The Fullness Hexagram

《序卦》曰：得其所歸者必大，故受之以豐。豐者，大也。崔覲曰：歸妹者，侄娣媵。國三人，凡九女，為大援。故“言得其所歸者必大”也。（離下震上）。豐：亨，虞翻曰：此卦三陰三陽之例，當從泰二之四。而豐三從噬嗑上來之三，折四於坎獄中而在豐，故“君子以折獄致刑”。陰陽交，故“通”。噬嗑所謂利用獄者，此卦之謂也。王假之，虞翻曰：乾為王。假，至也。謂四宜上至五，動之正成乾，故“王假之，尚大也”。

The "Sequence of Hexagrams" says: "Those who reach their proper place will surely achieve great success, hence it is followed by the Hexagram of Abundance. Abundance means great success." Cui Jin explains: the rites of the Hexagram of Following the Bride include the bride's sister and maid accompanying her, with one country sending three women and three countries sending nine women in total, which is a great support, hence it is said "those who reach their proper place will surely achieve great success." The Hexagram of Abundance has the trigram of Fire below and the trigram of Thunder above. The Hexagram Statement says "smooth and successful." Yu Fan explains according to the transformation of the hexagram: this hexagram belongs to the case of three yin and three yang. According to the principle, it should be formed by the second line of the Hexagram of Great Passage moving up to the fourth position. However, the third line of the Hexagram of Abundance comes from the top line of the Hexagram of Eating the Fire, moving down to the third position, and the fourth line is folded into the prison of the trigram of Water, thus forming the Hexagram of Abundance. Therefore, the "Great Image Commentary" says "the superior person acts by resolving cases and administering punishment." Yin and yang combine, hence "smooth and successful." The Hexagram of Eating the Fire says "favorable for litigation," which refers precisely to this hexagram. The Hexagram Statement says "the king comes to it." Yu Fan explains: the trigram of Heaven represents the king, and "comes to" means to arrive; this refers to the line nine in the fourth position which should move up to the fifth position, changing to a correct position and forming Heaven, hence it is said "the king comes here, which is to honor great success."

勿憂，宜日中。虞翻曰：五動之正，則四變成離。離，日。中，當。五地坎中，坎為憂。故“勿憂，宜日中”。體兩離象，照天下也。日中則昃，月盈則食，天地盈虛，與時消息。干寶曰：豐坎宮陰，世在五。以其宜中，而憂其側也。坎為夜，離為晝，以離變坎，至於天位，日中之象也。聖人德大而心小，既居天位，而戒懼不怠。勿憂者，勸勉之言也。猶《詩》曰：上帝臨爾，無貳爾心。言周德當天人之心，宜居王位，故“宜日中”。《彖》曰：豐，大也。明以動，故豐。崔覲曰：離下震上，明以動之。象明則見微，動則成務，故能大矣。王假之，尚大也。姚信曰：四體震。王假，大也。四上之五，得其盛位，謂之大。

The Hexagram Statement says, "Do not worry, it is appropriate at noon." Yu Fan explains: When the sixth line (Yin) in the fifth position changes to become correct, the nine in the fourth position changes to become Li (Fire), which represents the sun. "Middle" refers to the proper position. The sixth line is in the middle of Kan (Water), which represents worries and troubles. Therefore, it says "do not worry, it is appropriate at noon." The hexagram has two images of Li (Fire), which can illuminate the world. However, when the sun reaches its zenith, it begins to tilt, and when the moon is full, it starts to wane. The fullness and emptiness of heaven and earth change with the seasons. Gan Bao, following Jing Fang's eight palaces and relating it to historical events, explains: The hexagram of Feng is a Yin hexagram in the Kan palace, with the World Line in the fifth line. Because it is suitable to be in the center, it worries about its tilt. Kan represents night, and Li represents day. Replacing Kan with Li and ascending to the position of the Son of Heaven is the image of the sun at its zenith. The sage's virtue is great and his mind is meticulous. Although he has already occupied the heavenly position, he remains cautious and does not slack. "Do not worry" is an encouragement, just as the Book of Songs, Great Ya, Da Ming says, "The Supreme Deity is present, do not have two hearts." This means the virtue of the Zhou dynasty conforms to the will of heaven and people, and it should be in the position of the king, hence "it is appropriate at noon." The Commentary on the Judgment says, "Feng means great. Brightness with movement, hence it is great." Cui Jin explains: Li is below and Zhen is above, which is the image of brightness followed by action. Clarity allows one to see the subtle, and action leads to accomplishment, hence it is great. The Commentary on the Judgment says, "The king approaches it, which means great." Yao Xin explains: The nine in the fourth position belongs to the Zhen structure. "The king approaches" means great. The nine in the fourth ascends to the fifth position, attaining the great position, hence it is called great.

勿憂，宜日中。《九家易》曰：震動而上，故“勿憂”也。日者君。中者五。君宜居五也。謂陰處五，日中之位，當傾昃矣。宜照天下也。虞翻曰：五動成乾，乾為天。四動成兩離，重明麗正，故“宜照天下”，謂化成天下也。

The Commentary on the Judgment of the Hexagram of Abundance says, "Do not be anxious; one should be like the sun at its zenith." The Nine Schools' Commentary explains: The lower trigram of Abundance is Li (Fire), and the upper trigram is Zhen (Thunder). Zhen represents movement and upward direction, so it says "do not be anxious." The "sun" symbolizes the sovereign, and "zenith" refers to the fifth line, which is the position of the sovereign. The sovereign should be at the nine-five position. Now, a yao (line) of yin is in the fifth position, occupying the position of noon. Once the sun passes the zenith, it begins to incline, and its trend will inevitably lead to imbalance. The text continues, "It is appropriate for the sun to illuminate the world." Yu Fan, however, explains based on the transformation of the hexagram: After the fifth line changes, the entire hexagram becomes Qian (Heaven). Qian represents Heaven. If the fourth line also changes, both the upper and lower trigrams become Li, forming a double Li, which is "double brightness" stacked upon the central and upright position. Therefore, it says "it is appropriate for the sun to illuminate the world," meaning the sovereign should govern the world with the virtue of civilization.

日中則昃，荀爽曰：豐者至盛，故“日中”。下居四，日昃之象也。月盈則食，虞翻曰：月之行，生震見兌，盈於乾甲，五動成乾，故“月盈”。四變體噬嗑食，故“則食”。此豐其屋，蔀其家也。

The Commentary on the Judgment says, "When the sun reaches its zenith, it begins to wane; when the moon is full, it begins to be eaten away." Xun Shuang believed that the hexagram of Fullness represents the ultimate prosperity, so it takes the image of the sun at its zenith. However, the sixth line at the top is located below the fourth line, which corresponds to the sun beginning to set. Yu Fan, on the other hand, explained "when the moon is full, it begins to be eaten away" using the method of "Najia stem assignment." The moon's movement begins to shine on the third day in the direction of Zhen (Thunder), appearing in the west; on the fifteenth day, when the moon is full, it corresponds to Qian (Heaven) and takes the Najia stem. When the fifth line moves, the entire hexagram becomes Qian, thus indicating "the moon is full." When the fourth line changes, the entire hexagram becomes Shihe, which has the image of devouring and eating. Therefore, it is said "then it is eaten away" — after the moon is full, it is immediately devoured. This is precisely what the line statement of the sixth line says, "His house is full, his family is covered," indicating that after reaching its peak, it is inevitably obscured.

天地盈虛，與時消息，而況於人乎，況於鬼神乎。虞翻曰：五息成乾，為盈；四消入坤，為虛，故“天地盈虛”也。豐之既濟，四時象具。乾為神人，坤為鬼，鬼神與人，亦隨進消息。謂人謀鬼謀，百姓與能，與時消息。

The Commentary on the Judgment says: "The fullness and emptiness of heaven and earth still change with the seasons, how much more so for human beings and ghosts and spirits?" Yu Fan explained using the method of "message and withdrawal": the fifth line's yang energy grows to form the structure of Qian, which is "fullness"; the fourth line's yin energy withdraws into Kun, which is "emptiness," thus forming "the fullness and emptiness of heaven and earth." The hexagram Feng transforms into Ji Ji, with all six lines properly positioned, embodying the four seasons. Qian represents spirits and humans, while Kun represents ghosts. Therefore, both humans and ghosts and spirits change with the movement of yin and yang. This is exactly what the Great Treatise says: "human planning and ghost planning, the people and their abilities," meaning both human affairs and matters concerning ghosts and spirits must follow the changes of the times.

《象》曰：雷電皆至，豐。荀爽曰：豐者，陰據不正，奪陽之位而行以豐。故“折獄致刑”，以討除之也。君子以折獄致刑。虞翻曰：君子謂三。噬嗑四失正，繫在坎獄中，故上之三。折四入大過，死象。故“以折獄致刑”。兌折為刑，賁三得正，胡無敢折獄也。

The Great Image says: "Thunder and lightning come together, this is the hexagram of Fullness." Xun Shuang explains that the hexagram of Fullness is when a yao of yin occupies an inappropriate position, usurping the position of a yang yao and thus achieving its own flourishing. Therefore, the gentleman should "decide cases and apply punishment," using legal punishment to eliminate such overstepping. The text says, "The gentleman thus decides cases and applies punishment." Yu Fan believes that the "gentleman" here refers to the nine in the third line. The hexagram of Fullness comes from the transformation of the hexagram of噬嗑 (Crushing). In the hexagram of噬嗑, the nine in the fourth line is out of position and is confined within the body of Kan (Water), which represents a prison. Therefore, the six at the top moves down to the third line. This transformation causes the fourth line to fold into Da Guo (Great Excess), which has the image of death. Hence, it is said "decide cases and apply punishment." Dui (Lake) represents breaking and destruction, hence punishment; while in the hexagram of贲 (Beauty), the nine in the third line is already in the correct position and has no guilt, so no one dares to decide a case against it.

初九，遇其配主，虞翻曰：妃嬪，謂四也。四失位在震，為主；五動體姤遇，故“遇其配主”也。雖旬無咎，往有尚。虞翻曰：謂四失位，變成坤，應初。坤數十，四上之五，成離。離為日。《象》曰：雖旬無咎，過旬災也。虞翻曰：體大過，故“過旬災”。四上之五，坎為災也。

The line statement for the first line, "Initial Nine": "Meeting its matching master, although for ten days there is no blame, going forward there is still honor." Yu Fan interprets "matching master" as concubines, referring to the fourth line: the fourth line is out of its proper position and occupies the position of Zhen, which represents the eldest son and the master, hence it is called "master." When the fifth line moves, the entire hexagram becomes Gou, which is the hexagram of meeting, so it is said "meeting the master who matches with oneself." As for "although for ten days there is no blame," it means that the fourth line, being out of its proper position, changes into Kūn and thus corresponds with the first line. The number of Kūn is ten, and "ten days" is exactly the meaning of "ten." When the fourth line moves up to the fifth position, it forms Li, which represents the sun, and ten days make up one ten-day period. The Small Image Commentary says, "although for ten days there is no blame, exceeding ten days brings disaster." Yu Fan believes that once it forms the structure of Da Guo, it is "exceeding ten days" and brings disaster; when the fourth line moves up to the fifth position, the image of Kan appears, which represents disaster, hence exceeding ten days brings calamity.

六二：豐其蔀，日中見斗，往得疑疾。虞翻曰：日蔽雲中，稱蔀。蔀，小，謂四也。二利四之五，故“豐其蔀”。噬嗑離為見，象在上，為日中。艮為斗，斗七星也。噬嗑艮為星，為止，坎為北中，巽為高舞。星止於中而舞者，北斗多象也。離上之三，隱坎雲下，故“日中見斗”。四往之五，得正成坎，坎為疑疾，故“往得疑疾”也。

The Line Statement for the Second Line says: "The canopy is full, the sun is obscured and the star is seen at noon, going leads to suspicion and illness." Yu Fan explains: When the sun is obscured by clouds, it is called "canopy"; "canopy" has the meaning of smallness and covering, referring to the Nine in the Fourth. The Six in the Second is favorable for the Nine in the Fourth to ascend to the Fifth, hence "the canopy is full" — the obstruction becomes more intense. The hexagram of Feng comes from the transformation of She Ke. She Ke has Li as the eye and as seeing, with Li in the upper position, right in the middle of the sky. Gen represents the Big Dipper, which consists of seven stars; She Ke's Gen also represents stars and stopping, while Kan is in the center of the north, and Xun represents height and dancing. The stars stop in the middle of the sky and rotate, which is exactly the depiction of the Big Dipper. Li moves from the upper position down to the Third Line, so the sun is hidden beneath Kan clouds, hence the star is visible in the daytime. The Nine in the Fourth moves to the Fifth Line, although it attains the correct position, it becomes the body of Kan, which represents suspicion and illness, hence "going leads to suspicion and illness."

有孚發若，吉。虞翻曰：坎為孚，四發之五成坎孚，動而復合閏，故“有孚發若，吉”也。《象》曰：有孚發若，信以發志也。虞翻曰：四發之五，坎為志也。《九家易》曰：信著於五，然後乃可發其順志。

The line statement continues, "There is sincerity and it is expressed, which is auspicious." Yu Fan believes that Kan represents sincerity, hence the term "fu" (sincerity). Nine in the Fourth moves upward to the Fifth, forming the body of Kan, which signifies sincerity. Its movement also corresponds with the method of intercalation in the calendar, thus saying "having sincerity within and expressing it outwardly brings auspiciousness." The Small Image Commentary states, "There is sincerity and it is expressed, which is sincerity inspiring the will." Yu Fan explains: Nine in the Fourth moves to the Fifth, and Kan represents the mind and will, so sincerity inspires the mind and will. The Nine Schools Commentary says: sincerity must first be clearly manifested to the sovereign in the Fifth, then it can inspire the loyal aspirations of the ministers.

九三：豐其沛，日中見沫，虞翻曰：日在雲下稱沛。沛，不明也。沫，小星也。噬嗑離為日，艮為沫。故“日中見沫”。上之三，日入坎雲下，故“見沫”也。《九家易》曰：大暗謂之沛。沫，斗杓後小星也。

The third line statement says: "The brightness is excessive, and during the day, a small star is visible." Yu Fan explains: when the sun is beneath the clouds, it is called "沛," which means obscured and unclear; "沫" refers to a small star. The line "丰" comes from the "噬嗑" hexagram, where "离" represents the sun and "艮" represents a small star, hence the image of seeing a small star during the day. The sixth line above is located below the third line, so the sun sinks beneath the water clouds, hence a faint small star can be seen at noon. The "Nine Schools Commentary on the Yi" adds: extreme darkness is called "沛"; "沫" is the small star following the handle of the Big Dipper.

折其右肱，無咎。虞翻曰：日在雲下稱沛。沛，不明也。沫，小星也。噬嗑離為日，艮為沫。故“日中見沫”。上之三，日入坎雲下，故“見沫”也。《九家易》曰：大暗謂之漬。沫，斗杓後小星也。

This passage cites the sentence 「折其右肱，无咎」, and the annotations by Yu Fan and the Nine Schools of the Book of Changes below are identical to the previous one, indicating a repetition in the transmission. The annotations actually explain 「丰其沛，日中见沫」. Yu Fan still says that the sun is called 「沛」 when it is obscured by clouds, meaning that 「沛」 refers to darkness and obscurity. 「沫」 is a small star; in the Book of Changes, the trigram Li represents the sun and Kan represents water, while the trigram Gen represents a small star. The sixth line at the top is located in the third position, so the sun sinks beneath the Kan clouds, causing a small star to be visible in the daytime. The Nine Schools of the Book of Changes here state 「大暗谓之渍」, where 「渍」 is likely a miswriting of 「沛」, still meaning extreme darkness is called 「沛」; 「沫」 is a small star following the handle of the Big Dipper.

折其右肱，無咎。虞翻曰：兌為折，為右。噬嗑艮為肱。上來之三，折艮入兌，故“折其右肱”。之三得正，故“無咎”也。《象》曰：豐其沛，不可大事也。虞翻曰：利四之陰，故“不可大事”。折其右肱，終不可用也。虞翻曰：四死大過，故“終不可用”。

The third line statement also says, "Break his right arm, no blame." Yu Fan explains: Dui represents destruction and breaking, and its position is in the west, so it is also referred to as the right. The line statement of Shihhe says that Gen represents the arm, that is, the "gong." The sixth line above comes down to occupy the third line, breaking the Gen structure and incorporating it into the Dui structure, hence saying "the right arm is broken." However, because the nine in the third line thus attains its proper position, there is "no blame." The Small Image Commentary says, "Make it full and abundant, it is not suitable for great undertakings." Yu Fan believes that at this time only the nine in the fourth line changing to a yin line is favorable, as yin represents small matters, so great actions are not appropriate. The Small Image Commentary also says, "Break his right arm, ultimately it cannot be used." Yu Fan points out that the nine in the fourth line falls into Da Guo and there is an omen of death; since the right arm is broken, it will ultimately be of no use.

九四，豐其蔀，虞翻曰：蔀，蔽也。噬嗑離日之坎雲中，故“豐其蔀”。《象》曰“位不當也”。日中見斗，虞翻曰：噬嗑日在上，為中。上之三為巽，巽為入。日入坎雲下，幽伏不明，故“日中見斗”。《象》曰“幽不明”，是其義也。

The line statement for the fourth line (Nine in the Fourth) says: "The canopy is full, and the Big Dipper is seen at noon." Yu Fan explains that "canopy" refers to something that covers or obscures. The fourth line comes from the transformation of the line in the噬嗑 hexagram. In噬嗑, the fire (Li) representing the sun is submerged within the water (Kan) representing clouds, thus indicating an increased obstruction. The Small Image Commentary concludes that "the position is inappropriate" — the Nine in the Fourth, being a yang line in a yin position, is naturally not in the right place. As for "seeing the Big Dipper at noon," in噬嗑, the fire (Li) representing the sun is at the upper trigram, right in the middle of the sky. However, the upper sixth line moves down to the third line, forming the trigram Xun (Wind), which signifies entering. The sun thus sinks below the water (Kan) clouds, becoming obscured and hidden, so that even in daylight, the Big Dipper is visible. The Small Image Commentary says "darkness and lack of clarity," which is exactly what this means.

遇其夷主，吉。虞翻曰：震為主。四行之正成明夷，則三體震，為夷主，故“遇其夷主，吉”也。按：四處上卦之下，以陽居陰，履非其位，而比於五故曰“遇”也。夷者，傷也。主者，五也。謂四不期相遇，而能上行傷五，則吉。故曰“遇其夷主，吉行也”。

The line statement also says, "Meeting the master of darkness brings good fortune." Yu Fan believed that Zhen was the main trigram, and when the fourth line changes to become correct, it forms the hexagram Ming Yi. At this time, the third line is in the position of Zhen, which is referred to as "the master of darkness," hence saying "meeting the master of Ming Yi brings good fortune." Li Dingzuo's commentary offers a different interpretation: the fourth line is in the lowest line of the upper trigram, with a yang line in a yin position, not occupying its proper place but closely adjacent to the fifth line, hence called "meeting." "Yi" means injury, and "zhu" refers to the fifth line. This means that the fourth line does not meet the fifth line as expected, but instead moves upward to injure the fifth line, thus achieving good fortune. Therefore, the Small Image Commentary says, "meeting the injurious master brings good fortune."

《象》曰：豐其蔀，位不當也。日中見斗，幽不明也。虞翻曰：離上變入坎雲下，故“幽不明”。坎，幽也。遇其夷主，吉行也。虞翻曰：動體明夷。震為行，故曰“吉行”。六五：來章，有慶譽，吉。虞翻曰：在內稱來。章，顯也。慶謂五。陽出稱慶也。譽謂二，二多譽。五發得正，則來應二。故“來章，有慶譽，吉”也。《象》曰：六五之吉，有慶也。虞翻曰：動而成乾，乾為慶。

The Small Image Commentary says: "The brightness is covered, indicating an improper position. The sun is seen with the handle of a ladle, indicating darkness and obscurity." Yu Fan explains that the trigram Li moves upward and transforms into Kan beneath, thus causing darkness and obscurity; Kan itself represents hidden and obscure conditions. The Small Image Commentary also says, "Meeting the夷主, it is a fortunate journey." Yu Fan believes that when the nine in the fourth line moves, it forms the structure of Mingyi, where Zhen represents movement, hence "a fortunate journey." The line statement for the sixth in the fifth says: "It comes forth, bringing celebration and reputation, which is auspicious." Yu Fan explains that returning from the outer trigram to the inner trigram is called "coming forth," "chapter" means to make clear and prominent; "celebration" refers to the nine in the fifth, as a yang line becomes visible and is thus celebrated; "reputation" refers to the sixth in the second, as mentioned in the Great Treatise that "the second has much reputation." When the sixth in the fifth moves and attains the correct position, it can descend to correspond with the sixth in the second, hence "inviting the virtue of civilization, bringing blessings, celebration, and reputation, which is auspicious." The Small Image Commentary says, "The auspiciousness of the sixth in the fifth is due to celebration." Yu Fan points out that when the sixth in the fifth moves, the entire hexagram becomes Qian, and Qian represents blessings and celebration.

上六：豐其屋，蔀其家。虞翻曰：豐，大。蔀，小也。三至上，體大壯，屋象，故“豐其屋”。謂四五已變，上動成家人。大屋見則家人壞，故“蔀其家”。與泰二同義。故《象》曰：天際祥明，以大壯為屋象故也。

The line statement for the top line says: "The house is grand, the family is covered." Yu Fan explains: "Grand" means large, and "covered" means small. From the third line to the top line, the image is taken as Great Strength, which has the image of a building, so it is said "the house is high and large." The fourth and fifth lines have already changed, and when the top line moves again, it becomes the Family卦. A grand house appears, and the image of the Family is thus destroyed, so it is said "the family is covered," which is the same meaning as the second line of the Tai卦. Therefore, the Small Image Commentary says "auspicious at the sky's edge," which is also based on the image of Great Strength as a house.

窺其戶，闃其無人。三歲不覿，凶。虞翻曰：謂從外窺三應。闃，空也。四動時坤為闔。戶，闔。故“窺其戶”。坤為空虛，三隱伏坎中，故“闃其無人”。《象》曰“自藏也”。四五易位，噬嗑離目，為窺。窺人者，言皆不見。坎為三歲，坎冥在上，離象不見。故“三歲不覿，凶”。

The line statement of the sixth line above says: "Peering through the door, it is empty and no one is there. For three years, no one is seen, resulting in misfortune." Yu Fan explains: This refers to looking from outside the hexagram at the nine in the third line corresponding to the sixth line. "Qù" means empty and quiet. When the fourth line moves, there is the image of the earth, which represents closure, and the door is an object that can be closed, so it is said "peering through the door." The earth also represents emptiness, and the nine in the third line is hidden within the water trigram, so it is said "quiet and no one is there." The Small Image Commentary concludes "self-concealment" — meaning that it is oneself who has hidden away. The fourth and fifth lines exchange positions, and the fire trigram of the噬嗑 hexagram represents the eye, which is the image of peering. However, the person peering sees nothing. The number of the water trigram is three, so it is said "three years"; the darkness of water is above, covering the bright image of fire, so it is said "for three years, no one is seen, resulting in misfortune."

干寶曰：在豐之家，居乾之位，乾為屋宇，故曰“豐其屋”。此蓋記紂之侈，造為璿室玉臺也。蔀其家者，以記紂多傾國之女也。社稷既亡，宮室虛曠，故曰“窺其戶，闃其無人”。闃，無人貌也。三者，天地人之數也。凡國於天地有興亡焉。故王者之亡其家也。必天示其祥，地出其妖，人反其常，非斯三者，亦弗之亡也。故曰“三歲不覿，凶”。然則璿室之成，三年而後亡國矣。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) Glossary: Six at the Top = Shang Liu Ganbao always interpreted the Yi using historical events from the time of Yin and Zhou. He said: "Shang Liu is in the Feng hexagram, and its position is also that of Qian. Since Qian represents a building, it is said 'Feng Qi Wu' (excessive building)." This is probably referring to the extravagance of King Zhou of Shang, who built the Xuan Room and Jade Platform. The phrase "Bu Qi Jia" refers to the many beautiful women in King Zhou's harem, which led to the family's affairs being obscured. When the state and family fell, the palace became empty and deserted, hence "Kui Qi Hu, Qu Qi Wu Ren" (looking through the door, it is silent and empty). "Qu" means empty and devoid of people. "San" refers to the numbers of Heaven, Earth, and Humanity. All states established between Heaven and Earth have both rise and fall. Therefore, when a king loses his family and country, it must be that Heaven shows ominous signs, Earth exhibits strange phenomena, and people's hearts depart from the Way. If these three things do not occur simultaneously, the country will not perish. Therefore, it is said "San Sui Bu Di, Xiong" (three years without seeing, ominous). Thus, after the Xuan Room was built, the Shang dynasty perished within three years.

案：上應於三，三互離，巽為戶，離為目，目而近戶，窺之象也。既屋豐家蔀，若窺地戶，闃寂無人。震木，數三，故三歲致凶於災。《象》曰：豐其屋，天際祥也。孟喜曰：天降下惡祥也。窺其戶，闃其無人，自藏也。虞翻曰：謂三隱伏坎中，故“自藏”者也。

Li Dingzuo remarked: The Sixth at the Top corresponds with the Third, which is in the mutual trigrams of Li. Xun represents the door and Li represents the eyes. The eyes are near the door, which is the image of peeking. The house is already high and large, yet the family is obscured, just like peeking into the ground gate, seeing only emptiness and no one. Zhen belongs to wood in the Five Phases and its number is three, so misfortune arises after three years. The Small Image Commentary says, "The house is full, the sky indicates a portent," and Meng Xi interpreted "portent" as an omen of misfortune, saying it is an ill omen from heaven. The Small Image Commentary also says, "Peeking into the door, quiet and empty, self-concealed," and Yu Fan thought that the Third is hidden within the Kan trigram, so it is said that it concealed itself.

《序卦》曰：窮大者必失其居，故受之以旅。崔覲曰：諺云：作者不居，況窮大甚，而能久處乎？故必獲罪去邦，羈旅於外矣。（艮下離上）。旅：小亨，旅貞吉。虞翻曰：賁初之四，否三之五，非乾坤往來也。與噬嗑之豐同義。小，謂柔得貴位而順剛。麗乎大明。故“旅小亨，旅貞吉”。再言旅者，謂四凶惡，進退無恆，無所容處。故再言旅，惡而愍之。

The "Xugua Zhuan" says: "Those who push prosperity to its extreme will certainly lose their place, so the Feng hexagram is followed by the Lu hexagram." Cui Jin cites a common saying to explain: the saying goes, "Those who build houses do not stay there long," and何况 pushing prosperity to its extreme, how can one remain in position for long? Therefore, one must certainly commit a crime and leave the country, wandering abroad. The Lu hexagram has the lower trigram Gen (Mountain) and the upper trigram Li (Fire). The hexagram statement says: "Small success, traveling with uprightness brings good fortune." Yu Fan explains using the concept of hexagram transformation: the Lu hexagram comes from the first line of the Ben hexagram moving up to the fourth line, and the third line of the Po hexagram moving up to the fifth line, not directly from the Qian and Kun trigrams. This is similar to the transformation of the Shihe hexagram into the Feng hexagram. "Small" refers to a yao of yin nature attaining a noble position and obeying the yang yao, and attaching itself to the great brightness of Li, hence saying "small success in travel, maintaining uprightness brings good fortune." The hexagram statement mentions "travel" twice because the nine in the fourth line is dangerous and perverse, with uncertain advance and retreat, having nowhere to stay, so the word "travel" is repeated, expressing both aversion and compassion.

《彖》曰：旅小亨。姚信曰：此本否卦。三五交易，去其本體，故曰客旅。荀爽曰：謂陰升居五，與陽通者也。柔得中乎外，而順乎剛，止而麗乎明，是以小亨旅貞吉也。蜀才曰：否三升五，柔得中於外，上順於剛。九五降三，降不失正，止而麗乎明。所以“小亨旅貞吉”也。

The Commentary on the Judgment says, "Travel is slightly prosperous." Yao Xin believes that the Travel卦 originates from the否卦: the third line and the fifth line of the否卦 exchange positions, each leaving their original place, hence called "traveling guests." Xun Shuang explains according to his theory of "Yin rising and Yang descending": this is because a Yin line rises to the fifth position, thus being able to communicate with a Yang line, hence achieving prosperity. The Commentary on the Judgment then says: "The flexible line is in the middle of the outer trigram and follows the strong line, stopping and attaching to brightness, hence it is slightly prosperous and the travel is auspicious." Shu Cai elaborates: the third line of the否卦 rises to the fifth position, so the flexible line is in the middle of the outer trigram, ascending to follow the strong line; the original ninth line of the fifth position descends to the third position, though descending, it does not lose its correctness. The lower trigram is艮, meaning stopping, and the upper trigram is离, meaning brightness. Therefore, it is stopping and attaching to brightness, hence saying "slightly prosperous, travel is auspicious."

旅之時義大矣哉。虞翻曰：以離日麗天，縣象著明，莫大日月，故義大也。王弼曰：旅者，物失其所居之時也。物失所居，則咸願有附，豈非智者有為之時？故曰“旅之時義大矣哉”。

The Commentary on the Judgment praises saying: "The meaning and situation contained in the Travel卦 are vast and profound." Yu Fan explains from the symbolic meaning of the hexagram: the image of fire (Li) attached to the sun, hanging high and shining brightly, the Great Treatise says "the suspended images and manifest brightness, nothing is greater than the sun and moon," so its meaning is great. Wang Bi explains from the rational meaning: what is meant by "travel" is precisely the time when all things lose their place of rest; when all things lose their dwelling, they all desire to rely on something, which is not precisely the opportunity for the wise to act? Therefore, it is said "the meaning of the time of travel is great indeed."

《象》曰：山上有火，旅。侯果曰：火在山上，勢非長久，旅之象也。君子以明慎用刑，而不留獄。虞翻曰：君子謂三。離為明，艮為慎，兌為刑，坎為獄。賁初之四，獄象不見。故“以明慎用刑，而不留獄”。與豐折獄同義者也。

The Great Image Commentary says: "Mountains with fire on top, this is the image of traveling." Hou Guo explains that fire on a mountain cannot last long, which reflects the ever-changing nature of travel. The text then says, "The superior person acts with clarity and caution in the use of punishment, and does not let cases linger in the court." Yu Fan believes that here "the superior person" refers to the Nine in the Third line. The trigram Li represents brightness, Gen represents caution, Dui represents punishment, and Kan represents imprisonment. The hexagram of Travel is formed when the first line of the hexagram of贲 moves up to the fourth line. After one change, the image of Kan (imprisonment) disappears, hence the meaning of "acting with clarity and caution in punishment, and not letting cases remain unresolved." This is similar in meaning to the Great Image of the hexagram Feng, which says "resolving cases and applying punishment."

初六：旅瑣瑣，斯其所取災。陸績曰：瑣瑣，小也。艮為小石。故曰“旅瑣瑣也”。履非其正，應離之始。離為火，艮為山，以應火，災焚自取也。故曰：“斯其所取災”也。《象》曰：旅瑣瑣，志窮災也。虞翻曰：瑣瑣，最蔽之貌也。失位遠應，之正介坎。坎為災眚，艮手為取，謂三動應坎。坎為志，坤稱窮，故曰“志窮災也”。

The line statement for the first line (Initial Six) says: "A traveler is petty and insignificant, thus he brings upon himself disaster." Lu Ji explains that "petty and insignificant" refers to being small and lowly, with Gen (mountain) representing small stones, so it says "a traveler who is petty and insignificant." Initial Six is a yin line in a yang position, not standing in the correct place, and it corresponds to the beginning of Li (fire). Li is fire, Gen is mountain, using a mountain to respond to fire leads to a disaster caused by oneself, hence "this is the disaster he brings upon himself." The Small Image Commentary says "a traveler is petty and insignificant, his aspirations are exhausted and thus he brings disaster." Yu Fan explains "petty and insignificant" as extremely lowly and concealed: Initial Six is out of position and its correspondence is very distant; when it changes to a correct position, it is located within Kan (water). Kan is disaster, Gen is hand and has the meaning of taking or grasping, meaning that when Nine Three moves, it corresponds with Kan. Kan is also the mind, and Kun signifies hardship, hence "the mind is in hardship and thus disaster is brought upon oneself."

六二：旅即次，懷其資，得僮僕貞。《九家易》曰：即，就。次，舍。資，財也。以陰居二，即就其舍，故“旅即次”。承陽有實，故“懷其資”。故曰“旅即次，懷其資”也。初者卑賤，二得履之，故“得僮僕”。處和得位，故正居是，故曰“得僮僕貞”矣。

The Line Statement for the Second Line (Six in the Second): "The traveler reaches the lodging, carrying his provisions, and obtains a faithful servant." The interpretation from the Nine Schools of the Book of Changes explains: "即" means to approach or come close, "次" refers to a lodging or inn, and "资" means money or provisions. The Second Line, which is a yin line in the second position, approaches the place it should be, so it is said "the traveler has reached the lodging." It is above a yang line and has something substantial in the middle, so it is said "carrying his provisions," combining to form "the traveler reaches the lodging, carrying his provisions." The First Line is of low rank and inferiority, while the Second Line is above it and thus gains the use of a servant, so it is said "obtains a servant." The Second Line is in the central and harmonious position and holds the correct position, living in peace without losing its correctness, so it is said "the servant obtained is loyal and trustworthy."

《象》曰：得僮僕貞，終無尤也。虞翻曰：艮為僮僕，得正承三，故“得僮僕貞，而終無尤也”。案：六二履正體艮，艮為閽寺，僮僕貞之象也。九三：旅焚其次，喪其僮僕，貞厲。虞翻曰：離為火，艮為僮僕。三動艮壞，故“焚其次”。坤為喪，三動艮滅入坤，故“喪其僮僕”。動而失正，故“貞厲”矣。

The Small Image Commentary says, "Obtaining a loyal servant, there will be no blame." Yu Fan explains: The trigram Gen represents a young man, so it is taken as a child servant; since line six in the second is in the correct position and supports line nine in the third, it is said to obtain a loyal servant, ultimately without blame. Li Dingzuo adds: Line six in the second is on the correct position, and itself is within the trigram Gen, which also represents a gatekeeper, exactly the image of a loyal servant. The line statement of line nine in the third says, "The traveler's lodging is burned, losing his servant, and there is danger in maintaining loyalty." Yu Fan says: The trigram Li represents fire, and Gen represents a child servant; when line nine in the third moves, the trigram Gen is destroyed, so "the traveler's lodging is burned." The trigram坤 represents loss, and when line nine in the third moves, the Gen image disappears and enters the trigram坤, so "losing the servant." This movement also causes line nine in the third to lose its correct position, hence "maintaining loyalty is dangerous."

《象》曰：旅焚其次，亦以傷矣。虞翻曰：三動體剝，故傷也。以旅與下，其義喪也。虞翻曰：三變成坤。坤為下，為喪，故“其義喪也”。九四：旅于處，得其資斧，我心不快。虞翻曰：巽為處。四焚棄，惡人失位遠應。故“旅于處”，言無所從也。離為資斧，故“得其資斧”。三動，四坎為心，其位未至，故“我心不快”也。

The Small Image Commentary says, "Travelers burn their lodging, which also causes injury." Yu Fan explains: When the nine in the third line moves, the entire hexagram becomes the hexagram of Decrease, which signifies a loss and damage. Therefore, it is said, "so they are also injured." The Small Image Commentary also says, "Traveling with the lower, its meaning is loss." Yu Fan says: When the nine in the third line changes, it becomes the hexagram of Earth, which represents the lower and loss, so according to the meaning, the servant is inevitably lost. The line statement of the fourth line says, "Traveling at a place, obtaining provisions and tools, my heart is not joyful." Yu Fan says: The trigram of Xun represents a place; the nine in the fourth line is an evil person who has been burned and discarded, losing his position and the corresponding line being far away, so it is said, "travelers can only temporarily stay at a place," meaning they have no place to return to. The trigram of Li represents wealth and axes, so it is said, "they obtain provisions and tools." When the nine in the third line moves, the fourth line is in the trigram of Kan, which represents the heart, and the position of the nine in the fourth line has not yet reached the honorable position, so it is said, "my heart is not joyful."

《象》曰：旅于處，未得位也。得其資斧，心未快也。王弼曰：斧，所以斫除荊棘，以安其舍者也。雖處上體之下，不先於物；然而不得其位，不獲平坦之地者也。客子所處不得其次，而得其資斧之地，故其“心不快”。案：九四失位，而居艮上。艮為山。山非平坦之地也。四體兌巽。巽為木，兌為金，木貫於金，即資斧斫除荊棘之象者也。

The Small Image Commentary says: "Traveling in a place, not yet in a proper position. Obtaining the means and tools, the mind is still not at ease." Wang Bi explains that the axe is used to cut through thorns in order to establish a dwelling. Although the ninth line in the fourth position is located at the very bottom of the upper trigram, it does not rush ahead of others, yet it still does not attain the proper position, nor does it find a level place. The traveler is not in a proper lodging, but only receives a piece of land that needs to be cleared with axes, hence "the mind is not at ease." Li Dingzuo's commentary supports this from the perspective of the hexagram: the ninth line in the fourth position is out of its proper place and resides above the Gen trigram, which represents a mountain, and a mountain is not a level place. Furthermore, the ninth line in the fourth position is located between the Dui and Xun trigrams. Xun represents wood, and Dui represents metal. A wooden handle inserted into a metal blade is the symbolic image of holding an axe to cut through thorns.

六五：射雉，一矢亡，虞翻曰：三變坎為弓，離為矢，故“射雉”。五變乾體，矢動雉飛，故“一矢亡”矣。終以譽命。虞翻曰：譽謂二。巽為命。五終變成乾，則二來應已，故“終以譽命”。《象》曰：終以譽命，上逮也。虞翻曰：逮，及也。謂二上及也。

The line statement for the fifth line says: "Shooting a pheasant, one arrow is lost." Yu Fan explains: The third line changes to Kan, which represents a bow; Li represents an arrow and also a pheasant, so there is the image of "shooting a pheasant." When the fifth line changes, it becomes the body of Qian. The arrow has left the bow and the pheasant has flown away, so it is said "one arrow is lost." The line statement continues: "Finally, it brings honor and mandate." Yu Fan explains: "Honor" refers to the second line. Xun represents commands and mandates. When the fifth line changes to Qian, the second line rises to correspond with it, so it is said "finally obtaining honor and mandate." The Small Image Commentary says: "Finally, it brings honor and mandate, reaching upwards." Yu Fan interprets "reaching" as "reaching up," meaning the second line ascends to reach the fifth line.

干寶曰：離為雉，為矢；巽為木，為進退；艮為手，兌為決。有木在手，進退其體，矢決於外，射之象也。一陰升乾，故曰“一矢”。履非基位，下又無應。雖復射雉，終亦失之。故曰“一矢亡也”。一矢亡者，喻有損而小也。此記祿父為王者後，雖小叛擾，終逮安周室，故曰“終以譽命”矣。

Ganbao first explained the hexagram imagery and then connected it to historical events. The trigram Li represents a wild chicken and an arrow, Xun represents wood and movement forward and backward, Gen represents the hand, and Dui represents decision. The hand holds a wooden pole, the body moves forward and backward, and the arrow is shot decisively outward, forming the image of hunting. A single yao (line) rises and enters the Qian trigram, so it is called "one arrow." The sixth yao in the fifth position is not in its proper place, and there is no corresponding line below it. Even if the wild chicken is shot, it will ultimately be lost, hence "one arrow is lost." "One arrow is lost" is a metaphor for a loss that is not great. Ganbao believed this line refers to Wu Geng Lu Fu, who was granted the title of King of Yin after being enfeoffed. Although he launched a minor rebellion and caused disturbances, he eventually returned to stability under the Zhou dynasty, hence "finally achieving a good reputation."

上九：鳥焚其巢，旅人先笑後號咷，虞翻曰：離為鳥，為火；巽為木，為高。四失位變震，為筐，巢之象也。今巢象不見，故“鳥焚其巢”。震為笑，震在前，故“先笑”。應在巽，巽為號咷，巽象在後。故“後號咷”。

The line statement for the top nine (上九) is: "A bird burns its nest, a traveler first laughs then wails." Yu Fan said: The trigram Li represents birds and fire, while Xun represents wood and height. The nine in the fourth (九四) loses its position and transforms into Zhen, which represents bamboo baskets, thus forming the image of a bird's nest. Now that the image of the nest is gone, it is said "the bird's nest is burned." Zhen also represents laughter, with the Zhen image coming first, hence "first laugh"; the top nine corresponds to Xun, which represents wailing, with the Xun image coming later, hence "then wail." Thus, it begins with joy and ends with sorrow.

喪牛于易，凶。虞翻曰：謂三動時坤為牛。五動成乾，乾為易。上失三，五動應二。故“喪牛于易”。失位無應故“凶也”。五動成遁，六二：“執之用黃牛之革，”則旅家所喪牛也。

The line statement continues, "Lost a cow in the plain, misfortune." Yu Fan explains: When nine in the third moves, there is the image of坤 (Earth), and坤 represents a cow; when six in the fifth moves to form Qian (Heaven), Qian represents the plain ("易" is also interpreted as the field boundary). The upper nine loses correspondence with nine in the third, and six in the fifth moves down to correspond with six in the second, hence the statement "lost a cow in the plain." The upper nine is out of position and has no correspondence, hence the misfortune. When six in the fifth moves, the entire hexagram becomes Duan (Retreat). The line statement of line two in Duan says "using the hide of a yellow cow to hold it," and that cow is precisely the one lost in the present hexagram of Lü (Travel).

《象》曰：以旅在上，其義焚也。虞翻曰：離火焚巢，故“其義焚也”。喪牛于易，終莫之聞也。虞翻曰：坎耳入兌，故“終莫之聞”。侯果曰：離為鳥，為火。巽為木，為風。鳥居木上，巢之象也。旅而贍資，物之所惡也。喪牛甚易，求之也難。雖有智者，莫不吉也。

The Small Image Commentary says, "With a traveler on top, its meaning is burning." Yu Fan explains: fire from the trigram Li burns the bird's nest, so by principle it must be destroyed. The Small Image Commentary also says, "Losing an ox in the easy (or smooth) place, never hearing of it again." Yu Fan says: Kan represents ears, and Kan entering into Dui is destroyed, so "one never hears of the ox's whereabouts." Hou Guo then discusses this line generally: Li represents birds and fire, Xun represents wood and wind. A bird perching on top of a tree is the image of a nest. Being a traveler abroad while carrying abundant wealth is inherently something that invites hatred; losing an ox is easy, but recovering it is very difficult. In such a situation, even a wise person finds it hard to achieve good fortune.

《序卦》曰：旅無所容，故受之以巽。巽者，入也。崔覲曰：旅寄於外，而無所容，則必入矣。故曰：“旅無所容，受之以巽。”（巽下巽上）。巽：小亨，利有攸往，利見大人。虞翻曰：遁二之四，柔得位而順五剛，故“小亨”也。大人謂五。離目為見。二失位，利正往應五。故“利有攸往，利見大人”矣。

The "Xu Gua Zhuan" says: "When people are traveling and have nowhere to stay, the next hexagram after the Travel hexagram is the Wind hexagram. Wind means entering." Cui Jin explains: when one is staying away from home and has nowhere to stay, one must necessarily seek to enter and rely on others, hence "traveling without a place to stay, followed by Wind." The Wind hexagram has both upper and lower trigrams as Wind, and the hexagram statement says: "Slightly prosperous, favorable for going forward, favorable to see a great man." Yu Fan explains using the concept of changing hexagrams: the Wind hexagram comes from the Retreat hexagram with the second line moving up to the fourth line. The yao is in the correct position and follows the strong nine at the fifth line, hence "slightly prosperous." "Great man" refers to the nine at the fifth line. The trigram Li represents the eye, hence the meaning of seeing. The nine at the second line is out of position, and it is favorable for it to change and become correct, and to go forward to respond to the five, hence "favorable for going forward, favorable to see a great man."

《彖》曰：重巽以申命，陸績曰：巽為命令。重命令者，欲丁寧也。剛巽乎中正而志行，陸績曰：二得中，五得正，體兩巽，故曰“剛巽乎中正”也。皆據陰，故“志行”也。虞翻曰：剛中正，謂五也。二失位，動成坎，坎為志。終變成震，震為行也。柔皆順乎剛，是以小亨。陸績曰：陰為卦主，故“小亨”。利有攸往，利見大人。案：其義已見繇辭。

The Commentary on the Judgment says, "Two Gengs (巽) are combined to reaffirm the command." Lu Ji explains: Geng represents command, and two Gengs stacked together indicate a repeated reaffirmation of the command, aiming for thoroughness. The Commentary on the Judgment also says, "The strong lines are compliant with the middle and correctness, thus the will is carried out." Lu Ji believes: Nine Two is in the middle, Nine Five is in the correct position, and the whole hexagram consists of two Gengs stacked, so the strong lines can be compliant with the middle and correctness; the two strong lines also both rest upon the yin lines, so their will can be realized. Yu Fan says: "Strong, middle, and correct" specifically refers to Nine Five; Nine Two is out of position, and once it moves, it becomes Kan, which represents the will, eventually transforming into Zhen, which represents action, so it says "the will is carried out." The Commentary on the Judgment also says, "All the yin lines are compliant with the yang lines, thus it is smallly prosperous." Lu Ji points out that the yin lines are the main elements of the hexagram, and yin represents smallness, so it is only small prosperity. As for the hexagram statement "favorable to go somewhere, favorable to see a great man," Li Dingzuo's commentary says: its meaning has already been explained in the previous discussion of the hexagram statement.

《象》曰：隨風，巽。君子以申命行事。虞翻曰：君子，謂遁乾也。巽為命，重象，故“申命”。變至三，坤為事，震為行，故“行事”也。荀爽曰：巽為號令，兩巽相隨，故“申命”也。法教百端，令行為上，貴其必從，故曰“行事”也。

The Great Image Commentary says: "Wind follows wind, which is Xun. The gentleman learns from this to repeatedly issue commands and carry out affairs." Yu Fan says: "The gentleman" refers to the Qian trigram in the Duan hexagram; Xun represents commands, and two Xun trigrams stacked together form the image of "reiterating commands." When the line changes to the third line, there is Kun, which represents affairs, and Zhen represents action, so it is said "carrying out affairs." Xun Shuang explains: Xun represents commands, and two Xun trigrams following each other in sequence form the meaning of "reiterating commands." Laws and orders are numerous, but the most important is the command that can be implemented, and it is valuable to ensure that it is definitely followed, hence "carrying out affairs."

初六：進退，利武人之貞。虞翻曰：巽為進退。乾為武人。初失位，利之正為乾，故“利武人之貞”矣。《象》曰：進退，志疑也。荀爽曰：風性動，進退欲承五，為二所據，故志以疑也。利武人之貞，志治也。虞翻曰：動而成乾，乾為大明，故“志治”。乾元用九，天下治，是其義也。

The line statement for the first line (Initial Six) says: "Advancing and retreating, it is advantageous for the virtuous warrior to maintain constancy." Yu Fan explains: The trigram Xun inherently represents indecision in advancing and retreating, and Qian represents the virtuous warrior. Since the first line is out of its proper position, it is advantageous for it to change and achieve correctness to form the body of Qian, hence the statement "advantageous for the virtuous warrior to maintain constancy." The Small Image Commentary says, "Advancing and retreating, the mind is doubtful." Xun Shuang explains: The nature of wind is active, and the first line's advancing and retreating is uncertain, originally intending to ascend to the fifth line, but being occupied by the second line, thus the mind is doubtful. The Small Image Commentary also says, "Advantageous for the virtuous warrior to maintain constancy, the mind is orderly." Yu Fan points out: When the first line moves, it forms Qian, and Qian represents great brightness, so the mind becomes orderly. The "Use of All Nines" in the Qian hexagram says, "The world is well governed," which is exactly this meaning.

九二：巽在床下，宋衷曰：巽為木。二陽在上，初陰在下，慶之象也。二無應於上，退而據初，心在於下，故曰“巽在床下也”。荀爽曰：床下，以喻近也。二者，軍帥。三者，號令。故言“床下”。以明將之所專，不過軍中事也。

The Line Statement for Nine in the Second: "The Wind is beneath the bed." Song Zhong explains: Wind represents wood, and the two yang lines, Nine in the Second and Nine in the Third, are above like the bed frame, while the single yin line, Initial Six, is below like the empty space beneath the bed, forming exactly the image of a bed. (The character "qing" in the text is likely a mistake for "chuang," meaning bed.) Nine in the Second, being above, has no proper correspondence, so it retreats to occupy Initial Six, focusing its thoughts downward, hence it is said "modesty is beneath the bed." Xun Shuang, however, interprets it from the perspective of military affairs: "beneath the bed" is used to symbolize a close and familiar place; Nine in the Second is the general commanding troops, and Nine in the Third is the position from which orders are issued. Therefore, "beneath the bed" is used to indicate that the general's authority is limited to military matters only.

用史巫紛若，吉，無咎。荀爽曰：史以書勳，巫以告廟。紛，變。若，順也。謂二以陽應陽，君所不臣，軍師之象。征伐既畢，書勳告廟。當變而且順五則吉。故曰“用史巫紛若，吉無咎”矣。《象》曰：紛若之吉，得中也。荀爽曰：謂二以處中和，故能變。

The line statement continues, "Employing the historian and the shaman, with change and compliance, it is auspicious and without fault." Xu Shuang explains that the historian is responsible for recording meritorious deeds, while the shaman is responsible for offering sacrifices to the ancestral temples; "fen" means change, and "ruo" means compliance. Nine Two, with a yang line, corresponds to Nine Five, another yang line, indicating a minister who is not treated as a regular official by the sovereign, embodying the image of a general commanding an army. After a campaign, the historian records the achievements, and the shaman offers sacrifices to the ancestral temples; Nine Two should change and comply with Nine Five, thus achieving auspiciousness, hence it is said, "Employing the historian and the shaman, with change and compliance, it is auspicious and without fault." The Small Image Commentary says, "The auspiciousness of change and compliance comes from being in the center." Xu Shuang points out that Nine Two is in the center and acts with harmony, thus being able to adapt flexibly.

九三：頻巽，吝。虞翻曰：頻，頞也。謂二已變。三體坎艮，坎為憂，艮為鼻，故“頻巽”。無應在險，故“吝”也。《象》曰：頻巽之吝，志窮也。荀爽曰：乘陽無據，為陰所乘，號令不行，故“志窮也”。

The third line statement says: "Frequent compliance leads to difficulty." Yu Fan interprets "frequnt" as "e" meaning to furrow one's brow and wrinkle one's nose: this indicates that the second line has changed, and the third line is now in the body of Kan and Gen. Kan represents sorrow, and Gen represents the nose. Sorrow is expressed on the face and the nose is furrowed, hence "frequent compliance" — appearing sorrowful and forcedly submissive. The third line has no proper correspondence and is in a dangerous situation, hence there is regret. The Small Image Commentary says, "Frequent compliance leads to difficulty, because the will is exhausted." Xun Shuang offers another interpretation: the third line is overpowering the yang line and has no support, and is further oppressed by a yin line, so its commands cannot be carried out, hence the mind is trapped and exhausted.

六四：悔亡，田獲三品。虞翻曰：田，謂二也。地中稱田，失位無應，悔也。欲二之初，已得應之，故“悔亡”。二動得正，處中應五。五多功，故《象》曰“有功也”。二動艮為手，故稱“獲”。謂艮為狼，坎為豕。艮二之初，離為雉。故“獲三品”矣。翟元曰：田獲三品，下三爻也：謂初巽為雞；二兌為羊，三離為雉也。

The line statement for the fourth line says: "Regret disappears, hunting three kinds of game." Yu Fan explains that "field" refers to the second line, which is in the center of the earth; the fourth line is out of position and has no proper correspondence, so it should have regret. It hopes that the second line moves down to the first position, so that it can correspond with it, hence "regret disappears." When the second line moves, it becomes correct, occupies the center, and corresponds with the fifth line. The Great Treatise says "the fifth line has many achievements," so the Small Image Commentary concludes "there is achievement." The second line moving forms Gen, which represents the hand, so it is called "hunting"; Gen represents a wolf, Kan represents a pig, and the second line of Gen moving down to the first position becomes Li, which represents a pheasant. Thus, it is said "hunting three kinds of game." Zhai Yuan offers another interpretation: "hunting three kinds of game" is based on the imagery of the three lines below—the first line's Xun represents a chicken, the second line's Dui represents a sheep, and the third line's Li represents a pheasant.

案：《穀梁傳》曰春獵曰田，夏曰苗，秋曰蓃，冬曰狩。田獲三品：一為乾豆；二為賓客；三為充君之庖。注云：上殺中心，乾之為豆實；次殺中髀骼，以供賓客；下殺中腹；充君之庖廚。尊神敬客之義也。《象》曰：田獲三品，有功也。王弼曰：得位承五而依尊履正。以斯行命，必能獲強暴，遠不仁者也。獲而有益，莫若三品，故曰“有功也”。

Li Dingzuo cites the rites to explain: The "Guliang Commentary" states that in spring hunting is called "tian", in summer "miao", in autumn "shu", and in winter "shou". The phrase "tian huo san pin" refers to three grades of hunting results. The first grade is made into dried meat to serve as offerings in worship, the second grade is provided to guests, and the third grade is used to fill the royal kitchen. Old annotations say that hitting the heart is the top grade, dried and placed in bamboo baskets for use in worship; hitting the thigh bone is the second grade, used to entertain guests; hitting the abdomen is the third grade, used to fill the royal kitchen. This reflects the reverence for the divine and respect for guests. The "Xiangzhuan" says, "tian huo san pin, you gong." Wang Bi explains: the sixth line in the fourth position is in the right place and supports the ninth line in the fifth, relying on the superior and maintaining proper conduct. With such a position, implementing decrees will surely capture the wicked and distance the unrighteous. Gaining such results benefits people, and nothing is better than these three grades, hence it is said "you gong."

九五：貞吉，悔亡，無不利，無初有終。虞翻曰：得位處中，故“貞吉，悔亡，無不利”也。震巽相薄，雷風無形，當變之震矣。巽究為躁卦，故“無初有終”也。

The Line Statement of the Fifth Line: "Maintaining the correct path brings good fortune, regret disappears, and there is no disadvantage, no initial success but eventual success." Yu Fan explains: The Nine in the Fifth occupies a Yang position and is in the center of the Upper Trigram, so it is said "maintaining the correct path brings good fortune, regret disappears, and there is no disadvantage." The energies of Zhen and Xun are pressing against each other. Thunder and wind are both invisible things, and Xun ultimately should transform into Zhen. The "Commentary on the Trigrams" says that when Xun is explored to its extreme, it becomes the卦 of restlessness, which is Zhen, so it is said "there is no initial success but eventual success."

先庚三日，後庚三日，吉。虞翻曰：震，庚也。謂變初至二成離，至三成震，震主庚。離為日，震三爻在前，故“先庚三日”。謂益時也。動四至五成離，終上成震，震三爻在後，故“後庚三日”也。巽初失正，終變成震，得位，故“無初有終”，“吉”。震究為蕃鮮白，謂巽也。巽究為躁卦。躁卦，謂震也。與蠱“先甲三日，後甲三日”同義。五動成蠱，乾成於甲，震成於庚，陰陽天地之始終，故經舉甲庚於《蠱·彖》、《巽五》也。

The line statement continues, saying, "Three days before the day of Geng, and three days after the day of Geng, it is auspicious." Yu Fan explained using the method of Najia stem assignment: Zhen is paired with Geng in the heavenly stems. Starting from the first line, changing to the second line forms Li, then changing to the third line forms Zhen, which governs Geng. Li represents the sun, and Zhen has three lines in front, so it is said, "Three days before the day of Geng." At this point, the structure of the hexagram becomes Yi. Then, starting from the fourth line, changing to the fifth line forms Li, and finally reaching the top line forms Zhen, which has three lines behind, so it is said, "Three days after the day of Geng." The initial line of Xun was originally out of its proper position, but after changing into Zhen, each line is in its proper place, so "Initially not smooth but ultimately successful, it is auspicious." The "Sayings on the Hexagrams" state that Zhen, when examined to its extreme, is "Fan Xian," which actually refers to Xun; and Xun, when examined to its extreme, is "Zao," which actually refers to Zhen. The two are mutual beginnings and endings. This is similar to the hexagram statement of Gu, which says, "Three days before the day of Jia, and three days after the day of Jia." The fifth line of the hexagram Gu moves to form the hexagram Gu. Qian is formed by Jia in Najia, and Zhen is formed by Geng. Jia and Geng are the beginning and end of yin and yang, heaven and earth, so the text specifically mentions Jia and Geng in the "Tao Cite" of Gu and in the fifth line of Xun.

《象》曰：九五之吉，位正中也。虞翻曰：居中得正，故“吉”矣。上九：巽在床下，虞翻曰：床下，謂初也。窮上反下成震，故“巽在床下”。《象》曰：“上窮也”。明當變窮上而復初也。《九家易》曰：上為宗廟。禮封賞出軍，皆先告廟，然後受行。三軍之命，將之所專。故曰“巽在床下”也。

The Small Image Commentary says, "The good fortune of the nine in the fifth position is due to its proper central position." Yu Fan explains that the nine in the fifth position is in the central position of the upper trigram and also occupies the correct position, hence the good fortune. The line statement for the top line says, "Wind is beneath the bed." Yu Fan explains that "beneath the bed" refers to the initial six. The top nine, having reached the extreme upper position, must return to the lower position to become Zhen, hence it is said "Wind is beneath the bed." The Small Image Commentary says, "It has reached the extreme," which clearly indicates that after reaching the extreme upper position, it should return to the initial position. The Nine Schools' Commentary, however, explains from the perspective of ritual: the top line corresponds to the position of the ancestral temple. According to ritual, when granting titles, rewarding, or going to war, one must first offer sacrifices at the ancestral temple before receiving the mandate to act. The commands of the army are the exclusive authority of the general, hence it is said, "Wind is beneath the bed."

喪其齊斧，貞凶。虞翻曰：變至三時，離毀入坤。坤為喪，巽為齊，離為斧，故“喪其齊斧”。三變失位故“貞凶”。荀爽曰：軍罷師旋，亦告於廟，還斧於君，故“喪齊斧”。正如其故，不執臣節，則凶。故曰“喪其齊斧，貞凶”。《象》曰：巽在床下，上窮也。虞翻曰：陽窮上反下，故曰“上窮也”。喪其齊斧，正乎凶也。虞翻曰：上應於三，三動失正，故曰“正乎凶也”。

The line statement continues with "losing the ceremonial axe, maintaining uprightness brings calamity." Yu Fan explained from the perspective of the hexagram: when the line changes to the third line, the trigram Li is destroyed and enters into the trigram Kun, where Kun represents loss, Xun represents order, and Li represents an axe. Therefore, it is said "losing the orderly axe." When the third line changes, it loses its proper position, so maintaining uprightness leads to misfortune. Xun Shuang explained from the perspective of military rites: when the army returns from battle, it must also offer sacrifices to the ancestral temple and return the axe and halberd, symbols of military authority, to the sovereign. Therefore, it is said "losing the ceremonial axe." If one continues to maintain the original state without returning them, not following the proper conduct of a subject, there will be misfortune, hence "losing the ceremonial axe, maintaining uprightness brings calamity." The Small Image Commentary says "Xun is beneath the bed, reaching the upper limit." Yu Fan explained: when a yang line reaches its upper limit, it must return to the lower position, hence "reaching the upper limit." The Small Image Commentary also says "losing the ceremonial axe, uprightness leads to calamity." Yu Fan pointed out that the upper nine corresponds with the lower three, and when the third line moves, it loses its proper position, hence even if one believes oneself to be upright, the result is still calamity.