Jiao Shi Yi Lin Zhu (焦氏易林注) · Volume 1

乾。道陟石阪，胡言連謇。譯瘖且聾，莫使道通。請謁不行，求事無功。乾為道、為陟、為山，故曰石阪。為言，在西北，故曰胡言。連謇，口吃也。震為鳴，坎為耳，艮為道、為請求，今為純乾，乾三子具不見，故曰暗、曰聾、曰道不通、曰請求無功，蓋三子各分乾一爻也。又林詞所以不吉者，以卦為純陽，陽遇陽則窒故也。此易之根本大義，自此義不明而易多誤解。○石，汲古作多，謇作蹇，瘖訛瘠。依宋元本。

The first line of the transformation of the Qian trigram remains Qian, meaning the hexagram is entirely composed of yang lines, known as a "pure hexagram." According to the "Yi Lin" tradition, each hexagram is followed by sixty-four lines, each line beginning with the name of the hexagram it transforms into, called the "resulting hexagram." The line says: traveling involves climbing a rocky slope, hearing the speech of a barbarian that is stammering and hard to understand; a person acting as an interpreter is both mute and deaf, unable to communicate; attempts to meet someone or make a request fail, and affairs do not succeed—this is a completely blocked and ominous situation. Shang Binghe explains: the Qian trigram includes the images of "road," "ascending," and "mountain," hence the term "stone slope" in the line; Qian also relates to speech, and since Qian is located in the northwest in the Later Heaven trigrams, the northwest is associated with barbarian lands, hence "barbarian speech"; "lián jiǎn" refers to stammering and speech impediments. According to Shang's interpretation, Zhen trigram represents sound, Kan trigram represents ears, and Gen trigram represents roads and requests. Now, since the entire hexagram is pure Qian, none of these trigrams—Zhen, Kan, and Gen, which are the "three sons" of Qian—appear, hence the description of being mute, deaf, roads blocked, and requests failing. Originally, each of these trigrams would receive one line from Qian: Zhen receives the first line, Kan the middle line, and Gen the top line. However, in a pure Qian hexagram, these trigrams cannot form. Shang also points out that this line is an ominous omen because the entire hexagram is pure yang, and yang meeting yang causes blockage and obstruction. This is a fundamental principle of the "Zhou Yi." Because later generations failed to understand this principle, interpretations of the "Zhou Yi" have often been erroneous. Note: The character "stone" in the汲古阁 edition is "duo," "jiǎn" is "jian," and "yin" is mistakenly written as "ji" in some editions; here we follow the Song and Yuan dynasty editions.

坤。招殃來螫，害我邦國。病傷手足，不得安息。乾變陰故曰招。日來坤陰為災殃、為毒螫、為害、為邦國。艮手震足，今純坤艮震毀，故曰病傷手足。坤逆行故曰來，《繫辭》“來者，伸也。”即謂坤逆行。○殃，元本作禍，依宋本、汲古。傷，宋元本作在，依汲古。

The trigram Qian transforms into Kun. Lin's commentary says: "I have attracted calamity and venomous insects' stings, harming my state; my hands and feet are all injured, and I cannot rest in peace." Shang Binghe explains: The primary hexagram Qian changes into the fully yin trigram Kun. Yang withdraws and yin comes, so Lin uses the word "attract" (the original text here reads "day comes," "day" is likely a mistake for "says," which corresponds with the following text "Kun moves in reverse, hence it is called 'comes'"). Kun represents pure yin, and in the "Forest of Divination" (Yi Lin), it symbolizes calamity, venom, injury, and also the state, hence the statement "harm my state." Gen symbolizes the hand, Zhen symbolizes the foot. Now transformed into pure Kun, the forms of Gen and Zhen are destroyed, hence "injured hands and feet." The movement of Kun's energy is reverse, and reverse movement is called "comes." The "Great Treatise" (Xì Cí) says "coming means extension," referring precisely to the reverse extension of Kun's energy. Notes: The character "yāng" (calamity) in the original edition is "huò" (calamity), here following the Song edition and Jigugong edition; the character "shāng" (injury) in the Song and Yuan editions is "zài" (presence), here following the Jigugong edition.

屯。陽孤亢極，多所恨惑。車傾蓋亡，身常憂惶。乃得其願，雌雄相從。坎為孤，一陽居五，民皆歸初，故曰孤亢。坎為憂疑，故曰恨惑、曰憂惶。艮為蓋，震為車。坎破，故傾亡。坤為身，初陽四陰、二陰五陽皆有應與，故曰雌雄相從。○凡六子易林皆有孤、獨、鰥、寡象，人皆知巽寡，餘失傳。不下贅。

The trigram Qian transforms into Zun. Lin Ci says: A single yang line is alone at the highest position, full of resentment and confusion; the cart overturns and the canopy is lost, the body is often in anxiety and fear; in the end, the wish is finally fulfilled, the male and female are together — first凶 then吉. Shang Binghe explains: Zun is composed of Zhen below and Kan above. Kan has the image of 'solitude'; this trigram has only one yang line, nine in the fifth position, in the尊位, while the people below all follow the initial nine. Therefore, it is said 'solitary and exalted'. Kan also represents worry and doubt, hence the words 'resentment and confusion' and 'anxiety and fear'. Gen represents the canopy, Zhen represents the cart, and Kan represents damage, so the cart overturns and the canopy is lost. The trigram Zun has the second, third, and fourth lines forming the mutual trigram Kun (mutual trigram is formed by taking three adjacent lines to form another trigram). Kun represents the body, so it is said 'body'. Looking at the line positions, the yang line of initial nine corresponds with the yin line of the fourth line, and the yin line of the second line corresponds with the yang line of the fifth line. Yin and yang each find their partners, so the concluding sentence says 'male and female are together'. Note: Shang's additional remarks: among the six sons of Qian and Kun — Zhen, Kan, Gen, Xun, Li, and Dui — the 'six children' trigrams can all produce images of 'solitude', 'loneliness', 'widow', and 'widower' in the '易林'. The world only knows that Xun has the image of 'widow', but the images of the other five trigrams have been lost, and will not be mentioned again below.

蒙。鴶鵴鳲鳩，專一無尤。君子是則，長受嘉福。艮為鳥，故曰鴶鵴鳲鳩。艮止，故專。一說鳲鳩義與毛同。艮為君子，坎為法則，震為嘉福。○艮，鳥象，失傳。鴶，音戞。鴶鵴鳴鳩，皆布穀也。鴶，各本多訛鵠，依宋元本。

The trigram Qian transforms into Meng. Lin Ci said: "The birds called Jieju and Shijiu, which are also known as the cuckoo, are devoted and single-minded, without error; the gentleman takes them as a model, and thus receives long-lasting good fortune—this is a favorable omen." "Jieju" is pronounced as "jiaju," and together with "Shijiu," they are alternative names for the cuckoo. Shang Binghe explained: Meng is composed of Kan below and Gen above, and Gen has the image of a bird, so Lin Ci cited Jieju and Shijiu. Gen's virtue is to stop, meaning not to go elsewhere, hence "single-minded." Another interpretation is that the meaning of "Shijiu" is the same as in the "Mao Shi" (Book of Songs). In the poem "Shijiu" from the "Cao Feng" section of the "Mao Shi," it says, "Shijiu sits in the mulberry tree, with seven young ones; the virtuous gentleman, his conduct is consistent." This describes how the cuckoo feeds its young equally, symbolizing the gentleman's single-minded devotion. Gen represents the gentleman, Kan represents principles, and the second, third, and fourth lines of Meng form Zhen, which represents good fortune and blessings. Therefore, there is the saying, "The gentleman follows the standard, and thus receives enduring good fortune." Note: The bird image of Gen belongs to the "yi xiang" (unrecorded image) category—unmentioned in the "Shu Guan Zhuan" (Commentary on the Trigrams), lost in later times, and restored by Shang from the examples in the "Yi Lin" (Forest of the Book of Changes). The character "Jie" is pronounced "jia," and both Jieju and Shijiu refer to the cuckoo. The character "Jie" is often mistakenly written as "hu" in other editions, but here it follows the Song and Yuan dynasty editions.

需。目瞤足動，喜如其願，舉家蒙寵。互離為目。瞤，亦動也。乾為喜、為寵。坎為官室、為家。《西京雜記》“目瞤得酒食，故曰喜。”足，疑為指訛，《左傳》“食指動”是也，伏艮象。○目，汲古訛日，從宋元本。

The trigram Qian transforms into Xu. Lin Ci says: "The eyelid twitches, the feet also move, and joyful things will come to pass as desired, the whole family will be favored." Shang Binghe explains: Xu is composed of Qian below and Kan above. The third, fourth, and fifth lines form the trigram Li, which governs the eye, hence the mention of "eye." "Mun" also means twitching. Qian signifies joy and favor, while Kan represents officialdom and the household, hence the statement "the whole family is favored." The "Xijing Zaji" records that twitching of the eyelid is an omen of receiving food and drink, so Lin Ci interprets it as "joy." As for the character "foot," Shang suspects it may be a mistake for "finger." The "Zuo Zhuan" records that in the fourth year of King Xuan of Zheng, a nobleman's finger twitched and he foresaw he would taste something unusual, which is the same type of omen. The "hidden image" (the trigram obtained by reversing all six lines) of Xu is Jin. The second, third, and fourth lines of Jin form Gen, which governs fingers, matching the image of "twitching finger." Notes: The character "eye" in the汲古阁 edition is mistakenly written as "sun," but here we follow the Song and Yuan editions.

訟。龍馬上山，絕無水泉。喉焦唇乾，舌不能言。乾為龍馬、為山，在上，坎在下而中為火、為日，故水泉絕。兌為喉舌、為唇，乃兌覆而與火鄰，故焦渴不能言。

The trigram Qian transforms into the hexagram Song. Lin Ci said: A dragon horse ascends a high mountain, with no water springs around; the throat is scorched and thirsty, the lips are dry and cracked, and the tongue cannot speak — this is the image of dryness and obstruction. Shang Binghe explained: Song is composed of Kan below and Qian above. Qian represents a dragon horse and also a mountain, and since it is in the upper trigram, it is called "a dragon horse ascending a mountain." The water of Kan is originally in the lower trigram, but the second, third, and fourth lines interact to form Li, which represents fire and the sun. The water is scorched by fire and the sun, hence the saying "no water springs." The trigram Dui governs the throat and tongue, as well as the lips. In this hexagram, the third, fourth, and fifth lines interact to form Xun, which is the inverted form of Dui, known as a "reversed image" (a reversed image is the hexagram obtained by inverting the original). This inverted Dui is adjacent to the fire of Li, thus causing extreme thirst and an inability to speak.

師。倉盈庾億，宜種黍稷。年豐歲熟，民人安息。坤為腹、為囊，倉庾象也。坤眾故曰盈、曰億、曰豐熟。震為黍稷，坤為歲年、為民人、為安息。後比之升、坤之恆詞同，亦皆以坤為倉庾。《詩小雅楚茨》云“我黍與與，我稷翼翼；我倉既盈，我庾維億。”又《甫田》云“曾孫之稼，如茨如梁；曾孫之庾，如坁如京。乃求千斯倉，乃求萬斯箱；黍稷稻粱，農夫之慶。”○年豐歲熟，元刊作國家富有；安作蕃，依宋本、汲古。

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) Shang Binghe explains: The trigram Qian transforms into the trigram Shi. Lin Ci says: The granaries are full, the open-air grain heaps are counted in the tens of thousands, suitable for planting millet and millet; the harvest is abundant, the five grains are ripe, the people rest in peace — this is a great auspicious sign of a bountiful harvest. Shang Binghe explains: Shi is composed of Kan below and Kun above. Kun governs the abdomen and the bag, both of which are things that can contain, which is the symbolic representation of granaries and open-air grain heaps (the term 'yu' refers to open-air grain heaps). Kun also governs multitude, hence it is said 'full', 'countless', and 'abundance'. The second, third, and fourth lines of Shi form Zhen, which governs millet and millet, while Kun governs years, people, and rest. Later in this text, the lines 'Comparison with Sheng' and 'Kun's Heng' are similar to this one, also taking Kun as representing granaries. The quoted lines from the 'Small Ya' section 'Chu Ci' describe millet growing luxuriantly and millet growing neatly, granaries full and open-air grain heaps counted in the tens of thousands; the 'Small Ya' section 'Fu Tian' describes the grandson's crops piled up like roof beams and like house beams, the grandson's grain heaps high as water islands and high hills, thus requiring the building of a thousand granaries and ten thousand grain boxes, with millet, millet, rice, and millet all stored in the granaries — this is the joy of the farmer. Lin Ci is drawing upon the poetic imagery from these two passages. Notes: The original edition reads 'national wealth' instead of 'abundant harvest', and the character 'an' in 'rest' is written as 'fan' here, following the Song edition and the Jigugong edition.

比。中夜犬吠，盜在牆外。神明佑助，消散皆去。坤、坎皆為夜。坎為中，故曰中夜。艮為犬，伏兌口，故曰犬吠。坎為盜，艮為牆，坎在外故曰在牆外。伏乾為神，艮為明，坤消故曰消散。○犬，元刊作狗，依汲古。

The trigram Qian transforms into Bi. Lin Ci says: "In the middle of the night, a dog barks, and thieves are guarding outside the wall; with the help of divine protection, the thieves disperse and all leave—first there is alarm, then peace." Shang Binghe explains: Bi consists of Kun below and Kan above. Both Kun and Kan have the image of "night," and Kan is in the central position, so together they form "midnight." The third, fourth, and fifth lines together form Gen, which represents a dog. The hidden image (the reversed trigrams, or the opposite trigram) of Bi is Da You. In Da You, the interacting trigrams produce Dui, which represents a mouth, and a mouth is needed for barking, so it is said "the dog barks." Kan represents thieves, Gen represents walls, and since Kan is in the outer trigram, it is said the thieves are outside the wall. The hidden image Da You has the lower trigram Qian, which represents divine beings, and Gen also represents brightness, so together they mean "divine protection." The trigram Kun represents retreat, so the thieves "disperse and all leave." Note: The original edition reads "dog" but this version follows the Jigugong edition.

小畜。據斗運樞，順天無憂，與樂並居。通豫。艮為星，數七，故曰據斗。坎為樞，故曰運樞。乾順行故曰順天。坎伏故無憂。震為樂，艮為居。○汲古多“所行造德”四字，依宋元本。

The hexagram Qian transforms into Xiao Xu. Lin's commentary says: Holding the Big Dipper and rotating the pivot star, following the heavenly way brings no worries and allows one to dwell with joy. Shang Binghe explains: This passage entirely uses the image of 'mutual transformation'—the six lines of Xiao Xu, when their yin and yang are completely reversed, form the hexagram Yu. Therefore, the annotation first mentions 'mutual transformation into Yu'. The hexagram Yu has its second, third, and fourth lines forming Gen, which represents stars. Since Gen is associated with the number seven, the Big Dipper, which consists of seven stars, is referred to as 'according to the Big Dipper'. The third, fourth, and fifth lines of Yu form Kan, which represents the pivot, hence 'rotating the pivot'. The original hexagram Xiao Xu has its lower trigram as Qian, whose movement is in a harmonious direction, which aligns with the heavenly way, thus 'following heaven'. Kan represents worries and dangers, but in this case, it is hidden and not visible, hence 'no worries'. The upper trigram of Yu is Zhen, which represents joy, and Gen represents dwelling, thus 'dwelling with joy'. Note: The Ji Gu Ge edition adds the phrase 'the path leads to virtue', but this version follows the Song and Yuan editions by omitting it.

履。空拳握手，倒地更起。富饒豐衍，快樂無已。通謙。艮為拳、為手，坤為地，為下。震起，故曰倒地更起。坤為富饒，震為快樂，全用伏象，易卦爻詞每如此也，易林無創例。○倒，汲古作委，依宋元本。

The hexagram Qian transforms into the hexagram Li. Lin's statement says: empty fists, hands clasped together, falling down on the ground and then rising again; the family is wealthy and prosperous, happiness has no end—this is the image of first being defeated and then rising again. Shang Binghe explains: this line also fully employs the image of mutual influence. The hexagram Li is formed by the reversal of the sixth line of the hexagram Lu (Gentle). The lower trigram of Li is Gen (Mountain), which represents fists and hands, hence the phrase "empty fists and clasped hands." The upper trigram of Li is Kun (Earth), which represents the earth and being low, thus the phrase "falling down." The third, fourth, and fifth lines of Li form the trigram Zhen (Thunder), whose trigram virtue is movement and rising, hence the phrase "falling down and rising again." Kun represents wealth and abundance, Zhen represents joy, thus the phrase "wealthy and prosperous, joy without end." Shang also points out that this line entirely uses the hidden image. The hexagram statements and line statements of the Zhou Changes often take such images, and the Yi Lin does not create new examples. Note: The character "倒" in the Jigusha edition is "委," but here we follow the Song and Yuan editions.

泰。不風不雨，白日皎皎。宜出驅馳，通利大道。巽伏故不風，半坎故不雨。震為白，乾為日，震為出、為馳驅、為大塗、為通利。○利，汲古作理，從宋本。

Heavenly Stem: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branch: 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) Shang Binghe explains: The transformation of Qian into Tai. Lin Ci says: There is no wind, no rain, the day is bright and clear; it is suitable to travel by carriage, the big road is smooth and convenient — traveling is very auspicious. Shang Binghe explains: Tai consists of Qian below and Kun above. Xun governs wind, but in this hexagram, Xun is hidden and not visible, hence 'no wind'; Kan governs rain, but in this hexagram, only half of Kan is present — 'half image' is Shang's method of interpreting the Book of Changes, meaning two lines only form half of a hexagram, and if the image is incomplete, its meaning cannot be established, hence 'no rain'. The third, fourth, and fifth lines of Tai together form Zhen. Zhen governs white color, Qian governs the sun, thus forming 'bright day'; Zhen also governs traveling, running, and big roads (Sayings of the Changes: 'Zhen represents big roads'), and signifies smoothness and ease, hence 'suitable to travel and run, roads are smooth and convenient'. Note: The character 'li' in the Jigusha edition is 'ri', but here we follow the Song edition.

否。載日晶光，驂駕六龍。祿命徹天，封為燕王。坤為載，乾為日，在上故曰載日。伏震為龍、為駕，乾數六，故曰驂駕六龍。乾為祿，巽為命，乾在上，故曰徹天，伏震為王，兌為燕，故曰燕王。○載，元本作戴，依宋本、汲古。

The trigram Qian transforms into Po. Lin Ci said: "A chariot carries the sun, shining brightly; three horses draw six dragons; the position of honor and destiny connects directly with heaven, and he is enfeoffed as the Duke of Yan—this is an omen of great prestige." Shang Binghe explained: "Po is composed of Kuan below and Qian above. Kuan represents bearing and carrying, while Qian represents the sun, which is in the upper position, hence 'carrying the sun.' The hidden image (parallel trigram) of Po is Tai. In Tai, the mutual trigram is Zhen, which represents dragons and driving. The number of Qian is six, hence 'three horses drawing six dragons' (the term 'cān' refers to three horses pulling a chariot). Qian represents honor, and the third, fourth, and fifth lines of Po form Xun, which represents destiny. Qian is in the upper position, hence 'honor and destiny reach heaven.' The mutual trigram of Tai produces Zhen, which represents the Duke, and the mutual trigram of Tai also produces Dui, which represents Yan. Together, this means 'enfeoffed as the Duke of Yan.' Note: The original edition used the character 'dài' for 'zài,' but this version follows the Song edition and the Ji Gu Ge edition."

同人。子號索哺，母行求食。反見空巢，訾我長息。通師。震為子、為號、為哺、為請。請，求也。故曰索哺、曰求食。震為行，坤為母，艮為巢，坤虛，故曰空巢。震為長息，坎上下兩兌口相背，兌為口舌，故曰訾。○巢，依宋元本，汲古作窠。

The trigram Qian transforms into Tong Ren. Lin Ci said: A young bird cries out for food, while its mother goes out to find food; when she returns, she only finds an empty nest, and instead blames me, the eldest son — this is an omen of futile effort that brings resentment. Shang Binghe explained: This line takes the image of the opposite trigram. Tong Ren, when all six lines are reversed, becomes Shi (Kan below Kun above). Within Shi, the interacting trigram is Zhen, which governs offspring, crying, nurturing, and requesting — 'request' is 'seek,' so there is 'seeking food' and 'begging for nourishment'; Zhen also governs movement, while Kun represents the mother, so 'the mother goes out to seek food.' Gen represents the nest, and Kun's trigram virtue is emptiness, hence 'empty nest.' Zhen also governs the eldest son; Shi's lower trigram is Kan, which contains two opposite Dui mouths facing each other, Dui representing speech, and opposing mouths signify slander, hence 'blaming me, the eldest son' — '訾' means blame or criticize. Note: The character '巢' is based on Song and Yuan edition texts, while the Jigugong edition reads '窠.'

大有。上帝之生，福佑日成。修德行惠，樂且安寧。乾為上帝、為福、為德惠。通比，比樂坤安。本象、伏象兼取。○第四句元刊作樂安且寧，依汲古。

The trigram Qian transforms into Dali. Lin's interpretation says: receiving the nurturing and sustenance of the Heavenly Emperor, blessings are gradually realized; cultivating virtue and widely bestowing kindness, leading to peace and tranquility—this is a pure image of good fortune. Shang Binghe explains: Dali consists of Qian below and Li above. Qian represents the Heavenly Emperor, blessings, and virtue and kindness, and these elements are derived from the image of the primary hexagram itself. The term 'tong bi' refers to the fact that when all the yin and yang lines of Dali are reversed, it becomes the hexagram Bi. The 'Zage Zhuan' states 'Bi brings joy, Shi brings worry,' and Bi itself has an image of joy. Moreover, the lower trigram of Bi is Kun, which represents peace and tranquility, so the phrase 'joy and peace' comes from the hidden image. This shows that Lin's interpretation uses both the direct and hidden images. Note: The fourth line in the original edition reads 'le an qie ning,' but this version follows the Ji Gugē edition.

謙。山險難登，澗中多石。車馳轊擊，載重傷軸。擔負差躓，跌踒右足。艮為山、為石，坎為澗，坎險，故難登。震為車，坎多眚，故轊擊傷軸。坎為轊、為軸，艮為何，故曰擔負。坎蹇，故差躓、故跌踒。差，同蹉也。震為足，艮伏兌，故曰右足。○擔，依汲古。元刊作儋，義同。跌踒，汲古作踠跌，依宋元本。

The trigram Qian transforms into Qian. Lin Ci says: The mountain is steep and difficult to climb, and the mountain stream is full of broken stones; the carriage rushes forward, the wheel hubs collide, the load is too heavy and damages the axle; the person carrying the burden slips and falls, injuring and twisting the right foot—this is an image of taking risks and suffering injury. Shang Binghe explains: Qian is composed of Gen below and Kun above. Gen represents mountains and stones, and the second, third, and fourth lines form Kan together, which represents mountain streams. The virtue of Kan is danger, so it is said 'difficult to climb.' The third, fourth, and fifth lines form Zhen together, which represents a carriage; Kan also represents calamity, so the wheel hubs collide and the axle is injured—Kan is the image of the wheel hub and axle. Gen has the image of 'he,' which is the same as 'he,' meaning to carry on the shoulder, so it is said 'carrying a burden.' Kan also represents difficulties, so there is a slip and fall, and the foot is injured and twisted: 'cha' is the same as 'cuo.' Zhen represents the foot, and the trigram hidden within Gen is Dui, which is located to the west, and on the human body it represents the right side, so it specifically mentions the 'right foot.' Notes: The character 'dang' is based on the Jigugē edition, while the Yuan edition uses 'dan,' which have the same meaning; 'die yu' in the Jigugē edition is 'wan die,' here following the Song and Yuan editions.

豫。禹鑿龍門，通利水源。東注滄海，民得安存。震為帝，故曰禹。艮手，故曰鑿。坤為門，震為龍，故曰龍門。坎水坤水，故曰水源，震為通利、為東，坤為滄海、為民、為安。

The trigram Qian transforms into Yu. Lin Ci says: Da Yu opened the龙门 (Dragon Gate), excavating the mountain to allow the water to flow smoothly; the water flowed eastward into the vast sea, enabling the people to live in peace and security — this is an omen of great success and benefit to the people. Shang Binghe explains: Yu is composed of Kun below and Zhen above. Zhen represents the emperor, so it refers directly to Da Yu. The second, third, and fourth lines form Gen, which represents the hand, indicating the action of digging and opening the mountain, hence '凿' (to excavate). Kun represents the gate, and Zhen represents the dragon, together forming '龙门' (Dragon Gate), which is located between Hejin in Shanxi and Hancheng in Shaanxi, traditionally said to be where Yu excavated the mountain to divert the river. The third, fourth, and fifth lines of Yu form Kan, which represents water, and Kun also represents water, hence 'water source'. Zhen represents smooth flow and the east, while Kun represents the sea, the people, and peace, thus 'flowing eastward into the vast sea, the people gain peace and security'.

隨。乘龍上天，兩蛇為輔。踴躍雲中，遊觀滄海。民樂安處。震為龍，艮為天，故曰乘龍上天。巽蛇，兌卦數二，故曰兩蛇。輔，附也。互大坎為雲，坎在上，震起，故曰踴躍雲中。兌為澤，故曰海，艮為觀、為安。○民樂安處，元刊作安樂長處，依汲古。

The trigram Qian transforms into the trigram Suí. Lin Ci says: riding on a dragon to fly into the sky, two snakes are beside it; leaping and soaring in the clouds, touring and viewing the vast sea; the people are happy and each in their proper place — this is an image of rising high and universal peace. Shang Binghe explains: Suí is composed of Zhen below and Dui above. Zhen represents the dragon, and the second, third, and fourth lines together form Gen, which represents heaven, hence the saying "riding the dragon to heaven." Xun represents the snake, and Dui's number is two, hence "two snakes." "Fǔ" means to support or accompany. In this trigram, the second and third yao are two yin lines below, the fourth and fifth yao are two yang lines in the middle, and the sixth yao is one yin line above. The entire structure resembles an enlarged Kan trigram, which Shang called "Da Kan." Kan represents clouds; Kan is above and Zhen is active and represents movement and rising, hence "leaping and soaring in the clouds." Dui represents marshes, which can be extended to mean the sea, and Gen represents viewing and stability, hence "touring and viewing the sea, the people are happy and each in their proper place." Note: The original version reads "An Le Chang Chu," but this version follows the Jigugē edition.

蠱。彭祖九子，據德不殆。南山松柏，長受嘉福。艮為壽，故曰彭祖。彭祖名籛，壽八百歲，即《論語》所謂老彭也。震為子，數九，故曰九子。艮為據，震為德，艮山，震南，故曰南山。巽為松柏，震為嘉福。○德，元刊作得。

The trigram Qian transforms into Gu. Lin Ci said: Pengzu had nine sons who upheld virtue without peril; like the pine and cypress on the southern mountain, they long enjoyed good fortune — this is the image of longevity and many sons. Shang Binghe explained: Gu consists of Xun below and Gen above. Gen signifies longevity, so it refers to Pengzu — Pengzu's name was Jian, and it is said he lived eight hundred years, which is the 'old Peng' mentioned in the Analects of Confucius, Chapter 7, 'I secretly compare myself to old Peng and Pengzu.' The third, fourth, and fifth lines of Gu form Zhen, which signifies sons. The number of the trigram is nine, hence 'nine sons.' Gen signifies holding on, Zhen signifies virtue; Gen also signifies mountain, and Zhen has the image of 'south.' Together they are called 'southern mountain.' Xun signifies pine and cypress-like evergreen trees, and Zhen signifies good fortune, hence 'pine and cypress on the southern mountain, long enjoying good fortune.' Note: The original edition reads 'get' instead of 'virtue.'

臨。南山昊天，刺政閔身。疾悲無辜，皆憎為仇。通遁。艮為南山。乾盈已正當夏日，故曰昊天。本象。坤為政、為身、為悲、為憎，故刺政憫身。艮為背也。南山昊天，皆小雅篇名，皆刺幽王而悲憫身世也。刺政，承南山而言，謂“赫赫師尹，不平謂何”也。閔身，承昊天言，謂若此無罪，熏胥以鋪也。○閔，宋、元刊、汲古皆作關，依局本。

The hexagram Qian transforms into Lin. Lin Ci says: Poems like "Nanshan" and "Haotian" criticize the government and express sorrow for oneself; they express deep grief and suffering without cause, with people hating each other and forming enmity — this is an image of being slandered and falsely accused. Shang Binghe explains: This line combines the image of the reverse hexagram. Lin's six lines reversed form Dun (Geng below, Qian above). Dun's lower trigram Geng represents Nanshan; Qian's energy is full, corresponding to the height of summer, hence "Haotian" — these two lines use the hidden image. Lin's original hexagram is Dui below and Kun above. Kun governs government affairs, the self, sorrow, and hatred, hence "criticizing the government" and "sorrow for oneself"; Geng also has the image of "back," which implies mutual hatred. Shang points out that "Nanshan" and "Haotian" both originate from the poems in the "Small Ya" section of the "Shi Jing," namely "Jie Nanshan" and "Yu Wuzheng," which begin with "Hao Hao Haotian," both criticizing King You of Zhou and expressing sorrow for one's own circumstances. "Criticizing the government" follows "Nanshan," referring to "He He Shi Yun, Bu Ping Wei He" in "Jie Nanshan"; "sorrow for oneself" follows "Haotian," referring to "Ru Ci Wu Zui, Lun Xu Yi Pu" in "Yu Wuzheng." Notes: The character "闵" is written as "关" in the Song, Yuan, and Jigugong editions, but here it follows the Qing official edition.

觀。江河淮海，天之奧府。眾利所聚，可以饒有。樂我君子，百福是受。坤為江河淮海，艮為府，坤伏乾，故曰天府。坤為眾、為利、為聚、為富饒。艮為君子，巽伏震為樂，坤為我也。○元本下多百福是受四字，茲從之宋本，汲古無。

The trigram Qian transforms into Guan. Lin Ci said: The Yangtze River, the Yellow River, the Huai River, and the sea are the hidden treasure vaults of Heaven; numerous benefits gather there, sufficient for abundance; they bring joy to the gentleman, and all kinds of blessings come to him — this is an image of great gathering and great gain. Shang Binghe explained: Guan is composed of the trigram Kun below and Xun above. Kun represents rivers and seas such as the Yangtze, Yellow River, Huai River, and sea. The third, fourth, and fifth lines interact to form Gen, which represents storehouses. The trigram hidden within Kun is Qian, which represents Heaven, so it is said "the hidden treasury of Heaven," where "奥" means hidden. Kun also represents multitude, benefit, gathering, and abundance, hence "numerous benefits gather, sufficient for abundance." Gen represents the gentleman, and the trigram hidden within Xun is Zhen, which represents joy. Kun represents "I," so there is "joy for me, the gentleman." Note: The original edition at the end of this passage includes the four characters "百福是受," which Shang Binghe included; the Jiguge edition does not have these four characters.

噬嗑。堅冰黃鳥，終日悲號。不見白粒，但見藜蒿。數驚鷙鳥，為我心憂。坎為堅冰，震為黃，艮為鳥、為終。離為日，故曰終日。坎為悲，震為號、為粒，坎隱故不見。震為藜蒿、為驚。艮為黔啄、為鷙鳥。坎為心憂。《詩小雅》“黃鳥黃鳥，無集於榖，此邦之人，不我肯榖。言旋言歸，復我邦族。”林似說此詩。○第二句各本多作常哀悲愁。白作甘，依解之夬校丁晏云“楚策‘俯啄白粒’是也。”

The trigram Qian transforms into Shihe. Lin's commentary says: During the time of solid ice, the yellow quail is sad and cries all day; it cannot find a single grain of white rice, only seeing wild plants like bitter gourd and wormwood; it is repeatedly startled by fierce birds, causing me inner sorrow — this is an image of being displaced and homeless. Shang Binghe explains: Shihe is composed of Zhen below and Li above. The third, fourth, and fifth lines form Kan, which represents solid ice. Zhen represents yellow, and the second, third, and fourth lines form Gen, which represents birds and signifies an end. Li represents the sun, thus forming the meaning of "all day." Kan represents sorrow, Zhen represents crying and grains, and Kan also represents concealment, hence "not seeing white grains." Zhen represents wild plants like wormwood, and also signifies alarm; Gen is the "sharp-beaked birds" mentioned in the "Shu Guazhuan," hence "fierce birds"; Kan represents heart sorrow. The quoted poem from "Shi Jing · Xiao Ya · Huangniao" says: Yellow bird, yellow bird, do not rest on the mulberry tree; the people of this country do not treat me kindly; I will turn back and return to my homeland and clan. Lin's commentary seems to be elaborating on this poem. Notes: The second line in various editions reads "often sorrowful and sad"; the character "white" in various editions is "sweet," but here it is corrected according to the entry "Jie zhi Guai" from this book. Ding Yan mentions that the "Zhan Guo Ce · Chu Ce" contains the phrase "bending to peck at white grains," which serves as supporting evidence.

賁。室如懸磬，既危且殆。早見之士，依山谷處。艮為室，震為磬，上卦震覆，故曰懸磬。坎險故危殆。震為士、為旦，故曰早見之士。離為見也。艮為山谷，艮止故曰依。○谷處，元本作處谷，依宋本、汲古。

The trigram Qian transforms into Ben. Lin's commentary says: The house is empty like an inverted bell, which is both dangerous and about to collapse; a wise man with foresight relies on the mountains and valleys to avoid calamity. The phrase "the room is like a suspended bell" comes from the "Zuo Zhuan" (Commentary of Zuo) from the 26th year of Duke Xi, describing a situation where all treasures are exhausted and nothing remains. Shang Binghe explains: Ben consists of Li below and Gen above. Gen represents houses and rooms, while Zhen represents the bell. The upper trigram Gen is the inverted form of Zhen, thus forming the image of an overturned bell, which is why it is called "suspended bell." The second, third, and fourth lines together form Kan, which represents danger, hence "both dangerous and perilous." The third, fourth, and fifth lines together form Zhen, which represents a man and also the morning. Therefore, it is said "a wise man with foresight in the morning." Li represents sight, and Gen represents mountains and valleys. The moral of Gen is to stop, meaning to remain and not move, hence "residing in the mountains and valleys." Note: The original edition reads "place in the valley," but this version follows the Song edition and the Jigugong edition.

剝。大禹戒路，蚩尤除道。周匝萬里，不危不殆。見其所使，無所不在。伏乾為王，故曰大禹。艮為路，伏兌為口，故曰大禹戒路，言警備也。坤為惡，故曰蚩尤。艮為道、為手，故曰除道。除，治也。反震為周，坤為萬里，坤安艮止，故不危殆。艮為僮僕，故曰所使，卦為大艮，故無不在。○戒，宋元本作式，依汲古。

The trigram Qian transforms into Bao. Lin Ci said: Great Yu was ahead, warning and regulating the roads, while Chi You was behind, clearing obstacles; he traveled throughout ten thousand miles, without danger or peril; those sent out could be seen everywhere, none missing any place. Shang Binghe explained: Bao is composed of Kun below and Gen above. Its hidden image (the trigram in reverse) is Guai. The lower trigram of Guai is Qian, which represents the ruler, so it refers to Great Yu. Gen represents roads, and the hidden image's Dui represents mouth, issuing commands, so it is said "Great Yu warned the roads," meaning the warning and regulation of the roads. Kun represents evil, so it refers to Chi You; Gen represents roads and also hands, meaning to take action in road construction, so it is said "clearing the roads" — "clearing" means to manage and repair. Gen inverted becomes Zhen, which represents thoroughness, and Kun represents ten thousand miles; since Kun is stable and Gen is still, it is said "no danger, no peril." Gen represents servants, so it is said "those sent out"; the Bao trigram has one Yang above and five Yins below, forming a large Gen, so it is said "present everywhere." Note: In Song and Yuan editions, the character "戒" is written as "式," but here we follow the Jigugē edition.

復。三人為旅，俱歸北海。入門上堂，拜謁王母，飲勞我酒。震為人，數三，故曰三人，坤為海、為北，震為反，故曰俱歸北海。坤為門戶，震往，故曰入、曰上。坤為母，震為王，故曰王母。坤為我、為漿，故亦為酒，震為言，故曰勞。○王母，汲古作主母，依宋元本。上，元刊作升，依宋本、汲古。

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: Shang Binghe = Shang Binghe Qian transforms into Fu. Lin Ci said: Three people travel together and return to the Northern Sea; upon entering the hall, they pay respects to the Queen Mother, and the host pours wine to comfort us — this is an omen of returning to receive honors. Shang Binghe explained: Fu is composed of Zhen below and Kun above. Zhen represents the host, and its trigram number is three, hence the term 'three people'; Kun represents the sea and the north, while Zhen represents returning, hence 'returning to the Northern Sea'. Kun represents the gate and the house, while Zhen represents going forward, hence there is 'entering' and 'ascending'. Kun represents 'I' and also represents wine, thus also representing wine; Zhen represents speech, and speaking words of comfort, hence 'comfort'. Notes: In the Jigusha edition, 'Queen Mother' is written as 'Main Mother', here following the Song and Yuan editions. The character 'ascending' in the Yuan edition is written as 'rising', here following the Song edition and the Jigusha edition.

無妄。傳言相誤，非乾徑路。鳴鼓逐狐，不知跡處。震為言，艮敗言，故曰誤，艮為徑路、為求。非乾徑路，言非所求之徑路也。震為鼓、為鳴，艮為狐。震為逐、為跡。巽為伏，故無跡。○乾，俗本皆誤於。

The trigram Qian transforms into Wuxiang. Lin Ci said: messages are miscommunicated, causing mutual delays, and one is not following the path they originally intended; beating drums to chase a fox, yet unable to determine where the fox is — this is a sign of fruitless effort. Shang Binghe explained: Wuxiang consists of Zhen below and Qian above. Zhen governs speech, and the second, third, and fourth lines together form Gen, which can ruin speech, hence the meaning of 'error'. Gen also represents a small path and seeking. The 'Qian' in 'non-Qian path' should be read as 'gan', meaning to seek or pursue, indicating that this is not the path one originally intended. Zhen governs drums and sounds, while Gen governs foxes; Zhen also governs pursuit and footprints. The third, fourth, and fifth lines together form Xun, which governs concealment, hence the trail is not visible. Note: The character 'Qian' is commonly miswritten as 'Yu' in popular editions.

大畜。三羊爭雌，相逐奔馳。終日不食，精氣勞疲。兌為羊，震數三，故曰三羊。兌為雌，艮為手，正反兩艮相對，故曰爭雌。震為馳逐，乾為日，兌為食，艮為終，艮止，故終日不食。乾為精氣，爭故勞疲。○羊，汲古作年，雌作妻，依宋元本。

The trigram Qian transforms into Da Xu. Lin's interpretation says: three male sheep compete for a female sheep, chasing each other and running around all day, unable to eat, their energy and spirit exhausted — this is an image of mutual struggle and self-depletion. Shang Binghe explains: Da Xu is composed of Qian below and Gen above. The second, third, and fourth lines form Dui, which represents sheep; the third, fourth, and fifth lines form Zhen, whose number is three, so it is said 'three sheep'. Dui also represents female, and Gen represents hand; the upper trigram Gen and the mutual trigram Zhen form two Gen trigrams facing each other (Zhen is the inverted image of Gen), thus they are in opposition, hence 'struggle for the female'. Zhen represents running and chasing, Qian represents the day, Dui represents food, and Gen represents completion and its virtue is to stop, so 'all day without eating'. Qian represents energy and spirit, and continuous struggle leads to 'exhaustion of energy and spirit'. Note: In the Ji Gu Ge edition, the character 'sheep' is written as 'year', and 'female' is written as 'wife'; here we follow the Song and Yuan dynasty editions.

頤。純服素裳，載主以興。德義茂生，天下歸仁。坤為黑、為裳，震為白，故曰純服素裳。震為主、為載、為興，故曰載主以興。坤為義，震為德、為生，故曰德義茂生。坤為天下，震為歸、為仁，故曰天下歸仁。史記武王載木主，觀兵孟津，八百諸侯來歸，故必素裳。○素，各本皆作黃，載主作戴上，茂作既，均非。茂依比之益校。

The trigram Qian transforms into Yi. Lin Ci said: Wearing black upper garments and white lower garments, carrying the wooden tablet of the former king to go to war; virtue and righteousness flourish, and the whole world turns to benevolence — this is the image of a rising king. Shang Binghe explained: Yi consists of Zhen below and Gen above. The second, third, and fourth lines together form Kun. Kun represents black color and also the lower garment; Zhen represents white color, so it is said 'pure upper garment and simple lower garment' — 'pure' refers to black. Zhen also represents the wooden tablet of the deity, carrying, and rising, so it is said 'carrying the tablet to rise'. Kun represents righteousness, Zhen represents virtue and growth, so it is said 'virtue and righteousness flourish'. Kun represents the world, Zhen represents submission and benevolence, so it is said 'the world turns to benevolence'. The Records of the Grand Historian mention that King Wu of Zhou, when he attacked King Zhou, carried the wooden tablet of King Wen on his chariot and observed the army at Mengjin, with eight hundred feudal lords coming without invitation to submit. Carrying the wooden tablet is a ritual of mourning, so white garments must be worn. Notes: The character 'sù' in all versions is 'huáng', 'carrying the tablet' is 'putting on', and 'mào' is 'jì', which are all incorrect. The character 'mào' is corrected according to the entry 'Comparison and Benefit' in this book.

大過。桀蹠並處，人民勞苦。擁兵荷糧，戰於齊魯。伏坤為惡，故曰桀。巽為盜，故曰蹠。坤為人民、為憂、為勞，故曰勞苦。伏艮為兵、為荷，震為糧，故曰擁兵荷糧。巽齊兌魯，正覆艮相背，艮手，故曰戰。○勞，依元刊。汲古作愁。

The trigram Qian transforms into Da Guo. Lin Ci said: When people like Xia Jie and Dao Zhi live in the same era, the people are exhausted by hardship; they hold weapons and carry provisions, fighting in the area of Qi and Lu — this is an omen of warfare in a time of chaos. Shang Binghe explained: Da Guo consists of Xun below and Dui above, with the hidden trigram Yi. The trigram Yi contains the mutual trigram Kun, which represents evil, so it refers to the tyrant Xia Jie. Xun represents thieves, so it refers to the great thief Dao Zhi. Kun also represents the people, worry, and hardship, hence the phrase "exhausted by hardship." The hidden trigram Yi has the upper trigram Gen, which represents weapons and carrying burdens, and the lower trigram Zhen, which represents provisions, hence the phrase "holding weapons and carrying provisions." In Shang's interpretation, Xun represents Qi and Dui represents Lu, and this hexagram has two opposite Gen trigrams facing each other. Gen represents hands, so two hands facing each other indicate a battle, hence the phrase "fighting in Qi and Lu." Note: The character "lao" (hardship) follows the Yuan edition, while the Ji Gu Ge edition uses "chou" (grief).

坎。黃鳥采菉，既嫁不答。念我父兄，思復邦國。黃鳥、采菉皆小雅篇名，皆傷怨曠，故曰既嫁不答。震為黃、為菉，艮為鳥、為採，故曰黃鳥采菉。震為嫁、為言，艮止，故曰不答。坎為思念，震為父兄、為復，艮為邦國。○采菉，自明以後本皆誤為來集，茲依宋元本。

The trigram Qian transforms into Kan. Lin Ci refers to two poems, "Huang Niao" and "Cai Lu," from the "Small Ya" section of the "Book of Songs" to express his meaning: having married but not receiving a response; missing my father and elder brothers, thinking of returning to my homeland — this represents the image of a woman in distress longing to return home. Shang Binghe explains: "Huang Niao" and "Cai Lu" are both titles from the "Small Ya" section of the "Book of Songs," and both poems express the sorrow of a married woman and a husband who is away. Therefore, Lin Ci connects it with "having married but not receiving a response." In terms of symbolic meaning, Kan is a double Kan, with the second, third, and fourth lines forming Zhen, which governs yellow and speech; the third, fourth, and fifth lines form Gen, which governs birds and gathering. Thus, it forms "Huang Niao Cai Lu." Zhen governs marriage and speech, while Gen has the nature of stopping, so speech stops at Gen, hence "not responding." Kan governs longing, Zhen governs fathers and elder brothers and returning, and Gen governs the state, hence "missing my father and elder brothers, thinking of returning to my homeland." Note: The characters "Cai Lu" were mistakenly written as "Lai Ji" in editions from the Ming dynasty onwards; this version follows the Song and Yuan dynasty editions.

離。胎生孚乳，長息成就。充滿帝室，家國昌富。通坎。互震為胎、為生，坎為孚，艮為乳，故曰胎生孚乳。震為長息，艮為成，故曰成就。震為帝、為昌，艮為室、為家國，全取旁通象。

The trigram Qian transforms into Li. Lin Ci said: "Carrying a fetus, giving birth, hatching eggs, nursing young, and raising the eldest son to adulthood; children fill the royal household, and both family and state flourish and prosper—this is a sign of flourishing and prosperity." Shang Binghe explained: "This entire passage takes the meaning of the trigrams in an indirect way. Since Li's six lines are completely reversed in yin and yang, they form Kan. Therefore, it first mentions 'communicating with Kan.' Within Kan, the interacting trigrams produce Zhen, which represents pregnancy and birth; Kan itself represents 'faith' or 'hatching eggs,' and the interacting trigram Gen represents nursing. Thus, it says 'pregnancy, hatching, nursing.' Zhen also represents the eldest son, and Gen represents completion, so it says 'the eldest son grows up and achieves success.' Zhen also represents the emperor and prosperity, while Gen represents buildings and the state and family, hence 'filling the imperial household, family and state flourish and prosper.' The entire passage does not use any imagery from the primary hexagram."

咸。三人求橘，反得丹穴。女清以富，黃金百鎰。互乾為人，艮數三，故曰三人。艮為求，乾為橘，故曰三人求橘。兌為穴，乾為赤，故曰丹穴。巽為女，承乾故富，故為金。伏坤為黃，故曰黃金。乾為百。顧千里曰“清者，人名。《貨殖傳》所謂巴寡婦清也。清家得丹穴。”○丹穴，依宋元本，汲古作大栗。清，依顧校。諸本皆作貴，惟汲古作青，可證顧說是也。

The trigram Qian transforms into Xian. Lin's commentary says: Three people originally went to seek oranges, but instead found a red ore deposit; a woman named Qing thus became wealthy, possessing a hundred jis of gold — this is an omen of unexpected wealth. Shang Binghe explains: Xian consists of Gen below and Dui above. The third, fourth, and fifth lines together form Qian, which represents the person. Gen's trigram number is three, so it is said 'three people'; Gen represents seeking, and Qian represents oranges, thus forming 'three people seeking oranges'. Dui represents a hole, and Qian represents red, so it is said 'red ore deposit'. The second, third, and fourth lines together form Xun, which represents a woman. Xun is above Qian, thus indicating wealth, and Qian also represents metal; the hidden image of Xian is Sun, and within Sun there is Kun, which represents yellow, so it is said 'gold'; Qian's trigram number is a hundred, hence 'a hundred jis' — one ji is twenty-four liang. Gu Qilin points out: 'Qing' is a person's name, referring to the widow Qing from the 'Huo Zhi Lie Zhuan' in the 'Shi Ji', who inherited a cinnabar mine from her ancestors, monopolizing its profits for generations and becoming extremely wealthy. Notes: 'Red ore deposit' follows the Song and Yuan editions; the Jigugong edition reads 'large chestnut'. The character 'Qing' follows Gu's correction — all editions read 'Gui', except the Jigugong edition which reads 'Qing', which confirms Gu's interpretation is correct.

恆。東山西嶽，會合俱食。百家送從，以成恩福。通益。互艮為山嶽。震東，本卦。兌為西，故曰東山西嶽。坤為會合，震為食，正覆震，故曰俱食。艮為家，震為百、為從、為恩福，艮為成也。

The hexagram Qian transforms into Heng. Lin Ci says: "Mountains to the east, mountains to the west, people gathering together to share a meal; hundreds of families accompany each other, achieving virtue and blessings." Shang Binghe explains: This line combines the imagery of the reversed hexagram. Heng, when its six lines are reversed, becomes Yi. In Yi, the interacting lines produce Gen, which represents mountains and hills. Zhen represents the east, which is the upper trigram of Heng. The third, fourth, and fifth lines of Heng interact to form Dui, which represents the west. Therefore, it is said "eastern mountains and western hills." In Yi, the interacting lines produce Kun, which signifies gathering; Zhen represents food, and the lower trigram of Yi is Zhen, while the upper trigram is Xun, which is the reverse image of Zhen. Thus, one positive and one reversed Zhen combine, hence "all sharing a meal." Gen represents families, Zhen signifies hundreds and followers, as well as blessings and virtue, and Gen also signifies accomplishment, hence "hundreds of families accompany each other, achieving virtue and blessings."

遯。眵雞無距，與鵲交鬬。翅折目盲，為鳩所傷。巽為雞。《說文》：“目眥傷曰眵”，眥，眼角也。艮離目不全，故曰眵雞。震伏，故無距。艮為鵲、為鬬，震為羽翰。震覆，故翅折。離為目，目眥下裂，故為目盲。艮為鳥、為鳩，巽羸故傷。○眵，依汲古，宋元本作弱，非。

The trigram Qian transforms into Duan. Lin's interpretation says: A chicken with a sore at the corner of its eye, which originally has no foot claws, goes to fight a magpie; as a result, it breaks its wings, loses its eyesight, and is injured by a dove — this is an image of causing one's own harm through overestimating one's abilities. Shang Binghe explains: Duan consists of Gen below and Qian above, with the second, third, and fourth lines forming Xun together, and Xun represents a chicken. The "Shuo Wen Jie Zi" says that an injury at the corner of the eye is called "chi," and "zì" refers to the corner of the eye; in this trigram, the image of Li contained within Gen is incomplete, and Li represents the eyes, so an incomplete eye image indicates an injury at the corner of the eye, hence "chi chicken." Zhen represents foot claws, but it is hidden here, so "no foot claws." Gen represents magpies and conflict; Zhen represents wings, but Zhen here is an inverted image, so "broken wings." Li represents the eyes, and an injury at the corner of the eye causes the eyes to be blind. Gen also represents birds and doves, and Xun is weak, so the weak are sure to be injured, hence "injured by a dove." Note: The character "chi" is based on the Ji Gu Ge edition; the Song and Yuan editions use "ruo," which is incorrect.

大壯。卻大牆壞，蠧眾木折。狼虎為政，天降罪罰。高弒望夷，胡亥以斃。通觀。巽為卻、為壞、為牆，故曰卻大牆壞。巽為蟲、為木，坤眾，故曰蠧眾，風隕故木折。艮為狼虎，坤為政，故曰狼虎為政。乾為天，坤為罪罰，故曰天降罪罰。艮為宦寺，坤為弒，艮為觀，坤為夷，故曰高弒望夷，言趙高弒胡亥於望夷宮也。坤為胡，居亥，又為斃也。雖人名、地名，無不從象生，本之《易》也。

The trigram Qian transforms into Dazhuang. Lin Ci said: One retreats and the high wall collapses, worms gather and trees break; jackals, wolves, tigers and leopards take power, heaven sends down punishment; Zhao Gao kills the king in Wangyi Palace, and Qin Ershi Huhai thus dies — this is a sign of a nation's downfall. Shang Binghe explained: This line fully takes the meaning of the adjacent trigrams. Dazhuang's six lines turn into Guan (Kun below, Xun above). Xun governs retreat, destruction, and walls, so it is said 'retreat and the wall breaks'; Xun also governs insects and wood, while Kun governs multitude, so it is said 'worms gather'; wind destroys trees and they fall, so it is said 'trees break'. The third, fourth, and fifth lines of Guan form Gen together, Gen governs jackals, wolves, tigers and leopards, while Kun governs government affairs, so it is said 'tigers and wolves govern'. Qian governs heaven, Kun governs punishment, so it is said 'heaven sends down punishment'. Gen governs eunuchs, Kun governs rebellion; Gen also governs observation, Kun governs夷, together they form 'Wangyi', so it is said 'Zhao Gao kills in Wangyi' — referring to Zhao Gao forcing the death of Qin Ershi Huhai in Wangyi Palace. Kun governs 'Hu' and its position is at Hai, forming 'Huhai', while Kun also governs death. Shang emphasized that in the Yi Lin, names of people and places are all derived from the trigrams, and this method of taking meaning originates from the Zhou Yi.

晉。三痴俱走，迷路失道。惑不知歸，反入患口。坤為痴，爻數三，故曰三痴。互艮為道路，坤迷，故曰迷路失道。坎為惑，震為歸，陽居四不反初，故曰不知歸。坎為患，四五形兌，故曰患口。○惑，元刊作或，依汲古。

The trigram Qian transforms into Jin. Lin Ci said: Three foolish people run together, losing their way and direction; they are confused and do not know to turn back, instead colliding into calamity. Shang Binghe explained: Jin consists of Kun below and Li above. Kun represents foolishness, and its line number is three, hence 'three foolish ones'. The second, third, and fourth lines form Gen, which represents paths, but Kun is characterized by confusion, hence 'losing their way'. The third, fourth, and fifth lines form Kan, which signifies confusion; Zhen signifies returning, but in this hexagram, the line nine in the fourth position is yang and remains in the fourth position without returning to the first, hence 'not knowing to return'. Kan also signifies calamity, and the lines nine four and six five consist of one yang and one yin, forming half of Dui, which represents the mouth, hence 'entering the mouth of calamity'. Note: The original edition had 'or' instead of 'happiness', and this version follows the Jigugē edition.

明夷。弓矢俱張，把彈折弦。丸發不至，道遇害患。互坎為弓、為矢，震為張，故曰弓矢俱張。坎為彈，伏巽為弦，坎折，故曰把彈折弦。坎為丸，震為發，坤閉，故不至。震為道塗，坤為患害，故曰道遇患害。

The trigram Qian transforms into Mingyi. Lin's interpretation says: the bow and arrow are both drawn, holding a slingshot but breaking the string; the stone is shot but does not reach the target, and on the way, one meets calamity. Shang Binghe explains: Mingyi consists of Li below and Kun above, with the second, third, and fourth lines forming Kan, which governs the bow and arrow. The third, fourth, and fifth lines form Zhen, which signifies opening, hence "the bow and arrow are both drawn." Kan also governs the slingshot, and the hidden image of Mingyi is Song, which contains Xun within it, Xun governing the string, while Kan signifies breaking, hence "breaking the string of the slingshot." Kan governs the stone, Zhen governs shooting, and Kun governs blockage, hence "the stone is shot but does not reach the target." Zhen governs the path, and Kun governs calamity and misfortune, hence "meeting calamity on the way."

家人。三女求夫，伺候山隅，不見覆關，長思憂嘆。卦二離、一巽，皆女象，坎為夫，故曰三女求夫。艮為關，卦有兩半艮形，故曰復關；坎伏，故不見。不見覆關，詩衛風語也。艮止，故曰伺候。艮山，故曰山隅。坎為憂思，故曰長思憂嘆。○汲古二三句倒置，依元本。元本憂嘆作嘆憂，失韻，依汲古。

The trigram Qian transforms into the hexagram Family. Lin Ci said: Three women are seeking their husbands, waiting at the foot of the mountain; they cannot see the person called Fu Guan, and thus long for him, feeling sorrow and sighing. Shang Binghe explained: The hexagram Family consists of the trigram Li below and Xun above. The hexagram contains two Lises (the lower trigram Li and the mutual trigrams at lines three, four, and five) and one Xun. Since both Li and Xun represent female figures, it is said 'three women'. The trigrams at lines two, three, and four form Kan, which represents the husband. Thus, it is said 'three women seeking a husband'. Gen represents a pass, and this hexagram contains two instances of 'half Gen', hence 'Fu Guan'. The Kan is hidden and not visible, hence 'cannot see'. 'Not seeing Fu Guan' is a line from the poem 'Meng' in the 'Wind' section of the 'Shi Jing'. Originally, the poem describes a woman climbing a mound to look for her lover, and when she cannot see him, she weeps bitterly. Gen has the nature of stopping, so stopping means waiting, hence 'waiting'. Gen also represents a mountain, hence 'mountain corner'. Kan represents sorrow and thought, hence 'longing and sighing'. Note: The Ji Gu Ge edition has the second and third lines reversed; this follows the Yuan edition. The Yuan edition uses 'sigh and sorrow', which does not rhyme, so this follows the Ji Gu Ge edition.

睽。陽旱炎炎，傷害禾穀。穡人無食，耕夫嘆息。重離故曰旱，震為禾稼，二三四五半震兌毀，故曰傷害禾穀。兌為食，坎失，故無食。震為耕、為夫，兌口，故耕夫嘆息。○《易》家人、睽爻詞往往用半象，故此與家人亦多用半象，下蹇、解、漸、歸妹、既、未濟並同，而既、未濟用半象尤多，全本之《易》。

The trigram Qian transforms into Kui. The line statement says: the sun is scorching hot, there is severe drought and no rain, the grain is scorched by the heat; the people who harvest crops have no food to eat, and the men who till the fields can only sigh in despair. Shang Binghe explains: Kui consists of Dui below and Li above, and the second, third, and fourth lines together form another Li, so two Lises are stacked, indicating an extremely strong fire energy, hence the term "drought." Zhen governs crops, and in this hexagram, only half of Zhen is formed among the second to fifth lines, while Dui governs destruction, hence the term "damage to the crops." Dui governs food, and the third, fourth, and fifth lines together form Kan, which signifies loss, hence "no food." Zhen governs farming and also represents adult men, while Dui governs the mouth, hence "the farmers sigh." Note: Shang's additional remarks—The line statements of the hexagrams Jiaomin and Kui in The Zhou Changes often use "half images," so the "Easy Forest" (Yi Lin) also frequently employs half images in these two hexagrams. The following hexagrams Jian, Jie, Zhen, Gui Mei, Ji Ji, and Wei Ji similarly use half images, especially Ji Ji and Wei Ji, which use half images particularly often, following entirely the established method of The Zhou Changes.

蹇。騎●逐羊，不見所望。徑涉虎廬，亡羝失羔。坎為●，伏兌為羊，半震為騎、為逐，故曰騎●逐羊。坎隱故不見，離為望也。艮為徑、為虎、為廬，兌伏，故亡羝失羔。○廬，宋元本作穴，依汲古。

The trigram Qian transforms into Jian. Lin Ci said: Riding an animal to chase a sheep, yet unable to see what is being sought; taking a shortcut past a tiger's den, the male sheep and the lamb are both lost — this is an omen of losing everything. Shang Binghe explained: Jian consists of Gen below and Kan above; Kan represents the riding animal. The hidden image of Jian is Kui, whose lower trigram Dui represents sheep. The half-trigram Zhen in the hexagram signifies riding and chasing, hence 'riding ● to chase a sheep.' Kan signifies concealment, hence 'not seeing'; the hidden image Kui's upper trigram Li signifies looking ahead. Gen represents a shortcut, as well as tigers and dwellings, while Dui is hidden here, hence the male sheep and the lamb are both lost. Notes: The character 'xu' in Song and Yuan editions is 'xue,' but this follows the Jigugē edition.

解。闇昧冥語，轉相詿誤。鬼魅所舍，誰知臥處。坎為闇昧、為冥，震為言，故曰冥語。坎上下兩兌口相背，故曰詿誤。坎為鬼魅、為舍、為伏，故曰臥。坎伏，故不知。○轉相，依宋元本，諸家皆作相傳，非。

The trigram Qian transforms into Jie. Lin Ci said: In darkness, whispers spread from one to another, passing on errors between people; this is where ghosts dwell, who knows where they sleep? Shang Binghe explained: Jie consists of Kan below and Zhen above. Kan represents darkness and the underworld, while Zhen represents speech, combining to form "meddling speech" or "whispers in the dark." Kan's trigram contains two opposite Dui mouths, facing each other, indicating deceit and conflicting words, hence "error" or "misleading." Kan also represents ghosts, houses, and hidden things, so it refers to "lying in wait." Since Kan signifies concealment, it also means "who knows where they lie." Notes: The words "turning to pass on" are based on Song and Yuan editions; other editions read "passing on," which is incorrect.

損。姬姜祥淑，二人偶食。論仁義福，以安王室。互震為周，故曰姬，伏巽，故曰姜，巽為齊也，震為仁，故曰祥淑。震為人，兌卦數二，故曰二人。兌為食也，震為言，故論仁議福。震為王，艮為室、為安，故曰以安王室。

The trigram Qian transforms into Sun. Lin's commentary says: The women of the Ji and Jiang clans are virtuous and auspicious, and the two are married and share meals together; they discuss benevolence, righteousness, and fortune virtue, using these to stabilize the royal house — this is a sign of good fortune. Shang Binghe explains: Sun is Dui below and Gen above, with the second, third, and fourth lines forming Zhen together. Zhen represents the Zhou dynasty, and the Zhou royal family bore the surname Ji, hence the mention of 'Ji'. The hidden image of Sun is Xian, and within Xian, Xun emerges. Xun represents Qi, and the state of Qi bore the surname Jiang, hence the mention of 'Jiang'. Zhen also represents benevolence, hence 'auspicious virtue'. Zhen represents people, and Dui's trigram number is two, hence 'two people'; Dui represents food and drink, and Zhen represents speech, hence 'discussing benevolence, righteousness, and fortune virtue'. Zhen represents the king, and Gen represents palace and stability, hence 'using this to stabilize the royal house'.

益。公孫駕驪，載聘東齊。延陵說產，遺季紵衣。艮為孫，震為公、為驪、為駕，故曰公孫駕驪。震為東，巽為齊，震為載，故曰載聘東齊。艮山，故曰延陵，震樂震生，故曰悅、曰產。艮為季，坤為衣裳，震為紵，故曰遺季紵衣。《左傳》“吳公子札聘於鄭，見子產如舊相識，與之縞帶。子產獻紵衣焉。”○聘，宋元本作眄，依汲古。

The trigram Qian transforms into Yi. Lin Ci said: A nobleman named Gongsun rode a black horse, carrying gifts eastward to the state of Qi. Yanling Jizi and the statesman Zheng Guo's Zichan became close friends at first sight, and Zichan gave him a hemp robe. Shang Binghe explained: Yi consists of Zhen below and Xun above. The third, fourth, and fifth lines together form Gen, which represents Sun. Zhen represents the nobleman, the black horse, and the chariot, so it is said "Gongsun drove a black horse." Zhen represents the east, Xun represents Qi, and Zhen also represents carrying, so it is said "carrying gifts east to Qi." Gen represents mountains and hills, so it is said "Yanling." Zhen represents joy and growth, so it is said "yue" and "chan." Yanling is the fief of Wu's prince Jizha, and "chan" refers to Zichan of the state of Zheng. Gen represents Ji, and the second, third, and fourth lines together form Kun, which represents clothing. Zhen represents hemp, so it is said "gave Ji a hemp robe." The cited passage from the "Zuo Zhuan" records that during the 29th year of Duke Xiang, Wu's prince Zhao visited Zheng and met Zichan, who was like an old friend. Zhao gave him a white silk ribbon, and Zichan returned a hemp robe. Note: The character "聘" in Song and Yuan editions was written as "眄," but here it follows the Jigugong edition.

夬。孤竹之墟，老婦亡夫。傷於蒺藜，不見少齊。東郭棠姜，武子以亡。武子，崔杼也。棠姜，杼妻也。《困》三爻“據于蒺藜入于其宮，不見其妻”，杼占詞也。事見《左傳》襄二十五年。少齊者，《左傳》晉人謂之少齊，言美也。伏剝。坤為寡，中虛，故曰孤竹之墟，坤為墟也。兌為老婦，本大過也。艮為夫，艮伏，故無夫。餘象多未詳。○子，各本多誤氏，茲依丁本。齊，汲古作妻，依宋元本。老，各本皆訛失，依需之剝宋元本校。

The trigram Qian transforms into Guai. Lin's commentary says: On the ruins of the Guzhu state, an old woman lost her husband; she was pierced by thorn bushes and could not see that handsome young man named Xiao Qi; the Tang Jiang of the Eastern Guo family caused the downfall of Cui Wuzi. The story used here is from the Cui family of the State of Qi: Cui Wuzi was Cui Zhu, and Tang Jiang was his wife. The line statement of the sixth line in the third position of the困 (Gunn) hexagram, "Resting on thorn bushes, entering her house, not seeing her wife," is exactly the line statement that Cui Zhu obtained when he married Tang Jiang. This event is recorded in the "Zuo Zhuan" (Commentary of Zuo) from the 25th year of the Xiang reign. Later, the Cui family indeed fell. "Xiao Qi" is the name used in the "Zuo Zhuan" by the people of Jin to refer to her, meaning her beauty. Shang Binghe explains: The hidden image of Guai is Pei. The trigram Kun represents a widow, and the hexagram is empty, so it is said "the ruins of Guzhu." The trigram Kun itself has the image of "ruins." The trigram Dui represents an old woman, and this meaning comes from the line statement of the ninth line in the fifth position of the Da Guo hexagram, "the old woman obtains her husband." The trigram Gen represents a husband, but Gen is hidden here, so it is said "the deceased husband." The other images are not fully explained by Shang Binghe. Note: The character "zi" in various editions is often mistakenly written as "shi," and here it follows the Ding Yan edition. The character "qi" in the Ji Gu Ge edition is written as "qi," but here it follows the Song and Yuan editions. The character "lao" in various editions is mistakenly written as "shi," and here it is corrected according to the Song and Yuan editions from the entry "Xu Zhī Pei."

姤。仁政不暴，鳳凰來舍。四時順節，民安其處。通復。震為仁，故曰不暴。坤為文，故曰鳳凰。震為辰，卦數四，坤順，故曰四時順節。坤為民、為安，故民安其處。

The trigram Qian transforms into Guo. Lin Ci said: Practicing benevolent governance without cruelty, the phoenix comes to rest; the four seasons follow the proper order, and the people live in peace — this is the image of a well-governed era. Shang Binghe explained: This line takes the image of mutual transformation. The hexagram Guo is formed by reversing the six lines of the hexagram Fu (Zhen below Kun above). Zhen represents benevolence, so benevolence means no cruelty, hence 'not cruel'; Kun represents culture, and the phoenix is a bird of culture, hence 'the phoenix'. Zhen is associated with the hour of Chen, and its number is four; Kun is characterized by obedience, hence 'the four seasons follow the proper order'. Kun also governs the people and peace, hence 'the people live in peace'.

萃。任劣力薄，孱駑恐怯。如蝟見鵲，不敢拒格。坤柔，故曰任劣。力薄曰孱駑，互大坎，故曰恐怯。巽為蝟，艮為鵲，坤弱，故不敢拒格。《史記龜策傳》注“蝟能制虎，見鵲則仰地。”○孱駑，依宋本。元刊作駑孱。

The trigram Qian transforms into Cui. Lin Ci said: one cannot bear responsibility, lacks strength, is weak and dull, and has a timid heart; it is like a hedgehog encountering a magpie, which it dares not resist. Shang Binghe explained: Cui consists of Kūn below and Dui above. Kūn is characterized by softness and weakness, thus it is said 'to bear inferiority' (unable to take on responsibilities). Weakness is called 'childish and dull'. The lower three lines of the entire hexagram are yin, the fourth and fifth lines are yang, and the top line is again yin, making the whole hexagram resemble a large Kan. Kan represents fear, thus it is said 'fearful'. The third, fourth, and fifth lines together form Xun, which represents a hedgehog; the second, third, and fourth lines together form Gen, which represents a magpie. Kūn is characterized by softness and weakness, thus 'daring not to resist'. The annotations in the "Records of the Grand Historian: The Column on Divination with Tortoise Shells" say that a hedgehog can subdue a tiger, but upon seeing a magpie, it turns over and lies on its back, which is the basis for Lin Ci's analogy. Notes: 'childish and dull' follows the Song edition; the Yuan edition reads 'dull and childish'.

升。衛侯東遊，惑於少姬。亡我考妣，久迷不來。震為警衛、為諸侯、為東遊。大坎為惑，兌為少姬。震為父，坤為母，故曰考妣，坤死，故亡，坤為我、為迷，震往故不來。衛文侯避國難，遊齊。少姬，衛女，齊桓夫人。○震父象失傳。迷，依宋元本，汲古作逝。

The trigram Qian transforms into Sheng. Lin Ci says: The Duke of Wei went east for a tour, but was bewitched by a young concubine; he left behind my deceased parents, and was deeply fascinated without returning for a long time. Shang Binghe explains: Sheng consists of Xun below and Kun above. Zhen represents the master of guards (by extension, the state of Wei), the master of dukes, and the master of going east for a tour; the entire trigram has the first line as yin, the second and third lines as yang, and the upper three lines all yin, forming a large Kan, which represents confusion. The second, third, and fourth lines form Dui together, which represents a young woman, hence the term 'young concubine'. Zhen represents father, and Kun represents mother, together forming 'parents' (kao bi); Kun also represents death, hence the term 'lost'; Kun also represents 'me' and confusion, while Zhen represents going forward, and once gone, it does not return, hence 'long confusion without returning'. Shang points out that this refers to the Duke Wen of Wei fleeing the country's difficulties and touring in Qi. The young concubine was a woman from the state of Wei, who became the wife of Duke Huan of Qi. Notes: The image of 'father' in Zhen is an extinct image, restored by Shang. The character 'mist' is based on the Song and Yuan editions, while the Jiguguang edition reads 'pass away'.

困。噂噂所言，莫如我垣。歡喜堅固，可以長安。《詩》：“噂沓背憎“箋云“噂噂，對語，背則相憎。”困三至上，正反兩兌口相背，故易曰有言不信，其伏象則正反兩震言相對，故曰噂噂所言。巽為垣墉，坎陷，故莫如我垣。兌悅而伏艮，故曰歡喜堅固，曰長安。○如，俗本誤加。如者，往也，宋本、汲古本均不誤，元本作知。

The trigram Qian transforms into Kun. Lin's commentary says: people gather together and talk a lot, but none come to my wall; the heart is joyful and the foundation is firm, so it can be long and peaceful. He cites the poem "Zhou Nan · Shiyi · Shiyue" which says, "Tuan tu ba zeng," and Zheng Xuan's commentary explains that "Tuan tu" means talking face to face, but when turning away, they become hostile. Shang Binghe explains: the trigram Kun has one positive and one negative trigram Dui facing each other from the third line to the top line, so the "Zhou Yi" says "there is speech but it is not trusted." In its hidden image (the trigram Bei), there is one positive and one negative trigram Zhen facing each other, and since Zhen is associated with speech, it says "Tuan tu's speech." The third, fourth, and fifth lines of Kun form Xun, which is associated with walls, and Kan, which is associated with pits, so it says "no one comes to my wall" — "ru" means "to go," meaning no one comes. Dui is associated with joy, and its hidden image is Gen, which is associated with firmness, so it says "joyful and firm" and "can be long and peaceful." Notes: the character "ru" is commonly miswritten as "jia" in popular editions; "ru" is interpreted as "to go," and both the Song edition and the Ji Guguo edition are correct, while the Yuan edition writes it as "zhi."

井。黿鳴岐山，鱉應幽淵。男女媾精，萬物化生。文王以成，為開周庭。通噬嗑。互艮為黿鱉、為山，下震兩岐，故曰岐山。而初至四正反艮震，震為鳴，故上鳴下應，與《中孚》九二“鳴鶴在陰，其子和之”用象同也。坎為幽，坎男離女，而坎為精，故曰男女媾精，震為萬物、為生、為王。上離為文，故曰文王以成。艮為成也，艮又為庭。震為周、為開，故曰為開周庭。○黿，依汲古，宋元本作鸑。幽淵，依宋元本，汲古作山淵。

The trigram Qian transforms into the well. Lin Ci said: A large turtle called out on Qishan, and a turtle鳖 responded in the deep abyss; the union of male and female essence leads to the generation and nurturing of all things; King Wen of the Zhou dynasty thus achieved great accomplishments, establishing the foundation of the Zhou dynasty. Shang Binghe explained: This passage combines the imagery of the reverse trigrams. The well, with its six lines reversed, becomes the trigram Shexi (Thunder below, Fire above). In Shexi, the mutual trigrams produce Gen (Mountain), which represents turtles and鳖, as well as mountains; the lower trigram Zhen (Thunder) has the form of two branches, hence the term "Qishan." From the first line to the fourth line, there is a combination of Gen (Mountain) and Zhen (Thunder), one positive and one negative. Zhen represents calling out, so above there is a call and below there is a response, similar to the imagery in the Zhou Changes, line Nine in the Second of the trigram Zhongfu, which says "a crane calls in the shade, its young respond to it." Kan represents depth and is associated with male, while Li represents female. Kan also represents essence, so it is said "the union of male and female essence." Zhen represents all things, birth, and kingship. The upper trigram Li represents culture, so it is said "King Wen achieved this through culture." Gen represents accomplishment and also represents a courtyard; Zhen represents Zhou and represents opening. Thus, it is said "to open the Zhou courtyard." Note: The character "yuán" is taken from the Jiguguo edition, while the Song and Yuan editions use "yuè." The term "yōuyuān" is taken from the Song and Yuan editions, while the Jiguguo edition uses "shānyuān."

革。玄黃虺隤，行者勞罷。役夫憔悴，踰時不歸。通蒙。互震為玄黃。《詩毛傳》“玄黃虺隤，病也。”蒙坎為病、為罷勞，震為行，故曰行者勞罷。坎為夫、為勞卦，故曰役夫憔悴。艮為時，在外，故踰時不歸。

The trigram Qian transforms into Ge. Lin's interpretation says: horses are sick, their coats dull and dark, their legs weak, and travelers are exhausted. Servants are pale and tired, and they still haven't returned home on time. "Xuanhuang" and "Huitu" both come from the poem "Zuern" in the "Shi Jing." The "Mao Zhuan" explains these terms as describing a sick horse. Shang Binghe explains: this instance uses the image of mutual transformation. The trigram Ge, when its six lines are reversed, becomes Meng. Within Meng, the trigram Zhen emerges, which represents the color "xuanhuang." The lower part of Meng is Kan, which represents illness and fatigue, and Zhen represents movement, so it is said "travelers are exhausted." Kan also represents adult males, and the "Shuo Gua Zhuan" refers to Kan as the "labor卦." Therefore, it is said "servants are pale and tired." Gen represents time limits, and since Gen is the outer trigram, it is said "they do not return on time."

鼎。弱足刖跟，不利出門。市賈無利，折亡為患。下巽，震伏不見，故曰弱足刖跟，故不利出門，鼎初六“鼎，顛趾”即如是取象。三五伏艮，艮為門。巽為市賈、為利，兌折，故不利、故折亡，大坎為患。○利，汲古訛私，無，從元本，宋本作不。

The trigram Qian transforms into the hexagram Ding. Lin Ci says: weak legs and inability to walk, the heels as if cut off, not suitable for going out; doing business brings no profit, loss and damage become disasters. Shang Binghe explains: the lower part of the hexagram Ding is Xun, and Zhen is associated with the feet, but Zhen is hidden here and not visible, so the image of the feet is not formed, thus saying 'weak feet with the heels cut off,' hence 'not suitable for going out'—the first line of the hexagram Ding in The Zhou Changes says 'the foot of the tripod is overturned,' which is exactly this kind of imagery. The third, fourth, and fifth lines of the hexagram Ding together form the trigram Dui, and the trigram hidden within Dui is Gen, which represents the door. Xun represents business and profit, while Dui represents destruction and loss, thus saying 'no profit' and 'loss and damage'; the entire hexagram has the first line as yin, the middle three lines as yang, and the fifth line again as yin, making the whole hexagram resemble an enlarged Kan, which represents disaster. Note: the character 'li' in the text is mistakenly written as 'si' in the Jigujia edition; the character 'wu' is taken from the Yuan edition, while the Song edition has 'bu'.

震。懸貆素餐，居非其官。失輿剝廬，休坐徙居。懸貆素餐，《詩伐檀》語也，互艮為貆，伏巽繩，故懸貆，震為食、為白，故曰素餐。艮為居、為官，艮覆，故居非其官。震為輿，坎失，故曰失輿。艮為廬，艮覆，故剝廬，“君子得輿，小人剝廬”，《剝》上九爻詞也。艮為坐、為居，艮覆，故休坐徙居。○官，依元本，宋本作安。徙，依元本，宋本作徒。餐，從宋本，元本訛饕。

The trigram Qian transforms into Zhen. Lin's commentary says: In the courtyard, a raccoon hangs; eating俸禄 without labor; occupying a position but not fulfilling its duties; losing the carriage, dismantling the house, unable to sit in peace, and having to move. "Hanging the raccoon" and "eating without labor" both come from "Poetry: Wei Wind: Cutting the檀," where the poet criticizes those who eat without working. Shang Binghe explains: Zhen is a repeated Zhen, with the second, third, and fourth lines forming Gen together, and Gen represents the raccoon; Zhen's hidden trigram is Xun, which represents ropes, so it is said "hanging the raccoon." Zhen governs food and the color white, so it is said "eating without labor." Gen governs residence and official position, but here Gen is inverted, so it is said "not in the proper position." Zhen governs carriages, and the third, fourth, and fifth lines form Kan together, and Kan represents loss, so it is said "losing the carriage"; Gen governs dwellings, and since Gen is inverted, it is said "dismantling the house" — "the gentleman gains a carriage, the petty person loses his dwelling" is exactly the line statement of the sixth line of the Ba hexagram in The Zhou Changes. Gen also governs sitting and dwelling, and since Gen is inverted, sitting is unstable and dwelling is uncertain, so it is said "unable to sit in peace, having to move." Notes: The character "官" follows the Yuan edition, while the Song edition has "安"; the character "徙" follows the Yuan edition, while the Song edition has "徒"; the character "餐" follows the Song edition, while the Yuan edition mistakenly writes "饕."

艮。民怯城惡，奸人所伏。寇賊大至，入我郛郭，妻子俘獲。《左傳》：“成九年楚伐莒，莒城惡，眾潰”。艮為城，坎為民、為怯、為陷，故曰民怯城惡。坎為伏、為奸，互震為人，故曰奸人所伏。坎為寇賊，艮為郛郭，伏巽為入，故曰入我郛郭。震為子，伏兌為妻，艮止，故曰妻子俘獲。○城，依宋元本，汲古訛伐。郛、俘，依宋元本，汲古作邦、繫。

The trigram Qian transforms into Gen. Lin's commentary says: the people are timid, the city defenses are ruined, and spies are hidden within; the enemy attacks in great force, enters my outer city, and my wife and children are captured. This is recorded in the "Zuo Zhuan" from the ninth year of Chenggong, when the State of Chu attacked the State of Ju. The defenses of Ju were ruined, and the defending troops were scattered, exactly this situation. Shang Binghe explains: Gen is a double Gen, and Gen represents the city; the second, third, and fourth lines form Kan together, and Kan represents the people, timidity, and falling, so it is said "the people are timid and the city is ruined." Kan also represents concealment and wickedness, and the third, fourth, and fifth lines form Zhen together, and Zhen represents people, so it is said "spies are hidden." Kan represents bandits, Gen represents the outer city, and in the hidden image, Xun represents entering, so it is said "they enter my outer city." Zhen represents children, and in the hidden image, Dui represents wife, while Gen has the nature of stopping, and when stopped, they are captured, so it is said "my wife and children are captured." Notes: The character "city" follows the Song and Yuan editions, while the Jigugong edition mistakenly uses "attack"; the characters "outer city" and "captured" follow the Song and Yuan editions, while the Jigugong edition uses "state" and "bound."

漸。陽低頭，陰仰首，水為災，傷我寶，進不利，難生子。坎為首，坎伏故低，坎陽卦而在下，離陰卦在坎上，故曰陰仰首。坎為水災，震為玉、為寶，震覆，故傷。震為行、為子、為生，震覆，故不利、故難。○寶，從汲古，宋元作足。難生子，依宋元本，汲古作生其子，與《易》“婦孕不育”旨背。

The trigram Qian transforms into the trigram Zhan. Lin Ci says: "Yang lowers its head, Yin raises its face; great water causes disaster, damaging my treasure; advancement is not favorable, and childbirth is difficult." This passage uses three-character phrases, differing from the usual four-character style found throughout the text. Shang Binghe explains: Zhan consists of Gen below and Xun above. Kan represents the head, and here Kan is hidden, hence it is said "Yang lowers its head." Kan is a Yang trigram located below, while Li is a Yin trigram above Kan, hence it is said "Yin raises its head." Kan also represents water disaster. Zhen represents jade and treasure, but here Zhen is inverted, hence it is said "damaging my treasure." Zhen represents movement, childbirth, and offspring; since Zhen is inverted, it is said "advancement is not favorable" and "childbirth is difficult." Notes: The character "treasure" is taken from the Ji Gu Ge edition; the Song and Yuan editions read "foot." "Childbirth is difficult" follows the Song and Yuan editions; the Ji Gu Ge edition reads "child is born," which contradicts the meaning of the "nine three" line in the Zhou Changes, which states "the wife is pregnant but does not give birth."

歸妹。背北相憎，心意不同，如火與金。兌伏艮，艮為背，坎為北、為憎、為心意，離為火，伏艮為金。《詩十月》篇“噂沓背憎。”○宋元本作艮辭，金讀略如京，與憎同協。

The trigram Qian transforms into Guimi. Lin Ci said: people turn their backs to each other, showing mutual hatred, with differing thoughts and intentions, just like fire and metal which mutually control each other. Shang Binghe explained: Guimi is composed of Dui below and Zhen above. The trigram hidden within Dui is Gen, which represents back. The second, third, and fourth lines form Kan, which represents the north and also signifies hatred and differing intentions. The third, fourth, and fifth lines form Li, which represents fire. The hidden Gen also represents metal. Fire controls metal, hence the saying 'like fire and metal'. The poem 'Small Ya' from 'Shi Jing' has the line 'tuan ta bei zeng', which depicts people gathering together in front but hating each other behind. Notes: In Song and Yuan editions, these lines were placed under the entry for Gen. The character 'jin' (metal) is phonetically close to 'jing' (capital), and rhymes with 'zeng' (hate).

豐。太微帝室，黃帝所值。藩屏周衛，不可得入，常安無患。離為星，故曰太微、曰帝室。帝室者，帝座，即紫垣也。震為帝，伏坎為宮室，故曰帝室。震為黃，故曰黃帝。黃帝，軒轅星也。震為叢木、為屏藩、為周、為衛，巽入巽伏，故不可入。○周，從宋元本，汲古作固，於卦象無著。值，從汲古，宋元皆作宜，不協。

The trigram Qian transforms into Feng. Lin Ci said: The palace of the Imperial Seat within the Taiwei Astral Enclosure is the position governed by the star of the Yellow Emperor; it is surrounded by four sides of fences and barriers, which are closely guarded, so outsiders cannot enter, and there is long-term peace without calamity. Shang Binghe explained: Feng consists of Li below and Zhen above. Li represents stars, so it is called 'Taiwei' and 'Imperial Palace'—the Imperial Palace is the Imperial Seat, which is also known as Ziwēi Enclosure. Zhen represents the Emperor, and within the hidden image of Feng, Kan represents the palace, combining to form 'Imperial Palace'. Zhen also represents yellow, so it is called 'Yellow Emperor'; the Yellow Emperor in starry terms is Xuanyuan Star. Zhen also represents dense wood, barriers, and surrounding and guarding, so it is called 'fences and barriers surrounding and guarding'. Xun represents entering, but Xun is hidden and not visible here, so it is called 'not able to enter'. Notes: The character 'zhou' comes from the Song and Yuan editions, while the Jigugē edition uses 'gu', which has no relevance to the hexagram image; the character 'zhi' comes from the Jigugē edition, while the Song and Yuan editions use 'yi', which does not match the rhyme.

旅。繭栗犧牲，敬享鬼神。神嗜飲食，受福多孫。互巽，故曰繭，艮為果，故曰栗。離為牛，故曰犧牲。《禮》“祭天地之牛角繭栗”，言其色似之也，故曰繭栗犧牲。伏坎為鬼，震為神、為飲食，故曰神嗜飲食。艮為孫，坎眾，故多孫。

The trigram Qian transforms into Lu. Lin Ci says: Use a young ox with horns small as a silkworm cocoon or a chestnut as a sacrifice, and offer it respectfully to the spirits; the spirits love these foods and drinks, thus bestowing blessings and leading to numerous descendants. Shang Binghe explains: Lu is composed of Gen below and Li above. The second, third, and fourth lines together form Xun. Xun governs silkworm cocoons, hence the term 'cocoon'; Gen governs fruits, hence 'chestnut'. Li governs oxen, hence 'sacrifice'. The Book of Rites, Wang Zhi, mentions that oxen used in sacrifices to heaven and earth have 'horns small as silkworm cocoons and chestnuts', originally referring to young oxen with horns as small as silkworm cocoons and chestnuts. Shang, however, interprets this as describing the color resembling silkworm cocoons and chestnuts, thus combining them as 'cocoon and chestnut sacrifice'. In the hidden image of Lu, Kan governs ghosts, Zhen governs spirits and food, hence 'spirits love food and drink'. Gen governs descendants, and Kan signifies multitude, hence 'receiving many descendants'.

巽。出門逢惡，為患為怨。更相擊刺，傷我手端。通震。互艮，故曰出門，坎為惡、為患、為怨，初至四反正艮，艮手，故更相擊刺，坎折，故傷手。○患，宋本作禍。此全用震象，故互坎患。

The trigram Qian transforms into Xun. Lin's interpretation says: going out the door one meets a wicked person, causing trouble and resentment; they fight and strike each other, injuring my finger. Shang Binghe explains: this takes the image of the reverse trigram. Xun's sixth line turns into Zhen (double Zhen). Within Zhen, there is a mutual trigram Gen, which represents a door, hence 'going out the door'. Zhen also contains a mutual trigram Kan, which signifies danger, trouble, and resentment. From the first to the fourth line, there are two Gen trigrams, one reversed and one upright, which represent hands. Since both hands face each other, it is 'mutual striking'. Kan signifies injury, hence 'injuring my finger'. Note: the character 'huan' in the Song edition is written as 'huo'. This entire interpretation uses the image of the Zhen trigram, so 'huan' refers to the Kan trigram within Zhen.

兌。鷁飛中退，舉事不遂，宋人亂潰。《左傳》：“六鷁退飛，風也。”為宋襄公敗徵，故曰宋人亂潰。兌伏艮，艮為鷁，巽為退，互震為舉、為人，艮為宋。《說文》“架木為屋曰宋”，艮形似之，故林以艮為宋。○遂，宋本、汲古作進，依元本，韻葉象亦合。

The trigram Qian transforms into Dui. Lin Ci said: A heron flies backward in the middle of the sky, and any undertaking will not succeed; the people of Song will be in chaos and eventually perish. The "Zuo Zhuan" records in the sixteenth year of Duke Xi's reign that "six herons flew backward over the capital of Song," which was said to be caused by a strong wind. Later people regarded this as an ill omen for the defeat of Duke Xiang of Song, so Lin Ci said "the people of Song are in chaos and disorder." Shang Binghe explained: The trigram hidden within Dui is Gen, which represents the heron; Xun represents retreat; the hidden image of Gen contains Zhen, which represents action and the person; Gen also represents Song — the "Shuo Wen Jie Zi" says that building houses by erecting wooden structures is called "Song," and the shape of the trigram Gen exactly resembles a house, so the "Yi Lin" uses Gen to represent Song. Notes: The character "sui" in the Song edition and the Jiguge edition is "jin," but here we follow the Yuan edition, which is more consistent with the rhyme and the trigram image.

渙。跛踦相隨，日暮牛罷。陵遲後旅，失利亡雌。坎蹇，故曰跛踦，巽順故曰相隨。艮為日，坎為暮，故曰日暮，艮為牛，坎勞，故曰牛疲。巽為陵遲，震為後，故曰陵遲後旅。巽為利、為雌，坎失，故曰失利亡雌。

The trigram Qian transforms into Hun. Lin's interpretation says: a lame person follows one after another, as the sky grows dark and the ox becomes tired; the group at the back gradually falls further behind, losing benefits and also losing the female livestock. Shang Binghe explains: Hun is composed of Kan below and Xun above. Kan represents difficulties, hence 'bipedal lameness'; Xun is obedient, hence 'following each other'. The third, fourth, and fifth lines together form Gen, which represents the sun. Kan represents darkness, thus forming 'dusk'. Gen also represents oxen, and Kan is the labor卦, hence 'oxen are exhausted'—'bade' is the same as 'exhausted'. Xun indicates gradual decline, and the second, third, and fourth lines together form Zhen, which represents being behind, hence 'gradually falling behind'. Xun also represents benefits and females, while Kan represents loss, hence 'losing benefits and females'.

節。龍角博顙，位至公卿。世祿久長，起動安寧。震為龍，艮為角，震為顙，龍角猶日角。博顙，大顙也，皆貴相。艮為位，震為公，坎為祿，艮為久長，故曰世祿久長。震為起、為動，艮為安，故曰起動安寧。○顙，宋元本作預，非，依汲古。

The trigram Qian transforms into Jie. Lin Ci said: A person with a dragon horn-like prominence on the forehead and a broad heavenly court will attain the rank of a marquis or high official; his family will enjoy long-lastingofficial stipend, and his actions will be stable and peaceful. Shang Binghe explained: Jie consists of Dui below and Kan above. The second, third, and fourth lines form Zhen, which represents dragons and the forehead. The third, fourth, and fifth lines form Gen, which represents the forehead. "Dragon horn" is similar to the "sun horn" described in physiognomy, and "broad forehead" refers to a wide forehead, both indicating noble appearance. Gen represents position, Zhen represents marquis or high officials, Kan representsofficial stipend, and Gen also represents longevity, hence "attaining the rank of a marquis" and "long-lasting俸禄." Zhen represents movement and action, while Gen represents stability, thus "movement and peace." Notes: The character "sang" in Song and Yuan editions was mistakenly written as "yu," which is incorrect. This version follows the Jiguguo edition.