow the previous statement "advancing with correctness, one can correct the state."

象曰：山上有木，漸。君子以居賢德善俗。地中生木，以時而升。山上之木，似乎高矣，然其進必以漸。君子以之，成己成物皆有其漸。賢字，本義疑衍。程傳作居賢善之德。居德以漸，勤修積累，始乎為士終乎為聖也。善俗以漸，從容化導，始乎鄉邦及乎天下也。

The Great Image Commentary says: Mountains with trees, this is the hexagram of Progress. The gentleman takes this as a model, using it to cultivate virtue and improve customs. The hexagram of Ascending represents wood growing in the earth, rising with the seasons; the hexagram of Progress represents trees on a mountain, which appear already high, yet still grow gradually, one inch at a time. The gentleman follows this principle, whether achieving personal cultivation or accomplishing external matters, always adhering to the concept of gradual progress. The character 'xian' (virtue) in the text, Zhu Xi's 'Benyi' doubts it is a redundant character; Cheng Yi's 'Yichuan Commentary on the Changes' reads it as 'residing in virtuous and good virtue.' To cultivate virtue gradually means diligent practice and accumulation, starting from becoming a scholar and ultimately becoming a sage; to improve customs gradually means calmly educating and guiding, starting from a single town or state and eventually extending to the whole world.

初六：鴻漸于干，小子厲，有言，無咎。巽有飛鳥之象。互離坎。離為飛鳥，在坎水之上。又鴻之行有序而進有漸。昏禮用鴻，取不再偶。於女歸之義尤切，故六爻皆以取象。乾，水涯也。初六以陰居下，當進之始，有鴻漸于干之象。艮為少男，小子之象。

The line statement of the first line says: The wild geese gradually arrive at the bank of the water, the young boy is in danger, and if he brings about blame, there is no fault. The upper trigram is Xun, which originally contains the image of flying birds; the second to fourth lines and the third to fifth lines form the trigrams Li and Kan respectively. Li represents flying birds, which are exactly on top of Kan water. Moreover, the wild geese fly in an orderly formation and move in a regulated manner. In ancient times, geese were used as gifts in weddings, because they do not pair again after losing their mate, which is especially fitting with the meaning of this hexagram, "female returning," so all the lines use the image of wild geese. "Gan" refers to the bank of water. The first line, being a yin and flexible line at the very bottom of the hexagram, is at the beginning of gradual progress, so it has the image of wild geese just arriving at the water's edge. The lower trigram is Gen, representing the young man, which is the source of the image "young boy" in the line statement.

鴻飛，長者在前，幼者在後。幼者惟恐失群，危而號呼，長者必緩飛俟之。初無應於上，危厲不免於號呼，有小子厲有言之象。然以漸不敢躁進，於義亦無咎矣。象曰：小子之厲，義無咎也。操心危厲，言以抒誠，不敢躁妄，得在下始進之義。

Wild geese fly in formation, the older ones leading and the younger ones following. The young geese are most afraid of falling behind, and when they get anxious they cry out, and the older geese slow down to wait for them. The line 'Initial Six' is not in harmony with the superior position, and is alone at the very bottom, feeling anxious and inevitably calling for help, which is exactly the image of 'the young one is in danger, and there is a cry'. However, it follows the gradual approach, not rushing ahead, and in terms of principle, there is no fault. The 'Small Image Commentary' says: the young one's danger and anxiety, in terms of principle, is not wrong. Because he is cautious and respectful, his words are an expression of sincere feelings, and he does not act recklessly. This is exactly appropriate for someone in a low position, newly entering the situation.

六二：鴻漸于磐，飲食衎衎，吉。磐，大石也。遠於水進於乾而益安矣。衎衎，和樂也。艮為石，有磐石象。互坎有飲食象。六二柔順中正，進以其漸，而上有九五之應，有鴻漸于磐、飲食相呼、和樂自得之象。如是則吉矣。象曰：飲食衎衎，不素飽也。不素飽猶不素飡也。二五相應可以正邦而有功。二大臣位。衎衎疑於尸素，故傳推言之。

The line statement for the second line says: The wild geese gradually move to the large stone, enjoying food and happiness, which is auspicious. "Pán" refers to a large stone. Compared to the position of the first line at the water's edge, this line is further away from the water and higher in elevation, thus more stable. "Kàn kàn" describes a happy and harmonious state. The lower trigram is Gen (Mountain), so there is an image of a large stone; the lines two to four form the trigram Kan (Water), hence the image of food. The second line is a yin and flexible line that is upright and proper, advancing step by step. Above it is the fifth line, which is a yang line in a proper position, so there is an image of wild geese ascending the large stone, calling to each other to share food, and being happy and content, which naturally brings auspiciousness. The Small Image Commentary says: Enjoying food and happiness does not mean eating without purpose. "Bù sù bǎo" is similar to "bù sù cān" in the Book of Songs, Wei Wind, "Fá Tán." The second line corresponds with the fifth line, capable of rectifying the state and establishing achievements; the second line is in the position of a minister and belongs to a high-ranking official. On its own, "kàn kàn" might be misunderstood as occupying a position without working, so the Small Image Commentary specifically clarifies this point.

九三：鴻漸于陸，夫征不復，婦孕不育，凶，利禦寇。鴻，水鳥。陸非所安也。九三過剛不中而無應，而居艮體之上，有水鳥自乾而進於高平之陸之象。內卦少男，外卦長女。故彖以女歸為吉，爻之二五、三四皆取夫婦之象。二五當相應之位為正，三四不當相應之位為邪。卦取上進。三上比四，夫征之象。互坎中滿，婦孕之象。三變成坤，離絕夫位，坎體亦不成，夫征不復之象。三悅四之陰，不當往而往，故夫征不復。四悅三之陽而從，不當合而合，故婦孕不育。不育者，不敢育也。

The line statement for the third line says: Wild geese gradually fly to high and level land, the husband goes to war and does not return, the wife is pregnant but does not give birth, which is dangerous; but it is favorable for resisting bandits. Geese are water birds, and high land is not their proper place. The third line, which is a strong yang line, is excessive and not in the center, has no proper matching above, and is at the top of the lower trigram, which is mountain. Therefore, it symbolizes a water bird leaving the water's edge and moving to high and level land. The inner trigram is mountain, representing a young man, and the outer trigram is wind, representing an elder woman. Therefore, the commentary on the judgment refers to 'a woman returning' as auspicious. Among the six lines, the second and fifth lines, and the third and fourth lines, represent the image of husband and wife. The second and fifth lines are in corresponding positions and thus represent proper marriage; the third and fourth lines are not corresponding but are adjacent, thus representing improper intimacy. The whole hexagram signifies upward movement. The third line is adjacent to the fourth line, thus forming the image of 'a husband going to war'. The lines two to four form the trigram of water, with one yang line in the center, thus forming the image of 'a wife being pregnant'. If the third line becomes a yin line, the lower trigram becomes earth, and yang is cut off from the husband's position, and the trigram of water no longer exists, which is the image of 'a husband going to war and not returning'. The third line is attracted by the yin and softness of the fourth line and goes where it should not, thus the husband does not return. The fourth line is attracted by the yang and strength of the third line and follows where it should not, thus the wife is pregnant but does not give birth. The term 'not giving birth' means she does not dare to give birth.

如是其凶甚矣。然雁群不亂，止則相保。三四雖非夫婦之正，然以三之剛，四能順之，情好相比，可禦患難。三互二四為坎為盜賊，三四五互離又為戈兵，故有禦寇之象。象曰：夫征不復，離群醜也；婦孕不育，失其道也；利用禦寇，順相保也。丑，程傳以為離群可丑。竊按，丑，類。三與上為群類者也。今上無正應而求四，是離其群類以往，不復宜矣。四合於三，非女歸之正道也，雖孕不敢育矣。然變坎成坤，行險而順。欲禦寇賊以相保守，或可耳。

At this point, the danger has become very severe. However, geese in flight never scatter, and once they stop, they guard each other. Although the third and fourth lines are not properly matched as husband and wife, with the strong quality of nine in the third and the gentle quality of six in the fourth, their mutual harmony and proximity can still support each other in times of hardship. The lines two to four form the trigram Kan, which represents thieves; the lines three to five form the trigram Li, which represents weapons, so there is an image of "defending against thieves." The "Small Image Commentary" says: a husband going to war and not returning is leaving his kind; a wife being pregnant but not giving birth is losing the proper path; it is advantageous to defend against thieves because the gentle can protect each other. The character "chou" (丑), as interpreted by Cheng Yi in his "Yichuan Commentary on the Changes," means "to be separated from the group is a disgrace"; Chen Menglei privately thinks that "chou" should be interpreted as "kind," meaning that nine in the third and nine at the top are of the same kind. Now, nine at the top has no proper response, yet nine in the third turns to pursue six in the fourth, which is abandoning its kind to go elsewhere, so it is no wonder it does not return. The union of six in the fourth and nine in the third is not in accordance with the proper way for a woman to marry, so even though there is a pregnancy, it dares not give birth. However, when nine in the third changes, the dangerous trigram Kan transforms into the trigram Kun, which represents gentleness, indicating that one may be in danger yet still remain gentle. If one wishes to defend against thieves and protect oneself, it may still be possible.

六四：鴻漸于木，或得其桷，無咎。桷，平柯也。鴻不木棲，得平柯可以安。或者，偶然之辭。六四巽體而乘剛，在艮山之上，有漸於木之象。然柔順得正，三以一陽橫於下，有或得其桷之象。其占則無咎也。象曰：或得其桷，順以巽也。三得四順以相保，四從三順以得安。順則不拂，巽則不迫。故雖乘剛而又可以自安，與禦寇意相近。蓋三四非應。以夫婦之道言之，則為邪。若相比以圖安，猶庶幾也。

The line statement for the fourth line says: Wild geese gradually fly up to the trees, perhaps they can find a straight branch, there is no fault. "Ju" refers to a straight horizontal branch. Wild geese usually do not rest on trees, but if they step on a straight branch, they can be secure. The word "huo" implies an accidental or fortunate situation. The fourth line belongs to the upper trigram Xun, and it is positioned above the third line, which is a yang line. Its position is at the top of the mountain trigram Gen, so there is an image of gradually moving up to the tree. Fortunately, it is a yin line that is in the correct position, and the third line, being a yang line, is like the straight branch beneath it, which provides support. This is called "huo de qi ju," and the result of the divination is no fault. The Small Image Commentary says: Being able to find that straight branch is due to being gentle and humble. The third line can be protected by the fourth line, and the fourth line can be secure by following the third line. Being gentle and humble does not lead to opposition, and Xun does not force, so even though the fourth line is above a yang line, it can still remain secure. This meaning is similar to the third line's "li yu kou." It should be known that the third and fourth lines are not in the correct mutual relationship, and if measured by the standard of husband and wife, it is improper; but if viewed merely as neighbors relying on each other for security, it is acceptable.

九五：鴻漸于陵，婦三歲不孕，終莫之勝，吉。陵，高阜也。九五居尊，在艮山之上，有鴻漸于陵之象。二以陰應五，有婦象。互離大腹而中虛，不孕之象。自二至五歷三爻，三四間隔其中，又離居三，有三歲不孕之象。然二五皆居中得正而相應，女歸之貞而以漸者也。三四終莫能勝之之象，宜其吉矣。卦以上為女，下為男。爻則以五為男，二為女，蓋就陰陽相應言之。易之取象不可為典要者也。象曰：終莫之勝吉，得所願也。中正相應，二五之願也。時解以明良終合成治言之，亦可，但不必拘耳。

The line statement for the fifth line says: Wild geese gradually fly up to a high hill, the wife is unable to conceive for three years, in the end nothing can prevent them, and it is auspicious. "Ling" refers to a high hill. The fifth line is in the尊 position, and is also above the mountain trigram, so there is an image of wild geese ascending to a hill. The second line, being yin and soft, corresponds with the fifth line, which is taken as the "wife." The lines three to five form the fire trigram, which represents a large belly with an empty center, matching the image of infertility. Counting from the second line to the fifth line involves three lines, with the third and fourth lines in between, and the fire trigram being in the third position, hence the image of "three years of infertility." However, both the second and fifth lines are in the central and correct positions and correspond with each other, which is the way a woman should remain chaste and proceed in order. The third and fourth lines cannot ultimately prevent this, so it is auspicious. Considering the whole hexagram, the upper trigram is wind, representing the elder daughter, and the lower trigram is mountain, representing the young man. However, in terms of line positions, the fifth line is taken as the male and the second line as the female, based on the principle of yin and yang correspondence. This shows that the Zhou Changes use images flexibly and cannot be rigidly applied with fixed examples. The Small Image Commentary says: In the end, nothing can prevent them and they achieve auspiciousness, because their wishes are fulfilled. Being in the central and correct position and corresponding with each other is naturally the shared wish of both the second and fifth lines. Some people interpret this line as the virtuous ruler and loyal minister finally achieving harmony and jointly achieving a well-governed world, which is also acceptable, though one need not be rigidly attached to a single interpretation.

上九：鴻漸于陸，其羽可用為儀，吉。陸作逵，雲路也。儀，羽毛之飾也。上九至高，有鴻漸于逵之象。上九無位。然漸進至此已極其高，猶賢達君子高蹈遠去。而其進退去就，可為當世儀表，非無用者也。故有其羽可用為儀之象。占者如是則吉矣。象曰：其羽可用為儀吉，不可亂也。立志卓然，不可得其亂也。全彖以漸進取女歸之象，而要之正士君子之出處亦如之。二五明良遇合。初始進無援者也。三躁進而四取容。若上則達人之高致乎。

The line statement for the topmost line (上九) says: The wild geese gradually fly into the cloud path, their feathers can be used for ornamentation, which is auspicious. Here, the character "陆" should be read as "逵," meaning the path in the clouds. "仪" refers to decoration made of feathers. The topmost line is at the highest position of the hexagram, hence the image of wild geese flying into the cloud path. In terms of the line position, the topmost line is a place without position; however, advancing to this point represents the highest attainment, just as a virtuous gentleman withdraws to a remote place. His advancement and retreat can serve as a model for a generation, and he is not entirely useless, hence the image of "his feathers can be used for ornamentation," which is auspicious. The Small Image Commentary says: The feathers can be used for ornamentation and are auspicious because they cannot be disturbed. One who has lofty aspirations is not shaken by external things. Looking at the entire hexagram, it uses the concept of gradual progress to represent the image of a woman's return. In the end, it is about properly guiding the conduct and retreat of the gentleman. The second and fifth lines represent the meeting of a virtuous ruler and a good minister; the first line is the beginning of a person's career without support; the third line is impetuous advancement; the fourth line is seeking favor through flattery; and the topmost line represents the lofty aspirations of a wise person.

歸妹。歸妹，上兌上震。雷震而澤動，有相從之象。女之長者曰姊，少者曰妹。兌以少女從震之長男，亦為女歸之象，故曰歸妹。歸妹次漸。按《序卦》：漸者，進也。進必有所歸，故受之以歸妹。漸有女歸之義。歸妹女之歸也。歸妹所以次漸也。

The hexagram "Gui Mei" has the lower trigram Dui (Lake) and the upper trigram Zhen (Thunder). The original text says "upper Dui upper Zhen," but the first "upper" should be a mistake for "lower." Thunder moves suddenly, and the lake water follows, symbolizing mutual following. An older woman is called "zhi" (sister), and a younger woman is called "mei" (sister-in-law). This hexagram depicts a young girl from the trigram Dui following a young man from the trigram Zhen, representing a woman marrying. Hence, the hexagram is named "Gui Mei." "Gui Mei" comes after "Jian." According to the "Xu Gua Zhuan," "Jian" means progress, and progress must have a destination, hence "Gui Mei" follows. The hexagram "Jian" already contains the meaning of a woman marrying, and "Gui Mei" specifically discusses a woman's marriage, which is why it immediately follows "Jian."

全彖以少女從長男，以悅而動非正。六爻自二至五皆不當位。三五皆以柔乘剛。初上雖得正而陽下陰上，故所往皆凶而無利。六爻唯五取帝女下嫁，尚德而不尚飾為最吉。二雖有女德之貞，而不得良配，亦不能成內助之功。初以安分為美，四以愆期為憾。蓋陽爻雖無應，猶喜其有女德也。若三以不正反歸，上以無應不終。蓋陰爻無應，則女之失德者，亦以說而動，必致凶矣。此全卦六爻之大畧也。

Looking at the entire hexagram statement, a young maiden following an elder son acts on a momentary pleasure, which is inherently improper. All six lines from the second to the fifth are not in the correct position, and both the third and fifth lines have yin flexibility riding over yang strength. Although the first and top lines are in the correct positions, they still have yang below and yin above, reversing the proper hierarchy. Therefore, wherever they go, there is danger, and there is no place where they gain advantage. Among the six lines, only the fifth line is most auspicious, as it represents a royal daughter marrying a king, valuing virtue rather than appearance. The second line, although possessing the virtue of a woman who remains chaste, cannot find a good husband and thus cannot achieve the role of an inner helper. The first line values contentment with one's position as admirable, while the fourth line laments the delay in marriage—although yang lines may not have a corresponding line, they still possess the virtue appropriate for a woman. As for the third line, it is rejected due to its improper nature, and the top line ends without completion due to lack of correspondence—when a yin line has no corresponding line, it signifies a woman who has lost virtue, still acting on impulse and thus inevitably bringing about danger. This is the general meaning of the six lines of the hexagram.

歸妹：征凶，無攸利。妹，少女也。漸曰女歸，自彼歸我娶婦之家也。此曰歸妹，自我歸彼嫁女之家也。兌以少女從震之長男，故曰歸妹。男女相從以正則吉。今上動下悅，以說而動，恣情縱欲者也。自二至五皆不得正，三五又以柔乘剛，初上得位，亦柔上而剛下，皆非室家之宜，故征則必凶。凡占得此皆無所利。夫婦，人道之本。女說男動，位皆不正，何所不至。故諸卦之凶，未有如此之甚者。聖人垂戒之意深切矣。

The Hexagram Statement: "Returning to the Maiden." Going forward brings misfortune and no benefit. "Maiden" refers to a young woman. The Hexagram "Gradual Progress" says "the woman returns," meaning the woman comes from the other side to this side, speaking from the perspective of the family taking in a bride. This Hexagram says "returning to the maiden," meaning the daughter is sent from this side to the other side, speaking from the perspective of the family giving away a daughter. The young woman of the Trigram兑 follows the elder son of the Trigram震, hence it is called "returning to the maiden." When men and women follow each other, if they follow the right path, it is auspicious. However, in this Hexagram, the upper Trigram is Zhen (Thunder), which represents movement, and the lower Trigram is Dui (Lake), which represents joy. This creates an image of being led by joy and indulgence. From the second line to the fifth line, none are in the correct position. The third and fifth lines are also instances of yin overpowering yang. Although the first and top lines are in the correct position, the yin is still above and the yang below, which does not conform to the usual principles of forming a family. Therefore, going forward is certain to bring misfortune, and those who divinate this Hexagram will find no benefit. The relationship between husband and wife is the foundation of human relationships. Now, the woman is overly indulgent, and the man is recklessly active. Moreover, none of the lines are in the correct position. What kind of foolishness could be committed? Therefore, among the sixty-four Hexagrams, none are more dangerous than this one. The deep intention of the sage in warning us is truly profound.

彖曰：歸妹，天地之大義也。天地不交，而萬物不興。歸妹，人之終始也。歸，女之終。生育者，人之始。此釋卦之名義而贊其大也。說以動，所歸妹也。說以動，以卦德言之。所歸者妹，女子不由禮也。征凶，位不當也。無攸利，柔乘剛也。諸爻皆不當位，所處不正，故動必凶。以柔乘剛，失尊卑之序，故無所利。

The Commentary on the Judgment says: A woman marrying is a great principle in the universe; if the energies of heaven and earth do not meet, all things would not arise. A woman marrying marks the end and the beginning of human affairs. The 'end' refers to the conclusion of her life in her father's household; the 'beginning' refers to the start of giving birth to children and the continuation of the human race. This passage explains the meaning of the hexagram's name and praises its significance. 'It is said that movement leads to marriage,' meaning that movement is based on the hexagram's virtue: the lower trigram is Dui (Joy), and the upper trigram is Zhen (Thunder), indicating movement. However, the one being married is specifically 'the younger sister,' showing that this woman is not marrying according to proper rites. 'A journey brings danger, because the position is improper; there is no benefit, because the yin is overpowering the yang.' Each line is not in the proper position, so any movement brings misfortune; the yin is overpowering the yang, reversing the order of respect and hierarchy, hence there is no advantage.

象曰：澤上有雷，歸妹。君子以永終知敝。雷動澤隨，男動女從之義。男女之道欲其永遠有終，必有以豫知其不終之敝。女子從人以說而動，後必不永其終。當說動之時知其敝，則可以永其終，與君子偕老矣。初九：歸妹以娣，跛能履，征吉。初九居下而無正應，有娣之象。然以剛居剛，女子有賢正之德，能承助其君者。以震為足，兌為毀折，有跛能履之象。以全卦言，為說以動則征凶。以此爻言，得娣之正，故其征吉。

The Great Image says: Thunder resounds over a marsh, which is the hexagram of "Return of the Wife." The gentleman understands from this that in order for a marriage to be long and complete, one must first recognize the potential for its failure. When thunder moves, the marsh water follows, symbolizing the idea that the man initiates and the woman follows. For the way of husband and wife to be long and complete, it is necessary to foresee the faults that may lead to an unhappy ending. A woman who follows a man only out of momentary pleasure will inevitably fail to maintain a lasting relationship. However, if she recognizes the faults at the very moment of her heart's movement, she can preserve her lifelong bond and remain with a gentleman until old age. The line statement for the first nine: A daughter is married with a younger sister as a secondary bride, who is lame but still able to walk, and this is auspicious. The first nine is located at the very beginning and has no proper corresponding line, which symbolizes the role of the secondary bride. Yet it occupies a yang line in a yang position, indicating that although it is a woman, it possesses the virtue of being upright and proper, thus being able to assist her husband. The upper trigram is Zhen (Thunder), representing feet, and the lower trigram is Dui (Lake), representing destruction. Together, they form the image of "a lame person who can still walk." In the entire hexagram, acting out of mere pleasure leads to misfortune, but for this particular line, it maintains the proper role of the secondary bride, thus making the action auspicious.

象曰：歸妹以娣，以恆也。跛能履吉，相承也。恆，常久之德。有嫡有妾，人道之常。謂以九居初也。相承，能承助其君也。以恆，以分言。相承，以德言。九二：眇能視，利幽人之貞。九二陽剛得中，妹之賢者。上有正應而反陰柔不正，所配不良而內助之功不能大顯。二互三四為離為目，陽明而當兌之毀折，故有眇能視之象。

The Small Image Commentary says: Marrying a daughter and having her serve as a secondary wife is maintaining a constant status. A lame person still able to walk is auspicious, as it signifies the ability to assist the husband. "Constant" refers to a virtue that remains unchanged. Having a main wife and secondary wives is the normal order of human relations, here indicating a yang line in the first position, abiding in a humble place. "Mutual support" means the ability to support and assist the husband. "Being constant" refers to maintaining proper status, while "mutual support" refers to virtue. The line statement for nine in the second: One eye is blind yet still able to see, which is favorable, like a person living in seclusion who maintains rectitude. Nine in the second is yang and occupies the central position of the lower trigram, being the virtuous among the younger sisters. Although there is a proper correspondence above, six in the fifth is yin and weak, not in the proper position, and thus the person she is matched with is not suitable, so her inner assistance is not clearly manifested. The second line and the third and fourth lines together form the trigram of fire, which represents the eye. Although it is the image of bright yang, it is also in the form of the trigram of joy being broken, hence the image of "one eye is blind yet still able to see."

幽人，抱道守正而不偶者。以男女之象言，則五為二之配。以上下之位言，則五為二之君。二以陽居陰位，居下卦之中，有幽人之象。以九二之剛中上應六五之陰柔，女之賢不遇其夫。猶臣之賢不遇其君也（文瀾本「也」作「者」）。以其所居非正，故又戒之利貞，宜固守其正也。象曰：利幽人之貞，未變常也。幽靜自守，女子之常。

"The term 'yōu rén' refers to a person who holds moral principles and remains loyal to righteousness without having a spouse. If we consider the imagery of male and female, the sixth line (six in the fifth) is the spouse of the ninth line (nine in the second); if we consider the positions above and below, the sixth line (six in the fifth) is also the sovereign of the ninth line (nine in the second). The ninth line (nine in the second) occupies a yin position with a yang line, and is located in the center of the lower trigram, thus resembling the image of a 'yōu rén.' The yang strength of the ninth line (nine in the second) residing in the center and responding to the yin softness of the sixth line (six in the fifth) is like a virtuous woman who cannot find a good husband, or a capable minister who cannot find a good sovereign (the last word of this sentence in the Wenlan Pavilion edition is 'zhe'). Since its position is not proper by itself, the line statement also warns it 'to be beneficial in upholding correctness,' which means it should firmly adhere to the correct path. The 'Small Image Commentary' says: it is beneficial to be like the 'yōu rén' and uphold correctness, because there is no change in the constant way. To remain quiet and self-restrained is the inherent virtue of a woman."

六三：歸妹以須，反歸以娣。須，或作待，或作斯須，皆未當。按《天官》，織女貴而須女賤，今從之。初九在下為娣。六三居下之上，非娣也。然陰柔而不中正，為說之主，女之賤者也。以此于歸，人莫之取，有反歸為娣之象。象曰：歸妹以須，未當也。六居三，賤居貴，柔乘剛，皆未當也。

The line statement for the third line says: A woman marries but goes out in the status of 'xu', and ends up being sent back to serve as a secondary bride. The character 'xu' is interpreted by some as waiting and by others as a brief moment, but neither explanation is appropriate. According to the star names recorded in the 'Records of the Grand Historian: Celestial Officials', the Weaving Girl star is noble while the Xu Girl star is lowly. Chen Menglei adopts this interpretation. The initial line is at the very bottom and thus serves as a secondary bride, while the third line is in the upper position of the lower trigram. It should not be a secondary bride. However, it is a yin line that is not central and not proper, and it is the main line of the lower trigram 'Dui' (Joy), belonging to the category of lowly women. With such a status, no one would marry her, hence the image of being sent back to serve as a secondary bride. The 'Small Image Commentary' says: A woman marries but goes out in the status of 'xu', which is inappropriate. A yin line in the third position, a lowly one occupying a noble position, and a yin line riding over a yang line, all are inappropriate.

九四：歸妹愆期，遲歸有時。九四有陽剛之德而無正應，有賢女不輕從人、愆期以待時之象。愆期者數，有時者理。非終不歸者也。三四皆失位而三反四遲者，澤善淫而雷動有時也。象曰：愆期之志，有待而行也。志有所待，女德之剛也。

The line statement for the fourth line says: A girl is married but the wedding is delayed, and she will eventually marry at the right time. The fourth line has the virtue of yang but lacks a proper response, just like a virtuous woman who does not easily agree to marriage, preferring to wait for the right time rather than miss the wedding. Delaying the wedding is due to fate, and 'sometimes' is according to principle, not meaning she will never marry. Both the third and fourth lines are in improper positions, but the sixth line is rejected while the ninth line is delayed, because the lower trigram Dui (Lake) is fickle, and the upper trigram Zhen (Thunder) has its time for movement. The Small Image Commentary says: The intention of delaying the wedding is to wait for the right time to act. Having something to wait for is the upright virtue of a woman.

六五：帝乙歸妹，其君之袂不如其娣之袂良，月幾望，吉。卦以歸妹為名，故在九二言上配於五，在六五又言下嫁於二。帝乙，始制帝女下嫁之禮者。六五柔中居尊，下應九二，故有帝乙歸妹之象。五尊，女君之象。初在下，娣之象。袂，臂之飾。陽爻有外飾華美之觀。五六而初九，有其君之袂不如其娣之袂良之象。尚德而不貴飾，女德之盛也，有月幾望之象。小畜中孚之月幾望以位言，陰盛足以抗陽也。此以德言，陰盛足以配陽也。占者如是則吉矣。

The line statement for the fifth line says: The king's daughter is married, but the bride's sleeves are not as ornate as those of the accompanying concubine; the moon is almost full, which is auspicious. The entire hexagram is named 'Return of the Maiden,' so when discussing the second line, it says it is paired upward with the fifth line, and when discussing the fifth line, it says it is married downward to the second line. 'Di Yi' was the first to establish the ceremony for a royal daughter's marriage. The fifth line is a yin line, positioned in the center and in a noble position, and it responds to the second line, thus resembling the image of the king's daughter being married. The fifth position is noble and represents the image of the female ruler; the first line is at the bottom and represents the image of the concubine. 'Mue' refers to the decoration at the sleeve opening, and a yang line has an appearance of external ornamentation. The fifth line is a yin line, while the first line is a yang line, so there is the image of the bride's sleeves being less ornate than those of the concubine. Valuing virtue rather than appearance is the height of a woman's virtue, so there is the image of the moon nearly full. The hexagrams 'Xiao Xu' and 'Zhong Fu' mention 'yue ji wang' in terms of the line positions, referring to yin energy being strong enough to match yang; here, 'yue ji wang' refers to virtue, meaning yin virtue being strong enough to match yang. If this line is drawn, it is auspicious.

象曰：帝乙歸妹，不如其娣之袂良也。其位在中，以貴行也。有中德之可貴而行，故不尚飾。上六：女承筐無實，士刲羊無血，無攸利。夫婦共承宗廟祭祀者也。女當承筐篚而無實，士刲羊而無血，皆無以承宗廟之祭矣。震有虛筐之象。兌有羊象。坎為血卦。今上變為離，無血之象。上六以陰柔居歸妹之終，與三無應，約婚而不終者，故有承筐無實、刲羊無血之象。占無所利矣。

The Small Image Commentary says: Emperor Yi married off his daughter, but the daughter's sleeves were not as fine as those of the attendants. Her position was in the center, and she acted based on her noble virtue. Because she possessed this valuable quality of being in the center and acted accordingly, she did not value external adornment. The line statement for the sixth line at the top: A woman holds a bamboo basket but it is empty, a man slaughters a sheep but there is no blood, there is nothing to gain. A husband and wife are meant to jointly serve the ancestral temple worship. If the woman is supposed to carry the basket but it is empty, and the man is supposed to slaughter the sheep but there is no blood, then neither can fulfill the duty of the ancestral temple sacrifice. The upper trigram is Zhen, symbolizing an empty basket, and the lower trigram is Dui, symbolizing a sheep. Kan represents the blood卦. Now, the sixth line at the top changes, making the upper trigram become Li and the Kan trigram disappears, which is the image of no blood. The sixth line at the top, being a yin line in the final position of the Gui Mei hexagram, and having no proper response with the third line, represents a person who has engaged in marriage but cannot have a proper conclusion. Therefore, there is the image of holding an empty basket and slaughtering a sheep without blood, and the divination yields no benefit.

象曰：上六無實，承虛筐也。卦為歸妹言，故象傳不及刲羊無血也。合全卦而論之。以說而動，爻位不正，故皆凶。分六爻而占之。則得中而應剛德者皆吉。二五有應者也。五以得中為尚德，二以得中為守貞。然二應柔而五應剛，故二又不如五也。餘四爻無應，則以本爻有剛德者吉而陰柔者凶。故初以安分而征吉。四雖遲而有時。三以越分而反歸。上以無實而不終。蓋女德能剛則貞也。

The Small Image Commentary says: The sixth line at the top is empty and holds nothing but an empty basket. Since the entire hexagram is based on the theme of "marrying a daughter," the Small Image Commentary only mentions holding the basket and does not mention piercing a sheep without blood. Considering the whole hexagram: acting recklessly out of joy and having an improper position leads to overall misfortune. When considering each of the six lines separately: those who are in the central position and correspond to the virtuous male line are fortunate. The second and fifth lines are the two lines that have proper correspondence. The fifth line is fortunate because it is in the central position and can uphold virtue, while the second line is fortunate because it is in the central position and can maintain chastity. However, the second line corresponds to the fifth line, which is yin and weak, while the fifth line corresponds to the second line, which is yang and strong, so the second line is less fortunate than the fifth. The other four lines do not have proper correspondence, so we look at the line itself: those with yang strength are fortunate, while those with yin weakness are unfortunate. Therefore, the first line is fortunate because it remains loyal and moves forward, the fourth line is fortunate because although it delays marriage, it eventually finds the right time, the third line is unfortunate because it oversteps its proper position and is rejected, and the sixth line is unfortunate because it is empty and lacks substance, leading to an evil end. This shows that a woman's virtue, if it is strong and upright, can also maintain chastity.

豐。豐卦，下離上震。以明而動。動而能明，皆有豐大之意，故為豐。豐次歸妹。按《序卦》：得其所歸者必大，故受之以豐。物所歸聚勢必盛大，豐所以次歸妹也。全彖當豐盛之時，宜守中不使至於過盛。蓋豐則多故，故有戒辭也。

The hexagram 丰 has the trigram Li (Fire) as its lower trigram and Zhen (Thunder) as its upper trigram. Acting with brightness and maintaining clarity in action, both aspects imply abundance, hence the name 丰 (Prosperity). The hexagram 丰 follows 归妹. According to the sequence of hexagrams, those who have found their proper place will inevitably grow strong, hence the arrangement of the hexagram 丰. When all things gather and converge, their momentum becomes grand, which explains why 丰 immediately follows 归妹. The hexagram statement discusses: at the time of prosperity, one should hold to the middle path and avoid excess. Because prosperity brings many affairs, the hexagram statement carries a warning tone.

六爻以六五為豐之主。五柔暗，故欲得二四剛明之臣。二應五而四比五。初遠五，亦偕四同往以輔乎五。此四爻所以吉也。獨三不從五而遠應上，故至於折肱。至上則處豐之時，自蔽已甚，宜其凶也。此全卦六爻之大畧也。

The sixth line, six five, is the main line of the entire Fu hexagram. Six five is yin, soft, and dark, so it urgently needs the strong and bright nine two and nine four to assist it. Nine two corresponds directly with six five, and nine four is closely adjacent to six five; although initial nine is farther away from six five, it can still go together with nine four to assist six five. This is why these four lines are auspicious. Only nine three does not align with six five, but instead corresponds far away with upper six, resulting in the outcome of 'breaking the right arm.' As for upper six, being in a time of abundance yet concealing itself to the extreme, its danger is naturally inevitable. This is the general idea of the six lines of the hexagram.

豐。亨。王假之。勿憂。宜日中。豐，大也。以明而動，盛大之勢。大則有亨道，理勢然也。假，至也。豐盛非王者車書一統不能至此。未至此固無可憂，至此則似可憂。然聖人以為徒憂無益也，當守常不使於過盛，如日之方中可矣。

The Hexagram Statement: "Fullness," signifies smoothness and success; a sovereign can attain this state; there is no need for worry, one should act like the sun at noon. "Fullness" means great. By acting with brightness, one possesses a grand momentum; since it is grand, there is the reason for smoothness, which is natural. "Jia" means to reach, to arrive at. When fullness reaches its peak, it is not enough unless a sovereign unifies the world, standardizes the chariot tracks and writing. If one has not reached this state, there is no cause for worry; but when one truly reaches it, it seems as if there should be worry. However, the sage considers that worrying in vain is useless; one should merely hold fast to the constant way, preventing it from becoming excessive, like the sun at noon.

全卦上震下離，有日出東方光明盛大之勢，故有亨象。日之在東，其象非王者不能當，故有王假之之象。坎為加憂。離卦坎之反，有勿憂之象。日自東至中，其勢皆盛，過此則昃矣，故有宜日中之象。日之不能常中者，勢也。宜日中者，聖人持盈虛豐之道也。

The entire hexagram consists of Zhen above and Li below. Zhen is in the east, and Li represents the sun. This forms an image of the sun rising in the east with great radiance, hence the image of "smoothness" (亨). The sun rising in the east is a grand phenomenon that only a sovereign can match, hence the image of "the sovereign comes to it" (王假之). Kan represents "adding worry," while Li is the opposite of Kan, hence the image of "do not worry" (勿忧). The sun rises from the east to the center, continuously ascending; after reaching the center, it begins to move westward, hence the image of "suitable at noon" (宜日中). The sun cannot remain at the center forever, which is the natural course; saying "suitable at noon" refers to the sage's method of holding onto fullness during prosperity and preventing decline.

彖曰。豐，大也。明以動，故豐。明則風微，動則成務，故能致治盛大。以卦德釋卦名義也。王假之，尚大也。勿憂宜日中，宜照天下也。尚大，當豐之時，所尚自大。猶不期而自侈，所以可憂也。如日之常普天下，則可以保其豐。不然徒憂無益也。日中則昃，月盈則食，天地盈虛，與時消息。而況人於人乎，況於鬼神乎。日中有必昃之勢。故當豐之時者，不可有過中之心。

The Commentary on the Judgment says: "Fu" means great; it is bright and active, so it can be great. Brightness allows illumination even in the subtle and hidden places, and activity enables the accomplishment of affairs, thus creating a flourishing era. This explains the meaning of the hexagram name through its hexagram virtue. "The king comes to it, which is to value greatness; do not worry, and it is appropriate for the sun to be at its zenith, appropriate for illumination of the whole world" — "Valuing greatness" means that when things are flourishing, what is esteemed naturally tends toward grandeur, and often people become unaware of their own extravagance, which is truly cause for concern. If one can maintain brightness like the sun shining over the whole world for a long time, then the flourishing state can be sustained; if not, merely worrying is of no use. "When the sun reaches its zenith, it begins to wane; when the moon is full, it begins to wane; the heavens and earth are full and empty, increasing and decreasing with the seasons." Even the heavens and earth follow the sequence of time, having periods of fullness and emptiness, increase and decrease; how much more so humans and spirits? When the sun reaches its zenith, it must inevitably set, so those in a flourishing state should not harbor the thought of seeking further excess.

象曰。雷電皆至。豐。君子以折獄致刑。折獄，象電之照。致刑，象雷之威。噬嗑明罰勅法，詳審立法，使人不敢犯也。折獄致刑，明察下情，使人有所懲也。初九。遇其配主。雖旬無咎。往有尚。凡卦爻取剛柔相應，此則取明動相資。蓋全卦以五為豐之主，五方柔暗，欲得剛明之臣以自輔。初遠於五而與四應。四，初之配也。故有遇其配主之象。旬，均也。初四皆陽，均敵非應之正。然同有陽剛之德，明動相資，故雖旬而無咎。同德共事，往以輔五，必有功矣，故曰往有尚。象曰。雖旬無咎，過旬災也。旬則與配均，可以相濟。初在下僚，道宜如此。當豐之時，求勝其配則有災。此雖爻辭外之意，亦即不過中之義也。

The Great Image Commentary says: Thunder and lightning come together, which is the meaning of the hexagram of Abundance. The gentleman takes this as a model, using it to judge lawsuits and carry out punishments. Judging lawsuits is modeled on the illumination of lightning; carrying out punishments is modeled on the authority of thunder. The hexagram of噬嗑 speaks of "clarifying punishments and enforcing laws," emphasizing the careful and cautious establishment of laws so that people dare not violate them; the hexagram of Abundance speaks of "resolving cases and imposing punishments," emphasizing the clear understanding of the people's affairs and the accurate judgment of cases, so that people are punished accordingly. The line statement for the first nine: encountering the one who is matched with him, although both have equal strength, there is no fault, and going forward will be praised. Generally, the hexagram lines take the image of the mutual感应 between yang and yin; but this hexagram takes the image of "brightness" and "movement" relying on each other. This is because the entire hexagram takes the sixth five as the main line of abundance, and the sixth five is in the position of yin and darkness, needing a strong and bright minister to assist. The first nine is far from the sixth five, yet corresponds with the ninth four—the ninth four is the spouse of the first nine, hence the image of "meeting the matching master." "Xun" means equal. The first nine and the ninth four are both yang lines, thus equal in strength, not the proper correspondence of one yin and one yang. However, both lines possess yang strength, one belonging to the line of li (brightness), the other to the line of zhen (movement), relying on each other, so even though they are equal, there is no fault. With the same virtue and working together, going forward to assist the sixth five, they will certainly achieve success, hence saying "going forward is commendable." The Small Image Commentary says: although equal there is no fault, exceeding this limit brings disaster. Equal strength allows for mutual assistance; the first nine, being in a low position as a minor official, should naturally be in this position. In the time of abundance, if one desires to surpass one's peers, disaster will follow. This meaning, though outside the line statement, is still the principle of "not going beyond the middle."

六二。豐其蔀。日中見斗。往得疑疾。有孚發若。吉。蔀，障蔽也。來注作草名。今按，宜作亂草障蔽為是。震為蕃草，故以取象。南北斗形皆如量，故名斗。震亦有斗象。大其障蔽，日中而昏，則斗可見矣。六二當豐之時，離明之主而上應六五柔暗之君，故有豐其蔀、日中見斗之象。二以陰居而五又陰，故有往得猜疑疾惡之象。然二有文明之德，中虛之誠。人皆信之，終當有以發其蔀而行其志，故有有孚發若之象。占者如是則吉矣。

The line statement for the second line: The covering mat grows larger, and at noon the sky becomes dark, so the Big Dipper becomes visible; going forward may bring suspicion and dislike, but if one acts with sincerity and sincerity, it will be auspicious. "Bù" refers to something that blocks or covers. Lai Zhide explained that it refers to a type of grass, but Chen Menglei thought it was more appropriate to consider it as a covering made of wild grass. The upper trigram Zhen represents flourishing grass, so this image is used. Both the Southern and Northern Dippers resemble the measuring vessel called "dou," hence their name; the Zhen trigram also contains the image of the Dipper. As the covering becomes larger, the sky becomes darker at noon, so the Big Dipper becomes visible. The second line is the main line of the lower trigram Li, which represents brightness, but it corresponds to the fifth line, a yin line that is dark and unclear, so there is the image of "the covering grows larger, and the Big Dipper is seen at noon." The second line is a yin line, and the fifth line is also a yin line; they are of the same type but do not support each other, so there is the image of going forward leading to suspicion and dislike. However, the second line possesses the virtue of civilization and has a sincere and empty heart, so people will believe in it, eventually removing the covering and realizing its aspirations. Therefore, this line is auspicious.

象曰。有孚發若，信以發志也。取信於君，可以發其心志矣。九三。豐其沛。日中見沬。折其右肱。無咎。沛，作旆，幡幔也。蔽甚於蔀矣。沬，小星也。三與上應。上柔暗失中，蔽甚於五。則三之所見甚於斗。故有豐沛見沬之象。三欲應上，而上之陰柔無位不可有為。又此爻變為艮，艮為手。未變陽爻為右。三四五互為兌為毀折。有折其右肱之象。以有用之才，置無用之地。上之不可有為，非三之咎也。

The Small Image Commentary says: Using sincerity to inspire others is relying on trust to open the mind. Gaining the trust of the sovereign allows one's aspirations to be realized. The line statement for the third line says: The curtain is drawn more tightly, and at noon one sees a small star, breaking the right arm, without blame. "Pai" should be read as "pei," meaning a hanging banner, and the degree of obstruction is more severe than "bu." "Mo" refers to a small star. The third line corresponds with the sixth line above, but the sixth line is yin and lacks the central position, so the darkness is heavier than that of the fifth line. Therefore, what the third line sees is darker than what the second line sees of the Big Dipper—so dark that even a small star is visible, hence the image of "seeing the small star through the thick curtain." The third line originally intended to correspond with the sixth line above, but since the sixth line is yin and occupies an inappropriate position, it cannot accomplish anything. Moreover, if this line changes, the lower trigram becomes Gen, which represents the hand; when unchanged, it is a yang line, which represents the right. The interaction of lines three, four, and five forms Dui, which represents destruction, thus forming the image of "breaking the right arm." This is like placing a useful talent in an ineffective position. The sixth line above cannot act, but the responsibility does not lie with the third line, hence it says "without blame."

象曰。豐其沛，不可大事也。折其右肱，終不可用也。保豐大事，非柔暗者所能。人作事在右肱。上以三為右，則上為左。右折，則左亦不可用。九四。豐其蔀。日中見斗。遇其夷主。吉。九四上承六五之暗主，己又居陰，剛明不足，故象與六二同。夷，等夷也，指初九。初以下偶上，視四為配。四以上就下，視初為夷。九四剛而明不足。初剛在下，離體至明。資以輔五，則豐盛之治可保，宜其吉也。

The Small Image Commentary says: A tent stretched too wide cannot accomplish great things; breaking the right arm means it will ultimately be of no use. Preserving abundance is a major task, something that cannot be done by a weak and dark person. People rely on their right arm to do things; for the upper six, the nine three is its right arm, so the upper six itself becomes the left arm. If the right arm is broken, the left arm cannot exert its strength. The line statement of the fourth line says: The covering mat spreads wider and wider, seeing the Big Dipper at noon, encountering a superior of equal status, which is auspicious. The fourth line is above the six five, a dark ruler, and itself occupies a yin position with a yang line, so its strength and clarity are insufficient. Therefore, the image is the same as that of the second line. "Yi" means a peer or one of equal status, referring to the initial nine. The initial nine, from below, pairs with the fourth line, seeing the fourth line as its "pair"; the fourth line, from above, looks down and sees the initial nine as its "Yi." Although the fourth line is strong, it lacks clarity, while the initial nine is strong and bright, belonging to the fire element and being extremely bright. By relying on its strength, they jointly support the six five, thus preserving the abundance, which is why it is auspicious.

象曰。豐其蔀，位不當也。日中見斗，幽不明也。遇其夷主，吉行也。不中不正，不當也。比陰居陰，不明也。六二中正，不得言不當。以應五，故豐蔀耳。六二以陰居陰，幽不待言。九四以陽居陰，幽與二同。故象傳不釋於六二而於此釋之。下求於初為行。震性動，有行象。得人以事君，行則吉矣。

The Small Image Commentary says: When the covering becomes wider, it is due to improper position; seeing the Big Dipper at noon indicates darkness and lack of clarity; encountering a master of equal status brings good fortune for this action. Nine in the Fourth is not in the center and is not in the proper position, hence it is said 'improper'; being close to a yao of darkness and itself occupying a dark position, hence it is said 'dark and unclear'. Six in the Second is originally a yao in the middle and upright, so it cannot be said to be in improper position. It is also said 'enlarging the covering' only because it corresponds to Six in the Fifth, the昏君. Six in the Second, being a yao of darkness in a dark position, is naturally dark; Nine in the Fourth, being a yao of brightness in a dark position, is equally dark. Therefore, the Small Image Commentary does not explain 'dark and unclear' at Six in the Second, but reserves it for this yao. Nine in the Fourth seeking help from Nine at the Beginning is 'action'; Nine in the Fourth, belonging to the Zhen trigram, has the nature of movement, hence the image of 'action'. Gaining assistance to serve the master together, this action is naturally auspicious.

六五。來章。有慶譽。吉。六五質雖柔暗，若能來致天下之明，則有慶譽而吉矣。章指二。而初與四亦在所來。二雖質柔致疑，然離體文明，亦章也。自二之五曰往，自五之二曰來。初與四雖非應，然保豐盛之治，非有剛明之才不能。四比五而初應四。四以位柔不足，求初共輔之，皆可以保豐。然使五非柔中虛己以來之，則慶譽無由致矣。慶集於身，譽流天下，所以吉也。象曰。六五之吉，有慶也。言慶則譽可兼。

The line statement for the fifth line says: attracting talented and cultured people brings blessings, fame, and good fortune. Although the fifth line is soft and dark, if it can attract the wise people of the world, it will gain blessings, fame, and be auspicious. "Chapter" refers to the second line; however, the first line and the fourth line are also included in the attraction. Although the second line is soft and may be suspected, it belongs to the trigram of fire, which represents culture and civilization, so it is also called "chapter." Moving from the second line to the fifth is called "going," and moving from the fifth to the second is called "coming." The first line and the fourth line are not in proper correspondence with the fifth line, but to maintain a flourishing era, one must have strong and discerning talents. The fourth line is close to the fifth line, and the first line corresponds with the fourth line. Since the fourth line is in a yin position and lacks strength, it seeks the support of the first line. Both can help maintain the flourishing state. However, if the fifth line cannot use its moderate and virtuous virtue to humbly invite them, blessings and fame will never be achieved. Blessings are concentrated on oneself, while fame spreads throughout the world, so it is auspicious. The Small Image Commentary says: the fifth line is auspicious because it brings blessings. Since it mentions "blessings," "fame" is also included.

上六。豐其屋。蔀其家。闚其戶。闃其無人。三歲不覿。凶。以陰柔居豐之極，動之終。所處既高，有豐其屋之象。質本柔暗，有蔀其家之象。變離中虛，又陰質空虛，有闚其戶闃其無人之象。九三正應，以上九障蔽之深，莫與為用。相去三爻，又離居三，有三歲不覿之象。全卦宜日中。二五日中之位。初四未及乎中。三上皆過乎中者也。而上又以動體之終處豐之極，故凶最甚也。象曰。豐其屋，天際翔也。闚其戶闃其無人，自藏也。上六之豐其屋者，不過欲以自高，如飛翔於天際而己不知，適以自蔽其家而空其門。昏昧自高，人皆棄之。非人之遠己，乃己之遠人，是自藏也。

The line statement for the sixth line at the top says: Building a house high and lofty, yet making the inside of the house dark and dim; peering through the door crack, the place is silent and empty, not seeing anyone for three years, which is ominous. The sixth line is a yin line situated at the peak of abundance and at the end of the shaking element. Because it is at a high position, it has the image of "building a high house"; because its nature is yin and dark, it has the image of "darkening the home." When this line changes, the upper trigram becomes Li (Fire), and the middle is empty, and since the yin line is inherently empty, it has the image of "peeking through the door crack, the place is empty and no one is there." The ninth line is its corresponding line, but because the upper position is too obstructive, no one is willing to associate with it. The sixth line is three lines away from the ninth line, and the mutual trigram Li is exactly at the third position, so it has the image of "not seeing anyone for three years." The entire hexagram is most suitable when the sun is at its zenith: the second and fifth lines are at the position of the sun's zenith, while the first and fourth lines have not yet reached the middle, and the third and sixth lines have passed the middle. Moreover, the sixth line is at the end of the shaking element and at the peak of abundance, so it is the most dangerous. The Small Image Commentary says: Building a high house is like flying in the sky; peeking through the door crack and finding it empty is like hiding oneself. The sixth line builds a high house, but only to elevate itself, like flying in the sky, yet not realizing that this action darkens the home and leaves the courtyard empty. Being ignorant and self-important, everyone will abandon him. This is not because others are distant, but because he himself has distanced others, hence it is called "self-concealment."

全卦以明動相資而成豐。彖有王假之言，唯有天下者可當此象。故六爻以五為主。而他爻皆宜輔五以保其豐，故不拘爻位之相應也。保豐之道宜於日中。三與上皆過中，故三折肱而上無人。獨取於初二與四也。

Looking at the entire hexagram, it is through the mutual reliance of "brightness" and "movement" that prosperity is achieved. The hexagram statement includes the phrase "the king comes to it," indicating that only someone who possesses the world is worthy of this hexagram's grandeur. Therefore, all the lines are centered around the fifth line, and the other lines should support the fifth line to maintain prosperity. Hence, the hexagram does not strictly follow the usual convention of yin and yang correspondence. The way to maintain prosperity is by holding onto the "noon" position. Since both the third line and the top line have passed the central position, the third line breaks its right arm and the top line has no one at the gate. The only lines in the hexagram that can be taken are the first line, the second line, and the fourth line.

五既陰柔，輔五者貴有陽剛之德。二雖正應而質柔，必孚而後能發。四雖材剛而位柔，必遇初乃可共濟。初雖陽剛得正，猶必待配主之遇，又凜過旬之戒。國家當全盛之日，持盈保泰之道不出於廟堂，而賴於疎遠之小臣，而遭遇之不偶又如此。欲天下之常豐，豈易言哉。

Six in the Fifth, being yin and flexible, relies on those with yang strength to support it. Although Six in the Second corresponds with Six in the Fifth, its nature is weak, so it must first gain the trust of the ruler before it can inspire action. Nine in the Fourth, though strong in quality, is in a yin position, so it must meet Nine at the Beginning to work together. Nine at the Beginning, although strong and upright, still needs to meet its partner and constantly follow the warning of 'not exceeding the ten days.' When a country is at its peak, the way to maintain fullness and stability does not come from the court, but depends on distant minor officials. Yet these encounters are so difficult and infrequent. How can the world maintain prosperity forever? It is not an easy task.

旅。旅卦，下艮上離。山止於下，火炎於上。去其所止而不處，為旅之象。又入而麗乎內則為家人，出而麗乎外則為旅。旅卦次豐。按《序卦》：豐，大也。窮大者必失其居，故受之以旅。失居遂至覊旅，旅所以次豐也。全彖以處旅本無大通，雖亨亦小。然道無不在，不可以暫時而苟且，故必守正乃吉也。六爻則旅之道以得中為善。卑則取辱，高則召禍。初卑，故有瑣瑣之災。三居下之上，焚次喪僕。上居上之上，焚巢喪牛。皆高之過也。四雖無太高太卑之失而未得中，故心亦不快。唯二以得中而懷資得僕。五以得中而譽命。然五不當位，猶不免於矢亡。然則居旅之善，唯六二乎。

The hexagram of Travel has the lower trigram as艮 (Mountain) and the upper trigram as离 (Fire). The mountain remains still below, while the fire rises up above without ceasing. The fire departs from its resting place and does not stay, thus forming the image of 'Travel' (being away from home). Furthermore, what is attached internally is the hexagram of Family, while what is attached externally is the hexagram of Travel. The hexagram of Travel comes after the hexagram of Great Wealth. According to the 'Sequence of Hexagrams,' 'Great Wealth' signifies completeness, and those who push great wealth to its extreme will surely lose their dwelling, hence the hexagram of Travel follows. Losing one's dwelling leads to being a traveler, which explains why the hexagram of Travel comes immediately after the hexagram of Great Wealth. The overall meaning of the hexagram's statement is: being in a state of travel, one cannot expect great success. Even if there is success, it is only minor success. However, principles exist everywhere, and one should not be careless just because one is temporarily staying somewhere. Therefore, maintaining uprightness brings good fortune. The six lines emphasize 'being in the center' as the best way to deal with travel: being too low brings disgrace, while being too high invites disaster. The line Six at the Beginning is too low, thus suffering from trivial misfortunes. The line Nine in the Third is at the top of the lower trigram, resulting in the loss of the lodging and servants. The line Nine at the Top is at the top of the upper trigram, leading to the burning of the bird's nest and the loss of cattle. These two lines are both too high. The line Nine in the Fourth is neither too high nor too low, but it is not in the center, so it remains unsatisfactory. Only the line Six in the Second, being in the center, possesses wealth and servants, while the line Six in the Fifth, also being in the center, gains reputation and rank. However, the line Six in the Fifth is not in the correct position, so it still incurs a loss, like missing an arrow. Thus, among all the lines, the best in a state of travel is Six in the Second.

旅。小亨。旅貞吉。按，本義，山止於下，火炎於上。為去其所止而不去之象，故為旅。按，大全，山止而不動，旅館之象。火動而不止，旅人之象。二說皆通。六五得中而順上下之二陽，艮止而麗於明，佔有亨道。但在旅，則雖亨亦小耳。六爻唯六二居中得正為最善。蓋道無不在，不可以偶然覊旅而苟且，必守正則吉也。

The Hexagram Statement: "Travel," there is slight success; in a state of being away from home, maintaining uprightness brings good fortune. According to Zhu Xi's "Original Meaning," the mountain is below and the fire is above, symbolizing being separated from one's place of reliance yet not entirely departing, hence called "Travel." According to the "Complete Commentary on the Zhou Changes," the mountain is still and unmoving, like a lodging house; the fire is active and unceasing, like a traveler. Both interpretations are reasonable. The hexagram has the upper trigram Kan (Water) and the lower trigram Gen (Earth), with the fifth line being a yin line that is central and follows the yang lines above and below. This indicates the possibility of success; however, being in a state of travel, even if there is success, it is only slight. Among the six lines, only the second line is central and proper, thus being the most appropriate. Since principles exist everywhere, one should not be careless merely because they are temporarily away from home. One must maintain uprightness to achieve good fortune.

彖曰。旅，小亨，柔得中乎外而順乎剛。止而麗乎明，是以小亨旅貞吉也。以卦綜言之。豐下卦之離得中於外卦，順乎二剛。覊旅之人得托援，雖在覊旅可小亨矣。以卦德言之。下艮止而上離麗乎明。非賢不主，非善不與，所謂於止知其所止者，貞而得吉矣。旅之時義大矣哉。旅之亨小，而其時義則大。義莫大於貞。高則取禍，卑則取辱。唯貞則吉。時義之大如此，人未可忽之也。

The Commentary on the Judgment says: The hexagram of Travel has slight success because the yin line is in the outer trigram and in the middle, and it is yielding to the yang lines; the lower trigram stops and the upper trigram adheres to brightness, so there is slight success and a traveler who maintains correctness will be auspicious. These sentences first discuss the 'reverse hexagram': the hexagram of Travel reversed becomes the hexagram of Great Illumination. The lower trigram of Great Illumination, which is fire, when turned upward, occupies the middle of the outer trigram of Travel. The upper and lower trigrams then follow and support the two yang lines, nine in the fourth place and nine at the top. A traveler can find support and assistance, so even while in a foreign place, there is slight success. Then from the hexagram's virtue: the lower trigram is mountain, which means stopping, and the upper trigram is fire, which means adhering to brightness. This is not because the virtuous person does not go to seek support, nor because the good person does not make connections. It is exactly what the Great Learning says: 'Knowing where to stop, one knows where to stop.' Maintaining correctness thus brings auspiciousness. 'The meaning of the time of Travel is great indeed.' The slight success that a traveler can achieve is small, but the meaning of its timing and application is great. And there is no greater meaning than 'maintaining correctness.' Being in a high position brings disaster, being in a low position brings humiliation, only maintaining correctness brings auspiciousness. This meaning is so great that people must not take it lightly.

象曰。山上有火。旅。君子以明慎用刑，而不留獄。慎刑如山，不留如火。取其止以為慎，取其火以為明也。此於旅之義無與，但取火在山上之象耳。初六。旅瑣瑣。斯其所取災。當旅之時，陰柔居下。不務遠大，局於瑣屑。有瑣瑣取災之象。象曰。旅瑣瑣，志窮災也。其志猥陋窮迫，自取災也。

The Great Image says: Fire on a mountain, this is the hexagram of Travel. The gentleman takes it as a model, using punishment with clarity and caution, and not delaying cases. Using punishment with caution is like the mountain being steady, and not delaying cases is like fire being swift. Taking the "stillness" of Gen to show caution, and taking the "fire" of Li to show clarity. This aspect has nothing to do with the meaning of "wandering in exile," but only takes the image of fire on a mountain. The line statement for the first six: Wandering in exile and being petty and calculating, this is the way to invite disaster. At the time of wandering in exile, the first six is a yin and flexible line at the very bottom, unwilling to look at the big picture, only getting bogged down in trivial matters, thus there is an image of being petty and inviting disaster. The Small Image says: Wandering in exile and being petty, is due to a narrow and distressed mind that invites disaster. His mind is lowly and distressed, so disaster is naturally self-invoked.

六二。旅即次。懷其資。得童僕貞。六二以陰居陰得正。又艮為門，二居其中。有即次得安之象。陰主利而二居中，互巽為利市三倍，有懷其資之象。艮為少男而二居中得正，有得童僕貞之象。即次則安，懷資則裕。得童僕之貞，則無欺而有賴。旅之最吉者也。象曰。得童僕貞，終無尤也。童僕之貞最難，故象傳獨言之。

The line statement for line six-two says: In a place of lodging during a journey, one has money with him and receives a loyal servant. Line six-two is a yin line in a yin position and is correct, and since the lower trigram is K'un (Earth), which represents a gate or threshold, line six-two is in the middle of it, thus symbolizing staying in a lodging place and settling down. Yin represents wealth, and line six-two is in the center, so there is an image of carrying money. The lines two to four form the trigram Xun (Wind), and the Book of Changes says Xun represents 'gaining three times the profit', thus symbolizing carrying money. K'un represents a young man, and line six-two is in the center and correct, thus symbolizing receiving a loyal servant. Staying in a lodging place brings stability, having money brings abundance, and receiving a loyal servant ensures no deception and provides support, making this the most auspicious line during a journey. The Small Image Commentary says: Receiving a loyal servant, one will ultimately have no mistakes. A servant's loyalty is hard to rely on, so the Small Image Commentary specifically mentions this statement.

九三。旅焚其次。喪其童僕。貞厲。九三與六二相反。二柔而中正，故即次。三過剛不中，上近於離，故有棼次之象。二居中乘柔，故得僕。三過剛無徒，又下之柔已為二所得，有喪僕之象。九居三，於爻雖貞，於旅則厲也。象曰。旅焚其次，亦以傷矣。以旅與下，其義喪也。在旅與下過剛，義當喪僕。

The third line statement says: In a situation of being a traveler in a foreign place, the guest house is burned down, and the servant is lost. Although one is upright, it is still dangerous. The third line is opposite to the second line: the second line is yin and flexible, hence it can remain in the guest house; the third line is overly yang and not in the center, and it is close to the fire trigram above, hence there is an image of the guest house being burned. The second line is in the center and is supported by the yin, hence it can obtain the servant; the third line is overly strong and has no one to follow, and the yin below has already been taken by the second line, hence there is an image of losing the servant. A yang line in the third position is considered proper in terms of position and is upright, but in the situation of being a traveler, it becomes dangerous. The Small Image Commentary says: Being a traveler and having the guest house burned down is already a serious injury; using such an attitude toward subordinates, one should lose the servant. Being in a foreign place and being overly harsh toward subordinates, by reason, one should lose the servant.

九四。旅于處。得其資斧。我心不快。九四以陽居陰，在上之下，用柔而能上（文瀾本「能上」作「能下」）者，故有旅于處之象。非其正位，故不曰次而曰處。非其次舍，暫時棲息者也。得資足以自利，得斧足以自防。四互巽為資財，又離為戈兵，有得其資斧之象。然旅雖有處，勝於三之焚次，終不若二之即次也。得資斧，勝於三之喪僕，亦不若二之得童僕貞也。九以剛明之才，處近君之地，不能得位以有為，而在覊旅之中，所以心不快也。

The fourth line statement says: In the midst of a journey, one finds a place to stay, obtains money for travel and a weapon for self-defense, yet the heart is not joyful. The fourth line, with a yang line in a yin position, is located at the lowest part of the upper trigram, representing someone who can use flexibility to accommodate the lower position (this sentence in the Wenlan Pavilion edition reads 'can descend,' which has a longer meaning), thus symbolizing a temporary resting place. This is not its proper position, so it does not say 'secondary' (guest house) but 'place' (a place to stay) — not a proper guest house, but just a temporary stop. Having money for travel is sufficient for sustenance, and having a weapon is enough for self-defense. The lines three to five form the trigram Xun, which represents wealth; the upper trigram Li represents weapons, combining to form the image of 'obtaining money and weapons.' However, although having a place to stay is better than the situation of the third line where the guest house is burned, it is still not as good as the second line where one lives properly in a guest house. Having money and a weapon is better than losing the attendant of the third line, yet still not as good as the second line where one gains a loyal attendant. The fourth line, with its strong and discerning talent, is in a position close to the sovereign, yet fails to be in the correct position and thus cannot act effectively, being instead confined in a journey, hence the feeling of unhappiness.

象曰。旅于處，未得位也。得其資斧，心未快也。九居四，非所安之位。六五。射雉。一矢亡。終以譽命。六五處離之中。文明得中，有射雉之象。矢，剛物。六居五失剛。又坎有矢象。離，坎之反。有一矢亡之象。然柔順文明，又得中道。火體光明，其性炎上。互得兌巽。兌為口為譽，巽為命令，有譽聞外著、寵命自上之象。其始不無亡矢之費而所喪不多，終有譽命也。

The Small Image says: Temporarily staying in one place is not occupying the correct position; obtaining provisions and an axe, the mind is still not at ease. A yang line in the fourth position is not its proper place. The line statement for the sixth line: shooting a pheasant, losing one arrow, ultimately gaining reputation and a title. The sixth line is in the center of the upper trigram Li, which is civilized and centered, hence the image of shooting a pheasant—Li represents a pheasant. "Arrow" is a hard object; the sixth line is a yin line in the fifth position, losing its hardness. Moreover, the trigram Kan has the image of an arrow, and Li is the opposite of Kan, hence the image of "losing one arrow." However, the sixth line is gentle and civilized, and occupies the center; Li is fire, which is bright and ascendant. The lines three to five and two to four mutually form the trigrams Dui and Xun. Dui represents mouth and reputation, Xun represents command. Together they indicate reputation spreading outward and favor coming from above. Initially there is a loss of one arrow, but the loss is limited, and ultimately reputation and a title are obtained.

時解或作人君居文明之位，使賢者旅進。雖不無弓旌之費，而有得賢之譽，上承天命。或作士人覊旅以取功名，雖不無資斧之費而終得眾譽，膺君命令。按，二說皆不必拘。大抵人君無旅，旅則失位（文瀾本「位」作「國」）。故不取人君之義，唯以覊旅言之。占者則或君或臣，隨事為占。要之始雖小失，終有所獲也。

Some modern interpretations take this line to mean that a ruler occupies a position of civilization, attracting continuous appointments of virtuous ministers, although there are inevitable expenses such as hiring and employing talents, yet gaining a reputation of acquiring virtuous people, and upholding the mandate of heaven. Others interpret it as scholars traveling abroad to seek fame and success, although there are unavoidable expenses for travel, ultimately gaining public praise and receiving official appointments from the ruler. Chen Menglei believes that neither of these interpretations should be rigidly adhered to. Basically, a ruler is not involved in the concept of 'travel'. Once a ruler becomes a traveler, it signifies losing his position (this character in the Wenlan Pavilion edition reads 'country', meaning losing the country). Therefore, this hexagram does not take the meaning of a ruler, but rather interprets it based on the idea of being a traveler. As for those consulting the oracle, whether they are rulers or ministers, they should take the judgment according to their own circumstances. In general, although there may be minor losses at the beginning, there will certainly be gains in the end.

象曰。終以譽命，上逮也。火性炎上，有上逮之象。自人臣言，上逮為得君。人君言之，自人君言之，上逮為得天，皆不必拘。上九。鳥焚其巢。旅人先笑後號咷。喪牛于易。凶。離為飛鳥又為科上槁，而火性炎上，有鳥焚巢之象。火有聲，有笑號之象。又應三為兌說，先笑之象。上變為震動，號咷之象。離為牝牛，上九驕而不順，又震為大塗，有喪牛于易之象。上九過剛，處旅之上，離之極，故象如此。

The Small Image Commentary says: ultimately attaining honor and a title is due to upward movement. Fire has an upward nature, so there is an image of upward movement. From the perspective of a subject, "upward reaching" means receiving the sovereign's recognition; from the sovereign's perspective, "upward reaching" means receiving the mandate of heaven—neither need be taken literally. The line statement for the top nine: the bird's nest is burned by fire, a traveler first laughs then wails, a cow is lost in the border town, which is ominous. The trigram Li represents flying birds, and the Book of Changes also says Li "represents the withered top of a tree" (hollow and withered at the top, like a tree's nest), and since fire has an upward nature, there is an image of the bird's nest being burned. Fire produces sound when it burns, so there is an image of laughing and wailing; the top nine corresponds with the third nine, and the third nine belongs to the trigram Dui, which represents joy, so there is an image of "first laughing"; the top nine changes to Zhen, which represents movement, so there is an image of "wailing." Li represents a mother cow, and the top nine is arrogant and not gentle, while Zhen also represents the great way, so together they form an image of losing a cow in the border town. The top nine is overly yang and strong, located at the top of a journey and the extreme of fire, so the line image is as such.

三與上應，皆以剛居上。三承九四之離，他人焚之也。上居離極，自焚也。同人親也，故先號咷後笑。旅親寡，故先笑後號咷。三焚次，巢尚在，猶可歸也。喪僕，牛尚存，猶可行也。今巢焚則欲歸無所，牛喪則欲行無資，凶之甚矣。象曰。以旅在上，其義焚也。喪牛于易，終莫之聞也。

Nine Three and Upper Nine originally correspond with each other; both lines are yang strength occupying the upper position in their respective trigrams. Nine Three is above Nine Four in the Li trigram, meaning it is being burned by others; Upper Nine is at the extreme of the Li fire, meaning it is burning itself. The hexagram of Tongren deals with mutual affinity and closeness, so it says "first crying out and then laughing"; the hexagram of Lü deals with few relatives, so it reverses to "first laughing and then crying out." Nine Three is merely a guest house being burned, the nest still exists, so it can still return; it has only lost the servant, the ox still exists, so it can still move. Now Upper Nine has lost the nest as well, so there is no place to return; it has also lost the ox, so there is no strength to move, reaching the utmost danger. The Small Image Commentary says: a person in a state of exile residing at the highest position is bound to be burned; losing the ox in a distant town, in the end, no one will tell him.

旅而過高，豈能安居，義有焚巢之事矣。驕亢不順，禍生所忽而不自覺，故曰莫之聞也。全卦當旅之時，不宜用剛，故陽爻三皆不利。而柔又貴於得中。故初不及乎中，亦不免於災。柔順中正，唯二得貞吉之義。而五之居剛，亦不免於亡矢。則旅道之難言也。

A person staying away from home and occupying a position that is too high will find it difficult to find a place to settle, and according to reason, there will be calamity. Arrogance and refusal to be gentle and compliant lead to troubles arising from his negligence, of which he is entirely unaware. Therefore, it is said, "In the end, he will not hear of it." Looking at the entire hexagram: when one is in a situation of being away from home, it is not advisable to be strong. Hence, the three yang lines are all unfavorable. As for the yin lines, they are valued for being in the center. However, the line at the beginning is not in the central position and thus cannot avoid disaster. The only line that is truly gentle, compliant, and upright, deserving of "upright and auspicious," is the second line. Even the fifth line, which is in a yang position, cannot avoid losing an arrow. This shows that the way of being in a situation of being away from home is indeed very difficult to handle.