The Trigram of Parting

艮宮四世卦，消息十二月。睽，小事吉。注：大壯上之三，在繋蓋取無妄二之五也。小謂五，陰稱小，得中應剛，故小事吉。疏：此虞義也。卦自大壯來，上六之三，此從四陽二陰之例也。雲在繋蓋取者，繋，繋詞也；蓋取謂十三蓋取也。繋下曰：弦木為弧，剡木為矢，弧矢之利以威天下，蓋取諸睽。虞彼注云：無妄五之二也。彖傳謂柔進上行，故據繋辭蓋取以明之。六五陰爻，故小謂五。陽大陰小，故陰稱小。五得中而應乾五之伏，陽得中應剛，故小事吉。

This hexagram belongs to the fourth generation in the Geng palace among Jing Fang's eight palaces, and its qi corresponds to the twelfth month. The classic text says: "Kui, small matters bring good fortune." Note: This hexagram is derived from the upper sixth line and the third line of Dazhuang being exchanged. However, the Xici says "cover taking" when discussing it, stating that it is derived from the exchange of the ninth line of Wuwang and the sixth line of Wuwang. "Small" refers to the sixth line, which is yin and thus called small. It is in the center and corresponds to a yang line above, hence "small matters bring good fortune." Commentary: This is Yu Fan's interpretation. This hexagram comes from Dazhuang, with the upper sixth line moving down to the third position, following the general rule of a hexagram with four yang lines and two yin lines. The phrase "cover taking" refers to the "cover taking from a certain hexagram" mentioned in the lower Xici. The lower Xici says: "Bending wood into a bow, cutting wood into an arrow, the power of the bow and arrow is used to subdue the world, which is taken from Kui." Yu Fan's commentary says: "It is derived from the exchange of the ninth line of Wuwang and the sixth line of Wuwang." The Tuanchuan says "the yin lines advance and move forward," so Hui's school uses the "cover taking" from Xici to explain it. The sixth line is a yin line, so "small" refers to the sixth line. Yang is considered great, yin is considered small, hence yin is called small. The sixth line is in the center and corresponds to the yang line hidden in Qian five, yang being in the center and corresponding to a strong line, hence "small matters bring good fortune."

初九：悔亡，喪馬勿逐自復，見惡人無咎。注：無應悔也，四動得位，故悔亡。應在坎，坎為馬，四失位之正入坤，坤為喪，坎象不見，故喪馬。震為逐，艮為止，故勿逐。坤為自，二至五體復象，二動震馬來，故勿逐自復也。離為見，惡人謂四，動入坤，初四復正，故見惡人無咎也。

The Line Statement for the first line, "Initial Nine": Regret disappears, the horse is lost but need not be pursued, for it will return by itself; meeting an evil person brings no blame. Note: The first line, "Initial Nine," shares the same nature as the fourth line, "Nine in the Fourth," and thus should have regret. However, the fourth line moves to a proper position, so the regret disappears. The line corresponding to the first line is in the trigram Kan, which symbolizes a horse. The fourth line, which was in an improper position, moves to a proper position and enters the trigram Kun, which symbolizes loss. As the Kan symbol disappears, the image of the horse is no longer present, hence "loss of the horse." The trigram Zhen symbolizes pursuit, and the trigram Gen symbolizes stopping, hence "do not pursue." The trigram Kun symbolizes "self," and the lines from the second to the fifth form the image of "Reversal." When the second line moves to become Zhen, the horse returns, hence "do not pursue, it returns by itself." The trigram Li symbolizes seeing, and "evil person" refers to the fourth line. When the fourth line moves into Kun, both the first and fourth lines return to their proper positions, hence "meeting an evil person, no blame."

九二：遇主于巷，無咎。注：二動體震，震為主，艮為宮，為徑路，宮中有徑路，故稱巷。二動五變應之，故遇主于巷。變得正，故無咎。六三：見輿曳，其牛。注：離為見，坎為與，為曳，故見輿曳。四動坤為牛，牛角一俯一卬曰，離上而坎下，故其牛也。

The Line Statement for Nine in the Second: Meeting the master in a lane, there is no fault. Note: When Nine in the Second moves, it forms the trigram Zhen (Thunder), which represents the eldest son and is associated with ritual vessels, hence the image of the master. The trigram Gen (Mountain) represents palace and small paths; within the palace there is a small path, hence the term 'lane'. Nine in the Second and Six in the Fifth both move and correspond with each other, hence 'meeting the master in the lane'. After both lines change, they both become correct, hence there is no fault. The Line Statement for Six in the Third: Seeing a large cart being dragged, the ox's horns are bent up and down (the character '觢' is missing after 'ox' in the Line Statement). Note: The trigram Li (Fire) represents seeing, and the trigram Kan (Water) represents the cart and dragging, hence 'seeing the cart being dragged'. When Nine in the Fourth moves, it forms the trigram Kun (Earth), which represents the ox. The ox's horns bending up and down is called '觢'—Li is above and Kan is below, one up and one down, hence 'its ox has horns bent up and down'.

其人天且劓，無初有終。注：其人謂四惡人也。黔額為天，割鼻為劓。無妄乾為天，震二之乾五，以陰墨其天；乾五之震二毀艮，割其鼻也。兌為刑人，故其人天且劓。失位動得正，故無初有終。

The line statement also says: A person receives tattooing on his forehead and nose amputation, initially not smooth but eventually successful. Note: "This person" refers to the nine in the fourth position, the wicked person. Tattooing on the forehead is called "tian" (heaven), and nose amputation is called "yi" (nose cutting). The Qian trigram in the Wuwang hexagram takes the image of heaven, and the second line of Zhen moves up to the fifth line of Qian, with a yin line tattooed on his forehead; the fifth line of Qian moves down to the second line of Zhen, destroying the Gen trigram, which represents the nose, thus cutting off his nose. The Dui trigram takes the image of the person receiving punishment, so it is said "this person is tattooed on the forehead and has his nose cut off." The nine in the fourth position loses his position but through movement attains correctness, hence it is said "no beginning but eventual success."

九四：睽孤，遇元夫，交孚厲無咎。注：孤，顧也。在兩陰間，睽五顧三，故曰睽孤。震為元，夫謂二，已變動而應震，故遇元夫也。震為交，坎為孚，動得正，故交孚厲無咎。六五：悔亡，厥宗噬膚，往何咎。注：失位悔也，變之正，故悔亡。乾為宗，二動體噬嗑，故曰噬。四變時，艮為膚，故厥宗噬膚，言與二合也。二往應之，故往何咎。

The fourth line statement says: Separated and isolated, encountering a great man of great virtue, mutual trust and sincerity, although in a dangerous situation, there is no blame. Note: "孤" is interpreted as "顾," meaning to look back. Nine in the fourth is between two yin lines, both separated from six in the fifth and looking back to six in the third, hence "kui gu." The trigram Zhen represents origin, "fu" refers to nine in the second; nine in the second has already changed and moved, corresponding with Zhen, hence "meeting the original husband." Zhen represents mutual interaction, Kan represents sincerity, nine in the fourth changes to a correct position, hence "mutual sincerity, danger, no blame." The fifth line statement says: Regret disappears, the same clan bites like skin, going forward, what blame is there? Note: Six in the fifth is yin in a yang position, originally having regret; changing to a correct position, hence regret disappears. Qian represents clan, nine in the second once moving becomes the structure of "Shi He," hence "bite." Nine in the fourth when moving, Gen represents skin, hence "the clan bites the skin," meaning to combine with nine in the second. Nine in the second goes forward to respond to five, hence "going forward, what blame is there?"

上九：睽孤，見豕負塗，載鬼一車。注：睽三顧五，故曰睽孤。離為見，坎為豕，為雨，四變時坤為土，土得雨為泥塗，四動艮為背，豕背有泥，故見豕負塗矣。坤為鬼，坎為輿，變在坎上，故載鬼一車也。

The line statement for the top nine: separated and isolated, one sees a pig with a muddy back, and also sees a cart carrying ghosts. Note: the top nine is separated from the sixth three and looks back at the sixth five, hence 'kui gu' (separation and isolation). The trigram li represents seeing, and the trigram kan represents pigs and rain; when the fourth line moves, the trigram kun represents earth, and earth with rain becomes mud; the movement of the fourth line forms gen, which represents the back, so the pig's back is covered with mud, hence 'seeing a pig with a muddy back'. The trigram kun represents ghosts, and the trigram kan represents a cart; after the top nine moves, it is on top of the trigram kan, hence 'a cart carrying ghosts'.

先張之弧，後說之壺。注：謂五已變乾為先。應在三，坎為弓，離為矢，張弧之象也，故先張之弧。四動震為後。說猶置也。兌為口，離為大腹，坤為器，大腹有口，坎酒在中，壺之象也，故後說之壺。匪寇昏冓，往遇雨則吉。注：坎為寇，之三歴險，故匪寇。陰陽相應，故昏冓。三在坎下，故遇雨。與上易位，坎象不見，各得其正，故則吉也。

The line statement also says: At first, he drew his bow to aim at him, but later he set down the wine vessel to entertain him. Note: Six in the Fifth has transformed into Qian, and Qian represents the beginning, so it is said 'first'. Nine at the Top corresponds to Six in the Third. Kan represents the bow, Li represents the arrow, which is the image of drawing the bow, so it is said 'first drawing the bow'. Nine in the Fourth moves to form Zhen, and Zhen represents the latter, so it is said 'later'. 'Say' is like placing. Dui represents the mouth, Li represents the large belly, and Kun represents the vessel, which has a large belly and a mouth, with wine water from Kan stored inside, which is the image of a wine vessel, so it is said 'later placing the wine vessel'. The line statement also says: The one coming is not a bandit but a suitor. Going forward when encountering rain is auspicious. Note: Kan represents a bandit, and Nine at the Top moving down to the third position involves passing through Kan's danger, so it is said 'not a bandit'. Yin and Yang correspond with each other, so it is said 'suitor'. Six in the Third is below Kan water, so it is said 'meeting rain'. Three and Nine exchange positions, and the Kan image no longer exists, with both lines in proper position, so it is said 'then it is auspicious'.

疏：「無應」至「咎也」○此虞義也。初四皆陽，故曰無應。四失正，動得位，故悔亡。四體坎，故應在坎。說卦曰：坎於馬也為美脊。故為馬。四變入坤，坤為喪，坎化為坤，故喪馬。震為奔走，故為逐；艮為止，故勿逐。坤為自，四已變，故二至五體復。二動初體震，故震馬來勿逐自復之象也。

Hui Dong explains that the commentary from "no correspondence" to "misfortune" follows Yu Fan's method of interpretation. The first and fourth lines are both yang lines, so it is said that there is "no correspondence." The nine in the fourth line is not in the correct position, but once it moves, it attains the correct position, thus eliminating regret. The nine in the fourth line is in the Kan trigram, so the line that corresponds to the initial nine is in Kan. The "Sayings of the Hexagram" states "Kan in the horse is a beautiful back," so Kan is taken as the image of a horse. When the nine in the fourth line changes, it enters the Kun trigram, which represents loss, so Kan transforms into Kun, hence "losing the horse." Zhen is taken as the image of movement, hence "chasing"; Gen is taken as the image of stillness, hence "do not chase." Kun is taken as "self"; once the nine in the fourth line changes, from the second line to the fifth line, it forms the hexagram "Fu." The nine in the second line moves, transforming the first line into Zhen, thus creating the image of a horse returning from movement, without needing to chase, returning on its own.

喪馬勿逐自復，此商法也，周監二代而因之。故周禮朝士職曰：凡獲得貨賄人民六畜者，委於朝，告於士。鄭彼注云：委於朝待來識之。尚書枈誓曰：馬牛其風，臣妾逋逃，勿敢越逐，祇復之。是其事也。說卦曰：相見乎離。故離為見。四離火不正，如來如，故惡人謂四。四當居坤初，故動入坤初，此易例也。坤初來居四復正，故見惡人無咎也。

"The lost horse does not need to be pursued, for it will return on its own." This was the law of the Shang dynasty, which the Zhou dynasty continued from both the Shang and Xia dynasties. Therefore, the "Rites of the Zhou" states that if someone finds lost property, runaway people, or lost livestock, they should deposit them with the court and report to the officials. Zheng Xuan explains that depositing them with the court allows the owner to come and claim them. The "Book of Documents · Fei Shi" says: "If horses and cattle are lost, or servants and concubines run away, do not pursue them across borders; simply return them to their original owners." This refers to the same thing. The "Discourse on the Images" says, "They meet in the image of Li." Therefore, the image of Li represents meeting. Nine in the fourth position is associated with the fire trigram Li but occupies an improper position, moving without constancy, so "evil person" refers to nine in the fourth. Nine in the fourth should return to the first position of Kun, so it is said that when it moves, it enters the first line of Kun. This is the general principle of the Book of Changes. When the first line of Kun rises to the fourth position, it returns to its proper position, so it is said, "meeting the evil person, no blame."

○二動至無咎○此虞義也。震主器，二動體震，震為主，故遇主謂五遇二也。釋宮曰：宮中巷謂之壺。艮為宮，為徑路，宮中有徑路，故稱巷。巷亦作衖，巷衖同物，故又作衖。離騷經曰：五子用失夫家巷。巷讀為衖也。

This section of the commentary follows Yu Fan's reasoning from "two movements" to "no blame." Zhen represents the eldest son and is in charge of ritual vessels. When the Nine in the Second moves, it forms the body of Zhen, and Zhen takes the image of the master. Therefore, "meeting the master" refers to the Six in the Fifth encountering the Nine in the Second. The "Er Ya · Shigong" says: "The passageways within the palace are called hu." Gen takes the image of the palace and a narrow path; within the palace there is a narrow path, so it is called "xiang." "Xiang" is also written as "xiang," which originally refers to the same thing, so it is also written as "xiang." The "Lisao Jing" says, "the five sons lost their home path," where "xiang" is read as "xiang."

隱四年穀梁傳曰：遇者，志相得也。二五相應而皆失位，二動五變應之，故遇主于巷而皆得正，故無咎。虞唯以震為大塗為異耳。俗說以五為主，此謬也。大夫稱主君，故昭廿九年春秋傳曰：齊侯使高張來唁公，稱主君。子家子曰：齊卑君矣，君祇辱焉。知五非主也。

The Spring and Autumn Annals: Guliang Commentary, Year Four of Hiding Prince says: "What is meant by 'meeting' is that the hearts and minds of the two sides are in harmony." Originally, the ninth line of the second position and the sixth line of the fifth position correspond to each other, but both lines are out of their proper positions. The ninth line of the second position changes, and the sixth line of the fifth position also changes to correspond with it, so it is said "meeting in the alley." Both lines thus become correct and therefore have no faults. Yu Fan only differs in his interpretation of "Zhen represents a great path." The common saying that the sixth line of the fifth position is the "main" is wrong. Only a minister is called "main lord," so the Spring and Autumn Annals: Zuo Commentary, Year Twenty-Nine of Zhao Prince records that Duke Qi sent Gao Zhang to pay respects to Duke Zhao of Lu, referring to him as "main lord." Zi Jiazi said: "Qi regards its lord as light, and the ruler is merely bringing disgrace upon himself." From this we can see that the sixth line of the fifth position is not the so-called "main."

○離為至也○此虞義也。說文曰：曳，臾曳也，束縛捽抴為臾。坎為輿多眚，故見輿曳。卦互離，坎牛角，有俯有仰，離上為仰，坎下為俯，故其牛。三不正，故有曳之形，象曰：位不當也。○其人至有終○此虞義也。惡人當蒙罪，故其人指四惡人。馬氏云：剠鑿其額曰天。剠與黥同，故曰黥額為天。鄭氏注周禮司刑曰：劓，截其鼻也。故曰割鼻為劓。夏之黥即周之墨。

This section of the commentary from "li" to "also" follows Yu Fan's reasoning. The "Shuowen Jiezi" says: "Ye means to drag along." Binding and pulling is called "yu." Kan takes the image of a cart, which is also associated with misfortune, so it is said "to see a cart being dragged." This hexagram's mutual elements produce the form of Li, and Kan represents an ox. The ox's horns are one low and one high: Li above represents looking up, and Kan below represents looking down, so it is said "its ox has a horn." The line six in the third is not in the correct position, hence the image of being dragged, and the "Image Commentary" says "the position is not appropriate." This section of the commentary from "its person" to "has a conclusion" also follows Yu Fan's reasoning. Evil people should suffer punishment, so "its person" refers to the line nine in the fourth, the evil person. Ma Rong said: "To carve a mark on the forehead is called 'tian.'" "Zhen" and "qing" are the same character, so it is said "to carve a mark on the forehead as 'tian.'" Zheng Xuan's commentary on the "Zhou Li · Sijing" says: "Yi means to cut off the nose." So it is said "to cut off the nose as 'yi.'" The Shang dynasty's qing punishment was the same as the Zhou dynasty's mo punishment.

乾五為天，二陰之五，故以陰墨其天。無妄二體艮，艮為鼻，五之二，故毀艮割其鼻也。兌為刑人，五刑有黥劓之法，加於四之惡人，故其人天且劓也。三四失位動得正，故無初有終。易例爻初失位為無初，變得位為有終也。

The fifth line of the Qian trigram takes the image of heaven, which corresponds to the forehead; when a yin line reaches the fifth position, it is said "a yin line is tattooed on his forehead." In the Wuxiang hexagram, the second line is part of the Gen trigram, which corresponds to the nose; when the fifth line moves down to the second position, the Gen trigram is destroyed, so it is said "his nose is cut off." The Dui trigram corresponds to someone who has been punished, and among the five punishments there are黥 (tattooing) and劓 (nose cutting). These are applied to the nine four, the wicked person, so it is said "he is tattooed on the forehead and has his nose cut off." The third and fourth lines originally were not in the correct position, but after they change, they each attain the correct position, so it is said "without beginning but with end." According to the principles of the Book of Changes, if a line starts in an incorrect position, it is called "without beginning," and if it changes to a correct position, it is called "with end."

○孤顧至無咎矣○此虞義也。孤，顧，劉熙釋名文，謂顧，望也。兩陰謂三五，五乘四，故睽；五四據三，故顧三。說文云：顧，還視也。震初為元為夫，二變初體震，四動而應之，故遇元夫。遇者，志相得，初四正應，故亦云遇也。震初陽始交於坤，故為交。坎信為孚，四交於初，故云交孚。二爻得正，故雖危無咎也。

This section of commentary and explanation from "Gu" to "wu jiao yi" follows Yu Fan's reasoning. The term "gu" is interpreted as "gu," which comes from Liu Xi's "Shi Ming," meaning to look back. The term "liang yin" refers to the sixth line in the third position and the sixth line in the fifth position: the sixth line in the fifth position overpowers the ninth line in the fourth position, hence "kui"; the ninth line in the fourth position holds the sixth line in the third position, hence "gu san." The "Shuo Wen Jie Zi" says, "Gu means to look back." The first line of the trigram Zhen is taken as the beginning and as the husband. When the ninth line in the second position changes the first line, it forms the body of Zhen. The ninth line in the fourth position changes and corresponds with it, hence "yu yuan fu." "Yu" means mutual understanding and harmony, as the first and fourth lines correspond directly, hence it is also called "yu." The first line of Zhen represents the beginning of yang energy meeting yin, hence it is taken as meeting; Kan represents trust, hence it is taken as "fu"; the ninth line in the fourth position meets the ninth line in the first position, hence "jiao fu." Both lines are in the correct position, so although there is danger, there is no fault.

○失位至何咎○此虞義也。五動體乾。宗，尊也，乾為天，天尊，故為宗。厥宗者，二之宗也。二動體噬嗑，噬嗑者，合也。四變二體艮，艮為膚，五來合二，故厥宗噬膚。二艮為巷，五乾為宗。巷者，宮中之道；宗者，廟內之牆。二五易位，五君二臣，君為元首，臣為股肱，本一體之親，有肌膚之愛，故曰噬膚也。二往合五，故往何咎，自外曰往也。

This section of commentary and explanation from "loss of position" to "what harm" follows Yu Fan's reasoning. When the line six five moves, it forms the trigram Qian. "Zong" means to revere; Qian takes the image of Heaven, which is the highest and most revered, so it is called "Zong." The term "Jue Zong" refers to the master of the second line. When the second line moves, it forms the trigram Shi He, which means to combine. When the fourth line changes, the second line is in the position of Gen, which takes the image of skin. The line six five comes down to combine with the second line, so it is said "Jue Zong Shi Fu." The second line, in the position of Gen, takes the image of a lane, and the line six five, when changed, forms Qian, which takes the image of Zong. A lane is the passage within a palace, and Zong is the wall within a temple. The second and fifth lines exchange positions; the fifth is the ruler, and the second is the minister. The ruler is like the head, and the minister is like the hand and foot. They are originally the closest relatives, connected by skin, so it is said "Shi Fu." The second line goes to combine with the fifth line, so it is said "Where is the harm?"—the term "going" refers to the direction of the outer trigram.

○睽三至車也○此虞義也。三失位，故睽三；上據五，故顧五。坎為豕，為雨，坤為土，土得雨為泥塗。詩角弓曰：如塗塗附。毛傳云：塗，泥是也。艮彖曰：艮其背。故為背。豕背有泥，故負塗。坤為鬼，坎為車，四變在坎上，坤為載，故載鬼一車。於禮為魂車，既夕薦車，鄭彼注云：今之魂車。載而往，迎而歸，如慕如疑，乖違之家有是象也。

This section of commentary and explanation from "Kui San" to "Che Ye" follows Yu Fan's method of interpretation. The line six in the third is out of its proper position, hence the line nine at the top is separated from it. The line nine at the top holds the line six in the fifth, so it looks back at the fifth line. The trigram Kan is taken as representing a pig and rain, while the trigram Kun is taken as representing earth. When earth meets rain, it becomes mud. The "Book of Poetry · Jiao Gong" says, "Like applying mud on top of mud," and Mao's commentary says, "Tou means mud," which is exactly this meaning. The "Commentary on the Judgment" of the "Gen" hexagram says, "Gen its back," so Gen is taken as representing the back. A pig's back covered in mud is called "fu tu." The trigram Kun is taken as representing a ghost, and the trigram Kan is taken as representing a cart. When the line nine in the fourth changes, it is placed above the trigram Kan, and since Kun is taken as representing bearing, it is said, "carrying a ghost in a cart." In ritual, this is equivalent to a cart for the soul. The "Rites of the Auspicious Funeral" includes the ceremony of offering a cart, and Zheng Xuan's commentary says, "This is the soul cart of today." Carrying the coffin forward and welcoming the soul back, it is both a manifestation of longing and confusion—this is precisely the scene of a family in discord.

○謂五至之壺○此虞義也。釋詁曰：說，舍也。郭注云：舍，放置。說舍同義，故云說猶置也。壺俗作弧，今從古。阮諶三禮圖曰：方壺受一斛，腹圜足口方；圜壺受一斛，腹方足口圜。若然，壺有口有腹，故云兌為口，離為大腹。

This section of the commentary and annotations from "wei wu" to "zhi hu" follows Yu Fan's interpretive method. The "Er Ya · Shi Gu" says: "Shuo means to abandon." Guo Pu's commentary explains: "Shě means to place down and set aside." Since "shuo" and "shě" have the same meaning, the commentary states "shuo is like placing." The character "hu" is commonly written as "hu" in later texts, but here we follow the ancient version as "hu." Ruan Chen's "San Li Tu" says that a square hu can hold one hu, with a round body and square mouth; a circular hu can hold one hu, with a square body and round mouth. Thus, a hu is an object with both a mouth and a body. Therefore, the commentary says that Dui represents the mouth and Li represents the large body.

昏禮設尊，是為壺尊。揚子太玄曰：家無壺，婦承之姑。測曰：家無壺，無以相承也。若然，說壺者，婦承姑之禮與。壺器大腹有口，盛坎酒於中，故後說之壺也。○坎為至吉也○此虞義也。坎為寇，初失位之三歴險，故云寇。由後言之，故云匪寇也。變之正，陰陽相應，故昏冓。始則拒之如外寇，終則禮之如內賓，始睽終合之象也。三在坎下而應上，故遇雨。三上易位，坎象不見，陰陽和會而得其正，故則吉也。

The Book of Rites, Volume on Marital Rites, mentions the use of a vessel called "hu" in the setting of wine vessels. Yang Xiong, in his work Tai Xuan, says: "If there is no hu at home, how can the daughter-in-law serve her mother-in-law?" In his section on divination, he says: "If there is no hu at home, there is no way to carry on the tradition." From this, it seems that the "hu" refers to the ritual of the daughter-in-law serving her mother-in-law. The vessel "hu" has a large belly and an opening, holding wine that symbolizes the water of Kan. Therefore, it is said, "later he puts down the wine vessel." This passage of commentary from "Kan represents" to "it is auspicious" follows Yu Fan's interpretation. Kan is taken as representing a bandit; the upper nine, originally out of place, moves down to the third position and goes through the peril of Kan, hence it is called "bandit." However, looking at the outcome, it is not really a bandit, hence it is called "not a bandit." After returning to its proper position, yin and yang correspond with each other, hence it is called "marriage." Initially, the other party was regarded as an outsider like a bandit and rejected, but in the end, it was welcomed as an inner guest with proper ceremony. This is the image of beginning with separation and ending with harmony. The sixth line in the third position is below the water of Kan and corresponds with the upper nine, hence it is called "meeting the rain." When the third and upper positions exchange places, the image of Kan disappears, and yin and yang harmonize and each return to their proper place, hence it is called "auspicious."

兌宮四世卦，消息十二月。寋，利西南，不利東北。注：升二之五，或說觀上反三，與睽旁通。西南謂坤，東北艮也。二往居坤，故利西南。卦有兩坎，坎為險，下坎在前，直艮東北之地，故不利東北。

This hexagram belongs to the fourth generation in the Dui palace of Jing Fang's eight palaces. The hexagram's energy corresponds to the twelfth month. The classic text says: "Jian" (the original name of the hexagram is written as "Dian", same below). It is favorable to the southwest and unfavorable to the northeast. Note: This hexagram is derived from the hexagram "Sheng" with the second line "Jiu Er" and the fifth line "Liu Wu" exchanged. Another view suggests it comes from the hexagram "Guan" with the top line "Shang Ji" reversed and placed in the third position. It is completely opposite in yin and yang to the hexagram "Kui", and they are considered as mutual counterparts. The southwest refers to the Kun direction, and the northeast refers to the Gen direction. The line "Jiu Er" moves to the Kun position, hence "favorable to the southwest." This hexagram has two Kan trigrams within its connected and interacting structure. Kan represents danger. The lower Kan is facing directly toward the northeast, which is governed by Gen, hence "unfavorable to the northeast."

虞氏謂五在坤中，坎為月，月生西南，故利西南。往得中，謂西南得朋也。東北謂三也，月消於艮，喪乙滅癸，故不利東北，其道窮也，則東北喪朋矣。利見大人，貞吉。注：大人謂五，二得位應五，故利見大人。五當位正邦，故貞吉。

Yu Fan explained according to the method of Najia: Nine in the Fifth is located within the body of the Earth hexagram. The Water trigram represents the moon, which begins to appear in the Southwest, hence 'favorable to the Southwest'. The Commentary on the Judgment says 'going to the center', which corresponds to the statement in the Hexagram of Earth, 'gaining friends in the Southwest'. The Northeast refers to Nine in the Third. The moon's light fades in the direction of the Mountain, where the position of Ethereal Yin (Yi) has lost its brightness and the position of Ethereal癸 (Gui) has disappeared, hence 'unfavorable to the Northeast'. The Commentary on the Judgment says 'its path is exhausted', which corresponds to 'losing friends in the Northeast'. The text says: 'favorable to seeing a great man, uprightness brings good fortune'. Note: 'great man' refers to Nine in the Fifth. Six in the Second is in a proper position and corresponds with Nine in the Fifth, hence 'favorable to seeing a great man'. Nine in the Fifth is in a proper position and can correct the state of the country, hence 'uprightness brings good fortune'.

疏：「升二」至「朋矣」○卦自升來。升六五貞吉，升階，虞氏謂二之五，故云升。此卦二之五，與師二上之五成比同義也。或說觀上反三，虞義也，此從四陰二陽之例矣。坤西南卦，故西南謂坤；艮東北之卦，故東北艮也。

Hui Dong explains: This section of the commentary covers from "sheng er" to "peng yi." This hexagram is derived from the hexagram of "Sheng." The line statement of the sixth line in the hexagram of "Sheng" says "zhen ji, sheng jie," and Yu Fan interprets it as the second line ascending to the fifth position, so the commentary states "sheng er zhi wu." In this hexagram, the second line ascends to the fifth position, which is the same reasoning as in the hexagram of "Shi" where the ninth line of the second position ascends to the fifth position to form the hexagram of "Bi." Another interpretation is "guan shang fan san," which is also Yu Fan's view, based on the general principle of hexagrams with four yin lines and two yang lines. The hexagram of "Kun" is the hexagram of the southwest, so "xinan" refers to "Kun"; the hexagram of "Gen" is the hexagram of the northeast, so "dongbei" refers to "Gen."

二往居坤得位得中，故利西南。卦有兩坎，兼互體也。坎陷為險，下坎在前，艮東北卦正直其地，故不利東北。象曰：其道窮也。此荀義也。虞氏據納甲謂五在坤中，故曰西南；體坎為月，出庚見丁，故月生西南。五往得中，故利西南。往得中，睽兌為朋，故西南得朋也。三體艮，故東北謂三。退辛消丙，故月消於艮。乙東癸北，喪乙滅癸，當月之晦，天道之終，故不利東北，其道窮也。東北喪朋謂五六三十也。

Nine Two moves to occupy the position of the Earth trigram, thus both being in the right position and in the center, so it is said 'favorable to the Southwest.' The explanation of this hexagram having two坎 trigrams includes the mutual trigrams. The original meaning of坎 is to fall into a pit, thus taking the image of danger; the lower坎 is in front, while the mountain trigram is in the Northeast, facing that direction, so it is said 'unfavorable to the Northeast.' The Image Commentary says 'its path is exhausted'—this is the interpretation of Xun Shuang. Yu Fan, however, explains it based on the stem assignment method of Najia: Nine Five is in the middle of the Earth trigram, so it is said 'favorable to the Southwest'; the坎 trigram takes the image of the moon, which first appears in the庚 direction and gradually becomes visible in the丁 direction, thus 'the moon rises in the Southwest.' The fifth line moves forward and occupies the center, so 'favorable to the Southwest.' Moving forward and achieving the center, the hexagram of Jian is connected with the hexagram of Kui, which has the trigram of Dui, representing companions, thus 'companions are gained in the Southwest.' Nine Three is in the mountain trigram, so 'Northeast' refers to the third line; the moon retreats in the辛 direction and disappears in the丙 direction, thus 'the moon disappears in the mountain.' The ethereal stem Yi is in the East and Gui is in the North; the Yi moon has been lost and the Gui moon has also vanished, which is the time of the moon's final phase, the end of the heavenly way, thus 'unfavorable to the Northeast, its path is exhausted.' The phrase 'loss of companions in the Northeast' refers to the number thirty, which is obtained by the interaction of the fifth and sixth lines.

○大人至貞吉○此虞義也。大人天子，故謂五。五居尊位，二正應之，故利見大人。五當位居正，群陰順從，故貞吉也。初六：往寋來譽。注：譽謂二。初失位，應陰往歴坎險，故往寋。變得位比二，故來譽。

This section of commentary and explanation from "Da Ren" to "Zhen Ji" follows Yu Fan's interpretation. "Da Ren" refers to the Son of Heaven, so it refers to the Nine in the Fifth line. The Nine in the Fifth occupies a high position and is in the correct place, and the Six in the Second corresponds directly with it, hence "It is advantageous to see the Great Person." The Nine in the Fifth is in the correct position and maintains uprightness, and all the yin lines are obedient, hence "Zhen Ji." The line statement of the initial line: going forward meets difficulty, returning brings reputation. Note: "Yu" refers to the Six in the Second. The initial line is out of position, and the line it corresponds to, the Six in the Fourth, is also a yin line. Going forward will encounter the danger of the Kan trigram, hence "Wang Jian." When it changes to a proper position, it becomes adjacent to the Six in the Second, hence "Lai Yu."

六二：王臣寋寋，匪躬之故。注：五為王，坤為臣為躬，坎為寋，之應涉坤，二五俱坎，故王臣寋寋。二上折坤得正相應，故匪躬之故。九三：往寋來反。注：應正歴險，故往寋。反身據二，故來反。六四：往寋來連。注：連，輦；寋，難也。在兩坎間，進則無應，故往寋。退初介三，故來連也。九五：大寋朋來。注：當位正邦，故大寋。睽兌為朋，故朋來。上六：往寋來碩，吉，利見大人。注：陰在險上，變失位，故往寋。碩謂三，艮為碩，退來之三，故來碩。得位有應故吉也。離為見，大人謂五，故利見大人矣。

The Line Statement for the Second Line: The royal minister faces continuous difficulties, not for his own sake. Note: Nine in the Fifth is the king, and the Earthly element represents the minister and the body; the Water element represents difficulty. The path of the Second Line must pass through the Earth element, and since both the Second and the Fifth Lines are within the Water element, it is said "the royal minister faces difficulties." The Second Line rises to the Fifth position, breaking the Earth element and achieving the correct position, thus corresponding with the Fifth Line, hence "not for his own sake." The Line Statement for the Third Line: Going forward leads to difficulty, returning leads to returning to oneself. Note: Although the Sixth Line above is correct, going forward involves encountering danger, hence "going forward leads to difficulty"; turning back and occupying the Second Line, hence "returning to oneself." The Line Statement for the Fourth Line: Going forward leads to difficulty, returning leads to being connected. Note: "Connected" is the same as "carriage," and "difficulty" is the same as "蹇." The Fourth Line is between two Water elements, and going forward has no corresponding line, hence "going forward leads to difficulty"; retreating and corresponding with the First Line is blocked by the Third Line, hence "returning leads to being connected." The Line Statement for the Fifth Line: In great difficulty, companions come forward. Note: The Fifth Line is in a proper position and corrects the state of the country, hence "great difficulty"; the hexagram "Jian" is connected with "Kui," which has the element of Lake, representing companions, hence "companions come forward." The Line Statement for the Sixth Line: Going forward leads to difficulty, returning leads to being large, which is auspicious, favorable for meeting a great person. Note: The Sixth Line is a yin line in a dangerous element, and after one change it loses its position, hence "going forward leads to difficulty." "Large" refers to the Third Line, and the Earth element represents being large; the Sixth Line retreats to the Third position, hence "returning leads to being large"; achieving a proper position and having a corresponding line, hence auspicious. The element of Fire represents seeing, and "great person" refers to the Fifth Line, hence "favorable for meeting a great person."

疏：「譽謂」至「來譽」○此虞義也。二多譽，故譽謂二。三體坎，坎為寋，初失位而應六四之陰，往歴坎險，故往寋。變之正而與二比，故來譽也。○五為至之故○此虞義也。九五乾也，故為王。坤，臣道也，故為臣；又為身，故為躬。坎，難也，寋亦難也，故坎為寋。五本坤也，故之應涉坤。三五體坎，故王臣寋寋。二升五折坤之躬，得正相應，公耳忘私，故匪躬之故。虞唯上反三折坤體為異耳。

Hui Dong explains: This section of commentary and annotations from "yu wei" to "lai yu" follows Yu Fan's method of interpretation. The second line is often associated with praise, so "yu" refers to line six in the second position. Line nine in the third position is in the trigram Kan, which symbolizes difficulty; line six at the beginning is out of place and corresponds to line six in the fourth position, which is yin. Going forward will involve encountering the difficulties of Kan, so it is said "wang jian." When it changes to the correct position, it becomes adjacent to line six in the second position, so it is said "lai yu." The following commentary from "wu wei" to "zhi gu" also follows Yu Fan's method. Line nine in the fifth position originally belongs to trigram Qian, so it is taken as a king. Trigram Kun represents a minister, so it is taken as a minister; trigram Kun also represents the body, so it is taken as the body. The original meaning of trigram Kan is difficulty, and jian also means difficulty, so trigram Kan is taken as jian. Line six in the fifth position originally comes from trigram Kun, so line six in the second position corresponds to line five, which must cross through the body of trigram Kun. Lines three and five are also within trigram Kan, so it is said "wang chen jian jian." Line six in the second position rises to the fifth position and breaks the body represented by trigram Kun. It attains the correct position and corresponds with the upper line, being entirely devoted to the public good and forgetting one's own body, so it is said "fei gong zhi gu." Yu Fan differs only in that he interprets the upper line turning downward to occupy the third position to break the body of trigram Kun.

○應正至來反○此虞義也。三正應上而歴五險，故往寋反身。據二舍應從比，故來反，即象傳所云反身修德也。虞唯以觀上反三為反身異耳。○連輦至連也○此虞義也。馬云：連，難也。連古音輦，輦亦難也，故云連輦寋難也。四在兩坎之閒，應在初，故進則無應。介，閒也，退應初而閒於三，故退初介三。往來皆難，故云往寋來連。終得初應，故象曰當位實也。

This section of the commentary and annotations from "Ying Zheng" to "Lai Fan" represents Yu Fan's interpretation. The third line with a yang number nine corresponds with the top line six, but the movement forward must pass through the fifth line's dangerous situation, so it is said "Wang Jian" and can only turn back. It abandons the distant correspondence and instead takes the nearby line six two, so it is said "Lai Fan," which is what the Image Commentary refers to as "Fansi Xiude" (turning back to cultivate virtue). Yu Fan differs only in interpreting "Fansi" as the top line of Guan turning downward to occupy the third position. The following commentary from "Lian Nian" to "Lian ye" also follows Yu Fan's interpretation. Ma Rong said, "Lian means difficulty." "Lian" and "Nian" have the same ancient pronunciation, and "Nian" also implies difficulty, so the annotation says "Lian is Nian, Jian is Nian." The fourth line is between two Kan trigrams, so it should correspond with the first line six. Therefore, moving forward results in no correspondence. "Jie" means separation; it retreats to correspond with the first line but is separated by the third line nine, so it is said "Tui Chu Jie San." Going and coming are both difficult, so it is said "Wang Jian Lai Lian"; yet ultimately it can correspond with the first line, so the Image Commentary says "Dang Wei Shi Ye."

○當位至朋來○此虞義也。五在寋家，處中得正，當位正邦，故大寋。旁通睽，故睽兌為朋。乾氏謂比上據四應二，眾陰並至，故朋來也。○陰在至大人○此虞義也。五坎為險，故陰在險上。自外曰往，故上變稱往。變失正，故往蹇。諸爻以遇坎為寋，此爻以失位為寋也。三體艮，艮為碩，故碩謂三。退應三，故來碩。寋終則解，得位有應，故吉也。大人謂五，之三歴五，故利見大人，言應三則吉，比五則利也。

This section of the commentary and annotations from "when in the right position" to "companions come," follows Yu Fan's reasoning. The nine five is in a time of difficulty, occupies the central position and is upright, is in the right position and can correct the state, hence it is called "great difficulty." The hexagram Jian is opposite to the hexagram Kui, and Kui has the trigram Dui, which represents companions, hence it is said "companions come." Xun believed that this line is like the hexagram Bi, where the upper line is above the six four and the lower line corresponds to the six two, all the yin lines converge, hence it is said "companions come." The following commentary and annotations from "yin is in" to "great man," also follow Yu Fan's reasoning. The nine five is in the trigram Kan, which represents danger, hence the upper six is in the yin position above the dangerous trigram. Moving from inside to outside is called "going," hence the upper line is called "going"; when it changes, it loses the upright position, hence it is called "going through difficulty." All other lines consider encountering the trigram Kan as difficulty, but this line considers losing the position as difficulty. The nine three is in the trigram Gen, which takes the image of being large, hence "large" refers to the third line; the upper six comes down to correspond with the third line, hence it is said "comes with a large one." When difficulty reaches its end, it must be dissolved, the upper six is in the right position and has a corresponding line, hence it is auspicious. "Great man" refers to the nine five; the upper six comes down to the third position and passes through the fifth line, hence it is said "favorable to see the great man" — meaning that corresponding with the third line brings auspiciousness, and being close to the five brings benefit.

震宮二世卦，消息二月。解，利西南。注：臨初之四，坤西南卦，初之四得坤眾，故利西南，往得眾也。無所往，其來復吉。注：謂四本從初之四，失位於外而無所應，故無所往。宜來反初，復得正位，故其來復吉。二往之五，四來之初，成屯體復象，故云復也。

This hexagram belongs to the second generation in the Zhen (Thunder) Palace among the eight palaces of Jing Fang. Its qi corresponds to the second month. The text says: "Suitable for the southwest." The note explains: This hexagram is formed by moving the first line of the Lin hexagram to the fourth position. Kun is the hexagram of the southwest, and when the first line moves to the fourth position, it gains the multitude of Kun, hence it says "favorable for the southwest." This is what the Commentary on the Judgment means by "going to gain the support of the people." The text says: "If there is no place to go, returning to the original position is auspicious." The note explains: This refers to the nine in the fourth position. The nine in the fourth position originally comes from the first line, resides in the outer trigram but is out of its proper position, and has no corresponding line, hence it says "there is no place to go." It should return to its original position, regaining the proper position of the yang line, hence it says "returning to the original position is auspicious." When the nine in the second position moves to the fifth position and the nine in the fourth position returns to the first position, the entire hexagram becomes Tun, containing the image of Fu. Hence it says "return."

有攸往，夙吉。注：謂二也。夙，早也。離為日，為甲，日出甲上，故早也。二失位，早往之五則吉，故有攸往夙吉，往有功也。疏：「臨初」至「眾也」○此虞義也。卦自臨來，初九之四。乾鑿度曰：坤位在西南。故坤西南卦。四體坤，坤為眾，初之四得坤眾，彖傳曰利西南往得眾是也。

The text says: If there is a journey, going early is auspicious. The annotation refers to the line nine in the second position. "Sù" means early. The trigram Li is taken as representing the sun and the heavenly stem Jia. The sun rises above the character Jia, hence it is taken as representing "early." The line nine in the second position is out of its proper place; by going early to the fifth position, it becomes auspicious, hence it says "If there is a journey, going early is auspicious." The Commentary on the Judgment says "Going leads to success." Hui Dong explains: This section of the annotation from "At the beginning" to "many" follows Yu Fan's method of interpretation. This hexagram comes from the hexagram Lin, with the line nine in the first position moving up to the fourth position. The "Dian Zao Du" says "The position of Kūn is in the southwest," so Kūn is the hexagram of the southwest. The fourth line belongs to the structure of Kūn, and Kūn is taken as representing many. The line in the first position moving up to the fourth position attains the multitude of Kūn. The Commentary on the Judgment's statement "Beneficial to the southwest, going leads to gaining many" is exactly this meaning.

○謂四至復吉○此虞義也。四以陽居陰而在外卦，故失位於外；進則無應，故無所應。失位無應，故無所往。宜來反初而復正陽之位，故其來復吉也。二已往之五，故四來之初而成屯。屯初至四體復象，故云復。

This section of the commentary follows Yu Fan's reasoning from "wei si" to "fu ji." The nine in the fourth line holds a yang line in a yin position and is located in the outer trigram, so it is said to "lose its position in the outer trigram." Furthermore, it has no line corresponding to it, so it is said to "have no response." Since it has lost its position and has no response, it is said to "have nowhere to go." It should return to its original position, regaining the proper position of a yang line, hence "its return is auspicious." The nine in the second line has already moved to the fifth position, so the nine in the fourth line returns to the first position, completing the hexagram of Zhun. The hexagram Zhun from the first line to the fourth line forms the image of Fu, hence "return."

○謂二至功也○此虞義也。之外曰往，故往謂二。夙，早，釋詁文。離為日為甲，古文早作□，說文曰：，晨也，從日在甲上是也。二既失正，早往之五則吉。解者，緩也，故言夙。五多功，二據五解難，故有功也。

This section of the commentary and annotations from "谓二" to "功也" represents Yu Fan's interpretation. Moving from the inner trigram to the outer trigram is called "wǎng," so "wǎng" refers to nine two. "Sù" is interpreted as early, as seen in the "Er Ya · Xigǔ." The trigram Li is taken as representing the sun and the heavenly stem Jia; the ancient character for "early" was written as "□" (the character is missing in the original text), and the "Shuowen Jiezi" says that character means "morning," with its form depicting the sun on the heavenly stem Jia. Since nine two has already lost its proper position, going early to the fifth line brings good fortune. "Jiě" means to loosen or relieve; precisely because it requires a gradual approach, "sù" is used. The fifth line is associated with achievement, and nine two occupying the fifth line to relieve difficulties is said to have merit.

初六：無咎。注：二已之五，四來復初，故無咎。九二：田獲三狐，得黃矢，貞吉。注：臨坤為田。田，獵也。變之正，艮為狐，坎為弓，離為黃矢，矢貫狐體。二之五歴三爻，故田獲三狐。得黃矢之正得中，故貞吉。或說坎為狐。

The line statement for the first line (Initial Six): There is no fault. Note: Nine in the second line has already reached the fifth position, and Nine in the fourth line has returned to the initial position, hence there is no fault. The line statement for the second line (Nine in the second): Hunting in the field, capturing three foxes, obtaining a yellow arrow, the divination is auspicious. Note: The hexagram "Approaching" (Lín) takes the image of the earth (Kūn) as the field, "field" meaning hunting. After changing to the correct position, the mountain (Gèn) represents the fox, the water (Kǎn) represents the bow, and the fire (Lí) represents the yellow arrow, which pierces through the fox's body. Nine in the second line ascending to the fifth position passes through the third line, hence "capturing three foxes"; obtaining the yellow arrow and occupying the correct and central position, hence "auspiciousness." Another interpretation takes the water (Kǎn) as the fox.

六三：負且乘。注：負，倍也。二變時，艮為背，謂三以四艮倍五也。五來寇三時，坤為車，三在坤上，故負且乘。致寇至，貞吝。注：五之二成坎，坎為寇盜。上嫚五，下暴二，嫚藏誨盜，故致寇至。失位，故貞吝。

The Line Statement for the sixth line: Carrying burdens yet riding a large chariot. Note: "负" is read as "bèi," meaning to face away. When Nine in the Second moves, the mountain (Geng) takes the image of facing away, referring to Six in the Third relying on the mountain form of the fourth line and facing away from Nine in the Fifth. When Nine in the Fifth approaches and seizes Six in the Third, the earth (Kun) takes the image of a chariot, and Six in the Third sits upon the earth chariot, hence "carrying and riding." The Line Statement also says: Inviting bandits, being stubborn leads to regret. Note: When the fifth line descends to the second position, it forms the water (Kan) trigram, which takes the image of bandits. Six in the Third is disrespectful to Nine in the Fifth above and oppressive to Nine in the Second below, hoarding wealth without caution, thus inviting bandits, hence "inviting bandits." Six in the Third is out of position, hence "regret."

九四：解而母，朋至斯孚。注：初為四母，與初易位，故解而母。臨兌為朋，謂二也，二已之五成坎，坎為孚，故朋至斯孚。六五：君子維有解，吉，有孚于小人。注：陰得位為君子，失位為小人。兩繫稱維，謂五與初也。五之二，初之四，故君子維有解。變之正，故吉。小人謂三，二四正，三出為坎，故有孚于小人。

Nine in the Fourth Line Statement: Remove your big toe, and when friends come, there will be trust. Note: Initial Six is the "big toe" of Nine in the Fourth. Fourth and Initial exchange positions, hence "remove the big toe." The trigram Dui in the hexagram Lin represents friends, referring to Nine in the Second. Nine in the Second has already moved to the Fifth position, forming the trigram Kan, which represents trust, hence "friends arrive and trust is established." Six in the Fifth Line Statement: A gentleman who can resolve difficulties will be auspicious; he can also show trust to small people. Note: A yin line in the correct position is a gentleman, and in the wrong position is a small person. Two connected lines are called "tie," referring to Six in the Fifth and Initial Six. The Fifth line moves down to the Second position, and the Initial line moves up to the Fourth position, hence "the gentleman ties up the solution." It becomes the correct position, hence auspicious. "Small person" refers to Six in the Third. The Second and Fourth lines are correct, and the Third line moves out to form Kan, which represents trust, hence "trust is shown to the small person."

上六：公用射隼于高庸之上，獲之，無不利。注：上應在三，公謂三伏陽也。離為隼。三失位，動出成乾，貫隼入大過死象。巽為高庸，故公用射隼于高庸之上，獲之無不利也。疏：「二已」至「無咎」○二夙吉，故云二已之正。四來之初成復，復崩來無咎，義並同也。○臨坤至為孤○臨五本坤，二上獵五，故稱田。田者，田獵，故云田，獵也。二之五，四體艮，艮為狐，九家說卦文。坎為弓輪，故為弓。離二黃離，故為黃。

The line statement for the sixth line at the top: The king and duke are hunting eagles and falcons on a high wall, and they shoot them, which is beneficial in all respects. Note: The sixth line corresponds to the third line. "The duke" refers to the yang line hidden beneath the third line. The trigram Li is taken as the falcon. The third line is out of position, and once it moves, it becomes the trigram Qian, and the arrow pierces through the falcon's body, entering the image of death in the hexagram Da Guo. The trigram Xun is taken as high and as a wall, so it is said, "The duke shoots the falcon on a high wall, and he obtains it, which is beneficial in all respects." Hui Dong explains: This section of the commentary starts from "two have already" to "no blame." The second line and the early movement are auspicious, so the commentary says "the second line has already been correct." The fourth line returns to the initial position and becomes the hexagram Fu. The hexagram Fu has the meanings of "restoring" and "frequent restoration," and those who return after collapse have no blame, which is similar to the meaning here. The following commentary starts from "approaching the earth" to "as a fox." The fifth line of the hexagram Lin originally belongs to the trigram Kun. The second line moves upward to take the fifth position, so it is called "field." "Field" means hunting, so the commentary says "field means hunting." After the second line moves up to the fifth position, the fourth line is in the trigram Gen, and the trigram Gen is taken as a fox, which is the text from the "Nine Families Commentary" on the "Shuo Gua." The trigram Kan is taken as the bow and the wheel, so it is taken as the bow; the second line of the trigram Li is "Huang Li," so it is taken as yellow.

馬王注易皆云離為矢。三體離，四體艮，故矢貫狐體。二之五歴艮三爻為三狐，故田獲三狐。二獵五，離體壞，故得黃矢。五得正得中，故貞吉。此兼虞義。九家說卦坎亦為狐，卦有兩坎，二四正，三出又為坎，故田獲三狐，義亦通也。

Ma Rong and Wang Su both commented that the trigram Li is taken as an arrow. The third line is within the trigram Li, and the fourth line is within the trigram Gen, so it is said "the arrow pierces through the fox's body." The line Nine Two ascends to the fifth position, passing through the three lines of Gen, which is called "three foxes," hence "field hunting three foxes." The line Nine Two hunts the fifth position, and the trigram Li is thus destroyed, hence "obtaining a yellow arrow." The fifth line is both correct and central, hence "upright and auspicious." This explanation incorporates Yu Fan's meaning. The "Nine Families Commentary" interprets the trigram Kan as a fox as well; this hexagram has two Kan trigrams, with the second and fourth lines in the correct position, and the third line moving out to form another Kan, hence "field hunting three foxes" — this interpretation is also reasonable.

○負倍至且乘○此虞義也。負讀為倍，與倍同物同音。漢書載禹貢倍尾山，史記作負尾，俗作陪，字隨讀變。禮記明堂位負斧依，負又作倍，故云負，倍也。二變體艮，艮為背，背讀為倍，又通於負，故鄭註明堂位曰：負之言背。古人訓詁音義相兼也。

This section of the commentary follows from "fu bei" to "qie cheng," which is Yu Fan's interpretation. "Fu" is read as "bei," and the two characters originally refer to the same thing and are homophones. The "Book of Han" records "pei wei mountain" from the "Yu Gong," while the "Records of the Grand Historian" writes it as "fu wei," and common editions write it as "pei," with the character form changing according to pronunciation. In the "Rites of Zhou · Position of the Bright Hall," "fu fu yi" is written as "bei fu yi," so the commentary says "fu is equivalent to bei." When the second line (nine two) changes, it becomes the Gen trigram, which symbolizes the back; "back" is read as "bei," and it is also synonymous with "fu," so Zheng Xuan's commentary on the "Position of the Bright Hall" states: "Fu means back." Ancient philological interpretations originally combined both sound and meaning.

三四不正，四為艮背，五在其後，故三以四背五。五來寇三者，案繋上子曰：為易者其知盜乎。虞彼注云：否上之二成困，三暴嫚，以陰乘陽，二變入宮為萃，五之二而奪三成解。故云五來寇三時，坤為車，謂萃坤也。若然，此注不言自萃來者，注從四陰二陽之例，故不言自萃來也。三不正而乘坤車，故負且乘，謂小人而乘君子之器也。

The third and fourth lines are not in the proper position. The fourth line represents the back of the mountain (Geng), and the ninth in the fifth line is behind it. Therefore, the sixth in the third line relies on the fourth line and faces away from the ninth in the fifth line. As for the phrase 'five comes to attack three,' according to Confucius in the 'Commentary on the Hexagrams, Upper Part,' it is said, 'The author of the Book of Changes must have understood the principle of thieves.' Yu Fan explains that in the hexagram of 'Obstruction,' the top line moving down to the second position forms the hexagram of 'Impediment.' The third line is aggressive and disrespectful, with a yin line riding over a yang line. The second line then changes into the original hexagram to form 'Gathering.' The fifth line moves down to the second position and takes away the third line, forming 'Release.' Therefore, when 'five comes to attack three,' the earth (Kun) is taken as a chariot, referring to the earth in the hexagram of 'Gathering.' Since this is the case, the commentary does not mention that 'Release' comes from 'Gathering,' because the commentary follows the general principle of hexagrams with four yin lines and two yang lines, so it does not mention the origin from 'Gathering.' The sixth in the third line is in an improper position but sits on the great chariot symbolized by the earth, hence 'carrying and riding,' meaning a petty person riding on the vehicle of a superior person.

○五之至貞吝○此虞義也。萃五之二成坎，坎為寇為盜。繋上曰：上嫚下暴。又曰：嫚藏悔盜。坎為暴，三上嫚五，下暴於二。坎心為悔，坤為藏，嫚藏悔盜，故致寇至。失位不變，故貞吝也。○初為至斯孚○母，古文拇而女也。初上應四，四之母也，故云初為四母。初繫於二，四解初繫，與初易位，故解而母也。知初繫於二者，五爻辭言君子維有解，兩繫稱維，故知初繫二，五亦係四也。二陽同類，故朋謂二。二之五，兩繫皆解，坎信為孚，故朋至斯孚也。

This section of commentary and explanation from "Wu Zhi" to "Zhen Lin" follows Yu Fan's reasoning. In the hexagram "Cui," the fifth line moves down to the second position, forming the structure of Kan. Kan is taken as representing bandits and thieves. The "Xiyi Shang Wen" says, "Being disrespectful to the superior and bullying the inferior," and also says, "Failure to guard carefully leads to inciting thieves." Kan is taken as representing bullying, with the sixth line in the third position being disrespectful to the ninth line in the fifth position and bullying the ninth line in the second position. Kan represents the heart and is taken as "regret," while Kun represents storage. Being disrespectful and storing carelessly is exactly what invites thieves, hence the statement "causing bandits to come." The sixth line is out of position and refuses to change, hence "Zhen Lin." This section of commentary and explanation from "Chu Wei" to "Si Fu." "Mu" is an ancient form of "mu" (thumb) with the female radical. The first line corresponds to the fourth line, which is the "thumb," so the commentary says "Chu Wei Si Mu." The first line is connected to the second line, and the fourth line releases the first line's connection and exchanges positions with it, hence "Jie Er Mu." Knowing that the first line is connected to the second line is because the line statement of the sixth line in the fifth position says "the gentleman is in a state of release." The connection at two places is called "Wei," thus it is known that the first is connected to the second, and the fifth is also connected to the fourth. The ninth line in the second position and the ninth line in the fourth position are both yang lines, so "Peng" refers to the ninth line in the second position. When the ninth line in the second position moves up to the fifth position, the connections at both places are released; Kan represents sincerity, hence it is taken as "Fu," so it says "Peng Zhi Si Fu."

○陰得至小人○鄭注乾鑿度曰：三十二君之率，陽得正為聖人，失正為庸人；陰失正為小人，得正為君子。故知此君子謂五與初也。虞注隨上六曰：兩繫稱維，五繫四，初繫二，五之二，初之四，兩繫皆解，故君子維有解。

This section of the commentary discusses from "yin gets" to "small person." Zheng Xuan's commentary on the "Qian Zao Du" states: in general, for the thirty-two kings, a yang line being correct is a sage, and a yang line being incorrect is an ordinary person; a yin line being incorrect is a small person, and a yin line being correct is a gentleman. From this, we know that the term "gentleman" here refers to the sixth line at the beginning and the sixth line in the fifth position. Yu Fan's commentary on the "Su" hexagram's sixth line at the top says: only when two places are connected can it be called "wei." The fifth line is connected to the fourth, and the first line is connected to the second. When the fifth line moves down to the second position, and the first line moves up to the fourth position, the two connections are both resolved, so it is said "the gentleman maintains release."

陰繫陽而得言解者，以在解家故也。虞本維作惟，讀為思惟之惟，今不用也。六三負且乘，繋上釋此爻云：負也者，小人之事也。故知小人謂三。二四已正，三出為坎，坎為孚，故有孚于小人。

The binding of a yin line to a yang line is not necessarily a bad thing; here, however, it is referred to as "release" because it is within the context of the hexagram of "Release." Yu Fan's original text uses "维" which is written as "惟," pronounced like "think" in "thought," but this is not adopted here. The line statement of the sixth line in the third position says "carrying and riding," and the "Commentary on the Hexagrams, Upper Transmission" explains this line as: "Carrying something on one's back is the affair of a petty person." From this we know that "petty person" refers to the sixth line in the third position. Since the second and fourth lines are already in their proper positions, the third line moves out to form a Kan trigram, which symbolizes sincerity. Therefore, it is said "there is sincerity toward the petty person."

○上應至利也○此虞義也。三失位當變之正，上應在三，故發其義於上爻。三為三公，六三陽位，下有伏陽，故謂三伏陽也。釋鳥曰：鷹隼丑，其飛也翬。離為飛鳥，故為隼。五之二成坎弓離矢，三動成乾貫離隼，體大過，故入大過死。庸，牆也。三動下體成巽，巽為高，為庸，故公用射隼于高庸之上。虞氏謂三陰小人乘君子器，故上觀三出，射去隼，兩坎象壞，故無不利也。

This section of commentary and explanation from "Shang Ying" to "Li ye" follows Yu Fan's reasoning. The sixth line is out of its proper position and should change to the correct position. The sixth line corresponds to the third line, so this meaning is explained in the statement of the top line. The third line is the position of the Three High Officials, and the sixth line originally occupies a yang position, with a hidden yang line beneath it, so it is said "three is a hidden yang." The "Erya · Xisniao" says: "Eagles and hawks, when they fly, they flap their wings and rise quickly." The trigram Li is taken as a flying bird, so it is taken as a hawk. The fifth line moves down to the second position to form Kan, Kan represents a bow, and Li represents an arrow; when the third line moves, it forms Qian, and the arrow pierces the hawk represented by Li, and the whole becomes Da Guo, so it is said to fall into the image of Da Guo, which is a death omen. "Yong" is a wall. When the third line moves, the lower part becomes Xun, which is taken as high and as a wall, so it is said "the public shoots a hawk on a high wall." Yu Fan believes that the sixth line is a yin and flexible person riding on the vessel of a superior person, so the sixth line observes the third line and moves out, shooting the hawk with one arrow, causing the two Kan images to be destroyed, so it is said "there is no disadvantage."