Zun hexagram, second generation hexagram of the Kan palace, the inner trigram corresponds to the eleventh month and the outer trigram corresponds to the twelfth month.

屯元亨利貞。注：坎二之初，六二乘剛，五為上弇，故名屯。三動之正，成既濟定，故元亨利貞。勿用有攸往，利建侯。注：震一夫之行也，動而遇坎，小事不濟，故勿用有攸往。震為侯，建侯應四，往吉無不利矣。古諸侯不世，賢則建之，二之初，故云建。

The text says: "Zun, Yuan, Heng, Li, Zhen." Hui Dong's own commentary: This hexagram is formed by moving the second line of the Kan hexagram to the initial position; the line six two is overpowering the strong line nine at the beginning, and the line nine five is obscured by the line six at the top, hence it is named "Zun." When the third line moves once and returns to the correct position, it becomes the fixed state of the Ji Ji hexagram, hence it is said "Yuan, Heng, Li, Zhen." The text says: "It is not suitable to go anywhere, but it is favorable to establish feudal lords." Hui Dong's own commentary: Zhen symbolizes a solitary man traveling alone, who immediately encounters the danger of Kan upon moving, and even small matters cannot be accomplished, hence "Do not use for going anywhere." Zhen also symbolizes feudal lords; establishing feudal lords and corresponding with the fourth line, going forward will be auspicious and nothing will be unfavorable. In ancient times, the positions of feudal lords were not hereditary; whoever was virtuous and capable would be appointed. This hexagram is formed by the second line moving to the initial position, hence it is said "establish."

疏：「坎二」至「利貞」。卦自坎來，故云坎二之初。之卦之說本諸彖傳，詳見於荀氏、虞氏、姚信、范長生、盧氏等注，而虞氏尤備。乾坤者，諸卦之祖。乾二五之坤成震坎艮，坤二五之乾成巽離兌，則六子皆自乾坤來也。

Hui Dong's commentary (self-commentary from "The beginning of the second line of Kan" to "Therefore, the elements of the hexagram are complete") states: This hexagram comes from the hexagram Kan, hence it is said "the beginning of the second line of Kan." The concept of "the changing hexagram" — meaning a certain line moving to a certain position to form another hexagram — originates from the Commentary on the Judgment. This idea is found in the annotations of Xun Shuang, Yu Fan, Yao Xin, Fan Changsheng, and the Lu school, with Yu Fan's explanation being the most complete. The hexagrams Qian and Kun are the ancestors of all other hexagrams. When the second and fifth lines of Qian move into Kun, they form Zhen, Kan, and Gen. When the second and fifth lines of Kun move into Qian, they form Xun, Li, and Dui. Thus, the six subsidiary hexagrams all originate from Qian and Kun.

復、臨、泰、大壯、夬，乾息之卦；遘、否、觀、剝，坤消之卦。而臨觀二陽四陰，大壯四陽二陰，泰否三陽三陰，又以例諸卦。自臨來者四卦，明夷、解、升、震也；自來者五卦，訟、無妄、家人、革、巽也；自泰來者九卦，蠱、賁、恆、損、井、歸妹、豐、節、既濟也；自否來者九卦，隨、噬嗑、咸、益、困、漸、旅、渙、未濟也；自大壯來者五卦，需、大畜、暌、鼎、兌也；自觀來者四卦，蹇、萃、艮也。

The hexagrams 《Fù》, 《Lín》, 《Tài》, 《Dà Zhuàng》, and 《Guài》 belong to the category of hexagrams where the yang energy is growing. The hexagrams 《Gòu》, 《Pǐ》, 《Guān》, and 《Bō》 belong to the category where the yin energy is retreating (the hexagram 《Dùn》 is missing in the original text). The hexagrams 《Lín》 and 《Guān》 have two yang lines and four yin lines, 《Dà Zhuàng》 has four yang lines and two yin lines, and 《Tài》 and 《Pǐ》 have three yang lines and three yin lines. These are used to categorize the rest of the hexagrams: the hexagrams derived from 《Lín》 are four, namely 《Míng Yí》, 《Jiě》, 《Shēng》, and 《Zhèn》; the hexagrams derived from (the original text is missing the character for 《Dùn》) are five, namely 《Sòng》, 《Wú Wàng》, 《jiā rén》, 《Gé》, and 《Xùn》; the hexagrams derived from 《Tài》 are nine, namely 《Gǔ》, 《Bēn》, 《Héng》, 《Sǔn》, 《Jǐng》, 《Guī Mèi》, 《Fēng》, 《Jié》, and 《Jì Jì》; the hexagrams derived from 《Pǐ》 are nine, namely 《Suí》, 《Shì Kē》, 《Xián》, 《Yì》, 《Kùn》, 《Jiān》, 《Lǚ》, 《Huàn》, and 《Wèi Jì》; the hexagrams derived from 《Dà Zhuàng》 are five, namely 《Xū》, 《Dà Xù》, 《Kuí》, 《Dǐng》, and 《Duì》; the hexagrams derived from 《Guān》 are four, namely 《Jiǎn》, 《Cuì》, and 《Gèn》 (the original text lists only three hexagrams, missing one).

自乾坤來而再見者，從爻例也。卦無剝、復、夬、遘之例，故師、同人、大有、嗛從六子例，亦自乾坤來。小畜，需上變也；履，訟初變也。豫自復來，乃兩象易，非乾坤往來也。頤、小過，四之初、上之三也；大過、中孚，訟上之三、四之初也。此四卦與乾坤坎離反覆不衰，故不從臨觀之例。

Those hexagrams that arise directly from Qian and Kun and then reappear elsewhere are arranged according to the usual rules of lines. The examples of hexagram transformation do not include Ba, Fu, Guai, and Gou, so Shi, Tongren, Dayou, and Qian are treated according to the examples of the six sons of hexagrams, and are also considered to come from Qian and Kun. Xiao Xu comes from the upper line of Xu, and Lu comes from the first line of Song. Yu comes from Fu, which is a case of "two images exchange" — the upper and lower trigrams exchange positions — rather than Qian and Kun transforming into each other. Yi and Xiaoguo come from the fourth line moving to the first position and the upper line moving to the third position; Da Guo and Zhongfu come from the upper line of Song moving to the third position and the fourth line moving to the first position. These four hexagrams, like Qian, Kun, Kan, and Li, remain unchanged even when their forms are reversed, so they do not follow the pattern of Lin and Guan.

師二升五成比，噬嗑上之三折獄成豐，賁初之四進退無恆而成旅，皆據傳為說，故亦從兩象易之例。因繫辭彖傳而復出者二：暌自無妄來，蹇自升來，皆二之五。

The second line of the hexagram "Military Campaign" rises to the fifth position to form "Comparison," the top line of "Breaking the Bones" moves to the third position, taking the meaning of judicial judgment to form "Great Brightness," and the first line of "Brightness" moves to the fourth position, taking the meaning of uncertain advance and retreat to form "Travel." These all follow the principles of the "Commentary on the Judgment," so they are included in the category of "Two Images." There are two hexagrams that appear twice due to the influence of the "Xici" and the "Commentary on the Judgment": "Separation" comes from "No Misfortune," and "Obstruction" comes from "Ascent," both involving the second line moving to the fifth position.

此卦坎二之初，虞義也。案當從四陰二陽臨觀之例，而云坎二之初者，因彖傳「剛柔始交」，乃乾始交坤成坎，故知自坎來也。屯，難也，規固不相通之義。卦二五得正而名屯者，以二乘初剛，五弇於上，不能相應，故二有屯如之難，五有屯膏之凶，名之曰屯也。三變則六爻皆正，陰陽氣通，成既濟之世，故云元亨利貞。卦具四德者七：乾、坤、屯、隨、臨、無妄、革，皆以既濟言也。

This hexagram is derived from the second line of the hexagram "Kan" moving to the initial position, according to Yu Fan's interpretation. By principle, it should follow the pattern of "Lin" and "Guan," which have four yin lines and two yang lines. However, here it is referred to as "Kan two at the beginning," because the "Commentary on the Judgment" states that "yin and yang begin to interact." This is precisely when Heaven begins to interact with Earth to form "Kan." Therefore, it is known to originate from "Kan." "Zun" means difficulty, implying obstruction and mutual blockage. Although the second and fifth lines of this hexagram are in their proper positions, it is still named "Zun," because the line six in the second position is overpowering the line nine in the first position, and the line nine in the fifth position is obscured by the line six at the top. Thus, the line six in the second position experiences the difficulty of "Zun ru," and the line nine in the fifth position faces the danger of "Zun qi gao." Therefore, the hexagram is named "Zun." When the third line changes, all six lines are in their proper positions, and the yin and yang energies are connected, forming the situation of "Ji Ji." Therefore, it is said to have the four virtues of "Yuan, Heng, Li, Zhen." The seven hexagrams that possess all four virtues of "Yuan, Heng, Li, Zhen" are "Qian," "Kun," "Zun," "Sui," "Lin," "Wu Wang," and "Ge," all of which are discussed in relation to the completed situation of "Ji Ji."

「震一」至「云建」。卦內震外坎，震為夫，故曰一夫，言微也。動而遇坎，坎險在前，一夫舉事必不能成，故曰小事不濟也。《晉語》司空季子說此卦云：「小事不濟，壅也。」故曰「勿用有攸往，一夫之行也」，此注所據矣。

Hui Dong's commentary (from his own note "Zhen signifies the action of a single man" to "the second beginning, hence called Jian") states: This hexagram has the inner trigram Zhen and the outer trigram Kan. Zhen symbolizes a husband, hence "a single man," describing his weak strength. Once he moves, he encounters Kan, which represents danger ahead. A single man attempting to act will certainly fail, hence "small matters cannot succeed." The Guoyu · Jin Yu records that Si Kong Ji Zi explained this hexagram as: "Small matters cannot succeed because they are blocked." Therefore, "one should not go anywhere, for it is merely the action of a single man." This is exactly the basis of Hui Dong's commentary.

震為侯，虞義也。後漢司徒丁恭曰：「古帝王封諸侯不過百里，故利以建侯，取法於雷。」逸《禮·王度記》曰：「諸侯封不過百里。」象雷震百里，故震為侯。初正應四，建侯則貴得正得民，故往吉無不利矣，謂初往也。

"Zhen represents a Duke" is Yu Fan's view. After the Han dynasty, the Minister of Works Ding Gong said: "In ancient times, emperors granted dukes territories no larger than a hundred li, so it was favorable to establish dukes, and they took their model from thunder." The lost text "Rites of the King's Rule" states: "The territories of dukes did not exceed a hundred li." The range of thunder's sound is precisely a hundred li, so Zhen symbolizes a duke. The initial line is in the correct position and corresponds with the fourth line, so establishing a duke is valuable in securing the proper position and the people's support. Therefore, "going is auspicious and there is no disadvantage," refers to the first line moving forward.

《禮運》孔子曰：「大道之行也，天下為公，選賢與能。」天下為公，如二升五之類也；選賢與能，如利建侯之類也。是說古侯不世，賢則建之之義也。昭八年《春秋傳》曰：「嗣吉何建，建非嗣也。」今二之初，故云建。《韓非子》曰：「樹禾有曼根，有直根，根者書之所謂柢也。柢也者，木之所以建生也。」初在下，故云建，是其義也。

The Book of Rites, Volume of the Rituals, records Confucius' words: "When the great way is in practice, the world is held in common; the virtuous are selected and the capable are appointed." "The world is held in common" is like the second line rising to the fifth position; "selecting the virtuous and the capable" is like being favorable for establishing a prince. This clearly explains the principle in ancient times that the feudal lords were not hereditary, but whoever was virtuous and capable would be appointed. The Spring and Autumn Annals, Zhaogong Eighth Year, says: "If there is a legitimate heir, why should another be established? 'Establishing' is not the same as succeeding by inheritance." Now this hexagram has the second line coming to the first position, so it is called 'establishing.' The Han Feizi says: "Planting crops has both spreading roots and straight roots; the so-called roots are what the ancient books refer to as 'dǐ.' Dǐ is what the tree relies on to stand firm and grow." The first line is at the very bottom, so it is called 'establishing,' which is exactly this meaning.

初九般桓，利居貞，利建侯。注：應在艮，艮為石，震為阪，故般桓。艮為居，二動居初，故利居貞。震為諸侯，居正應四，故利建侯。六二屯如亶如，乘馬驙如，匪寇昏冓，女子貞不字，十年乃字。注：乘馬，乘初也。二乘剛，故屯如亶如。馬重難行，故驙如。匪，非也。五體坎，坎為寇，二應五，故匪寇。陰陽得正，故婚冓。字，許嫁也。二乘初馬，初非正應，故貞不字。坤數十，三動反正，陰陽氣通，故十年乃字。象曰：反常也。

The text says: Initial Nine, winding and difficult to advance, favorable for staying in place and maintaining correctness, favorable for establishing feudal lords. Hui Dong's own commentary: The responding line of Initial Nine is in the Gen trigram, which symbolizes stone, and Zhen symbolizes hillside. Therefore it is said "panxuan" — winding between hills and stones. Gen also symbolizes staying in place, and Six in the Second moves and occupies the initial position, hence "favorable for staying in place and maintaining correctness." Zhen symbolizes feudal lords, and Initial Nine is in the correct position and corresponds with Six in the Fourth, hence "favorable for establishing feudal lords." The text says: Six in the Second, difficult and hesitant, riding a horse that hesitates to move forward; the one coming is not a robber, but a suitor; the woman maintains correctness and refuses to marry, but after ten years she marries. Hui Dong's own commentary: "Riding a horse" refers to riding over Initial Nine. Six in the Second rides over a strong line, hence "zhun ru dan ru"; the horse is burdened and difficult to move, hence "huang ru." "F匪" means "not." Nine in the Fifth is in the Kan trigram, which symbolizes robbers, and Six in the Second corresponds with Nine in the Fifth, hence "not a robber"; yin and yang each occupy their correct positions, hence "marriage." "Zi" means to marry. Six in the Second rides over Initial Nine, the horse, but Initial Nine is not its correct corresponding line, hence "correctness does not lead to marriage." The number of Kun is ten, and the third line moves and returns to the correct position, hence yin and yang energies connect, so "after ten years she marries." The Image Commentary says: This is returning to the constant way.

六三即鹿無虞，惟入于林中。注：即，就也。虞，山虞也。艮為山，山足曰鹿，鹿，林也。三變體坎，坎為藂木山下，故稱林中。坤為兕虎，震為麋鹿，艮為狐狼。三應上，上乘五馬，故無虞。三變禽入于林中，故即鹿無虞，惟入于林中矣。君子機不如舍，往吝。注：君子謂陽已正。機，虞機；舍，舍拔。上不應三，張機舍拔，言無所獲，往必吝也。

The third line says: pursuing the deer without a forester to guide, only to enter the forest in vain. Hui Dong's own commentary: "That" refers to approaching and chasing; "Yu" refers to the official in charge of the mountain forest, the Yu official. Gen symbolizes mountain, and the foot of the mountain is called "Lu" (i.e., "Lu"), which is also the forest. When the third line changes, the lower trigram becomes Kan, which under the mountain symbolizes dense woods, hence "in the forest." Kun symbolizes the wild ox and tiger, Zhen symbolizes the sika deer, and Gen symbolizes the fox and wolf. The third line corresponds to the sixth line above, and the sixth line is overpowering the fifth line, which is the horse, hence "no forester." When the third line changes, the animals all flee into the forest, thus saying "pursuing the deer without a forester, only to enter the forest." The text says: a gentleman drawing the crossbow is not as good as simply letting go, for going forward will inevitably bring regret. Hui Dong's own commentary: "The gentleman" refers to the yang line that has changed to become correct. "Ji" is the crossbow used by the forester for hunting, "she" means releasing the bowstring. The sixth line does not correspond with the third line, so even if one draws the crossbow and releases the arrow, nothing is gained, and going forward will certainly bring regret.

六四乘馬班如，求昏冓，往吉無不利。注：乘初也。班，別也。求，初求四也。之外稱往，四正應初，初建侯，故往吉無不利。九五屯其膏，小貞吉，大貞凶。注：屯者，固也。坎雨稱膏。二五貞也而皆屯，二之屯，女子之貞也，故小貞吉；五陽也，陽主施，五之屯，膏澤不下於民，故大貞凶。上六乘馬班如，泣血如。注：乘五也。上於五非昏因之正，初雖乘馬，終必泣血。三變體離，離為目，坎為血，艮為手，弇目流血，泣之象也。

The line statement for the fourth line: riding a horse, wandering and separating into different paths, going forward to propose marriage, going forward is auspicious, nothing is unfavorable. Hui Dong's own commentary: "Riding" refers to surpassing the first line. "Separating" means distinguishing. "Proposing" means the first line comes to propose to the fourth line. Moving from the inner trigram to the outer trigram is called "going forward." The fourth line corresponds properly with the first line, and the first line has the image of establishing a feudal lord, so "going forward is auspicious, nothing is unfavorable." The line statement for the fifth line: accumulating one's own essence, being upright in small matters brings good fortune, being upright in great matters brings misfortune. Hui Dong's own commentary: "Tun" means being blocked and stagnant. Kan represents rain, so it is called "gao." The second and fifth lines both have the correct position and are called "zhen," but both are trapped in "tun." The "tun" of the second line refers to a woman's chastity, so "small zhen is auspicious." The fifth line is a yang line, yang represents giving, so the "tun" of the fifth line refers to the essence not being able to reach the people, so "great zhen is inauspicious." The line statement for the sixth line: riding a horse, wandering and separating into different paths, crying blood. Hui Dong's own commentary: "Riding" refers to surpassing the fifth line. The sixth line is not a proper marriage to the fifth line. Although it came riding a horse at first, in the end it will surely end in crying blood. The third line changes into the Li trigram, which symbolizes eyes, Kan symbolizes blood, Gen symbolizes hands, using hands to cover the eyes while blood flows, which is the image of crying. According to the line statement "crying blood like," the original text is missing the character "lian."

疏：「應在」至「建侯」。般桓，馬融以為旋也。應在艮，四體艮，艮為石。《說卦》曰：「震為阪生。」阪，陵阪也，故震為阪。古文《尚書·禹貢》曰：「織皮西傾因桓是來。」鄭玄彼注云：「桓是隴阪名，其道盤旋曲而上，故名曰桓。」此經般桓亦謂陵阪旋曲，故云般桓也。

Hui Dong's commentary (self-commentary from "should be Gen" to "thus beneficial for establishing a feudal prince") says: "Pan Huan," Ma Rong interprets as winding. The responding line of initial nine is in the Gen trigram -- the sixth line in the fourth position is in the upper trigram which is Gen, symbolizing stone. The "Say卦Transmission" says "Zhen represents slopes," so Zhen symbolizes hillslopes. The ancient text "Book of Documents · Yu Gong" says: "The tribute of woven leather comes from the Xiqing Mountains along the Huan River." Zheng Xuan notes there: "Huan is the name of a hill slope in Longdi, and the road winds up in a twisting manner, hence called Huan." The term "Pan Huan" in this passage also refers to winding along a hill slope, hence called "Pan Huan."

二失位，動居初得正，故利居貞。震，諸侯象，得正應四，以貴下賤，大得民，故利建侯也。荀氏以為般桓者，動而退也，謂陽從二動而退居初，義亦通也。

Six in the Second is out of place, but once it moves and takes the position of the first, it attains correctness, hence 'favorable to dwell in uprightness.' Zhen represents the image of feudal lords; the Nine at the Beginning attains correctness and corresponds above with Six in the Fourth. With a noble and esteemed position humbly occupying a low place, it gains great popular support, hence 'favorable to establish feudal lords.' Xun Shuang, however, interprets 'ban huan' as movement followed by retreat, referring to the yang line moving from the second position and retreating to the first. This explanation is also reasonable.

「乘馬」至「常也」。陰陽相求，有昏冓之道。二、四、上，陰爻，故皆言乘馬。虞氏亦謂二乘初，故曰乘馬也。鄭《箴膏肓》曰：「天子以至大夫皆有留車反馬之禮。」又云《士昏禮》云：「主人爵弁纁裳緇衣乘車，從車二乘，婦車亦如之。」此婦車出於夫家，則士妻始嫁乘夫家之車也。

Hui Dong's commentary (from the note "riding a horse, riding the first line" to "abnormality") states that yin and yang mutually pursue each other, originally following the way of marriage. The lines two, four, and six are all yin lines, so they all refer to "riding a horse." Yu Fan also believed that line six two overpowers line one nine, hence "riding a horse." Zheng Xuan's "Probing the Hidden" says: "From the Son of Heaven down to the commoner, there are rituals of stopping the carriage and returning the horse." He also cites the "Rites of the Gentleman's Marriage" which says: "The host wears the cap of the ceremonial hat, a light red lower garment and a black upper robe, rides a carriage, with two following carriages, and the bride's carriage is also arranged in the same way." The bride's carriage comes from the husband's family, indicating that when a gentleman's wife first marries, she rides the husband's carriage.

注以乘馬為乘初者，亦是乘初之車。但二與初非昏因之正，故云屯如亶如、乘馬驙如。馬氏云：「亶如，不進之貌。」《說文》曰：「驙者，馬重難行。」震為馬馵足，故驙如也。「坎為寇」，虞義也，《說卦》云「坎為盜」，故為寇。「匪，非」，虞義也，匪與非古今字。應在坎，故匪寇。陰陽得正，故昏冓。

Hui Dong's commentary explains "cheng ma" as riding on top of the line at the beginning, meaning riding a chariot drawn by the line at the beginning. However, since the line six in the second and the line at the beginning are not a proper marital match, it says "zhun ru dan ru, cheng ma huan ru." Ma Rong says: "Dan ru means the appearance of unwillingness to move forward." The Shuo Wen Jie Zi says: "Huan means a horse that is hard to move under a heavy load." Zhen symbolizes a horse with a white left hind leg, so "huan ru" refers to that. "Kan as kou" is Yu Fan's view, while the Shuo Gua Zhuan says "Kan as dao," so it is extended to mean "kou." "Fei xun zuo fei" is also Yu Fan's view, "fei" and "fei" are ancient and modern characters. The responding line of line six in the second is in the Kan trigram, so it is "fei kou"; yin and yang each occupy their proper positions, so it is "hun gou."

虞氏又謂字，妊娠。案妊娠為已嫁，虞氏非也。《曲禮》曰：「女子許嫁，笄而字。」是字為許嫁，故易虞義也。二不許初，故貞不字。《繋》上曰：「天九地十。」故云坤數十。三動成既濟，故陰陽氣通。虞氏曰：「三動反正，故十年乃字。」謂成既濟定是也。

Yu Fan interpreted "zi" as pregnancy. However, pregnancy occurs after marriage, so Yu Fan's interpretation is incorrect. The "Rites of the Son of Heaven" states: "When a woman is engaged, she receives the hairpin ceremony and receives a given name." This shows that "zi" refers to being promised in marriage. Therefore, Hui Dong revised Yu Fan's interpretation. The second line does not agree with the first line, hence "Zhen bu zi." The "Commentary on the Hexagrams, Upper Transmission" says "Heaven's number is nine, Earth's number is ten," so the number of the hexagram K'un is ten. When the third line moves, it becomes the hexagram "Already Completed," thus achieving the flow of yin and yang energies. Yu Fan said: "When the third line moves, it returns to its original position, hence a woman is promised in marriage after ten years." This refers precisely to the established conclusion of the hexagram "Already Completed."

「即就」至「中矣」。此虞義也。《論語》曰：「亦可以即戎矣。」包咸注云：「即，就也。」《儀禮·鄉飲酒禮》曰：「眾賓序升即席。」《王制》：「必即天倫。」鄭氏皆訓為就，故云即，就也。《周禮》地官有山虞，掌山林之政令及弊田，植虞旗於中，致禽而珥焉。虞氏謂虞，虞人，掌禽獸者，即山虞也。

Hui Dong's commentary (from "that is, to go" to "only entering the forest") states that this is Yu Fan's view. The Analects says "they may now be sent to fight," and Bao Xian's commentary explains "that is, to go." The Rites of Zhou, in the section on the ceremony of the village wine, mentions "all guests proceed in order to take their seats," and the Book of Rites, in the section on the system of government, says "definitely following the natural order," and Zheng Xuan interprets "that is" as "to approach." Therefore, "that is" means to approach or move towards. The Zhou Li (Record of Rites) in the section on the officials of the land office has the position of "mountain Yu," responsible for the regulations of mountains and forests; when hunting ends, a Yu flag is raised in the center of the hunting ground, and the captured animals are gathered and their left ears are cut off for record of the hunt's success. Yu Fan's "Yu" refers to the Yu official, that is, the official in charge of animals, which is the same as the mountain Yu.

鹿，王肅本作麓，故云山足曰鹿，鹿、麓古今字。山足有林，故云鹿，林也。三變下體成坎，九家《說卦》曰：「坎為叢棘。」故曰叢木。木在山足，故稱林中。兕，野牛也。坤為牛，為虎，故為兕虎。麋鹿善驚，震者震驚，故為麋鹿。京房《易傳》曰：「震遂泥，厥咎國多麋。」九家《說卦》曰：「艮為狐。」狐狼皆黔喙之屬，故為狐狼也。

The character "lu" is rendered as "lu" in Wang Su's version, hence the mountain foot is called "lu," and "lu" and "lu" are ancient and modern characters. The mountain foot has trees, so "lu" refers to a forest. The third line changes, and the lower trigram becomes Kan. The "Shu Guan Zhuan" from the nine families says "Kan represents thorny bushes," so it is called "thick wood"; trees growing at the mountain foot are called "forest." "Si" refers to a wild ox. Kun symbolizes an ox and also a tiger, hence the image of "si" and "hu." Mule deer are easily startled, and Zhen signifies thunder and alarm, so Zhen symbolizes mule deer. Jing Fang's "Yi Zhuan" says: "Thunder strikes and sinks into mud, its omen is many mule deer in the country." The "Shu Guan Zhuan" from the nine families says "Gen represents a fox," and foxes and wolves are both black-mouthed fierce animals, so Gen has the image of foxes and wolves.

三體震互坤艮，艮為山，三變體坎，坎為叢木，艮象不見，故曰林中，又無震坤，禽皆走入于林中矣。「君子」至「吝也」。《乾鑿度》九三為君子，三變之正，故曰君子，此虞義也。機，一作幾，鄭本作機，雲弩也，故曰機，虞機。荀氏曰：「震為動。」故為機。

The third line is located within the trigram Zhen (Thunder), and also produces the trigrams Kun (Earth) and Gen (Mountain) through mutual interaction. Gen represents a mountain. When the third line changes, it becomes the trigram Kan (Water), which symbolizes dense vegetation, and the image of Gen (Mountain) disappears. Therefore, it is said 'in the forest'. At this time, the images of Zhen (Thunder) and Kun (Earth) also vanish, and all birds and beasts flee into the forest. Hui Dong's commentary (self-note from 'the gentleman says Yang has become correct' to 'going will certainly be a regret') states: The 'Dian Zao Du' interprets the third line as the gentleman. When the sixth line changes to become correct, it becomes a Yang line, hence it is called 'the gentleman'. This is Yu Fan's interpretation. The character 'ji' in one version is written as 'ji', and Zheng Xuan's version is 'ji', which is interpreted as a crossbow. Therefore, 'ji' refers to the crossbow mechanism of the Yu people. Xun Shuang said 'Zhen represents movement', so Zhen has the image of a crossbow mechanism.

《緇衣》引逸書《太甲》曰：「若虞機張，往省括於厥度則釋。」鄭彼注云：「虞人之射禽，弩已張，從機間視括與所射，參相得乃後釋。」釋，古文作舍，故云舍，舍拔。《詩·駟鐵》曰：「舍拔則獲。」毛傳云：「拔，矢末也。」上乘五馬，故不應三。凡爻相應而相得者稱獲、稱得。今君子張機不能獲禽，不如舍者舍拔而已，言無所獲。無獲而往必困窮矣，故云往吝也。

The Book of Rites, Ziyi, cites a passage from the lost Book of Documents, Taijia, which says: "Like the keeper of the forest who draws his crossbow, first examines whether the arrow nock is in accordance with the standard, and then shoots." Zheng Xuan explains there: "The forest keeper shoots game, having already drawn the crossbow, looks through the notch of the crossbow to check whether the arrow nock and the target are aligned, and only then shoots." The character "释" was written as "舍" in ancient texts, so "舍" means to release the arrow nock. The Book of Poetry, Siti, says: "Once the arrow nock is released, there is a successful hunt." Mao's commentary says: "拔 is the end of the arrow." The upper sixth line is overpowering the fifth line, which is the horse, so it does not correspond with the third line. Only when two lines correspond and are in harmony is it called "obtain" or "gain." Now, if a gentleman draws his crossbow but fails to shoot the game, it is better to simply release the arrow nock, meaning he gets nothing. If he gets nothing yet still proceeds, he will surely fall into hardship, hence it is said "going leads to regret."

「乘初」至「不利」。四與初應，故乘初，謂乘初車也。馬將行，其群分乃長鳴，故襄十八年《春秋傳》曰「有班馬之聲」，班猶分別也。昏禮男先於女，初以貴下賤，故云求，初求四也。「之外稱往」，虞義也。許慎《五經異義》曰：「《春秋》公羊說云：自天子至庶人，娶皆親迎，所以重昏禮也。」《禮戴記》：「天子親迎。」初求四，行親迎之禮，故往吉無不利也。

Hui Dong's commentary (from his own note "riding on the first line" to "going is auspicious and there is no disadvantage") says that the sixth line four corresponds with the first line nine, so it is said "riding on the first line," meaning riding the chariot of the first line nine. When horses are about to depart, the horses in the same group will cry out loudly as they part, so the "Spring and Autumn Annals: Zuo Zhuan" mentions in the eighteenth year of Duke Xiang that there is the saying of "hearing the sound of the parting horses." "Ban" means separation. Marriage is initiated by the man, so the first line nine, being in a high position, humbly submits, so it is said "seeking." "Going from the inner trigram to the outer trigram is called going," according to Yu Fan. Xu Shen's "Five Classics Disagreements" says: "The Confucian school of Gongyang in the Spring and Autumn Annals holds that from the Son of Heaven down to common people, when marrying, the husband must personally go to meet the bride, to show the importance of marriage." The "Da Dai Li Ji" also says "the Son of Heaven personally meets the bride." The first line nine seeking the sixth line four is exactly the act of personally meeting the bride, so "going is auspicious and there is no disadvantage."

「屯者」至「貞凶」。閔元年《春秋傳》曰：「初，畢萬筮仕於晉，遇屯之比，辛廖占之曰：屯固比入，吉孰大焉。」固者，規固。《曲禮》曰：「毋固獲。」鄭注云：「欲專之曰固」是也。卦之所以名屯者以二五：二貞不字，五屯其膏，皆有規固之義，故云屯者固也。

Hui Dong's commentary (self-commentary from "Zun" meaning "solid" to "thus great uprightness is凶" section): The Spring and Autumn Annals, Min Gong's first year, says: "At first, Bi Wan, who was about to serve the state of Jin, consulted the divination and obtained the hexagram Zun with the hexagram Bi. Xin Liao's interpretation said: 'Zun means solid, Bi means affinity, is there any greater auspiciousness than this?' The term 'solid' refers to being rigid and clinging. The Rites of Zhou, the Book of Rituals, says 'do not be rigid and exclusive in claiming the hunt,' and Zheng Xuan's commentary says 'to claim exclusively is called solid,' which is exactly this meaning. This hexagram is named 'Zun' because of the second and fifth lines: the line six in the second holds to the correct position and does not allow marriage, the line nine in the fifth accumulates the nourishing essence, both containing the meaning of being rigid and clinging. Therefore, it is said 'Zun is solid.'

坎雨稱膏，虞義也。又虞引《詩》曰：「陰雨膏之。」膏者，膏潤，雨以潤之，故稱膏也。二五得正，故云貞；而皆固，故云屯。陰稱小，二乘初，守貞不字，女子之貞，故小貞吉。陽稱大，天施地生，故陽主施。孟康釋此爻曰：「大貞，君也，遭屯難饑荒，君當開倉廩振百姓，而反吝則凶。」膏澤不下於民，屯膏之象也。

"Kan represents rain, hence it is called 'gao' (moisture)." This is Yu Fan's interpretation. Yu Fan also cites a verse from the Book of Poetry, "Dark clouds bring rain to moisten it," as evidence. "Gao" refers to moistening, as rain nourishes all things, hence it is called "gao." The second and fifth lines both occupy the correct positions, hence it is called "Zhen" (upright). However, both lines are blocked and uncommunicative, hence it is called "Zun" (obstruction). Yin is called "Xiao" (small), as the sixth line (Yi) overpowers the first line (Chou), but remains loyal to the upright and does not yield, symbolizing a woman's chastity, hence "Xiao Zhen Ji" (small uprightness is auspicious). Yang is called "Da" (great), as heaven gives and earth produces, hence Yang represents giving. Meng Kang explains this line: "所谓大贞, refers to the sovereign; when encountering difficulties and famine, the sovereign should open the granaries to relief the people, but if he is stingy and does not distribute, it will be inauspicious." The moisture cannot reach the people, which is the image of "Zun its gao."

「乘五」至「象也」。上乘五馬，故云乘。五上體坎，《說卦》震坎皆有馬象，故皆云乘馬也。上不應三而乘五馬，故云非昏因之正。桓寛《鹽鐵論》曰：「小人先合而後忤。」初雖乘馬，後必泣血，是其義也。《說文》曰：「泣，下也。」離為目以下，九家義也。虞氏曰：「三變時離為目，坎為血，震為出，血流出目，故泣血如。」義略同也。

Hui Dong's commentary (from "riding on five" to "the image of weeping") says that the upper sixth line is overpowering the nine fifth line which represents a horse, hence the term "riding." The nine fifth line is located in the upper trigram, which is Kan. The "Commentary on the Changes" states that both Zhen and Kan have the image of a horse, so these lines all refer to "riding a horse." The upper sixth line does not correspond with the sixth line but instead overpowers the horse of the nine fifth line, hence this is not a proper marriage. Huan Kuan's "Salt and Iron Discussions" says: "Small people initially connect, but later they clash." Initially they may ride a horse, but eventually they will weep blood, which is exactly this meaning. The "Explanation of the Cang Jie" says: "Weeping is tears flowing down." "Li represents the eyes" is the view of the nine schools of the Changes. Yu Fan says: "When the third line changes, Li represents the eyes, Kan represents blood, Zhen represents movement, and blood flows out from the eyes, hence the image of weeping blood." The meaning is roughly the same.

蒙亨。注：艮三之二，六五為童蒙，體艮，故云蒙。蒙，物之穉也。五應二，剛柔接，故亨。匪我求童蒙，童蒙求我。注：我謂二，艮為求。五應二，故匪我求童蒙，童蒙求我。禮，有來學無往教。虞氏以二體師象，坎為經，謂二為經師也。初筮告，再三瀆，瀆則不告。注：初筮謂初，再三謂三四，二之正故不告。利貞。注：二五失位，利變之正，故利貞。

The text says: "Meng, smooth and unimpeded." Hui Dong's own commentary: This hexagram is formed by the third line of the "Gèn" hexagram moving to the second position. The sixth line in the fifth position represents a young and naive child, and the hexagram also contains "Gèn," so it is called "Meng." "Meng" refers to the time when all things are young and tender. The sixth line in the fifth position corresponds with the ninth line in the second position, where the yin and yang meet, hence "smooth and unimpeded." The text says: "It is not I who seeks the child, but the child who seeks me." Hui Dong's own commentary: "I" refers to the ninth line in the second position, and "Gèn" has the imagery of seeking. Since the sixth line in the fifth position corresponds with the ninth line in the second position, it is said that it is not I who seeks the child, but the child who seeks me. According to ritual, only students go to seek teachers, not teachers going to teach students. Yu Fan believes that the lines two to five together form the image of the "Shī" hexagram, and "Kǎn" also symbolizes the classics, so the ninth line in the second position is called "Jīngshī" (classical teacher). The text says: "If the first inquiry is made, one should be told, but if one keeps asking repeatedly, it is a desecration, and then one should not be told." Hui Dong's own commentary: "Chūshì" refers to the first line, and "zàisān" refers to the third and fourth lines. The ninth line in the second position changes to become correct, hence no longer being told. The text says: "It is advantageous to maintain the correct position." Hui Dong's own commentary: The second and fifth lines are both out of position, so it is advantageous to change and return to the correct position, hence "Lìzhēn."

疏：「艮三」至「故亨」。卦自艮來，九三之二，此虞義也。此亦當從四陰二陽臨觀之例，而云艮三之二者，以六五童蒙，二以亨行時中，故知自艮來也。名蒙者，以六五童蒙體艮，艮為少男。鄭氏云：「蒙，幼小之貌。」故名蒙。「蒙，物之穉也」者，《序卦》文，鄭氏謂孩稚也。

Hui Dong's commentary (self-commentary from "Geng three to two" to "therefore the hexagram is open") states: This hexagram comes from the hexagram Geng, with the line nine in the third moving to the second position, according to Yu Fan's interpretation. According to principle, it should also follow the pattern of the hexagrams Lin and Guan, which have four yin lines and two yang lines. Here it is said "Geng three to two" because line six in the fifth is the child of the young, and line nine in the second promotes the principle of timely centering, so it is known that it comes from Geng. The name "Meng" is taken because line six in the fifth is the child of the young and the hexagram contains Geng, which symbolizes a young man. Zheng Xuan says: "Meng means the state of being young and small." Therefore it is named "Meng." The phrase "Meng is the time when all things are tender" comes from the "Xugua Zhuan," and Zheng Xuan interprets it as the state of a child being young and immature.

卦之所以亨者有兩義焉：當其為師，則二剛五柔，以志相應；當其為婦，則五剛二柔，以禮相接。皆有亨道，故云亨。傳曰「以亨行時中」，兼兩義也。「我謂」至「師也」。二五相應，五求二，故我謂二。艮兌同氣相求，故艮為求。以取女言，則陽求陰，咸彖傳「男下女」是也；以發蒙言，則陰求陽，此經「匪我求童蒙，童蒙求我」是也。

This hexagram's success has two meanings: from the perspective of teacher and student, nine two is strong and six five is weak, and their intentions correspond with each other; from the perspective of husband and wife, after two and five change to the correct positions, five becomes strong and two becomes weak, and they interact with each other according to propriety. Both aspects have the way of success, so it is said "success." The Commentary on the Judgment says "to promote the way of success in the middle," which includes both aspects. Hui Dong's commentary (self-note: "I say two" to "two is the teacher") states: two and five correspond, meaning six five seeks nine two, so "I" refers to nine two. The trigrams艮 (mountain) and 兑 (lake) share the same energy and seek each other, so艮 has the image of seeking. In terms of marriage, it is yang seeking yin; this is what the Commentary on the Judgment of the hexagram 咸 (Intimacy) calls "a man lowering himself to a woman." In terms of teaching, it is yin seeking yang; here the text says "it is not I who seeks the naive, but the naive who seeks me."

禮有來學無往教，虞氏據《曲禮》釋經也。二至五有師象，故二體師。《乾鑿度》曰：「坎離為經，震兌為緯。」故坎為經。虞謂二為經師，經者六經，師者師長，六經取義於經緯，故《周書·諡法》曰「經緯天地曰文」是也。

"Only students come to study, but teachers do not visit to teach," is how Yu Fan interpreted the classics based on the "Rites of the Courteous" from the "Book of Rites." The trigrams from the second to the fifth positions produce the image of the "Army" hexagram, so the line nine two is within the structure of "Army." The "Qianzao Du" states: "Kan and Li are the meridians, Zhen and Dui are the parallels." Therefore, Kan symbolizes the meridian. Yu Fan says that line nine two is "the teacher of the meridian": "Meridian" refers to the Six Classics, and "teacher" refers to the teacher. The names of the Six Classics derive their meaning from the warp and weft of fabric, so the "Book of Zhou Annals: Posthumous Titles" says, "One who can weave the heavens and earth is called a Wen," which is exactly this meaning.

《周禮·小司徒》云：「五旅為師。」與易師卦同義。《太宰》九兩：一曰牧，以地得民；二曰長，以貴得民；三曰師，以賢得民。師與牧長同稱，教人以道可為民長，亦猶師之丈人，丈有長義，故經師之師亦得是稱。漢時通經有家法，故五經皆有師，謂之經師，虞氏以二為經師，借漢法為況也。

The "Small Grand Tutor" in the "Rites of Zhou" says, "Five groups of soldiers are organized into one army," which is the same meaning as the "Military" hexagram in the "Book of Changes." The "Grand Master" in the "Rites of Zhou" discusses "nine methods" for maintaining the people's loyalty: the first is "pasture," gaining the people through land; the second is "superiority," gaining the people through prestige; the third is "military," gaining the people through virtue. "Military" is mentioned together with "pasture" and "superiority," and those who can guide the people can be considered as leaders of the people. This is similar to the "elders" mentioned in the "Military" hexagram, where "丈" originally means an elder, so the "teacher" in "sage teacher" also deserves this title. In the Han dynasty, studying classics emphasized family traditions, so each of the five classics had its own lineage of teachers, called "sage teachers." Yu Fan says that the second line of the nine refers to a sage teacher, using the Han dynasty system as an analogy.

「初筮」至「不告」。三之二據初，初發成兌，兌為講習，故告。「再三謂三四」，荀義也。五應二，有求之之道，故童蒙吉；二據初，有告之之義，故初筮告；三四非應非據，故瀆。瀆，古文黷也。二之正除師學之禮，故不告，詳彖傳疏也。「二五」至「利貞」。此虞義，說見上也。

Hui Dong's commentary (from the note "Initial divination refers to the first line" to "the second line is correct so there is no need to inform") states that the third line comes to the second position and occupies the first line. When the first line moves, it forms the trigram Dui (Lake), which symbolizes teaching and learning. Therefore, "informing" occurs. "Again and again refers to the third and fourth lines," according to Xun Shuang. The sixth line five corresponds with the ninth line two, indicating a path for seeking guidance, so the child who is being taught receives good fortune; the ninth line two occupies the first line, indicating the meaning of informing, so "initial divination informs." The third and fourth lines neither correspond with the ninth line two nor are occupied by it, so they are called "filthy." "Filthy" is the ancient form of "dulity." Once the ninth line two changes to become correct, the teacher-student learning ceremony is completed, so there is no further informing. Details are given in the Commentary on the Judgment. Hui Dong's commentary (from the note "the second and fifth lines are out of position" to "therefore it is advantageous to be correct") states that this is Yu Fan's interpretation, which has been explained previously.

初六發蒙，利用刑人，用說桎梏，以往吝。注：發蒙之正體兌，兌為刑人，坤為用，故曰利用刑人。坎為桎梏，初發成兌，坎象毀壞，故曰用說桎梏。之應歴險，故以往吝。九二包蒙，納婦吉，子克家。注：九居二據初應五，故包蒙。伏巽為婦，二本陰位，變之正，故納婦吉。五體艮，艮為子，二稱家，故子克家也。

The first line, initial six, enlightens the ignorant, is suitable for applying punishment to people, enabling them to be freed from shackles and chains; if one goes forward recklessly, there will be regret. Hui Dong's commentary: the initial six enlightens and becomes correct, the lower trigram forms兑, which symbolizes the person administering punishment.坤 symbolizes 'use', hence it says 'suitable for using punishment on people'. Kan symbolizes shackles, the first line moves and forms兑, thus the Kan image is destroyed, hence it says 'using to remove shackles'; but it goes forward to the responding line, encountering Kan's danger, hence 'going forward brings regret'. The second line, nine two, encompasses the ignorant, accepting a wife brings good fortune, the son can support the family. Hui Dong's commentary: a yang line in the second position, below it is the initial six, above it corresponds to the sixth five, hence 'encompassing the ignorant'. Zhen is hidden beneath Xun, Xun symbolizes a wife; the second position is originally a yin position, changing to a yang, hence 'accepting a wife brings good fortune'. The sixth five is in the Gen trigram, Gen symbolizes a son, the second position is called 'home', hence it says 'the son supports the family'.

六三勿用娶女，見金夫不有躬，無攸利。注：誡上也。初發成兌，故三稱女。兌為見，陽稱金，震為夫，坤身稱躬。五變坤體壞，故見金夫不有躬。失位多凶，故無攸利。六四困蒙吝。注：遠於陽故困，困而不學，民斯為下，故吝。六五童蒙吉。注：蒙以養正，故吉。上九擊蒙，不利為寇，利禦寇。注：擊，三也。體艮為手，故擊。謂五已變，上動成坎，稱寇而逆乘陽，故不利為寇。御，止也。上應三，三體坎，行不順，故利禦寇。《明堂月令》曰：「兵戎不起，不可從我始。」

The text says: Six in the Third, do not marry this woman; she sees a wealthy man and loses herself, bringing no benefit. Hui Dong's commentary: This is a warning to Nine at the Top. First Line moves to form Dui, so Third Line is called "woman." Dui represents manifestation, yang line is called "metal," Zhen symbolizes husband, and Kun symbolizes body and is called "body." When Five in the Fifth changes, the body of Kun is destroyed, so it says "seeing a wealthy man, no body." Six in the Third is out of position and has many dangers, so "no benefit." The text says: Six in the Fourth, trapped in ignorance, there is regret. Hui Dong's commentary: Six in the Fourth is farthest from yang line, so it is trapped; if it remains trapped and does not learn, such a person falls to the lower rank, hence there is regret. The text says: Five in the Fifth, the child of ignorance comes to seek guidance, it is auspicious. Hui Dong's commentary: Cultivating purity during the time of ignorance, hence it is auspicious. The text says: Nine at the Top, breaking through ignorance; it is not suitable to become a bandit, but suitable to resist bandits. Hui Dong's commentary: What is struck is Six in the Third. Nine at the Top is in Gen, Gen symbolizes hand, so it says "strike." This refers to Five in the Fifth having changed, and when Nine at the Top moves, it becomes Kan, which is called bandit, and it also goes against and overpowers the yang line, so "not suitable to become a bandit." "Resist" means to stop. Nine at the Top corresponds with Six in the Third, which is within the body of Kan, and its actions are not smooth, so "suitable to resist bandits." The "Bright Hall Monthly Command" says: "Do not provoke war, do not be the first to attack."

疏：「發蒙」至「往吝」。此虞義也。初，蒙也。《文言》曰：「六爻發揮。」《說卦》曰：「發揮於剛柔。」虞注云：「發，動也。」動之正，故曰初發成兌，二陽為兌也。兌正秋，《周書·小開武》曰：「秋以紀殺。」故為刑人。「坎為桎梏」，九家《說卦》文，虞氏謂震足艮手，互與坎連，故稱桎梏。兌成則坎毀，故云坎象毀壞，用說桎梏之義也。坎為險，初應四，四困蒙，故之應歴險則吝也。

Hui Dong's commentary (from his own note "the correct form of the beginning to 'thus there is regret'") states that this is Yu Fan's view. The first line is the state of confusion. The "Wenyan Zhuan" says "the six lines are activated and change," and the "Shuogua Zhuan" says "they are expressed between the strong and the weak." Yu Fan explains: "To 'activate' means to move." When movement is correct, it is said that the first line, once activated, forms the trigram Dui (Lake). Two yang lines and one yin line make up Dui. Dui corresponds to the position of the beginning of autumn. The "Zhou Shu · Xiaokai Wu" says "autumn governs punishment and execution," so Dui symbolizes the executioner. "Kan represents shackles" comes from the nine families version of the "Shuogua Zhuan." Yu Fan believes that Zhen represents the foot and Gen represents the hand, and the interacting trigrams are connected to Kan, so they are called shackles. Once Dui is formed, the image of Kan is destroyed, hence "the image of Kan is destroyed," which is the meaning of "using words to refer to shackles." Kan represents danger. The first line corresponds to the fourth line, and the fourth line is trapped in confusion, so moving to the corresponding line involves danger, hence there is regret.

「九居」至「家也」。九居二，有師道；據初，故初發蒙；應五，故五童蒙吉：包蒙之象也。巽伏震下，故伏巽為婦也。彖曰利貞，以二五失位變之正，則五剛二柔，故納婦吉，子克家。婦謂二，子謂五也。《文言》稱陰為妻道也，臣道也，蓋言妻臣一例也。

Hui Dong's commentary (self-commentary from "nine resides in second, based on initial corresponding to fifth" to "thus the son can carry on the family") states that a yang line residing in the second position possesses the way of a teacher; it occupies the initial line, thus allowing the initial line to "begin to learn"; also, it corresponds with the fifth line, thus the fifth line "child learning is auspicious" — this is the image of "encompassing the beginning." The trigram Xun is hidden beneath Zhen, so hidden Xun symbolizes the wife. The Commentary on the Judgment says "favorable to uprightness" because both the second and fifth lines are out of position, and after changing to return to correctness, they become five yang and two yin lines, thus "receiving the wife is auspicious, the son can carry on the family." Here, "wife" refers to the second line, and "son" refers to the fifth line. The Discourse of the Literary Meaning refers to yin as wife's way and as the way of a minister, indicating that the way of the wife and the way of the minister are fundamentally the same.

高誘注《呂覽》曰：「師道與天子遭時見尊，不可常也。」師道無常，故有臣而為師者，亦有師而為臣者。《學記》曰：「君之所不臣於其臣者二，當其為師則弗臣也。」是臣而為師也。《孟子》曰：「湯之於伊尹，學焉而後臣之。」是師而為臣也。二五之正則蒙反為聖，師反為臣，妻臣一例，故五始求師而繼納婦也。

Gao You's commentary on the "Lüshi Chunqiu" says: "The way of being a teacher and the dignity of the Son of Heaven both come into being through the right timing and are not permanent. "Since the way of being a teacher is not fixed, there are cases where a person is a minister and also a teacher, and cases where a person is originally a teacher and later becomes a minister. The "Xueji" in the "Liji" says: "There are two situations where a ruler does not treat a subject as a subject, one of which is when he is himself a teacher." This is the case of a minister who is also a teacher. The "Mengzi" says: "Shang Tang first learned from Yi Yin and then made him his minister." This is the case of a teacher who becomes a minister. The second and fifth lines each return to their proper positions, transforming confusion into clarity, and a teacher into a minister. The way of a wife and the way of a subject are fundamentally the same, so the sixth line initially seeks a teacher, and then becomes the acceptance of a wife.

五體艮，艮少男，故稱童，又稱子，子與童皆未成君之稱。「二稱家」，虞義也。《乾鑿度》曰：「二為大夫。」鄭注《禮記》曰：「大夫稱家。」又在內，《雜卦》曰：「家人，內也。」故二稱家。五應二，故子克家也。

Six in the Fifth is in the Gen trigram, which symbolizes a young man, hence it is called 'child' or 'son'; both 'child' and 'son' are terms used before one becomes a ruler. The idea that 'the second line is called family' is Yu Fan's view. The "Qian Zao Du" says 'the second line is equivalent to a minister,' and Zheng Xuan's commentary on the "Book of Rites" states 'the territory of a minister is called family'; the second line also resides in the inner trigram. The "Zaji Zhuan" says 'the hexagram of Family discusses the inner,' so the second line is called 'family.' Since line six and line nine two correspond, it is said 'the son can manage the family.'

「誡上」至「攸利」。三應上，三不正，故誡上。兌為少女，故稱女。《雜記》曰：「兌，見。」虞注云：「兌陽息二，故兌為見。」陽稱金者，兌之陽爻稱金也。坤為身，荀子引逸詩云：「妨其躬身。」躬身同物，故又為躬。此皆虞義也。三體坤，五之正坤體壞，故見金夫不有躬。三多凶，六居三為失位，故云失位多凶，無攸利也。

Hui Dong's commentary (from the note "a warning to the upper" to "therefore it is not beneficial") states that the sixth line in the third position corresponds with the ninth line at the top, but the sixth line in the third position is not in the correct position, hence this is a warning to the upper line. Dui represents the young woman, hence it is called "female." The Miscellaneous Records (referring to the Miscellaneous Hexagram Transmission "Dui appears and Xun is hidden") say "Dui is appearance." Yu Fan explains: "Dui is the growth of yang energy at the second line, hence Dui has the image of appearance." Referring to yang lines as "metal," this refers to the yang lines in the Dui hexagram being called metal. Kun represents the body. Xunzi cites an ancient poem saying "harming his body," where "body" and "person" are essentially the same, hence Kun also represents the person. All of this is Yu Fan's view. The sixth line in the third position is within the Kun hexagram. If the sixth line in the fifth position changes to become correct, then the Kun hexagram is destroyed, hence it is said "seeing a man of metal does not have the person." The third line is often dangerous, as a yin line in the third position is also an incorrect position, hence incorrect positions often lead to danger and bring no benefit.

「遠於陽」至「故吝」。陽謂二，二包蒙，四獨遠之，故困。二之正，再三瀆，故吝。「困而不學，民斯為下」，《論語》文。「蒙以」至「故吉」。二之正，五變應之，蒙以養正，優入聖域，故吉也。變應者，由不正而之正也。二五失位，二之正，五變應之，則各得其正。《荀子·不苟篇》曰：「詩曰：左之左之，君子宜之；右之右之，君子有之。此言君子能以義詘信變應故也。」是變應之義矣，易之例也。

Hui Dong's commentary (from his own note "Because it is far from yang, it is inpredicament" to "Therefore, it is a regret") says: "Yang" refers to the Nine in the Second line. The Nine in the Second line encompasses all the confused elements, but the Six in the Fourth line is the farthest from it, hence the困境. The Nine in the Second line changes to become correct, but the Six in the Fourth line keeps coming repeatedly to inquire, resulting in a disrespectful attitude, hence the regret. The saying "Even when inpredicament, one does not wish to learn; such people are placed in the lower class" comes from the Analects. Hui Dong's commentary (from his own note "Cultivating the correct in the state of confusion" to "Therefore, it is auspicious") says: When the Nine in the Second line changes to become correct, the Six in the Fifth line also changes to correspond with it. In the state of confusion, cultivating the correct leads to a gradual entry into the realm of the sage, hence auspiciousness. The term "change and respond" refers to the transformation from incorrect to correct. Originally, both the Second and the Fifth lines were out of their proper positions, but when the Nine in the Second line changes to become correct, and the Six in the Fifth line also changes to respond to it, both lines then become correct. The Xunzi's "Not Being Rash" chapter says: "The Book of Poetry says: Go left when you go left, the gentleman has no inappropriate action; go right when you go right, the gentleman has no deficiency. This means that the gentleman can bend or stretch according to righteousness, and respond to changes in time." This is exactly the meaning of "change and respond," and it is also the common practice in the Book of Changes.

「擊三」至「我始」。上應三，三行不順，故擊三也。艮為手，《說卦》文。坎為寇，三體坎，五上變亦為坎，故爻辭有二寇，一謂上，一謂三也。五變上動乘之，是乘陽也，乘陽為逆，故曰逆乘陽。韋注《魯語》曰：「御，止也。」《釋詁》曰：「御，禁也。」禁有止義。此上皆虞義也。御，御三也。上應三，三行不順，是寇也，非昏冓也，故利御之。引月令者，蒙於消息為正月卦，《月令》孟春令曰：「兵戎不起，不可從我始。」是不利為寇、利禦寇之事也。

Hui Dong's commentary (from his own note "strike, three" to "it is not acceptable for me to start first") says: The upper ninth line corresponds with the sixth line in the third position, and since the sixth line in the third position is not smooth in its actions, the "strike" refers to the sixth line in the third position. "Geng is the hand" comes from the "Commentary on the Changes." Kan represents a thief, and the sixth line in the third position is within the Kan structure. After the sixth line in the fifth position changes, the upper ninth line also becomes Kan, so there are two "thieves" in this line statement, one referring to the upper ninth line and the other to the sixth line in the third position. After the sixth line in the fifth position changes, the upper ninth line moves and overpowers it, which is called "overriding yang." Overriding yang is considered reverse, so it is said "reverse overriding yang." Wei Zhao's commentary on the "Discourses of the States · Lu Discourses" says: "Aut, meaning to stop." The "Er Ya · Interpretation of Words" says: "Aut, meaning to prohibit." Prohibition includes the meaning of stopping. All of this is Yu Fan's view. The term "aut" refers to resisting the sixth line in the third position. The upper ninth line corresponds with the sixth line in the third position, and since the sixth line in the third position is not smooth in its actions, it is considered a thief, not a marriage partner, so it is appropriate to resist it. Hui Dong cites the "Monthly Orders" because the "Meng" hexagram, in the sequence of the changing hexagrams, belongs to the first month. The "Monthly Orders" say in the first month: "It is not acceptable to start a war, one should not be the first to initiate hostilities." This is exactly the situation of "not favorable to be a thief, favorable to resist a thief."