An Exposition of the Zhou Changes, Volume 19 · Compiled by Hui Dong

為尃者，虞云：「陽在初，隱靜未出，觸坤故尃，則乾靜也。尃，延叔堅說以專為尃，大布，非也。」案：尃，古布字，故云大布。今本作旉，乾寳注云：「花之通名，鋪為花皃，謂之。」義亦通也。

Taking the image as "fu," Yu Fan said: a yang line in the first position, hidden and quiet, not yet revealed, when it touches the body of K'un, it then spreads out, which is the stillness of Qian. As for the character "fu," Yan Du (whose courtesy name was Shuqian) read "zhuan" as "fu" and interpreted it as "great spreading," but Yu Fan thought this was incorrect. Hui Dong noted: "Fu" is an ancient form of "bu," so the interpretation of "great spreading" is possible. The present text writes it as "fu," and Gan Bao's annotation says this refers to the general term for flowers, and when spread out, it represents the appearance of flowers (the original text here is missing some characters), and this explanation is also reasonable.

為大塗者，鄭云：「國中三道曰塗，上值房心，塗而大者取房有三塗焉。」案：《王制》云「道路男子由右，婦人由左，車從中央」，是道有三也。震在卯，卯上值房心，《鴻範五行傳》曰「出入不節」，鄭注云：「房有三道，出入之象。」三塗即三道也。王廙云：「大塗，萬物所出也。」

Taking the image of a great road, Zheng Xuan said: In the capital city, three roads laid out side by side are called "tu." The territory corresponding to the trigram Zhen (Thunder) includes the mansion of the Room (Fang Su) and the mansion of the Heart (Xin Su). The reason it is called "tu" and specifically "great" is because the mansion of the Room itself has three paths. Hui Dong commented: The "Rites of the Son of Heaven" states that "on the road, men walk on the right, women on the left, and chariots in the center," showing that a single great road actually divides into three paths. Zhen corresponds to the earthly branch Mao (卯), and the position of Mao corresponds to the mansion of the Room and the mansion of the Heart. The "Hongan Wuxing Zhuan" says "entering and exiting without proper order," and Zheng Xuan's commentary says: the mansion of the Room has three paths, which represents the image of entering and exiting. So the term "three tu" refers to these three paths. Wang Yi said: The great road is the general path through which all things emerge.

為長子者，虞云：「乾一索，故為長子也。」為決躁者，變至三體兌，兌為決，震外體為躁，故為決躁也。為蒼筤竹者，九家云：「蒼筤，青也。震陽在下，根長堅剛，陰爻在中，使外蒼筤也。」為萑葦者，鄭云：「竹類。」其於馬也為善鳴者，乾為馬，震得乾之初，虞云為雷，故善鳴也。

The trigram Zhen is taken as representing the eldest son, as Yu Fan explained that Zhen is the first line of Qian seeking from Kun, hence it is the eldest son. It is also taken as representing decisive and impetuous action, because when the trigram Zhen changes to its third line, the lower trigram becomes Dui, which signifies decisiveness, and when Zhen is the outer trigram, it signifies restlessness, hence it is called "decisive and impetuous." It is also taken as representing young green bamboo, as the Nine Families' Book of Changes says: "Canglang" means green; the yang line of Zhen is at the bottom, like the long and firm bamboo root, while the yin line is above, making the outer skin appear green. It is also taken as representing reed, as Zheng Xuan said reed and bamboo are of the same kind. For horses, it is taken as representing a horse that is good at neighing, because Qian is taken as a horse, and Zhen is derived from the first line of Qian, and Yu Fan also said Zhen is thunder, whose sound is loud and continuous, hence it is a horse that is good at neighing.

為馵足者，虞云：「馬白後左足為馵，震為左為足，初陽白，故為馵足。」為作足者，作，起也，震足起，故為作足。王劭云：「馬行先作弄四足也。」為的顙者，虞云：「的，白顙額也。震反生，以初為顙，初陽白，故為的顙。」

The image is taken as "馵足," Yu Fan explains that the left hind hoof of a horse being white is called "馵." Zhen represents left, and "you" represents foot; the first line of Zhen is yang and its color is white, so it is "馵足." The image is also taken as "作足," where "作" means lifting; since the foot represented by Zhen can be lifted, it is "作足." Wang Shao says that before a horse starts moving, it first moves its four hooves. The image is also taken as "的颡," where "的" refers to a white spot on the forehead; Zhen has the image of something inverted, so the first line represents the forehead. The first line is yang and its color is white, so it is a horse with a white spot on its forehead.

其於稼也為反生者，宋云：「陰在上，陽在下，故為反生，謂枲豆之類，戴甲而生。」一曰震春為生，乾陽反初，故曰反生也。其究為健為蕃鮮者，虞云：「震巽相薄，變而至三則下象究，與四成乾，故其究為健為蕃鮮。巽究為躁卦，躁卦則震，震雷巽風無形，故卦特變耳。」案：變至三則成巽，故云下象究；二至四體乾，故與四成乾，乾健也；蕃鮮白也，巽為白，故云耳。

In terms of crops, the image is "reverse growth." Song Zhong said: when a yao (line) of yin is above and a yao of yang is below, it is like growth in reverse, referring to crops such as hemp and beans that emerge from their seed shells. Another explanation is that Zhen represents spring and the occurrence of growth, while Qian's yang energy returns to its original position, hence the term "reverse growth." The image is also described as "eventually becoming strong and flourishing," Yu Fan said: Zhen and Xun trigrams approach each other, and when Zhen changes to its third line, the lower trigram's image is exhausted, and together with the fourth line, it forms the structure of Qian, so when examined to the extreme, it becomes strong and flourishing. Xun, when examined to the extreme, becomes Zao (Restlessness) trigram, which is Zhen. Thunder and wind have no fixed forms, so only these two trigrams are specially noted for their change. Hui Dong commented: when Zhen changes to its third line, it becomes Xun, so it is said "the lower image is exhausted"; the second line to the fourth line forms the mutual trigram of Qian, so it is said "with the fourth line forming Qian," and the nature of Qian is precisely strong. "Fen Xian" means white and bright, and Xun takes the image of white, hence this explanation.

○巽為木者，柔爻為草，剛爻為木，震為蒼筤竹為萑葦為稼，皆柔爻也；巽為木，謂剛爻也。為風者，陸云：「風，土氣也。巽，坤之所生，故為風。」亦取靜於本而動於末也。為長女者，荀云：「柔在初。」為繩直者，翟元云：「上二陽共正一陰，使不得邪辟，如繩之直也。」為工者，荀云：「以繩木故為工。」

The trigram Xun is associated with the image of wood. This is because the flexible lines represent grass, while the strong lines represent wood. The trigram Zhen is associated with green bamboo, reeds, and crops, all of which are represented by flexible lines, whereas Xun is associated with wood because it uses strong lines. The image of wind is explained by Lu Ji, who says that wind is the energy of earth, and since Xun is generated from Kun (earth), it represents wind. It also represents the meaning of the quiet roots of trees and the swaying branches. The image of the elder sister is explained by Xun Shuang, who says that because the flexible line is in the first position, it represents the elder sister. The image of the plumb line is explained by Zhai Yuan, who says that the two upper yang lines together correct the yin line, preventing it from deviating, just like the straight line drawn by a plumb line. The image of the craftsman is explained by Xun Shuang, who says that craftsmen use the plumb line to correct the wood, hence it represents the craftsman.

為白者，虞云：「乾陽在上，故白也。」為長為高者，虞云：「乾陽在上長故高。」為進退者，二陽為進，初陰為退。巽為木，《說文》引《易》曰「地可觀者莫可觀於木」，木於五事屬貌，容止可觀，進退可度，是其義也。為不果者，巽，兌之反也，兌為決，故巽為不果。為臭者，虞云：「臭，氣也，風至知氣，巽二入艮鼻，故為臭。」

Taking the image as white, Yu Fan explains that the Yang line of Qian is at the top, and Yang color is bright, hence it is white. Taking the image as long and high, Yu Fan explains that the Yang line of Qian is at the top and extends upward, hence it is high. Taking the image as indecisive, because the two upper Yang lines indicate advancement, while the Yin line in the initial position indicates retreat. Taking the image as wood, the "Shuo Wen" cites the "Yi" saying, "Nothing on the earth is more worth observing than trees"; wood is classified as "Mao" in the "Hong Fan" Five Categories, referring to appearance and demeanor which can be observed, and movements and stillness can serve as standards, which is the meaning here. Taking the image as hesitation, because Xun is the opposite of Dui, and Dui signifies decision, so Xun, being the opposite, signifies indecisiveness. Taking the image as smell, Yu Fan explains that "chou" is the scent; when the wind blows, the scent can be detected, and the second line of Xun enters the mutual structure of Gen, which is associated with the nose, hence it is related to smell.

其於人也為宣髮者，鄭云：「頭髮顥落曰宣，取四月靡草死，髮在人體猶靡草在地。」虞云：「為白故宣髮。」馬君以宣為寡髮，非也。案：古宣鮮字皆讀為斯，《詩·瓠葉》云「有兔斯首」，鄭箋云：「斯，白也。」今俗斯白之字作鮮，齊魯之間聲近期。宣二年《春秋傳》云「于思于思」，賈逵曰：「頭白貌。」思斯同音，宣讀如斯，故訓為白也。

In terms of human beings, the character 「宣发」 is interpreted as 'hair growing out'. Zheng Xuan said that white and falling hair is called 「宣」, drawing the image of withered靡草 in the fourth month. Hair growing on the human body is like靡草 growing on the ground. Yu Fan said that the trigram 巽 represents white, so it refers to white hair. Ma Rong interpreted 「宣」 as sparse hair, which is incorrect. Hui Dong pointed out that in ancient times, the characters 「宣」 and 「鲜」 were both pronounced as 「斯」. The Book of Songs, Xiao Ya, Hu Ye says 「有兔斯首」, and Zheng Xuan's commentary explains 「斯」 as meaning white. Today, the character 「斯」 in 「斯白」 is commonly written as 「鲜」, and in the Qilu region, these characters are pronounced similarly. The Zuo Zhuan, Xuan Gong Er Niang records that a person from Song mocked Hu Yuan with 「于思于思」, and Jia Kui's commentary says this describes white hair. 「思」 and 「斯」 have the same pronunciation, and 「宣」 is read as 「斯」, so it is interpreted as white.

為廣顙者，虞云：「變至三坤為廣，四動成乾為顙，故為廣顙。」為多白眼者，虞云：「為白，離目上向則白眼見，故多白眼。」為近利市三倍者，虞云：「變至三成坤，坤為近；四動成乾，乾為利；至五成噬嗑，故稱市；乾三爻為三倍，故為近利市三倍。」其究為躁卦者，虞云：「震內體為專，外體為躁，變至五成噬嗑，動上成震，故其究為躁卦。八卦諸爻惟震巽變耳。」

Taking the image as a broad forehead, Yu Fan said: The trigram Xun changes to the third line to become Kun, which signifies vastness and breadth; the fourth line changes to Qian, which takes the image of the forehead, hence it is a broad forehead. Taking the image as white of the eye, Yu Fan said: Xun takes the image of white, and Li, which represents the eye, turns upward to reveal the white part, hence it is multiple white eyes. Taking the image as 'nearby profit threefold,' Yu Fan said: Changing to the third line becomes Kun, which signifies nearness; changing to the fourth line becomes Qian, which signifies benefit; changing to the fifth line becomes Shihe, which takes the image of the noon as the market, hence 'market'; Qian has three lines, hence 'threefold'—combined, it means gaining profit nearby and achieving threefold returns. Taking the image as 'eventually becoming the Zao trigram,' Yu Fan said: When Zhen is the inner trigram, it takes the image of focus; when it is the outer trigram, it takes the image of restlessness; Xun changes to the fifth line to become Shihe, and the top line changes again to become Zhen, hence when traced to its extreme, it becomes the Zao trigram. Among the eight trigrams, only Zhen and Xun trigrams indicate this kind of 'eventual transformation.'

○坎為水者，《說文》曰：「出，準也，北方之行，象眾水並流，中有微陽之氣也。」為溝瀆者，虞云：「以陽闢坤，水性流通，故為溝瀆也。」為隱伏者，虞云：「陽藏陰中，故為隱伏也。」為矯揉者，宋云：「使曲者更直為矯，直者更曲為揉，水流有曲直，故為矯揉也。」

The trigram Kan represents water. The Shuowen Jiezi says that water is the standard for levelness, belonging to the northern direction, and its character shape resembles many streams flowing together, with a single stroke in the middle representing the hidden yang energy (the original text mistakenly writes 'exit' instead of 'water'). The image of Kan is also taken as a ditch or channel. Yu Fan says that the yang line opens up the body of Kun, and since water flows smoothly without obstruction, it is called a ditch or channel. The image is also taken as concealment and concealment. Yu Fan says that the yang line is hidden between two yin lines, hence it represents concealment. The image is also taken as 'jiao rou', which Song Zhong explains as 'jiao' meaning to straighten a bend, and 'rou' meaning to bend a straight line; since water flows both in curves and straight lines, it is called 'jiao rou'.

為弓輪者，虞云：「可矯揉，故為弓輪。坎為月，月在庚為弓，在甲象輪，故為弓輪也。」案：虞據納甲為言。又坎在丁上弦，在丙下弦，故《參同契》曰：「上弦兌數八，下弦艮亦八。」《賈誼新書》曰：「古之為路輿，三十輻以象月」是也。

Taking the image of a bow and a chariot wheel, Yu Fan said: wood can be bent and shaped, so it represents a bow and a wheel. The trigram Kan takes the image of the moon. According to the method of Najia stem assignment, when the moon appears in the direction of Geng, it looks like a bow; when it moves to the direction of Jia, it looks like a wheel, hence representing a bow and a wheel. Hui Dong commented: Yu Fan's argument is based on the theory of Najia stem assignment. Additionally, when the moon reaches the direction of Ding, it is the upper half-moon, and when it reaches the direction of Bing, it is the lower half-moon. Therefore, the "Zhou Yi Cang Tong Qi" says "when the moon is in the upper half, the number of Dui is eight; when the moon is in the lower half, the number of Gen is also eight." Jia Yi's "Xin Shu" says "ancient people made chariots with thirty spokes on the wheel, to take the image of the thirty days of a month," which is exactly the same reasoning.

其於人也為加憂者，虞云：「兩陰失心為多眚，故加憂。」案：兩陰謂三初也。為心病者，虞云：「為勞而加憂，故心病。」亦以坎二折坤為心病也。為耳痛者，坎為耳為疾，故為耳痛也。為血卦者，血陰類，坎流坤，故為血卦。為赤者，《白虎通》曰：「十一月之時，陽氣始養根株黃泉之下，萬物皆赤。」故為赤也。

In terms of human beings, the imagery represents increased worry. Yu Fan said: The two yin lines of Kan lose the central yang, thus leading to many calamities, hence the worry deepens. Hui Dong explained: The two yin lines refer to the first and third lines. The imagery represents heart disease. Yu Fan said that due to labor and worry, there is increased heartache. It can also be said that the second line of Kan breaks the body of Kun, which represents the abdomen and heart, thus causing heart disease. The imagery also represents ear pain, as Kan represents the ear and disease, combining to form ear pain. The imagery also represents a blood卦, since blood is yin, and the yang of Kan flows within the yin of Kun, thus forming a blood卦. The imagery also represents red color. The White Tiger Classic says: In the eleventh month, yang energy begins to nourish the roots of grass and trees beneath the yellow earth, and all roots appear red, hence the red color.

其於馬也為美脊者，宋云：「陽在中央，美脊之象。」為極心者，荀云：「極，中也。」乾為馬，坎中爻乾也，故為極心。為下首者，乾為首，陽陷坤中，故為下首。為薄蹄者，蹄，震也；薄，迫也。陽不在初，行則迫地，故為薄蹄。為曳者，初足不正，故為曳也。

Regarding the horse, the image is of a strong and beautiful back. Song Zhong said: a yang line in the center represents the straight and beautiful spine. The image is of 'extreme heart,' Xun Shuang said 'extreme' means the center; the trigram Qian represents the horse, and the middle line of Kan is originally a yang line from Qian, so it is a horse with strong heart power. The image is of lowering the head, because Qian represents the head, and now the yang line is submerged in the yin of Kun, so the head is lowered. The image is of thin hooves, 'hoof' is represented by Zhen, 'thin' means approaching; since the yang line of Kan is not in the first position, the horse's hooves are close to the ground when walking, hence thin hooves. The image is of dragging the legs, because the first line represents the foot position which is not correct, so the movement is dragging.

其於輿也為多眚者，虞云：「眚，敗也。坤為大，坎折坤體，故為車多眚也。」為通者，坎為大川，為溝瀆，以達於川，故為通也。為月者，虞云：「坤為夜，以坎陽光坤，故為月也。」為盜者，虞云：「水行潛竊，故為盜也。」其於木也為堅多心者，虞云：「陽剛在中，故堅多心，棘屬也。」

In terms of a carriage, the image represents frequent breakdowns. Yu Fan says: "Sheng" means decay; the trigram Kun represents a large carriage (the original text also lacks the character "yu" below "da"), and the yang line of Kan breaks the body of Kun, hence the carriage often suffers damage. The image also represents smooth passage, because Kan represents a great river and also a ditch, and ditches connect to the great river, hence it signifies smoothness. The image also represents the moon, as Yu Fan explains: Kun represents night, and the yang line of Kan shines within the night of Kun, hence it represents the moon. The image also represents thieves, as Yu Fan explains: water flows secretly and moves stealthily, hence it represents theft. In terms of trees, the image represents firmness with a lot of pith, as Yu Fan explains: yang strength resides in the center, hence it is hard with much pith, belonging to the category of hawthorn trees.

○離為火者，《說文》曰：「火，毀也，南方之行，炎而上也。」為日者，荀云：「陽外光也。」為電者，鄭云：「取火明也，多明似日，暫明似電也。」為中女者，荀云：「柔在中也。」為甲冑者，虞云：「外剛故為甲。乾為首，巽繩貫甲而在首上，故為冑。」冑，兜鍪也。為戈兵者，虞云：「乾為金，離火斷乾燥而煉之，故為戈兵也。」

The hexagram Li is associated with the image of fire. The Shuowen Jiezi says that fire has the meaning of destruction, belongs to the southern direction, and its flames rise upward. It is also taken as the sun, as Xu Shuang said that the yang lines are outside and emit light. It is also taken as lightning, as Zheng Xuan said that the image comes from the brightness of fire: long-lasting brightness is like the sun, while brief brightness is like lightning. It is also taken as the middle daughter, as Xu Shuang said that the flexible line is in the central position. It is also taken as armor and helmets, as Yu Fan said: the outer part of Li is firm and the inner part is flexible, so it is armor; Qian is taken as the head, and Xun, which represents a rope, connects the armor plates and is worn on the head, so it is a helmet. "Zhou" means helmet. It is also taken as halberds and weapons, as Yu Fan said: Qian belongs to metal, and fire from Li melts and refines the metal, so it is halberds and weapons.

其於人也為大腹者，虞云：「象日常滿，如妊身婦，故為大腹。」乾為大，坤為腹也。為乾卦者，虞云：「火日熯燥物，故為乾卦。」鄭云：「乾當為乾，陽在外能乾正也。」董遇作乾，《列子》曰「木葉乾殻」，張湛讀為乾。若然，乾乾同物，故讀從之。

In terms of human form, the image is of a large belly. Yu Fan said: the trigram Li represents the sun, which is always full, similar to a pregnant woman, hence the image of a large belly; Qian represents something great, and Kun is taken as the abdomen, together forming the image of a large belly. Regarding the trigram Qian, Yu Fan said: fire and the sun can dry out all things, so Li is the trigram of dryness. Zheng Xuan said: this character should be read as "qian" in "qian shi" (dry and wet), with yang energy on the outside, capable of drying and regulating all things. Dong Yu's text also writes it as "qian," and the "Lie Zi" mentions "mu ye qian ke," which Zhang Zhan reads as "qian" in "qian shi." Thus, the "qian" in "qian jian" (strong and vigorous) and the "qian" in "qian shi" (dry and wet) are originally the same character, so we follow this reading.

為鱉為蟹為蠃為蚌為龜者，虞云：「此五者皆取外剛內柔也。」鄭云：「皆骨在外。」其於木也為折上槀者，虞云：「巽木在離中體大過死，巽蟲食心則蠧，蟲食木，故上槀。或以離火燒巽，故折槀。」案：巽蟲者，巽為風，《易本命》曰：「二九十八，八主風主蟲，故蟲八日化。」王充《論衡》曰：「夫蟲，風氣所生，倉頡知之，故凡蟲為風之字取氣於風。」故云巽蟲也。

Taking the image of turtle, crab, snail, clam, and tortoise, Yu Fan explains that these five animals all have hard shells and soft insides, which correspond to the image of Li (Fire) with a hard exterior and a soft interior. Zheng Xuan says that their bones are all on the outside. Regarding trees, the image is taken as 'broken upper part and withered'. Yu Fan explains that the wood represented by Xun (Wind) is located between Li (Fire), forming the trigram Da Guo (Great Excess), which signifies death and withering; Xun also represents insects, which eat into the heart of the tree, causing the upper part to wither. It can also be said that the fire of Li burns the wood of Xun, causing it to break and wither. Hui Dong notes: the term 'Xun as insect' is because Xun represents wind. The Da Dai Li Ji (Great Dai Rituals) says 'two multiplied by nine gives eighteen, among which eight governs wind and insects, so insects are born after eight days'. Wang Chong's Lun Heng (Discourses on the Balance) says that insects are born from the wind; Cang Jie understood this, so all characters related to insects take their breath from wind. Therefore, Xun represents insects.

○艮為山者，《周語》曰：「山，土之聚也。」坤為土，陽止坤上，故為山。為徑路者，虞云：「山中徑路。震陽在初，則為大塗；艮陽小，故為徑路。」鄭云：「田間之道曰徑路，艮為之者，取山間鹿兔之蹊。」為小石者，陸云：「剛卦之小，故為小石也。」為門闕者，虞云：「乾為門，艮陽在門外，故為門闕。」兩小山，闕之象也。

The trigram Gen (Geng) is associated with the image of a mountain. The "Zhou Yu" (Book of Zhou) states, "A mountain is formed by the accumulation of earth." The trigram Kun (Kun) is associated with earth, and a yang line resting upon the earth gives the image of a mountain. The image of a narrow path is explained by Yu Fan as referring to the small paths within the mountain; the trigram Zhen (Zhen) has a yang line in the initial position, indicating great momentum, hence representing a broad road; while Gen has a weak yang line, thus representing a narrow path. Zheng Xuan explains that a path in the fields is called a "jing lu" (narrow path), and Gen takes this image because it represents the small trails made by deer and rabbits in the mountains. The image of a small stone is explained by Lu Ji as referring to Gen being the smallest among yang trigrams, hence representing a small stone. The image of a gate, pavilion, and terrace is explained by Yu Fan as follows: Qian (Heaven) takes the image of a gate, and the yang line of Gen is outside the gate, thus representing a gate tower; two small mountains facing each other form the image of two gate towers.

為果蓏者，果，上也；蓏，二陰也。宋云：「木實謂之果，草實謂之蓏，梅李瓜瓞之屬皆出山谷也。」為閽寺者，宋云：「閽人主門，寺人主巷，艮為止，此職皆掌禁止者也。」為指者，虞云：「艮手多節，故為指。」為拘者，虞云：「指屈信制物，故為拘。」拘舊作狗，上已為狗，字之誤。

Taking the image as fruit and gourd, "fruit" refers to the upper yang line, and "gourd" refers to the two lower yin lines. Song Zhong said: what grows on trees is called fruit, and what grows on vines is called gourd. Plum, peach, melon, and small gourd are all produced in valleys. Taking the image as gatekeeper and palace attendant, Song Zhong said: the gatekeeper guards the palace gate, and the palace attendant manages the palace alley, and the trigram Gen has the meaning of stillness; these two positions both control entry and exit. Taking the image as finger, Yu Fan said Gen takes the image of a hand, as hands have many joints, hence finger. Taking the image as restraint, Yu Fan said fingers can bend and stretch, and can grasp external objects, hence restraint. The character "jugu" was originally written as "gou" in old texts, but the phrase "Gen as dog" has already appeared earlier, so this is a mistake in character form.

為鼠者，虞云：「似狗而小，在坎穴中，故為鼠。」《晉》九四是也。為黔喙之屬者，馬云：「黔喙，肉食之獸，謂豺狼之屬。黔，黑也，陽元在前。」鄭云：「取其為山獸。」其於木也為多節者，虞云：「陽剛在外，故多節，松柏之屬。」

Taking the image as a mouse, Yu Fan said: its shape resembles a dog but is small in size, hiding in the cave symbolized by Kan, hence it is called a mouse; the line statement of the ninth line in the fourth position of the "Jin" hexagram, "Jin ru shi shu," uses exactly this image. Taking the image as a black-mouthed wild animal, Ma Rong said: "Qian hui" refers to an animal that eats meat, such as jackals; "Qian" means black, and the yang line of Gen is at the front, resembling the black mouth of an animal. Zheng Xuan said that all these are animals living in the mountains. Regarding trees, taking the image as having many knots, Yu Fan said: yang strength is on the outside, so the branches and trunk have many knots, referring to pine and cypress trees.

○兌為澤者，虞云：「坎水半見，故為澤。」為少女者，虞云：「坤三索位在末，故少也。」為巫者，乾為神，兌為通，與神通氣，女故為巫。案：山澤通氣，故兌為通也。為口舌者，虞云：「兌得震聲，故為口舌。」為毀折者，虞云：「二折震足，故為毀折。」為附決者，虞云：「乾體末圜，故附決。」則果蓏之屬也。

The hexagram Dui is interpreted as a marsh. Yu Fan said that the water of Kan is only partially visible, accumulating without flowing, thus forming a marsh. Dui is also interpreted as a young maiden. Yu Fan said that Dui is the third attainment of Kun, being the last in position, hence the youngest daughter. Dui is also interpreted as a shaman or priestess, because Qian represents a deity, and Dui has the meaning of communication, enabling connection with spirits, and being female, it becomes a shaman. Hui Dong remarked: The "Sayings of the Guiguzi" states "mountains and marshes communicate with each other," so Dui is interpreted as communication. Dui is also interpreted as speech or words. Yu Fan said that Dui receives the sound of Zhen, hence it is associated with speech. Dui is also interpreted as destruction or breaking. Yu Fan said that the second line of Dui breaks the foot represented by Zhen, hence it signifies destruction. Dui is also interpreted as attachment followed by rupture. Yu Fan said that the body of Qian remains round at the end, and fruits cling to the branch before falling off, hence it signifies attachment followed by rupture; this also belongs to the category of fruits and seeds.

其於地也為剛滷者，虞云：「乾二陽在下，故剛；澤水潤下，故咸。」為妾者，虞云：「三少女位賤，故為妾。」為羔者，虞云：「羔，女使，皆取位賤，故為羔。」舊讀羔為羊，非也。鄭本作陽，云：「此陽讀為養，無家女行賃炊，今時有之，賤於妾也。」

In terms of land, the image is that of hard salt-alkali land. Yu Fan said: The two yao of Qian are at the bottom, so the soil is hard; the water of泽 flows downward, hence the salty taste. Taking the image as a maid servant, Yu Fan said: Dui represents the third daughter, who is of low status, hence the image of a servant. Taking the image as 'gao', Yu Fan said 'gao' refers to a woman used for service, which conveys the same meaning of low status as a servant. The old text reads 'gao' as 'yang', which is incorrect. Zheng Xuan's text writes it as 'yang', and he said this 'yang' should be read as 'yang' meaning 'nourish', referring to a woman without a home who is employed to cook for others. Such people still existed at that time, and their status was even lower than that of a servant.

○以上八卦取象，猶未備，故又取九家及虞氏以該《易》之象焉。九家所載乃《說卦》之逸象。乾六爻稱六龍，故為龍；其動也直，故為直。黃帝堯舜垂衣裳而天下治，蓋取諸乾坤，上曰衣，下曰裳，故乾為衣，坤為裳。震為言，謂乾初也。

The images represented by the eight trigrams are not yet complete, so the nine schools of the Book of Changes and Yu Fan's interpretation are adopted to encompass all the images of the Zhou Changes. The images recorded by the nine schools correspond to the lost images in the "Commentary on the Hexagrams." The six lines of the trigram Qian are called "six dragons," so Qian is taken as the image of a dragon. Since Qian's movement is straight and unimpeded, it is taken as the image of straightness. The Great Treatise says that the Yellow Emperor, Yao, and Shun governed the world by wearing robes without exerting force, which is probably taken as the image of the trigrams Qian and Kun. The trigram Zhen is taken as the image of speech, referring to the first line of Qian, where yang moves and produces sound.

陰陽之義闢諸雌雄，牝以合牡，猶坤以配乾，故坤為牝，經「利牝馬之貞」是其義也。坤先迷，故為迷。上已為枋，傳寫訛為柄，故重出方也。六四「括囊」，故為囊。天玄而地黃，故為黃。莊二十一年《春秋傳》曰：「庭實旅百，奉之以玉帛，天地之美具焉。」杜預注云：「乾為玉，坤為帛。」是為帛也。酒主陽，漿主陰，坤陰，故為漿。

The principle of yin and yang can be illustrated by the analogy of male and female: male and female complement each other, just as Qian and Kun complement each other. Therefore, Kun is symbolized as female. The Hexagram Statement of the Qian卦 says "favoring the constancy of a female horse," which reflects this meaning. The Hexagram Statement of the Qian卦 also says "those who go ahead are lost, but those who follow eventually find the master," so Kun is symbolized as being lost. In the previous text, the word "柄" in "Kun as handle" should originally be "枋," but it was mistakenly copied as "柄" during transmission. Therefore, the lost image also includes "方." The Line Statement of the fourth line of the Qian卦 says "binding the bag," so it is symbolized as a bag. Since "heaven is dark blue and earth is yellow," Kun is symbolized as yellow. The "Zuo Zhuan" records that in the twentieth year of Duke Zhuang's reign, there were over a hundred items displayed in the courtyard, including jade and silk, with all the beautiful things from heaven and earth present. Du Yu's annotation says that Qian is symbolized as jade and Kun as silk. This is the origin of Kun being symbolized as silk. Wine belongs to yang, while soup belongs to yin, and since Kun is yin, it is symbolized as soup.

帝出乎震，今之王，古之帝，故震為王。鵠，聲之遠聞者，故為鵠。《考工記》曰：「凡冒鼓必於啟蟄之日。」鄭彼注云：「蟄蟲好聞雷聲而動，所以取象。」《太玄》云：「三八為木，為東方，為春，為鼓。」注云：「如雷聲也。」震為雷，故為鼓。《大過》體巽，九二「枯楊生梯」，巽為木，故為楊。巽為風，鸛，水鳥知風雨者，故為鸛。

The "Say on the Hexagrams" states, "The Emperor comes forth from Zhen." Today's so-called king is the ancient Emperor, so Zhen is taken as the image of the king. The call of the swan carries very far, and the sound of Zhen is like thunder, so it is taken as the image of the swan. The "Record of the Workshops" says: whenever covering drums, one must choose the day of the Awakening of Insects. Zheng Xuan's commentary says: insects that are hibernating like to hear thunder and become active, and covering drums takes this image. Yang Xiong's "Tai Xuan" says: the numbers three and eight represent wood, the east, spring, and drums; the commentary explains that the sound of drums is like thunder. Since Zhen represents thunder, it is taken as the image of drums. The "Great Excess Hexagram" has its lower trigram as Xun. The second line statement says, "A withered willow produces new shoots." Xun is taken as the image of wood, so Xun is taken as the image of the willow. Xun also represents wind, and the stork is a water bird that can foresee wind and rain, so Xun is taken as the image of the stork.

坎十一月律中黃鍾，黃鍾為宮，為聲調之始，故坎為宮。《釋言》曰：「坎，律銓也。」樊光注云：「坎卦水，水性平，律亦平，銓亦平也。」六律為萬事根本，黃鍾又為六律之本，故為律。為可者，可，河字磨滅之餘，又石鼓文河作可，蓋古文也。坎為大川，故為河。

The trigram Kan corresponds to the eleventh month and is paired with the pitch pipe Huangzhong. Huangzhong belongs to the palace tone, which is the beginning of the five tones system, so Kan is symbolized as the palace tone. The "Er Ya · Xiyán" says: "Kan means the pitch pipe, and also means the balance." Fan Guang's commentary says: "The trigram Kan belongs to water, and water seeks balance; the pitch pipe seeks balance, and the balance also seeks balance." The six pitch pipes are the foundation of all things, and Huangzhong is the foundation of the six pitch pipes, so Kan is symbolized as the pitch pipe. As for being symbolized as "ke," "ke" is the remaining part of the character "he" after wear and tear; furthermore, in the Stone Drum Script, "he" is written as "ke," which is probably an ancient writing style. Since Kan is symbolized as a great river, it is also symbolized as "he."

為楝未詳，或云當為棟，《大過》「棟橈」謂坎也。案虞氏注《大過》以巽木為棟，疑不能明也。為叢棘者，坎於木為堅多心，故為叢棘。坎上六「示于叢棘」是也。坎為鬼，《說文》曰：「狐者鬼所乘。」故為狐。子夏曰：「坎為小狐。」干寶亦云為狐也。疾藜棘類，《困》六三「據于蒺藜」，虞氏亦云坎也。

Taking the image as "lián," the meaning is unclear. Some people suggest it should be "dòng." The phrase "dòng ráo" in the Great Exceeding hexagram refers to the Kan. Hui Dong remarked: Yu Fan's interpretation of the Great Exceeding hexagram takes Xun wood as the beam, but this point is doubtful and unclear. Taking the image as a thicket of brambles, because Kan, in terms of trees, represents a strong, multi-hearted wood, thus it is a thicket of brambles; the line statement of the top sixth line of the Kan hexagram, "placed among brambles," exactly matches this image. Kan also takes the image of a ghost. The "Shuo Wen" says "foxes are ridden by ghosts," so it takes the image of a fox. Zi Xia said Kan represents a small fox, and Gan Bao also said Kan represents a fox. Jizi belongs to the category of brambles. The line statement of the third line of the困 hexagram, "resting upon jizi," Yu Fan also interpreted this as the image of Kan.

《蒙》初六曰「用說桎梏」，虞注云：「坎為穿木，震足艮手，互與坎連，故為桎梏。」昭四年《春秋傳》曰：「純離為牛。」坤為牝，坤二五之乾成離，故為牝牛。艮為鼻者，管寧曰：「鼻者，艮天中之山。」裴松之案：「相書謂鼻之所在為天中，鼻有山象，故曰天中之山。」《噬嗑》六二「噬膚滅鼻」，鼻謂艮也。

The line statement of the first line of the "Mont" hexagram says "use words to bind the fetters." Yu Fan's commentary explains that the Kan trigram represents a piece of wood that has been carved, and the Zhen trigram represents the foot, while the Gen trigram represents the hand. The interacting trigrams connect with Kan, so the foot and hand are both bound by wooden restraints, hence the fetters. The "Zuo Zhuan" states that the hexagram of pure Li represents an ox. The Kun trigram takes the image of the female, and the second and fifth lines of Kun combine with Qian to form Li, so Li takes the image of a female ox. The Gen trigram takes the image of the nose. Guan Ning says: the nose is the "mountain in the sky" that Gen represents. Pei Songzhi's commentary says: in face reading, the area where the nose is located is called "the sky center," and when the nose is prominent, it has the shape of a mountain, hence called "the mountain in the sky." The line statement of the second line of the "Shi He" hexagram says "bite the flesh and destroy the nose," and that nose is precisely the image represented by Gen.

為虎者，艮無虎象，虎當為膚字之誤也，虞氏亦云艮為膚也。為狐者，《未濟》卦辭曰：「小狐訖濟。」虞注云：「否艮為狐。」僖十四年《春秋傳》曰：「其卦遇《蠱》，曰獲其雄狐。」《蠱》上體艮為狐也。坎為狐，取其形之隱也；艮為狐，取其喙之黔也。兌為常者，九家注云：「常，西方之神也。」輔頰者，兌上也，《咸》上曰「咸其輔頰舌」，故為輔頰也。以上逸象凡三十一，訛一羨一，實三十也。

Taking the image as a tiger, but the mountain (Geng) does not have the image of a tiger. "Tiger" should be a mistake for "skin," as Yu Fan also said that the mountain takes the image of skin. Taking the image as a fox, the "Minor Unrest" hexagram statement says "a small fox almost crossing the river," and Yu Fan's commentary says that in the "Opposition" hexagram, the mountain takes the image of a fox. The "Zuo Zhuan" records that in the fourteenth year of Duke Xi's reign, the divination resulted in the "Gǔ" hexagram, and the line statement says "obtaining its male fox." Since the upper part of the "Gǔ" hexagram is the mountain, the mountain is taken as a fox. The water (Kan) takes the image of a fox because it is hidden; the mountain takes the image of a fox because its mouth is black. The metal (Dui) takes the image of "constant," as the nine annotations say: "constant" is the god of the west. Taking the image as the cheek, it refers to the top line of Dui. The line statement of the "Xian" hexagram's top line says "touching its cheek and tongue," so it is the cheek. The thirty-one extraordinary images from the nine schools include one incorrect character and one repetition, making a total of thirty.

○虞氏傳其家五世孟氏之學，八卦逸象十倍於九家。如乾逸象六十一：為王，為神，為人，為聖人，為賢人，為君子，為善人，為武人，為行人，為物，為敬，為威，為嚴，為道，為德，為信，為善，為良，為愛，為忿，為生，為慶，為祥，為嘉，為福，為祿，為積善，為介福，為先，為始，為知，為大，為盈，為肥，為好，為施，為利，為清，為治，為高，為宗，為甲，為舊，為久，為古，為畏，為大明，為晝，為遠，為郊，為野，為門，為大謀，為道門，為百，為歲，為朱，為頂，為圭，為蓍。

Yu Fan's family tradition passed down the school of Meng Xi for five generations, and the extraordinary images he used in the Eight Trigrams were ten times more than those in the Nine Schools of the Book of Changes. Just for the trigram Qian, there were sixty-one such extraordinary images: king, god, person, sage, virtuous person, gentleman, good person, warrior, traveler, thing, respect, authority, solemnity, Dao, virtue, sincerity, goodness, kindness, anger, life, joy, auspicious signs, beauty, happiness, blessing, merit, accumulation of good deeds, great blessing, beginning, origin, wisdom, greatness, fullness, richness, beauty, giving, benefit, clarity, governance, height, chief, Jia, old, long, ancient, reverence, great brightness, daylight, far, near suburbs, wilderness, gate, great strategy, path of Dao, hundred, year, vermilion, head, jade bi, and yarrow stalks. These items either drew from the dignity of Qian, or its strength and vigor, or its brightness and longevity, all derived from the virtue of Qian. The Nine Schools only added four items, but Yu's family tradition was so rich, showing that Han scholars interpreted the Book of Changes always based on images.

坤象八十一：為妣，為民，為刑人，為小人，為鬼，為尸，為形，為自，為我，為躬，為身，為拇，為至，為安，為康，為富，為財，為積，為重，為厚，為基，為致，為用，為包，為寡，為徐，為營，為下，為裕，為虛，為書，為永，為邇，為近，為思，為默，為惡，為禮，為義，為事，為類，為閉，為密，為恥，為欲，為過，為丑，為惡，為怨，為害，為終，為喪，為死，為殺，為亂，為喪期，為積惡，為冥，為晦，為夜，為暑，為乙，為年，為十年，為盍，為戶，為闔戶，為庶政，為大業，為土，為田，為邑，為國，為邦，為大邦，為鬼方，為器，為缶，為輻，為虎，為黃牛。

The symbolic associations of the Trigram坤 (Kun) include eighty-one items: a deceased mother, common people, those who are punished, small people, ghosts, corpses, body, self, body, finger, arrival, safety, health, wealth, accumulation, weight, thickness, foundation, attracting, using, containing, fewness, slowness, managing, lower position, abundance, emptiness, documents, long, near, close, thinking, silence, dislike, propriety, righteousness, affairs, kind, closure, secrecy, shame, desire, mistake, ugliness, evil, resentment, harm, end, loss, death, killing, disorder, mourning period, accumulation of evil, darkness, obscurity, night, heat, the Heavenly Stem Yi, year, ten years, all, gate, closing the door, public affairs, great undertaking, earth, field, town, country, state, great state, the land of ghosts, vessel, earthenware jar, wheel spokes, tiger, yellow ox. This long list of associations either derives from the softness and humility of坤, or from its concealment and closure, or from its darkness and completion, or from the fact that坤 represents earth and thus extends to fields, towns, countries, and states. Although the names are numerous, they all fall within the scope of the virtues of坤.

震象四十九：為帝，為主，為諸侯，為人，為行人，為士，為兄，為夫，為元夫，為行，為徵，為出，為逐，為作，為興，為奔，為奔走，為驚衛，為百，為言，為講，為議，為問，為語，為告，為響，為音，為應，為交，為懲，為後，為世，為從，為守，為左，為生，為緩，為寛仁，為樂，為笑，為大笑，為陵，為祭，為鬯，為草莽，為百榖，為麋鹿，為筐，為趾。

The extraordinary images associated with the trigram Zhen (Thunder) total forty-nine: Emperor, ruler, princes, people, travelers, scholars, elder brother, husband, chief husband, movement, military campaigns, going out, pursuit, commencement, rising, running, rushing, startling and guarding, hundred, speech, discussion, deliberation, inquiry, speech, echo, sound, response, interaction, punishment, later, world, attendant, guarding, left, birth, mildness, leniency, joy, laughter, loud laughter, hills, worship, fragrant wine, wild grass, all grains, deer, bamboo basket, toe. These entries are generally derived from the three aspects of Zhen: thunder causes movement and is associated with going out, hence entries like movement, military campaigns, and rushing; thunder sounds from the mouth, hence entries like speech, sound, and laughter; and Zhen, being associated with spring, is linked to growth, hence entries like wild grass and all grains.

坎象四十七：為雲，為元云，為大川，為志，為謀，為惕，為疑，為恤，為逖，為悔，為涕洟，為疾，為災，為破，為罪，為悖，為欲，為淫，為獄，為暴，為毒，為虛，為瀆，為孚，為平，為則，為經，為法，為藂，為聚，為習，為美，為後，為入，為納，為臀，為腰，為膏，為陰夜，為歲，為三歲，為酒，為鬼，為校，為穿木，為弧，為弓彈。

The trigram Kan has 47 symbolic associations: clouds, great clouds, great rivers, mind, plans, vigilance, doubt, sorrow, compassion, distance, regret, tears, illness, calamity, ruin, guilt, disorder, desire, lust, imprisonment, violence, poison, emptiness, ditches, sincerity, fairness, standards, regularity, laws, clusters, gatherings, habits, beauty, later, entering, receiving, buttocks, waist, fat, darkness, years, three years, wine, ghosts, shackles, wooden beams, bows and arrows. Among these, "sorrow," "doubt," "illness," "calamity," and "imprisonment" relate to the dangerous nature of Kan. "Sincerity," "fairness," "rules," "regularity," and "laws" reflect the evenness of water. "Clouds," "great rivers," "wine," and "fat" represent the fundamental nature of water.

艮象三十七：為弟，為小子，為賢人，為童，為童僕，為官，為友，為道，為時，為小狐，為狼，為碩，為碩果，為慎，為順，為待，為執，為厚，為求，為篤實，為穴居，為城，為宮，為庭，為廬，為牖，為居，為舍，為宗廟，為社稷，為星，為斗，為沫，為肱，為背，為尾，為皮。

The 37 extraordinary images of Gen (Mountain) are: younger brother, young boy, virtuous person, child, child servant, official, friend, path, time, small fox, wolf, large size, large fruit, cautiousness, obedience, waiting, holding on, thickness, seeking, sincerity, cave-dweller, city, palace, courtyard, hut, window, dwelling, residence, ancestral temple, state altar, star, Big Dipper, foam, arm, back, tail, skin. Among these, younger brother, young boy, and child servant correspond to Gen as the Young Male; cautiousness, waiting, holding on, and sincerity correspond to Gen's stillness. City, palace, courtyard, hut, and ancestral temple correspond to Gen as gate and threshold, and as the image of a mountain that stops.

巽象二十：為命，為誥，為號，為隨，為處，為利，為商，為同，為歸，為交，為白茅，為草莽，為草木，為薪，為帛，為墉，為床，為桑，為虵，為魚。離象十九：為黃，為見，為飛，為明，為光，為甲，為孕，為戎，為刀，為斧，為資斧，為矢，為黃矢，為罔，為鸖，為鳥，為飛鳥，為甕，為瓶。兌象九：為友，為朋，為刑，為刑人，為小，為密，為見，為右，為少知。以上逸象共三百二十三，義備疏中，不復訓也。

The extraordinary images of Xun include twenty: command, decree, proclamation, following, dwelling, benefit, merchants, unity, return, meeting, white reed, grassland, grass and trees, firewood, silk, city walls, bed, mulberry tree, snake, and fish. The first half derives from Xun as wind, with wind spreading and commands following, while the second half comes from Xun as wood, as rope, and as entering. The extraordinary images of Li include nineteen: yellow, appearance, flying, brightness, light, armor, pregnancy, weapons, knife, axe, money, arrow, yellow arrow, net, crane, bird, flying bird, jar, and bottle. These mostly come from Li's brightness and its outer hardness and inner softness. The extraordinary images of Dui include nine: friend, companion, punishment, the punished, small, secret, seeing, right, and little knowledge. These mostly come from Dui as a young woman, as mouth and speech, and as breaking. In total, Yu Fan used three hundred and twenty-three extraordinary images. The meanings of each are fully explained in the previous commentary, so they are not explained again here.

《易·上經》曰：「乾，元亨利貞。」述曰：元，始也，乾初為道本，故曰元。六爻發揮，旁通於坤，故亨。利貞者，六爻皆正，成既濟定也。《彖傳》曰：「大哉乾元，萬物資始，乃統天。」述云：資，取；統，本也。大衍之數五十，其用四十有九，其一元也，故六十四卦萬一千五百二十筴皆取始於乾元。筴取始於乾，猶萬物之生本乎天。

The Zhou Changes (I Ching) Upper Classic, the Qian Hexagram, states: "Qian, Yuan, Heng, Li, Zhen." Hui Dong explains: "Yuan" means beginning. The first line of the Qian Hexagram is the fundamental principle of all things, hence it is called "Yuan." The six lines follow in sequence, interacting with the Kun Hexagram, thus achieving "Heng." The term "Li Zhen" refers to each of the six lines returning to their proper positions, forming the completed state of the Ji Ji Hexagram. The Qian Hexagram's Commentary on the Judgment says: "How great is the Yuan of Qian! All things rely on it for their beginning, and it governs the entire heavenly way." Hui Dong explains: "Zi" means to take, and "tong" means fundamental. The great derivation number is fifty, but only forty-nine are actually used, with the extra one being "Yuan." Therefore, the total of 11,520 strategies across the sixty-four hexagrams all originate from the beginning of Qian Yuan. The divination rods begin with Qian, just as the growth of all things begins with heaven.

又曰：「至哉坤元，萬物資生，乃順承天。」述云：乾坤相併俱生，合於一元，故萬一千五百二十筴皆受始於乾，由坤而生也。天地既分，陽升陰降，坤為順，故順承天。

The Commentary on the Judgment of the Hexagram of Earth says: "The beginning of the Earthly Principle is ultimate; all things depend on it for their birth and sustenance, and it follows in obedience to uphold the Heaven." Hui Dong explains that the Trigrams of Heaven and Earth arise together and are unified under the principle of "origin" (yuan). Therefore, the total of 11,520 lines begins with Heaven and is then generated by Earth. After the division of Heaven and Earth, the yang energy rises and the yin energy descends. The virtue of Earth is to be obedient, hence it is said to follow and uphold Heaven.

《文言》曰：「元者善之長也。」述云：始息於子，故曰善之長。外傳曰：「震雷長也，故曰元。」《尚書·召誥》曰：「其維王位在德元。」

The Wenyan of the Qian Hexagram says: "Yuan is the first of all good qualities." Hui Dong explains that yang energy begins to grow from the Zi month, so it is called "the leader of good qualities." The Guoyu says: Zhen represents thunder, and thunder is the leader of all things, hence it is called "Yuan." The Shangshu Zhao-gao says: "Only the king holds the first position in virtue."

《公羊》：「元年春王正月。」「元年者何？君之始年也。」何休注云：「變一為元。元者氣也，無形以起，有形以分，造起天地，天地之始也。」疏云：《春秋說》云：「元者，端也，氣泉。」注云：「元為氣之始，如水之有泉。泉，流之原。無形以起，有形以分，窺之不見，聽之不聞。」宋氏云：「無形以起，在天成象；有形以分，在地成形也。」疏又云：《春秋說》云：「王不上奉天文以立號則道術無原，故先陳春後言王；天不深正其元則不能成其化，故先起元然後陳春矣。是以推元在春上，春在王上矣。」《文選》注引《元命苞》曰：「元年者何？元宜為一，謂之元何？曰君之始年也。」

The Spring and Autumn Annals: Gongyang Commentary states that the classic text says "In the first year of spring, the king's month is correct." The commentary asks, "What is the first year?" and answers, "It is the first year of the king's enthronement." He Xiu's annotation says: the character "one" is changed to "yuan"; yuan is qi, which is formless yet gives rise to all things, and when things take form, it distinguishes them, creating heaven and earth, and is the beginning of heaven and earth. Xu Yan's commentary says: The Spring and Autumn Doctrine explains that "yuan is the beginning and the source of qi." Its annotation says: yuan is the beginning of qi, like water having a spring source; the spring is the source of the water flow. It arises without form, and distinguishes things once they take form. It cannot be seen, nor can it be heard. Song Jun says: "Arising without form" becomes the celestial phenomena in the heavens, and "distinguishing with form" becomes the physical forms on the earth. The commentary also says: The Spring and Autumn Doctrine explains that if the king does not follow the heavenly phenomena to establish a title, the way of governance will have no origin. Therefore, the classic text first writes "spring" and then "king"; if heaven does not properly establish its yuan, it cannot achieve the transformation and nurturing of things. Therefore, it first mentions "yuan" and then "spring." Thus, the order is yuan above spring, and spring above king. The annotation in Wen Xuan cites the Spring and Autumn Yuan Ming Bao, saying: "What is the first year? Yuan should originally be written as 'one,' so why is it called yuan? Answer: It is the first year of the king's enthronement."

「公何以不言即位？」何休注云：「即位者，一國之始，政莫大於正始，故《春秋》以元之氣正天之端，《春秋》以下皆《元命苞》文。以天之端正王之政，以王之政正諸侯之即位，以諸侯之即位正竟內之治。諸侯不上奉王之政則不得即位，故先言正月而後言即位。政不由王出則不得為政，故先言王而後言正月也。王者不承天以制號令則無法，故先言春而後言王。天不深正其元則不能成其化，故先言元而後言春。五者同日並見，相須成體，乃天人之大本，萬物之所繫，不可不察也。」疏云：元年春者天之本，王正月公即位者人之本，故曰天人之大本也。

The Gu Yang Zhuan asks: "Why is the word 'ascend the throne' not written for Yin Gong?" He Xiushou's commentary says: Ascending the throne marks the beginning of a state, and there is no greater matter in governance than establishing a proper beginning. Therefore, the Spring and Autumn Annals use the vital energy of the primordial to correct the heavenly order, as stated in the original text of the Spring and Autumn Yuan Meng Bao. Then it uses the heavenly order to correct the king's decrees, the king's decrees to correct the诸侯' ascensions, and the诸侯' ascensions to correct the governance within the state. The诸侯 cannot ascend the throne without following the king's decrees, so the classic first writes "first month" and then "ascend the throne"; decrees not issued by the king cannot be considered decrees, so it first writes "king" and then "first month"; the king, without following the heavenly will to issue decrees, has no law, so it first writes "spring" and then "king"; heaven, without establishing its primordial essence deeply, cannot accomplish its nurturing, so it first writes "primordial" and then "spring." These five elements appear together in one passage, relying on each other to form a whole, which is the great fundamental of heaven and humanity, the place where all things depend. Xu Yan's commentary says: "The first year, spring" is the fundamental of heaven, and "the king's first month, the duke's ascension" is the fundamental of humanity, hence it is called the great fundamental of heaven and humanity.

《呂氏春秋·名類》曰：黃帝曰：「芒芒昧昧，因天之威，一作道。與元同氣。」芒芒昧昧，廣大之貌。天之威，無不敬也。非同氣不協，故曰「同氣賢於同義，同義賢於同力，同力賢於同居，同居賢於同名」。帝者同氣，同元氣也；王者同義，同仁義也；霸者同力，同武力也；勤者同居則薄矣，同居於世；亡者同名，同名則觕矣，同名不仁不義。觕，惡也。「其智彌觕者其所同彌觕，其智彌精者其所同彌精。」精，微妙也。「故凡用意不可不精。夫精，五帝三王之所以成也。」

The *Lüshi Chunqiu* *Minglei* records the Yellow Emperor's words: "Vast and remote, relying on the power of Heaven, sharing the same breath as the primordial energy." ("Power" is sometimes read as "Dao.") "Mangmang meimei" describes boundless vastness; "the power of Heaven" refers to reverence for Heaven. Without the same breath, there can be no harmony, so it is said that sharing the same breath surpasses sharing the same meaning, sharing the same meaning surpasses sharing the same strength, sharing the same strength surpasses sharing the same dwelling, and sharing the same dwelling surpasses sharing the same name. The level of the Emperor is sharing the same breath, meaning the same as the primordial energy; the level of the King is sharing the same meaning, meaning the same as benevolence and righteousness; the level of the Hegemon is sharing the same strength, meaning the same as military power; a ruler who only shares the same dwelling for a single generation is shallow; a fallen kingdom ruler only shares the same name, which is crude. "Cuo" means coarse and evil. The original text continues: the more crude the wisdom, the coarser the shared quality; the more refined the wisdom, the more refined the shared quality. "Jing" means subtle. Therefore, all efforts must not be crude; this "jing" is the key to the success of the Five Emperors and Three Kings.

又《名類》曰：「元者吉之始也。」案：此與「幾者動之微，吉之先見者也」同義。《易通卦驗》曰：「天皇之先與乾曜合元。」

The "Lüshi Chunqiu · Minglei" also says: "The beginning is the start of auspiciousness." Hui Dong comments: This is the same as what the "Great Treatise" says, "The initial movement is the subtle beginning of action, and is the sign of auspiciousness appearing first." The "Yi Wei Tong Gua Xian" says: In the era before the Heavenly Emperor, the time period coincided with the day of the sun, which corresponds to the Qian hexagram's governing day.

《莊子·大宗師》曰：「伏戲得之，以襲氣母。」司馬彪云：「襲，入也。氣母，元氣之母也。」崔譔云：「取元氣之本。」《通典》：魏侍中繆襲議曰：「元者一也，首也，氣之初也。是以周文演《易》以冠四德，仲尼作《春秋》以統三正。」

The Zhuangzi · Da Zong Shi says: "Fu Xi attained the Dao and used it to enter the source of primordial qi." Sima Biao's commentary says: "Xí" means entering, and "qi mu" refers to the origin of primordial qi. Cui Zuan's commentary says: this refers to taking the fundamental of primordial qi. The Tong Dian records the memorial submitted by Miao Xi, a court attendant of the Wei state, saying: "Yuan" is one, is the beginning, is the initial stage of qi; therefore King Wen of the Zhou dynasty compiled the Zhou Yi, placing "yuan" first among the four virtues of yuan, heng, li, and zhen; Confucius composed the Spring and Autumn Annals, using "yuan" to encompass the correct principles of the Xia, Shang, and Zhou dynasties.

《春秋命曆序》曰：「元氣正則天地八卦孳也。」《文選》注一。《元命包》曰：「水者五行始焉，元氣之所湊液也。」同上。《說題辭》曰：「元清氣以為天，渾沌無形體。」宋均注云：「言元氣之初如此也，渾沌未分也。」言氣在《易》為元，在《老》為道，義不殊也。《文選》注卅四。

The "Chunqiu Mingli Xu" says: When the primordial qi is upright and orderly, heaven and earth and the eight trigrams arise accordingly (see "Wenxuan" annotation, volume one). The "Chunqiu Yuanming Bao" says: Water is the beginning of the five phases, a liquid formed by the condensation of primordial qi (same source). The "Chunqiu Shetici" says: The clear part of primordial qi rises to form heaven, while the chaotic part remains formless. Song Jun's annotation says: This describes the initial state of primordial qi, when chaos had not yet been differentiated. Clearly, all these texts are talking about "qi," which is called "yuan" in the "Zhouyi" and "dao" in the "Laozi," with no difference in meaning (see "Wenxuan" annotation, volume thirty-four).

《說文》「無」字下云：「奇字無通於元者。」案：奇字，衛宏所撰古文奇字也。《老子·道經》曰：「道可道，非常道。」河上公注云：「夫道者，一元之至理。有經術政教之道，有自然長生之道。常道當以無為養神，無事安民，含光藏曜，滅跡匿端，不可稱道。」

The "Sayu Xiezi" (Shuo Wen Jie Zi) says under the character "wu" (nothing): the "wu" written in the ancient script is equivalent to "yuan" (origin). Hui Dong comments: the so-called "qi zi" (strange characters) refers to the ancient script "qi zi" compiled by Wei Hong. The "Dao Jing" (Classic of the Way and Virtue) says: "The Way that can be spoken of is not the eternal Way." He Shanggong's commentary says: the so-called "Dao" is the highest principle of the origin; in the world there is the "Dao" referring to the doctrines of classics, politics and religion, and also the "Dao" referring to the natural growth and longevity. The constant Dao should cultivate the spirit by means of "wu wei" (non-action) and stabilize the people by means of "wu shi" (non-interference). It should conceal brilliance, hide radiance, eliminate traces, and conceal the beginning. It is something that cannot be expressed in words.

董子《繁露》曰：「惟聖人能屬萬物於一而繫之元也，故不及本所從來而承之，不能遂其功。是以《春秋》變一謂之元。元猶原也，其義以隨天地終始也。」《繫上》曰：「原始反終。」「故人惟有終始也，而生死必應四時之變。原始反終，故知死生之說。」說，舍也。「故元者為萬物之本而人之元在焉。」

Dong Zhongshu in "Chunqiu Fanlu" says: Only the sage can unify all things under "one" and associate it with "yuan." Therefore, without tracing back to the original source of things to accept them, one cannot achieve their function; thus, the "Chunqiu" changes the "one" of "a year" into "yuan." "Yuan" is like "yuan" (origin), taking the meaning of following the beginning and end of heaven and earth. Hui Dong here cites the phrase "yuan ci fan zhong" from "Xici Shang" as confirmation. "Fanlu" continues to say: Therefore, if a person has both beginning and end, death and life must certainly correspond with the changes of the four seasons; by tracing back to the origin and returning to the end, one understands the principle of life and death. "Shuo" here means "she." "Fanlu" also says: Therefore, "yuan" is the root of all things, and the "yuan" of a person is also included within it.

《禮統》曰：「天地者，元氣之所生，萬物之祖。」後漢書班固傳注及莊子釋文。元即太極，太極生兩儀，故云天地者元氣之所生。《三統曆》曰：「太極元氣，函三為一。」極，中也；元，始也。又曰：「陰陽合德，氣鍾於子，化生萬物者也。」又曰：「元典曆始曰元。」傳曰：「元，善之長也。」「共養三德為善。」孟康注云：「謂三統之微氣也，當施育萬物，故謂之德。」又曰：「元，體之長也，合三體而為之原，故曰元。於春三月，每月書王，元之三統也。三統合於一元，故因元而九，三之以為法。」又曰：「經元一以統始，易太極之首也。」

The Li Tong says: Heaven and Earth are generated by the original qi, and they are the ancestors of all things (see the annotations to the Ban Gu biography in the Hou Han Shu and the Xiang Zi Shi Wen). Hui Dong comments: Yuan is the Taiji, and the Taiji produces the two principles, so Heaven and Earth are generated by the original qi. The San Tong Li recorded in the Han Shu's Lu Li Zhi says: "The Taiji original qi includes three and becomes one." "Ji" means the center, and "Yuan" means the beginning. It also says that the union of the virtues of yin and yang causes the qi to condense at the Zi position, thus generating all things. It also says that the Yuan Dian Li takes "Yuan" as the beginning. The transmitted text says: Yuan is the beginning of all good things; the common cultivation of the three virtues is called good. Meng Kang's annotation says: This refers to the subtle qi of the three unifications, which should be used to nurture all things, so it is called virtue. It also says: Yuan is the beginning of the form, combining the three forms as their origin, so it is called Yuan. In one year, the three months of spring each have the character "Wang" written, which is the three unifications governed by Yuan. The three unifications are combined into one Yuan, so according to Yuan, the number nine is used, and then multiplied by three to form the method of calculation. It also says: Holding Yuan and one to govern the beginning, this is exactly the meaning of the Zhou Yi taking Taiji as the beginning of all things.

何休《公羊》成八年注云：「王者，號也。德合元者稱皇。」孔子曰：「皇象元，逍遙術，無文字，德明諡。」「德合天者稱帝，河洛受瑞可放。仁義合者稱王，符瑞應，天下歸往。」疏云：謂元氣是總三氣之名，三氣謂天地人。《三統曆》曰：「太極，元氣，函三為一。」三氣謂酉戌亥。是故其德與之相合者謂之皇。皇者，美大之名。「孔子曰」至「明諡」，皆《春秋說》文。

He Xiu's commentary on the eighth year of Duke Gong in the "Gongyang Zhuan" says: "Wang" is a title. Those whose virtue harmonizes with the original principle are called "Huang." Confucius said: "Huang" takes its image from the original principle; its way is to act freely and spontaneously, without the teaching of written words. When virtue is evident, it is used as a posthumous title. Those whose virtue harmonizes with heaven are called "Di." The Yellow River Chart and the Luo Writing descend as auspicious signs, and one can follow them. Those who harmonize with benevolence and righteousness are called "Wang," with signs responding in harmony and the world submitting. Xu Yan's "Shu" says: the term "original qi" is a general term for the three qi, which refer to heaven, earth, and humanity. The "San Tong Li" says, "The Taiji original qi includes the three and unifies them into one," and these three qi are also associated with You, Xu, and Hai. Therefore, those whose virtue harmonizes with the original qi are called "Huang," and "Huang" is a title of great virtue. The passage from "Confucius said" to "establish a posthumous title" are the original words from the "Chunqiu Shuo."

宋氏云：宋均注。言皇之德象合元矣。逍遙猶勤動行其德術，未有文字之教，其德盛明者為其諡矣。天者，二儀分散以後之稱，子仲，故其德與之相合者謂之帝。帝者，諦也，言審諦如天矣。當爾之時，河出圖，洛出書，可以受而行之，則施於天下，故曰「河洛受瑞可放」耳。二儀既分，人乃生焉。人之行也，正直為本，正直即中行。行合於仁義者謂之王，行合人道者，符瑞應之而為天下所歸往耳。是以王字通於三才，得為歸往之義。

Song Jiun's commentary says: This refers to the virtue of the Son of Heaven taking its image from the origin, and harmonizing with the origin. The term 'xiao yao' means acting diligently and tirelessly to promote his virtue and skill. At that time there were no written teachings, and those who had outstanding virtue used it as a posthumous title. The term 'tian' refers to the designation after the separation of the two principles of heaven and earth (the text here may have a missing character, possibly 'zi zhong'). Therefore, those whose virtue harmonizes with heaven are called 'di'. 'Di' is the same as 'di', meaning he examines and understands things clearly as heaven does. At that time, the Yellow River produced a map and the Luo River produced a book, which could be received and practiced, and applied throughout the world, hence it is said 'the river and Luo received omens and could be put into practice'. After the two principles had been separated, human beings appeared. Human conduct is based on uprightness, and uprightness is the middle path. Conduct in accordance with benevolence and righteousness is called 'wang'. Conduct in accordance with the way of humanity brings about auspicious signs, and the whole world will follow him. Therefore, the character 'wang' encompasses the three elements of heaven, earth, and humanity, thus having the meaning of 'returning to and following'.

《白虎通》曰：「皇，君也，美也，大也，天之總美大稱也。時質故總之也。號之為皇者煌煌，人莫違也。煩一夫、擾一士以勞天下，不為皇也；不擾匹夫匹婦，故為皇。虛無寥廓，與天地通靈也。」

The Baihu Tong says: "Huang" means ruler, beauty, and greatness. It is a general term for all the various beautiful and great virtues of Heaven. In the ancient times, the customs were simple and the people's nature was straightforward, so they used a general term to refer to it. Calling him "Huang" is to take the meaning of brilliant brightness, such that no one dares to defy it. If one troubles a common person or disturbs a scholar and causes the whole world to suffer, then one would not deserve the title of "Huang"; precisely because he does not disturb any ordinary couple, he is worthy of being called "Huang." He is empty and tranquil, and communicates with the spiritual energy of heaven and earth.

又曰：「德合天地者稱帝，仁義合者稱王，別優劣也。」《禮記諡法》曰：「德象天地稱帝，仁義所生稱王。」帝者天號，王者五行之稱也。《淮南·泰族》曰：黃帝曰：「芒芒昧昧，因天之威，與元同氣。」故「同氣者帝，同義者王，同力者霸，無一焉者亡」。

The White Tiger Classic also says: those who harmonize with heaven and earth are called "Emperor," and those who harmonize with benevolence and righteousness are called "King," this is to distinguish between high and low. The Rites Classic records the rules of posthumous titles, saying: those whose virtue is modeled after heaven and earth are called "Emperor," and those whose virtue arises from benevolence and righteousness are called "King." "Emperor" is the title of heaven, and "King" is the term for the movement of the Five Phases. The Huainanzi · Tai Zhu Xun cites the words of the Yellow Emperor: "Vast and remote, relying on the power of heaven, sharing the same breath as the original qi." Therefore, those who share the same qi as the original qi become Emperor, those who share the same virtue as benevolence and righteousness become King, and those who share the same as force become Hegemon. Those who lack all three will perish.

《易乾鑿度》曰：「易一元以為元紀。」鄭注云：「天地之元，萬物所紀。」《河圖》曰：「元氣闓陽為天。」《後漢·方術傳》序云：「其流又有風角、遁甲、七政、元氣。」注：元氣謂開闢陰陽之書也。

The "Yi Wei Qian Zao Du" says: The "Yi" takes the one yuan as the framework for all phenomena. Zheng Xuan's commentary says: The yuan of heaven and earth is precisely the framework followed by all things. The "He Tu" says: The original qi initiates the yang qi to become heaven. The "Hou Han Shu · Fang Shu Zhuan" preface says: The higher class of divination includes wind angle, Dun Jia, seven stars, and yuan qi among other branches. Li Xian's commentary says: What is called yuan qi refers to the book about the creation of heaven and earth and the transformation of yin and yang.