The Trigram of Obstruction

《序卦》曰：升而不已必困，故受之以困。崔覲曰：冥升在上，以消不富，則窮，故言“升而不已必困”也。(坎下兌上)。困：亨，鄭玄曰：坎為月。互體離，離為日。兌為闇昧，日所入也。今上掩日月之明，猶君子處亂代，為小人所不容故謂之“困”也。君子雖困，居險能悅，是以通而無咎也。虞翻曰：否二之上，乾坤交，故通也。

The "Xugua Zhuan" says: Ascending without ceasing will inevitably lead to hardship, so the hexagram of Sheng (Increase) is followed by the hexagram of Kun (Obstruction). Cui Jin explains: The sixth line at the top of the hexagram of Sheng is昏昧 (dim and confused), ascending to the highest position, retreating without being full, thus reaching the extreme, hence it is said that ascending without stopping will inevitably lead to obstruction. The hexagram of Kun has a lower trigram of Kan (Water) and an upper trigram of Dui (Lake). The hexagram statement says: It is smooth. Zheng Xuan explains using the mutual trigrams: Kan represents the moon, and the mutual trigrams form Li (Fire), which represents the sun; Dui represents darkness, which is where the sun sets. Now the upper trigram Dui covers the light of the sun and moon, just like a gentleman in a time of chaos, being excluded by petty men, hence it is called "Kun" (Obstruction); although the gentleman is in hardship and in a dangerous situation, he remains joyful, thus he can be smooth and without fault. Yu Fan explains using the changing hexagram: The hexagram of Kun is formed by the second line of the hexagram of Pí (Obstruction) moving up to the upper position. The energies of Qian and Kun intersect, hence it is smooth.

貞大人吉，無咎。虞翻曰，貞大人吉，謂五也。在困無應，宜靜則“無咎”。故“貞大人吉，無咎”。有言不信。虞翻曰：震為言，折入兌，故“有言不信，尚口乃窮”。《彖》曰：困，剛弇也。荀爽曰：謂二五為陰所弇也。險以說，荀爽曰：此本否卦。陽降為“險”，陰升為“說”也。困而不失其所亨，其唯君子乎？荀爽曰：謂二雖弇陰陷險，猶不失中，與正陰合，故通也。喻君子雖陷險中，不失中和之行也。

The Hexagram Statement says: The upright gentleman is auspicious and will not have misfortune. Yu Fan explains: The term "upright gentleman" refers to the Nine in the Fifth. It is in a difficult situation but has no corresponding yang line, so it is appropriate to remain quiet and self-restrained. By remaining quiet and self-restrained, there will be no misfortune, hence the statement "The upright gentleman is auspicious and will not have misfortune." The Hexagram Statement also says: Words are not believed. Yu Fan explains: Zhen represents speech, and at this time, it is diminished and enters Dui, hence the statement "Words are not believed." The Commentary on the Judgment also says that relying on words leads to a dead end. The Commentary on the Judgment says: The困卦 is when the yang lines are concealed. Xun Shuang explains: This refers to the Nine in the Second and the Nine in the Fifth both being concealed by yin lines. The Commentary on the Judgment says: Being in a dangerous situation yet remaining harmonious. Xun Shuang explains according to the theory that Qian rises and Kun descends: The困卦 originates from the否卦, with yang lines descending to form the lower trigram Kan, representing danger, and yin lines ascending to form the upper trigram Dui, representing joy. The Commentary on the Judgment says: Being inpredicament yet not losing the way of communication, this is probably only the gentleman who can achieve it. Xun Shuang explains: This refers to the Nine in the Second, although concealed by yin lines and trapped in danger, still retains the central position and harmonizes with the yin line in the correct position, thus achieving communication. This is a metaphor for the gentleman, even when trapped in difficulties, not losing his upright and harmonious conduct.

貞大人吉，以剛中也。荀爽曰：謂五雖弇於陰，近無所據，遠無所應，體剛得中，正居五位，則“吉無咎”也。有言不信，尚口乃窮也。虞翻曰：兌為口，上變口滅，故“尚口乃窮”。荀爽曰：陰從二升上六，成兌。為有言。失中，為不信。動而乘陽，故曰“尚口乃窮也”。

The Commentary on the Judgment says, "The upright and great person is auspicious, because of his strong yang and central position." Xun Shuang explains: Although the Nine in the Fifth is obscured by the Yin of the top line, it has no supporting Yang below and no corresponding line above, but since it itself is strong yang and occupies the central position, it is upright in the fifth line, so the text says, "auspicious without fault." The Commentary on the Judgment also says, "If there is speech but no trust, it is because of excessive verbalizing that one reaches a dead end." Yu Fan explains according to the trigram imagery: The upper trigram is Dui, meaning mouth, and when the top line changes, the image of Dui's mouth disappears, so it is said, "excessive verbalizing leads to a dead end." Xun Shuang, however, explains using the method of "Heaven rising and Earth descending": the Yin line rises from the position of Nine Two to the position of the top line, combining with the fourth and fifth lines to form the trigram Dui, meaning mouth, which is "speech"; since the top line has lost the central position, it is "not trusted"; after its change, it again overpowers the Yang line above, so it is said, "excessive verbalizing leads to a dead end."

《象》曰：澤無水，困。王弼曰：澤無水，則水在澤下也。水在澤下，困之象也。處困而屈其志者，小人也。君子固窮，道可忘乎？君子以致命遂志。虞翻曰：君子謂三，伏陽也。否坤為致，巽為命，坎為志，三入陰中，故“致命遂志”也。

The Great Image Commentary says, "A marsh without water, which is the hexagram of困 (Obstruction)." Wang Bi explains: When there is no water in the marsh, it is because the water has flowed below the marsh; water beneath the marsh symbolizes obstruction and hardship. Those who are inpredicament and bend their will are small people; the gentleman, even in hardship, remains steadfast, how could he forget his way? The Great Image Commentary continues, "The gentleman thus surrenders his life to realize his will." Yu Fan interprets according to the changing hexagram: here, "the gentleman" refers to the line nine in the third position, which is a hidden yang line. The hexagram of困 comes from the hexagram of 否 (Obstruction). In 否, the earth represents "to give," the wind represents "destiny," and the water represents "will." The line nine in the third position is deeply embedded among the yin lines, hence it is said, "sacrificing life and death to fulfill one's will."

初六：臀困于株木。《九家易》曰：臀謂四。株木，三也。三體為木。澤中無水，兌金傷木，故枯為株也。初者四應，欲進之四，四困於三，故曰“臀困于株木”。干寶曰：兌為孔坎，坎為隱伏。隱伏在下，而漏孔穴，臀之象也。入于幽谷，三歲不覿。《九家易》曰：幽谷，二也。此本否卦。謂陽來入坎，與初同體，故曰“入幽谷”。三者陽數。謂陽陷險中，為陰所弇，終不得見。故曰“三歲不覿”也。《象》曰：入于幽谷，幽不明也。荀爽曰：為陰所弇，故“不明”。

The line statement for the first line (Initial Six) says: "The buttocks are trapped by a withered stump." The "Nine Families Commentary" explains that "buttocks" refers to the fourth line (Nine in the Fourth), and "withered stump" refers to the third line (Nine in the Third). The third line is of the wood element; the marsh has no water, and the metal element of the lake overcomes the wood element of the wind, causing the wood to wither and become a stump. The first line is the responding line to the fourth line, wanting to ascend to the fourth position, but the fourth line is blocked by the third line, hence the statement "the buttocks are trapped by a withered stump." Gan Bao explains from the perspective of symbolic imagery: the lake represents a hollow opening, and the water represents concealment; concealed in the lower part with an opening, this is the image of the buttocks. The line statement continues: "entering a dark valley, not seeing for three years." The "Nine Families Commentary" explains that "dark valley" refers to the second line (Nine in the Second). This hexagram comes from the hexagram of "non-communication," with a yang line descending into the danger of the water, joining the first line in the lower part, hence "entering a dark valley." "Three" is a yang number, indicating that the yang line is trapped in danger and concealed by yin lines, thus unable to appear, hence "not seeing for three years." The "Small Image Commentary" says "entering a dark valley, dark and unclear." Xun Shuang explains that because it is concealed by yin lines, it is dark and unclear.

九二：困于酒食，朱紱方來，案：二本陰位，中饋之職。坎為酒食，上為宗廟，今二陰升上，則酒食入廟。故“困于酒食”也。上九降二，故朱紱方來。朱紱，宗廟之服。乾為大赤，朱紱之象也。利用享祀，征凶。無咎。荀爽曰：二升在廟，五親奉之，故“利用享祀”。陰動而上，失中乘陽；陽下而陷，為陰所弇，故曰“征凶”。陽降來二，雖位不正，得中有實；陰雖去中，上得居正，而皆免咎，故曰“無咎”也。《象》曰：困于酒食，中有慶也。翟元曰：陽從上來，居中得位，富有二陰，故“中有慶也”。

The line statement for the second line says: "Trapped by food and drink, the red sash is about to arrive." Li Dingzuo explains: the second line is a yin position, which governs domestic food and drink; Kan represents food and drink, and the upper position represents the ancestral temple. Now, the yin of the second line rises to the upper position, meaning food and drink are brought into the ancestral temple, hence "trapped by food and drink." The upper nine descends to the second position, hence "the red sash is about to arrive." "Red sash" refers to the ceremonial robe worn during worship in the ancestral temple. Qian represents the color of red, which is the image of the red sash. The line statement continues: "It is advantageous to perform sacrifices, going forward brings danger, but there is no blame." Xun Shuang explains with "Yin rising and Qian descending": the second line rises to the position of the ancestral temple, and the nine in the fifth position personally performs the sacrifice, hence "it is advantageous to perform sacrifices." Yin rising, loses the central position and overpowers the yang, while the yang descending falls into danger and is covered by yin, hence "going forward brings danger." However, the yang descending to the second position, although not in the correct position, is central and full; the yin, although leaving the central position, rises to the upper position and is correct, so both avoid blame, hence "there is no blame." The Small Image Commentary says: "Trapped by food and drink, there is celebration in the middle." Zhai Yuan explains: the yang line descends from the upper position, occupies the central position and is in the correct position, and both upper and lower yin lines are attached to it, hence "residing in the center brings joy and celebration."

六三：困于石，據于蒺藜，虞翻曰：二變正時，三在艮山下，故“困于石”。蒺藜，木名。坎為蒺藜。二變艮手，據坎。故“據蒺藜者”也。入于其宮，不見其妻，凶。虞翻曰：巽為入。二動艮為宮，兌為妻，謂上無應也。三在陰下，離象毀壞，隱在坤中，死其將至，故“不見其妻，凶”也。

The Line Statement of the Third Line says: "Trapped by a stone, resting on thorned plants." Yu Fan explains by using the changing lines to form images: When the Second Line changes to become correct, the Third Line is located beneath the Mountain, so it is said "trapped by a stone"; "thorned plants" are a kind of thorny shrub, and the Water trigram represents thorned plants. When the Second Line changes into the Mountain, the Mountain represents the hand, and the hand is placed on top of the Water, so it is said "resting on thorned plants." The Line Statement also says "entering the house, not seeing his wife, ominous." Yu Fan explains: The Wind trigram represents entering; when the Second Line changes into the Mountain, the Mountain represents the house, and the Metal trigram represents the wife. This indicates that the Third Line and the Sixth Line above are both Yin lines without mutual response. The Third Line is located beneath a Yin line, and the image of brightness from the Fire trigram is destroyed, disappearing into the Earth trigram, indicating the approach of death, so it is said "entering the house but not seeing his wife, ominous."

《象》曰：據于蒺藜，乘剛也。案：三居坎上，坎為藂棘而木多心，蒺藜之象。入于其宮，不見其妻，不祥也。《九家易》曰：此本否卦，二四同功為艮。艮為門闕，宮之象也。六三居困，而位不正，上困於民，內無仁恩，親戚叛逆，誅將加身。入宮無妻，非常之困，故曰“不祥也”。

The Small Image Commentary says, "Standing on thornbushes, riding on strength." Li Dingzuo explains: The sixth line in the third position is located above the Kan trigram, which represents dense thorny brambles, with many thorny plants, which is the image of thornbushes. The Small Image Commentary also says, "Entering his house, not seeing his wife, an omen of misfortune." The Nine Schools Commentary explains: This hexagram originates from the hexagram of "Obstruction," with the second line and the fourth line functioning together to form Gen, which represents gates and thresholds, thus symbolizing a house. The sixth line in the third position is in a difficult situation and is in an improper position; it causes trouble above for the people and lacks benevolence and kindness within, leading to betrayal by relatives and punishment impending. Entering the house, yet not seeing his wife, this is an extremely unusual hardship, hence it is said to be "an omen of misfortune."

九四：來荼荼，困于金車，吝，有終。虞翻曰：來欲之初。荼荼，舒遲也。見險，故“來荼荼”。否乾為金，乾為輿。之應歷險，故困於金，車易位得正，故“吝，有終”矣。《象》曰：來荼荼，志在下也。王弼曰：下謂初。雖不當位，有與也。崔覲曰：位雖不當，故“吝”也。有與於援，故“有終”也。

The fourth line statement says: "Coming slowly, trapped by the golden carriage, regret, but with a final success." Yu Fan explains: "Coming" refers to wanting to descend to the first line six, "tutu" describes a slow and hesitant manner; the fourth line nine sees the danger of kan in front, so it comes slowly. The困卦 comes from the 否卦, where the乾 represents metal and the carriage, so the fourth line nine needs to go forward to correspond with the first line six, but must pass through the dangerous situation, thus being trapped by the golden carriage. When the fourth line nine exchanges positions with the first line six and each attains the right position, it is "although there is some regret, it can ultimately succeed." The Small Image Commentary says, "Coming slowly, the will is to go down." Wang Bi points out: "Down" refers to the first line six. The Small Image Commentary also says, "Although not in the right position, there is a corresponding support." Cui Jin explains: the fourth line nine is a yang in a yin position, so it is not in the right position, hence "regret"; but it has the first line six corresponding to it for support, so "it can ultimately succeed."

九五：劓刖，困于赤紱，虞翻曰：割鼻曰劓。斷足曰刖。四動時震為足，艮為鼻。離為兵，兌為刑。故“劓刖”也。赤紱謂二。否乾為朱，故“赤”。坤為紱，二未變應五，故“困于赤紱”也。乃徐有說，虞翻曰：兌為說，坤為徐，二動應已，故“乃徐有說”也。

The Line Statement of the Fifth Line says: "Nose cut off, foot amputated, confined by a red sash." Yu Fan explains: cutting off the nose is called "ni," and amputating the foot is called "yue." When the Second Line changes, Zhen represents the foot, Gen represents the nose, Li represents weapons, and Dui represents punishment, together forming the image of "ni" and "yue." "Red sash" refers to the Second Line: the困卦 comes from the 否卦, where the乾 represents red color, hence "red," and the坤 represents the sash. Since the Second Line has not yet changed to a positive line to correspond with the Fifth Line, it is said that "it is confined by the red sash." The Line Statement also says "then gradually there is relief." Yu Fan explains: Dui represents joy, and坤 represents gradualness. After the Second Line changes, it corresponds with the Fifth Line, hence "gradually there is joy."

利用祭祀。崔覲曰：劓刖，刑之小者也。於困之時，不崇柔德，以剛遇剛，雖行其小刑，而失其大柄，故言“劓刖”也。赤紱，天子祭服之飾。所以稱困者，被奪其政，唯得祭祀。若《春秋傳》曰：政由甯氏，祭則寡人。故曰“困于赤紱”。居中以直，在困思通。初雖踅窮，終則必喜，故曰“乃徐有說”。所以險而能說，窮而能通者，在困于赤紱乎！故曰“利用祭祀”也。案：五應在二，二互體離。離為文明，赤紱之象也。

The line statement says, "It is advantageous to perform worship." Cui Jin explains: Nose amputation and foot amputation are both lighter punishments. When in a state of hardship and distress, one does not promote the virtue of gentleness, but instead uses strength against strength. Although minor punishments are carried out, the greater authority is lost. Therefore, the text says "nose amputation and foot amputation." "Red sash" refers to the ornament on the ceremonial robe of the Son of Heaven. It is called "confinement" because the state affairs have been taken away by others, leaving only the responsibility of performing worship. This is similar to what the "Zuo Zhuan" records about Duke Xian of Wei: the state affairs were controlled by the Ning family, and only then did the worship come to me, the king. Therefore, it says "confinement by the red sash." The Nine in the Fifth is in the central and upright position, facing difficulties yet seeking a way through, initially though distressed, ultimately will find joy, so it says "then gradually there is a resolution." Being able to remain joyful in danger and achieve success in hardship depends on the point of "confinement by the red sash," so it says "it is advantageous to perform worship." Li Dingzuo comments: The responding line of the Nine in the Fifth is the Nine in the Second. The interaction between the Second line and the others forms the trigram Li, which represents civilization, corresponding to the image of the red sash.

《象》曰：劓刖，志未得也。陸績曰：無據無應，故“志未得”也。二言朱紱，此言赤紱。二言享祀，此言祭祀。傳互言耳，無他義也。謂二困五，三困四，五初困上，斯乃迭困之義。乃徐有說，以中直也。崔覲曰：以其居中，當位，故“有悅”。利用祭祀，受福也。荀爽曰：謂五爻合同，據國當位，而主祭祀，故“受福也”。

The Small Image Commentary says, "Nose amputated and foot cut off, the will has not yet been realized." Lu Ji explains: Nine Five has nothing below it to rely on and nothing above it to respond to, so its aspirations have not yet been fulfilled. Nine Two says "red sash," but here it says "red sash"; Nine Two says "worship," but here it says "sacrifice" — this is merely a variation of words between the text and the commentary, with no other meaning. The term "difficulty" refers to Nine Two being confined by Nine Five, Six Three being confined by Nine Four, and Nine Five and Initial Six being confined by Upper Six, meaning mutual difficulties. The Small Image Commentary also says, "Only gradually does there come relief, because of uprightness and correctness." Cui Jin explains: because Nine Five is in the center and in the proper position, it can thus achieve joy. The Small Image Commentary further says, "It is advantageous to perform sacrifice, receiving blessings." Xun Shuang explains: all the lines come together with Nine Five, which holds the state, is in the proper position, and presides over the sacrifice, thus being able to receive blessings.

上六：困于葛藟，于臲兀，虞翻曰：巽為草莽，稱葛藟，謂三也。兌為刑人。故“困于葛藟，于臲兀”也。曰動悔有悔，征吉。虞翻曰：乘陽，故“動悔”。變而失正，故“有悔”。三已變正，已得應之，故“征吉”也。《象》曰：困于葛藟，未當也。虞翻曰：謂三未變，當位應上故也。動悔有悔，吉行也。虞翻曰：行謂三，變乃得當位之應，故“吉行”者也。

The line statement for the sixth line at the top says: "Trapped by the grapevine, in a state of instability." Yu Fan explains: Wind represents grassy thickets, which are called grapevines, referring to the third line; Joy represents a person subjected to punishment, so it says "trapped by the grapevine, in a state of instability." The line statement also says "movement brings regret, and there is regret, but going forward is auspicious." Yu Fan explains: the sixth line is overpowering the yang line, so movement brings regret; after movement, it loses its proper position, hence "there is regret"; when the third line changes and becomes proper, the sixth line has a corresponding line, hence "going forward is auspicious." The Small Image Commentary says "trapped by the grapevine, not appropriate." Yu Fan explains: this refers to the third line not yet changing to proper, so it is not yet appropriate to correspond with the sixth line. The Small Image Commentary also says "movement brings regret, and there is regret, but going forward is auspicious." Yu Fan explains: "going forward" refers to the third line; when the third line moves, it becomes a proper corresponding line, hence "going forward is auspicious."

《序卦》曰：困乎上必反下，故受之以井。崔覲曰：困極於劓刖，則反下以求安，故言“困乎上必反下”也。（巽下坎上）。井：鄭玄曰：坎，水也。巽，木，桔槔也。互體離兌，離外堅中，虛瓶也，兌為暗澤，泉口也。言桔槔引瓶，下入泉口，汲水而出，井之象也。井以汲人，水無空竭，猶人君以政教養天下，惠澤無窮也。

The *Xugua Zhuan* says: "When one is trapped above, one must return below, hence it is followed by the *Well* hexagram." Cui Jin explains: when one is confined to the extreme of being subjected to the punishments of nose-cutting and foot-cutting, one must return to below to find security, hence it is said, "being trapped above necessarily returns below." The *Well* hexagram has *Xun* below and *Kan* above. Zheng Xuan explains: *Kan* represents water, and *Xun* represents wood, which is the lever used to draw water. The mutual relations between lines two to four and three to five form *Li* and *Dui*. *Li* has a solid outer part and a hollow interior, resembling an empty jar, while *Dui* represents a dark marsh, symbolizing the mouth of a spring. This describes using the lever to lower the jar to the spring's mouth to draw water up, which is the image of the well. The well provides water for people to draw, and the water source never runs dry, just as a ruler uses decrees to educate and nurture the people, with boundless grace.

改邑不改井，虞翻曰：泰初之五也。坤為邑，乾初之五折坤。故“改邑”。初為舊井，四應甃之，故“不改井”。無喪無得，往來井井。虞翻曰：無喪，泰初之五。坤象毀壞，故“無喪”。五來之初，失位無應，故“無得”。坎為通，故“往來井井”。往謂之五，來謂之初也。汔至，亦未繘井，虞翻曰：巽繩，為繘，汔，幾也。謂二也。幾至初改，未繘井，未有功也。羸其瓶，凶。虞翻曰：羸鉤羅也。艮為手，巽為繘，離為瓶，手繘折其中，故“贏其瓶”。體兌毀缺，瓶缺漏，故“凶”矣。

The Hexagram Statement says, "Changing the city but not the well." Yu Fan explains according to the change of the hexagram: The Well hexagram is formed by moving the first line of the Tai hexagram to the fifth position. The Earthly element represents the city and town, and the first line of Heaven moves up to the fifth position, breaking the Earthly image, hence "changing the city." The first line represents the old well, and the sixth line in the fourth position corresponds with it and repairs it, hence "the well remains unchanged." The Hexagram Statement also says, "No loss, no gain, coming and going, the well remains the same." Yu Fan explains: "No loss" refers to the first line of Tai moving to the fifth position, causing the Earthly image to be destroyed, hence no loss; the fifth line moves to the first position, losing its proper position and having no corresponding line, hence no gain; the Water element represents communication, hence "coming and going to draw water, the well remains the same." "Coming" refers to the line moving to the first position, and "going" refers to the line moving to the fifth position. The Hexagram Statement says, "Almost reaching, yet the well has not yet been drawn." Yu Fan explains: The Wind element represents the rope used for drawing water; "qi" means almost or nearly, referring to the second line. Almost reaching but the first line has not yet changed, the rope has not yet been lowered, hence no result yet. The Hexagram Statement also says, "The bottle is caught, calamity." Yu Fan explains: "Ling" means to be caught or hindered; the Earth element represents the hand, the Wind element represents the rope, and the Fire element represents the bottle. The hand and the rope break in the middle, hence "the bottle is caught." The trigram of the hexagram, the Lake, has a broken edge, indicating the bottle is broken and leaks, hence calamity.

干寶曰：水，殷德也。木，周德也，夫井，德之地也。所以養民性命而清潔之主者也。自震化行，至於五世，改殷紂比屋之亂俗，而不易成湯昭假之法度也。故曰“改邑不改井”。二代之制，各因時宜，損益雖異，括囊則同，故曰“無喪無得，往來井井”也。當殷之末，井道之窮，故曰“汔至”。周德雖興，未及革正，故曰“亦未繘井”。井泥為穢，百姓無聊，比者之間，交受塗炭，故曰“羸其瓶，凶”矣。

Ganbao explained the hexagram using historical events: water represents the virtue of the Shang dynasty, and wood represents the virtue of the Zhou dynasty; the well is the place of virtue, nurturing the people's lives and overseeing cleanliness. Since the Zhou people, represented by the trigram Zhen (Thunder), spread their teachings, by the fifth generation, they changed the disorderly customs of the households during King Zhou's time, but did not alter the laws established by King Tang, which were revealed to heaven. Therefore, it is said, "changing the city but not the well." The systems of the Shang and Zhou dynasties each adapted to the times, with additions and subtractions differing, yet their fundamental principles of containment and inclusiveness remained the same, hence, "without loss or gain, the well flows continuously." By the end of the Shang dynasty, the well-nurturing principle had reached its limit, hence, "nearly arriving." Although the virtue of the Zhou dynasty had already begun, it was not yet sufficient to eliminate accumulated evils and correct the world, hence, "also not yet drawing water from the well." The well was filled with mud and filth, with the people having no support, and neighbors were mutually involved in disaster, hence, "the vessel is broken, calamity."

《彖》曰：巽乎水而上水，井。荀爽曰：巽乎水，謂陰下為巽也。而上水，謂陽上為坎也。木入水出，井之象也。井養而不窮也。虞翻曰：兌口飲水，坎為通，往來井井，故“養不窮也”。改邑不改井，乃以剛中也。荀爽曰：剛得中，故為“改邑”。柔不得中，故為“不改井”也。

The Commentary on the Judgment says, "Wood follows water and rises above water, like a well." Xun Shuang explains: "Wood follows water" refers to a yin line below forming Xun, while "rising above water" refers to a yang line above forming Kan; when wooden vessels are placed in water, the water rises along with them, which is the image of a well. The Commentary on the Judgment also says, "A well nourishes without end." Yu Fan explains: Dui represents the mouth, which can drink water, and Kan represents communication, so water can be drawn continuously from the well, thus "nourishing people without exhaustion." The Commentary on the Judgment further states, "Changing the city but not the well, because of the strong and central line." Xun Shuang explains: A yang line is strong and occupies the central position, hence the meaning of "changing the city"; a yin line is not strong and does not occupy the central position, hence "not changing the well."

無喪無得。荀爽曰：陰來居初，有實，為“無喪”。失中，為“無得”也。往來井井，荀爽曰：此本泰卦。陽往居五，得坎為井；陰來在下，亦為井，故“往來井井”也。汔至亦未繘，荀爽曰：汔至者，陰來居初下。至汔，竟也。繘者，所以出水通井道也。今乃在初，未得應五，故“未繘”也。繘得，綆汲之具也。

The Commentary on the Judgment says, "There is no loss and no gain." Xun Shuang explains: the yao (line) of yin comes down to the first position, being full and having a place, hence "there is no loss"; yet it loses the central position, hence "there is no gain." The Commentary on the Judgment says, "The well is being approached, yet it is not yet reached." Xun Shuang explains: "Qi zhi" refers to the yin line coming down to the position below the first; "zhi qi" means to reach the end. "Jue" is the tool used to draw water and make the well channel smooth; now the yin line is only at the first position and cannot yet correspond with the nine five, hence "not yet reached" — jue is the rope used for drawing water from the well.

未有功也。虞翻曰：謂二未變應五，故“未有功也”。羸其瓶，是以凶也。荀爽曰：井，謂二。瓶，謂初。初欲應五，今為二所拘羸，故“凶”也。孔穎達曰：計覆一瓶之水，何足言凶？但此喻人德行不恆，不能善始令終，故就人言之凶也。

The Commentary on the Judgment says, "There has been no achievement yet." Yu Fan explains: This refers to the fact that the line nine in the second position has not yet changed to a positive line to respond to the line nine in the fifth position, so there has been no result. The Commentary on the Judgment also says, "The jar is broken, hence the danger." Xu Shuang explains: "Well" refers to the line nine in the second position, and "jar" refers to the line six at the beginning; the line six at the beginning wishes to respond to the line nine in the fifth position, but is now hindered by the line nine in the second position, hence the danger. Kong Yingda, however, discusses this from the perspective of human affairs: In reality, it is merely spilling a jar of water, how can it be considered dangerous? It is only here that the metaphor is used to indicate that a person's virtue is not enduring, unable to have a good beginning and a good ending, hence the statement of danger in terms of human affairs.

《象》曰：木上有水，井。王弼曰：木上有水，上水之象也。水以養而不窮也。君子以勞民勸相。虞翻曰：君子謂泰乾也。坤為民；初上成坎，為勸，故“勞民勸相”。相，相助也。謂以陽助坤矣。初六：井泥不食，舊井無禽。干寶曰：在井之下體，本土爻，故曰“泥”也。井而為泥，則不可食，故曰“不食”。此托紂之穢政不可以養民也。舊井，謂殷之未喪師也。亦皆清潔，無水禽之穢，又是況泥土乎！故“舊井無禽”矣。

The Great Image says, "Wood above water, well." Wang Bi explains: "Wood above water" represents the image of lifting water up; water is used to nourish people without being exhausted. The Great Image continues, "The superior person thus toils the people and encourages mutual assistance." Yu Fan explains: "The superior person" refers to the Qian trigram in the Tai hexagram; Kun represents the people, and the first line ascends to form Kan, which has the meaning of encouragement, so it says "to comfort the people and encourage them to help each other." "Mutual assistance" means helping, referring to using yang to support yin in Kun. The line statement of the first line: "The well has mud and cannot be drunk, the old well has no birds." Gan Bao explains by assigning the heavenly stems to the lines and relating it to historical events: the first line is in the lower trigram of the Well hexagram, originally a soil line, so it is called "mud"; when the well becomes muddy, it cannot be drunk, so it is called "cannot be drunk." This is used as a metaphor for King Zhou's corrupt politics that could not nourish the people. "Old well" refers to when the Yin Shang dynasty had not yet lost the people; at that time, the well water was still clean, even without the filth brought by water birds, let alone mud. Therefore, it says "the old well has no birds."

《象》曰：井泥不食，下也。舊井無禽，時舍也。虞翻曰：食，用也。初下稱泥。巽為木果，無噬嗑食象。下而多泥，故“不食”也。乾為舊，位在陰下，故“舊井無禽，時舍也”。謂時舍於初，非其位也。與乾二同義。崔覲曰：處井之下，無應於上。則是所用之井不汲，以其其多塗久廢之井，不獲以其時舍。故曰“井泥不食，舊井無禽”。禽，古擒字，禽，猶獲也。

The Small Image Commentary says, "The well is muddy and not used, because it is at the bottom. An old well has no birds, because it is temporarily abandoned." Yu Fan explains: "To eat" means to take or use; the first line is at the bottom and is called mud; Xun represents wood and fruit, but there is no hexagram of eating like that in the Book of Changes; being at the bottom with much mud, so it cannot be used. Qian represents old, and the first line is below a yin line, so it says "an old well has no birds, because it is temporarily abandoned" — meaning that the time has abandoned it to the first position, which is not its proper place, and this is the same meaning as the line nine in the second position of the Qian hexagram. Cui Jin explains: the initial line is at the very bottom of the well, and there is no responding line above it, just like a well that is no longer used, because it is blocked with mud and has long been abandoned, so it cannot be used and is abandoned by the times, hence it says "the well is muddy and not used, an old well has no birds." "Birds" is an ancient form of "capture," and "birds" means to obtain.

九二：井谷射鮒，甕敝漏。虞翻曰：巽為谷，為鮒。小鮮也。離為甕。甕瓶毀缺，羸其瓶凶，故“甕敝漏”也。《象》曰：井谷射鮒，無與也。崔覲曰：唯得於鮒，無與於人也。井之為道，上汲者也。今與五非應，與初比，則是若谷水不注，唯及於魚，故曰“井谷射鮒”也。甕敝漏者，取其水下注，不汲之義也。案：魚，陰蟲也。初處井下體，又陰爻，魚之象也。

The line statement for the second line says: "The well's valley shoots small fish, the jar is broken and leaks." Yu Fan explains: Wind represents the valley and also small fish, which are small fish; Fire represents the earthen jar, the jar is broken and leaking, which corresponds to the hexagram statement "the jar is worn out, calamity," so it is said "the jar breaks and leaks." The Small Image Commentary says "the well's valley shoots small fish, there is no help." Cui Jin explains: focusing only on the small fish, it does not benefit people. The principle of the well is to draw water upward; now the second line does not correspond with the fifth line, but only is closely related to the first line, just like the water in the valley does not rise up, benefiting only the fish, so it is said "the well's valley shoots small fish"; "the jar is broken and leaks" means the water flows downward and cannot be drawn up. Li Dingzuo's commentary says: fish are yin creatures, and the first line is in the lower part of the well, which is also a yin line, exactly representing the image of fish.

九三：井渫不食，為我心惻。荀爽曰：渫去穢濁，清潔之意也，三者得正，故曰“井渫”。不得據陰，喻不得用，故曰“不食”。道既不行，故“我心惻”。可用汲，王明，並受其福。荀爽曰：謂五可用汲三，則王道明而天下並受其福。《象》曰：井渫不食，行惻也。求王明，受福也。干寶曰：此托殷之公侯。時有賢者，獨守成湯之法度，而不見任，謂微箕之倫也。故曰“井渫不食，為我心惻”。惻，傷掉也。民乃外附，故曰“可用汲”。周德來被，故曰“王明”。王得其民，民得其王，故曰“求王明，受福也”。

The line statement for the third line says: "The well has been cleaned but is not used, causing me sorrow." Xun Shuang explains: "Xie" means to wash away dirt and make it clean; since the third line is a yang line in a yang position and is correct, it is said "the well has been cleaned." However, it has no yin line below it, symbolizing the virtuous person not being employed, hence "not used." Since the right path cannot be promoted, it is said "my heart is pained." The line statement also says "it can be drawn up, the king is wise, and all receive blessings." Xun Shuang explains: this means that the fifth line can draw upon the virtue of the third line, so the way of the king becomes bright, and all people receive blessings. The Small Image Commentary says "the well has been cleaned but is not used, showing compassion. Seeking a wise king brings blessings." Gan Bao interprets this in terms of the history of the Yin and Zhou dynasties: this refers to the feudal lords of the Yin dynasty. At that time, virtuous men kept the laws of Cheng Tang but were not employed, referring to people like Weizi and Jizi, hence "the well has been cleaned but is not used, causing me sorrow." "Ce" means sorrow. The people then turned to others, hence "it can be drawn up." The virtue of the Zhou dynasty extended throughout the world, hence "the king is wise." The king obtained his people, and the people obtained their king, hence "seeking a wise king brings blessings."

六四：井甃，無咎。荀爽曰：坎性下降，嫌於從三。能自修正，以甃輔五。故“無咎”也。《象》曰：井甃無咎，修井也。虞翻曰：修，治也。以瓦甓壘井稱甃。坤為上。初之五成籬，離火燒土，為瓦治象。故曰“井甃無咎，修井也”。九五：井冽，寒泉食。虞翻曰：泉自下出稱井。周七月，夏之五月，陰氣在下。二已變坎，十一月為寒泉。初二已變，體噬嗑食。故“冽寒泉食”矣。《象》曰：寒泉之食，中正也。崔覲曰：冽，清潔也。居中得正，而比於上。則是井渫水清，既寒且潔，汲上可食於人者也。

The line statement for the fourth line says: "The well is being repaired, no blame." Xun Shuang explains: The nature of Kan is to flow downward, and the sixth line in the fourth position has the appearance of following nine in the third downward. However, it can correct itself by using the effort of repairing the well to assist nine in the fifth, hence "no blame." The Small Image Commentary says, "The well is being repaired, no blame, because it is being repaired." Yu Fan explains: "Repair" means governance. Using tiles to build the well wall is called "repaired well." The earth is represented by坤, and the first line moves upward to the fifth position to form Li. The fire of Li burns the earth, which is the image of making tiles and repairing the well wall. Therefore, it says, "The well is being repaired, no blame, because it is being repaired." The line statement for the fifth line says: "The well is clear, cold spring water to drink." Yu Fan explains: Spring water flowing from below is called a well. The Zhou calendar's seventh month corresponds to the summer calendar's fifth month, when yin energy has already begun to arise below. Nine in the second has transformed into Kan, which corresponds to the winter calendar's eleventh month, the time of cold spring water. The first and second lines have both transformed, and the hexagram becomes Shihhe, which has the image of eating, hence "the well water is clear and cold, spring water to drink." The Small Image Commentary says, "Cold spring water to drink, because it is in the center and upright." Cui Jin explains: "Lei" means clean. Nine in the fifth is in the center and upright, and is in harmony with the sixth line, which is the six relations. This means the well has been cleaned, the water is clear, it is both cold and clean, and can be drawn up for drinking.

上六：井收勿幕，有孚元吉。虞翻曰：幕，蓋也。收，謂以轆轤收繘也。坎為車，應巽繩，為繘。故“井收勿幕”。有孚謂五坎。坎為孚，故“元吉”也。《象》曰：元吉在上，大成也。虞翻曰：謂初二已變，成既濟定，故“大成也”。干寶曰：處井上位，在瓶之水也，故曰“井收幕覆”也。井以養生。政以養德。無覆水泉而不惠民。無蘊典禮而不興教。故曰“井收網幕”。網幕，則教信於民。民服教，則大化成也。

The line statement for the sixth line above says: "The well is drawn up but not covered, there is sincerity and great good fortune." Yu Fan explains: "Covering" means to cover, "drawing up" means to draw up the well rope with a winch; Kan represents a cart, taking the image of a winch, and the lower corresponds to Xun rope, which is the well rope, so it says "drawing up the well rope but not covering it." "Sincerity" refers to the Kan in the fifth line, Kan represents sincerity, so "great good fortune" is achieved. The Small Image Commentary says "great good fortune is at the top, great completion." Yu Fan explains: this refers to the first and second lines both changing, transforming the entire hexagram into the hexagram of Completion, with all six lines in their proper positions, so it is called "great completion." Gan Bao explains: the sixth line is at the top of the well, which is the water already in the jar, so it says "drawing up the well rope and covering the well mouth." The well is used for nourishing life, and government orders are used for cultivating virtue; one should not cover the spring water without benefiting the people, nor should one bury the classics and rituals without promoting education. Therefore, it says "drawing up the well rope and covering the well mouth" — setting a net over the well mouth, education is trusted by the people; the people obey the education, great moral influence is thus achieved.

《序卦》曰：井道不可不革也，故受之以革。韓康伯曰：井久則濁穢，宜革易其故也。（離下兌上）。革：鄭玄曰：革，改也。水火相息而更用事，猶王者受命，改正朔，易服色，故謂之革也。已日乃孚，元亨利貞，悔亡。虞翻曰：遁上之初，與蒙旁通。悔亡，謂四也。四失正，動得位，故“悔亡”。離為日，孚謂坎。四動體離，五在坎中，故“已日乃孚”。以成既濟，乾道變化，各正性命，保合太和，乃利貞，故“元亨利貞，悔亡”矣。與《乾·彖》同義也。

The "Xugua Zhuan" says: "A well cannot remain unchanged, so it is followed by the hexagram of Change." Han Kangbo explains: when a well is used for a long time, it becomes dirty, so it should be renovated. The hexagram of Change has Li (Fire) below and Dui (Lake) above. Zheng Xuan explains: "Gē" means change; water and fire alternately rise and fall, just like a king receiving the mandate of heaven, changing the calendar and the first day of the year, changing the color of the chariot and clothing, so it is called "Change." The hexagram statement says: "Only on the day will there be trust, great prosperity, beneficial for uprightness, and no regret." Yu Fan explains according to the transformation of the hexagram and the parallelism: the hexagram of Change is formed by moving the top line of Duan to the first position, and it is parallel to Meng. "No regret" refers to the line Nine in the Fourth, which was out of the correct position, but after changing, it is in the correct position, so "regret disappears." Li represents the sun, "trust" refers to Kan, and after the change, Nine in the Fourth becomes Li, while Nine in the Fifth is in Kan, so it is said "only on the day will there be trust." Thus, it achieves the hexagram of Ji Ji. The movement and change of Qian's way lead to the proper nature of all things, preserving the harmonious vital energy, so it is called "beneficial for uprightness." Therefore, it says "great prosperity, beneficial for uprightness, and no regret," which is the same meaning as the "Tuan Zhuan" of the Qian hexagram.

《彖》曰：革，水火相息，虞翻曰：息，長也。離為火，兌為水。《繫》曰：潤之以風雨。風，巽。雨。兌也。四革之正，坎見，故獨於此稱水也。二女同居，其志不相得，曰革。虞翻曰：二女，離兌。體同人象。蒙艮為居，故“二女同居”。四變體兩坎象，二女有志。離火志上，兌水志下。故“其志不相得”。坎為志也。

The Commentary on the Judgment says, "Revolution, water and fire extinguishing each other." Yu Fan explains: "Extinguishing" means growth; Li represents fire, and Dui represents water. The Great Treatise says, "Moistened by wind and rain," wind is Xun, and rain is Dui. Nine in the Fourth changes and attains the correct position, the Kan image appears, so only here is Dui called water. The Commentary on the Judgment also says, "Two women living together, their aspirations not harmonizing, is called revolution." Yu Fan explains: "Two women" refer to Li and Dui, the hexagram has the image of Tongren; the adjacent hexagram Meng has Gen as residence, so it is said "two women living together." After Nine in the Fourth changes, there are two Kan images in the hexagram, indicating that the two women each have their own aspirations: the aspiration of Li fire is upward, the aspiration of Dui water is downward, so "their aspirations do not harmonize" — Kan represents aspirations.

已曰乃孚，革而信之。干寶曰：天命已至之日也。乃孚，大信著也。武王陳兵孟津之上，諸侯不期而會者八百國，皆曰紂可伐矣。武王曰：爾未知天命，未可也。還歸。二年，紂殺比干，囚箕子，爾乃伐之。所謂“已日乃孚，革而信”也。

The Commentary on the Judgment says, "When the day arrives, trust is established, and change is made credible." Guan Bao explained with historical events: "The day" refers to the day when heaven's mandate has arrived, and "trust" means great faith is evident. When King Wu of Zhou gathered his troops at Mengjin, the feudal lords who came to join the alliance without prior agreement numbered eight hundred states, all saying that King Zhou could be attacked. King Wu said: "You do not yet understand heaven's mandate; now is not the time." So he retreated. Two years later, King Zhou killed Bi Gan and imprisoned Ji Zi, and King Wu then launched the campaign against Zhou. This is what is meant by "when the day arrives, trust is established, and change is made credible."

文明以說，大亨以正，革而當，其悔乃亡。虞翻曰：文明謂離。說，兌也。大亨謂乾。四動成既濟定，故“大亨以正，革而當位，故悔乃亡”也。天地革而四時成。虞翻曰：謂五位成。乾為天。蒙坤為地，震春。兌秋。四之正，坎冬離夏，則四時具坤，革而成乾，故“天地革而四時成”也。

The Commentary on the Judgment says, "Civilization with joy, great success through correctness, transformation at the right time, its regret is then gone." Yu Fan explains: "Civilization" refers to Li, "joy" refers to Dui, "great success" refers to Qian; the Nine in the Fourth changes to form the completed state of Ji Ji, so it says "great success and in accordance with the correct path, transformation at the right time, its regret is then gone." The Commentary on the Judgment also says, "Heaven and Earth transform and the four seasons are formed." Yu Fan explains: this refers to the accomplishment of the five positions. Qian represents Heaven, the adjacent Meng hexagram represents Earth, Zhen represents spring, Dui represents autumn; after the Nine in the Fourth is correct, Kan represents winter, Li represents summer, and the four seasons are complete; Kun transforms into Qian, so it says "Heaven and Earth transform and the four seasons are formed."

湯武革命，順乎天而應乎人。虞翻曰：湯武謂乾，乾為聖人。天謂五，人謂三。四動，順五應三，故“順天應人”。巽為命也。革之時大矣哉。干寶曰：革天地，成四時；誅二叔，除民害；天下定，武功成，故“大矣哉”也。《象》曰：澤中有火，革。崔覲曰：火就燥，澤資溼，二物不相得，終宜易之，故曰“澤中有火，革”也。

The Commentary on the Judgment says, "Tang and Wu revolutionized, following the Way of Heaven and responding to the will of people." Yu Fan explains: Tang and Wu refer to Qian, as Qian represents the sage; "Heaven" refers to Nine in the Fifth, and "people" refers to Nine in the Third; Nine in the Fourth changes, above it follows Nine in the Fifth, below it corresponds to Nine in the Third, thus saying "following the Way of Heaven and responding to the will of people" — Xun represents destiny. The Commentary on the Judgment also says, "The time of revolution is great indeed." Gan Bao explains with historical events: transforming Heaven and Earth to establish the four seasons, eliminating Guan Shu and Cai Shu to remove the harm to the people, the world becomes peaceful, military achievements are completed, thus saying "great indeed." The Great Image Commentary says, "Fire in the marsh, Revolution." Cui Jin explains: fire tends toward dryness, while the marsh provides moisture, the two things are incompatible in nature, ultimately should change, thus saying "Fire in the marsh, Revolution."

君子以治曆明時。虞翻曰：君子，遁乾也。曆象謂日月星辰也。離為明，坎為月。離為日，蒙艮為星。四動成坎離，日月得正，天地革而四時成。故“君子以治曆明時”也。初九：鞏用黃牛之革。干寶曰：鞏，固也。離為牝牛。離爻本坤，黃牛之象也。在革之初，而無應據，未可以動，故曰“鞏用黃牛之革”。此喻文王雖有聖德，天下歸周，三分有二，而服事殷，其義也。

The Great Image says, "The superior man uses the calendar to clarify the seasons." Yu Fan explains: "The superior man" refers to the Qian trigram in the Duan hexagram; "calendar and celestial phenomena" refer to the sun, moon, and stars. Li represents brightness, Kan represents the moon, Li represents the sun, and the adjacent Meng hexagram's Gen trigram represents stars. The ninth line in the fourth position changes into Kan and Li, with the sun and moon each in their proper place, and the heavens and earth transform to form the four seasons. Therefore, it is said, "The superior man uses this to regulate the calendar and clarify the seasons." The line statement for the initial nine says, "Use a yellow ox hide to bind it." Gan Bao explains: "巩" means firm; Li represents a mother ox, and the Li line originally comes from Kun, which is the image of a yellow ox. The initial nine is at the beginning of transformation, with no responding line and no support, so it cannot act rashly. Therefore, it says, "Use a yellow ox hide to bind it." This is a metaphor for King Wen of Zhou, although he had the virtue of a sage, and two-thirds of the world had already submitted to Zhou, he still remained loyal to the Shang dynasty, which is the meaning of this.

《象》曰：鞏用黃牛，不可以有為也。虞翻曰：得位無應，動而必凶，故“不可以有為也”。六二：已日乃革之，征吉，無咎。荀爽曰：日以喻君也。謂五已居位為君。二乃革意去三應五。故曰“已日乃革之”。上行應五，去卑事尊，故曰“征吉，無咎也”。

The Small Image Commentary says, "Using a yellow ox for reinforcement, one cannot act effectively." Yu Fan explains: Although the first line is in a proper position, it does not have a responding line. If it moves, it will certainly bring misfortune, hence "one cannot act." The line statement for the second line says, "On the day of the sun, change it, proceeding is吉利, no blame." Xun Shuang explains with "Yin rising and Earth descending": "Day" is used as a metaphor for the sovereign, indicating that the ninth at the fifth line has already taken the position of the sovereign. The second line then changes its mind, abandoning the third line and ascending to respond to the fifth line, hence "on that day, change it." It ascends to respond to the fifth line, leaving behind the lowly and serving the superior, hence "proceeding is吉利, no blame."

《象》曰：已日革之，行有嘉也。崔覲曰：得位以正，居中有應。則是湯武行善，桀紂行惡，各終其日，然後革之，故曰“已日乃革之，行此有嘉”。虞翻曰：嘉謂五，乾為嘉。四動承五，故“行有嘉”矣。九三，征凶，貞厲。荀爽曰：三應於上，欲往應之，為陰所乘故曰“征凶”。若正居三，而據二陰，則五來危之，故曰“貞厲”也。

The Small Image Commentary says, "On the day of Ji, there is a change, and thus there is good fortune." Cui Jin explains that line six in the second position is in the right place and correct, and it is in the center with a responding line. This is like King Tang of Shang and King Wu of Zhou who did good deeds, and King Jie of Xia and King Zhou of Shang who did evil deeds. Each reached the end of their time, and then change occurred, so it is said, "Change occurs on that day, and thus there is good fortune." Yu Fan explains that "Jia" refers to nine five, and Qian represents beauty and goodness. Nine four moves upward to take the position below nine five, so it is said, "there is good fortune in action." The line statement of nine three says, "Going is dangerous, and being steadfast is perilous." Xun Shuang explains that nine three corresponds with upper six, wanting to go to respond to it, but is overpowered by a yin line, so it is said, "going is dangerous." If one remains steadfast in the third position and holds onto the yin of line six two, then nine five will threaten it, so it is said, "being steadfast is also perilous."

革言三就，有孚。翟元曰：言三就上，二陽乾得共有信，據於二陰，故曰“革言三就，有孚”。於二矣。《象》曰：革言三就，又何之矣。崔覲曰：雖得位以正，而未可頓革，故以言就之。夫安者有其危也。故受命之君，雖誅元惡，未改其命者。以即行改命，習俗不安，故曰“征凶”。猶以正自危，故曰“貞厲”。是以武王克紂，不即行周命，乃反商政，一就也。釋箕子囚，封比干墓，式商容閭，二就也。散鹿臺之財，發巨橋之粟，大賚於四海，三就也。故曰“革言三就”。虞翻曰：四動成既濟定，故“又何之矣”。

The line statement says, "Revolutionary speech is thrice approached, with sincerity." Zhai Yuan explains: this refers to three times approaching the top line, with the second and third lines, which are yang lines belonging to the Qian trigram, sharing sincerity, and also possessing the yin lines below. Therefore, it is said, "Revolutionary speech is thrice approached, with sincerity," referring to the line six in the second. The small image commentary says, "Revolutionary speech is thrice approached, where else would it go?" Cui Jin explains: although nine in the third is in a proper position and upright, it is not possible to change abruptly, so first verbal explanations are used repeatedly. Stability itself contains hidden dangers, so even if the sovereign eliminates the main culprit, he does not immediately change the old decree; because if he changes the decree immediately, the customs and people's minds would become unsettled. Therefore, it is said, "A campaign brings danger." He still maintains uprightness and feels caution, so it is said, "Uprightness brings danger." Therefore, King Wu of Zhou, after conquering King Zhou of Shang, did not immediately implement the Zhou policies, but first rectified the Shang affairs, which was the first "approach"; releasing the imprisoned Ji Zi, repairing the tomb of Bi Gan, and bowing to Shang Rong at his gate, which was the second "approach"; distributing the wealth from the LuTai, distributing the grain from JuQiao, and widely rewarding the people, which was the third "approach." Therefore, it is said, "Revolutionary speech is thrice approached." Yu Fan explains: nine in the fourth changes into the state of Ji Ji, so it is said, "Where else would it go?"

九四：悔亡，有孚，改命吉。虞翻曰：革而當，其悔乃亡。孕謂五也。巽為命。四動五坎改巽，故“改命吉”。四乾為君，進退無恆，在離焚棄，體大過死，傳以比桀紂。湯武革命，順天應人，故“改命吉”也。《象》曰：改命之吉，信志也。虞翻曰：四動成坎，故“信志也”。

The fourth line statement says: "Regret disappears, there is sincerity, changing the mandate is auspicious." Yu Fan explains: When change is appropriate, regret will vanish. "Sincerity" refers to the fifth line, which is associated with the trigram Xun (Wind), representing the mandate. After the fourth line changes, the fifth line becomes Kan (Water), thereby altering the Xun mandate, hence saying "changing the heavenly mandate is auspicious." The fourth line belongs to Qian (Heaven), representing the ruler, yet it lacks consistency in its movement, being in the trigram Li (Fire), which signifies being burned away. The overall structure of the hexagram shows a great excess leading to death. The commentary compares this to the tyrants of Xia Jie and Shang Zhou. However, Shang Tang and Zhou Wu changed the heavenly mandate in accordance with heaven's will and people's hearts, hence saying "changing the mandate is auspicious." The Small Image Commentary states, "The auspiciousness of changing the mandate comes from sincere intent." Yu Fan explains: After the fourth line changes into Kan, which represents sincerity, hence saying "the heart's intent becomes sincere."

干寶曰：爻入上象，喻紂之郊也。以逆取而四海順之。動凶器而前歌後舞。故曰“悔亡”也。中流而白魚入舟，天命信矣，故曰“有孚”。甲子夜陳，雨甚，至水德賓服之祥也。故曰“改命之吉，信志也”。九五：大人虎變，未占有孚。虞翻曰：乾為大人，謂五也。蒙坤為虎變。傳論湯武以坤臣為君占，視也。離為占。四未之正，五未在坎，故“未占有孚”也。

Dry宝 explained using historical events: this line indicates the image of entering the upper trigram, symbolizing King Wu's army approaching the outskirts of the Shang king's territory. Taking the world by force and having all under heaven submit, using weapons while soldiers sang and danced in front and behind, thus saying 'regret is gone'. When crossing the Yellow River in the middle stream, white fish jumped into the boat, confirming the heavenly mandate, thus saying 'there is sincerity'. On the Jiazi day, the army was arranged, with heavy rain, which is a good omen of water's submission, thus saying 'the auspiciousness of changing the mandate is sincere'. The line statement of nine five: 'The great man changes like a tiger, without divination there is sincerity.' Yu Fan explained: Qian represents the great man, referring to nine five; the opposite trigram Meng with Kui represents the tiger transformation. The 'Transmission' discusses how King Tang and King Wu took the position of a minister to become a ruler. 'Divination' means to observe, Li represents divination; nine four has not yet changed to the correct position, nine five is not yet in Kan, thus saying 'without divination there is already sincerity'.

馬融曰：大人虎變，虎變威德折衝萬里，望風而信。以喻舜乾羽，而有苗自服；周公修文德，越裳獻雉，故曰“未占有孚”矣。《象》曰：大人虎變，其文柄也。宋衷曰：陽稱大，五以陽居中，故曰“大人”。兌為白虎，九者變爻，故曰“大人虎變，其文炳也”。虞翻曰：乾為大明，四動成離，故“其文炳也”。

Ma Rong explained: "The Great Man's tiger transformation" refers to his authority and virtue being able to subdue enemy forces thousands of miles away; people are convinced by his appearance and demeanor. This is used as an analogy for Yu Shun dancing with the halberd, the qin, and the feathered banners, causing the Yimo people to voluntarily submit; and for the Duke of Zhou cultivating virtue and morality, leading the Yu Chang people to present white pheasants as tribute. Therefore, it is said, "Without needing to consult, there is already trust." The "Small Image Commentary" states, "The Great Man's tiger transformation, his brilliance is evident." Song Zhong explained: Yang is called "great," and the Nine in the Fifth position, with a Yang line in the central position, is called "the Great Man"; Dui represents the White Tiger, and "Nine" refers to the changing line, hence "The Great Man's tiger transformation, his brilliance is evident." Yu Fan explained: Qian represents great brightness, and the Nine in the Fourth position changes into Li, hence "His brilliance shines brightly."

上六：君子豹變，虞翻曰：蒙艮為君子，為豹。從乾而更。故“君子豹變”也。小人革面，征凶。居貞吉。虞翻曰：陰稱小人也。面謂四。革為離，以順承五。故“小人革面”。乘陽失正，故“征凶”。得位，故“居貞吉”。蒙艮為居也。《象》曰：君子豹變，其文蔚也。陸績曰：兌之陽爻稱虎，陰爻稱豹。豹，虎類而小者也。君子小於大人。故曰“豹變其文蔚也”。虞翻曰：蔚，蔇也。兌小。故“其文蔚也”。

The line statement for the sixth line above says: "The gentleman changes like a leopard." Yu Fan explains: the hexagram of Meng, which is associated with the mountain (Gèn), represents the gentleman, and also represents the leopard; following the trigram of Qian and undergoing transformation, thus it is said "the gentleman changes like a leopard." The line statement also says: "The petty person changes his face, going forward brings danger, but staying firm and loyal brings good fortune." Yu Fan explains: the yao (line) representing a yin line is called a petty person, "face" refers to the fourth line (Nine in the Fourth); the fourth line changes into the trigram of Li (Fire), and submits obediently to the fifth line (Nine in the Fifth), thus it is said "the petty person has changed his face"; the sixth line above oversteps and occupies a yang line, thus it is said "going forward brings danger"; but it is in its proper position, thus "staying firm and loyal brings good fortune" — the hexagram of Meng, associated with the mountain (Gèn), represents staying. The Small Image Commentary says: "The gentleman changes like a leopard, his patterns are splendid." Lu Ji explains: the yang line of the trigram of Dui is called a tiger, the yin line is called a leopard; the leopard is a kind of tiger but smaller in form, the gentleman is slightly less than the great man, thus it is said "the leopard changes, its patterns are splendid." Yu Fan explains: "Wèi" means flourishing; Dui represents smallness, thus it is said "its patterns are splendid."

小人革面，順以從君也。虞翻曰：乾，君，謂五也。四變順五，故“順以從君也”。干寶曰：君子、大賢，次聖之人。謂若太公周召之徒也。豹，虎之屬。蔚，炳之次也。君聖臣賢，殷之頑民，皆改志從化，故曰“小人革面”。天下既定，必倒載干戈，包之以虎皮。將卒之士，使為諸侯，故曰“征凶，居貞吉”。得正有應，君子之象也。案：兌為口，乾為首，今口在首上，面之象也。乾為大人，虎變也。兌為小人，革面也。

The Small Image Commentary says, "Small people change their appearance, following the ruler with obedience." Yu Fan explains: Qian represents the ruler, referring to Nine in the Fifth; Nine in the Fourth changes and submits to Nine in the Fifth, so it is said "obeying and following the ruler." Gan Bao interprets with historical events: "Great men" are great virtuous persons, second only to sages, referring to people like Jiang Taigong, the Duke of Zhou, and Zhao Gong; the leopard belongs to the tiger category, and "wei" has a lesser literary quality than "bing." When the ruler is a sage and the minister is virtuous, even the stubborn remnants of the Yin dynasty changed their minds and submitted to education, so it is said "small people change their appearance." When the world is at peace, weapons are stored upside down, and tiger skins are used to wrap them, and former soldiers are enfeoffed as feudal lords, so it is said "military campaigns are dangerous, but staying firm in righteousness brings good fortune" —— Six at the Top is in the correct position and has a corresponding line, which is the image of the virtuous person. Li Dingzuo comments: Dui represents the mouth, Qian represents the head, and now the mouth is above the head, forming the image of the face; Qian represents the great person, which is the tiger changing, and Dui represents the small person, which is changing their appearance.

《序卦》曰：革物者莫若鼎，故受之以鼎。韓康伯曰：革，去故。鼎，取新以去故，則宜制器立法以治新也。鼎，所和齊物生成新之器也。故取象焉。（巽下離上）。鼎：鄭玄曰：鼎，象也。卦有木火之用。互體乾兌。乾為金，兌為澤，澤鍾金而含水，爨以木火，鼎烹熟物之象。鼎烹熟以養人，猶聖君興仁義之道以教天下也，故謂之鼎矣。元吉，亨。虞翻曰：大壯上之初，一屯旁通。天地交，柔進上行，得中應乾五剛，故“元吉，亨”也。

The "Xugua Zhuan" says: "To change things is none more effective than the tripod. Hence, it is followed by the Tripod hexagram." Han Kangbo explains: "Revolution means removing the old, and the tripod represents taking in the new. After removing the old, one should make utensils and establish laws to govern the new situation. The tripod is a vessel that harmonizes various ingredients and creates new flavors, so it is used as a symbol. The Tripod hexagram has the Wind trigram below and the Fire trigram above. Zheng Xuan explains that the tripod is symbolic. This hexagram embodies the functions of wood and fire. The lines two to four and three to five form the Heaven trigram and the Lake trigram respectively: Heaven represents metal, Lake represents marshes, marshes gather metal and contain water, and then use firewood to burn and cook, which exactly reflects the image of the tripod cooking food. The tripod cooks food to nourish people, just as a wise ruler promotes the way of benevolence and righteousness to educate the world, hence it is called the Tripod. The hexagram statement says 'Original great good fortune, smooth.' Yu Fan explains based on hexagram transformation and mutual relations: the Tripod hexagram is formed by moving the top line of the Great Strength hexagram down to the initial position, and it is mutually related to the Zhun hexagram. Heaven and Earth communicate, the flexible lines ascend, achieving the middle position and corresponding to the strong line nine five of Heaven, hence it is said 'Great good fortune, smooth.'

《彖》曰：鼎，象也。以木巽火，亨飪也。荀爽曰：震人離下，中有乾象。木火在外，金在其內，鼎鑊亨飪之象也。虞翻曰：六十四卦，皆觀象繫辭，而獨於鼎言“象”，何也？象事知器，故獨言象也。《九家易》曰：鼎言象者，卦也，木火互有乾兌。乾金兌澤。澤者，水也。爨以木火，是鼎鑊享飪之象。亦明三公之位，上則調和陰陽，下而撫毓百姓，鼎能熟物養人，故云“象也”。牛鼎受一斛，天子飾以黃金，諸侯白金。三足，以象三臺，足上皆作鼻目為飾也。羊鼎五斗，天子飾以黃金，諸侯白金，大夫以銅。豕鼎三斗，天子飾以黃金，諸侯白金，大夫銅，士鐵。三鼎形同，亨飪煮肉，上離陰爻為肉也。

The Commentary on the Judgment says, "The Ding represents an image. Using wood to assist fire, it enables cooking." Xun Shuang explains: The Zhen trigram enters beneath the Li trigram, with the middle containing the Qian trigram; wood and fire are outside, while metal is inside, which precisely represents the image of a cauldron used for cooking. Yu Fan explains: All sixty-four hexagrams are explained by observing their images, so why does the Ding hexagram specifically mention the word "image"? Because by observing the image one can understand the object, so it is only here that the word "image" is used. The Nine Schools' Commentary explains: The reason the Ding hexagram mentions "image" is because of the structure of the hexagram: between wood and fire, there is an interwoven structure containing Qian and Dui; Qian represents metal, and Dui represents a marsh, which is water. Using wood to burn fiercely and cook is exactly the image of a cauldron used for cooking. This also indicates the roles of the Three Grand Ministers: above, they harmonize yin and yang; below, they nurture the people. The Ding can cook food to nourish people, so it is called "image." A bull cauldron has a capacity of one hu, used by the Son of Heaven and decorated with gold; by the feudal lords and decorated with silver. The Ding has three legs, symbolizing the Three Stars of the Celestial Terrace, with each leg shaped like a nose and eye as decoration. A sheep cauldron has a capacity of five dou, used by the Son of Heaven and decorated with gold; by the feudal lords and decorated with silver; by the scholar-officials and made of copper. A pig cauldron has a capacity of three dou, used by the Son of Heaven and decorated with gold; by the feudal lords and decorated with silver; by the scholar-officials and made of copper; by the commoners and made of iron. The forms of the three types of cauldrons are the same, all used for cooking meat; the yin line of the upper trigram Li represents meat.

聖人亨以享上帝，而大亨以養聖賢。虞翻曰：聖人謂乾。初四易位，體大畜。震為帝，在乾天上，故曰“上帝”體頤象，三動噬嗑食，故“以享上帝”也。大享謂天地養萬物，聖人養賢以及萬民。賢之能者，稱聖人矣。巽而耳目聰明，虞翻曰：謂三也。三在巽上，動成坎離，有兩坎兩離象，乃稱“聰明”。日月相推而明生焉，故“巽而耳目聰明”。眇而視，不足以有明。聞言不信，聰不明。皆有一離一坎象故也。柔進而上行，得中而應乎剛，是以元亨。虞翻曰：柔謂五得上中，應乾五剛。巽為進。震為行。非謂應二剛，與睽五同義也。

The Commentary on the Judgment says, "The sage enjoys the virtue of the Supreme Deity and great enjoyment in nurturing the virtuous." Yu Fan explains: "The sage" refers to the trigram Qian. When the first line and the fourth line exchange positions, the hexagram becomes Da Xu. Zhen represents the Emperor and is located above Qian, so it is called "Supreme Deity." The hexagram also has the image of nourishment. When the third line moves, it becomes Shi He, which has the image of eating, so it is said "used for sacrificing to the Supreme Deity." "Great enjoyment" refers to the nurturing of all things by heaven and earth, and the nurturing of virtuous people by the sage to benefit the people. Among the virtuous, the most capable is called the sage. The Commentary on the Judgment also says, "Flexible and advancing, ascending to the middle and responding to the strong, thus achieving great prosperity." Yu Fan explains: "Flexible" refers to the line six five, which is in the middle of the upper trigram and responds to the strong line Qian. Xun represents advancement, and Zhen represents movement. This does not mean it responds to the strong line nine two, which is the same as the meaning of the line six five in the hexagram Kui.

《象》曰：木上有火，鼎。荀爽曰：木火相因，金在其間。調和五味，所以養人。鼎之象也。君子以正位凝命。虞翻曰：君子謂三也。鼎五爻失正，獨三得位，故以正位凝成也。體姤，謂陰始凝，初巽為命，故“君子以正位凝命”也。

The Great Image says, "Wood above fire, the Cauldron." Xun Shuang explains: Wood and fire depend on each other; metal is in between them, used to harmonize five flavors to nourish people, which is the image of the Cauldron. The Great Image then says, "The君子 should regulate his position and consolidate his destiny." Yu Fan explains: "The君子" refers to nine three; the Cauldron hexagram has five lines not in the correct position, but only nine three is in the correct position, so it says to regulate the position and consolidate the destiny. The hexagram contains Gou, indicating the beginning of the gathering of yin energy; the first line's Xun represents destiny, so it says "the君子 regulates his position and consolidates his destiny."

初六：鼎顛趾，虞翻曰：趾，足也。應在四。大壯震為足，折入大過。大過，顛也。故“鼎顛趾”也。利出否。得妾以其子，無咎。虞翻曰：初陰在下，故“否”。利出之四，故曰“利出”。兌為妾，四變得正成震。震為長子，繼世守宗廟，而為祭主。故“得妾以其子，無咎”矣。《象》曰：鼎顛趾，未悖也。荀爽曰：以陰承陽，故“未悖也”。利出否，以從貴也。虞翻曰：出初之四，承乾五，故“以從貴也”。

The first line statement says: "The tripod is overturned at its foot." Yu Fan explains: "Foot" means foot; the responding line of the first line is nine in the fourth. The trigram Zhen (Thunder) of Dazhuang (Strength) represents foot, which is bent and enters Daguò (Excess), and Daguò has the meaning of overturning, so it is said "the tripod's foot is overturned." The line statement also says "it is advantageous to go out from the state of '否,' taking a concubine and having a son, without blame." Yu Fan explains: the first line, being a yin line in a lower position, represents "否," which is the filth in the tripod; it is advantageous to go out and ascend to the fourth position, so it is said "it is advantageous to go out." The trigram Dui (Lake) represents a concubine, and when nine in the fourth changes, it becomes Zhen (Thunder), which represents the eldest son, who can inherit the lineage, guard the ancestral temple, and preside over worship, so it is said "taking a concubine and having a son through her, without blame." The Small Image Commentary says "the tripod is overturned at its foot, but it is not contrary." Xu Shuang explains: the first line, being a yin line supporting a yang line, is therefore not contrary. The Small Image Commentary also says "it is advantageous to go out from the state of '否,' following the noble." Yu Fan explains: the first line goes out and ascends to the fourth position, above the nine in the fifth of Qian (Heaven), so it is said "therefore following the noble."

九二：鼎有實，我仇有疾，不我能即，吉。虞翻曰：二為實，故鼎有實也。坤為我，謂四也。二據四婦，故相與為仇。謂三變時四體坎，坎為疾，故“我仇有疾”。四之二歷險，二動得正，故“不我能即，吉”。《象》曰：鼎有實，慎所之也。虞翻曰：二變之正，艮為慎。我仇有疾，終無尤也。虞翻曰：不我能即吉，故“終無無尤也”。

The line statement for the second line says: "The tripod has food, my rival has illness, it cannot approach me, and it is auspicious." Yu Fan explains: the second line represents fullness, so there is food in the tripod. The earth trigram represents me, referring to the ninth line in the fourth position; the second line holds the position of the fourth line's wife, so they become equal. When the third line changes, the body of the fourth line becomes the water trigram, which represents illness, so it says "my rival has illness." The fourth line needs to descend to the second position through a dangerous situation, while the second line, with one change, attains the correct position, so it says "it cannot approach me, and it is auspicious." The Small Image Commentary says "the tripod has food, be cautious in where you go." Yu Fan explains: the second line changes to achieve the correct position, and the mountain trigram represents caution. The Small Image Commentary also says "my rival has illness, ultimately without blame." Yu Fan explains: since "it cannot approach me and is auspicious," there is ultimately no mistake.

九三：鼎耳革，其行塞，雉膏不食。虞翻曰：動成兩坎，坎為耳，而革在乾，故“鼎耳革”。初四變時，震為行。鼎以耳行，伏坎震，折而入乾，故“其行塞”。離為雉，坎為膏。初四已變，三動體頤。頤中無物，離象不見，故“雉膏不食”。方雨，虧悔，終吉。虞翻曰：謂四已變，三動成坤。坤為方，坎為雨，故曰“方雨”。三動虧乾，而失位悔也。終復之正，故“方雨，虧悔，終吉”也。《象》曰：鼎耳革，失其義也。虞翻曰：鼎以耳行。耳革行塞，故失其義也。

The third line statement says: "The tripod's ear is changed, its movement is blocked, and the rooster's fat is not eaten." Yu Fan explains: The third line changes into two Kan images, Kan represents the ear, and the change occurs in the Qian body, so it is said "the tripod's ear has changed." When the first and fourth lines change, Zhen represents movement; the tripod relies on its ear to move, but now the hidden Kan and Zhen are broken and enter into Qian, so it is said "its movement is blocked." Li represents the rooster, Kan represents the fat; since the first and fourth lines have already changed, when the third line changes again, the hexagram becomes Yi, and the mouth of Yi is empty, so the Li image disappears, hence "the fat rooster's soup is not eaten." The line statement also says "rain comes, regret arises, but eventually it is auspicious." Yu Fan explains: Since the fourth line has already changed and the third line changes again to form Kun, Kun represents squareness, and Kan represents rain, so it is said "rain comes." When the third line changes, it loses the Qian body and is out of place, causing regret, but eventually it returns to its proper position, hence "rain comes, regret arises, but eventually it is auspicious." The Small Image Commentary says "the tripod's ear is changed, losing its meaning." Yu Fan explains: The tripod relies on its ear to move, but when the ear changes and movement is blocked, it loses its proper function.

九四：鼎折足，覆公餗，其刑渥，凶。虞翻曰：謂四變時震為足，足折入兌故“鼎折足”。兌為刑。渥，大刑也。鼎足折，則公餗覆。言不勝任。象入大過死，凶。故“鼎足折，覆公餗，其刑渥，凶”。《九家易》曰：鼎者，三足一體，猶三公承天子也。三公謂調陰陽，鼎謂調五味。足折餗覆猶三公不勝其任，傾敗天子之美。故曰“覆餗”也。案：餗者，雉膏之屬。公者，四為諸侯，上公之位，故曰“公餗”。《象》曰：覆公餗，信如何也。《九家易》曰：渥者，厚大，言罪重也。既覆公餗，信有大罪。刑罰當加，無可如何也。

The fourth line statement says: "The tripod's foot breaks, the public food is overturned, he suffers heavy punishment, and it is凶." Yu Fan explains: When the ninth line at the fourth position changes, the trigram Zhen represents the foot, which breaks and falls into Dui, hence "the tripod's foot breaks." Dui represents punishment, and "wo" means heavy punishment. The breaking of the tripod's foot causes the public food to be overturned, indicating an inability to fulfill one's duty. The hexagram enters the state of Great Excess, hence danger. Therefore, it says "the tripod's foot breaks, the public food is overturned, suffering heavy punishment, and it is凶." The "Nine Schools of Yi" explain: The tripod has three feet supporting one body, like three officials jointly serving the Son of Heaven. The three officials' duty is to harmonize yin and yang, while the tripod is used to harmonize five flavors. The breaking of the tripod's foot and the overturning of the food is like the three officials failing in their duties, ruining the Son of Heaven's good governance, hence "overturning the food." Li Dingzuo's commentary says: "Fu" refers to a type of food like chicken soup; "gong" is because the fourth line is in the position of a feudal lord or high official, hence "public food." The "Small Image Commentary" says "overturning the public food, how can trust be maintained?" The "Nine Schools of Yi" explain: "Wo" means thick, indicating a severe crime. Since the public food has already been overturned, it is indeed a major offense, and punishment is inevitable, with no way to avoid it.

六五：鼎黃耳，金鉉，利貞。虞翻曰：離為黃，三變坎為耳，故“鼎黃耳”。鉉謂三，貫鼎兩耳。乾為金。故“金鉉”。動而得睚，故“利貞”。干寶曰：凡舉鼎者，鉉也；尚三公者，王也；金喻可貴，中之美也，故曰“金鉉”。鉉鼎得其物，施令得其道，故曰“利貞”也。《象》曰：鼎黃耳，中以為實也。陸績曰：得中承陽，故曰“中以為實”。宋衷曰：五當耳中，色黃，故曰“鼎黃耳”。兌為金，又正秋，故曰“金鉉”。公侯，謂五也，上尊故玉，下卑故金。金和良，可柔屈，喻諸侯順天子。

The Line Statement for the fifth line says: "The tripod has a yellow ear, and a golden bar, which is favorable for uprightness." Yu Fan explains: "Li represents yellow, and the nine in the third line changes into Kan, which represents an ear, so it says 'the tripod has a yellow ear.' 'Xuan' refers to the nine in the third line, which is the bar that spans the two ears of the tripod and is used to lift it. Qian represents metal, so it says 'golden bar.' The six in the fifth line changes to its proper position, hence 'favorable for uprightness.'" Gan Bao explains: "Lifting the tripod depends on the bar. Honoring the three ministers is the duty of the king. Metal symbolizes something precious, representing the beauty of being in the center, so it says 'golden bar.' Using the bar to lift the tripod and obtain the object is like issuing decrees and obtaining the right way, so it says 'favorable for uprightness.' The Small Image Commentary says 'the tripod has a yellow ear, because the center is filled with substance.'" Lu Ji explains: "The six in the fifth line is in the central position and is above the yang line, so it says 'residing in the center and being full.'" Song Zhong explains: "The fifth line is exactly at the position of the tripod's ear, and the color is yellow, so it says 'the tripod has a yellow ear.' Dui represents metal, and it is also the time of the beginning of autumn, so it says 'golden bar.' 'Gonghou' refers to the sixth line five; the superior position is noble and uses jade, while the lower position is one step lower and uses metal. Metal is flexible, refined, and can be bent, symbolizing the vassals' obedience to the Son of Heaven."

上九：鼎玉鉉，大吉，無不利。虞翻曰：鉉謂三，乾為玉鉉。體大有上九：“自天右之。”位貴據五，三動承上，故“大吉，無不利”。謂三虧悔，應上成未濟。雖不當位，六位相應，故“剛柔節”。《彖》曰：“巽，耳目聰明”，為此九三發也。干寶曰：玉又貴於金者。凡烹飪之事，自鑊升於鼎。載於俎，自俎入口。馨香上達，動而彌貴，故鼎之義，上爻愈吉也。鼎主烹飪，不失其和。金玉鉉之，不失其所。公卿仁賢，天王聖明之象也。君臣相臨，剛柔得節。故曰“吉無不利”也。《象》曰：玉鉉在上，剛柔節也。宋衷曰：以金承玉，君臣之節。上體乾為玉，故曰“玉鉉”。雖非其位，陰陽相承，剛柔之節也。

The line statement for the top line says: "The tripod is lifted with a jade handle, great good fortune, no disadvantage." Yu Fan explains: "The handle refers to the third line, which is the trigram Qian (Heaven), representing the jade handle. The hexagram contains the meaning of 'Great Possession,' and the line statement for the top line of 'Great Possession' says 'the heavens favor it.' The top line is in a high position and is supported by the fifth line, which is yin. The third line moves to support the top line, so it says 'great good fortune, no disadvantage.' This means that the third line sacrifices itself and incurs regret, but it corresponds with the top line to form 'Not Yet Completed.' Although the position is not proper, all six lines correspond in pairs, so it says 'the yin and yang have proper order.' The 'Commentary on the Judgment' says 'flexible and with clear ears and eyes,' which is precisely referring to this third line. Gan Bao explains: jade is even more precious than gold. In the process of cooking, food moves from the cauldron to the tripod, then to the tray, and from the tray to the mouth, with the fragrance rising upward, becoming more precious as it goes higher. Therefore, the meaning of the hexagram of the tripod is that the higher the line, the more auspicious it is. The tripod is for cooking and maintains harmony. Using a golden handle to lift it and placing it appropriately is a symbol of ministers' virtue and wisdom and the sage emperor's wisdom. The ruler and ministers are close, and the yin and yang have proper order, so it says 'good fortune without disadvantage.' The 'Small Image Commentary' says 'the jade handle is at the top, indicating proper order between the yin and yang.' Song Zhong explains: using gold to hold jade is the proper order between the ruler and the minister. The upper trigram is Qian (Heaven), representing jade, so it is called 'jade handle.' Although the top line is not in the proper position, the yin and yang support each other, which is the proper order between the yin and yang.