The Trigram Li · The Pure Trigrams: Fire and the Message of Summer Solstice

離，利貞亨，畜牝牛吉。注。坤二五之乾，與坎旁通，於爻遯初之五。四五上失正，利出離為坎，故利貞亨。畜，養也。坤為牝牛，乾二五之坤成坎體頤養，故畜牝牛吉。

The Hexagram Li Statement says: "It is advantageous to be firm and harmonious, to keep a female ox is auspicious." Hui Dong's own commentary says: This hexagram is formed by the second and fifth lines of the hexagram Kun entering the hexagram Qian, and it is in mutual opposition with the hexagram Kan. If we consider the changing lines, it is formed by the first line of the hexagram Duan moving up to the fifth position. The fourth, fifth, and upper lines are all not in the correct position, so it is appropriate for the hexagram Li to change into Kan. Therefore, it says "It is advantageous to be firm and harmonious." "Xu" means to raise or keep. Kun represents a mother ox, and the second and fifth lines of Qian entering Kun form Kan. The hexagram contains the essence of Yi, which represents nurturing, so keeping a mother ox is auspicious.

疏。此虞荀義也。離自坤來，坤二五之乾成離，與坎旁通。若從四陽二陰之例，則遯初爻之五，故云於爻遯初之五。離外三爻失位，利變之正，與坎旁通，出離為坎，則成既濟，故利貞亨。坤為牝，九家《說卦》文；又《說卦》坤為子母牛，故為牝牛。與坎旁通，乾二五之坤成坎，二至上體頤養象，故畜牝牛。出離為坎，重明以麗乎正，乃化成天下，故吉也。

Hui Dong's commentary states that this is the view of Yu Fan and Xun Shuang. The hexagram Li comes from Kun. The second and fifth lines of Kun enter Qian to form Li, and it is in mutual opposition with Kan. If we follow the general principle of hexagram transformation with four yang lines and two yin lines, it is the first line of Duan moving up to the fifth position, hence the statement "the line is Duan's first line at the fifth position." The three lines of the outer trigram of Li are all out of place, so it is appropriate for transformation back to the correct position; since Li is in mutual opposition with Kan, transforming Li into Kan forms Ji Ji, hence the statement "favorable to uprightness and smooth." Kun represents the female, as stated in the nine families' version of Shuo Gua. The Shuo Gua Zhuan also says that Kun represents a mother cow, hence the image of the mother cow. The primary hexagram is in mutual opposition with Kan; the second and fifth lines of Qian enter Kun to form Kan. The second line to the top line includes the nurturing image of Yi, hence the statement about raising the mother cow. Transforming Li into Kan, with two instances of brightness adhering to the correct path, can cultivate and bring about the world, hence it is auspicious.

初九：履錯然，敬之無咎。注。初為履，履，禮也。錯，置也。初得正，故履錯然。乾為敬，與四敵應，四如，故敬之無咎。六二：黃離，元吉。注。二在下中，故曰黃。離五動應二，故元吉，與坤五同義。九三：日昊之離，不擊缶而歌，則大耊之差。注。三不中，故曰日昊。艮手為擊，坤為缶，震為音聲，兌為口，故不擊缶而歌。乾老為耊，體大過，故大耊之差。

The first line statement says: "Walking with care, reverence brings no fault." Hui Dong's self-commentary explains: the first line symbolizes the foot, hence "walking" (履), which refers to ritual propriety (礼). "错" means to place or arrange. Since the first line is a yang line in a yang position and is correct, each step is properly placed. The trigram Qian represents reverence; the first line and the fourth line are both yang and oppose each other. The fourth line has the image of "sudden appearance" (the original text here is missing the character "突," and the fourth line statement originally reads "tudou ru"), so one must show reverence to avoid mistakes. The second line statement says: "Yellow brightness, supreme good fortune." Self-commentary explains: the second line is in the center of the lower trigram, hence the color yellow. The trigram Li's line five moves to correspond with the second line, hence great good fortune, which is similar to the meaning of the fifth line of the trigram Kun, "yellow garment brings supreme good fortune." The third line statement says: "The sun sets in the trigram Li, without striking a jar and singing, there is a difference in the old man's lament." Self-commentary explains: the third line is not in the central position, hence the sun sets in the west. The trigram Gen represents the hand, symbolizing the act of striking; the trigram Kun represents the jar, the trigram Zhen represents sound, and the trigram Dui represents the mouth, hence the meaning of not striking a jar and singing aloud. The trigram Qian represents old age, hence the term "耊"; the hexagram contains the structure of the Great Excess, hence the lament of an old man.

九四：如其來如，焚如，死如，棄如。注。不順忽出也。四震爻失正，故如。與初敵應，故來如。離焰宣揚，故焚如。體大過死象，故死如。火息灰損，故棄如。不孝之罪五刑莫大，燒殺棄之，不入於兆也。六五：出涕沱●，戚差●，吉。注。五失位，出離為坎。震為出，離為目，坎涕出目，故出涕沱●。坎憂為戚，震為聲，兌為口，故戚差●。動得正尊麗陽，故吉也。

The fourth line statement says: "Like its coming, burning, dying, and being cast away." The original text lacks the character "tū" above "like its coming," while the common version reads "suddenly coming like." Hui Dong explains that "tū" refers to something that emerges suddenly without obedience. The fourth line is the Zhen line but is not in the correct position, hence "suddenly coming." It shares the same nature as the initial nine, hence "coming like." The fire of Li rises upward, hence "burning like." The hexagram contains the image of Great Excess, which symbolizes death, hence "dying like." After the fire is extinguished, the remaining ashes are discarded, hence "being cast away." The crime of filial impiety is the most severe among the five punishments, and such people should be burned and discarded, not allowed to be buried in the ancestral graveyard. The fifth line statement says: "Tears flow profusely, sorrowful and lamenting, auspicious." The two missing characters in the original are replaced by "if" in the common version. Hui Dong explains that the fifth line is not in the correct position, and changes from Li to Kan. Zhen represents movement, Li represents eyes, and Kan water flows as tears from the eyes, hence tears flow profusely. Kan represents sorrow, hence "sorrowful"; Zhen represents sound, and Dui represents mouth, hence the appearance of lamentation. The fifth line, when moved, attains the correct position, and with the support of the superior position, it becomes auspicious.

上九：王用出征，有嘉折首，獲匪其醜，無咎。注。五已正，乾為王，坤眾為師，震為出，故王用出征。乾上為首，兌為折，上變體兌折。乾應在三，故有嘉折首。丑，類也。獲，獲四也，以上獲四，故匪其醜。爻皆得正，故無咎。

The statement for the top line says: "The king uses military campaign, obtains a glorious victory, captures the enemy's leader, and incurs no blame." Hui Dong explains: Since the fifth line has already returned to the correct position, the trigram Qian represents the king, and the trigram Kun represents the people and symbolizes the army. The trigram Zhen represents departure, so it is said that the king goes out to campaign. The top line of Qian is the head, and Dui represents breaking, so when the top line changes to Dui, it shows the image of breaking. The correct position of Qian corresponds to the third line, so there is a glorious achievement and capturing the enemy's leader. "Chou" refers to the same kind. "Huo" means capturing, and using the top line to capture the fourth line, it is said that what is captured is not of the same kind. All six lines are in the correct position, so there is no blame.

疏。「初為」至「無咎」○鄭《禮記序》曰：「禮者，體也，履也。統之於心曰體，踐而行之曰履。」初為足，故為履。此經錯字，馬氏音七路反。《序卦》曰：「履者，禮也。」又曰：「有上下然後禮義有所錯。」故云錯，置也。離為火，火行禮，初得正，履有所錯，故履錯然。乾為敬，義見乾卦。坤二五之乾，初本乾也，故乾為敬。初四皆陽，故敵應。四如其來如與初相犯，故敬之無咎，禮以敬為主也。○「二在」至「同義」○九家《說卦》曰：「坤為黃。」黃者中之色，而在二為下中，故曰黃離。應在五，五失位，動應二，故元吉。坤黃裳元吉，亦是降乾二而上承五，與離二同義也。

Hui Dong's commentary on the section from "Initial" to "No Fault": Zheng Xuan's "Preface to the Book of Rites" says: "Rite is the body and the practice; it is embodied in the heart and practiced in action." The first line symbolizes the foot, so it is called "practice." The character "错" in the text is pronounced "cuo" according to Ma Rong's annotation. The "Preface to the Sequence of Hexagrams" says: "Practice is rite." It also says: "Only after there is a distinction between above and below can rites and propriety have a place." Therefore, "错" is interpreted as placing or setting. Li represents fire, and fire symbolizes the practice of rites; since the first line is in the correct position, it has a secure place to step, so it is called "practice and setting." Qian represents respect, and its meaning has already been explained in the Qian hexagram. The second and fifth lines of Kun enter Qian to form Li. The first line originally belongs to Qian, so Qian represents respect. The first and fourth lines are both yang lines, so they are of the same nature and oppose each other. The fourth line "suddenly comes like a storm" and invades the first line, so one must be respectful to avoid mistakes, and respect is the fundamental principle of rites. Furthermore, Hui Dong's commentary on the section from "Second" to "Same Meaning": The Nine Schools version of "Sayings on the Hexagrams" says: "Kun represents yellow." Yellow is the central color, and the second line of Kun is in the center of the lower trigram, so it is called "Yellow Li." Its responding line is the fifth line, which is out of its proper position, and once it moves, it corresponds with the second line, so it is great good fortune. In the Kun hexagram, the fifth line "yellow garment brings great good fortune" is also due to the second line of Qian descending and ascending to the fifth position, which is the same meaning as the second line of Li.

○「三不」至「之差」○荀云：「初為日出，二為日中，三為日昊。」三不中，故云昊，謂過中也。艮，坎艮也，艮為手，故艮手為擊。坤器為缶。震，坎震也，震善鳴，故為音聲。兌上開似口，故不擊缶而歌。乾為老，《釋言》曰：「耊，老也。」僖九年《春秋傳》曰「以伯舅耊老」，故知乾老為耊。二至五體大過，大過死象，故云大耊之差。差，古文嗟。《釋詁》云也。三為下體之終，又艮爻，艮終萬物，故有是象。俗本差下有凶字者，衍文也。

A commentary on the section from "three not" to "difference": Xu Shuang said, "The first line represents the sun rising, the second line the sun at noon, and the third line the sun declining." Nine in the third line is not in the central position, so it is called "Hao," indicating the sun has passed the meridian. The艮 here is the艮 arising from the mutual interaction of the坎 in the lower trigram;艮 represents the hand, so "Gèn hand" symbolizes the act of striking. The坤 represents vessels and is likened to a drum. The震 here is also the震 arising from the mutual interaction of the坎 in the lower trigram; the震 is good at producing sound, hence it represents sound. The兑's top line opens up, resembling the mouth, so it is said that one does not strike a drum but sings aloud. The乾 represents old age. The "Eya" says, "Eo means old age." The "Zuo Zhuan" mentions in the ninth year of Xi Gong, "because the elder uncle is old," thus the old age of the乾 is "Eo." The second line to the fifth line form the Great Exceeding, which has the image of death, so it is said that the lamentations of the elderly. "Cha" is the ancient form of "Jie." The "Eya·Xigu" provides the corresponding explanation (the text here is missing the word being explained). The third line is the end of the lower trigram, and since it is the艮 line, which can terminate all things, it has this image. The vulgar edition adds the character "Xiong" below the character "Cha," which is an addition.

○「不」至「兆也」○此鄭、荀、許慎、如淳義也。《說文》曰：「●，不順忽出也，從倒子，或從●。」即古文易突字。突猶沖也，《太玄》曰：「沖沖兒遇不肖子也。」四震爻，鄭氏謂震為長子，爻失正，譬之倒子，故云。又云四為巽，巽為進退，不知其如，故如也。自內曰來，與初敵應，故來如。離為火，離焰宣揚故焚如。體大過死象，故死如。火息則灰損當棄之，故棄如。

The commentary on the section from "tū" to "zhào yě" (the beginning of the text where the character "tū" is missing) states that this is the view of Zheng Xuan, Xun Shuang, Xu Shen, and Ru Chun. The "Shuo Wen Jie Zi" says: "● means to rise suddenly without obedience; the character is formed from an inverted "zi," and there is another variant form." This is the ancient text version of the "tū" character in the Book of Changes. "Tū" is like a collision. The "Tai Xuan" says: "A child who is restless meets with an unworthy father." The fourth line is the Zhen trigram, and Zheng Xuan considers Zhen to represent the eldest son. This line is not in the correct position, just like a child born with the head downward. Therefore, he made this interpretation. He also said that the fourth line belongs to the Xun trigram, which represents indecisiveness in movement, so it is uncertain what will happen, hence the use of the character "rú." Coming from the inner trigram is called "lái," and since the fourth line and the first line are of the same nature and opposing, it is said "lái rú." The Li trigram represents fire, and fire rises upward, so it is said "fén rú"; the hexagram contains the image of death from the Great Excess, so it is said "sǐ rú"; after the fire is extinguished, the remaining ashes are damaged and should be discarded, so it is said "qì rú."

《孝經》曰：「五刑之屬三千，而罪莫大於不孝。」故云不孝之罪五刑莫大焉。如淳曰：「焚如、死如、棄如者，謂不孝子也，不畜於父母，不容於朋友，故燒殺棄之。」《周禮》秋官掌戮曰：「凡殺其親者焚之。」故鄭氏謂焚如，殺其親之刑。刑人之喪不居兆域，不序昭穆，故燒殺棄之，不入於兆也。《說文》曰：「棄，捐也，從，逆子也。」此倉頡制字之義也。

The Classic of Filial Piety says: "Among the crimes covered by the five punishments, there are three thousand kinds, but none is greater than the crime of filial impiety." Therefore, the self-commentary states that the crime of filial impiety is the most severe among the five punishments. Ru Chun says: "Fen Ru, Si Ru, Qi Ru refer to the filial impiety of a son: he is not supported by his parents, nor accepted by his friends, so he is burned and cast away." The Rites of Zhou, in the section on the autumn officials responsible for execution, says: "Those who kill their relatives shall be burned to death." Therefore, Zheng Xuan considers "Fen Ru" to be the punishment for killing one's relatives. Those who have received punishment are not allowed to be buried in the ancestral graveyard, nor are they arranged according to the order of昭穆. Hence, they are burned and cast away, and not allowed to be buried in the cemetery. The Shuo Wen Jie Zi says: "Qi means to abandon, and the component of the character indicates a son who disobeys his parents." (The original text here is missing some characters.) This is the original meaning of the character as created by Cang Jie.

四所以取義於子者，火有養母之法。《白虎通》曰：「子養父母何法？法夏養長木。」是以荀爽對策曰：「離在地為火，在天為日。在天者用其精，在地者用其形。夏則火王，其精在天，溫暖之氣養生百木，是其孝也；冬時則廢，其形在地，酷烈之氣焚燒山林，是其不孝也。」蓋其義矣。

The reason that the fourth line, Nine, is associated with the term "son" is because fire follows the principle of supporting its mother. The "White Tiger Classic" says: "How does a son support his parents? He should follow the fire of summer which nurtures trees and makes them grow." Therefore, Xun Shuang said in his response: "Fire on the earth is fire, and in the sky it is the sun. In the sky, it uses its vital energy; on the earth, it uses its form. In summer, fire is dominant, its vital energy is in the sky, and the warm energy nurtures all trees to grow, which is its filial piety. In winter, the fire energy declines, its form remains on the earth, and the fierce heat burns mountains and forests, which is its unfilial behavior." This is probably the meaning.

○「五失」至「吉也」○此荀虞義也。《彖傳》曰：「柔麗乎中正，故亨。」虞彼注云：「柔謂五陰，中正謂五伏。」陽出在坤中，故出離為坎，謂離化為坎也。帝出乎震，故震為出。鄭氏云：「自目曰涕。」坎水為涕，坎從離出，故坎涕出目。●，古文若。若，詞也。鄭注《尚書·金縢》云：「戚，憂也。」坎為加憂，故為戚。震聲兌口，戚差之象。五失位動得正，柔麗乎中正尊麗陽，故吉也。

The commentary on the section from "Five Losses" to "It is auspicious" is based on the views of Xun Shuang and Yu Fan. The "Commentary on the Judgment" states: "The flexible and yielding follow the position of the central and upright, thus achieving success." Yu Fan explains: "The flexible refers to the yin of the sixth line in the fifth position, and the central and upright refers to the hidden line beneath the sixth line in the fifth position." Yang energy appears within the earth (Kun), so it transforms from the fire (Li) into the water (Kan), meaning the fire changes into water. The "Commentary on the Changes" says, "The Emperor emerges from the thunder (Zhen)," so Zhen represents emergence. Zheng Xuan explains, "What flows from the eyes is called tears." The water (Kan) transforms into tears, and since Kan arises from the transformation of Li, it is said that the tears of Kan flow from the eyes. "●" is the ancient form of "if," and "if" here is merely a particle. Zheng Xuan comments on the "Book of Documents, Jin Teng" saying, "Qī is sorrow." Kan represents "adding sorrow," so "Qī" is used. Zhen represents sound, and Dui represents mouth, forming the image of sorrowful lamentation. The sixth line in the fifth position loses its position, but once it moves, it attains the correct position. The flexible and yielding follow the central and upright, and the noble position follows the yang, thus it is auspicious.

○「五已」至「無咎」○五已出離，坎五本乾，故云五已正。乾為王，坤為眾，《說卦》文。師，眾也，故坤眾為師。震為出，故王用出征。爻例上為首，五正上體乾，故云乾上為首。兌為毀折，故為折。上變體兌，正應在二，為嘉，以兌折乾，故有嘉折首。《學記》曰「比物丑類」，《周語》曰「況爾小丑」，韋昭云：「丑，類也。」四不順，故云獲，獲四也。爻相應者曰類，上非四應，故獲非其丑。出離為坎，爻皆得正，故無咎也。

The section from "Five has already changed" to "no blame": After the sixth line has changed from Li to Kan, the fifth line of Kan originally belongs to Qian, so the fifth line has returned to its proper position. Qian represents the sovereign, and Kun represents the people, as stated in the "Commentary on the Hexagrams." "Shi" means the people, so the people of Kun can be regarded as an army. Zhen represents movement, so the sovereign moves out to wage war. According to the general principle of yao positions, the top line is the head, and after the sixth line returns to its proper position, the upper trigram becomes Qian, so the top line of Qian is the head. Dui represents breaking, so "zhe" (breaking) is taken. The top line, after changing to Dui, its proper position is the second line, so it is called "Jia" (auspicious); using the breaking of Dui to break the head of Qian, thus achieving a glorious victory and capturing the enemy's head. The "Book of Rites · Records of Learning" says "arranging things in order and distinguishing their categories," and the "Zuo Zhuan · Zhou Language" says "what about you, these petty villains?" Wei Zhao says: "Chou means category." The fourth line is not in harmony, so it is called "huo" (capture), referring to capturing the fourth line. Only when yao lines correspond can they be considered the same category; since the top line and the fourth line do not correspond, the captured one is not of the same category. Changing Li to Kan, all six lines have returned to their proper positions, so there is no error.

咸，亨，利貞，取女吉。注。咸，感也。坤三之上成女，乾上之三成男，乾坤氣交以相與，止而說，男下女，故通利貞取女吉。

The Hexagram Statement of 《Xian》 says: "It is smooth, favorable to maintain the correct course, and taking a wife is auspicious." Hui Dong's own commentary states: "Xian" refers to mutual感应. The third line of the Hexagram of K'un rises to the upper position, forming the trigram of the young girl, Dui; the upper line of the Hexagram of Qian descends to the third position, forming the trigram of the young man, Gen. The two energies of K'un and Qian interact with each other, and they are in mutual relation. The lower trigram is Gen, representing stillness, and the upper trigram is Dui, representing joy. The male is humble and occupies a position below the female, thus it is smooth, favorable to maintain the correct course, and taking a wife is auspicious.

疏。此虞義也。咸，感也，《彖傳》文。卦自否來，否三之上，三本坤也，故云坤三之上成女，成兌女也；上本乾也，故云乾上之三成男，成艮男也。否三之上，乾坤氣交以相與，止艮說兌，艮男下兌女，故通利貞。取女吉，謂五取上，三取二，初四易位，初取四也。

Hui Dong's commentary says: This is Yu Fan's view. "Xian is the sense of mutual attraction," as stated in the Commentary on the Judgment. This hexagram comes from the hexagram of "Po" through the movement of the third line, which rises to the top position. The third line originally belongs to the trigram of K'un, so when it rises, it forms the trigram of Dui, representing the young female. The top line originally belongs to the trigram of Qian, so when it descends, it forms the trigram of Gen, representing the young male. After the third line of "Po" rises to the top, the energies of K'un and Qian interact and mutually attract. Below is Gen, which represents stillness, and above is Dui, which represents joy. The young male is subdued beneath the young female, hence the hexagram is harmonious and suitable for maintaining the correct path. The phrase "taking a wife is auspicious" refers to the nine five taking the six at the top, the nine three taking the six in the second, and the initial line and the fourth line exchanging positions, meaning the initial six takes the nine four.

初六：咸其母。注。母讀為拇，足大指也。初足為母，坤亦為母，四感初故咸其母。六二：咸其腓，凶，居吉。注。腓，膊腸也。二為腓，三感二故咸其腓。失五正應故凶。艮為居，得位居中，故居吉。九三：咸其股，執其隨，往吝。注。三為股，巽亦為股，二感三，故咸其股。巽為隨，艮手稱執，故執其隨。初四變三歴險，故往吝。

First Line Statement: "It touches the foot." Hui Dong's own commentary: "Foot" is read as "mu," referring to the big toe. The first line symbolizes the foot, so it is called "mu"; Kun also represents the mother, and the two meanings are connected. Nine in the Fourth Line responds to the first line, so it refers to the big toe. Sixth in the Second Line Statement: "It touches the calf, which is凶 (unfavorable), but it is favorable to stay." Self-commentary: "Calf" refers to the part of the leg below the knee. The second line symbolizes the calf, and Nine in the Third Line responds to Sixth in the Second Line, so it refers to the calf. Therefore, it forsakes the proper response with Nine in the Fifth Line, hence the unfavorable outcome. Gen represents dwelling, and Sixth in the Second Line is in the proper position and in the center of the lower trigram, so it is favorable to dwell still. Nine in the Third Line Statement: "It touches the thigh, grasps its following, and going leads to regret." Self-commentary: The third line symbolizes the thigh, and Xun also represents the thigh. Sixth in the Second Line responds to Nine in the Third Line, so it refers to the thigh. Xun represents following, and Gen represents the hand, hence "grasping." Therefore, it grasps what it follows. After the initial and fourth lines exchange positions, Nine in the Third Line moving forward encounters the danger of Kan, so going leads to regret.

九四：貞吉悔亡，憧憧往來，朋從爾思。注。失位悔也，應初動得正，故貞吉而悔亡矣。憧憧，往來貌。四之初為來，初之四為往，故憧憧往來矣。兌為朋，四於位為心，故云思；初之四體坎亦為思，故朋從爾思也。九五：咸其脢，無悔。注。脢，心之上，口之下也。五為脢，上感五，故咸其脢。五弇於上，宜有悔矣，得正故無悔。上六：咸其輔頰舌。注。輔頰舌謂上也。兌為輔頰，為口舌。五與上比，上不之三，故咸其輔頰舌。《象》曰：「媵口說也。」

The line statement for the fourth line says: "If you remain faithful, you will be auspicious and regret will vanish. There is a confused coming and going, and friends will follow your thoughts." Hui Dong explains: The fourth line, being a yang line in a yin position, is out of place and should naturally have regret. However, it corresponds with the first line, and once it moves, it attains the correct position, thus maintaining correctness and gaining auspiciousness, which causes regret to disappear. "Chong chong" refers to a state of uncertain coming and going. When the fourth line descends to the first position, it is called "coming," and when the first line ascends to the fourth position, it is called "going," hence the coming and going is confused. The trigram Dui represents friends, and the fourth line corresponds to the heart, hence "thought." When the first line ascends to the fourth position, it forms the trigram Kan, which also represents thought, so friends follow your thoughts. The line statement for the fifth line says: "It touches the back of the neck, without regret." Hui Dong explains: "Nei" refers to the flesh on the back above the heart and below the mouth. The fifth line corresponds to the back of the neck, and the sixth line above responds to the fifth line, hence the touch is on the back of the neck. The fifth line is covered by the sixth line below, which would normally cause regret, but since it is in the correct position and upright, there is no regret. The line statement for the sixth line says: "It touches the cheek, jaw, and tongue." Hui Dong explains: The terms "cheek," "jaw," and "tongue" all refer to the sixth line. The trigram Dui represents the jaw and face, as well as the mouth and tongue. The fifth and sixth lines are adjacent, but the sixth line does not descend to the third position, so the response is only within the mouth and tongue. The Image Commentary says: "This is merely the expression of words and speech."

疏。「母讀」至「其母」○母，古文拇，子夏作，與拇同，馬、鄭、虞皆云足大指也。伏羲作《易》，近取諸身，下經人事首咸，故一卦六爻皆取象於人身：初為足，二為腓，三為股，四為心，五為脢，上為輔頰舌是也。虞云坤為拇，《說卦》坤為母，母拇同物，故云坤亦為母。初與四應，四感初，初為足，故咸其母也。

Hui Dong's commentary on the section from "mother reads" to "its mother": "mother" is an ancient form of "thumb," and Zixia's Commentary on the Changes writes it as a single character (the original text here omits this character), which is the same as "thumb." Ma Rong, Zheng Xuan, and Yu Fan all say it refers to the big toe of the foot. Fuxi composed the Book of Changes, taking images from the human body nearby. The lower part of the Book of Changes discusses human affairs, beginning with the Hexagram of Mutual Attraction, so this hexagram's six lines all take images from the human body: the first line represents the foot, the second line the lower leg, the third line the thigh, the fourth line the heart, the fifth line the flesh of the back, and the top line the palate, cheek, and tongue. Yu Fan says the Earthly Hexagram represents the thumb, and the Discourse on the Hexagrams explains that the Earthly Hexagram represents the mother, "mother" and "thumb" originally being the same thing, so the Earthly Hexagram is also called the mother. The line "initial six" corresponds with the line "nine in the fourth," and the line "nine in the fourth" responds to the line "initial six." Since the first line represents the foot, it is said that the response reaches the toe.

○「腓膊」至「居吉」○腓，膊腸，鄭義也。腳膊次於母上，二之象，故二為腓。三據二，故咸其腓。二正應五而比於三，失五正應，故凶。以陰居二得位居中，故居吉也。○「三為」至「往吝」○股而次於腓，上三之象，故三為股。巽為股，《說卦》文。三體巽，故巽亦為股。二感三，故咸其股。二感三而三亦感二，《彖傳》所云「二氣感應以相與」也。足行而股隨，故巽為隨，女隨男亦為隨也。艮為手，以手執物，故為執。初四易位，四體坎三，歴險應上，故往吝。又三已據二，不兼與上也。此兼虞義。

A commentary on the section from "fei bo" to "ju ji" states: "Fei" refers to the calf of the leg, as explained by Zheng Xuan. The calf is located just above the toes, corresponding to the position of the second line, so the second line is associated with the calf. Nine in the third line is connected to six in the second, so it is said to sense the calf. Six in the second originally corresponded with nine in the fifth, but because it is adjacent to nine in the third and is influenced by it, it neglects the proper correspondence with nine in the fifth, leading to misfortune. Since six in the second is a yin line in the second position, it is both in the right place and in the center, so it is auspicious to remain still. Another commentary on the section from "san wei" to "wang lin" states: The thigh is located above the calf, corresponding to the position of the third line, so the third line is associated with the thigh. Xun is associated with the thigh, as mentioned in the "Sayings of the Hexagram Transmission"; nine in the third line belongs to the nature of Xun, so Xun is also associated with the thigh. Six in the second senses nine in the third, and nine in the third senses six in the second, which is exactly what the "Commentary on the Judgment" says: "Two energies mutually sense each other and interact with each other." When the foot moves, the thigh follows, so Xun represents following; a woman following a man is also called "following." Gen represents the hand, and using the hand to hold something is called "holding." After the initial and fourth lines exchange positions, the fourth line belongs to Kan. Nine in the third line must cross over the danger of Kan to correspond with upper six, so moving forward leads to regret; moreover, nine in the third line already holds six in the second and cannot simultaneously interact with upper six. This explanation incorporates Yu Fan's interpretation.

○「失位」至「思也」○四失位宜有悔，與初易位，故應初動得正，貞吉而悔亡矣。《廣雅》曰：「憧憧，往來也。」之內曰來，故四之初為來；之外曰往，故初之四為往，憧憧往來之象也。咸至姤六日七分，陰消之卦，與時消息，故取義於往來耳。兌二口相對為朋，四於爻位為心，故云思。初之四體坎，坎亦為思，故朋從爾思也。此兼虞義。

The commentary on the section from "loss of position" to "thinking" explains that the nine in the fourth line has lost its proper position and should therefore have regret. However, since it exchanges positions with the first line, it now corresponds below to the first line, and one movement brings it to the correct position, thus maintaining correctness and achieving good fortune, thereby eliminating regret. The "Guangya" says: "Chongchong means coming and going." Going into the inner trigram is called "coming," so the fourth line moving to the first position is "coming"; going out of the trigram is called "going," so the first line moving to the fourth position is "going." This is the image of coming and going, chongchong. From the hexagram "Xian" to "Gou" takes exactly six days and seven parts, both belonging to hexagrams of yin energy decreasing and yang energy waning, which change with the seasons. Therefore, this line takes its meaning from "coming and going." The two mouths of Dui facing each other form "peng," and the fourth line corresponds to the heart in the yao position, so it is said "thinking." The first line rising to the fourth position forms the body of Kan, which also represents thinking, so it is said that friends follow one's thoughts. This explanation incorporates Yu Fan's view.

○「脢心」至「無悔」○脢，心之上，口之下，王弼義也。四為心，上為口，五在其中，故云心之上口之下。五與上比，上感五，故咸其脢。五陽上陰。

The commentary on the section from "Mèixīn" to "Wúhuǐ" states: "Mèi" is above the heart and below the mouth, according to Wang Bi. The fourth line represents the heart, the top line represents the mouth, and the fifth line is exactly between them, so it is said to be above the heart and below the mouth. The nine in the fifth and six at the top are adjacent, and the six at the top responds to the nine in the fifth, hence thesympathetic response to mèi. The nine in the fifth is a yang line, and the six at the top is a yin line; one strong and one weak adjacent to each other, which is the origin of the mutualsympathetic response between above and below.

故五弇於上，宜有悔矣。得正得中，故無悔也。○輔頰至說也○虞云：耳目之間稱輔頰。又《說文》曰：「輔，頰也。」尋輔近口在頰前，故《淮南子》曰「靨輔在頰前則好」是也。耳目之間為權，權在輔上，故曹植《洛神賦》云「靨輔承權」。《夬》九三「壯于頄」，頄即權也。頰所以含物，輔所以持口，輔頰舌三者並言，明各為一物，是輔近頰而非頰。虞以權為輔，《說文》以輔為頰，皆非也。上為首，故輔頰舌謂上也。兌為輔頰，《九家說卦》文。五與上比，上不之三，故咸其輔頰舌，徒以言語相感而已。傳曰「媵口說也」，言徒送口說。

The yang of nine five is hidden within the upper trigram and should naturally bring regret; however, since it occupies the correct position and the central position, the line statement says there is no regret. The following passage is a commentary on the annotation from "auxiliary cheek" to "speech." Yu Fan says: the area between the ear and the eye is called the auxiliary cheek. The "Shuo Wen Jie Zi" also says, "auxiliary is the cheek." Upon examination, the auxiliary is near the mouth and in front of the cheek, so the "Huainanzi" says, "a dimple in front of the cheek is considered beautiful," referring exactly to this area. The area between the ear and the eye is called "quan," which is above the auxiliary. Therefore, Cao Zhi's "Lu Shen Fu" says, "the dimple supports the cheekbone." The line statement of the "Gua" hexagram's nine three, "strong at the cheek," refers to "quan." The function of the cheek is to hold food, and the function of the auxiliary is to support the mouth. The line statement lists the auxiliary, cheek, and tongue together, indicating they are separate parts, showing that the auxiliary is near the cheek but not the same as the cheek. Yu Fan equating "quan" with the auxiliary, and the "Shuo Wen" equating the auxiliary with the cheek, are both incorrect. The top line in a hexagram symbolizes the head, so "auxiliary, cheek, tongue" refers to the top line, yu six. The trigram兑 (Dui) takes the image of the auxiliary and cheek, as stated in the "Jiu Jia Yi" interpretation of the "Shuo Gua." Five and the top line are adjacent, and the top line does not correspond with nine three, so it can only "touch the auxiliary, cheek, and tongue," communicating only through words. The "Xiang Zhuan" says, "it is speech," meaning the top line can only express words.

震宮三世卦，消息內卦六月、外卦七月。恆，亨，無咎，利貞，利有攸往。注：泰初之四，與益旁通。恆，震世也，巽來承之。長男在上，長女在下，陰陽會合，故通無咎。初四二五失位，利變之正，故利貞。之外曰往。

This hexagram belongs to the third generation in the Zhen (Thunder) Palace among the eight palaces of Jing Fang. The month associated with the hexagram's qi is June for the inner trigram and July for the outer trigram. The text says: The hexagram of "Constantness" is smooth, without fault, suitable for maintaining correctness, and suitable for going somewhere. Hui Dong's own commentary states: The hexagram of "Constantness" is derived from the hexagram of "Prosperity" by exchanging the first line and the fourth line. It is completely opposite in yin and yang to the hexagram of "Increase," and the two hexagrams are mutually complementary. The hexagram of "Constantness" is the world hexagram of the Zhen (Thunder) Palace, with the lower trigram Xun (Wind) coming up to support it. Zhen represents the eldest son in the upper trigram, while Xun represents the eldest daughter in the lower trigram. The combination of one yin and one yang allows for communication and harmony, hence it is smooth and free from calamity. The four lines, initial, fourth, second, and fifth, are all in improper positions, and they should each change to proper positions, hence it says "favorable to uprightness." Moving from the inner trigram to the outer trigram is called "going," hence there is the statement "favorable for going somewhere."

疏：泰初之四，與益旁通，虞義也。恆，震宮三世卦，故云震世。一世豫，二世解，三世而下體巽，故云巽來承之。內巽外震，震長男，巽長女，故云長男在上，長女在下。男女會合，天地交而萬物通，故通無咎，此上荀義也。初四二五四爻失位，利變之正，故利貞。初利往之四，二利往之五，四五皆在外卦，故云之外曰往。

Hui Dong himself explained that the statement "the fourth line of Tai Chi is connected with Yi through the side" comes from Yu Fan. The hexagram Heng belongs to the Zhen family as the third generation, so the commentary refers to it as "Zhen's generation." The first generation of the Zhen family is Yu, the second is Jie, and by the third generation, the lower trigram becomes Xun, hence the statement "Xun comes to take over." The inner trigram is Xun and the outer trigram is Zhen. Zhen represents the eldest son and Xun represents the eldest daughter, so the commentary says "the eldest son is above, the eldest daughter is below." The union of male and female corresponds to the union of heaven and earth, allowing all things to flow smoothly, thus achieving clarity without error. This is based on Xun Shuang's principles. The lines at the beginning, fourth, second, and fourth and fifth are not in proper positions and should change to the correct positions, hence the statement "favorable for uprightness." The line at the beginning should move to the fourth position, and the line at the second should move to the fifth position. The fourth and fifth positions are in the outer trigram, so the commentary says "moving from inside to outside is called going."

《彖傳》曰：恆，久也。尋恆體震巽，八卦諸爻唯震巽變，故虞注六五及《彖傳》曰終變成益是也。六爻皆變，不可為恆而名恆者，其義有三焉。夫婦之道不可以不久恆，震夫巽婦，陰陽會合，雜而不厭，一也。卦唯三上得正，上震恆凶，則守正者唯九三一爻耳，故《象傳》曰「君子以立不易方」，二也。終變成益，則初四二五皆得位，《繋下》曰：易窮則變，變則通，通則久。恆者，久也，故都其義於五曰恆其德，三也。有此三義，故名恆也。

The Commentary on the Judgment says, "Constantness means enduring forever." Examining the Hexagram of Constantness, it is composed of the trigrams Zhen (Thunder) and Xun (Wind). Among the trigrams of the eight, only the lines of Zhen and Xun can change. Therefore, Yu Fan commented on the line of six in the fifth and the Commentary on the Judgment saying "eventually transforming into the Hexagram of Gain." Since all six lines must change, it should not be called "Constantness," yet it is still named so, for three reasons. First, the relationship between husband and wife should not be transient; Zhen represents the husband and Xun the wife. Yin and Yang meet and combine, coexisting without weariness. Second, in the entire hexagram, only the lines of nine in the third and six at the top are in proper positions. However, the line statement of six at the top is "constant change, misfortune," so only the line of nine in the third remains in proper position. Therefore, the Image Commentary says, "The superior person acts by establishing a firm position without change." Third, eventually all six lines transform into the Hexagram of Gain, and the lines of initial, fourth, second, and fifth all become proper. The Commentary below the Changes says, "The Way of the Book of Changes reaches its limit and thus transforms; transformation leads to communication; communication leads to constantness." "Constantness" precisely means enduring forever. Therefore, the meaning of the entire hexagram is summarized in the line statement of six in the fifth, "maintaining its virtue constantly." With these three meanings, the hexagram is named the Hexagram of Constantness.

初六：浚恆，貞凶，無攸利。注：陰在初稱浚，浚，深也。四之初，故浚恆貞凶無攸利。九二：悔亡。注：失位悔也，動而得正，處中多譽，故悔亡。九三：不恆其德，或承之羞，貞吝。注：三體乾為德，變失位，故不恆其德。坤恥為羞，變至四體坤，故或承之羞。三多凶，變失位，與上敵應，故貞吝。

The Line Statement for the first line: Seeking permanence only in depth, being stubborn leads to danger and brings no benefit. Hui Dong's commentary: A yao of yin in the first position is called 'Jun', meaning depth; nine four moving down to the first position, thus it is said 'Jun Heng Zhen Xiong Wu You Li'. The Line Statement for the second line: Regret disappears. Commentary: Nine two, being yang in a yin position, is out of place and should bring regret; once it changes to the correct position, it becomes proper, and being in the lower trigram, it gains much praise, hence regret disappears. The Line Statement for the third line: Unable to maintain one's virtue, one is subjected to disgrace, being stubborn will surely lead to regret. Commentary: Nine three is in the trigram of Qian, which symbolizes virtue; once it changes, it loses its proper position, thus it is said 'not maintaining its virtue'; Kun symbolizes disgrace, hence it is called 'shame', changing to the fourth position becomes the trigram of Kun, thus it is said 'perhaps bearing disgrace'. The third line is originally full of danger, once it changes, it loses its proper position, and being of the same nature as the sixth line above, it cannot correspond, thus it is said 'Zhen Lin'.

九四：田無禽。注：田，獵也。五坤為田，四欲獵五，五已之正，故田無禽。六五：恆其德，貞，婦人吉，夫子凶。注：動正成乾，故恆其德。婦人謂巽初，終變成益，震四復初，婦得歸陽，從一而終，故貞婦人吉也。震乾之子而為巽夫，故曰夫子。震四從巽死於坤中，故夫子凶也。上六：震恆，凶。注：在震上，故震恆。五動乘陽，故凶。

The line statement for nine in the fourth says: hunting in the fields but obtaining nothing. Note: "田" means hunting. Six in the fifth originally comes from the earth (Kun), and earth represents fields. Nine in the fourth wishes to capture six in the fifth, but six in the fifth has already moved to the correct position, hence the hunting yields nothing. The line statement for six in the fifth says: maintaining one's virtue, the result of the divination is favorable for women and unfavorable for men. Note: when six in the fifth moves to the correct position, it becomes the Heaven (Qian) trigram, so it is said "maintaining one's virtue." "Women" refers to the first line of the lower trigram Xun, and the sixth line eventually transforms into the "Benefit" (Yi) hexagram. The fourth line of Zhen returns to the initial position, allowing the woman to be attached to the yang, remaining loyal to one, hence it is said "贞, favorable for women." Zhen is the son of Heaven and here serves as the husband of Xun, hence it is called "husband and son." The fourth line of Zhen follows the wife of Xun and dies within the earth trigram, hence it is said "husband and son is unfavorable." The line statement for six at the top says: shaking continuously yet seeking lasting stability, which is unfavorable. Note: six at the top is located above the Zhen trigram, hence it is called "Zhen's constant movement." When nine in the fifth moves, six at the top rises above the yang line, hence there is misfortune.

疏：「陰在」至「攸利」○陽在初為潛為淵，皆深也，故虞注《上繋》曰：深，陽也。浚與浚通。莊九年《公羊傳》曰：浚之者何？深之也。故云陰在初稱浚。浚，深也，《釋言》文。深為陽，本體四陰之初浚而後深，故浚恆貞凶無攸利也。○失位至悔亡○此虞義也。二多譽，故處中多譽。

Hui Dong explains: This passage of commentary begins from "yin in" to "beneficial." A yang line in the first position has the images of "hidden" and "deep pool," both containing profound meaning. Therefore, Yu Fan commented in the Commentary on the Supreme Truth, saying "depth belongs to yang." The characters "jin" and "xun" are homophones. The Spring and Autumn Annals: Gongyang Commentary states in the ninth year of Duke Zhuang: "What does 'xun' mean? It means to deepen." Therefore, the commentary refers to a yin line in the first position as "xun"; "xun" is interpreted as depth, according to the Er Ya: Shiyán explanation. Depth originally belongs to yang, but in this hexagram the first position is the beginning of four yin lines. Only after being deepened can its depth be seen. Therefore, the line statement says "xun heng, zhen xiong, wu you li." The following commentary from "losing position" to "regret disappears" is based on Yu Fan's method. The second line often receives praise, so the commentary says "being in the center brings much praise."

○三體至貞吝○三本乾也，又互乾，乾為德，為久。變失位，故不恆其德。爻例無有得位而變者，以巽於諸爻特變，故云變失位耳。羞者，恥辱，坤為恥，故云坤恥為羞。終變成益，變之四則三體坤，故或承之羞。三多凶，《下繋》文。變至三，與上敵應，立心勿恆，為上所擊，故貞吝也。

This passage explains from "Three Lines" to "Zhen Lin." The third line originally belongs to the Qian trigram, and it also forms the Qian trigram with the lines above and below. The Qian trigram represents virtue and longevity. However, once it changes, it loses its position, hence the statement "not maintaining its virtue." According to the general rule of changing lines, a line that is already in the correct position should not change. However, the Xun trigram is particularly prone to change, so the commentary mentions "change and lose position." "Sh羞" means disgrace, and the Kun trigram has the image of disgrace, hence the commentary says "Kun's disgrace is shame." When all six lines change, the result is the Yi hexagram. When it changes to the fourth line, the third line falls within the Kun trigram, hence the statement "perhaps bearing the disgrace." "Three lines are often凶" is a saying from the Xici Zhuan. When it changes to the third line, it becomes opposite and incompatible with the sixth line at the top, leading to an unstable mind and being attacked by the sixth line at the top, hence the statement "Zhen Lin."

○田獵至無禽○田者，田獵，故曰田，獵也。坤土為田，五本坤也，故五坤為田。陰陽相比相應，陰為陽得，稱獲，稱得，稱禽。四與五比而欲獵五，二五易位，五已之正，故田無禽，言無所得也。

This section of the commentary explains from "field hunting" to "no game obtained." "Field" refers to hunting, so the commentary says "field means hunting." The trigram坤 represents earth, so it is taken as a symbol of the field; since the fifth line originates from the trigram坤, it is said "five is坤, representing the field." When yin and yang are adjacent and harmonious, yin being taken by yang is called "obtaining," "gaining," or "capturing." The ninth line of the fourth position is adjacent to the sixth line of the fifth position and wishes to capture the fifth line, but after the second and fifth lines exchange positions, the fifth line has already moved to the correct position, so it is said "field hunting obtains no game," meaning there is nothing to be gained.

○動正至凶也○此虞義也。益自否來，五本否乾，故云動正成乾，又凡五之正皆為乾也。乾為德，為久，故恆其德。初體巽，巽為婦，故婦人謂巽初。終變成益，初四得正，震四復初，初為一，巽四從陽，故從一而終。《穀梁傳》曰：婦人以貞為行者。故貞婦人吉也。震為長子，又為夫，故云震乾之子為巽夫曰夫子也。終變成益，則震為巽，互乾為坤，坤為死，震四從巽婦而死於坤中，故夫子凶也。

This section of the commentary follows Yu Fan's interpretation from "movement and correctness" to "misfortune." The hexagram Yi comes from the hexagram Po, and the sixth line in the fifth position was originally a line in the乾 body of Po. Therefore, it is said "movement and correctness form乾." Furthermore, whenever the fifth line moves to the correct position, it becomes the乾 body.乾 is taken as representing virtue and duration, so it is said "maintaining its virtue." The first line is in the body of Xun, and Xun represents a woman, so "woman" refers to the first line of Xun. In the end, all six lines transform into the hexagram Yi, with the first and fourth lines both becoming correct. The fourth line of Zhen returns to the first position, which is "one," and the fourth line of Xun follows the yang, so it is said "following one to the end." The "Guliang Commentary" says "a woman should take uprightness as the standard for her actions," so it is said "uprightness, woman's good fortune." Zhen represents the eldest son and also a husband, so the commentary says Zhen is the son of乾 and became the husband of Xun, thus called "husband and son." In the end, all six lines transform into Yi, Zhen transforms into Xun, and the mutual body of乾 transforms into坤.坤 has the image of death, and the fourth line of Zhen follows the wife of Xun and dies within the body of坤, so it is said "husband and son misfortune."

○在震至故凶○此虞義也。虞注《說卦》曰：震內體為專，外體為躁。震，動也，在震上處動極，故震恆。五之正則上乘陽，故五動乘陽，乘陽不敬，故凶也。震亦作振，古文震、振、祇三字同物同音。祇有耆音，故《說文》引《易》作榰恆也。

This passage's commentary follows Yu Fan's interpretation. Yu Fan's commentary on "Say the Diagram" states that the inner structure of Zhen represents singleness, while its outer structure represents restlessness. Zhen signifies movement. The sixth line at the top is located above the structure of Zhen, precisely at the extreme point of movement, hence it is called "Zhen constant." The fifth line changes to the central position, causing the sixth line to dominate over the yang line, hence the commentary says "the fifth line moves and occupies the yang." A yin line occupying a yang line is disrespectful, hence there is misfortune. "Zhen" can also be written as "zhen," and in ancient texts, the characters zhen, zhen, and zhi are homophones and refer to the same thing. "Zhi" also has the pronunciation "qi," so the "Say the Diagram" quotes this sentence as "zhi constant" in the "Shuowen Jiezi."

乾宮二世卦，消息六月。亨。注：陰消遘二也。艮為山，巽為入，乾為遠，遠山入藏，故。五陽當位，正應在二，故亨。小利貞。注：陰稱小，利正居二，與五相應。疏：「陰消」至「故亨」○。陰消之卦，消遘及二，故云陰消遘二也。艮為山，巽為入，乾為遠，遠山入藏，故，皆虞義也。陽長為進，陰消為退，有退義，故《序卦》曰：者，退也。以陽居五，故五陽當位，與二正應，乾坤交通，故亨。消至三則天地否隔，不能通矣，故二利居正，與五相應，此荀義也。

This hexagram belongs to the second generation of the Qian trigram in Jing Fang's eight palaces, and its qi corresponds to June. The text of the classic only has the character "亨" (smooth). The original text here and below, wherever the hexagram name "遁" (retreat) appears, is missing. When reading, one must supply it themselves. Note: This hexagram represents the decline of yin and the retreat of yang, formed by further decline of the "Gou" hexagram to the second line. Gen represents mountain, Xun represents entry, and Qian represents distance. A distant mountain hidden and concealed, thus the hexagram is called "Dun" (retreat). The line nine in the fifth position holds yang in the fifth position and is in the correct position, and also corresponds with line six in the second, hence it is smooth. The text says: "Small benefit to uprightness." Note: Yin is called "small," line six in the second is suitable for staying in the correct position and corresponding with nine in the fifth. Commentary: This section of commentary moves from "yin decline" to "thus smooth." "Dun" is a hexagram of yin decline of yang, declining to the second line, so the commentary says "yin decline of Gou at the second line." "Gen represents mountain, Xun represents entry, Qian represents distance, distant mountain entering concealment, thus Dun," all of which are based on Yu Fan. The growth of yang is called "progress," the decline of yin is called "retreat." "Dun" contains the meaning of retreat, hence the "Sequence of Hexagrams" says "Dun is retreat." Saying that a yang line is in the fifth position, it is said "five yang are in the correct position." It corresponds with line six in the second, the qi of Qian and Kun are connected, thus it is smooth. If yin continues to decline to the third line, it becomes the "Po" hexagram, where heaven and earth are closed and cannot communicate. Hence line six in the second is suitable for staying in the correct position and corresponding with nine in the fifth—this is Xun Shuang's interpretation.

初六：尾厲，勿用有攸往。注：初為尾，尾微也，故尾。初失位，故危之。應成坎為災，故勿用有攸往。六二：執之用黃牛之革，莫之勝說。注：艮手稱執，坤為黃牛，艮為皮，故執之用黃牛之革。莫，無；勝，能；說，解也。二得中應五，固志守正，故莫之勝說。

The first line statement says: Retreating to the last position like a tail, there is danger, and it is not advisable to go anywhere. Note: According to the general principles of line positions, the first line symbolizes the tail, which signifies something small, hence called "tail of retreat." The first line, being a yin line in a yang position, is out of place, hence it is in a dangerous situation. The line should correspond to nine in the fourth position, which would transform into the trigram Kan, representing calamity, hence it is not advisable to go anywhere. The second line statement says: Use a yellow ox hide rope to bind it, no one can untie it. Note: The trigram Gen represents the hand, so it is called "to hold"; the trigram Kun represents a yellow ox, and Gen represents hide, hence it is said "to hold with a yellow ox hide." "Mo" means nothing, "sheng" means to be able, and "yue" means to untie. The second line is in the middle of the lower trigram and corresponds to nine in the fifth position, showing a firm will and adherence to the correct path, hence no one can untie it.

九三：繫有疾厲，畜臣妾吉。注：二繫三，故繫。三多凶，四變三體坎為疾，故有疾厲。陰剝陽，三消成坤，與上易位。坤為臣，兌為妾，上來之三，據坤應兌，故畜臣妾吉。九四：好，君子吉，小人否。注：乾為好，陰得位為君子，失位為小人。動之初，故君子吉；消成否，故小人否。

The line statement for the third line: Retreating and being bound, there is danger of illness, but it is auspicious to keep servants and concubines. Note: The sixth line binds the third line, hence 'bound and retreat'. The third line is often dangerous. When the fourth line changes, the third line is in the trigram Kan, which represents illness, hence 'danger of illness'. Yin energy erodes yang energy, the third line disappears and becomes the trigram Kun, which is associated with servants, and exchanges position with the top line. Kun represents servants, Dui represents concubines, the top line comes down to the third position, occupying Kun and corresponding with Dui above, hence it is auspicious to keep servants and concubines. The line statement for the fourth line: One has a preference but still retreats, the gentleman is auspicious, the petty person is not. Note: The trigram Qian represents preference, a yin line in the correct position is a gentleman, and in the wrong position is a petty person. When it moves to the first position, the gentleman is auspicious; when yin energy continues to disappear and forms the trigram 'Pu', the petty person is not auspicious.

九五：嘉貞吉。注：陰陽相應為嘉，剛當位應二故嘉貞吉。上九：飛，無不利。注：應在三，四變三體離為飛，上失位變之正，故飛。《九師道訓》曰：而能飛，吉孰大焉。故無不利，乾為利也。疏：「初為」至「攸往」○爻例初為尾，上為角。《說文》曰：尾，微也。古文通。《尚書》「鳥獸孳尾」，《史記》作「字微」，《論語》有微生高，《莊子》作尾生，微猶隱也。陽伏初，故云尾。六居初為失位，故危。應在四，初之四體坎，坎為災，故勿用有攸往也。

The line statement for the fifth line: Beautiful retreat, the divination is auspicious. Note: When yin and yang correspond with each other, it is called "Jia." The fifth line, with a yang line in the central position, corresponds with the second line, so it is said "Jia Du Zhen Ji." The line statement for the top line: High flight and distant retreat, nothing is unfavorable. Note: The top line corresponds with the third line, and the fourth line changes, making the third line form the Li trigram, which represents flight; the top line, being out of position, changes to the central position, so it is said "Fei Du." The "Nine Masters' Way of Instruction" says: Being able to retreat and also to fly high, is there any greater auspiciousness than this? Therefore, "nothing is unfavorable"; Qian represents benefit. This section of commentary runs from "Chu Wei" to "You Wang." According to the general principle of line positions, the first line symbolizes the tail, and the top line symbolizes the horn. The "Shuo Wen Jie Zi" says: "Tail means slight." The characters "tail" and "slight" are interchangeable in ancient texts: The "Book of Documents" says "birds and beasts multiply and tail," which is quoted in the "Records of the Grand Historian" as "words slight"; the "Analects of Confucius" mentions "Weisheng Gao," while the "Zhuangzi" writes "Weisheng" — "slight" also implies concealment. Yang energy is hidden in the first position, so it is said "Du Wei." A yin line in the first position is out of position, so there is danger. The first line corresponds with the fourth line, and if the first line moves to the fourth position, it forms the Kan trigram, which represents disaster, so it is not advisable to go anywhere.

○艮手至勝說○二體艮，艮為手，故艮手稱執。坤為黃，《九家說卦》文，又為子母牛，故為黃牛。艮為皮，虞義也，《九家說卦》曰：艮為膚。皮膚同義，故執之用黃牛之革。《考工記》：攻皮之工五，函、鮑、韗、韋、裘。始拆謂之皮，已乾謂之革，既熟謂之韋，其實一物也。莫，無；勝，能；說，解，皆虞義也。二得位得中，正應在五，固志守正，無能解說，故莫之勝說，彖辭小利貞正此義也。

This section of the commentary discusses from "Gèn Shǒu" to "Shèng Shuō." The second line, Six in the Second, is within the structure of Gèn (Mountain), which represents the hand, so it is said "Gèn Shǒu Chēng Zhí" (Mountain hand is grasping). The Earthly element Kūn (Earth) takes the image of yellow, as explained in the text from the "Nine Schools Commentary" on "Shuō Guà." Kūn also represents a mother cow and a calf, so it takes the image of a yellow ox. "Gèn wéi pí" (Mountain is skin) comes from Yu Fan. The "Nine Schools Commentary" on "Shuō Guà" says "Gèn wéi fū" (Mountain is skin), where pí and fū have the same meaning, so it is said "zhí zhī yòng huáng niú zhī gé" (grasping with the hide of a yellow ox). The "Zhou Li · Kǎo Gōng Jijì" states that there are five types of craftsmen who process leather: Hán Rén (skin worker), Bào Rén (tanner), Yǐn Rén (cymbal maker), Wéi Rén (leather worker), and Qiú Rén (fur worker). Freshly peeled hides are called "pí," dried hides are called "gé," and tanned leather is called "wéi," which are actually the same thing. "Mò" means "no," "shèng" means "can," and "shuō" means "to resolve," all derived from Yu Fan. Since the second line is both in the correct position and in the center, it corresponds to the fifth line, Nine in the Fifth, indicating a firm and steadfast will that cannot be resolved, hence "mò zhī shèng shuō" (nothing can resolve it). The hexagram statement "xiǎo lì zhēn" (small gain in uprightness) precisely conveys this meaning.

○二繫至妾吉○成於二，二陰三陽，二繫於三，故繫。遘初繋二，亦是陰繫於陽也。三多凶，故危。四變三體坎以下，虞義也。坎多眚為疾，故有疾厲。。陰消之卦，故陰剝陽。三消成坤，與上易位者，三互巽特變，故從《家人》《漸》之例。三動上反三，故三消成坤，與上易位也。三消成坤，坤為臣；與上易位，上體兌，兌為妾。上來之三，據下之坤，應上之兌，故畜臣妾吉。荀氏謂潛之世，但可居家畜養臣妾也。

This section of the commentary begins from "two lines" to "the wife is auspicious." The hexagram of "Retreating" is formed at the second line, where the second line is yin and the third line is yang. The second line is connected to the third, hence it is called "connected retreating." The hexagram of "Meeting" is formed when the first line is connected to the second line, and it is also yin connected to yang. The third line is prone to danger, hence it is said to be dangerous. The phrase "four changes and three bodies of Kan" and the following are examples of Yu Fan's interpretation. Kan represents many calamities, so it is taken as an image of illness, hence it is said "there is illness and danger." The original text here is missing another character "Retreating." The hexagram of "Retreating" is one where yin consumes yang, hence it is said that the yin energy erodes the yang energy. The phrase "three lines consume to form Kun, and exchange positions with the upper" means that the third line forms the trigram Xun through mutual interaction and is particularly changeable. Therefore, following the precedent of the hexagrams "Family" and "Gradual Progress," when the third line moves, the upper nine moves down to the third position. The third line consumes to form Kun, which represents a minister; after exchanging positions with the upper, the upper becomes Dui, which represents a wife. The upper nine moves down to the third position, controlling the lower Kun, and corresponds with the outer trigram Dui, hence "keeping ministers and wives is auspicious." Xun Shuang believes this is a time of retreat and concealment, so one can only stay at home and keep ministers and wives.

○乾為至人否○乾為好，虞義也。賈逵《左傳》注曰：好生於陽。故乾為好。《乾鑿度》觀四為君子，否三為小人，故知陰得位為君子，失位為小人。四失正，動之四得位，承五故君子吉。消陰及否，三失位為小人，故小人否。鄭氏讀否為《否》卦之否也。

This section of the commentary discusses from "Qian represents" to "human failure." The phrase "Qian represents good" comes from Yu Fan. Jia Kui's commentary on the "Zuo Zhuan" says that "good" arises from yang. Therefore, Qian takes the image of good. The "Qian Zao Du" takes the fourth line of the "Guan" hexagram as representing the gentleman and the third line of the "Po" hexagram as representing the petty person, thus indicating that a yao in the阴 position is a gentleman and one out of position is a petty person. The fourth line is not in the correct position but moves to a proper position, and it is above the nine in the fifth, so the gentleman receives good fortune. The阴 energy gradually diminishes until it reaches the "Po" hexagram, and the third line is out of position, thus becoming a petty person, so the petty person does not receive good fortune. Zheng Xuan reads the character "po" in the line statement as the "po" in the "Po" hexagram.

○陰陽至貞吉○《文言》曰：亨者，嘉之會也。昏禮為嘉，陰陽相應，義同昏冓，故為嘉。五剛當位，正應在二，故嘉貞吉也。○應在至利也○三已變上之三，故應在三。四之初，故四變三體離，離有飛鳥之象，故為飛。六居上為失位，變之正故飛，謂去而遷也。《九師道訓》，淮南王聘明《易》者九人所作。微則厲，繫則疾，飛則吉。荀注乾九五曰：飛者，喻無所拘也。上體乾，故乾為利也。

This section of the commentary begins with "yin and yang" and ends with "auspicious." The "Wenyan Zhuan" states: "The hexagram is harmonious because it gathers all good qualities." Marriage is a type of ceremonial ritual, and yin and yang correspond to each other, which is equivalent to the union of husband and wife, hence it is called "auspicious." The line nine in the fifth position is a strong line in the correct position, which should correspond to line six in the second, so it is said "auspicious retreat, faithful and auspicious." The following commentary begins with "corresponding" and ends with "beneficial." The third line has changed, and the line nine at the top is now in the third position, so it is said "corresponding to the third." The line nine in the fourth position moves down to the first position, so the fourth line changes, and the third line is now within the trigram of fire, which has the image of a flying bird, hence the image is taken as flying. Having a line six in the upper position is losing its proper place, but changing to the correct position is called "flying retreat," referring to leaving and migrating. The "Jiu Shi Dao Xun," written by Prince Huainan who invited nine scholars proficient in the "Yi Jing," says: smallness brings danger, being bound brings illness, and high flying brings good fortune. Xun Shuang's commentary on the line nine in the fifth position of the Qian hexagram says: "Flying is a metaphor for being unbound." The line nine at the top is within the Qian hexagram, so Qian takes the image of benefit.

坤宮四世卦，消息二月。大壯，利貞。注：陽息泰也。壯，傷也。大謂四，失位為陰所乘，兌為毀折，故傷。與五易位乃得正，故利貞也。疏：此虞義也。陽息泰成大壯。馬氏亦云：壯，傷也。《方言》曰：凡草木刺人，北燕朝鮮之間謂之策，或謂之壯。郭璞注云：今淮南亦呼壯為傷。是也。陽大陰小，故大謂四。以九居四為失位，五陰乘之，陰氣賊害，又體兌，兌為毀折，故名大壯。《太玄》準之以《夷》，夷亦傷也。四當升五，與五易位，則各得其正，故利貞也。

This hexagram belongs to the fourth generation in the Kun palace among Jing Fang's eight palaces, and its qi corresponds to the second month. The classic text says: "Great Strength," which is suitable for maintaining correctness. Note: This hexagram is formed by the growth of yang qi, with one more yao added to the Tai hexagram. "Zhuang" means injury. "Da" refers to the ninth line in the fourth position, which is out of place and is being attacked by the yin line above. Dui represents destruction, so it is said "injury." When the ninth line in the fourth position exchanges places with the sixth line in the fifth, both lines regain their proper positions, hence "favorable for uprightness." Commentary: This is Yu Fan's interpretation. Yang qi grows from the Tai hexagram to form the Da Zhuang hexagram. Ma Rong also said, "Zhuang means injury." The "Fangyan" says: any plant or tree that pricks people is called "Ce" in northern Yan and northern Korea, and is also called "Zhuang." Guo Pu's commentary says: nowadays in the area of Huainan, "Zhuang" is also called "Shang." This matches the meaning. Yang is great, yin is small, so "Da" refers to the ninth line in the fourth position. The ninth line in the fourth position is out of place, and the yin line in the fifth position attacks it above. Yin qi is harmful, and since the ninth line is also in the Dui trigram, which represents destruction, the hexagram is called Da Zhuang. Yang Xiong's "Tai Xuan" associates the hexagram with "Yi," which also means injury. The ninth line in the fourth position should rise to the fifth position and exchange places with the sixth line in the fifth, so both lines regain their proper positions, hence "favorable for uprightness."

初九：壯於止，征凶，有孚。注：初為止。應在四，震足亦為止為徵。初四敵應，故壯於止征凶。四上之五成坎，已得應四，故有孚。九二：貞吉。注：變得位故貞吉。九三：小人用壯，君子用罔，貞厲。注：應在上也。三陽君子，小人謂上。二變三體離，離為罔。上乘五，故用壯；三據二，故用罔。體乾夕惕，故貞厲。羝羊觸藩，羸其角。注：兌為羊，陽息之卦，故云羝。藩謂四也。羸讀為累。三欲觸四而應上，故羸其角。角謂上也。

The first line statement says: The strength is concentrated at the toes, traveling brings danger, but there is sincerity. Note: According to the general principle of line positions, the first line symbolizes the toes, so the term "stop" here refers to "toe." The first line corresponds to the fourth line, and the fourth line is in the trigram Zhen (Thunder), which represents the foot. Therefore, it takes the image of the toe and also the image of movement. Both the first and fourth lines are yang lines, opposing each other and unable to correspond, hence "strength at the toes, traveling brings danger." When the fourth line moves up to the fifth position, it becomes the trigram Kan (Water), and the first line has already received the response from the fourth line, hence "there is sincerity." The second line statement says: The divination is favorable. Note: The second line is a yang line in a yin position, and once it changes, it becomes appropriate, hence "the divination is favorable." The third line statement says: The petty person uses only strength, while the gentleman uses the strategy of a net. If it persists, there is danger. Note: The third line corresponds to the sixth line. The third line is yang, representing the gentleman; "petty person" refers to the sixth line. When the second line changes, the third line is in the trigram Li (Fire), which represents a net. The sixth line is above the fifth line, hence it is said "using strength." The third line holds the second line, hence it is said "using a net." The third line is in the trigram Qian (Heaven), which has the image of "being vigilant at night, as if in danger," hence "dangerous." The line statement also says: A male sheep collides with a fence, its horn is caught. Note: The trigram Dui (Lake) represents a sheep; this hexagram represents the growth of yang energy, so it is called "didi," meaning a male sheep. "Fence" refers to the fourth line. "Ling" is read as "lei," meaning to entangle or bind. The third line wants to collide with the fourth line and correspond with the sixth line, hence "its horn is caught"; "horn" refers to the sixth line.

九四：貞吉，悔亡，藩決不羸，壯於大轝之腹。注：失位悔也，之五得中，故貞吉而悔亡矣。體夬象，故藩決。震四上處五則藩毀壞，故藩決不羸。腹讀為輹。坤為大轝為腹，四之五折坤，故壯於大轝之腹。

Nine in the Fourth Line Statement: The divination is favorable, regret disappears, the fence has been broken through and no longer entangles, the vigorous strength is exerted on the hub of a large cart. Note: Nine in the Fourth is a Yang line in a Yin place and thus is out of position, and should originally have regret; but when it moves up to the Fifth position it is in the center, so it is both favorable and without regret. This line already has the image of the卦夬 (Decisive), so it is said 'the fence is broken through'; the Fourth line of the Zhen trigram is in the Fifth position, so the fence is destroyed, hence 'the fence is broken through and not weak'. 'Fu' is read as 'Fu', which refers to the part under the cart axle called 'Fu Tu'. The Sixth in the Fifth line originally comes from the Kun trigram, which takes the image of a large cart and also the image of the hub. When Nine in the Fourth moves up to the Fifth position, it breaks the body of the Kun trigram, hence 'vigorous strength is exerted on the hub of the large cart'.

六五：喪羊于易，無悔。注：四動成泰，坤為喪也。乾為易。四上之五，兌還屬乾，故喪羊于易。動各得正而處中和，故無悔。上六：羝羊觸藩，不能退，不能遂，無攸利，艱則吉。注：應在三，故羝羊觸藩。遂，進也。變之巽，巽為進退，故不能退不能遂。五動上乘剛，故無攸利。坎為艱，藩決難解，得位應三，故艱則吉。

Line Statement of the Sixth Line: A sheep was lost on an easy ground, but there is no regret. Note: When the Fourth Line changes, it becomes the Hexagram of Progress. The Earth trigram symbolizes loss, so there is an image of losing a sheep. The Heaven trigram takes the image of ease, hence the term 'easy'. The Fourth Line ascends to the Fifth position, and the Lake trigram reverts to the Heaven trigram, hence the phrase 'losing a sheep on the easy'. Both lines changing result in correct positions, and the Fifth Line is in the middle and harmonious position, hence there is no regret. Line Statement of the Sixth Line: A male sheep collides with the fence, cannot retreat, nor can it advance, there is no benefit, and the situation is difficult but results in good fortune. Note: The Sixth Line corresponds to the Third Line, hence the phrase 'male sheep colliding with the fence'. 'Sui' means to advance. When the Sixth Line changes, it becomes the Wind trigram, which symbolizes indecision in advance and retreat, hence 'cannot retreat, cannot advance'. After the change of the Fifth Line, the Sixth Line is above the strong line, hence 'no benefit'. The Water trigram symbolizes difficulty, the fence although broken is still difficult to escape; but the Sixth Line is in the correct position and corresponds to the Third Line, hence 'difficulty leads to good fortune'.

疏：「初為」至「有孚」○爻例初為止。應在四，四體震，震為足為行，故震足為止為徵。初四皆陽，敵應無與，故壯於止征凶。四之五成坎，坎為孚，初正應四，故有孚也，此兼虞義。○變得至貞吉○此虞義也。

Hui Dong explains: This section of the commentary starts from "initially" to "faithful". According to the general principle of yao positions, the first line symbolizes the toe. The first line corresponds to the fourth line, and the fourth line is in the Zhen trigram, which symbolizes the foot and movement. Therefore, the commentary says that the Zhen foot is both "toe" and "movement". The first and fourth lines are both yang lines, and since they are of the same nature, they are opposing and have no corresponding relationship, hence it says "strong at the toe, movement is dangerous". When the fourth line moves up to the fifth position, it forms the Kan trigram, which represents sincerity. The first line and the fourth line correspond directly, hence it says "faithful" — here, Hui Dong adopts Yu Fan's interpretation. The following commentary from "change" to "auspicious" is based on Yu Fan's view.

○三陽至貞厲○此虞義也。三正應上，三陽君子謂乾三也。小人謂上者，上得位，不得為小人，以大壯陽息之卦，息至五體夬，夬上為小人，故雜卦曰：夬，決也，剛決柔也，君子道長，小人道消也。是上為小人也。二變三體離，包犧作結繩以為罔罟，蓋取諸離，故離為罔。五已正，上逆乘陽，故用壯；三得位據二，故用罔。三多凶體乾，三夕惕有危象，故貞厲也。

This section of commentary and explanation from "San Yang" to "Zhen Li" follows Yu Fan's interpretation. The third line and the top line correspond exactly. The term "San Yang Junzi" refers to the third line of the Qian trigram. As for calling the top line "Xiaoren" or "small person," according to principle, the top line is in a proper position and should not be considered a small person. However, since the Dazhuang hexagram represents the growth of yang energy, when it reaches the fifth line, it becomes the Gua hexagram. The top line of Gua is considered a small person, so the Zajiaguanzhuan says, "Gua means decision, which is when a strong line decisively removes a weak line; the way of the gentleman increases while the way of the small person declines." From this we know that the top line is indeed a small person. The second line changes, and the third line then occupies the position of the Li trigram. Fuxi tied knots and made nets and traps, which probably symbolizes the Li trigram, so Li is symbolized as "wang." The fifth line is already in a proper position, but the top line goes against it and overpowers the yang line, so it is said to "yong zhuang." The third line is in a proper position and occupies the second line, so it is said to "yong wang." The third line is particularly dangerous and is in the Qian trigram, which matches the dangerous situation described as "xi ti ruo li." Therefore, it is said to "zhen li."

○兌為至上也○三體兌，息至五上亦體兌，兌為羊，故三五上皆有羊象。說文曰：羝，牡羊也。陽息之卦，故曰羝。馬氏云：藩，籬落也。四體震，震為萑韋，為竹木，故為藩也。羸讀為累，讀從鄭虞，故馬氏云大索也。四之五，上變體巽，巽為繩，故為羸。四為藩，三欲觸四而應上，故羸其角，爻例上為角也。此兼荀義，荀唯以角謂五為異也。

This section of the commentary discusses from "De (兑) is" to "upper also." The third line is in the structure of De (兑), and when the yang energy reaches the fifth line, the upper part also becomes De (兑). De (兑) is taken as the image of a sheep, so the third, fifth, and upper lines all carry the image of a sheep. The "Shuo Wen Jie Zi" says: "Di (羝) is a male sheep." This hexagram represents the hexagram of increasing yang energy, and since yang is strong and vigorous, it is called "Di (羝)." Ma Rong says: "Fan (藩) is a fence." The fourth line is in the structure of Zhen (震), which is taken as the image of reeds and bamboo, so it is taken as a fence. "Lai (羸)" is read as "lei (累)," following the reading of Zheng Xuan and Yu Fan, so Ma Rong explains it as "a big rope." When the fourth line moves up to the fifth position, the upper line changes to become Xun (巽), which is a rope, so it is taken as "Lai (羸)." The fourth line is a fence, the third line wants to attack the fourth line and corresponds to the upper line, so it is said "Lai (羸) its horn"; according to the general principle of line positions, the upper line symbolizes the horn. This also incorporates Xun Shuang's view, with Xun Shuang differing from Yu Fan only in the point that "the horn refers to the fifth line."

○失位至之腹○此虞義也。四失位，宜有悔，之五得正得中，故貞吉而悔亡矣。初至五體夬，夬者，決也，故藩決。四體震，之五則震體壞，故藩決不羸。古腹、輹、復字止作復，而此經輹字或又作腹，故云腹讀為輹。五本坤也，坤為大轝，為輹，四之五體坎，坎折坤體，故壯於大轝之腹也。

This section of commentary and explanation from "shi wei" to "zhi fu" follows Yu Fan's reasoning. Nine in the Fourth (nine four) is a yang line in a yin position, thus losing its proper place, which originally should bring regret. However, when it moves up to the Fifth position, it attains the correct position and is in the center, so it is both auspicious and the regret disappears. From the First Line to the Fifth Line forms the structure of "Gua" (Decisive), which means to break through, so it is said "fan jue." Nine in the Fourth is in the trigram Zhen (Thunder), but once it moves up to the Fifth position, the trigram Zhen is destroyed, so it is said "fan jue bu ling." In ancient times, the characters "fu," "fu," and "fu" were all written as "fu," and in some versions of this text, the character "fu" is written as "fu," so the commentary says "fu is read as fu." Six in the Fifth originally comes from Kun (Earth), which takes the image of a large cart and also the image of the cart's axle. When Nine in the Fourth moves up to the Fifth position, it forms Kan (Water), which breaks the Kun structure, so it is said "zhuang yu da yu zhi fu."

○四動至無悔○此虞義也。四失位動成泰，外體坤，坤喪於乙，故為喪也。乾以易知，故乾為易，鄭氏謂易，佼易也。四上之五體坎，坎五乾也，故兌還屬乾，喪羊于易也。四五易位，動各得正，五處中應和，故無悔矣。

This section of the commentary follows the reasoning of Yu Fan. Nine in the fourth line is out of its proper position; once it moves, it forms the hexagram Tai, with the outer trigram being Kun. According to the method of Najia, Kun is lost in the direction of the west, so the image is taken as "loss." The Xici says that Qian is known for its easy and smooth nature, so Qian is taken as "easy." Zheng Xuan interprets "easy" as "jiayi," meaning smooth and pleasant. Nine in the fourth line moves up to the fifth position, forming the body of Kan. The fifth line of Kan originally belongs to Qian, so Dui is reattributed to Qian, hence "losing a sheep in easy." The fourth and fifth lines exchange positions, each movement attains correctness, and the sixth line in the fifth position is in the center and harmonizes with the other, so there is no regret.

○應在至則吉○此虞義也。上應在三而隔於四，四為藩，故羝羊觸藩。遂有進往之義，故云進也。五已正，上變體巽，震巽特變，故云變也。巽為進退，說卦文。應三隔四，故不能退。進窮於上，故不能遂，羸其角之象也。乾為利，五動正位，上乘五剛，故無攸利。五正，上體坎為艱，藩決難解，乾鑿度文。四之五故藩決難解，不變之巽，得位應三，故艱則吉也。

This section of commentary and explanation from Yu Fan follows the principle of "should be" to "then it is auspicious." The sixth line above should correspond to the third line, but it is blocked by the fourth line, and the fourth line is like a fence. Therefore, it is said "a ram butting against a fence." "Sui" contains the meaning of advancing, so the commentary interprets it as "advance." The fifth line is already in the correct position; when the sixth line changes, it becomes the trigram Xun. The trigrams Zhen and Xun are especially dynamic, so the commentary says "change." The image of Xun is indecisiveness in advancing and retreating, which is from the "Sayings of the Trigrams." The sixth line wants to correspond with the third line but is blocked by the fourth line, so it cannot retreat; it wants to advance but has reached the top, so it cannot go forward. This is exactly the image of "being caught by the horn." The trigram Qian represents benefit; the fifth line is in the correct position, and the sixth line takes advantage of the strength of the fifth line, so "there is no benefit." The fifth line is in the correct position, and the upper trigram becomes Kan, which represents difficulty; the phrase "the fence is broken and difficult to resolve" comes from the "Dazao Du." The fourth line moves up to the fifth position, so although the fence is opened, it is still difficult to escape; if the sixth line does not change into Xun, it would be in the correct position and able to correspond with the third line, hence "difficulty then auspicious."