Observe the Hexagram: The Fourth Generation Hexagram of the Qian Trigram, the Eight Month Hexagram of the Cycle of Change

觀盥而不觀薦。注：觀，反臨也。以五陽觀示坤民，故稱觀。盥，沃盥；薦，羞牲也。坎為水，坤為器，艮手臨坤，坎水沃之，盥之象也，故觀盥而不觀薦。馬氏謂盥者，進爵灌地以降神也。祭祀之盛莫過於初盥，及神降薦牲，其禮簡略，不足觀也。故孔子曰：禘自既灌而往者，吾不欲觀之矣。有孚顒若。注：孚信謂五。顒顒，君德有威；容貌若順也。

The hexagram "Guan" (Observation) focuses on the washing and offering of wine but does not observe the presentation of sacrificial animals. Hui Dong's commentary states: "Guan" is the reversed hexagram of "Lin." With the yang virtue of the fifth line revealing a model for the people below, represented by the earth, it is called "Observation." "Guàn" refers to the ritual of washing hands and pouring wine on the ground to invite the spirits, while "jiàn" refers to presenting the sacrificial animals. Kan represents water, Kun represents the vessel, and Gen represents the hand resting on Kun. Using Kan water to wash and pour is the image of "guàn," hence it is said "observe the washing but not the presentation." Ma Rong believed that "guàn" refers to pouring wine into the ground to invite the spirits. The grandeur of the sacrificial rites does not surpass the initial washing and pouring. Once the spirits have descended, the presentation of animals becomes simpler and is not worth observing. Therefore, Confucius said: After the pouring of wine in the禘 ritual, I do not wish to observe further. The text says: With sincere faith and respectful admiration. Commentary: "Fú xìn" refers to the nine in the fifth line; "yóng yóng" describes the majesty of the king's virtue, while "ruò" indicates a gentle appearance.

疏：「觀反」至「之矣」○此虞馬義也。雜卦曰：否泰反其類也。卦有反類，故復彖傳曰：剛反動。虞彼注云：剛從艮入，坤從反震。是艮為反震也。觀六二窺觀利女貞，虞注云：臨兌為女，兌女反成巽。是兌為反巽也。又虞註明夷曰反也，注益曰反損也，注漸曰反歸妹也。一說復亨剛反，復為反剝，與此經觀反臨皆卦之反也。

Hui Dong's commentary discusses the concept of reversal from "guan fan" to "zhi yi", incorporating both Yu Fan's and Ma Rong's interpretations. The "Zagua Commentary" states "pí tài fǎn qí lèi yě", indicating that hexagrams have reciprocal relationships of the same type. Therefore, the "Tu" Commentary of the "Fu" hexagram says "gāng fǎn dòng", and Yu Fan's annotation explains that the yang line moves from Gen to Kun, with Kun being transformed from Zhen, which is Gen reversing Zhen. In the "Guan" hexagram, line six two says "kuī guān, lì nǚ zhēn", and Yu Fan's annotation states that the "Lin" hexagram's Dui represents female, and when Dui reverses, it becomes Xun, which is Dui reversing Xun. Yu Fan also annotates "Mingyi" as reversing "Jin" (the original text lacks the character "Jin"), and "Yi" as reversing "Sun", and "Jian" as reversing "Gui Mei". Another interpretation says that the "Fu" hexagram "hēng, gāng fǎn" indicates that "Fu" reverses "Bo". These along with the original text's "Guan" reversing "Lin" all belong to the concept of hexagram reversal.

若荀氏之義，其注繫上鼓之舞之以盡神云：鼓者，動也；舞者，行也。謂三百八十四爻動行相反，其卦所以盡易之蘊。此謂六十四卦動行相反，乃乾坤屯蒙之類，非僅反類之謂。又否泰之反類則兼旁通，唯觀反臨，明夷反，益反損，漸反歸妺，復反剝，艮反震，兌反巽乃反卦，非旁通也。又虞註上繋同人九五爻辭云：同人反師。又以旁通為反卦，所未詳也。

As for Xun Shuang's view, when he commented on the passage "drumming and dancing to exhaust the divine" in the "Transmission of the Commentary on the Hexagrams," he said that "drumming" represents motion and "dancing" represents action. This means that the movement and action of the 384 lines are opposite to each other, and thus each hexagram can fully reveal the profound meaning of the Book of Changes. This refers to the opposite movement and action of the sixty-four hexagrams, indicating pairs of hexagrams such as Qian and Kun, Tun and Meng, which are not merely repetitions of the same type. Moreover, the opposites of "Po" and "Tai" also have a relationship of mutual communication; only "Guan" is opposite to "Lin," "Mingyi" to "Jin" (the character "Jin" is missing in the original text), "Yi" to "Sun," "Jian" to "Gui Mei," "Fu" to "Po," Gen to Zhen, and Dui to Xun are purely opposite hexagrams, not mutual communication. Additionally, Yu Fan, in commenting on the "Nine in the Fifth" line of the "Hexagram of Tongren," cited the line statement as "Tongren is opposite to Shī," which treats mutual communication as the opposite hexagram, and this point remains unclear.

彖傳曰：中正以觀天下。中正謂五，坤為民，故以五陽觀示坤民名為觀也。鄭氏謂艮為鬼門，又為宮闕，地上有木而為鬼門宮闕者，天子宗廟之象。此取觀象而言。釋宮曰：觀謂之闕。虞義或當然也。

The Commentary on the Judgment of the hexagram Observing says, "Observing by the central and correct," where "central and correct" refers to the Nine in the Fifth. The hexagram K'un represents the people, so the Yang virtue of the fifth line is used to display a model for the people, hence the name Observing. Zheng Xuan believed that Ken represents the gate of ghosts and the palace; when there is wood on the ground forming the gate and palace, it is the image of the Son of Heaven's ancestral temple. This is taking the image from the terrace and pavilion of the ancestral temple. The Er Ya says: the terrace and pavilion beside the gate are called "que." Yu Fan took the meaning of terrace and pavilion, and perhaps this should be understood in the same way.

祭統曰：獻之屬莫重於祼。字亦作灌，義取於坤地之觀。周禮鬱人掌祼器，凡祼事沃盥，故云盥，沃盥。郊特牲曰：既灌然後迎牲，迎牲而後獻薦。是薦在灌後，故云薦，羞牲也。上之三，五體坎，故坎為水。形而下謂之器，故坤為器，謂沃盥器也。以艮於臨坤器而以坎水沃之，故云盥之象也。

The Li Ji · Ji Tong says: there is no more solemn ritual of offering than the "guan" ceremony. The character "guan" is also written as "guan," deriving its meaning from the observation of the earth (Kun) receiving the flow of water. In the Zhou Li, the Yu Ren is in charge of the vessels used in the "guan" ritual. When performing the "guan" ritual, one must first wash one's hands, so the commentary says "guan" means to wash and offer. The Jiao Te Sheng says: first perform the "guan" ritual, then welcome the sacrificial animal; only after welcoming the animal is the offering of the animal presented. This shows that the offering comes after the "guan" ritual, so the commentary says "jian" refers to the offering of the animal. When the top line descends to the third line, the fifth line forms the body of the Kan hexagram, so Kan represents water. The concrete vessel used in the ritual is called "qi," so Kun represents the vessel, referring to the vessel used for washing. Using the mountain (Gen) hand to oversee the Kun vessel and pouring Kan water over it, this is the image of the washing and offering ritual. (Note: the original text seems to be missing the character "shou" in the phrase "with the mountain hand overseeing the Kun vessel.")

鬱人祼事沃盥，故盥與灌通。觀灌而不觀薦，乃禘禮配天之祭。故馬氏謂盥者進爵灌地以降神也。配天之禘灌禮最盛，古文作祼。周監二代而制禮，大宗伯以肆獻祼享先王，典瑞祼圭有瓚以肆先王，以祼賓客，則祼一事有三節：肆者，實而陳之；祼者，將而行之；獻者，奉而進之。實以彝祼之陳，將以瓚祼之行，獻以爵祼之成，故曰肆祼獻祭。

The person in charge of the naked sacrifice, the Gu, is responsible for performing the washing ceremony, so "guan" and "guan" are considered the same. Observing the pouring of wine but not the offering of food refers to the禘 ritual, which is a sacrifice to Heaven. Therefore, Ma Rong said that "guan" means pouring wine from the sacrificial vessel onto the ground to summon the spirits. In the禘 sacrifice, which is offered to Heaven, the pouring ceremony is the most elaborate. The ancient text writes this as "guan." The Zhou dynasty combined the practices of the Xia and Shang dynasties in establishing rituals: The "Zhou Li · Da Zong Bo" states, "Using the offering of wine and the naked sacrifice to honor the former kings," and the "Dian Rui" mentions that the jade zhan is paired with the guan gui, used to present offerings to the former kings and also to perform the naked sacrifice for guests. This shows that the naked sacrifice involves three stages: "Si" refers to setting out the sacrificial animals fully, "guan" refers to carrying out the ceremony with the vessel, and "xian" refers to presenting the wine vessel. The ritual vessel is used for the setting out of the naked sacrifice, the jade zhan is used for the performance of the naked sacrifice, and the wine vessel is used for the final stage of the naked sacrifice. Therefore, it is said "Si guan xian jia."

天無灌而禘有灌者，宣三年公羊傳說配天之義云：王者曷為必以其祖配。自內出者無匹不行，自外至者無主不止。自內出者無匹不行，南郊配天也；自外至者無主不止，明堂配天也。明堂之配天帝，異饌亦異其禮，故天無灌而祖有灌。以灌禮降神，推人道以接天，所謂自外至者無主不止，故云祭祀之盛，莫過於初盥也。

The ritual of sacrificing to Heaven does not include the rite of pouring wine, whereas the禘 sacrifice does include it. In the explanation of the meaning of "coexisting with Heaven" in the "Gongyang Zhuan" for the third year of Duke Xuan, it says: Why must a king use his own ancestors to accompany Heaven? Because what comes from within cannot proceed without a partner; what comes from outside cannot stay without a master. "What comes from within without a partner cannot proceed" refers to the southern altar where Heaven is paired with the earth; "what comes from outside without a master cannot stay" refers to the Bright Hall where Heaven is paired with the human realm. The Bright Hall sacrifices to the Heavenly Emperor with different offerings and different rites, hence the sacrifice to Heaven does not include the pouring rite, while the ancestral sacrifice does. Using the pouring rite to summon spirits is a way of guiding Heaven through human affairs, which aligns with the principle "what comes from outside without a master cannot stay." Therefore, the grandeur of the sacrificial rites has no equal to the initial washing ceremony.

禘行於春夏，物未成孰，薦禮獨略，故云神降薦牲，其禮簡略，不足觀也。引孔子語者，論語文。穀梁傳曰：常視曰視，非常曰觀。灌禮非常，薦為常禮，故曰觀盥而不觀薦。吾不欲觀，非不欲觀也，所以明灌禮之特盛，與此經觀盥而不觀薦同義，故虞氏王弼亦皆引以為證。孔安國謂魯禘亂昭穆，聖人不欲觀，失其義矣。

The禘 sacrifice is held in the middle of spring and summer, when all things have not yet matured, and the rites of offering are particularly simple. Therefore, the commentary says that when the spirits descend and the sacrificial animals are presented, the rites are simple and not worth watching. The quotation from Confucius cited in the commentary comes from the Analects. The Guliang Commentary states that ordinary observation is called "shi" (viewing), while extraordinary events are called "guan" (witnessing). The rite of pouring wine is an extraordinary rite, while offering the sacrificial animal is a regular rite. Therefore, it says "one witnesses the pouring but does not witness the offering." Confucius says "I do not wish to watch," which is not really his unwillingness to watch, but rather a way of indicating that the rite of pouring wine is especially grand, sharing the same meaning as the text's "witnessing the pouring but not the offering." Therefore, Yu Fan and Wang Bi both cite it as evidence. Kong Anguo says this is because the state of Lu had disorder in the sequence of the ancestral line, and the sage did not wish to watch, which would lose the original meaning.

○「孚信」至「順也」○此虞義也。坎為孚，故孚信謂五。虞彖注引詩云：顒顒卬卬，如珪如璋。珪璋，祼玉。君祼以圭瓚，亞祼以璋瓚。顒顒，溫貌；卬卬，盛貌，祼之儀也。鬱人詔之，故謂君德有威，容貌若順也。釋詁文，謂觀君子之德容而順其化也。

The explanation from "Fa Xin" to "Shun Ye" uses Yu Fan's interpretation. Kan represents faithfulness, so "Fa Xin" refers to the Nine in the Fifth. Yu Fan's Commentary on the Judgment cites the Book of Poetry, saying "Yong Yong Ang Ang, Ru Gui Ru Zhang"—Gui and Zhang are jade used in the ritual of Gua, where the king uses the Gui Zhan for the main offering and the second offering is made with the Zhang Zhan. "Yong Yong" describes a gentle appearance, and "Ang Ang" describes grandeur, both referring to the demeanor during the Gua ritual. Yu Ren, standing by, announces the ritual procedures, hence the king's virtue is majestic, and his appearance is gentle. "Ruo" is interpreted as "shun," from the Er Ya · Xi Gu, meaning that the common people observe the virtue and appearance of the gentleman and follow his teachings.

馬氏云：孚，信也；顒，敬也。以下觀上，見其至盛之禮，萬民信敬，故有孚顒若。馬以孚信顒敬為萬民信敬，即下觀而化之事。虞以孚與顒顒屬君，若屬民，與馬異也。

Ma Rong said: "Fu" means trust, and "Yong" means respect. The lower position looks up to the upper position, seeing the most exalted rites, so the people thus become trustworthy and respectful, hence it is said "there is trust and respect as if towards the heavens." Ma Rong attributes both "Fu" (trust) and "Yong" (respect) to the people, which is exactly what the Commentary on the Judgment refers to as the people observing and being transformed by the superior. Yu Fan, on the other hand, assigns "Fu" and "Yong" to the ruler, and only assigns "ruo" to the people, which differs from Ma Rong's interpretation.

初六童觀小人無咎君子吝。注：艮為童，以小觀上，故童觀。初位賤，又陰爻，故小人無咎，君子則吝矣。馬氏以為童，獨也。六二窺觀利女貞。注：竊觀稱窺。二離爻，離為目，為中女。互體艮，艮為宮室，坤為闔戶，女目近戶，窺觀之象。二陰得正應五，故利女貞，利不淫視也。

The first line, "Initial Six," is like a child's shallow observation. The petty person has no fault, but the gentleman incurs shame and regret. Hui Dong's commentary says: "Gen represents a child. Observing those above with a humble and small body is called 'child observation.' The first line is in a low position and is a yin line, so the petty person has no blame, but the gentleman incurs shame and regret." Ma Rong, however, thought "child" meant "alone." The second line, "Six in the Second," is like peeking through a door crack, which benefits a woman to maintain proper virtue. The commentary says: "Peeping is called 'kui.'" The second line is the Li line, which represents the eye and the middle daughter; the interacting lines form Gen, which represents a dwelling, and Kun represents a closed door. A woman's eye close to the door is the image of peeping. The second line is a yin line in a yin position and is correct, and it corresponds with the fifth line, so "benefits the woman to maintain proper virtue," meaning it is beneficial for her not to look sideways.

六三觀我生進退。注：我謂五。臨震為生，巽為進退。觀於五，故進；下於四，故退。象曰：未失道也。六四觀國之光利用賓于王。注：坤為國。上之三體離，離為光，故觀國之光。王謂五，四陽稱賓，變坤承五，坤為用，為臣，故利用賓于王。

The third line says: Observe the way of my birth and nurture to determine advancement or retreat. Hui Dong's commentary says: "I" refers to the nine in the fifth line. The trigram Zhen (Thunder) is present in the reversed trigram Lin (Approach), which represents birth; Xun (Wind) represents advancement and retreat. Looking upward to the nine in the fifth line is advancement; retreating to below the fourth line is retreat. The Image Commentary says: This does not lose the proper path. The fourth line says: Observe the brilliance of the state, which is favorable for serving as a guest to the king. Commentary: The trigram Kun (Earth) represents the state; the top line descending to the third line forms the trigram Li (Fire), which represents light, hence "observing the state's brilliance." "King" refers to the nine in the fifth line; the fourth line is originally a yang line, so it is called "guest"; it transforms into Kun and serves the nine in the fifth line, with Kun representing use and minister, hence "favorable for serving as a guest to the king."

九五觀我生君子無咎。注：大觀在上，為群陰所觀，故觀我生。五正位處中，故君子無咎。上九觀其生君子無咎。注：應在三，三體臨震，故觀其生。君子謂三，之三得正，故無咎。

The text says: Nine in the Fifth, observing my way of nurturing, the gentleman has no fault. Hui Dong's commentary: A great virtuous ruler is above and presents an admirable appearance, being looked up to by all the yin lines. Therefore, it is said 'observe my birth.' Nine in the Fifth occupies the correct position and is in the center, so the gentleman has no fault. The text says: Nine at the Top, observing his way of nurturing, the gentleman has no fault. Commentary: Nine at the Top corresponds below with Six in the Third. Six in the Third is in the changing position of the hexagram 'Approaching,' which is the trigram Zhen (Thunder). Therefore, it is said 'observe his birth.' 'The gentleman' refers to Nine in the Third. The top line descends to the third position and attains correctness, so there is no fault.

疏：「艮為」至「獨也」○艮少男，故為童。童觀，觀五也。呂氏春秋曰：上尊下卑則不得以小觀上。以小觀上，故曰童觀。初為元士，故位賤。又陰爻為小人，故無咎。陽稱君子，故吝。此兼虞義。初稱獨，故馬氏以為童獨也，義亦通耳。

Hui Dong's commentary explains from "Gen as" to "solitude": Gen represents the Young Male, so it takes the image of a child. The term "child's view" refers to looking up to the Nine in the Fifth. The "Lüshi Chunqiu" says that those above are respected and those below are humble, so one cannot look down upon those above with a humble and small position. The initial line is precisely in a humble and small position looking up to those above, hence called "child's view." The position of the first line is equivalent to that of a lower official, hence it is considered lowly; it is also a yin line representing a petty person, so there is no blame for a petty person. A yang line is called a gentleman, so there is shame and regret for a gentleman. This incorporates the meaning from Yu Fan. The first line also has the meaning of "solitude," so Ma Rong interpreted "child" as "solitude," and the reasoning is also reasonable.

○「竊觀」至「視也」○竊觀稱窺，虞義也。竊觀非正視，故曰窺。方言曰：窺，視也。凡相竊視，南楚謂之窺。故知竊觀稱窺。說文云：窺，閃也。閃亦不正之義。六二離爻，離為目，為中女，皆說卦文。艮為宮室，坤為闔戶，亦虞義也。二以離目窺坤戶，窺觀之象。二陰為女，居中得正，上應九五，故利女貞。曲禮曰：毋淫視。邪視曰淫視。利女貞，謂不淫視也。此兼虞義。

I have observed that "kui" refers to looking secretly, according to Yu Fan. Secretly looking is not proper looking, hence it is called "kui." The "Classic of Speaking and Writing" says "kui" means looking; whenever people look secretly, in southern Chu they call it "kui." From this we know that secretly looking is called "kui." The "Explanation of Characters" says "kui" means looking through a crack, and "shan" also implies something improper. The second line is the line of Li, which represents the eye and the middle daughter, both from the "Transmission of the Hexagrams." Gen represents a house and Kun represents a closed door, also according to Yu Fan's symbolic interpretations. The second line, being a yin line, represents a woman, is in the central position and upright, and corresponds to the fifth line, hence "favoring the woman's constancy." The "Rites of the Rituals" says "do not look lustfully," and looking askew is called "lustful looking." "Favoring the woman's constancy" means benefiting from not looking lustfully. Here both Yu Fan's meaning is taken into account.

○「我謂」至「道也」○此荀虞義也。五為卦主，爻辭與五同，故我謂五。虞氏謂坤為我，非也。震為反生，故為生。生猶性，故京氏謂性行是也。巽為進退，說卦文。三陽位，陽主進；六陰爻，陰主退，故有進退之義。進觀於五，進也；退居四下，退也。故曰觀我生進退。進退皆合於道，故象曰：未失道也。

From "I say" to "the way," this explanation incorporates both Xun Shuang's and Yu Fan's interpretations: the nine in the fifth position is the main element of the entire hexagram. The line statement of the sixth in the third position is the same as that of the nine in the fifth, so "I" refers to the nine in the fifth. Yu Fan's assertion that the earth is "I" is incorrect. The zhen trigram represents reverse generation, so it is taken as "birth." "Birth" is also "nature," so Jing Fang interprets it as nature and conduct. The xun trigram represents advancing and retreating, as stated in the "Sayings on the Trigrams." The third position is a yang position, where yang is associated with advancement; six is a yin line, where yin is associated with retreat, hence the meaning of advancing and retreating. Looking up to the nine in the fifth position is advancing; retreating to below the fourth line is retreating. Therefore, it is said "observing my birth, advancing and retreating." Whether advancing or retreating, both conform to the right path, so the "Image Commentary" says "not losing the way."

○「坤為」至「於王」○聘禮記歸大禮之日有請觀之禮。吳季札聘魯請觀於周樂，晉韓起聘魯觀書於太史氏皆其事。鄭氏謂聘於是國欲見宗廟之好，百官之富，故曰觀國之光。謂之觀光者，禮樂詩書光於千古，威儀辭氣光在一身。蓋以大觀在上，故急欲觀其盛焉。此觀光謂朝也。

The explanation from "Kun Wei" to "Yu Wang" states: The "Rites of Zhou: The Ceremony of State Visits" records that on the day of returning the great ceremony, there was a ritual of inviting people to observe. When Wu's Ji Zha visited Lu, he requested to view the Zhou music; when Jin's Han Qi visited Lu, he viewed the books in the office of the Grand Historian. These all belong to such cases. Zheng Xuan believed that when one went on a state visit to another country, he wished to see its ancestral temple's beauty and the prosperity of its officials, so he said "to observe the country's glory." The reason it is called "gazing upon the light" is that the radiance of rites, music, poetry, and books shines through the ages, and the dignity and eloquence of conduct and speech shine in one person. Because there is a great virtuous ruler above who can be observed, one urgently wishes to see his splendor. Here, "gazing upon the light" refers to the act of state visitation.

上之三體離，離為日，故為光。五本乾也，乾為王，故王謂五。四陽為否四也，陰在下，故四陽稱賓，姤初六不利賓是也。陰消乾體，坤上承九五，故云消乾承五。坤為用，為臣，虞義也。

The top line descends to the third line forming the structure of the Li trigram, which represents the sun, so the image taken is light. The fifth line originally belongs to the Qian trigram, which represents the king, so "king" refers to the nine in the fifth position. The yang line of the fourth position was originally the yang line of the fourth position in the Po hexagram, but now it is in a yin position below, so the yang line in the fourth position is called "guest." The line "It is not advantageous for the guest" in the Gou hexagram's initial line is used in this way. Yin energy erodes the Qian trigram, and the Kun trigram ascends to support the nine in the fifth position, so it is said that the Qian trigram is eroded and the five is supported. The Kun trigram represents use and the minister, which is how Yu Fan interpreted it.

觀之言灌，大饗有祼賓之禮，故典瑞雲祼圭有瓚以肆先王，以祼賓客。四為三公，上公王禮再祼。洛誥：祼於太室。太室者，明堂之中央室也。而稱王賓，則賓于王者惟祼禮為盛，故利用賓于王也。

The character "guan" contains the meaning of pouring libations for sacrifice. In the grand feast ceremony, there is a section called "guan bin," where a libation is offered to the guests. Therefore, the "Rites of Zhou · Classic of Ritual Objects" states that a jade zhan is paired with the guan gui, used to present offerings to the former kings and also to perform the guan sacrifice for the guests. The fourth line corresponds to the position of the Three Dukes, and the supreme dukes, following the king's rites, perform the guan ceremony twice. The "Book of Documents · Luo Guo" says "guan in the Great Hall," where the Great Hall refers to the central room of the Mingtang. The classic refers to "the king's guest," indicating that only the guan ritual is most elaborate for those serving as the king's guest. Therefore, it is said "it is advantageous to serve the king as a guest."

○「大觀」至「無咎」○五以陽居上，陽稱大，故大觀在上。四陰仰五陽，是為群陰所觀，故云觀我生也。觀陰消之卦，乾鑿度剝五為小人，消觀成剝，則有咎矣。今五正位處中，故君子無咎也。○「應在」至「無咎」○此虞義也。其謂三也。上應在三，三體臨震，謂反臨三體震也。震為生，故觀其生。君子謂三者，三失位，上之三得正，故稱君子無咎也。

From "Great View" to "No Fault": The nine in the fifth line holds a yang line in the upper position. Yang is called great, so it is said "Great View is above." Four yin lines look up to this yang line, meaning they are observed by many yin lines, so it is said "Observing my origin." The hexagram of "Observation" belongs to the category of yin decline. The "Dian Zao Du" takes the fifth line of "Peeling" as a small person; if "Observation" continues to decline into "Peeling," there will be fault. Now the nine in the fifth line is in the correct position and in the center, so it is said "the gentleman has no fault." The following explanation from "Should Be" to "No Fault" uses Yu Fan's interpretation: "Its" refers to the nine in the third line. The top line responds to the third line. The commentary says "the third line is in the body of Zhen," meaning the hexagram of "Observation" reverses into "Approaching," and the third line is in the body of Zhen. Zhen represents life, so it is said "Observing its origin." The reason "the gentleman" refers to the nine in the third line is that the nine in the third line is out of position. When the top line moves down to the third position, it becomes correct, so it is called the gentleman has no fault.

噬嗑亨利用獄。注：否五之初，頤中有物曰噬嗑。五之初，剛柔交，故亨。坎為獄，艮為手，離為明。四以不正而繫於獄，上當之三，蔽四成豐，折獄致刑，故利用獄。坤為用也。

The hexagram Shihhe is auspicious and favorable for the application of punishment. Hui Dong's commentary says: This hexagram is formed by the fifth line of the hexagram Po moving down to the first position. The mouth and the cheek contain something, which is called "Shihhe." The fifth line moving down to the first position results in the combination of yin and yang, hence the auspiciousness. Kan represents prison, Gen represents the hand, and Li represents clarity. The fourth line is in an improper position and is confined in prison. The top line should move down to the third line, cutting off the fourth line to form the hexagram Feng, which corresponds to the meaning of adjudicating cases and applying punishment, hence it says "favorable for the use of prison." Kun represents "use."

疏：卦自否來，九五之坤初。二陽四陰，外實中虛，頤象也。九四以不正閒之，象頤中有物。彖傳曰：頤中有物曰噬嗑。物謂四也。噬，囓也，囓而合之，故曰噬嗑。乾剛坤柔，乾五之坤初，坤初之乾五，剛柔交，故亨也。

Hui Dong's commentary says: This hexagram comes from the hexagram of "Obstruction." The nine in the fifth position of "Obstruction" moves down to the first line of "Earth." The whole hexagram has two yang lines and four yin lines, with a solid exterior and an empty center, which is the image of a mouth. The nine in the fourth position blocks the center, symbolizing something held in the mouth. The Commentary on the Judgment says, "When there is something in the mouth, it is called 'Crushing the Snail.'" The "something" refers to the nine in the fourth position. "Crushing" means biting, and after biting open, the upper and lower parts come together, hence the name "Crushing the Snail." The trigram Qian represents strength and the trigram Kun represents softness. The five yang line of Qian moves down to the first line of Kun, and the first yin line of Kun moves up to the fifth line of Qian. The strong and the soft interact, hence the hexagram is harmonious.

九家說卦曰：坎為律，為叢棘。叢棘，獄也，故坎為獄。折獄從手，故艮為手。離為日，故為明。四體坎，以陽居陰而在坎中，故繫於獄。蔽，斷也。虞注豐彖曰：豐三從噬嗑上來之三，折四於坎獄中而成豐，故君子以折獄致刑。噬嗑所謂利用獄者，此卦之謂。是虞合兩卦以發明折獄之義。坤為器，故為用。此兼虞義也。

The "Say Gu" section of the "Nine Schools of the Book of Changes" discusses the symbolic meanings of the hexagrams. It says that Kan represents law and thorny brambles; thorny brambles symbolize prison, so Kan represents prison. The character "折" (to break) includes the radical "手" (hand), indicating that judging a case requires manual action, so Gen represents hand. Li represents the sun, hence it represents brightness. The line nine in the fourth position is within the structure of Kan, with a yang line in a yin position, and located within Kan, so it is said to be imprisoned in prison. "Bì" (to block) refers to the act of judgment. Yu Fan comments on the "Commentary on the Judgment" of the hexagram "Feng": The third line of "Feng" comes from the top line of "Shihe" and moves down to the third position, cutting the fourth line into the prison of Kan to form "Feng." Therefore, "Feng" says, "The superior man acts by judging cases and applying punishment." The "Shihe" hexagram's statement, "It is advantageous to use prison," refers precisely to this meaning. This is how Yu Fan combines two hexagrams to explain the meaning of judicial judgment. Kun represents an object, hence it is taken as a symbol of utility. Here, the meaning of Yu Fan is also incorporated.

初九屨校滅止無咎。注：屨，貫；校，械；止，足也。坎為械，初為止。坤初消陽，五來滅初，故屨校滅止。震懼致福，故無咎。六二噬膚滅鼻無咎。注：膚，脅革肉。艮為膚，為鼻。二無應於上，滅坎水中而乘初剛，故噬膚滅鼻。得正多譽，故無咎。

The text says: Initial Nine, the foot is bound with restraints, covering the toes, without fault. Hui Dong's self-commentary: "Jù" means to bind, "xiào" refers to restraints, and "zhǐ" is the foot. Kan represents restraints, and the first line represents the foot. The first line of the Earthly Mother (Kun) removes the yang line, and the fifth line comes down to eliminate the first line, hence "Jù xiào miè zhǐ." The trigram Zhen signifies alarm followed by gain, hence no fault. The text says: Sixth Two, biting the flesh, covering the nose, without fault. Self-commentary: "Fū" refers to the flesh between the ribs. Gen represents flesh and nose. Sixth Two and the fifth line are both yin and lack correspondence, submerged in Kan water while riding over the yang strength of the first line, hence "Shì fū miè bí." It is in the correct position and holds a position of great reputation, hence no fault.

六三噬肉遇毒小吝無咎。注：三在膚裡，故稱肉。離日熯之為。坎為毒。應在上，故噬肉遇毒。失位承四，故小吝。與上易位，利用獄成豐，故無咎。荀氏以肉謂四也。九四噬乾胏得金矢利艱貞吉。注：肉有骨謂之胏。乾為金，離為矢。四惡人在坎獄中，上之三折四，故噬乾胏得金矢。艱，險；貞，正也。坎為險，四失位變之正，故利艱貞吉。

The text says: Six in the Third, bites dry meat and meets poison, slightly ashamed and regretful, but without fault. Hui Dong's commentary: Six in the Third is in the inner layer of the skin, so it is called 'meat'. The image of Li (Fire) represents sunlight that dries the meat (the original text here is missing one character). Kan (Water) represents poison. Six in the Third corresponds with Nine at the Top, so it says 'bites meat and meets poison'. It is out of position and serves Nine in the Fourth, so it is slightly ashamed and regretful; when it exchanges positions with the top line, it is beneficial for using the prison to form the hexagram of Fullness, so there is no fault. Xun Shuang, however, thinks that 'meat' refers to Nine in the Fourth. The text says: Nine in the Fourth, bites dry meat with bone, obtains metal and arrow, it is beneficial to maintain correctness in difficult circumstances, auspicious. Commentary: Meat with bone is called 'zhi'. Qian (Heaven) represents metal, Li (Fire) represents arrow. Nine in the Fourth is a wicked person but is in the prison of Kan (Water). The top line comes down to the third line to cut it off, so it says 'bites dry meat with bone, obtains metal and arrow'. 'Difficult' refers to danger, 'correctness' refers to uprightness; Kan represents danger, Nine in the Fourth is out of position but changes to uprightness, so 'beneficial to maintain correctness in difficult circumstances, auspicious'.

六五噬乾肉得黃金貞厲無咎。注：陰稱肉，位當離日中烈，故乾肉也。黃，中；厲，危也。變而得正，故無咎。上九何校滅耳凶。注：為五所何，故曰何校。五體坎為耳，上據坎，故何校滅耳。上以不正，陰終消陽，故凶。

The text says: Six in the Fifth, gnawing on the flesh of Heaven, obtaining gold, holding to the correct path though there is danger, there is no blame. Hui Dong's commentary: A yao of Yin is called 'flesh'; Six in the Fifth is in the position of Li, which is at noon when the heat is intense, thus becoming the flesh of Heaven. 'Yellow' is the central color, 'danger' is peril. Through change obtaining the correct, thus there is no blame. The text says: Nine at the Top, bearing a criminal collar on the neck, covering the ears, resulting in misfortune. Commentary: Nine at the Top is being carried by Six in the Fifth, thus 'bearing a collar'. The Fifth yao is in the body of Kan, which represents the ear, and Nine at the Top is above the body of Kan, thus 'bearing a collar covering the ears'. Nine at the Top is in an improper position, and the Yin energy will eventually consume the Yang yao, thus resulting in misfortune.

疏：「屨貫」至「無咎」○乾寳注云：屨校，貫械也。以械為屨，故曰屨校。漢謂之貫械，後漢書李固傳云：渤海王調貫械上書。是也。止與趾同，故云足。以械為屨，足沒械下，故云滅止。九家說卦曰：坎為桎梏，故為校。校即械也。

Hui Dong's commentary explains the transition from "ju guan" to "wu jiao": Gan Bao's annotation says that "ju jiao" refers to wearing shackles on the feet; using shackles as shoes, so they are called "ju jiao," and in the Han dynasty they called it "guan xie." The "Book of the Later Han · Li Gu's Biography" mentions that Prince Liu Diao of Bohai wore shackles while presenting a memorial, which is the same meaning. "Zhi" and "zhi" are the same, so in the annotation it is interpreted as the foot. Wearing shackles as shoes causes the foot to be buried beneath the shackles, hence "mie zhi." The "Nine Schools Commentary on the Book of Changes" mentions that Kan represents shackles, so the image taken is "jiao," which refers to shackles.

伏義始作八卦，近取諸身，故此卦之義，初為止，五為耳。卦本否也，故坤初消陽，乾五之初，是滅初。五來滅初體震，震彖傳曰：震來虩虩，恐致福也。震為征，小懲大誡，故無咎。

Fuxi first drew the eight trigrams by taking images from the human body. Therefore, the meaning of this trigram is: the first line represents the foot, and the fifth line represents the ear. The trigram originates from the trigram of "Non-Communion," so the first line of the trigram K'un loses its yang line. The fifth line of the trigram Qian moves down to the first position, thus eliminating the first line. When the fifth line descends to eliminate the first line, it forms the trigram Zhen. The Commentary on the Judgment of Zhen says, "Zhen comes with fear, which brings good fortune." Zhen also represents military campaigns; minor punishment serves as a warning to people, thus resulting in no blame.

○「膚脅」至「無咎」○爻辭曰膚曰肉，曰乾胏，曰乾肉，故知膚為脅革肉。案少牢饋食禮曰：雍人倫膚九實於一鼎。又云：膚九而俎亦橫載革順是也。艮為膚，為鼻，九家說卦文。二五皆陰，故云無應。體艮而在坎下，故云滅坎水中。又乘初剛，噬膚滅鼻之象也。以陰居二，二多譽，故云得正多譽而無咎也。

The explanations from "fū xiē" to "wú jiù" indicate that the line statements mention "fū" (skin), "ròu" (meat), "qián zǐ" (dry meat), and "qián ròu" (meat with skin). From this, it is known that "fū" refers to the meat between the ribs with skin. According to the "Yili · Xiaolao Guishi Li," the person in charge of the ritual selects nine pieces of fū, placing them in a single tripod. It also mentions that nine pieces of fū are placed on a sacrificial board, laid horizontally with the skin side facing up. The trigram Gen (Mountain) represents fū and the nose, as stated in the "Jiujia Yi" on the hexagram imagery. The second and fifth lines are yin lines, so they are said to have no corresponding lines. The line six two is in the body of Gen and is located below Kan (Water), so it is said to be submerged in the water of Kan. It also overpowers the strength of the first line, which is the image of biting the skin and destroying the nose. Since a yin line is in the second position, which is a position of great praise, it is said to gain much praise and have no blame.

○「三在」至「四也」○此虞義也。三體艮，艮為膚，三在膚裡，謂肉在膚理，故稱肉也。說文曰。。乾肉也，從殘肉，日以晞之。馬氏曰：晞於陽而於火曰肉。故云離日熯之為。坎為多眚，故為毒。周語，單子曰：厚味實臘毒。臘，籀文。肉久稱。味厚者為毒久，故噬肉遇毒。

From "Three in the Position" to "Four Also," the explanation follows Yu Fan's interpretation: the Sixth Line in the Third Position is part of the mountain trigram, which represents skin. The Sixth Line in the Third Position is within the skin, meaning flesh is inside the skin, hence it is called "flesh." The "Shuo Wen Jie Zi" says: the character (the original text here is missing one character) represents dried meat, with the character form showing a remaining part of flesh, and the sun drying it. Ma Rong says: meat dried in the sun and then roasted over fire is called (the original text here is missing one character) meat, so the annotation says "the fire of the trigram Li and the sun drying it" refers to this. The trigram Kan represents many calamities and misfortunes, so it is taken as poison. In the "Guoyu · Zhou Yu," Shan Zǐ says: "heavy flavors and preserved meat cause poison." "Là" is a variant form of the character, meaning the name for meat that has been preserved for a long time (the original text here is missing one character). Flavorful and preserved meat accumulates poison over time, hence it is said "to eat flesh and meet poison."

乾鑿度曰：陰陽失位皆為不正其應，實而有之皆失義。鄭注云：陰有陽應，陽有陰應，實者也。既非其應，設使得而有之，皆為非義而得也。三陰上陽，此失義之應，上辠大惡極而三遇之，是遇毒也。四亦不正而三承之，故小吝。上來之三，是易位也。折四成豐，明罰飭法，故無咎也。荀氏以肉謂四者，謂三噬四，法當遇罪，故遇毒，義亦通也。

The "Qian Zao Du" says: If yin and yang are not in their proper positions, they cannot be considered proper correspondences; even if there is a real correspondence and one takes it as their own, it still belongs to a loss of propriety. Zheng Xuan's commentary says: When a yin line has a yang line to correspond with, and a yang line has a yin line to correspond with, this is called "real" correspondence; since it is not the appropriate counterpart, even if one obtains and possesses it, it is still an improper gain. The sixth line is yin and the top line is yang, which is a correspondence that lacks propriety; the top line, which is extremely wicked, is corresponded with by the sixth line, which is called "meeting poison." The ninth line in the fourth position is also not in the proper position, and the sixth line serves it, so there is a slight disgrace. When the top line comes down to the third line, their positions are exchanged; cutting off the fourth line forms the hexagram "Feng," which clarifies punishment and regulates laws, so there is no blame. Xun Shuang believes that "meat" refers to the ninth line in the fourth position, meaning that the sixth line bites the ninth line in the fourth position, and according to law, it should be punished, so it is called "meeting poison," and this explanation is also reasonable.

○「肉有」至「貞吉」○肉有骨謂之胏，馬義也。離又為乾卦，故云乾胏。乾為金，說卦文。離為矢，馬、王、虞義也。周禮大司寇：禁民訟，入束矢；禁民獄，入鈞金。矢取其直，不直者入束矢；金能見情，無情者入鈞金。

From "meat with bones" to "the divination is auspicious": meat with bones is called "zǐ", as explained by Ma Rong. Within the trigram Li, there is also the image of Qian. Therefore, it is said "Qian zǐ". Qian represents metal, as stated in the "Commentary on the Trigrams"; Li represents an arrow, which is the image taken by Ma Rong, Wang Su, and Yu Fan. The "Rites of Zhou · Grand Minister of Justice" stipulates: to stop disputes among the people, one must pay a bundle of arrows; to stop cases in court, one must pay thirty jin of copper. The arrow is taken for its straightness; those who are at fault but not straight are punished by paying a bundle of arrows. Metal can reveal the truth; those without truth are punished by paying a measure of metal.

四離火，惡人而體坎，故在坎獄中而不服罪，若噬有骨之乾胏。上來之三折四成豐，故得金矢。四以陽居陰，故失位，無應於下而弇於五，故利艱貞吉也。○「陰稱」至「無咎」○五，陰也，故陰稱肉。五正離位，故云位當離日中烈為乾肉也。五陰居中，故為黃。位不當，故厲。變而得正，故無咎。象曰：得當也。此兼虞義。

Nine in the Fourth belongs to the Fire trigram Li, which is inherently a malevolent person but is situated within the Water trigram Kan. Therefore, although confined within the prison of Kan, it refuses to admit guilt, just like gnawing at a bone-covered Heaven's thigh which is difficult to bite through. The top line descends to the third line, cutting off the fourth line to form the hexagram Feng, hence it is said 'obtaining the golden arrow'. Nine in the Fourth is a yang line in a yin position, so it is out of place; it has nothing below to correspond with, and is overshadowed by Six in the Fifth above, hence it is said 'favorable to be difficult and steadfast, auspicious'. The following explanation proceeds from 'yin called' to 'no blame': the fifth line is yin, hence 'yin called flesh'. Six in the Fifth is precisely in the position of Li, hence it is said to be in the position of the sun at noon, intense and blazing, thus becoming Heaven's flesh. Six in the Fifth is a yin line in the center, hence it takes the image of yellow; it is not in the proper position, hence there is danger and peril; it moves and attains the correct position, hence there is no blame. The Image Commentary says 'appropriate position'. This also incorporates the meaning of Yu Fan.

○「為五」至「故凶」○何讀為荷。上據五，故為五所何，曰何校，此荀義也。上為首，故五為耳。又體坎，坎亦為耳。荀氏謂據五滅坎，故何校滅耳也。卦本否也，五上不正，無德以休之，滅坎體剝，陰終消陽，惡積而不可弇，罪大而不可解，故凶。魏河南尹李勝以屨校滅趾為去足刖刑。若然，何校滅耳為大辟之刑，義或然也。

The explanation from "As Five" to "Therefore, it is凶" reads: "He" is pronounced "He." The upper nine is said to be situated above the sixth five, so it is said to be carried by five, called "He xiao," according to Xun Shuang's interpretation. The upper line is the head, so the fifth line is the ear; the fifth line is also in the trigram Kan, which is also taken as the ear. Xun Shuang believes that the upper nine is situated above the sixth five and eliminates Kan, thus saying "He xiao mieti" (the yoke is removed and the ear is cut off). The hexagram originally comes from "Po," and the fifth and upper lines are not proper, lacking virtue to bring about cessation; Kan is eliminated and becomes a decaying structure, with yin eventually consuming yang lines. Evil accumulates to the point of being unmasked, and guilt is so great it cannot be escaped, hence the凶. The governor of Henan in the State of Wei, Li Sheng, interprets "ju xiao mieti" as the punishment of having one's feet cut off; following that interpretation, "He xiao mieti" would mean the capital punishment of beheading, and the meaning may be similar.

賁亨小利有攸往。注：泰上之二。賁，黃白色，文章雜也。柔來文剛，陰陽交，故亨。小謂五四，分乾剛而上飾坤柔，兼據二陰，故小利有攸往。

The hexagram "Bian" is auspicious and beneficial for minor journeys. Hui Dong's commentary states that the primary hexagram is formed by the top line of the hexagram "Tai" descending to the second line. "Bian" refers to a color with yellow and white intermingled, indicating a patterned appearance. The yin lines descend to adorn the yang lines, achieving a harmonious union of yin and yang, hence the auspiciousness. "Small" refers to the lines six in the fifth and six in the fourth. These lines take the yang lines from the trigram Qian and use them to adorn the yin lines of the trigram Kun, while also relying upon these two yin lines, hence the statement "minor benefit for going somewhere."

疏：卦自泰來，上六之乾二，九二之坤上。賁，黃白色，王肅義也。太玄曰：黃不純。范望注云：火色黃白，故不純。引此經云：山下有火，黃白色也。傅氏曰：賁，古班字，文章貌。

Hui Dong's commentary: This hexagram comes from the Hexagram Tai, with the sixth line at the top moving down to the second line of Qian, and the nine in the second moving up to the top position of Kun. "Bian is yellow and white" is Wang Su's view. The Tai Xuan says "yellow is not pure," and Fan Wang's annotation says that the color of fire is yellow with a white tinge, hence not pure; he also cites the Image Commentary of the present text "Fire below the mountain" to explain that this is the color of yellow and white. Fu's view says: "Bian" is an ancient character for "ban," describing a patterned and varied appearance.

呂氏春秋曰：孔子卜得賁，曰不吉。子貢曰：夫賁亦好矣，何謂不吉乎。孔子曰：夫白而白，黑而黑，夫賁又何好乎。高誘注云：賁，色不純也。物相雜謂之文。京房易傳曰：五色不成謂之賁，文采雜也。其後孔子經論六經以垂後代萬世，觀人文之化，成其賁之徵乎。

The Lüshi Chunqiu records that Confucius divined the Gen hexagram and said it was not auspicious. Zigong asked: "The Gen hexagram is also a good one, why do you say it is not auspicious?" Confucius replied: "White should be pure white, black should be pure black; what is the merit of this mixed color called Gen?" Gao You's commentary says: "Gen refers to color that is not pure. When things are mixed together, it is called 'wen' (pattern). The Jingfang Yizhuan says: 'When the five colors are not pure, it is called Gen,' referring to a mixture of patterns. Later, Confucius edited and transmitted the Six Classics to set an example for future generations. People observed the cultural patterns and transformed the world, which seems to correspond to the omen of the Gen hexagram."

柔來文剛已下虞義也。自內曰來，上之二，柔來文剛。乾陽坤陰，陰陽交，故亨也。五四皆陰，陽大陰小，故小謂五四。賁者，飾也。彖傳曰：分剛上而文柔。故云分乾剛而上飾坤柔也。兼據二陰，荀義也。五四二陰，利二上來文柔，故小利有攸往。

"Flexible Yin comes to adorn Yang" is Yu Fan's interpretation: coming from the inner trigram is called "come," and the top line descending to the second line, this is exactly when flexible Yin comes to adorn Yang. Qian is Yang and Kun is Yin; the union of Yin and Yang leads to smoothness. The fifth and fourth lines are both Yin lines. Yang is great and Yin is small, so "small" refers to the fifth and fourth lines. "Bian" means adornment. The Commentary on the Judgment says "separate the strong above to adorn the flexible," so the annotation explains that it takes the strong Yang from Qian and uses it to adorn the flexible Yin of Kun. "Taking into account both of the two Yins" is Xun Shuang's view: the fifth and fourth Yin lines are favorable for the Nine in the Second to come up and adorn them, hence saying "small benefit is found in going forward."

初九賁其止舍車而徒。注：初為止，坤為車，應在坤。上之二，坤體壞，故舍車而徒。六二賁其須。注：須謂五，五變應二，二上賁之，故賁其須。九三賁如濡如永貞吉。注：離文自飾，故賁如；坎水自潤，故濡如。體剛履正，故永貞吉。

The first line, nine at the beginning, refers to adorning his toes, abandoning the carriage and walking on foot. Hui Dong's commentary says: the first line represents the foot, and the earth (Kun) represents the carriage. The first nine corresponds with the body of Kun. When the top line descends to the second line, the body of Kun is destroyed, hence the saying 'abandoning the carriage and walking on foot'. The second line, six in the second, refers to adorning his beard. The commentary says: 'beard' refers to the sixth line in the fifth position. When the sixth line moves and corresponds with the second line, the second line ascends to adorn it, hence the saying 'adorn the beard'. The third line, nine in the third, refers to adorning and moistening, and maintaining uprightness for a long time brings good fortune. The commentary says: the trigram Li represents adornment, and the third line itself creates adornment, hence 'adorned like that'. The trigram Kan represents water, and the third line adds moisture, hence 'moistened like that'. The third line is strong and upright, hence 'maintaining uprightness brings good fortune'.

六四賁如皤如白馬翰如匪寇昏冓。注：馬作足橫行曰皤。四乘剛，故賁如皤如。震為馬，巽為白，故白馬翰如。坎為寇，得位應初，故匪寇昏冓。六五賁于丘園束帛戔戔吝終吉。注：五已正，應在二。坎為隱，坤土為丘，木果曰園，艮山震林，賁飾丘陵以為園圃，隱士之象。坤為帛，其數十，故束帛。戔戔，委積貌，艮為多，故戔戔。失位，故吝；之正應二，尊道勤賢，故終吉。

The text says: Six in the Fourth, adorned with elegance and purity, a white horse gallops swiftly, the one coming is not a strong enemy, but a suitor. Hui Dong's self-commentary: When a horse lifts its foot and moves sideways, it is called "pano." Six in the Fourth is riding over a strong line, thus it says "Beren pano." Zhen represents a horse, Xun represents white, thus it says "a white horse gallops swiftly." Kan represents an enemy; Six in the Fourth is in its proper position and corresponds with Nine at the Beginning, thus it says "not an enemy, but a suitor." The text says: Six in the Fifth, adorned in the hills and gardens, a bundle of thin silk stacked up, although there is some shame and regret, it ultimately leads to good fortune. Self-commentary: Six in the Fifth has already returned to the right path, and corresponds with Nine in the Second. Kan represents concealment, Kun earth represents hills, and the place of long trees and fruits is called a garden; Gen represents a mountain, Zhen represents a forest, and transforming hills into gardens and orchards is exactly the image of a reclusive person. Kun represents silk, and its number is ten, thus it says "a bundle of silk." "Zhan zhan" describes the appearance of stacking, and Gen represents abundance, thus it says "zhan zhan." Six in the Fifth is not in its proper position, thus there is some regret; but when it changes to the correct position and corresponds with Nine in the Second, it honors virtue and earnestly seeks the virtuous, thus ultimately leading to good fortune.

上九白賁無咎。注：巽為白。上者，賁之成，功成於素，故曰白賁。變而得位，故無咎。疏：「初為」至「而徒」○王肅曰：在下故稱止，義見噬嗑。坤為車，謂泰坤也。四體坤，故應在坤。上之二，坤體壞，故舍車。徒，徒步也。王肅曰：既舍其車，又飾其止，是徒步也。

The text says: "Upper Nine, adorning with pure white, there is no fault." Hui Dong's self-commentary states: "Xun represents white." The upper line is the final stage of the hexagram "Bian" (Brightness), where all ornamental efforts ultimately rest upon the inherent quality, hence it is called "White Bian." The movement is proper, so there is no blame. Hui Dong's commentary from "Initial" to "and merely" states: Wang Su says, the first line is at the bottom, so it is called "Stopping," its meaning has already been explained in "Shihe."坤 represents a carriage, referring to the坤 in the hexagram "Tai"; the fourth line is in the body of坤, so it corresponds to坤 above. The upper line moves down to the second line, and the body of坤 is destroyed, hence abandoning the carriage. "Merely" means walking on foot. Wang Su says: having abandoned his carriage, he now adorns his feet, indicating he is walking on foot.

○「須謂」至「其須」○說文曰：須，面毛也。爻位近取諸身，初為止，五當為須，故知須謂五。五失位，故變應二，二上賁五，是賁其須也。○「離文」至「貞吉」○此虞義也。彖傳曰：文明以止。故離為文，離文自飾，是賁如也。互體坎，坎水自潤，是濡如也。三以陽居陽，是體剛履正，故永貞吉也。

The explanation from "Xu wei" to "qi xu" states that the "Sayuan" explains "xu" as the hair on the face. The hexagram lines take their imagery from the human body, with the first line representing the feet and the fifth line corresponding to the beard, thus indicating that "xu" refers to the sixth line in the fifth position. The sixth line in the fifth position is out of its proper place, so it changes and corresponds with the sixth line in the second position; the sixth line in the second position embellishes the sixth line in the fifth position, which is called "Ben qi xu." The explanation from "Li wen" to "Zhen ji" follows Yu Fan's interpretation: The "Commentary on the Judgment" says "civilized and stopping," so the line Li represents culture; Li itself creates ornamentation, which is called "Ben ru." The interacting lines form Kan, and the water of Kan adds moisture, which is called "Ru ru." The ninth line in the third position, being a yang line in a yang position, is naturally strong and properly placed, so it is called "Yong zhen ji."

○「馬作」至「昏冓」○馬作足橫行曰皤，董遇義也。董讀皤為盤。震為馬，為作足。應在初而乘三剛，作足橫行不前，故賁如皤如。鄭氏謂四欲飾以適初，進退未定，故皤如，義亦同也。檀弓曰：殷人尚白，戎事乘翰。鄭彼注云：翰，白色馬也。巽為白，故白馬翰如。鄭氏謂六四巽爻也。三體坎為寇，四既得位，初又正應，雖乘坎剛，終當應初，故云匪寇昏冓也。

From "Ma Zuo" to "Hun Gou": "Ma ju zu heng xing jiao po," is the view of Dong Yu. Dong Yu reads "po" as "pan." Zhen represents a horse, and the action of raising the foot. The sixth line at the fourth position is below the first line but overpowers the third line's strength, raising its foot but unable to move forward, hence "Ben ru po ru." Zheng Xuan believes the fourth line wants to refine itself to approach the first line, but is uncertain in its movement, so "po ru," which has the same meaning. The "Liji · Tan Gong" says: the Shang people favored white, and in warfare, they used white horses. Zheng Xuan's commentary says "han" refers to a white horse. Xun represents white, so "bai ma han ru," Zheng Xuan says the fourth line is the Xun line. The third line is in the Kan structure and represents a thief; the fourth line has already reached its position, and the first line corresponds to it. Although it overpowers the strength of Kan, it should ultimately return to the first line, hence "fei kou hun gou."

○「五已」至「終吉」○此荀、虞、王義也。五失位無應，今已之正，故應在二。二在坎下，坎為隱伏，故為隱。爾雅釋地曰：非人為之丘。郭璞云：地自然生。說文曰：丘，土之高也。故云坤土為丘。虞氏謂艮為山，五半山故稱丘。揚子曰：丘陵學山而不至於山。半山為丘，義亦通也。

From "Wu Yi" to "Zong Ji," the explanation incorporates the views of Xun Shuang, Yu Fan, and Wang Su. The sixth line is out of its proper position and has no corresponding line, but now it has changed to return to the correct position, so it corresponds with the second line. The second line is below Kan, and Kan represents concealment, so the image is that of concealment. The "Er Ya · Shi Di" says: "A hill is not made by human effort," and Guo Pu's commentary explains it as land naturally formed. The "Shuo Wen Jie Zi" says: "A hill is a raised piece of earth." Therefore, the commentary says that the earth element is a hill. Yu Fan, however, believes that Gen represents a mountain, and since the fifth line is in the position of half a mountain, it is called a hill. Yang Xiong says: a hill and ridge wish to be like a mountain but cannot reach its height. Taking half a mountain as a hill, the meaning is also reasonable.

艮為木果，園圃毓草木，故云木果為園。艮為山，震為林，隱士在山林，故云賁飾丘陵以為園圃隱士之象也。坤為帛，九家說卦文。莊二十二年春秋傳曰：庭實旅百，奉之以玉帛。杜注云：坤為布帛。是也。鄭注聘禮曰：凡物十曰束。坤數十，故云束帛。

The trigram Gen represents a mountain, but it also symbolizes fruit-bearing trees, and gardens and orchards are places where plants are cultivated, so the commentary says that places with fruit-bearing trees are called gardens. Gen represents a mountain, Zhen represents a forest, and hermits dwell between mountains and forests, so shaping hills into gardens and orchards is the image of a hermit. Kun represents silk and brocade, as mentioned in the Extraordinary Images of the Nine Schools Commentary on the Book of Changes. The Zuo Zhuan, Zang Gong twenty-second year, says, "A hundred items presented in the courtyard, offered with jade and silk," and Du Yu's commentary says that Kun represents silk and brocade, which is the source of this symbolism. Zheng Xuan's commentary on the Rites of Zhou: The Ceremonial of Visitations says that ten items make a bundle. Since the number of Kun is ten, it is said "a bundle of silk and brocade."

吳薛綜解此經云：古招士必以束帛加璧於上。戔戔，委積貌。薛虞謂禮之多也。艮為多節，故為多。五失位，故吝；變而得正應二，荀氏謂五為勤賢之主、尊道之君，故終吉而有喜。是也。○「巽為」至「無咎」○五變體巽，故巽為白。卦成於上，故云上者賁之成。考工記曰：畫繪之事後素功。論語曰：繪事後素。鄭彼注云：素，白採也。後布之為其易漬汙。是功成於素之事也。失位不正，變而得位，故無咎也。

A man named Xue Zong from the Wu state explained this passage saying: In ancient times, when recruiting reclusive scholars, they certainly used bundles of silk and placed jade discs on top. "Zhan zhan" refers to the appearance of accumulation, and Xue Yu thought it meant the abundance of gifts. Gen represents many joints, so it is taken as a symbol of multiplicity. The line six in the fifth is out of its proper position, hence there is a lack of sufficiency; however, when it changes and reaches the correct position, and is supported by nine in the second, Xun Shuang considered six in the fifth to be the master who earnestly seeks virtuous men and the ruler who reveres morality, thus ultimately achieving good fortune and joy, which is precisely the meaning here. The following explanation from "Xun as" to "no blame": When six in the fifth changes, it becomes the structure of Xun, so it is said that Xun is white. The entire hexagram is completed at the top line, so it is said that the top line is the completion of the hexagram of Fen. The "Record of the Artisan" says: In the art of painting, white is applied last. The "Analects" says "painting comes after white," and Zheng Xuan's commentary says: "White" is the white color, which is applied last because it is easily stained. This is the meaning of achieving success on a plain background. The top line is out of its proper position and not correct, but when it changes and reaches the correct position, there is no blame.