The hexagram of Ascending.

震宮四世卦，消息十二月。

According to Jing Fang's eight palaces arrangement, the hexagram "Ascending" belongs to the Zhen palace as the fourth generation hexagram. According to the hexagram qi theory, it corresponds to the twelfth lunar month. At this time, the yang qi rises gradually from the ground, which precisely matches the meaning of "ascending" as advancing upward.

《升》：元亨。注：臨初之三，又有臨象。剛中而應，故「元亨」。「用見大人，勿恤。」注：二當之五為大人，離為見，坎為恤，二之五得正，故「用見大人，勿恤有慶」也。「南征吉。」注：離南方，二之五成離，故「南征吉，志行」也。

The Hexagram Statement of the "Ascending" Hexagram says: "Original and prosperous." Hui Dong's self-commentary explains that this hexagram arises from the first line of the "Approaching" hexagram moving upward to the third position, and the image of "Approaching" is still preserved within it. The second line is a yang line in the center and corresponds with the fifth line, hence it is said "Original and prosperous." The Hexagram Statement "Use the presence of a great man, without worry" is explained by Hui Dong as follows: The second line should move upward to the fifth position to become a "great man." The trigram Li represents meeting, and the trigram Kan represents worry. When the second line ascends to the fifth position, it attains the correct position, hence it is said "Use the presence of a great man." The "Commentary on the Judgment" concludes "Without worry, there is celebration." The Hexagram Statement "A southern expedition is auspicious" is explained by Hui Dong as follows: Li is the trigram of the south, and when the second line ascends to the fifth position, it forms the body of Li, hence it is said "A southern expedition is auspicious." The "Commentary on the Judgment" concludes "The will is carried out."

疏：「臨初」至「元亨」○此以下皆虞義也。升從四陰二陽之例，故云「臨初之三」。二至上體臨，故「又有臨象」。臨卦辭曰「元亨」，彖傳云「剛中而應，是以大亨」，與升象略同，故亦云「元亨」也。○「二當」至「慶也」○坤虛無君，故「二當之五為大人」。二之五體離坎，故離為見，坎為恤。二之五得正，坤為用，故「用見大人，勿恤有慶」，陽稱慶也。

The following explanation begins with the Hexagram Statement and Commentary on the Judgment from "Initial Approach" to "Great Success." The subsequent discussion follows Yu Fan's interpretation. The Hexagram of Ascending is derived from the Hexagram of Approaching according to the pattern of a hexagram with four yin lines and two yang lines. The initial line of the Hexagram of Approaching moves upward to the third position, hence the Commentary says "Initial Approach to the Third." From the second line to the top line, the structure still forms the Hexagram of Approaching, so it is said "there is still the image of Approaching." The Hexagram Statement of Approaching is "Great Success," and the Commentary on the Judgment states "Yang is central and responds, hence great success," which is largely similar to the image of Ascending, so Ascending also says "Great Success." Next, the explanation from "The Second Line Should" to "Celebration": The Earthly element is empty and lacks a ruler, so the second line should move upward to the fifth position to serve as "Great Person." When the second line ascends to the fifth position, the hexagram forms the structure of Fire and Water, hence Fire represents seeing and Water represents concern. The second line ascending to the fifth position attains the correct position, and Earth is associated with "use," hence "Seeing the Great Person, without concern there is celebration." In the Book of Changes, a yang line is called "celebration."

○「離南」至「行也」○離，方伯，南方之卦，二之五體離，自二升五，故「南征吉」。坎為志，震為行，故「志行」也。荀氏之義，以為此本升卦，巽當升坤上，故六四與眾陰退避當升者。荀於需泰二卦言乾體上升，坎坤下降，尋升需泰三卦唯需有乾升坎上之象，餘所不用也。

A further explanation of the passage from "Lì nán" to "xíng yě": Lì is the hexagram representing the four cardinal directions, governing the south; when Nine in the Second ascends to the fifth position, it forms the structure of Lì, moving from the second to the fifth position, hence it is said "nán zhēng jí" (a favorable journey to the south). Kan represents the mind and will, while Zhen represents action, so the Commentary on the Judgment says "zhì xíng yě" (the will is carried out). Xun Shuang's interpretation holds that this hexagram inherently signifies "shēng" (ascending), with Xun (wind) rising above Kūn (earth). Therefore, Six in the Fourth must step back, allowing the ascending elements to rise. In the hexagrams Need and Tai, Xun Shuang also discusses the ascent of Qian (heaven) and the descent of Kan and Kūn; however, upon careful examination of the hexagrams Shēng, Need, and Tai, only Need clearly shows Qian rising above Kan; the other interpretations by Hui Dong are not adopted.

初六：升，大吉。注：進也。初變之正，進應四，故「升」。二之五，初與四合志承五，故「大吉」。九二：孚乃利用禴，無咎。注：「禴，夏祭」也。孚謂二之五成坎為孚，離為夏，故「乃利用禴」。二升五得位，故「無咎」也。九三：升虛邑。注：坤稱邑，五虛無君，利二上居之，故「升虛邑，無所疑」也。

The line statement for the first line says: "Ascending, great good fortune." Hui Dong's self-commentary (the original text here is missing the character being explained) states: "Ascending means advancing upward. The first line changes to the correct position, and ascends to connect with the fourth line, so it is called 'ascending.' The second line ascends to the fifth position, and the first line and fourth line share the same intention to support the fifth line, hence 'great good fortune.'" The line statement for the second line says: "Trust leads to the use of a simple summer sacrifice, without blame." Self-commentary: "Cuo" is the name of a summer sacrifice. "Trust" refers to the second line ascending to the fifth position, forming the Kan trigram, which symbolizes trust. Since Li is associated with summer, it is said "trust leads to the use of a simple summer sacrifice." The second line ascending to the fifth position and attaining its proper position, so there is no blame. The line statement for the third line says: "Ascending to an empty city." Self-commentary: The坤 trigram is called a city. The fifth position is empty and lacks a ruler, which is favorable for the second line to ascend and occupy it, hence "ascending to an empty city." The Small Image Commentary concludes "there is no doubt."

六四：王用亨于岐山，吉，無咎。注：王謂二升五也。巽為岐，艮為山，故「王用亨于岐山」。陽稱吉，四順承五，故「吉無咎」也。以人事明之，此王謂夏后氏也。岐山，冀州之望。亨者，二升五受命告祭也。六五：貞吉，升階。注：二升五，故「貞吉」。坤為階，陰為陽作階，使升居五，故「升階」也。上六：冥升，利于不息之貞。注：坤性闇昧，今升在上，故曰「冥升」也。二升五，積小以成高大，故曰「不息」。陽道不息，陰之所利，故曰「利于不息之貞」。

The fourth line statement says: "The king offers sacrifices to Qishan, which is auspicious and without fault." Hui Dong's self-commentary explains: "The 'king' refers to the nine in the second line ascending to the fifth position. Xun represents the image of divergence, and Gen represents a mountain, hence the phrase 'the king offers sacrifices to Qishan.' A yang line is called 'auspicious'; since the sixth line is yin and obediently supports the fifth line, it is 'auspicious and without fault.' In terms of human affairs, the 'king' here refers to the Xiahoushi. Qishan is a famous mountain in the Jiuzhou region that was worshipped in ritual offerings. The term 'offer sacrifices' refers to the nine in the second line ascending to the fifth position and receiving the mandate of heaven to perform sacrifices." The fifth line statement says: "It is auspicious to be steadfast, and to ascend the steps." Self-commentary explains: since the nine in the second line has ascended to the fifth position, it is "auspicious to be steadfast." Kun represents the image of steps, and the yin line constructs steps for the yang line, allowing it to ascend step by step to the fifth position, hence the phrase "ascending the steps." The sixth line statement says: "Dark ascent is favorable for steadfast perseverance." Self-commentary explains: Kun's nature is dark and obscure, and now it has ascended to the top, hence the phrase "dark ascent." The nine in the second line ascending to the fifth position is the accumulation of small things to achieve greatness, hence "perseverance." The movement of yang is continuous and unceasing, which is the benefit that the yin line relies upon, hence "favorable for steadfast perseverance."

疏：「進」至「大吉」○《說文》曰：「進也，從□，□，進趣也。」初失位變之正，進與四應，故「升」。陽稱大稱吉，二之五，初與四合志承五，故「大吉」。《象》曰「上合志」也。○「禴夏」至「咎也」○此虞義也。陽在二、五稱孚，故「孚謂二之五」，成坎為孚，坎陽在二五也。離直夏，夏祭曰禴，故「孚乃利用禴」。二失位宜有咎，升五得位，故「無咎」也。

Here is an explanation of the passage concerning the initial line, from the words "progress" to "great good fortune." The "Sayings of the Characters" explains this character as "progress," saying it derives its meaning from a radical which itself signifies advancement. However, both the character and its radical are now missing in the original text, so they are represented by "□" as a placeholder. The initial line is out of its proper position but changes to the correct position, moving upward to harmonize with the fourth line, so it is said "to ascend." A yang line is called "great" and "auspicious"; the second line ascends to the fifth position, and the initial line and the fourth line share the same aspirations and jointly support the fifth line, hence "great good fortune." The "Small Image Commentary" says "they harmonize in their aspirations." Now, explaining the passage concerning the second line, from "summer sacrifice" to "fault." Using Yu Fan's interpretation, a yang line in the second or fifth position is called "faith." Therefore, "faith" refers to the second line ascending to the fifth position; ascending to form the structure of Kan (water) is called "faith," because the yang lines of Kan are precisely in the second and fifth positions. Li (fire) corresponds to summer, and the summer sacrifice is called "yue," so it is said "faith is useful for the summer sacrifice." The second line was originally out of its proper position and should have had a fault, but ascending to the fifth position brings it to the correct position, so there is no fault.

○「坤稱」至「疑也」○此荀義也。坤土稱邑，陽實陰虛，故「五虛無君」。三利二陽上居五位，故「升虛邑」，謂升坤邑也。升五得正，故《象》曰「無所疑也」。○「王謂」至「無咎」○乾為王，二升五即乾五也，故云「王謂二升五」也。巽為股，股下岐，故為岐。二升五下體成艮，故艮為山。二受命告祭，四順承之，故「吉無咎」，《象》曰「順事也」。荀氏之義，以巽升坤上體觀享祀，上巽為岐，下艮為山，故「王用享于岐山」也。

The explanation of the annotation for line nine in the third position, from "Kun is called" to "doubtful," follows Xun Shuang's interpretation. Kun represents earth, so it is called a city and town. A yang line is full and a yin line is empty, so it is said that the fifth position is empty and lacks a ruler. Line nine benefits from line nine in the second position ascending to the fifth position, so it is said "ascending to an empty city," meaning ascending into the city and town symbolized by Kun. When line nine in the second position ascends to the fifth position, it attains the correct position, so the Small Image Commentary says "there is no doubt." The explanation of the annotation for line six in the fourth position, from "the king refers to" to "no blame," is as follows:乾 represents the king, and when line nine in the second position ascends to the fifth position, it becomes the fifth line of乾. Therefore, the annotation says "the king" refers to line nine in the second ascending to the fifth position. Xun takes the image of the thigh, and below the two thighs there are branches, so it takes the meaning of "branching." After line nine in the second position ascends to the fifth position, the lower part forms Gen, so Gen represents a mountain. Line nine in the second receives the mandate of heaven and performs the rites of worship, and line six in the fourth, being gentle, supports it, so "auspicious, no blame," and the Small Image Commentary says "following the proper course." Xun Shuang's interpretation is that the Xun hexagram ascends to the top of the Kun hexagram, and the entire hexagram has the image of Guaan, with the focus on offerings and worship. Above is Xun, representing branching, and below is Gen, representing a mountain, so it is said "the king uses offerings on the branch mountain."

○「以人」至「祭也」○孟喜《易章句》曰：「易本乎氣而後以人事明之。」文王爻辭皆據夏商之制，故云「此王謂夏后氏」也。必知為夏后氏者，哀六年《春秋傳》仲尼曰：「《夏書》曰：惟彼陶唐，帥彼天常，有此冀方。」服虔《解誼》云：「堯居冀州，虞夏因之。」皇甫謐《帝王世紀》曰：「夏與堯舜同在河北冀州之城，不在河南也。」

The commentary from "with people" to "ritual also" explains that the "King" mentioned refers to the Xia dynasty. Meng Xi's "Commentary on the Changes" states that the "Zhou Changes" originate from the principles of yin and yang, and then use human affairs to illustrate these principles. The line statements attached by King Wen are based on the systems of the Xia and Shang dynasties, so the commentary refers to the "King" here as the Xia dynasty. This conclusion is drawn because the "Zuo Zhuan" records that Confucius cited the "Summer Book" saying that the Taotang dynasty followed the constant way of heaven and ruled the Ji state. Fu Qian's "Commentary on the Spring and Autumn Annals" says that Yao established his capital in the Ji state, and the Yu and Xia dynasties continued this tradition. Huang Fu Mi's "Chronicles of the Emperors" also states that the Xia dynasty was located in the Ji state along with Yao and Shun, not in the Henan region.

故《五子歌》曰「惟彼陶唐，有此冀方，今失厥道，亂其紀綱，乃底滅亡」，言禹至太康與唐虞不易都城也。謐據偽《尚書》以為太康，若杜預之義，滅亡謂夏桀，知夏后氏咸都冀州，與唐虞同也。《禹貢》曰「冀州既載」，又云「壺口治梁及岐」。《爾雅·釋山》曰「梁山，晉望也」。諸侯三望，天子四望，梁山為晉望，明梁山、岐山皆冀州之望。

Therefore, the Book of Documents, the Five Songs of the Five Sons, says: That Tang dynasty ruler, who held the region of Ji Zhou, lost his proper way and disrupted his order, and eventually perished. This indicates that from Yu to Tai Kang, the dynasty never changed the old capital of the Tang and Yu dynasties. Huafu Mi, based on the forged ancient text of the Book of Documents, identified the fallen king here as Tai Kang; but according to Du Yu's interpretation, "perishing" refers to the last king of Xia, Jie. In any case, it is clear that the Xia dynasty rulers established their capitals in Ji Zhou, the same as the Tang and Yu dynasties. The Book of Documents, the Yu Gong, says "Ji Zhou has been properly organized," and also mentions "Hu Kou is managed at Liang and Qi." The Er Ya, the Explanation of Mountains, says "Liang Mountain is the landmark of Jin." According to ritual, dukes offered sacrifices to three famous mountains within their territory, while the Son of Heaven offered sacrifices to four. Since Liang Mountain is the landmark of Jin, it is evident that both Liang Mountain and Qi Mountain are famous mountains within the territory of Ji Zhou, which should be offered to in ritual sacrifices.

故僖三十一年《公羊傳》曰「天子有方望之事，無所不通」，知冀州之望得有梁岐，故云「岐山，冀州之望」也。《詩·時邁序》曰：「巡守告祭，祡望也。」鄭箋云：「巡守告祭者，天子巡行邦國，至於方嶽之下而封禪也。」彼言封禪，此云受命者，王者受命亦有告祭山川之事，今二升五，故云「受命告祭」也。

Therefore, the "Spring and Autumn Annals" (Chunqiu) states in the "Gongyang Zhuan" for Duke Xian's thirty-first year: "The Son of Heaven has the ritual of looking towards the directions, and there is no place he cannot reach." From this we can know that among the mountains worshipped by the Ji State, both Liang Mountain and Qi Mountain could be included. Hence, the commentary says, "Qi Mountain is the mountain looked towards by Ji State." The small preface of the "Shijing · Shimai" says: the ritual of offering sacrifices during the inspection tours is to burn fire and worship Heaven, and to look towards and worship the rivers and mountains. Zheng Xuan's commentary says: the so-called inspection tour sacrifices are when the Son of Heaven tours the various states, arriving at the foot of the four great mountains and performing the rites of Fengshan. That passage speaks of Fengshan, but here it says "receiving the mandate," because when a king first receives the Mandate of Heaven, he also performs the ritual of offering sacrifices to the rivers and mountains. Now, the Nine in the Second position rises to the fifth position, which corresponds exactly to the image of receiving the Mandate, so it is said "receiving the Mandate and offering sacrifices."

○「二升」至「階也」○此虞荀義也。二失正，升五得正，故「貞吉」。虞註上《繋》節初九曰「坤為階」，尋坤為土，古者土階，故坤為階也。階所以升者，五陰為二陽作階，使升居五，故有升階之象也。

The explanation of the annotation for line six five, from "two rises" to "stair," incorporates the views of Yu Fan and Xun Shuang. Originally, line nine two was out of its proper position, but when it rises to the position of line five, it attains correctness, hence it is said "upright good fortune." Yu Fan, in his commentary on the Upper Great Treatise of the Changes, cited the "Regulation" hexagram's line one nine, stating "Kun represents a stair." Investigating the reason, Kun represents earth, and ancient stairs were originally built with compacted earth, so Kun takes the image of a stair. A stair is for people to ascend step by step. The yin line at position five constructs the stair for the yang line at position two, allowing it to rise and occupy position five, hence there is the image of "ascending the stair."

○「坤性」至「之貞」○上體坤，坤喪乙滅癸，故性闇昧。居上體而在升家，故「冥升」，此上荀義。案《中庸》言「至誠無息」而先言「積」，如天之昭昭，地之撮土，山之卷石，水之一勺，所謂積也。繼之云「維天之命，於穆不已」，又云「於乎不顯，文王之德之純」，純亦不已，不已即不息。二升五，積小以成高大，有不息之義。升五得正，故云「不息之貞」。上比於五，五陽不息，陰之所利，故「利于不息之貞」也。

The upper trigram is坤, and according to the method of Najia stem assignment,坤 loses its strength at Yi and is extinguished at Gui, so its nature is dark and obscure. The upper sixth line is located at the top trigram and is in the hexagram of 升, so it is said to be "ascending in darkness." This is the view of Xun Shuang. Examining the Zhongyong, it says "the highest sincerity has no cessation," but first it speaks of "accumulation": heaven is merely the accumulation of many small lights, earth is merely the accumulation of many soil blocks, mountains are merely the accumulation of many stones, and water is merely the accumulation of many drops of water. This is called "accumulation." Then it cites the Shijing saying "the mandate of heaven, profound and unceasing," and also says "how magnificent is the virtue of King Wen, pure and unchanging." Purity is the same as unceasing, and "unceasing" is exactly "without cessation." The second line rises to the fifth position, accumulating small things to achieve greatness, which contains the meaning of "without cessation." When it reaches the fifth position, it attains the correct position, so it is said "the sincerity without cessation." The upper sixth line is adjacent to the fifth line, and the yang of the fifth line continues without cessation, which is precisely the benefit relied upon by the yin line, so it is said "favorable for sincerity without cessation."

坎宮四世卦，消息九月。

According to Jing Fang's eight palaces arrangement, the hexagram "Kun" belongs to the Kan palace as the fourth world hexagram. According to the theory of hexagram qi, it corresponds to the ninth lunar month. In the ninth month, the yang qi gradually declines and is overshadowed by yin qi, which precisely matches the meaning of "Kun" as the concealment of yang strength.

《困》：亨。注：否上之二，剛為陰弇，故困。上之二乾坤交，故亨。傳曰「困窮而通」也。「貞，大人吉，無咎。」注：大人謂五，在困無應，宜靜則無咎，故「貞，大人吉，無咎」。「有言不信。」注：乾為信，震為言，折入兌，故「有言不信，尚口乃窮」也。荀氏謂陰從二升上成兌為有言，失中為不信。

The Hexagram of Guan (Obstruction) states: "It is favorable." Hui Dong's self-commentary says: This hexagram comes from the top line of the hexagram of Pǐ (Obstruction) moving down to the second position. The yang is obscured by yin, hence it is called "Obstruction." The top line moves down to the second position, allowing the Heaven and Earth to interact, hence "favorable." The Commentary on the Judgment says "Obstruction leads to success." The Hexagram states: "Maintain the correct course; the great man is auspicious, without blame." Self-commentary says: "The great man" refers to the nine in the fifth position. The nine in the fifth is in a difficult situation and has no line corresponding to it, so it is appropriate to remain quiet and self-restrained, thus avoiding blame, hence "Maintain the correct course; the great man is auspicious, without blame." The Hexagram states: "Words are not believed." Self-commentary says: The Heaven represents sincerity, and the Zhen represents speech; the Zhen is damaged and incorporated into the Dui, hence "Words are not believed." The Commentary on the Judgment concludes "Excessive talking leads to failure." Xun Shuang, however, believes that the yin from the second position rises to the top position, forming the Dui, which represents speech, hence "Words." When it rises, it loses the central position, hence "Not believed."

疏：「否上」至「通也」○卦自否來，上九之二，二五之剛為陰所弇，故困。否天地不變不能通氣，上之二乾坤交，故亨。傳曰「困窮而通」者，《繫下》文，謂陽窮。否上變之二成坎，坎為通，故「窮而通」也，此兼虞義。若鄭氏之義，謂坎為月，互體離，離為日，兌為闇昧，日所入，今上弇日月之明，猶君子處亂世，為小人所不容，故謂之困。

The following is an explanation of the hexagram statement and commentary from "否" to "tong ye" (meaning "communication"). This hexagram arises from the hexagram "否." In "否," the upper line nine moves down to the second line, and the yang lines at positions two and five are covered by yin lines, hence it is called "困" (difficulty). The hexagram "否" represents the non-interaction between heaven and earth, and the lack of communication; after the upper line moves down to the second line, heaven and earth interact, hence "亨" (smoothness). The "Commentary on the Judgment" says "困穷而通," which comes from the "Great Treatise" and refers to the yang energy reaching its extreme. When the upper line of "否" moves down to the second line, it forms the structure of Kan, which signifies communication, hence "穷而通" (extreme difficulty leading to communication). This passage incorporates Yu Fan's interpretation. As for Zheng Xuan's view: Kan represents the moon, and the mutual structure forms Li, which represents the sun; Dui signifies darkness and obscurity, which is the place where the sun enters. Now the upper line covers the brightness of the sun and moon, just like a gentleman in a chaotic world not being accepted by petty people, hence it is called "困."

云「兌為闇昧日所入」者，案古文《尚書·堯典》曰「分命和叔，宅西曰昧谷」，鄭彼注云：「西者，隴西之西，今人謂之兌山。」兌西方卦，故云「日所入」。尋彖傳云「困，剛弇也」，今鄭謂上體之兌弇下體之坎離以釋困字，違彖傳剛弇之義，故不用也。

Zheng Xuan said, "Dui represents the dark and gloomy place, which is where the sun sets." His reasoning is based on the ancient text "Shangshu · Yaodian" which mentions "assigning He叔 to reside westward, called Migu Valley." Zheng Xuan's commentary explains that "west" refers to west of Longxi, which was called Dui Mountain at that time. Dui is the trigram of the west, so it is said to be the place where the sun sets. However, upon careful examination, the "Tuanchuan" states "confinement is the obstruction of yang strength," clearly referring to yang being covered. But Zheng Xuan interpreted it as the upper trigram Dui covering the lower trigrams Kan and Li, using this to explain the meaning of "confinement," which contradicts the original meaning of "yang being covered" in the "Tuanchuan." Therefore, Hui Dong did not adopt his interpretation.

○「大人」至「無咎」○此虞義也。乾五為大人，故「大人謂五」。五在困家，與二敵應，故無應。正居其所則吉，故云「宜靜則無咎」也。案京房《易積算》曰「靜為悔，發為貞」，故凡卦爻辭言貞者皆謂變之正。今以「貞大人」為「宜靜則無咎」者，師彖傳曰「貞，正也」。九五處困之家，近無所據，遠無所應，以其體剛得中，宜正居五位則吉無咎。若師之「貞丈人」者，謂當升坤五為貞，是已正而守正與未正而當正皆謂之貞。荀氏之義亦與虞同。

The explanation of the passage from "Great Man" to "no blame" in the hexagram statement uses Yu Fan's interpretation. The fifth line of the Qian hexagram is called "Great Man," so "Great Man" refers to the nine in the fifth line. The nine in the fifth line is in the Guan hexagram, and it is in opposition with the nine in the second line, both being yang and opposing each other, thus having no responding line. Being content in its position brings good fortune, so the commentary says it is appropriate to remain quiet and self-restrained, thus avoiding blame. According to Jing Fang's "Yi Ji Suan," "stillness is regret, action is uprightness." Therefore, whenever the line statement mentions "uprightness," it usually refers to a change returning to correctness. However, here "uprightness, Great Man" is interpreted as "appropriate stillness brings no blame," based on the "Commentary on the Judgment" of the Shi hexagram, which says "uprightness means correctness." The nine in the fifth line is in a difficult situation, with nothing to rely on nearby and nothing to respond to afar; relying on its yang strength and being in the center, it is fortunate and blameless if it maintains correctness in the fifth position. As for the "uprightness, elder man" in the Shi hexagram, it refers to the nine in the second line ascending to the fifth position of the坤 body as "uprightness." This shows that both being already correct and maintaining correctness, and being not yet correct but needing to return to correctness, can both be called "uprightness." Xun Shuang's interpretation is also the same as Yu Fan's.

○「乾為」至「窮也」○此虞義也。震息成兌，故「折入兌」，兌為毀折也。乾為信，上之二乾體壞，故「有言不信」。彖曰「尚口乃窮」也。○「荀氏」至「不信」○荀氏據卦自否來，坤陰從二升上體兌，說卦曰「說言乎兌」，故成兌為有言。二五為中，二之上失中為不信，故「有言不信」。虞氏以震為言，與荀異也。

The explanation of the Hexagram Statement from "Qian represents" to "exhausted" is based on Yu Fan's interpretation. Zhen (Thunder) progresses continuously to form Dui (Lake), so it is said "turns into Dui." Because Dui represents destruction and breaking. Qian represents sincerity, and when the top line moves down to the second position, the body of Qian is destroyed, hence "there is speech but no trust." The Commentary on the Judgment concludes "excessive talking leads to exhaustion." Further explanation from "Xun Shiwang" to "no trust": Xun Shiwang believed this hexagram comes from "Bo" (Obstruction). The yin line of Kun (Earth) rises from the second position to the top, forming the body of Dui (Lake). The Sayings of the Hexagram says "speech relates to Dui," so forming Dui gives the image of "there is speech." The second and fifth positions are the central positions of the upper and lower trigrams. When the yin line rises from the second to the top position, it loses the central position, hence "no trust." Yu Fan, however, took Zhen (Thunder) as representing speech, differing from Xun Shiwang's imagery.

初六：臀困于株木。注：臀謂四，乾為老，巽為木，故為株木。初失位，應在四，四困於三，故「臀困于株木」。九家謂三體為木，澤中無水，兌金傷木，故枯為株也。「入于幽谷，三歲不覿。」注：初動體兌，坎水半見，出於口，故為谷。坎為入，為三歲，坎陽入陰，為陰所弇，故「入于幽谷，三歲不覿」。

The line statement for the first line (初六) is: "The buttocks are trapped by a withered tree." Hui Dong's own commentary says: "Buttocks" refers to the fourth line (九四). The trigram Qian represents old age, and Xun represents wood. Old wood becomes a withered stake, hence the image of "withered tree." The first line loses its proper position, and its responding line is in the fourth position; the fourth line is also trapped by the third line, hence the statement "the buttocks are trapped by a withered tree." The "Nine Families Commentary" holds that the third line forms the body of Xun wood, and the marsh has no water, while the trigram Dui metal comes to injure the Xun wood, causing the wood to wither into a tree stake. The line statement "entering a dark valley, three years without seeing the sun" is explained as follows: when the first line moves, it forms the body of Dui, and the water of Kan is only partially visible, flowing out from the mouth, hence the image of "valley." Kan represents entering and also represents three years; the yang line of Kan is submerged in the yin, being concealed by the yin energy, hence the statement of entering a dark and deep valley, remaining unseen for three years.

九二：困于酒食，朱紱方來。注：坎為酒食，二為大夫，坤為采地。上之二，坤為坎，故為酒食。初變坎體壞，故「困于酒食」，以喻采地薄，不足已用也。乾為朱，坤為紱，朱紱謂五，二變應五，故「朱紱方來」。「利用享祀，征凶，無咎。」注：二變體觀享祀，故「利用享祀」。二失位無應，故「征凶」。變之正，與五應，故「無咎」，《象》曰「中有慶」也。荀氏謂二升在廟，五親奉之，故「利用享祀」。

The line statement for the second line says: "Confined by wine and food, the red sash will come." Hui Dong explains: The trigram Kan represents wine and food, and the second line corresponds to the position of a minister. The trigram Kun represents the grant of land to ministers, and when the top line moves down to the second line, Kun transforms into Kan, thus producing the image of wine and food. However, when the first line changes, the trigram Kan is disrupted, hence the phrase "confined by wine and food," which is used to illustrate the scarcity of the grant of land, insufficient for use. The trigram Qian represents the color red, and the trigram Kun represents silk and cloth, hence "red sash" refers to the fifth line. When the second line changes, it corresponds with the fifth line, hence the phrase "the red sash will come." The line statement says: "It is advantageous to offer sacrifices, to go on a military expedition is dangerous, but there is no blame." Hui Dong explains: When the second line changes, the hexagram contains the image of "Observing," which is associated with offering sacrifices, hence "it is advantageous to offer sacrifices." The second line is out of position and has no corresponding line, hence "to go on a military expedition is dangerous." After the change, it returns to the correct position and corresponds with the fifth line, hence there is no blame. The "Small Image Commentary" says, "there is a celebration in the middle." Xun Shuang, however, believes that the second line rises to the top position, representing the ancestral temple, and the fifth line personally offers sacrifices, hence "it is advantageous to offer sacrifices."

六三：困于石，據于蒺藜。注：三承四，二變體艮為石，故「困于石」，《春秋傳》曰「往不濟也」。下乘二剛，二體坎為蒺藜，非所據而據，故「據于蒺藜」，《春秋傳》曰「所恃傷也」。「入于其宮，不見其妻，凶。」注：巽為入，二動艮為宮，兌為妻，三上無應，離象毀壞，隱在坤中，死其將至，故「不見其妻，凶」也。

The line statement for the third line says: "Trapped by stone, relying on thornweed." Hui Dong's self-commentary states: The sixth line three is above the ninth line four; when the second line nine changes, the fourth line becomes the structure of Gen (Mountain), which represents stone, hence "trapped by stone." The "Zuo Zhuan" interprets this as "going forward will not succeed," meaning that going ahead will not achieve success. The sixth line three is below and overpowers the second line nine's strength. The second line nine is in the structure of Kan (Water) and takes the image of thornweed. It should not rely on something but does so, hence "relying on thornweed." The "Zuo Zhuan" interprets this as "what one relies on harms oneself," meaning that what one depends on is actually what harms oneself. The line statement "entering one's house, not seeing one's wife, misfortune" is explained as follows: Xun (Wind) represents entering, and when the second line nine moves, it forms the structure of Gen (Mountain), which represents a house. Dui (Lake) represents the wife. The sixth line three and the sixth line above are both yin lines and do not correspond. The image of Li (Fire) has been destroyed and is hidden within the structure of Kun (Earth), indicating approaching death. Hence, entering one's house but not seeing one's wife leads to misfortune.

九四：來徐徐，困于金轝，吝，有終。注：來欲之初，「徐徐，舒遲」也，見險故來徐徐。否坤為轝之應，歴險故用於金轝。各易得位，故「吝，有終」矣。九五：劓刖，困于赤紱。注：劓刖當為倪，不安也。赤紱謂二，否乾為赤，二未變應五，故「倪，困于赤紱」。「乃徐有說，利用祭祀。」注：兌為說，坤為徐，二動應巳，故「乃徐有說」。陸氏謂二言享祀，此言祭祀，經互言耳。上六：困于葛藟，于倪。注：巽為草莽，稱葛藟，謂三也。三不應上，故「困于葛藟，于倪」。「曰動悔有悔，征吉。」注：乘陽故動悔，變而失正故有悔。三已變正，已得應之，故「征吉」。

The fourth line statement says: "Coming slowly, confined by a golden carriage, there is hesitation, but there is an end." Hui Dong's self-commentary says: "Coming" refers to wanting to descend to the initial position; "slowly" means being slow and hesitant, because there is danger ahead, so coming slowly. The "Kun" in the "Pu" hexagram represents a carriage, which corresponds with it; one has to go through difficulties, hence being confined by the golden carriage. If nine four and initial six exchange positions, they will both be correct, hence "there is hesitation, but there is an end." The fifth line statement says: "Nose and foot cut off, confined by a red sash." Self-commentary says: "Ni" should be read as "Ni," meaning anxious and unsettled. "Red sash" refers to nine two. The "Qian" in the "Pu" hexagram is the great red, hence red; nine two has not yet moved to respond to nine five, hence nine five is unsettled and confined by the red sash. The line statement says: "Only then can there be relief, it is advantageous to perform worship." Self-commentary says: "Dui" represents joy, and "Kun" has a nature of ease, hence "slowly"; when nine two moves, it corresponds with nine five, hence "only then can there be relief." Lu Ji believes that nine two says "sacrificial offerings" and nine five says "worship," and the text is just a case of mutual explanation. The sixth line statement says: "Confined by grapevines, in anxiety." Self-commentary says: "Xun" represents grass and bushes, hence called grapevines, referring to six three. Six three does not correspond with upper six, hence "confined by grapevines, in anxiety." The line statement says: "Speaking of movement and regret, there is regret, but going forward is auspicious." Self-commentary says: upper six oversteps a yang line, hence one movement brings regret; after movement, it loses its correct position, hence "there is regret." When six three has changed and returned to the correct position, upper six can correspond with it, hence "going forward is auspicious."

疏：「臀謂」至「株也」○臀謂四，九家據易例也。否乾為老，巽為木，木老故為株也。初以陰居陽，故失位。初應在四，四困於三，故「臀困于株木」，亦九家義也。九家亦以三體巽為木，上體兌為金，兌金傷木，故枯為株，義亦通也。

The following is an explanation of the passage from the commentary on the line "Initial Six" from "臀谓" to "株也." It says that "臀" refers to the line "Nine in the Fourth," which is determined by the "Nine Families Commentary on the Yi Jing" based on the general principle of line positions. In the hexagram "Pu" (Obstruction), the trigram Qian (Heaven) represents old age, and Xun (Wind) represents wood. When trees become old and decayed, they become stumps, hence the image of "straw." The line "Initial Six" is a yin line in a yang position, thus it is out of place. The responding line of "Initial Six" is in the fourth position, and the line "Nine in the Fourth" is constrained by "Six in the Third," so it is said "the buttock is trapped by the stump," which is also the view of the "Nine Families Commentary on the Yi Jing." The "Nine Families Commentary on the Yi Jing" offers another interpretation: the line "Six in the Third" forms the trigram Xun (Wood), while the upper trigram Dui (Lake) represents metal. The metal of Dui overcomes the wood of Xun, causing the wood to wither and become a stump. This explanation is also reasonable.

○「初動」至「不覿」○初動體兌，坎水半見，謂坎半象也。《說文》谷字下云：「泉水出通川為谷，從水半見出於口。」與坎半象同義，故亦取象於谷也。「坎為入，為三歲」，皆虞義也。上之二成坎，坎陽入陰而弇於三，故「入于幽谷，三歲不覿」也。

The initial line moves, forming the trigram Dui, and the water of Kan is only partially revealed, referring to the half-image of Kan. The "Sayings of the Classic of Characters" explains that the character "gu" refers to the place where spring water flows out and connects to a river, and the character is formed by taking half of the "water" radical, which is placed above the "mouth" radical. This is similar to the meaning of the half-image of Kan, so the image of "gu" is also used here. "Kan governs entering and also governs three years" are all statements by Yu Fan. When the top line descends to the second position, it forms the trigram Kan. The yang line of Kan is submerged within the yin and is concealed by the third line, hence it is said to fall into a deep valley and not see the light for three years.

○「坎為」至「方來」○需九五「需于酒食」謂坎也，故坎為酒食。二為大夫，爻例也。坤田為采地，二之上，坤變為坎，故為酒食。古者分田制祿，采地祿所入，故《乾鑿度》曰「困于酒食者，困於祿也」，鄭彼注云「因其祿薄故無以為酒食」。云「初變坎體壞，故困于酒食，以喻采地薄不足己用」也者，此兼用鄭義。鄭說本《乾鑿度》，唯釋酒食以初辰在未，未上值天廚酒食象，此據爻辰二十八宿所值而言，今不用也。

The commentary on the annotation of the line "Nine in the Second" from "Kan" to "Fang Lai" explains that the hexagram "Xu" (Need) has "Nine in the Fifth" discussing "needing at wine and food," which refers to Kan. Therefore, Kan represents wine and food. The second line corresponds to the position of a minister, following the general rule of line positions. Kun represents fields and soil, thus symbolizing a fiefdom. The second line and the top line exchange positions, transforming Kun into Kan, hence the image of wine and food. In ancient times,official stipend (salary) was determined by the amount of land, and a fiefdom was the source of salary. Therefore, the "Yi Wei · Gan Zao Du" states, "being confined by wine and food is being confined by salary," and Zheng Xuan explains that because the salary was meager, it was impossible to prepare wine and food. The annotation says, "When the first line changes to Kan, the structure of Kan is ruined, hence being confined by wine and food, used to illustrate a fiefdom that is small and insufficient for personal use." This incorporates the meaning of Zheng Xuan. Zheng Xuan's explanation is based on the "Gan Zao Du," but when explaining wine and food, he uses the concept of line positions in the earthly branches: the first line corresponds to the earthly branch "Wei," which is associated with the star Tian Chu (Celestial Kitchen), a symbol of wine and food. This is based on the system of the twenty-eight constellations paired with the earthly branches, but Hui Dong does not adopt this approach here.

乾為大赤，故為朱。坤為紱，皆虞義也。《九家說卦》曰「坤為帛」，故為紱。《乾鑿度》曰「天子三公九卿朱紱」，故「朱紱謂五」。二五敵應，二變則與五相應，故「朱紱方來」，自外曰來也。○「二變」至「享祀」○二變有觀象，觀，享祀之卦，故「利用享祀」。二失位無應，故征行則凶。變之正與五應則五有慶，二受福，故無咎也。荀氏據卦自否來，六二升上，上為宗廟，故「二升在廟」；五以上為宗廟，故親奉之。若然，「利用享祀」謂五也。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) The Heavenly Stem Qian represents a deep red color, so the image of red is taken from it; Kun represents a sash, according to Yu Fan. The "Say of the Trigrams" transmitted by the Nine Schools of the "Yi" says "Kun represents silk," so Kun can be a sash. The "Yi Wei · Gan Zao Du" says that the Son of Heaven, the Three Dukes, and the Nine Ministers all wear red sashes, so "red sash" refers to the Nine in the Fifth position. The Nine in the Second and the Nine in the Fifth are both yang and correspond to each other. When the Nine in the Second changes, it corresponds with the Nine in the Fifth, so it is said "the red sash comes from the outside." Coming from the outer trigram is called "coming." Now, regarding the part from "two changes" to "sacrificial rites": When the Nine in the Second changes, the trigram becomes "Guan," which is the trigram associated with offering sacrifices and worship. Therefore, it is said "it is suitable for sacrificial rites." The Nine in the Second is out of position and has no corresponding line, so moving forward leads to misfortune. When it changes back to the correct position and corresponds with the Nine in the Fifth, the Nine in the Fifth receives blessings, and the Nine in the Second also receives blessings, so there is no mistake. Xun Shuang based this trigram on the "Pu" trigram: the Six in the Second rises to the upper position, and the upper position symbolizes the ancestral temple, so it is said "the second rises in the temple"; the Nine in the Fifth, being in the upper position, is the ancestral temple, so it personally offers sacrifices. According to this, "it is suitable for sacrificial rites" refers to the Nine in the Fifth.

○「三承」至「傷也」○陰當承陽，故「三承四」。石謂四，二變四體艮，艮為石，三為四所困，故「困于石」。云「《春秋傳》曰往不濟也」者，襄廿五年傳文。自內曰往，謂三往承四，為四所困，故「往不濟」也。若然，「臀困于株木」，四為三所困；今三又困于石者，陸氏所謂六爻迭困是也。蒺藜謂二，三下乘九二之剛。易例，陰乘陽，陽據陰，今三乘剛而云據，失其義，故《繫下》云「非所據而據焉」。陰當承陽而反據之，必為陽所傷，故《春秋傳》云「所恃傷也」。

The explanation of the annotation from "San Cheng" to "Shang Ye" discusses the situation of the third line. A yin line should support a yang line, hence it is said "San Cheng Si." "Shi" refers to the nine in the fourth line: when the nine in the second line changes, the fourth line forms the structure of Gen, which represents stone. The six in the third line is trapped by the nine in the fourth, hence it is said "Kun Yu Shi." The annotation cites "The Zuo Zhuan says 'going does not succeed'," which is from the transmission of the twenty-fifth year of King Xiang of the State of Chu. Going outward from the inner trigram is called "going," meaning the six in the third line attempts to support the nine in the fourth, but is instead trapped by it, hence "going does not succeed." If this is the case, then the initial six saying "臀困于株木" refers to the nine in the fourth being trapped by the six in the third. Now the six in the third is trapped by stone, which is what Lu Ji refers to as the mutual entanglement of the six lines. "Ji Li" refers to the nine in the second line. The six in the third line moves downward to overpower the yang of the nine in the second. According to the principles of the Book of Changes, a yin line above a yang line is called "Cheng," while a yang line above a yin line is called "Ju." In this case, the six in the third line clearly overpowers the yang, yet the text says "Ju," which deviates from the original meaning. Hence, the "Great Treatise" of the lower transmission says "not what is supposed to be supported, yet it supports." A yin line should support a yang line, but instead overpowers it, inevitably being injured by the yang, hence the Zuo Zhuan says "the thing relied upon causes injury."

○「巽為」至「凶也」○此虞義也。坎巽皆有入象，初體坎，故爻辭「入于幽谷」，坎也；三體巽，故此象「入于其宮」，巽也。九家云「艮為門闕」，宮之象也，故「二動艮為宮」。應在上，上體兌，兌少女為艮妻，故兌為妻。三上皆陰，故無應。二動，故離象毀壞。三又體坤，故隱在坤中，坤喪於乙為既死霸，故「死其將至」也。

According to Yu Fan's interpretation, both Kan and Xun have the image of "entering." Since the initial line is in the body of Kan, the line statement says "entering the dark valley," which refers to Kan. Since the third line is in the body of Xun, here it says "entering its palace," which refers to Xun. The "Nine Families Commentary on the Yi" says "Gen represents the gate and pavilion," which is the image of a palace. Therefore, when the second line moves, it forms the body of Gen, thus becoming a palace. The responding line of the third line is in the upper position, and the upper trigram is Dui, which represents the young woman and pairs with Gen as a wife, so Dui takes the image of a wife. However, both the third line and the sixth line are yin lines, so they do not correspond. When the second line moves, the image of Li is destroyed. The third line is also in the body of Kun, so it is hidden within Kun. According to the method of Najia, Kun is lost at the time of Yi, which corresponds to the phase of the waning moon when the moon has completely disappeared, called "ji si ba," thus indicating that death is approaching.

○「來欲」至「終矣」○此虞義也。應在初，故「來欲之初」。徐、舒同物同音，故云「徐徐，舒遲」也。初體坎，坎為險，見險故「來徐徐」也。兌為金，否坤為轝，故為金轝。四之初歴坎險，故「困于金轝」。昏禮，諸侯親迎乘金車，四與初有昏因之道，故以金轝為喻。二爻失位，故吝；各易得正，故「有終」矣。

According to Yu Fan's interpretation, the fourth line, which is yin, corresponds to the first line. Therefore, it is said that "coming down to the first position." "Xu" and "Shu" are originally the same word and same sound, so the annotation explains "Xu Xu" as "Shu chi," meaning slow and delayed. The first line is in the trigram Kan, which represents danger and difficulty. Seeing danger ahead, it comes down slowly. Dui represents metal, and the trigram Kun in the hexagram "Pu" represents a carriage. Together they form "jin yu," meaning a golden carriage. The fourth line coming down to the first position must pass through the danger of Kan, so it is said "trapped in the golden carriage." According to the rites of marriage, when a prince personally goes to meet his bride, he rides in a golden carriage. The fourth line and the first line have a corresponding relationship like that of marriage, so the golden carriage is used as a metaphor. Both the fourth and first lines are out of their proper positions, hence the difficulty. If they exchange positions, they will be in the correct place, hence "there is an end."

○「劓刖」至「赤紱」○「劓刖當為倪」，從鄭讀也。荀、陸、王肅本皆作臲，雲不安貌。「倪」與「臲」，與，古今字，故云「倪，不安」也。九五人君不當有劓刖之象，故從鄭讀為倪也。四為諸侯，諸侯赤紱，而云「赤紱謂二」者，《乾鑿度》曰「其位在二」，故以大夫言之。乾為大赤，故為赤。二未變應五，五無據無應，故倪不安，為二所困，故「困于赤紱」也。

The commentary on the annotation of "Nine in the Fifth" from "Nì Yuè" to "Chì Fú" explains that "Nì Yuè" should be read as "Ní," following Zheng Xuan's interpretation. Xu Sun, Lu Ji, and Wang Su's versions all write it as "Nèi," interpreting it as a state of unease. "Ní" and "Nèi" are variants of the same character, ancient and modern forms, so the annotation states "Ní means unease." "Nine in the Fifth" represents the position of the sovereign, and it should not have the image of mutilation such as cutting off the nose or amputating the feet. Therefore, following Zheng Xuan's reading, it is interpreted as "Ní." The position of "Four" represents the position of the feudal lords, who wear red sashes; however, the annotation says "the red sash refers to Nine in the Second," because the "Yi Wei · Qian Zao Du" states "its position is in the second," so it is explained from the perspective of a minister. Qian represents the color of deep red, so the red color is chosen. Nine in the Second has not yet changed to respond to Nine in the Fifth, and Nine in the Fifth is close to nothing and far from any response, thus feeling anxious and uncertain, and being trapped by Nine in the Second, hence it is said "trapped by the red sash."

○「兌為」至「有說」○此虞義也。五體兌，兌為說，坤安舒泰，故為徐。二動與五應，故「乃徐有說」，所謂貞大人也。○「陸氏」至「言耳」○九五「利用享祀」，荀氏謂二升在廟，五親奉之，則二之享祀即五之祭祀，故陸績云「互言耳」。

The explanation of the annotation for line nine in the fifth position from "Dui being" to "there is a saying" is based on Yu Fan's interpretation. Line nine in the fifth position is part of the Dui trigram, which represents joy; the Kun trigram has the nature of being tranquil and slow, so the image of "slow" is taken. When line two moves, it corresponds with line nine in the fifth position, hence it is said "there is a slow resolution"—this is exactly what the hexagram statement says "uprightness, the great man is auspicious." The further explanation from "Lu's school" to "words only" is as follows: Hui Dong here refers to line nine in the fifth position together as "suitable for worship and sacrifice," because Xun Shuang believed that it was line two rising to the upper position, representing the ancestral temple, and line nine in the fifth position personally performing the sacrifice. Therefore, the worship and sacrifice mentioned in line two is the same as the sacrifice mentioned in line nine in the fifth position. Hence, Lu Ji said that these two passages are merely mutual reinforcement.

○「巽為」至「倪」○此虞義也。巽剛爻為木，柔爻為草，故巽為草莽。葛藟，延蔓之草，故巽為草莽，稱葛藟。三體巽，故謂三也。三上皆陰，故三不應上，上為三困，故「困于葛藟，于倪」也。○「乘陽」至「征吉」○此虞義也。二之上乘五陽，故「動悔」。上變應三則失正，故「有悔」。三變應上則各得其正，故云「三已變正，已得應之」，謂往應三則吉，故「征吉」也。

The explanation of the line "Upper Six" from "Xun represents" to "Ni" is based on Yu Fan's interpretation. Xun's yang line represents the image of wood, while its yin line represents the image of grass, so Xun can represent grassy wilderness. Guo lü is a type of climbing and spreading vine, so from the image of grassy wilderness in Xun, the term "Guo lü" is derived. Since the line "Six in the Third" is within the body of Xun, "Guo lü" refers to "Six in the Third." Both "Six in the Third" and "Upper Six" are yin lines, so "Six in the Third" does not correspond with "Upper Six." Instead, "Upper Six" is trapped by "Six in the Third," hence the phrase "trapped by Guo lü, at Ni." The explanation from "riding over yang" to "a journey is auspicious" also comes from Yu Fan. The second line rising to the upper position overpowers the five yang lines, so one movement brings regret. If "Upper Six" changes and responds to "Six in the Third," it loses its proper position, hence "there is regret." When "Six in the Third" moves to respond to "Upper Six," both lines regain their proper positions, so the commentary says "once 'Six in the Third' has changed to the correct position, 'Upper Six' can correspond with it." That is, going to respond to "Six in the Third" is auspicious, hence "a journey is auspicious."

震宮五世卦，消息五月。

According to Jing Fang's eight palaces arrangement, the hexagram Well belongs to the Zhen palace as the fifth generation hexagram. According to the theory of hexagram qi, it corresponds to the fifth lunar month. The hexagram Well has Xun above and Kan below, with Xun wood penetrating into Kan water, symbolizing an inexhaustible source of nourishment. The corresponding lunar month is precisely when the underground water sources are deep and abundant.

《井》。注：泰初之五，與噬嗑旁通。坎為水，巽木為桔槔，離為瓶，兌為泉口，桔槔引瓶下入泉口汲水而出，井之象。「改邑不改井。」注：坤為邑，乾初之五折坤，故「改邑」。初為舊井，四應甃之，故「不改井」。「無喪無得，往來井井。」注：初之五，坤象毀壞，故「無喪」。五之初，失位無應，故「無得」。坎為通，故「往來井井」，往謂之五，來謂之初。

The Hexagram of the Well. Hui Dong's own commentary: This hexagram comes from the first line of the hexagram Tai moving up to the fifth position. It is mutually complementary with the hexagram Shihe. Kan represents water, Xun represents wood, symbolizing the桔槔 used for drawing water. Li has a hollow center, representing a jar, and Dui represents the mouth of a spring. The桔槔 pulls the jar down to the spring's mouth to draw water and then lifts it up, forming the image of a well. The hexagram statement "Changing the city but not the well" is explained as follows: Kun represents the city and town. The first line of Tai moving up to the fifth position causes damage to the body of Kun, hence "changing the city." The first line represents the old well, and the fourth line is supposed to repair it, hence "not changing the well." The hexagram statement "No loss, no gain, coming and going with the well" is explained as follows: The first line moving up to the fifth position causes the image of Kun to be destroyed, hence "no loss." The fifth line moving down to the first position loses its proper position and has no corresponding line, hence "no gain." Kan governs communication and smoothness, hence "coming and going with the well." "Coming" refers to moving up to the fifth position, and "going" refers to moving down to the first position.

「汽至亦未繘井。」注：「汽，幾」，謂二也。巽繩為繘，幾至初而未及泉，故「未繘井」。「累其瓶，凶。」注：瓶謂初，初欲應五為二拘累，故凶。虞氏謂「累，鉤羅」也，艮為手，巽為繘，離為瓶，手繘折其中，故「累其瓶」，體兌毀缺，故凶矣。

The Hexagram Statement says, "Steam arrives but has not yet drawn water from the well." The self-commentary explains, "Steam" is interpreted as "almost," meaning near, referring to Nine in the Second. Wind represents the rope used for drawing water from a well; it is about to reach the initial position but has not yet touched the water, hence "has not yet drawn water from the well." The Hexagram Statement says, "Its vessel is burdened, resulting in misfortune." The self-commentary explains, "Vessel" refers to Six at the Beginning. Six at the Beginning originally intended to correspond with Nine in the Fifth, but was restrained by Nine in the Second, hence resulting in misfortune. Yu Fan, however, interprets "burdened" as "hooked and entangled." Hand is represented by Mountain, and the rope by Wind; the hand and rope break in the middle, hence "its vessel is burdened." The hexagram contains the trigram of Lake, which signifies destruction and deficiency, hence resulting in misfortune.

疏：「泰初」至「之象」○此虞鄭義也。卦自泰來，初九升五，六五降初。所以取象於井者，以坎為水，巽木為桔槔。桔槔者，莊子所謂「鑿木為機，後重前輕，挈水若抽，數如泱湯，其名為槔」是也。互體離兌，離外堅中虛，瓶也；兌為暗，澤，泉口也。云「桔槔引瓶，下入泉口，汲水而出」者，是言取象於井之義，故云「井之象」也。

The following is an explanation of the hexagram statement from "Tai Ch'u" to "zhi xiang." It incorporates the views of Yu Fan and Zheng Xuan. This hexagram comes from the transformation of "Tai": the line "Chu Ji" moves up to the fifth position, and the line "Liu Wu" moves down to the first position. The reason for taking the image of a well is because "Kan" represents water and "Xun" represents wood, symbolizing the桔槔. The桔槔, as described in the "Zhuangzi," is a device made by carving wood with a mechanism, with the rear heavy and the front light, allowing water to be drawn up quickly, like a swift and boiling flow. This device is called "gao." The hexagram contains the trigrams "Li" and "Dui" as intermediates: "Li" is solid on the outside and hollow in the middle, resembling a bottle; "Dui" is dark and represents a marsh, resembling a spring mouth. The commentary states, "The桔槔 draws up the water bottle to the spring mouth," explaining the image of the well, hence it is called the "well image."

○「坤為」至「改井」○此虞義也。泰坤為邑，乾初之五折坤體，故「改邑」。初本乾也，乾為舊，故「初為舊井」。四「井甃」，故「四應甃之」，四來修初，故「不改井」也。○「初之」至「之初」○此虞義也。坤為喪，故云「初之五坤象毀壞，故無喪」。五以陰居初，與四敵應，故失位無應，無應故無得也。初之五成坎，坎為通，「往來不窮謂之通」，故「往來井井」。自內曰往，故「往謂之五」；自外曰來，故「來謂之初」也。

The explanation from "Kun as" to "change well" is based on Yu Fan's interpretation. The hexagram Tai has Kun representing city and state, and the first line of Qian moves up to the fifth position, thereby damaging the body of Kun. Therefore, it is said "change city." The first position originally belongs to the line of Qian, and Qian represents oldness, so the first line is the old well. The line statement of the sixth line four mentions "well brick," meaning using bricks and stones to build the well, so the fourth line should be the one to repair it; the fourth line moves down to repair the first line, hence "not change well." The further explanation from "initial movement" to "its beginning" also comes from Yu Fan. Since Kun represents loss, the commentary says the first line moves up to the fifth position, and the image of Kun is destroyed, hence "no loss." The fifth line, being yin in the initial position, is in a position of loss, and it corresponds with the sixth line four, which is also yin, thus they are in opposition and not in harmony. Since there is no harmony, there is also no gain. When the first line moves up to the fifth position, it forms the body of Kan, which represents communication. The Great Treatise says "movement without end is called communication." Therefore, it is said "movement of the well, movement of the well." Moving from the inner trigram to the outer trigram is called "movement," so "movement" refers to moving up to the fifth position; returning from the outer trigram to the inner trigram is called "returning," so "returning" refers to moving down to the initial position.

○「汽幾」至「繘井」○此虞義也。《詩·民勞》曰「汽可小康」，鄭箋云「汽，幾也」。《釋詁》云：「汽也。」孫炎注云「汽，近也」。幾音期，訓為近。鄭云「繘，綆也」，《方言》曰「關西謂綆為繘」，郭璞注云「汲水索也」。巽為繩，故「巽繩為繘」。五坎為泉，初六井泥本不及泉，二幾至初，亦未及泉，故「未繘井」。

The explanation from "qi ji" to "ju well" follows Yu Fan's interpretation. The Book of Poetry, "Min Lao," contains "qi ke xiaokang," and Zheng Xuan's commentary says "qi" is "ji," meaning near. The Er Ya, "Shi Gu," also has an entry explaining "qi," though the original character is missing, and Sun Yan's note says "qi" means "near." "Ji" is read as "qi," meaning close. Zheng Xuan says "ju" is "ging," which is the well rope; the Fangyan mentions that in Guanxi, "ging" is called "ju," and Guo Pu's note says it is the rope used for drawing water. Xun represents a rope, so it is said "Xun rope is ju." The fifth position's Kan is spring water. The line statement of the initial sixth line talks about "well mud," which is not yet able to reach the spring; the line statement of the ninth second line is about approaching the first position, which is still not able to reach the spring, so it is said "not yet drawing water from the well."

○「瓶謂」至「故凶」○此荀義也。初二易位，初體離為瓶，故「瓶謂初」。初二易位，故初欲應五，五「井冽寒泉食」，有引瓶汲水之象。今二不變，初為二拘累，上不能應五，故「累其瓶凶」也。○「虞氏」至「凶矣」○虞氏本「累」作「羸」，云「羸，鉤羅」也。噬嗑艮為手，巽為繘，艮折巽體，故手繘折其中，則鉤羅其瓶也。互體離兌，兌為毀折，瓶缺漏，故凶，九二「雍敝漏」是也。

The explanation from "Peng Wei" to "Gu Xiong" is based on Xun Shuang's interpretation. After the first and second lines are exchanged, the first line is located in the body of Li and thus represents the bottle, hence it is said "the bottle refers to the initial line (Chu Liu)." Since the first and second lines can be exchanged, the initial line (Chu Liu) wishes to correspond with the fifth line (Jiu Wu). The statement of the fifth line, "the well is clean and cold water is drinkable," precisely resembles the image of drawing water with a bottle. Now, the second line (Jiu Er) refuses to change, restraining the initial line (Chu Liu), which cannot reach the fifth line (Jiu Wu), hence it is said "the bottle is burdened, resulting in misfortune." The further explanation from "Yu Shi" to "Xiong Yi" is as follows: Yu Fan's version writes "lui" instead of "lui," interpreting it as "gou luo," meaning to hook and entangle. The "Shi He" hexagram, which is in parallel, has Gen (Mountain) representing the hand and Xun (Wind) representing the well rope. Gen breaks the body of Xun, so the hand and rope break off midway, and the well bottle is thus hooked and entangled. The hexagram also produces the trigrams Li (Fire) and Dui (Lake), with Dui representing destruction, causing the bottle to become broken and leaky, hence resulting in misfortune—the statement of the second line, "the well is blocked and leaks," precisely conveys this meaning.

初六：井泥不食，舊井無禽。注：「食，用」也，四坎為泥，巽為木果，乾為舊，在下無應，故「井泥不食，舊井無禽」。九二：井谷射鮒，雍敝漏。注：兌為谷，巽為鮒。

The line statement for the first line (初六) is: "The well is filled with mud and not usable, the old well has no birds." Hui Dong's self-commentary says: "The character '食' is interpreted as 'use.' The fourth line is associated with Kan (water), which represents mud, and Xun (wind), which represents the fruit on the tree, while Qian (heaven) represents oldness. Since the first line is at the very bottom of the hexagram and has no responding line above it, it is said that the well at the bottom is full of mud and not usable, making it a useless well that even birds won't visit. The line statement for the second line (九二) is: "Shooting minnows in the well valley, the well is blocked and leaks." Self-commentary says: "The trigram Dui (lake) represents the valley, so it is called 'well valley'; Xun (wind) represents the minnows, so it is called 'shooting minnows.'"

鮒，蝦蟇也。離為雍，雍瓶毀缺，「羸其瓶，凶」，故「雍敝漏」也。九三：「井渫不食，為我心惻。」注：乾為清，三得正，故「井渫」。二累其瓶，故「不食」。坤為我，坎心為惻，故「為我心惻」。

"The 'fù' refers to a frog. The image associated with the hexagram Li is 'yōng', meaning a vessel for holding water. In this case, the clay jar is already broken and damaged, so the hexagram statement says 'the jar is weak, calamity', and the line statement says 'yōng bì lòu'—the vessel for drawing water is broken and leaks. The line statement for the third line: 'the well is cleaned but not used, it pains my heart.' Hui Dong explains in his own notes that Qian has the meaning of cleanliness, and the third line, being a yang line in a yang position, is correct, so it is called 'well cleaned,' meaning the well water has been thoroughly purified. The second line dragged down the clay jar, so although the water is clean, no one comes to draw it, hence 'not used.' Kun represents 'I,' and Kan represents the heart and sorrow, so it says 'it pains my heart,' expressing the sorrow of a good well being neglected."

「可用汲，王明，並受其福。」注：乾為王，為福，離為明。初二易位成既濟定，五來汲三，故「王明，並受其福」。六四：「井甃，無咎。」注：以瓦甓壘井稱「甃」。坤為土，初之五成離，離火燒土為瓦，故「井甃」。初已正，四為修之，故「無咎」。

The line statement of the third line continues: "It can be drawn up, the king is enlightened, and both receive its blessing." Hui Dong's self-commentary says: Qian represents the king and also blessing, Li represents brightness. If the first and second lines are exchanged, the whole hexagram becomes the fixed state of Ji Ji. The fifth line descends to draw water from the third line's well, so the king is enlightened, and both above and below receive the blessing of this well. The line statement of the fourth line: "The well is repaired, no blame." Self-commentary: Using bricks and tiles to repair the well wall is called "gou zhou." Kun represents earth, the first line rises to the fifth position to become Li, which is fire. Fire burns earth to make tiles, so it is called "well repair." Since the first line has already changed to a yang line, the fourth line repairs the well wall for it, so there is no blame.

九五：「井冽，寒泉食。」注：「冽」，水清也。五坎為泉，五月陰氣在下，乾為寒，故曰「寒泉」。通《噬嗑》食，故「冽寒泉食」矣。上六：「井收勿幕，有孚元吉。」注：「幕」，蓋也。「收」謂以鹿盧收繘也。坎為車應，巽繩為繘，故「井收勿幕」。「有孚」謂五。坎初二已變，五正應二，故「有孚元吉」。

The line statement for the fifth line (Nine in the Fifth) is: "The well is clear, and the cold spring is drinkable." The self-commentary explains: "Clear" refers to the water being pure. The fifth line is in the body of Kan (Water), and Kan represents the spring; the hexagram of the Well corresponds to the fifth month of the Chinese calendar, when one yin line has already appeared below. The trigram Qian (Heaven) also represents cold, so it is said "cold spring." The hexagram of the Well is complementary to the hexagram of the Crackling (Shihe), which takes the meaning of "food," so it is said that the spring is clear and drinkable. The line statement for the sixth line at the top (Six at the Top) is: "The well is drawn up, but the cover is not closed, and there is sincerity, resulting in great good fortune." The self-commentary explains: "Cover" means to cover, and "draw up" refers to lifting the rope with a pulley. The pulley rotates like a wheel, so it takes the image of the trigram Kan (Water) as a cart. The sixth line corresponds to Xun (Wind), which represents the rope, i.e., the rope used to draw water from the well. Therefore, it is said that the rope is used to draw water without covering the well. "Sincerity" refers to the fifth line (Nine in the Fifth). Since the first and second lines of the trigram Kan have already changed to yang, the fifth line and the second line form a mutual response, so it is said "there is sincerity, resulting in great good fortune."

疏：「食用」至「無禽」○井為人用，故云「食用」也。坎折坤體，虞氏「坤土得水為泥」，故《需》九三「需于泥」，《震》九四「震遂泥」，皆謂坎初應在四，故四坎為泥。古者井樹木果，故《孟子》「井上有李，禽來食之」，故云巽為木果。初不應四，故不食。初本乾也，故乾為舊，在下無應，四不汲初，故「舊井無禽」。井壞不治，故無木果樹於側，亦無禽鳥來也。若四來修初，旁植樹果，禽鳥來食矣。此兼虞義。尋井與《噬嗑》旁通，《噬嗑》，食也，故初、三、五皆言食。初二不變，故初、三皆云「不食」。初二易位，王明受福，故五「冽寒泉食」矣。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) Hui Dong's own commentary begins from the section in the original text that says "eating" to "no birds". A well is for people to use, so the commentary says "eating". Kan is formed when the Yin body of Kun is divided by a Yang line. Yu Fan explains "Kun earth getting water" as mud, so the line statement of the third line in the hexagram Need says "waiting at the mud", and the fourth line in the hexagram Zhen says "Zhen follows the mud", both refer to the first line of Kan corresponding with the fourth line. Therefore, the fourth line's Kan image is mud. Ancient people planted fruit trees by wells, and the Classic of Mencius says "there are plums on the well, birds fly and peck at them", so the commentary says Xun represents fruit trees. The first line of the hexagram Well does not correspond with the fourth line, so the fruit is not taken. The first line originally belongs to the body of Qian, which has the meaning of being old; it is at the bottom and has no support, and the fourth line does not draw water from the first line, so the line statement says "old well with no birds": the well has been abandoned and not maintained, and since there are no fruit trees nearby, there are no birds coming. If the fourth line comes down to repair the first line and plant fruit trees by the well, birds will naturally come to eat. This explanation also incorporates Yu Fan's meaning. Now looking at the hexagram Well and the hexagram Shihe, which are complementary, Shihe takes the meaning of "eating", so the first, third, and fifth lines of the hexagram Well all mention "eating"; since the first and second lines remain unchanged, the first and third lines both say "not eating"; when the first and second lines exchange positions and return to their proper places, the king is clear-sighted and all above and below share the blessing, so the fifth line has the image of "cold spring for eating".

○「兌為」至「漏也」○此《子夏》、虞氏義也。兌有坎半象，故為谷。巽蟲為鮒，「鮒，蝦蟇」，《子夏》義。井，五月卦，故有蝦蟇。鄭云：「雍，停水器也。」《說文》曰：「汲瓶也。」二不變應五，故雍瓶毀缺，卦辭所謂「累其瓶」是也。水下注不汲，故「雍敝漏」也。

From the section "兑为" to "漏也" in the commentary, the source is based on Zixia's Commentary on the Changes and Yu Fan. The trigram兑 contains half the image of坎, so it is taken as representing a valley. The trigram 巽 represents insects, and among insects, "鲋" is selected. "鲋 is the same as a toad," according to Zixia's Commentary on the Changes. The hexagram Well corresponds to the fifth month, which is the time when frogs are most numerous, so the image of a toad appears in the hexagram. Zheng Xuan says, "雍 is a vessel for storing water." The Shuowen Jiezi says it is a bottle for drawing water. Nine Two refuses to change to the correct position to respond to Nine Five, so the water bottle is broken and damaged, which is what the hexagram statement says, "its bottle is worn out." Water leaks down but no one draws it, so it is said, "the vessel is blocked and leaks."

鄭氏之義以鮒為小鮮，云：「九三，艮爻也。艮為山，山下有井，必因谷水，水所生，無大魚，但多鮒魚耳。夫感動天地，此魚之至大；射鮒井谷，此魚之至小，故以相況。」鄭據六日七分，謂《中孚》十一月卦，卦辭「豚魚吉」，巽為魚，巽以風動天，故云「感動天地，此魚之至大」。井，五月卦，九二失位，不與五應，故「射鮒井谷」，言微陰尚未應卦，不能動天地，故云「此魚之至小」也。

Zheng Xuan interprets "fù" as a small fish. He says: "The yao in the third position is the yao of the Gen hexagram, which represents a mountain. Below the mountain there is a well, and water must be drawn from the valley. The water in the valley does not produce large fish, but only many small fish called fù. The fish that can move heaven and earth are the largest among fish; those who shoot small fù fish in the well are the smallest among fish, and these two are exactly in contrast." Zheng Xuan is explaining according to the method of "six days and seven parts" of the hexagram qi. The Zhongfou hexagram corresponds to the eleventh month, and the hexagram statement says "a piglet fish is auspicious." The Xun trigram represents fish, and Xun also signifies wind stirring the heavens, so it is said that this is the greatest fish capable of moving heaven and earth. The Well hexagram corresponds to the fifth month. The second yao is out of position and does not correspond with the fifth yao, so it can only "shoot fù fish in the well." This means that the initial subtle yin at this time is not yet sufficient to correspond with the entire hexagram, and thus cannot move heaven and earth. Therefore, it is said that this is the smallest fish.

○「乾為」至「心惻」○乾為天，天清明無形，故為清。三、五得正，故三稱「井渫」，五稱「井冽」。三井雖渫，二不變應五而累其瓶，故「不食」。「惻」，傷悼也，張璠謂「惻然傷道未行」也。○「乾為」至「其福」○此虞、荀義也。五乾為王，為福德；離嚮明，故為明。「可用汲」謂五可用汲三也。初二失位，各易得正成既濟定，則五來汲三，故「王明並受其福」，謂諸爻受五福也。

The passage from "Qian represents" to "sorrow" explains that Qian represents Heaven, which is clear and formless, hence the meaning of "clear." The third and fifth lines are both yang lines in yang positions, thus the third line is called "well cleaned," and the fifth line is called "well purified." Although the water in the third line's well has been thoroughly cleaned, since the second line does not change to a proper position to correspond with the fifth line, it instead hinders the vessel, so the well water is not drawn. "Sorrow" refers to grief and regret; Zhang Fan interprets it as a feeling of sorrow in the heart due to the inability to implement the great way. Further down, from "Qian represents" to "its fortune," this is based on Yu Fan and Xun Shang. The fifth line belongs to Qian, which represents the king and also virtue and fortune; Li is the trigram of brightness, so it takes the meaning of "brightness." "It can be drawn" means that the fifth line can descend to draw the water from the third line. The first and second lines originally were in improper positions, but they exchanged positions to become proper, thus the entire hexagram becomes the hexagram of completion. Therefore, the fifth line descends to draw the water from the third line, meaning the king is wise and both above and below share his fortune, that is, all the lines receive the fortune bestowed by the fifth line.

○「以瓦」至「無咎」○此虞義也。馬融云：「甃為瓦，裹下達上。」是以瓦甓壘井也。甃以瓦甓，故云「離火燒土為瓦」。初「舊井無禽」，變之正與四應，四來修初，故「無咎」也。

The commentary from "以瓦" to "无咎" is based on Yu Fan. Ma Rong said: "Gou means tiles, and they are built up layer by layer from the bottom." This shows that "gou" refers to building the well wall with tiles and bricks. Since building a well requires tiles and bricks, the annotation says that Li represents fire, and fire burns the earth (Kun) to produce tiles. Initially, the first line was "an old well without birds," indicating a ruined well. After transformation, it becomes correct and corresponds with the fourth line. Therefore, the fourth line comes to repair it, so there is no fault.

○「冽水」至「食矣」○《說文》曰：「冽，水清也。」五體坎，故坎為泉。初井泥，二井谷，三渫井，四修井，至五而後水清可食。井，五月卦，故五月陰氣在下。《參同契》曰：「遘始紀序，履霜最先，井底寒泉。」五乾為寒，故曰「寒泉」。井與《噬嗑》旁通，《噬嗑》，食也，故「冽寒泉食」矣。此兼虞義。虞唯以初二變體《噬嗑》食，故「冽寒泉」，此取震半象，不取旁通，今不用也。

The commentary explains from "冽水" to "食矣." The "Sayings of the Classic of Characters" says: "Le is clear water." The fifth line is in the structure of Kan, which represents water, so the image of a spring is taken. The entire hexagram's six lines represent the process of a well going from ruin to completion: the first line is the bottom of the well with mud, the second line is the well wall like a valley, the third line is cleaning the well water, the fourth line is repairing the well wall, and only at the fifth line is the water clear enough to drink. The hexagram "Well" corresponds to the fifth month, when the first yin begins to arise below, so it says that yin energy is present below in May. The "Zhou Yi Cang Tong Qi" says: "The hexagram Gou opens the sequence of a year, and the warning of stepping on frost appears first, with cold spring water already in the well." The fifth line also belongs to the structure of Qian, which governs cold, so it is called "cold spring." The hexagram "Well" is in mutual relationship with "Shi He." "Shi He" takes the meaning of "food," so it says that the spring water is clear enough to eat. This passage incorporates Yu Fan's interpretation. Yu Fan used only the first and second lines changing into "Shi He" to explain "food," thus saying "cold spring water," which takes half the image of Zhen, not using the mutual relationship example, so this is not adopted here.

○「幕蓋」至「元吉」○此虞義也。幕以覆井，故云「蓋」也。馬融云：「收，汲也。鹿盧，圓轉木，所以汲水。」以鹿盧收繘而汲水，故云「收」也。取象坎車，故坎為車。五應在二，故應巽繩為繘。鹿盧收繘，泉自下出，故「井收勿幕」。陽在二，五稱孚，故「有孚」謂五。坎初二已變成既濟，二五相孚，故「有孚元吉」。《象》曰：「大成也。」

The explanation from "Mù Gài" to "Yuán Jí" is based on Yu Fan. A "mù" is used to cover the well opening, so the annotation explains it as "cover." Ma Rong said: "Shōu means to draw water, and Lù Lú is also called a winch, a kind of rotating wooden frame used for drawing water." Using a winch to lift the rope to draw water is called "shōu." This image comes from Kan (Water) representing a cart, because a winch rotates like a wheel. The nine in the fifth line corresponds to the nine in the second line. The second line is part of the trigram Xun (Wind), which represents the rope, exactly the rope used for drawing water. When the winch lifts the rope, water naturally rises from the bottom of the well, so the line statement says "Jǐng Shōu Wù Mù" — just draw water, no need to cover. A yang line in the second position is called "fú" in relation to the fifth line, so "yǒu fú" refers to the nine in the fifth line. The first and second lines of the Kan trigram have already changed to positive lines, forming the hexagram Ji Ji (Completion), and the second and fifth lines trust each other, so "yǒu fú Yuán Jí." The Image Commentary therefore says this represents the "great achievement" of the well.