Jiao Shi Yi Lin Zhu (焦氏易林注) · Volume 2

中孚。舜升大禹，石夷之野。徵詣王庭，拜治水土。震為帝，故曰舜禹。艮為石、為野。按：《洛書靈準聽》曰“禹出石夷，掘地代，懷玉斗。”石夷不見於他書，而《蜀志秦宓傳》云“禹生石紐”，又譙周《蜀本紀》“禹本汶山廣柔縣人，生於石紐”，又《吳越春秋》“鯀娶女嬉，吞薏苡有感，剖脅而產高密，家於西羌，地曰石紐。”又《地理通釋》引皇甫謐曰“孟子稱禹生於石紐，西夷人也。”茲曰石夷，不知於石紐是否為一地，不能明也。震為王，艮為庭，震往，故曰徵詣王庭。艮手為拜，伏大坎，坎為水、為土，故曰拜治水土。此以坎為土，與邵子同。○拜，從元本，宋本作刊。

The trigram Qian transforms into Zhongfu. Lin's commentary says: Yu was promoted by Yu Shun, and Yu rose from the plain of Shi Yi; he was summoned to the royal court, received a mandate to manage water and soil. Shang Binghe explains: Zhongfu has Dui below and Xun above, with the second, third, and fourth lines forming Zhen, which represents the emperor, so it refers to Shun and Yu. The third, fourth, and fifth lines form Gen, which represents stone and plains. Shang's note says: The esoteric text "Luo Shu Ling Zhen Ting" records "Yu emerged from Shi Yi, dug the earth, and carried the jade bowl"; the place name "Shi Yi" does not appear in other texts. However, "Shi Niu" is mentioned in "Records of the Three Kingdoms: Shu Zhuan: Qin Mi Zhuan" as Yu's birthplace, and in "Shu Ben Ji" by Qiao Zhou, Yu was originally from Guangrou County, Wen Mountain Prefecture, and was born in Shi Niu. "Wuyue Chunqiu" says Gun married Nv Xi, ate Yiyi, and conceived, and gave birth to Gaomì (i.e., Yu) by splitting his ribs, living in the western Qiang region, with the place name Shi Niu. "Dili Tongshi" also cites Huanfu Mi's statement that Mencius called Yu born in Shi Niu, a western Yi person. Now here it is written as "Shi Yi," whether it is the same place as "Shi Niu" cannot be determined. Zhen represents the king, Gen represents the court, Zhen represents going forward, so it is said "went to the royal court." Gen represents the hand, and the hand performs the act of bowing; the hidden image of Zhongfu is Xiaoguo, which is similar to a larger Kan, Kan represents water and also soil, so it is said "bowing to manage water and soil." Taking Kan as soil is the same as Shao Yong's view from the Song dynasty. Note: The character "bow" comes from the Yuan edition, while the Song edition has "carve."

小過。從風放火，荻芝俱死。三害集房，叔子中傷。巽為風，艮為火，巽艮連，故曰從風放火。巽為草莽、為荻芝，中爻互大過，大過死，故曰荻芝俱死。艮為房，數三，坎為害，在中爻，故曰三害集房。艮為叔子，兌毀，故中傷，以艮為火，邵子所本，三害暴虐頗也。見《左傳昭十四年》注。

The trigram Qian transforms into Xiao Guo. Lin Ci said: following the wind to set fire, reed grass and mushroom grass are both burned to death; three kinds of calamities gather in the house, and the younger uncle is injured. Shang Binghe explained: Xiao Guo is composed of Gen below and Zhen above. Xun represents wind, Gen represents fire, and Xun and Gen are connected, hence the saying "following the wind to set fire." Xun also represents grassy areas, and reed grass and mushroom grass belong to this category; the middle lines of this hexagram resemble Da Guo, which signifies death, hence the saying "reed grass and mushroom grass both die." Gen represents a house, and its number is three; Kan represents calamity and is located at the middle line, hence the saying "three calamities gather in the house." Gen represents the younger uncle, and Dui represents destruction, hence the saying "injured." Taking Gen as fire is based on the imagery used by Shao Yong; the term "three calamities" refers to tyrannical and biased affairs, as mentioned in the annotations of the "Zuo Zhuan" from the 14th year of King Zhao's reign.

既濟。楩生荊山，命制輸班。袍衣剝脫，夏熱冬寒。飢餓枯槁，眾人莫憐。卦有三震形，故曰楩、曰荊，又有半艮，故曰山，又有半巽，巽為命、為工、為輸班。坎為制，故命制輸班。震為襦，故曰袍衣，三震上下往復，如剝脫然，言上六之初即成未濟也，坎冬寒，離夏熱。離虛為飢餓、為枯槁，坎為眾，震為笑樂，故曰莫憐。○眾人莫憐，宋本作莫人莫憐，宋本作莫人莫憐，元本作莫人震憐，皆不適，故從汲古。楩，宋元、汲古皆作梗，依局本。

The trigram Qian transforms into Ji Ji. Lin Ci said: A type of wood called pian grows on the Jing Mountain, and it was ordered to be carved by Gongshu Ban; its robe was worn out, suffering from summer heat and winter cold; it was hungry and thin, yet no one pitied it. Shang Binghe explained: The Ji Ji hexagram contains three instances of the trigram Zhen, so it is referred to as 'pian' and 'Jing'; it also contains half of the trigram Gen, so it refers to 'mountain'; and it also contains half of the trigram Xun, which governs orders and craftsmen, hence it refers to Gongshu Ban (i.e., Lu Ban). The trigram Kan governs cutting and shaping, so it refers to 'being ordered to be carved by Gongshu Ban'. The trigram Zhen governs short robes, so it refers to 'robe'; the three Zhen trigrams moving up and down alternately resemble layers of clothing peeling off, meaning that the line at the top returning to the initial position becomes Wei Ji. The trigram Kan governs winter cold, and the trigram Li governs summer heat; the emptiness within Li leads to hunger and emaciation. The trigram Kan governs people, and the trigram Zhen governs laughter, but here the Zhen trigram is not complete, hence 'no one pitied'. Notes: The last sentence 'no one pitied' is recorded as 'no person pitied' in the Song edition, and as 'no person Zhen pitied' in the Yuan edition, both are unsatisfactory, so we follow the Ji Gu Ge edition. The character 'pian' is recorded as 'geng' in the Song and Yuan editions and the Ji Gu Ge edition, so we follow the Qing official publishing house edition.

未濟。長面大鼻，來解己憂。遺吾福子，惠我嘉喜。艮為鼻、為面，三艮形故曰長面大鼻。坎為憂，震為解、為福、為子、為嘉喜，此與上卦皆用半象，本之《易》也。○宋元本福子下多“與我惠妻”四字。

The trigram Qian transforms into Weiji, which is the last line under the Qian hexagram. Lin's interpretation says: A man with a long face and a big nose comes, removing my worries for me; he leaves me a son who brings me blessings and bestows upon me good fortune and joy. Shang Binghe explains: Weiji consists of Kan below and Li above. Gen represents the nose and the face, and there are three instances of Gen in the hexagram, hence the phrase 'long face and big nose'. Kan represents worries, Zhen represents removal of troubles, as well as sons, descendants, and good fortune. This line, like the Ji Ji hexagram above, uses the 'half image' method, which originates from the Zhou Changes. Note: The Song and Yuan editions have an additional four characters 'with my kind wife' below 'blessed son'.

坤。不風不雨，白日皎皎。宜出驅馳，通利大道。純坤無巽、兌象，故不風不雨，伏乾為日，大明，故曰白日皎皎。震為出、為驅馳、為通、為大塗，言陰極宜陽，復成震也。

In the first line of the Kun hexagram, the transformed hexagram remains Kun, which is a pure hexagram of all yin lines. The line statement says: no wind, no rain, the day is clear and bright; it is suitable to travel by carriage, the big road is smooth and convenient — these four sentences are exactly the same as in the previous line "Qian's Tai." Shang Binghe explains: from the pure Kun hexagram, the images of Xun and Dui cannot be derived. Xun represents wind, Dui represents rain, and since both are absent, it says "no wind, no rain." The hidden hexagram within Kun is Qian, which represents the sun, and its brightness and grandeur are said to result in "a bright day." Zhen represents traveling, driving, smoothness, and big roads. The reason for deriving the image of Zhen is that when yin reaches its extreme, it should transform into yang. When Kun moves once, it becomes Fu and generates Zhen, which matches the statement "it is suitable to travel and drive."

乾。谷風布氣，萬物出生。萌庶長養，花葉茂盛。《詩毛傳》：“谷風，東風也，陰陽和則谷風至。”按：乾納甲故曰東風，又陰變陽故萬物出生而茂盛，坤為萬物、為萌庶也。○盛，從汲古，宋元本皆作成。

The trigram Kun transforms into Qian. Lin Ci said: The east wind spreads life qi, and all things sprout and begin to grow; the initial grass and trees receive nourishment and flourish, with flowers and leaves becoming dense and prosperous—this is a favorable omen of vigorous vitality. The "Transmission of the Mao Shi" says: "Gu Feng" refers to the east wind, which only blows when yin and yang are in harmony. Shang Binghe's commentary: In the method of Najia, Qian is paired with the heavenly stem "Jia," which belongs to the east, hence the east wind; furthermore, yin transforms into yang, so all things are born and flourish. Kun governs all things and also the initial sprouts. Notes: The character "sheng" is taken from the Ji Gu Ge edition, while the Song and Yuan dynasty editions read "cheng."

屯。蒼龍單獨，與石相觸。摧折兩角，室家不足。震為蒼龍，坤寡故曰單獨。艮為石，在上故龍觸石。艮為角，坤數二，坎折，故曰折其兩角。艮為室家，坤窮故不足。○室家，從宋本，元本作家室。

The hexagram Kūn transforms into Zhūn. Lin's commentary says: A single Azure Dragon walks alone and collides with a stone; both of its horns are broken, causing the family to be incomplete. Shang Binghe explains: Zhūn consists of Zhèn below and Kǎn above. Zhèn represents the Azure Dragon; Kūn signifies fewness and solitude, hence the term 'alone'. The second, third, and fourth lines of Zhūn form Kūn together, and the third, fourth, and fifth lines form Gèn together. Gèn represents a stone and is in a superior position, hence the Dragon colliding with the stone. Gèn also represents horns, and Kūn's number is two, while Kǎn signifies breaking, hence 'breaking both horns'. Gèn represents family and household, and Kūn signifies exhaustion, hence 'family and household are insufficient'. Note: The term 'room and family' comes from the Song edition; the Yuan edition reads 'family and household'.

蒙。城上有烏，自名破家。招呼酖毒，為國患災。艮為城、為烏、為家，坎破，故曰破家，坤為自，艮為名也。震為言，艮手，故曰招呼，坤為毒、為災患、為國。○烏，汲古誤馬，依宋本。《左傳》：“城上有烏破家”，疑烏呼聲似之，或當時俗語。患災，從宋元本，汲古作災患。家，音姑，與烏韻。

The trigram Kun transforms into Meng. Lin Ci says: A crow perches on the city wall, calling out the ominous name 'breaking the family'; it brings a poisonous wine-like calamity, becoming a disaster for the state. Shang Binghe explains: Meng is composed of Kan below and Gen above. Gen represents the city, the crow, and the family dwelling, while Kan signifies destruction, hence 'breaking the family'. Kun represents 'self', and Gen represents the name. The second, third, and fourth lines of Meng combine to form Zhen, which signifies speech. Gen represents the hand, so calling out with the hand is called 'inviting'; Kun represents poison, disaster, and the state. Note: The character 'crow' in the Ji Gu Ge edition is mistakenly written as 'horse', and this version follows the Song edition. The Zuo Zhuan records 'a crow on the city wall'. Shang suspected that the crow's call sounded like the words 'breaking the family', or perhaps it was a common saying at the time. The words 'disaster' and 'calamity' are taken from the Song and Yuan editions, while the Ji Gu Ge edition reads 'calamity' and 'disaster'. The character 'family' here is read as 'gu', rhyming with 'crow'.

需。霜降閉戶，蟄蟲隱處。不見日月，與死為伍。通晉。坤為霜，艮為戶，坤閉，故曰閉戶。坎伏，故曰蟄蟲、曰隱處。坎月，離日，坎伏，故不見。坤為死。

The trigram坤 transforms into需. Lin Ci says: At the time of frost descent, doors and windows are closed, and the hibernating insects hide away; unable to see the light of the sun and moon, they are companions to death. Shang Binghe explains: This line combines the images of mutual transformation. The hexagram需 is formed by reversing the six lines of坤, resulting in晋 (with坤 below and离 above).坤 represents frost, and in晋, the interacting trigrams produce艮, which represents doors and windows.坤 also signifies blockage, hence the phrase 'closing the doors'. The trigram坎 is hidden and not visible, hence the terms 'hibernating insects' and 'hidden places'.坎 represents the moon, and离 represents the sun. Since坎 is hidden, it is said 'unable to see the sun and moon'.坤 represents death, hence 'companions to death'.

訟。天之德室，溫仁受福。衣裳所在，凶惡不起。乾為天、為德，坎為室，乾為仁，福為衣，伏坤為裳、為凶惡，坤伏坎陷，故不起。

The trigram Kun transforms into the trigram Song. Lin Ci said: This is the dwelling place where heaven bestows virtue, warm and benevolent, thus receiving blessings; where the place of clothing is, evil does not arise. Shang Binghe explained: The trigram Song consists of Kan below and Qian above. Qian represents heaven and virtue, while Kan represents buildings. Qian also represents benevolence; the text mentions 'Fú' (blessing) as 'Fú of clothing,' which should actually be 'Qian' (heaven). In the hidden image of Song, Kun represents the lower garment and also signifies evil, while Kun here is hidden and Kan represents a pit, so evil does not arise.

師。皇陛九重，絕不可登。謂天蓋高，未見王公。震為帝，故曰皇，震數九，自二至上若階陛然，故曰皇陛九重。坤為重也，震為登，坤閉故不可登。乾為人、為王公，乾伏，故不見。○宋元本三四句倒置，茲依汲古。陛，依宋本，汲古、元本作階。

The hexagram K'un transforms into the hexagram Shi. Lin Ci said: The imperial steps are nine layers high, absolutely impossible to climb up; people say the sky is so high and distant, yet they cannot see the faces of the princes. Shang Binghe explained: The hexagram Shi consists of Kan below and K'un above, and the second, third, and fourth lines together form Zhen. Zhen represents the emperor, so it is called 'huang' (emperor); the number of Zhen is nine, and counting from the second line to the top line, they are layered one after another, just like the steps of a palace, hence 'huang bi jiu chong' (the emperor's steps are nine layers high). Zhen represents ascending, while K'un represents blockage, so 'it is not possible to ascend'. Qian represents people, and also the princes; in this hexagram, Qian is hidden and not visible, hence 'not seeing the princes'. Note: In the Song and Yuan editions, the third and fourth lines are reversed, here following the Ji Gu Ge edition; the character 'bi' is taken from the Song edition, while the Ji Gu Ge and Yuan editions use 'jie'.

比。孔德如玉，出於幽谷。飛上喬木，鼓其羽翼，輝光照國。艮堅為金玉，坎為幽谷，在上，故曰出。艮為飛、為喬木，艮手為鼓、為羽翼，艮為輝光、為國，《詩小雅》：“其人如玉”，又“伐木丁丁，鳥鳴嬰嬰。出自幽谷，遷於喬木。”○宋元本皆作四句，並三四句為二句，作升高鼓翼，茲依汲古。

The trigram坤 transforms into比. Lin Ci said: Virtue is as beautiful as jade, emerging from a deep valley; flying up to tall trees, shaking its wings, radiance illuminating the whole country—this is the image of moving from concealment to prominence, and the virtue and talent being recognized and used. Shang Binghe explained:比 is composed of坤 below and坎 above. The third, fourth, and fifth lines interact to form艮.艮 has the nature of firmness, representing gold and jade;坎 represents a deep valley, while艮 is above it, hence the meaning of 'emerging'.艮 also represents flying and tall trees;艮 represents hands, and the action of shaking wings is derived from艮, hence 'shaking its wings'. Furthermore,艮 also represents radiance and states. The quoted poem from《Small Odes·White Horse》says 'his person is like jade', and from《Small Odes·Logging》it says 'logging sounds clatter, birds call in harmony, emerging from the deep valley, migrating to tall trees', which is exactly the source of Lin Ci's meaning. Notes: The versions from Song and Yuan editions of this passage only have four lines, combining the third and fourth lines into 'ascending and shaking wings', but this version follows the Jigugong edition.

小畜。五軛四軏，優得饒有。陳力就列，騶虞悅喜。軛，轅端橫木，駕馬領者。軏，《論語》：“小車無軏。”注：軏，轅端持衡者，通《豫》。艮為小木、為軛、為軏，坎數五，震卦數四，故曰五軛四軏。乾富故曰饒有，震為陳列，艮為騶虞。《毛傳》：“騶虞，義獸也。”震為樂，故悅喜。陳樸國雲《禮記射義》：“騶虞，樂官備也”，注：樂官備者，謂騶虞一發，五豝五●，喻得賢眾多也。故焦氏言“陳力就列，騶虞悅喜”也，又按：五軛四軏，言獵車之盛也。○汲古軛作範，軏作軌，依宋元本。優得，依履之艮校，各本皆作復得。又各本下有“四足無角，君子所服。南征述職，以惠我國”四句，與上不韻，顯為衍文，依履之艮刪，宋本則作下履林，按之卦象亦協。

The transformation of the坤 (Earth) hexagram results in the 小畜 (Small Accumulation) hexagram. Lin Ci says: "Five yoke bars and four axle keys, calmly obtaining abundance and wealth; acting according to one's capacity and taking up one's proper position, the music of the Zouyu (a virtuous animal) is played with joy." The "yoke" refers to the horizontal bar at the front of a chariot's辕 (pole), placed over the horse's neck. The "axle key" is mentioned in the "Book of Rites · Governance of the State" as "a small chariot has no axle key," and commentators explain it as the key mechanism at the front of the chariot's pole that holds the horizontal bar. Shang Binghe explains that this applies to the Yu (Joy) hexagram. In the Yu hexagram, the inner trigrams produce Gen (Mountain), which represents small wood, thus symbolizing the yoke and axle key. The number of the Kan (Water) trigram is five, and the number of the Zhen (Thunder) trigram is four, hence the phrase "five yokes and four axle keys." The乾 (Heaven) trigram represents wealth, hence "abundance." The Zhen trigram represents arrangement, and the Gen trigram represents Zouyu. The "Mao Zhuan" says that Zouyu is a virtuous animal with benevolence and righteousness. The Zhen trigram represents music, hence "joy." Chen Puguo cites the "Book of Rites · Rules of Archery" which says that "Zouyu" signifies the completeness of the musical officials. The commentary explains that the poem of Zouyu, when shot, hits five wild boars with one arrow, symbolizing the acquisition of many virtuous talents, hence Jiao Yanshou says "exerting one's strength in one's proper position, Zouyu is joyful." Shang Binghe further notes that "five yokes and four axle keys" describes the grandeur of a hunting chariot. Notes: The character "yoke" in the Ji Gu Ge edition is written as "Fan," and "axle key" as "Gui," here following the Song and Yuan editions. The words "you de" are corrected from this text's "Lu Zhi Gen" section, while all editions have "fu de." Below this section, all editions also have the lines "four feet without horns, worn by the gentleman; southern expedition and official duties, to benefit our country," which do not rhyme with the preceding lines and are clearly later additions, so they are deleted following the "Lu Zhi Gen" section. The Song edition, however, attaches these four lines to the Lin Ci of the Lu hexagram, which also fits the hexagram's meaning.

履。敝笱在梁，魴逸不禁。漁父勞苦，焦喉乾口，虛空無有。通謙。坤為敝，震為篚筥，為笱，艮為梁，故曰敝笱在梁。坤為魚、為魴，在外故逸。乾為父，坎為勞，兌為口，離火，故曰焦喉乾口。○焦喉，各本皆作連室，皆無末句，依遯之大過校。

The trigram坤 transforms into履. Lin Ci says: A broken fish basket is placed on the fish weir, the鲂 fish escape and cannot be stopped; the old fisherman works in vain, his throat is scorched and his lips are dry, in the end he gets nothing. The phrase 「敝笱在梁」 comes from the poem 「敝笱」 in the 「Qi Feng」 section of the Book of Songs. Shang Binghe explains: This applies to the hexagram Qian.坤 represents broken and worn-out things,震 represents bamboo containers (f篚, j筥, g笱 are all types of bamboo containers), 艮 represents the fish weir, hence 「敝笱在梁」.坤 also represents fish, and specifically the鲂 fish, which are already outside the hexagram, hence 「逸」.乾 represents the father, 坎 represents labor and hardship, 兑 represents the mouth, 离 represents fire, fire scorches the mouth, hence 「焦喉乾口」. Notes: The words 「焦喉」 appear in all other editions as 「连室」, and the last sentence is missing in all editions. This is supplemented according to the entry on 「遯之大过」 in this book.

泰。雷行相逐，無有攸息。戰於平陸，為夷所覆。震為雷、為逐、為戰，坤為平陸、為夷狄，坤死兌折，故曰為夷所覆。如衛懿公是也。

The trigram坤 transforms into泰. Lin Ci says: Thunder rumbles and rolls, chasing each other without ceasing; on a level plain, there is a battle, and it is defeated by the夷狄, leading to collapse. Shang Binghe explains: 泰 consists of乾 below and坤 above. The third, fourth, and fifth lines together form震, which represents thunder, pursuit, and warfare.坤 represents flat land and also the夷狄;坤 signifies death, and兑 signifies destruction, hence the statement 'defeated by the夷狄'. A historical example is Wei Yi Gong, who loved cranes and neglected governance, eventually being destroyed by the Di people.

否。六龍爭極，服在下飾。謹慎管鑰，結禁無出。乾為龍，數六，在上，故曰六龍爭極，乾為衣，坤為裳，故曰服。坤為下、為文，故曰下飾。坤閉，故曰管鑰，曰結禁，坤六四曰“括囊”，是其義也。○下，依宋元本，汲古作不。鑰，元本作鑰。

The坤 (Kun) hexagram transforms into the否 (Po) hexagram. The line statement says: Six dragons compete for the highest position, and all the patterns on the clothing are used on the lower part; carefully guard the key, tightly close the door and prohibit entry and exit — this is an image of being closed off and self-contained. Shang Binghe explains: The否 hexagram is composed of the坤 (Kun) below and the乾 (Qian) above. The乾 (Qian) represents dragons, and its number is six, which is in the upper position, hence it is said 'six dragons compete for the supreme position'. The乾 (Qian) represents the upper garment, and the坤 (Kun) represents the lower garment, together they are called 'clothing'. The坤 (Kun) represents closure, hence it is said 'guarding the key' and 'closing the door'; the line statement of the sixth line of the坤 (Kun) hexagram in the Zhou Changes says 'binding the bag', tightly closing it so nothing is revealed, which is exactly this meaning. Notes: The character '下' is based on the Song and Yuan editions, while the Jigugang edition uses '不'; the character '钥' in the Yuan edition uses a different variant form.

同人。長男少女，相向共語，福祿歡喜。通《師》。震為長男，巽為少女，大過以巽為女妻，故巽亦為少女，震為語，巽震同聲相應，故曰共語，又離上下兩兌口相對，明夷謂曰有言，亦共語也。震為福、為樂。○汲古本共語下有“析薪在克”四字，於上下語甚不協，宋元本無，從之。

The坤 hexagram transforms into the同人 hexagram. Lin Ci says: The eldest son and the young maiden converse face to face, blessings and honors come, and the heart is joyful. Shang Binghe explains: This line combines the image of the reverse hexagram. The同人 hexagram reversed becomes the师 hexagram. Within the师 hexagram, the mutual lines of the second, third, and fourth lines form the震 trigram, which represents the eldest son. Within the同人 hexagram, the second, third, and fourth lines form the巽 trigram, which represents the young maiden. The Great Excess hexagram in the Zhou Changes uses the巽 trigram to represent 'woman-wife,' so the巽 trigram can also represent the young maiden. The震 trigram represents speech, and the巽 trigram resonates with the震 trigram in sound, hence the saying 'converse together.' Moreover, the离 trigram contains two兑 trigrams above and below, which face each other, and the Mingyi hexagram speaks of 'having words,' which also represents the image of conversing together. The震 trigram also represents blessings and joy. Note: The Ji Gu Ge edition has the words 'analyzing firewood in cutting' below 'converse together,' which does not fit well with the surrounding text. The Song and Yuan editions do not include these four characters, so we follow the Song and Yuan editions here.

大有。遷延惡人，使德不通。炎火為殃，禾稼大傷。離為惡人、為炎火、為殃，餘未詳。○炎火，從宋元本。汲古作災火。禾稼，宋元本作年榖，年，疑禾之訛，依汲古。

The trigram坤 transforms into大有. Lin Ci said: Being overly accommodating and delaying, allowing wicked people to act unchecked, prevents the spread of virtue and morality; a fierce fire causes disaster, severely damaging crops. Shang Binghe explained: 大有 consists of乾 below and离 above. 离 represents wicked people, fierce fire, and calamity; regarding the other sentences, Shang Binghe himself admitted he could not examine them in detail. Notes: "Inflaming fire" follows the Song and Yuan editions, while the Jigugewang edition reads "calamitous fire"; "crops" in the Song and Yuan editions is "yearly harvest," and Shang Binghe suspected "year" was a miswriting of "crops," so this passage follows the Jigugewang edition.

謙。修其翰翼，隨風向北。至虞夏國，與舜相得。年歲大樂，邑無盜賊。震為翰翼，坤為北，伏巽，故曰隨風向北。坤為國，震為帝王，故曰虞夏、曰舜。坤為年歲，震為樂，坤為邑，坎為盜賊，坎隱伏，故無盜賊。

The trigram Kūn transforms into Qiān. Lin Ci says: "Prepare your wings well and fly north with the wind; fly to the lands of Yu and Xia, and align with the Emperor Shun; good harvests, great joy, and no thieves in the cities." Shang Binghe explains: Qiān has Gèn below and Kūn above. The third, fourth, and fifth lines together form Zhèn, which represents wings. Kūn represents the north; the trigram hidden within Qiān contains Xùn, which represents wind, hence "flying with the wind to the north." Kūn represents states and countries, and Zhèn represents the emperor, so it refers to Yu, Xia, and Shun. Kūn also represents years, Zhèn represents joy, and Kūn represents cities. The second, third, and fourth lines together form Kǎn, which represents thieves, but Kǎn is hidden here and not visible, hence "no thieves in the cities."

豫。鉛刀攻玉，堅不可得。盡我筋力，胝繭為疾。艮堅在外為刀，坤柔故曰鉛刀，震為玉，艮為堅，胝繭者，足病，震為足，坎疾，故曰胝繭為疾。筋力，象是否為艮未詳。○胝，汲古誤眠，宋本作視，茲依元本。

The trigram Kun transforms into Yu. Lin's commentary says: Using a soft knife made of lead to carve jade, the jade is too hard, so nothing is gained; I use up all my strength, and my feet develop thick calluses which become illness. Shang Binghe explains: Yu consists of Kun below and Zhen above. The second, third, and fourth lines together form Gen, which has the nature of firmness and is located outside, so it represents the knife. Kun has the nature of softness, hence the term 'lead knife'. Zhen represents jade, and Gen represents firmness. Using a soft knife to attack hard jade naturally yields nothing. 'Thick calluses' are thickened skin on the feet, which belong to foot diseases; Zhen represents the foot, and the third, fourth, and fifth lines together form Kan, which represents illness, hence the statement 'thick calluses become illness'. As for the term 'strength and effort', whether it refers to the image of Gen, Shang himself admits he cannot determine. Note: The character 'zhī' in the汲古阁 edition is mistakenly written as 'mián', and in the Song edition as 'shì'; here we follow the Yuan edition.

隨。舉袂覆目，不見日月。衣衾簠簋，就長夜室。震為袂、為舉，艮為目、為日，兌為月，巽為伏，故曰覆目不見。震為衣衾、為簠簋，艮為室，兌為夜，蓋三至上互大過，大過死故就長夜室，言墓內無光，如長夜也。《禮記》：“齊大飢，黔敖設食於路，有蒙袂而來者，黔敖曰：‘嗟，來食，’曰：‘餘唯不食嗟來食，以至於此。’遂死。”《士喪禮》“幎目緇尺二寸”，注：幎目，覆目者也。即袂也。○袂，宋元本作被，依汲古。衾，依宋元本，俗本誤裳。

The hexagram Kūn transforms into Suí. Lin's commentary says: raising the sleeve to cover the eyes, unable to see the sun and moon; preparing clothes and bedding, and the ritual vessels for sacrifice, entering a chamber like a long night — this is the image of death and mourning. Shang Binghe explains: Suí consists of Zhèn below and Duì above. Zhèn governs sleeves and lifting; the second, third, and fourth lines together form Gèn, which governs the eyes and the sun; Duì governs the moon; the third, fourth, and fifth lines together form Xùn, which governs concealment, hence the saying 'covering the eyes' and 'not seeing'. Zhèn also governs clothes and bedding, and the ritual vessels for sacrifice; Gèn governs the chamber, and Duì governs night; this hexagram's third line to top line forms the shape of Dàguò, which signifies death, hence the saying 'entering the chamber of long night' — the chamber in the tomb has no light, like an eternal night. The cited text from the Book of Rites, Tan Gong, records that during a severe famine in the state of Qi, Qian Ao set up food on the roadside to help the starving. A man came walking with a sleeve covering his face. Qian Ao called out, 'Come and eat,' but the man replied, 'I am starving precisely because I refuse to eat food given in a contemptuous manner.' Eventually, he died of starvation. The Book of Rites, Shi Sānguǐ, mentions 'mèi mù zī chǐ èr cùn,' which refers to a cloth covering the face, and the commentators explain that mèi mù is a cloth used to cover the face, which is synonymous with the term 'mèi' here. Notes: The character 'mèi' in Song and Yuan editions is written as 'bèi,' and this version follows the Jigugē edition; the character 'qīn' follows the Song and Yuan editions, while common popular editions mistakenly use 'cháng.'

蠱。賊仁傷德，天怒不福。斬刈宗社，失其邦國。巽為賊、為傷，震為怒，艮為大，艮手為斬刈，震為宗，艮為社，四至上艮震反覆，故曰斬刈宗社。艮為邦國，坎為失。○仁、大，從宋元本，汲古作賊人，作大怒非。

The hexagram Kūn transforms into Gǔ. Lin Cí says: "It causes harm to benevolence and damages virtue, heaven is angry and does not bestow blessings; ancestral temples and state altars are cut down and destroyed, losing one's own state." Shang Binghe explains: Gǔ consists of Xùn below and Gèn above. Xùn signifies theft and injury; the third, fourth, and fifth lines together form Zhèn, which signifies anger. Gèn signifies great things. Gèn also signifies hands, so using hands means cutting down; Zhèn signifies ancestral temples, Gèn signifies state altars, from the fourth line to the top line, Gèn and Zhèn alternate between positive and negative, thus it is said "cutting down ancestral temples and state altars." Gèn signifies the state, and Kǎn signifies loss, hence "losing one's state." Notes: The characters "ren" and "da" are taken from Song and Yuan editions; the Ji Gu Ge edition reads "ze ren" as "ze ren" and "tian nu" as "da nu," both of which are incorrect.

臨。白龍赤虎，戰鬬俱怒。蚩尤敗走，死於魚口。震為白、為龍，伏艮為虎，乾為赤，故曰白龍赤虎。震為戰、為怒，坤為惡，故曰蚩尤。兌毀故敗，震為走，故曰敗走。坤為死、為魚，兌為口。《湘中志》：“湘南有魚口灘”，唐李紳詩“洛陽城見梅迎雪，魚口橋逢雪送梅。”又兌亦為虎，兌納丁，故曰赤虎，亦通。

The trigram坤 transforms into 临. Lin Ci said: A white dragon and a red tiger fight, both in great anger; Chi You was defeated and fled, dying in the mouth of a fish. Shang Binghe explained: 临 is composed of兑 below and坤 above, with the second, third, and fourth lines forming 震 together. 震 represents white and also dragon; the hidden image of 临 is 遁, in which 艮 represents tiger and 乾 represents red color, hence the phrase "white dragon and red tiger." 震 represents battle and anger;坤 represents evil, so it refers to Chi You. 兑 represents destruction, hence "defeated"; 震 represents movement, hence "fled."坤 represents death and also fish, while 兑 represents mouth, thus forming "died in the mouth of a fish." The "Xiangzhong Zhi" mentions that in southern Xiang there is a Fish Mouth Beach, and the Tang poet Li Shen also mentioned "Fish Mouth Bridge" in his poetry. Shang also said that 兑 can represent tiger. In the method of Najia, 兑 is paired with the heavenly stem "Ding," which belongs to fire and has a red color, hence called "red tiger," which is a reasonable explanation.

觀。北辰紫宮，衣冠中立。含和建德，常受天福。坤為北，艮為星辰、為宮，故曰北辰紫宮。《天文志》：“中宮曰紫宮，即紫微垣也。”坤為衣裳，艮為冠，居中五，故曰中立。伏乾為德、為天福。

The trigram Kūn transforms into Guān. Lin Ci said: The North Star and the Purple Palace are neatly dressed and stand in the center; with a heart of harmony and establishing virtue, they often receive the blessings of heaven. Shang Binghe explained: Guān consists of Kūn below and Xūn above. Kūn represents the north; the third, fourth, and fifth lines together form Gen, which governs stars and palaces, hence the saying "North Star and Purple Palace." The "Book of Han · Astronomical Records" states that the Central Palace is called the Purple Palace, which is also the Purple Micro垣. Kūn governs clothing, and Gen governs caps and crowns. The main line of Gen, the ninth line at the fifth position, is in the central position, hence "standing in the center." The hidden trigram of Guān is Dàzhuàng, where Qian governs virtue and heaven's blessings, hence "harmonizing and establishing virtue, often receiving heavenly blessings."

噬嗑。稷為堯使，西見王母。拜請百福，賜我喜子。震為稷、為帝、為行，故曰稷為堯使。坎為西，震為王，伏巽為母，故曰王母。艮手為拜，震為言、為請、為百福、為喜、為子，故曰喜子。○喜，汲古訛嘉，喜子者，《詩》“蠨蛸在戶”疏：蠨蛸，長腳蛛，俗呼為“喜子”，《荊楚歲時記》：“七月七日陳瓜菓乞巧，有喜子網於瓜則以為符。”

The trigram坤 transforms into噬嗑. Lin's commentary says: After Jisi was sent by Yao to the west to meet the Queen Mother of the West, he performed rituals to request a hundred kinds of blessings, and the Queen Mother gave him a "xi zi." Shang Binghe explains:噬嗑 has Zhen below and Li above. Zhen governs Jisi, the emperor, and travel, so it is said "Jisi was sent by Yao." The third, fourth, and fifth lines together form Kan, which governs the west. Zhen governs the king, and in the hidden image of噬嗑, Xun governs the mother, so it is said "Queen Mother." The second, third, and fourth lines together form Gen, which governs the hand, so the hand performs the ritual of bowing. Zhen governs speech, requests, and also governs a hundred blessings, joy, and the son, so it is said "the Queen Mother gave me a xi zi." Note: The character "xi" in the汲古阁 edition is mistakenly written as "jia." The term "xi zi" is explained in Kong Yingda's commentary on the poem "East Mountain" from the "Bing Feng" section of the "Shi Jing," where he says that xiaoshao is a long-legged spider, commonly known as "xi zi." The "Jing Chu Years" records that on the seventh day of the seventh month, people set out fruits and vegetables to beg for skill, and if a xi zi weaves a net on the fruit, it is considered a good omen of skill.

賁。三人異趣，反覆迷惑。一身五心，亂無所得。互震為人，數三，故曰三人，而三至上正覆震相背，故曰異趣、曰反覆，坎為迷惑也。艮為身，坎數一，故曰一身。坎為心，納戊數五，故曰五心，離為亂，離虛故無得。

The hexagram Kūn transforms into Bēn. Lin's interpretation says: Three people have different aspirations, turning back and forth, confused and uncertain; one body has five thoughts, chaotic and achieving nothing. Shang Binghe explains: Bēn is composed of Li below and Gen above. The third, fourth, and fifth lines interact to form Zhen, which represents the person. The number of Zhen is three, so it is said 'three people.' From the third line to the top line, there are two Zhen trigrams facing opposite directions, one positive and one negative, hence 'different aspirations' and 'reversing back and forth.' The second, third, and fourth lines interact to form Kan, which represents confusion. Gen represents the body, and Kan's number is one, hence 'one body.' Kan also represents the heart, and in the Najia system, Kan corresponds to the heavenly stem 'Wu,' whose number is five, hence 'five hearts.' Li represents chaos, and Li is hollow in the center, hence 'achieving nothing.'

剝。南山大玃，盜我媚妾。怯不敢逐，退而獨宿。艮山納丙，又為玃，故曰南山大玃，坤為我，伏兌為媚、為妾，坤柔為怯。震為逐，震覆為艮，故不逐。震為進，震覆則為退矣。坤為宿。《博物志》：“蜀南山有大玃，婦人好者，輒盜以去”。《廣韻》：“玃，大猿也。”

The trigram Kūn transforms into Bō. Lin Ci said: "A large ape on the southern mountain has taken away my beloved concubine; I am afraid to chase after her and can only return to stay alone for the night." Shang Binghe explained: Bō consists of Kūn below and Gèn above. Gèn represents mountains and in the Najia system corresponds to the heavenly stem "Bing," which belongs to the south. Gèn also represents the ape, so it is said "a large ape on the southern mountain." Kūn represents "I"; the hidden image of Bō is Guài, which contains Dui representing charm and the concubine. Kūn is gentle and weak, hence "afraid." Zhen represents pursuit, but in this case Zhen is inverted into Gèn, hence "not daring to chase." Zhen represents movement forward, but when inverted it becomes retreat, hence "return." Kūn represents staying. The "Bamboo Annals" says that in Shu there is a large ape on the southern mountain that takes away beautiful women. The "Broad韵" says "jue" is a large ape.

復。眾鬼所逐，反作光怪。九身無頭，魂驚魄去，不可以居。坤為鬼、為眾，震為逐、為反、為玄黃，故曰光怪。坤為身，震納庚金，數九，故曰九身，乾為頭，乾伏，故曰無頭，伏乾為魂，坤為魄，震為驚，艮為居，艮覆故不可居。○鬼，從宋元本，汲古作九。光，宋元本作大，依汲古。

The trigram Kun transforms into Fu. Lin Ci said: Being chased by a crowd of ghosts, strange and bizarre forms appear; nine bodies without a head, the soul is startled and scattered, the spirit has left, this place is not suitable for living. Shang Binghe explained: Fu is composed of Zhen below and Kun above. Kun governs ghosts and multitude; Zhen governs pursuit and return, also governing the color of Xuanhuang, hence the saying 'strange and bizarre forms'. Kun governs the body; in the method of Najia, Zhen is paired with the heavenly stem 'Geng', which belongs to metal and has the number nine, hence 'nine bodies'. Tian governs the head, but Tian is hidden and not visible here, hence 'no head'; in the hidden image, Tian governs the soul, Kun governs the spirit, and Zhen governs alarm. Gen governs dwelling, but here Gen is inverted as a reversed image, hence 'not suitable for dwelling'. Notes: The character 'ghost' comes from Song and Yuan editions, while the Ji Gu Ge edition reads 'nine'; the character 'light' in Song and Yuan editions reads 'great', here following the Ji Gu Ge edition.

無妄。延頸遠望，眯為目病。不見叔姬，使伯心憂。艮為頸、為望，離為目，大離故“目病”。《說文》：“眯，草入目中也。”震為草莽而與大離連，故曰眯。《易林》小學之精，用一字無不與卦象確切如此。震為姬，艮為叔，故曰叔姬，震為伯，巽為心、為憂。○眯汲古誤昧，依宋元本。

The hexagram Kūn transforms into Wúwàng. Lin Ci says: stretching the neck to look far away, grass particles enter the eyes causing eye disease; unable to see Shu Ji, causing Bo Shi to worry. Shang Binghe explains: Wúwàng has Zhen below and Qian above, with the second, third, and fourth lines forming Gen together, Gen representing the neck and the act of looking; Li represents the eye, and this hexagram is almost like a large Li, hence saying "eye disease." The Shuowen Jiezi says "mi" refers to grass particles entering the eye; Zhen represents grassy areas, and Zhen is connected to this large Li, hence saying "mi." Shang thus praises the precision of word meaning and etymology in the Yi Lin, with each character perfectly matching the hexagram's imagery. Zhen represents Ji surname, and Gen represents Shu, hence "Shu Ji"; Zhen also represents Bo, and the third, fourth, and fifth lines form Xun together, Xun representing the heart and worry, hence "causing Bo to worry." Notes: The character "mi" in the Jigusha edition is mistakenly written as "mei," and this version follows the Song and Yuan editions.

大畜。典冊法書，藏在蘭臺。雖遭亂潰，獨不遇災。伏坤為文，故曰典冊法書，巽為伏、為香，故曰藏在蘭臺，艮為臺也，坤為亂潰、為災，乾福故無災，全用旁通象。

The hexagram K'un transforms into Da Xu. Lin Ci said: "Classic texts, legal codes, and literary works are stored in the LanTai; although they have encountered turmoil and collapse, they alone have not suffered disaster." Shang Binghe explained: Da Xu is composed of Qian below and Gen above. Its hidden image (the opposite hexagram) is Cui. In Cui, K'un governs literature, so it is said "classic texts and legal codes." In Cui, the interacting lines produce Xun, which governs concealment and fragrant herbs, hence "stored in the LanTai"—the LanTai was an official institution in the Han dynasty for preserving documents, and Gen signifies a platform. K'un signifies chaos and disaster, while Qian signifies fortune, so "alone not encountering disaster." This entire explanation uses the image of the opposite hexagram.

頤。自衛反魯，時不我與。冰炭異室，仁道隔塞。震為衛、為反，伏兌為魯，故曰自衛反魯，艮為時，坤為我、為冰，艮為火、為炭、為室，卦正覆艮相背，故曰異室，艮為道，坤閉故道隔塞。○我，依宋元本，汲古作可。非。

The hexagram K'un transforms into Yi. Lin's commentary says: Returning from the State of Wei to Lu, my fortune does not grant me an opportunity; ice and charcoal are in separate rooms, and the way of benevolence is blocked. "Returning from Wei to Lu" uses the words from the Analects of Confucius, "After returning from Wei to Lu, I was able to regulate the music." Shang Binghe explains: Yi consists of Zhen below and Gen above. Zhen represents Wei and returning; the hidden image of Yi is Da Guo, which contains Dui representing Lu. Therefore, it is said "returning from Wei to Lu." Gen represents time, and the second, third, and fourth lines together form K'un. K'un represents "I" and also ice; Gen represents fire and charcoal, and also the house. The entire hexagram consists of two Gen trigrams facing each other, hence "different rooms." Gen also represents roads, and K'un represents blockage, so "the way of benevolence is blocked." Note: The character "I" follows the Song and Yuan editions; the Ji Gu Ge edition uses "can," which is incorrect.

大過。瘤癭禿疥，為身瘡害。疾病癃殘，常不遠逮。通《頤》。艮為節，故曰瘤癭禿疥、曰瘡。坤為身、為死，故疾病癃殘，不能逮遠。○遠逮，汲古作屬遠，依宋元本。

The trigram坤 transforms into大过. Lin Ci says: growing tumors and warts, baldness and scabies, leading to sores and ulcers; being plagued by illness, paralyzed and disabled, often unable to travel far. Shang Binghe explains: this takes the image of mutual transformation. The trigram大过, when reversed, becomes颐. The trigram颐 contains艮, which represents bones and joints, hence the mention of tumors, warts, baldness, and scabies, and sores. The trigram颐 also contains坤, which represents the body and death, hence the mention of illness, disability, and inability to travel far. Note: The text in the Ji Gu Ge edition reads '远逮' but here we follow the Song and Yuan editions.

坎。齊東郭盧，嫁於洛都。俊良美好，媒利過倍。《戰國策》：“韓子廬者，天下之良犬；東郭逡者，天下之狡兔”，《詩齊風》：“廬令令”，《毛傳》：“廬，田犬。”坎中爻艮為郭、為犬，震為東，伏巽為齊。又廬者：“黑色首為黔”，故曰齊東郭廬，舉一字於卦之象數皆合神已。艮為都，震為家，坎為河，故曰洛都。按：此林屢見嫁往也。《列子天瑞篇》：“列子居鄭圃四十年，人無視者，將嫁於衛”，又女子適人亦曰嫁，嫁於洛都者，往售於洛都也，故下雲媒利過倍，媒者，因也，言因犬得利也。○盧，汲古訛廬。齊東，宋本作東齊，茲依元本。

The trigram坤 changes into坎. Lin Ci says: A dog called Lu from the eastern town of Qi was sent to the capital Luo; it had fine fur and a beautiful appearance, and the intermediary made double the profit. Shang Binghe explains: The "Zhan Guo Ce·Qi Ce" says, "Han Zi Lu is the fastest dog in the world, and Dong Guo Sun is the most cunning rabbit." The "Shi·Qi Feng·Lu Ling" has "Lu Ling Ling," and the "Mao Zhuan" says "Lu" refers to a hunting dog used in the fields. The middle line of Kan trigram interacts with Gen trigram, and Gen represents the outer city and dogs; the second, third, and fourth lines interact to form Zhen trigram, and Zhen represents the east. The hidden image of Kan trigram includes Xun trigram, which represents Qi. "Lu" is also interpreted as black, and a black-headed dog is called "Qian," so it is said "Qi Dong Guo Lu" — each character corresponds to the image and numerical symbolism of the trigram, which is truly profound. Gen represents the city, Zhen represents the household, and Kan represents river water, so it is said "Luo Du." Shang's note: The term "jia" (marriage) appears frequently in the "Yi Lin." The "Lie Zi·Tian Rui" says that Lie Zi lived in a garden in Zheng for forty years without recognition, and "will be married to Wei," indicating that "jia" means going to a place; a woman going out is also called "jia." Therefore, "jia to Luo Du" means transporting this dog to Luo Du for sale, so the next sentence says "the intermediary made double profit" — "medium" here means using it as a means, meaning that profit was doubled by using this dog. Notes: The character "Lu" in the Ji Gu Ge edition is mistakenly written as "Lu"; the "Qi Dong" in the Song edition is written as "Dong Qi," but this follows the Yuan edition.

離。齊魯爭言，戰於龍門。構怨連禍，三世不安。中爻巽齊兌魯，而二至五正反兩兌相背，兌為言，故曰齊魯爭言，伏坎中爻，震為戰、為龍，艮為門，故曰龍門。又坎為怨、為禍，離卦數三，故曰三世，離為亂，故不安。○連，依宋元本，汲古作結。

The坤 hexagram transforms into the离 hexagram. Lin Ci says: Qi and Lu disputed with words, fighting at the龙门; they formed enmity and connected calamities, causing three generations to be unrestful. Shang Binghe explains: The离 hexagram is a double离, with the middle lines generating the巽 and兑 trigrams. The巽 trigram represents Qi, and the兑 trigram represents Lu. From the second line to the fifth line, there are two兑 trigrams facing opposite directions, and the兑 trigram governs speech, hence 'Qi and Lu disputed with words'. The hidden image of the离 hexagram is the坎 hexagram, and the middle line of the坎 hexagram generates the震 trigram. The震 trigram represents war and dragons, and the艮 trigram represents a gate, hence 'the龙门'. The坎 hexagram also represents resentment and calamity; the number of the离 hexagram is three, hence 'three generations'; the离 hexagram signifies disorder, hence 'unrest'. Note: The character '连' follows the Song and Yuan editions, while the Jigugong edition reads '结'.

咸。膏澤肥壤，農人豐敞。利居長安，歷世無患。兌為膏、為澤，艮為壤，乾為肥，故曰肥壤，伏震為農人、為豐敞。坤為長安、為世，震樂故無患。○膏，從宋本。汲古、元本作芳。

The trigram Kūn transforms into Xián. Lin's interpretation says: oily and moist rain nourishes the fertile soil, allowing farmers to have abundant and ample harvests; it is suitable for long-term residence, with no calamities for generations. Shang Binghe explains: Xián consists of Gèn below and Dùi above. Dùi represents oil and rain, while Gèn represents soil. The third, fourth, and fifth lines together form Qián, which signifies richness. Therefore, it is said "fertile soil." The hidden image of Xián is Sǔn, and within Sǔn, Zhèn represents farmers and also signifies abundance and sufficiency. Kūn represents peace and continuity across generations, while Zhèn represents joy, hence "no calamities for generations." Note: The character "gāo" comes from the Song edition; the Ji-gu ge edition and Yuan edition use "fāng."

恆。倉盈庾億，宜種黍稷。年豐歲熟，民得安息。通《益》。艮為倉庾，坤眾，故盈億，震為黍稷，坤為歲年、為民、為安息。詳《乾》之“師”。

The trigram坤 transforms into 恒. Lin Ci says: The granaries are full, and there are thousands of open-air grain stores, suitable for planting millet and millet; the harvest is abundant, the five grains are ripe, and the people can rest in peace. Shang Binghe explains: This takes the image of mutual transformation. The trigram 恒, when reversed, becomes 益. Within 益, there is the trigram 艮, which represents granaries and grain stores; within 益, there is also the trigram 坤, which signifies multitude, hence the terms 'full' and 'myriad'. The trigram 震 represents millet and millet, 坤 represents years, people, and rest. For a detailed explanation, see the previous entry 'Qian transforms into Shi'—the Lin Ci in that entry is exactly the same, and it also uses 坤 to represent granaries.

遯。鴟鴞破斧，邦人危殆。賴旦忠德，轉禍為福，傾危復立。艮為鴟鴞，兌為斧，兌覆，故曰破斧。鴟鴞、破斧，《豳風》篇名，皆詠周公之德也。伏坤為邦，震為人，兌毀，故危殆，震為旦、為德，坤為禍，震為福。○旦，依汲古，宋元本皆作其。

The trigram Kūn transforms into Dùn. Lin Ci says: This situation resembles the circumstances described in the poems "Chīxiāo" and "Pùfǔ," where the people are in a perilous state. However, relying on the loyal virtue of the Duke of Zhou, misfortune was transformed into fortune, and the precarious situation was restored. Shang Binghe explains: Dùn consists of Gèn below and Qián above. Gèn represents the "Chīxiāo," and Dui represents the "fǔ." However, in this case, Dui is inverted, forming a reversed image, hence the term "Pùfǔ." Both "Chīxiāo" and "Pùfǔ" are titles from the "Shī·Bīnfēng" section, and both poems praise the virtue of the Duke of Zhou. The hidden trigram of Dùn is Lín, which contains Kūn representing the state. Within Dùn, the interacting trigram is Zhèn, which represents people; Dui signifies destruction, hence "perilous state." Zhèn represents the Duke of Zhou (Zhou Gong Dan) and virtue, while Kūn represents misfortune, and Zhèn represents fortune, thus "transforming misfortune into fortune and restoring the precarious situation." Note: The character "Dan" is based on the Ji Gu Ge edition; the Song and Yuan editions both use "Qi."

大壯。歲飢無年，虐政害民。乾溪驪山，秦楚結冤。通《觀》。坤為歲、為飢、為政、為民、為虐害，本卦兌為溪，下乾，故曰乾溪。《易》以乾為陵、為馬，故曰驪山，兌西為秦，震為叢木、為楚，驪山秦地，乾溪楚地，靈王死乾溪，始皇葬驪山，故曰結冤。

The hexagram坤 transforms into大壮. Lin Ci says: there is famine and scarcity of crops, and tyrannical government harms the people. The乾溪 and骊山 are places where Qin and Chu have formed grievances. Shang Binghe explains: this line combines the images of the reverse hexagram. The hexagram大壮 reversed becomes观. In观,坤 represents years, famine, government affairs, the people, and cruelty. In the original hexagram大壮, the inner trigrams produce兑, which represents a stream. The lower trigram is乾, forming乾溪. The Zhou Changes take乾 as a hill and a horse, so it is called骊山 (骊 is originally a black horse).兑 is located in the west and represents Qin, while震 represents dense woods and is associated with Chu.骊山 is in the territory of Qin, and乾溪 is in the territory of Chu. Chu Ling Wang died in乾溪, and Qin Shi Huang was buried in骊山, hence the saying that Qin and Chu have formed grievances.

晉。挒絜堁堁，締結難解。嫫母衒嫁，媒不得坐，自為身禍。挒，捩也。絜，《說文》：“麻一專也”，艮為手，言以手捩麻、締結難解也。堁堁，塵起貌。坤為丑，故曰嫫母，離為見，故曰衒，坎為合、為媒，坤為身、為禍、為自。○挒，依汲古。絜，依局本，宋本作捯潔，元本作到椡絜。堁堁，依汲古比之大有校，各本皆作累累。

The trigram坤 transforms into晋. Lin Ci says: twisting and twisting the hemp threads, dust rises, the knot is hard to untie; an ugly woman, Momo, boasts to seek marriage, the matchmaker is anxious, and ends up bringing himself misfortune. Shang Binghe explains: "挒" means twisting and twisting; "絜", according to Shuowen Jiezi, refers to a bundle of hemp. In晋, the middle and interacting lines produce艮, which represents the hand, meaning using hands to twist the hemp threads, making the knot hard to untie. "堁堁" describes the appearance of dust rising.坤 represents ugliness, so it is said "Momo" — Momo is the ugly wife of the Yellow Emperor in legend; Li represents sight, so it is said "xuan", meaning self-display. The third, fourth, and fifth lines interact to form Kan, which represents union and the matchmaker;坤 represents body, misfortune, and "self", so it is said "self causing body misfortune". Notes: The character "挒" is based on the Jiguguo edition; the character "絜" is based on the Qing Dynasty official book edition, while the Song edition reads "daodiao", and the Yuan edition reads "daotianxie"; the two characters "堁堁" are corrected according to the "compare with great abundance" entry in the Jiguguo edition, and all editions read "lei lei".

明夷。娵訾開門，鶴鳴彈冠。章甫進用，舞韶和鸞。三人翼事，國無災患。候卦坤居亥為門，互震為開，故曰娵訾開門，娵訾，亥辰也，震為鶴、為鳴，覆艮為冠，艮手向下，故曰彈冠。章甫禮冠。震為進、為樂，故曰舞韶，為音故曰和鸞，鸞，鈴也。坎為和，坤文為鸞鳳，震為人，數三，又為翼，故曰三人翼事。翼，輔也，贊也。坤為事、為國，坎為憂患，震樂故無○娵訾，各本皆訛為“訾陬”，娵訾，亥辰名，坤象。字既顛倒，娵又作陬，似非。

The trigram坤 transforms into 明夷. Lin Ci said: The star sequence of Ju Zi opens the gate, cranes are calling, and scholars brush off the dust from their caps in preparation for official service; wearing the ceremonial cap of Zhang Fu is accepted, dancing the Shao music and harmonizing with the sound of the bells on the chariot; three virtuous men assist in state affairs, and the country has no calamity. Shang Binghe explained: According to the method of interpreting the trigrams based on the climate,坤 is located at亥 and governs the gate, while in 明夷 the interacting trigrams produce 震, which governs opening, so it is said 'Ju Zi opens the gate'—'Ju Zi' is one of the twelve star sequences, corresponding to the earthly branch亥. 震 governs cranes and calling; 艮, when inverted, forms a reversed image and governs caps, and since 艮 governs hands and hands are downward, it is said 'brushing off the cap,' which indicates preparation for official service. 'Zhang Fu' is the ceremonial cap of the Yin dynasty. 震 governs appointment and music, so it is said 'dancing the Shao music'; 震 also governs sound, so it is said 'harmonizing with the bells,' where 'luan' refers to the bells on the chariot. Kan governs harmony,坤 governs literary grace and symbolizes the phoenix. 震 governs people, its number is three, and it also governs wings, so it is said 'three virtuous men assist in state affairs'—'yi' means assisting or supporting.坤 governs affairs and the state, Kan governs calamity, and 震 governs joy, so there is no calamity. (The original text has a missing character after 'gu wu,' and the explanation directly follows the collation note.) Collation note: The characters 'Ju Zi' are all incorrectly written as 'Zi Zhou' in various editions; 'Ju Zi' is the name of the亥 star sequence, belonging to the image of坤. Since the editions have reversed the two characters and also written 'Ju' as 'Zhou,' it is likely incorrect.

家人。弟姊合居，與類相扶。願慕群丑，不離其友。長女、中女故曰弟姊，互坎為合，故曰合居，艮手為扶，離正反半艮，故曰相扶。《易》“家人”用半象，故亦用半象。互坎為願慕，離為丑，義本《離》上九也，重離故曰群丑，離坎為友，體連故不離，東漢人皆以陰與陰為友，豈知陰陽相遇方為友也。○弟姊合，汲古作姊妹本，茲從宋本。

The hexagram K'un transforms into the hexagram Family. Lin Ci said: sisters live together and support each other, loving their group of companions and not leaving their friends. Shang Binghe explained: the hexagram Family is composed of the trigram Xun below and Li above. Xun represents the elder sister, and Li represents the middle sister, hence the term 'sister and younger sister'. The second, third, and fourth lines form the trigram Kan, which signifies gathering, hence 'living together'. The trigram Gen represents the hand, and the meaning of support is derived from this. The trigram Li contains one positive and one negative half of Gen, hence 'supporting each other'. The hexagram Family in The Zhou Changes originally uses a half-image, so this line in The Easy Forest also uses a half-image. The trigram Kan signifies desire and affection; Li represents 'chou', and this meaning is derived from the hexagram Li's upper line 'obtaining is not from one's own kind', and since this hexagram has a repeated Li image, it is called 'group of chou'—'chou' meaning kindred. Li and Kan are friends, and the two trigrams are connected, hence 'not leaving one's friends'. Shang's explanation corrects the old view: the Han scholars of the Eastern Han dynasty regarded yin and yin as friends, but they did not know that yin and yang meeting is called friendship. Note: The text 'sister and younger sister living together' in the Jigugong edition reads 'sisters originally', but this version follows the Song edition.

睽。邯鄲反言，父兄生患。涉叔憂恨，卒死不還。坎，正反兌口相背，故曰反言、故為患、為憂恨。餘象多未詳，或用半象。《史記》：陳勝字涉，吳廣字叔，陳勝遣武臣徇趙，乃反楚，自立為趙王，陳王乃徙繫武臣等家屬宮中，後涉、叔二人皆為下所殺。林似用其事。○叔，從宋元本，汲古訛此。又元本舊注以涉叔為陳涉，非；涉，陳勝字；叔，吳廣字也。

The trigram坤 transforms into睽. Lin Ci says: In Handan, there were words of rebellion, and thus the father and elder brothers suffered calamity; Chen She and Wu Shu were filled with sorrow and resentment, and in the end both died outside and could not return. Shang Binghe explains: In the trigram睽, the mutual trigrams contain Kan, which contains two Dui trigrams, one positive and one negative, facing each other, hence it is said 'reverse words,' and thus it indicates calamity and sorrow; other trigrams are mostly not detailed, and it is likely that only half of the image was used. According to the Records of the Grand Historian, Chen She was the given name of Chen Sheng, and Wu Shu was the given name of Wu Guang; Chen Sheng sent Wu Chen to attack the area of Zhao, but Wu Chen betrayed Chu and established himself as the King of Zhao, so Chen Sheng moved the families of Wu Chen and others into the palace for detention. Later, both Chen Sheng and Wu Guang were killed by their own subordinates. Lin Ci seems to be using this historical event. Notes: The character 'shu' comes from the Song and Yuan editions, while the Jigugeshi edition mistakenly wrote it as 'ci'. The old annotations in the Yuan edition mistakenly took 'she shu' as referring to Chen Sheng alone, which is incorrect: 'she' is Chen Sheng's given name, and 'shu' is Wu Guang's given name.

蹇。二人逐兔，各爭有得。愛亡善走，多獲鹿子。震為人，三四及五上兩半震，故為二人，震為兔、為逐，故曰二人逐兔，兩震，故各爭有得。震為爭、為鹿、為子，艮為獲。愛亡者，言喜走也。亡，往也。○汲古有作其，愛亡作愛妾，均依宋元本。又二人宋元本作三人，依汲古。此皆用半象。

The hexagram Kun transforms into Jian. Lin Ci says: Two people chase a rabbit, each competing but both gaining something; they love to run about, thus catching many deer and young deer. Shang Binghe explains: Zhen represents the person, and this hexagram has the third and fourth lines, as well as the fifth and upper lines, each forming a half Zhen. Therefore, it is said 'two people'; Zhen represents chasing and the rabbit, so 'two people chasing a rabbit'; because there are two Zhen, it is said 'each competing and gaining something'. Zhen also represents contention, deer, and the son, while Gen represents gaining. 'Love to run' refers to loving to go out; here 'wan' is interpreted as 'go'. Notes: The character 'you' in 'have gained' is in the Ji Gu Ge edition as 'qi', and 'ai wan' in the Ji Gu Ge edition is 'ai qie', both following the Song and Yuan editions; 'two people' in the Song and Yuan editions is 'three people', here following the Ji Gu Ge edition. This entire passage uses half images.

解。北辰紫宮，衣冠立中。含和建德，常受天福。坎為北、為宮室、為和，震為辰、為衣、為建、為福，餘詳《觀》卦。

The hexagram Kūn transforms into Jiě. Lin Ci said: The North Star and the Purple Micro Palace stand neatly in the center, dressed in proper attire; with a mind of harmony and establishing virtue, they often receive the blessings of Heaven. Shang Binghe explained: Jiě consists of Kan below and Zhen above. Kan represents the North, palaces, and harmony; Zhen represents stars, clothing, establishment, and blessings. These four lines are almost identical to the previous entry "Kūn's Guān," with the rest of the symbolic meanings detailed in the entry on Guān hexagram.

損。拜跪請兔，不得其哺。俛首銜枚，低頭北去。艮為拜跪，震為言、為請，艮止，故曰請兔。兌為哺，坤虛，故不得哺。艮為首，坤下，故曰俛首、曰低頭，艮為小木、為枚，兌口，故曰銜枚，坤位北，震往，故北去。

The trigram坤 transforms into 损. Lin Ci says: Kneeling and bowing, opening one's mouth to make a request, yet not receiving even a single mouthful of food; lowering one's head and holding a piece of wood, silently walking toward the north. Shang Binghe explains: 损 consists of 兑 below and 艮 above, with 艮 representing kneeling and bowing; the second, third, and fourth lines form 震 together, with 震 representing speech and requests, while 艮 has the nature of stopping, so the request is stopped, hence 'requesting a rabbit'. 兑 represents feeding, and the third, fourth, and fifth lines form 坤 together, with 坤 being empty, hence 'not receiving nourishment'. 艮 represents the head, and 坤 represents the lower part, hence 'lowering one's head'; 艮 also represents a small piece of wood, which is 'a piece', and 兑 represents the mouth, hence 'holding a piece of wood in the mouth'—holding a piece of wood in the mouth is a method used in military campaigns to prevent making noise. 坤 is located in the north, and 震 represents movement forward, hence 'going north'.

益。鶴盜我珠，逃於東隅。求之郭墟，不見所居。震為鶴、為珠，巽為盜，震往為逃、為東，故逃於東隅。艮為求、為郭，坤為墟，艮為居，巽伏，故不見。《說苑》：“桓公至郭墟，問郭之所以亡。”下二句用其事；又，此林屢見鶴盜珠，必有故實，今不能考。

The trigram坤 transforms into益. Lin Ci said: A crane carried away my pearl and ran to the eastern corner; I went to the ruins of Guo to look for it, but could not find where it was hiding. Shang Binghe explained:益 consists of震 below and巽 above. Zhen represents cranes and pearls, while Xun signifies theft. Zhen indicates movement, hence the meaning of 'fleeing to the east'. Therefore, it is said 'fleeing to the eastern corner'. The third, fourth, and fifth lines together form Gen, which signifies seeking and outer city; the second, third, and fourth lines together form坤, which signifies ruins. Gen also signifies dwelling, while Xun signifies concealment, hence 'not seeing where it is'. The Sayings of the States records that Duke Huan of Qi visited the ruins of Guo and asked the local people why Guo had fallen. The next two lines use this story. Shang also said that the phrase 'crane steals a pearl' appears frequently in the Yi Lin, which must have another original story, but now it is impossible to verify.

夬。一簧兩舌，妄言謬訣。三奸成虎，曾母投杼。兌為簧、為舌，《詩》“巧言如簧”。乾卦數一，兌卦數二，故曰一簧兩舌。乾為言，兌口亦為言，乃兌言與乾言相背，故曰妄言謬訣，《夬》九四“聞言不信”，義與此同也。伏艮為虎，坤為奸，互三坤，故曰三奸成虎。坤為母，重坤，故曰曾母。曾層通。凡《易林》用一姓一名無不從象生，與《易》同也。艮為小木、為杼，艮手為投，故曰投杼。《戰國策》：今有人言市有虎，王信之乎？曰：“否。”三人言之，則信矣。《史記甘茂傳》：“昔魯人有與曾參同姓名者殺人，人告其母，織自若也；又一人告之，織自若也；又告之，其母遂投杼而走。”《古樂府》：“三夫成市虎，曾母投杼趨。”林正用其詞。○謬訣，從宋本，元本作謬語，汲古作謀訣，今謬從宋元本，訣從汲古，訣與舌韻。

The trigram Kūn transforms into Guài. Lin Ci said: A single reed has two tongues, and what is spoken is false and misleading; three villains' rumors can create a tiger, even the mother of Zeng Shen ran away from her loom. Shang Binghe explained: Guài is composed of the trigram Qian below and Dui above. Dui governs reeds and tongues, and the poem "Xiao Ya · Qiaoyan" says "skillful words are like reeds." The number of Qian is one, and the number of Dui is two, so it is said "one reed with two tongues." Qian governs speech, and Dui governs mouth and speech as well. However, the speech of Dui and Qian are in opposite directions, so it is said "false and misleading speech." The meaning of "do not believe what is heard" in the line "Wen Yan Bu Xin" from the Guài hexagram of Zhou Yi is similar. The hidden image of Guài is Po, and within Po, Gen governs tigers, and Kūn governs villains. The hidden image contains three layers of Kūn, so it is said "three villains create a tiger." Kūn governs mother, and the image of Kūn is repeated, so it is said "the mother of Zeng." "Zeng" is homophonous with "Ceng." Shang pointed out that every surname and name used in "Yi Lin" comes from the hexagram images, just as in Zhou Yi. Gen governs small wood, which is the loom shuttle; Gen also governs hands, so it is said "throwing the shuttle." The "Zhan Guo Ce · Wei Ce" records that Pang Cong asked King Wei: If someone says there is a tiger in the market, would the king believe it? He answered no. If three people say so, he would believe. The "Shi Ji · Gan Mao Zhuan" records that in the past, a man with the same name as Zeng Shen killed someone. When someone told Zeng Shen's mother about it, she continued weaving. When the second person told her, she still continued weaving. When the third person told her, she finally threw down the shuttle and ran away. The ancient folk song also says "three men create a tiger in the market, the mother of Zeng throws down the shuttle and runs away." Lin Ci directly used these idioms. Note: The words "Miu Jue" in the text, the Song edition reads "Miu Jue," the Yuan edition reads "Miu Yu," and the Jigugong edition reads "Mou Jue." Now, the character "Miu" is taken from the Song and Yuan editions, and "Jue" is taken from the Jigugong edition, because "Jue" rhymes with "She."

姤。孤獨特處，莫與為旅。身日勞苦，使布五穀，陰陽順序。巽寡故曰孤獨、曰無旅，乾為日，通復。坤為身，萬物皆致役，故曰勞苦。巽為谷，卦數五，故曰五穀，巽為順。○依宋元本，汲古作“伯虎仲熊，德義洵美。使布五穀，陰陽順序。”

The hexagram K'un transforms into Gou. Lin's commentary says: being alone and living in solitude, with no one to accompany me; working all day long, yet still sowing the five grains, making yin and yang proceed in order. Shang Binghe explains: Gou is composed of Xun below and Qian above. Xun signifies寡 (few or solitude), hence it is said 'solitude' and 'no companions'; Qian represents the sun. This hexagram also corresponds to Fu. In Fu, K'un represents the self; the 'Commentary on the Hexagrams' says that all things serve labor under K'un, hence it is said 'toil'. Xun governs grain, and its number is five, hence it is said 'five grains'; Xun is characterized by smoothness, hence it is said 'yin and yang proceed in order'. Note: This passage follows the Song and Yuan editions; the Jigugē edition reads 'Bohu Zhongxiong, Deyi Xunmei. Shi bu wugǔ, Yinyang Shunxu'.

萃。褰衣涉河，水深漬罷。賴遇舟子，濟脫無他。坤為衣、為河，艮手為褰，故曰褰衣。坤水互大坎亦為水，故曰河、曰水深，坤為勞，故曰罷。罷，同疲，音婆，三至五伏震為舟、為子，震出故濟脫。○第二句各本多作“澗流浚多”，依訟之萃校。

The hexagram Kūn transforms into Cuì. Lin Ci says: "One lifts up his clothes to wade through a river, the water is deep and causes fatigue; fortunately, one meets a boatman, thus crossing the river safely without any harm." Shang Binghe explains: Cui consists of Kūn below and Dui above. Kūn governs clothes and also rivers; the second, third, and fourth lines together form Gen, which governs hands, hence "lifting up clothes" refers to raising one's sleeves. Kūn itself governs water, and the entire hexagram resembles an enlarged Kan, which also governs water, hence "river" and "deep water." Kūn governs labor, hence "fatigue" — "bà" is the same as "pí," pronounced as "pó." The lines three to five contain Zhen, which governs boat and child, forming "boatman"; Zhen governs movement, hence the ability to cross the river and escape danger. Note: The second sentence in various editions reads "the stream is deep and flowing," but here it is corrected according to the entry "Litigation to Cui" in this book.

升。憑河登山，道路阻難，求事少便。坤為河，二陽臨坤水故曰憑河，本《泰》九二也，震為登、為道路，互大坎，故曰阻難，坤為事，艮為求，三至五艮覆，故少便。山象。《升》六四“王用享于岐山”，即以震為山。

The坤 hexagram transforms into the升 hexagram. Lin Ci said: walking across a river, climbing mountains, the path is blocked and difficult, and few things go smoothly. Shang Binghe explained: the升 hexagram consists of the巽 trigram below and the坤 trigram above. The坤 trigram represents a river; the second and third yang lines are close to the坤 water trigram, so it is said 'crossing the river'—walking across water. This meaning comes from the Tai hexagram's line nine two, 'crossing the river'. The third, fourth, and fifth lines form the震 trigram together, which represents ascending and roads; the entire hexagram resembles an enlarged Kan trigram, so it is said 'obstacles and difficulties'. The坤 trigram represents affairs, and the艮 trigram represents seeking; however, the艮 trigram from the third to fifth lines is inverted, hence 'few things go smoothly'. As for the mountain image, the Sheng hexagram's line six four says 'the king uses offerings at Qishan', which uses the震 trigram as representing a mountain.

困。兔罝之容，不失其恭。和謙致樂，君子攸同。離為網、為罝，伏震為兔，故曰兔罝。坎為和，兌悅故曰致樂，伏艮為君子。《詩周南》：“肅肅兔罝”，《傳》“肅，敬也”，故曰不失其恭，林說詩意。

The trigram坤 transforms into 困. Lin Ci says: It resembles the image of the warriors in the poem "Rabbit Snares," who maintain proper decorum without losing their respect; through harmony, humility, and retreat, they bring joy, and the gentlemen unite in harmony. Shang Binghe explains: The trigram 困 consists of Kan below and Dui above. The second, third, and fourth lines together form Li, which symbolizes a net, that is, "snares." The hidden image of 困 is Bén, which contains Zhen, symbolizing a rabbit, hence "Rabbit Snares." Kan represents harmony, and Dui represents joy, hence "bringing joy." The hidden image also contains Gen, symbolizing the gentleman. The poem "Rabbit Snares" from the Book of Songs says, "Sù sù tù jì," and the Mao Transmission explains that "sù" means respect, so Lin Ci says "without losing respect"—this precisely captures the original meaning of the poem.

井。三女求夫，伺候山隅。不見覆關，泣涕漣如。下巽，上互離，下互兌，故曰三女。坎為夫，本《左氏》也，二至四伏艮為山，艮止故曰伺候。艮為關，初至四正反艮，故曰復關，坎伏故不見。“坎為泣涕”二句，《詩氓》之語也。○如，從宋元，汲古作洳。

The trigram坤 transforms into the hexagram Well. Lin Ci says: Three women are seeking their husbands, waiting at the mountain corner; they cannot see the person named Fu Guan, and tears flow down continuously. Shang Binghe explains: The hexagram Well consists of Xun below and Kan above. The lower trigram is Xun, and the upper trigrams derived from the interaction are Li and Dui. Xun, Li, and Dui all represent female figures, hence the term 'three women'. Kan represents the husband, and this meaning is derived from the Zuo Zhuan. The trigram Gen, which is hidden in the second to fourth lines, represents the mountain, and Gen has the nature of stopping, hence the term 'waiting'. Gen also represents the gate, and there are two Gen trigrams in the first to fourth lines, one positive and one negative, hence the term 'Fu Guan'. Kan is hidden here, hence 'not seeing'. Kan also represents tears. The last two lines use the phrase 'not seeing Fu Guan, tears flow continuously' from the poem 'Meng' in the Book of Songs, Wei Feng. Note: The character '如' is taken from the Song and Yuan editions; the Jigugē edition reads '洳'.

革。螟蟲為賊，害我五穀。簞笥空虛，家無所食。互巽為蟲、為伏，故為螟，螟食苗心，言其冥冥難見。巽為賊、為谷，卦數五，兌毀，故曰害我五穀。伏坤為我，伏震為簞笥，坤為虛，伏艮為家，兌為食，坤虛，故無所食。語語本象與對象互用。○五，元本作黍，依宋本、汲古。簞笥，宋元本作中溜，依汲古。

The hexagram Kūn transforms into Gé. Lin's commentary says: "Moths have become pests, destroying my grain; the food baskets and containers are empty, and the whole family has nothing to eat." Shang Binghe explains: Gé consists of Li below and Dui above. The third, fourth, and fifth lines interact to form Xun. Xun governs insects and hidden things, hence it is referred to as "Moths"—the moths burrow into the hearts of the grain stalks and feed on them secretly, which is precisely the meaning of hidden and unseen. Xun also governs thieves and grain, and its number is five. Dui governs destruction, so it is said "destroying my grain." The hidden image of Gé is Meng. In Meng, Kūn represents "I," Zhen represents the food baskets and containers, Kūn represents emptiness, Gen represents the family; Dui represents food, and since Kūn is empty in the middle, it is said "nothing to eat." Shang points out that each sentence in this commentary uses both the image of the primary hexagram and the image of the related hexagram. Note: The original manuscript had "shu" instead of "wu," here following the Song and Jigugē editions. "Dānsì" in Song and Yuan editions is "zhōngliū," here following the Jigugē edition.

鼎。望尚阿衡，太宰周公。藩屏輔弼，福祿來同。離為望，巽為稱、為權，故曰望尚阿衡。望尚，太公；阿衡，伊尹也。伏震為周、為福祿，艮為藩屏。

The trigram Kun transforms into the hexagram Ding. Lin Ci said: "Xianxiang like Lü Wang and Yi Yin, as well as the Duke of Zhou serving as Taizai, acted like fences and barriers to support the royal house, bringing together blessings and honors." Shang Binghe explained: "The hexagram Ding consists of Xun below and Li above. Li represents looking up, Xun represents weighing, and Ding represents the balance. Therefore, it is said 'Wang Shang A Heng' — 'Wang Shang' refers to Lü Shang, i.e., Tai Gong Wang; 'A Heng' is the official title of Yi Yin. The hidden image of Ding is Tun. Tun contains Zhen, which represents Zhou, and also signifies blessings and honors; within Tun, the interacting trigrams produce Gen, which represents barriers and screens."

震。三牛生狗，以戌為母。荊夷上侵，姬伯出走。艮為牛，數三，故曰三牛，互艮為狗，震為生，故曰生狗。艮先天居戌方，戌狗，故曰以戌為母。震為草莽、為荊、為侵、為姬、為伯、為走，故曰姬伯出走。○第二句汲古作“以戌其母”，此從宋本。《開元占經》引天鏡云“牛生六畜，兵且起，其君不安。”

The trigram Kun transforms into Zhen. Lin Ci says: Three oxen give birth to a dog, with Xu as the mother; the people of Jingchu and Yidi invade upwards, and the prince of the Ji surname flees — this is an omen of strange phenomena and military calamity. Shang Binghe explains: Zhen is a double Zhen, and the second, third, and fourth lines together form Gen. Gen represents oxen, and its number is three, hence 'three oxen'; this mutual Gen also represents a dog, and Zhen represents birth, hence 'giving birth to a dog'. In the Earlier Heaven Trigrams, Gen is located in the direction of Xu, and Xu in the twelve zodiac animals belongs to the dog, hence 'with Xu as the mother'. Zhen represents grassland, represents Jingchu, represents invasion, also represents the Ji surname, represents the prince, and represents fleeing, hence 'the prince of the Ji surname flees'. Note: The second sentence in the Ji Gu Ge edition reads 'with Xu as its mother', but this version follows the Song edition. The Kaiyuan Treatise on Astrology cites the 'Heavenly Mirror' saying: Oxen giving birth to other domestic animals is a sign of impending military disaster and instability for the ruler.

艮。塗遏道塞，求事不得。艮為道塗，艮止故遏塞，艮為求，坎陷不得。

The hexagram Kūn transforms into Gèn. Lin Ci says: "The road is blocked, the path is obstructed, and things to be done cannot be accomplished." These two lines are exactly the same as those in the entry "Qían's transformation into Gèn" in the "Yì Lín." It is common in the "Yì Lín" for the same wording to be associated with different hexagrams. Shang Binghe explains: Gèn is a double Gèn, and Gèn governs roads. The moral quality of Gèn is to stop, and stopping means obstruction and blockage, hence "the road is blocked and the path is obstructed." Gèn also governs seeking. In this hexagram, the second, third, and fourth lines form Kan, which represents pits and traps. Being trapped in such a situation naturally leads to failure in seeking, hence "seeking things cannot be achieved."

漸。探懷得蚤，所願失道。艮為手、為探，坎為懷，巽蟲為蚤，坎為願、為失，艮為道。○宋元本得蚤下多“無有凶憂”、失道下多“善居漸好”四字，茲從汲古。

The hexagram Kūn transforms into Jiān. Lin's commentary says: reaching into one's chest to feel around, only to find a flea; the desired thing has taken a wrong path. Shang Binghe explains: Jiān consists of Gèn below and Xūn above. Gèn represents the hand and the act of searching; the second, third, and fourth lines together form Kǎn, which represents the chest. Xūn represents insects, hence the flea. Kǎn also represents wishes and loss, while Gèn represents paths. Therefore, the wish is unfulfilled and the path is incorrect, which is expressed as "the desired thing is lost and the path is wrong." Reaching into the chest to find a flea is a metaphor for seeking great things but obtaining small ones. Note: Song and Yuan editions add "no misfortune" after "get a flea" and "good fortune" after "wrong path," but this version follows the Ji Gu Ge edition.

歸妹。飛樓屬道，趾多擾垣。居之不安，覆壓為患。艮為樓，震為覆艮，故曰飛樓。震為道、為趾，伏巽為垣，趾多攪垣者，言樓臨道，行人多攪亂不安也。艮為居，艮覆故不安，故覆壓坎為患也。○樓屬，從宋元本，汲古本作蟻遇，非。壓，宋本、汲古作厭，古通。

The hexagram K'un transforms into Guimei. Lin Ci said: A high building in the air connected to a broad road, with continuous footsteps disturbing the walls, causing unrest within the walls; living inside is unstable, fearing that it might collapse and bring disaster. Shang Binghe explained: Guimei is composed of Dui below and Zhen above. Gen represents a building, and Zhen is the inverted form of Gen, forming a reversed image, hence the building hanging high in the air, which is called "flying building." Zhen represents roads and toes; the hexagram concealed within Guimei, Xun, represents walls. The phrase "many toes disturb the walls" refers to the building being close to the road, with many people passing by, disturbing the residents' peace. Gen represents dwelling, and since Gen is inverted, it means "dwelling is unstable." Kan represents disaster, hence fearing "collapse and disaster." Notes: The phrase "belonging to the building" comes from Song and Yuan editions; the Ji Gu Ge edition reads "ants meet," which is incorrect. The character "press" in Song edition and Ji Gu Ge edition is written as "yin," which was commonly used in ancient times.

豐。義不勝情，以欲自傾。幾利危寵，折角摧頸。艮為角、為頸，上卦艮覆，故曰折角摧頸，又兌亦毀折也。幾利，言好利也。○幾利危寵，從元刊，宋本、汲古作幾危利寵。又寵疑為“躬”之訛字。

The trigram Kūn transforms into Fēng. Lin Ci said: The principles of righteousness cannot overcome personal feelings, because indulgence in desires leads to one's own downfall; seeking wealth and clinging to favor result in the breaking of the horn and the injury of the neck. Shang Binghe explained: Fēng consists of Li below and Zhen above, with Gen representing the horn and the neck, while the upper trigram Zhen is the inverted form of Gen, forming a reversed image, hence the saying "breaking the horn and injuring the neck." Moreover, the third, fourth, and fifth lines interact to form Dui, which also signifies destruction. "Jī Lì" refers to the pursuit of wealth. Notes: The four characters "Jī Lì Wēi Chǒng" are taken from the original edition; the Song edition and the Ji Gu Ge edition read "Jī Wēi Lì Chǒng." Shang also suspects that "Chǒng" might be a miswriting of "Gōng."

旅。潼滃蔚薈，扶首來會。津液下降，流潦滂沛。互大坎為雲，故曰潼滃蔚薈。艮為首、為扶，《後漢書輿服志》曰：“凡先合單紡為一繫，四繫為一扶，五扶為一首”，雲氣來會與絲縷集合同，故曰扶首。互大坎，故曰津液下降、流潦滂沛。下履之恆詞同，惟扶首作“膚寸”，何休注《公羊》云：“側手為膚，按指為寸。”恆震為反艮，艮反，故象側手、象按指。蓋旅必作扶首，恆必作膚寸，方與卦象密切，近人不論卦象，概謂作扶首合，作膚寸非，疏矣。○扶首，元本作林木，非，依宋本、汲古。潦，宋本作淹，依元本、汲古。下，宋本作來，依汲古。

The坤 hexagram transforms into the旅 hexagram. Lin Ci said: Clouds are dense and layered, accumulating like threads twisted together; water vapor descends, and water flows in torrents. Shang Binghe explained: The旅 hexagram resembles an enlarged坎 hexagram.坎 represents clouds, so it is said "tong weng wei hui"—four characters all describing thick clouds.艮 represents the head and support: The "Yufu Zhi" section of the "Hou Han Shu" says that twisting single threads together forms one "xi", four "xi" make one "fu", and five "fu" make one "shou". Clouds gathering resemble threads twisted together, so it is called "fu shou". The large坎 image also represents water, hence "jin ye xiajiang, liu lao pangpei" (fluids descend, and water flows in torrents). The later phrase "lu zhi heng" in Lin Ci's explanation is the same, except "fu shou" is written as "fu cun". He Xiu's commentary on the "Gongyang Zhuan" says that crossing the palm is called "fu", and pressing a finger is called "cun". In the hexagram of heng, the zhen is the reverse of gen. Since gen is reversed, its shape resembles a hand pressed sideways or a finger pressed down. Therefore, the旅 hexagram must be interpreted as "fu shou" and the heng hexagram must be interpreted as "fu cun" to match their respective hexagram images. Modern scholars ignore the hexagram images, universally concluding that "fu shou" is correct and "fu cun" is wrong, which is a serious oversight. Notes: The original edition reads "lin mu" for "fu shou", which is incorrect; this follows the Song edition and Jigugong edition. The character "lao" in the Song edition is written as "yan", here following the Yuan edition and Jigugong edition. The character "xia" in the Song edition is written as "lai", here following the Jigugong edition.