The Hexagram of the Cauldron (Wind above, Fire below)

下離上，鼎：元吉，亨。易無非象也，蓋制器所以尚象，立象所以明義也。鼎之為卦，以全體言之，則下上離，以木火，中虛而下實，此制器所以尚象也。以六爻言之，則中實為腹，所以受物；下植為足，所以承鼎；對峙於丄以為耳，橫亙於耳中以為，此立象以明義也。有其義，有其象，則夫運動其器以致用者，聖人也，此鼎之所以謂象也。

The hexagram of the Cauldron is composed of Xun below and Li above (the original text lacks the character for Xun, only stating "lower Li and upper Li"). The hexagram statement says: great auspiciousness, smooth and unimpeded. The Zhou Changes do not have a single instance that is not symbolic: making objects is to take inspiration from symbols, establishing hexagrams is to clarify principles. In the overall structure of the Cauldron hexagram, Xun is below and Li above, with wood following into fire, the middle being hollow and the base solid, which is how making objects take inspiration from symbols. In terms of the six lines, the third line is full and forms the belly of the cauldron, used for holding things; the lowest line is upright and forms the legs of the cauldron, used to support the body; the two lines above are the handles; the crossbar between the two handles is the lifting bar (the original text lacks the character for lifting bar) — this is how symbols are established to clarify principles. With such principles and such symbols, the sage is the one who uses this object to achieve its function, which is why the Cauldron hexagram is called "symbolic."

鼎之為象如此，故大吉而亨。曰元吉亨者，大吉然後能亨也。聖人立成器以為天下式，鼎之為器，通上下用之，而聖人用之，非欲眾人之養口體而巳。彖曰：鼎，象也。以木火，亨飪也。聖人亨以亨上帝，而大亨以養聖賢，而耳目聰明。柔進而上行，得中而應乎剛，是以元亨。鼎之為卦，専取其象，則其義自見矣，所謂立象以明義也。

The image of the Cauldron is thus, hence great good fortune and smoothness. Saying "original good fortune and smoothness" means that great good fortune comes first, then smoothness follows. The sage made objects as models for the world; the Cauldron, used by the Son of Heaven down to the common people, was used by the sage not merely to satisfy people's hunger and thirst. The Commentary on the Judgment says: The Cauldron is a hexagram that takes the image of an object. Using wood to enter the fire to cook food. The sage cooks food to offer to the Supreme Deity, and also cooks on a large scale to honor the sages and virtuous, thus achieving clarity of hearing and sight. The flexible and yielding moves forward and ascends, occupying the center and harmonizing with the yang, hence great smoothness. The hexagram of Cauldron specifically takes the image of an object, thus its meaning naturally becomes clear, which is called "establishing the image to clarify the meaning."

如頤之下動上止，有頤頷之象；噬嗑震下離上，頤中有物之象，此自然之象。若鼎之為象，則假於人為然後成器以致用者也，鼎所以正名曰象者如此。鼎固重寶大器也，非無用之器也，有鼎之象必有鼎之用，非若珙璧琬琰徒為寳器而已。以木火，所以為亨飪之用；亨飪，所以為祭祀賓客之用。祭祀莫重乎亨上帝，賓客莫大乎養聖賢，此二者聖人運動大器之道也。

For example, the hexagram "Yi" (Nourishment) has the image of the lower part moving and the upper part still, resembling the movement of the mouth and jaw in chewing; the hexagram "Shihe" (Breaking the Bones) has the image of thunder below and fire above, resembling something held in the mouth—these are all natural images. However, the image taken for the hexagram "Ding" (Tripod) requires artificial craftsmanship to become a useful vessel. That is why the hexagram "Ding" is properly named "Xiang" (Image). The reasoning lies here. Although the tripod is indeed a precious and solemn vessel, it is not a useless object; the image of a tripod necessarily implies its use, unlike jade vessels such as "Gongbi" and "Wanyan," which are merely ornamental treasures. Using wood to enter fire is for the purpose of cooking; cooking is for the purpose of worship and entertaining guests. Among all forms of worship, none is more important than worshiping the Supreme Deity; among all forms of entertaining guests, none is greater than honoring the sages. These two are the proper ways for the sage to use the great vessels of the state.

而耳目聰明，上離下，屈體以尊賢，則賢者必樂告以善道，故能合天下耳目以為聰明。而六五柔弱之君能進而上行，以登尊極之位者，以在下有剛健之臣應乎我者眾也，此所以能大亨也。繇辭言元吉亨，彖言元亨而已，能致大亨則吉不足道也。

When discussing "ear and eye clarity," the upper trigram is Li (Fire) and the lower trigram is Xun (Wind). Xun represents yielding and obedience, which is precisely the attitude of humbling oneself to honor the virtuous. If one can do this, the virtuous will surely be willing to share the good path with him, thus gathering the ears and eyes of the world as his own. The sixth line, the gentle ruler, is able to advance and ascend to the highest position because there are many strong and capable ministers below who respond to him. This is why he can achieve great success. The hexagram statement says "original goodness, prosperity," but the commentary on the judgment only mentions "original prosperity," because the ability to attract great success makes the goodness and prosperity so evident that the mention of good fortune is unnecessary.

象曰：木上有火，鼎。君子以正位凝命。鼎雖假於人為，及其成功則有自然之象，非若餘卦但取其象而巳，故木上有火者，鼎之所以成器，亦所以成物而致亨飪之功焉。君子體此以正位，則位一定而不可踰；體此凝命，則命一成而不敢變。夫鼎所以革故而取新也，其為器也重，其為寶也大，國之存亡繫焉，宜為歴代受命之君所寶用歟！

The Great Image Commentary says: Wood with fire upon it, this is the Hexagram of the Cauldron; the gentleman thus understands that he should regulate his position and solidify his mission. Although the cauldron requires human craftsmanship, once it is completed it possesses its own natural image, unlike other hexagrams which merely take an image; therefore, "wood with fire upon it" is both the reason the cauldron becomes a vessel and the reason it can accomplish the function of cooking and transforming things. The gentleman observes this to regulate his position, for once the position is established it should not be exceeded; he observes this to solidify his mission, for once the mission is formed it should not be altered. The cauldron is used to remove the old and bring in the new; as an object it is precious, as a treasure it is esteemed, and the fate of the state depends upon it. Hence, why successive kings who received the Mandate of Heaven have all regarded it as a treasure.

聖人置此卦於革震之間者，豈無意哉？蓋革命則鼎取新，而震為長子守器之主也。武王克商，遷九鼎於洛，非以其器大故邪？蘇氏曰：五帝三代及秦漢以來受命之君，靡不有此鼎，鼎存而昌，鼎亡而亡，蓋鼎必先壊而國隨之，豈有易姓而猶傳者乎？此合大易取新之義。

The sage placed the Hexagram of the Cauldron between the Hexagram of Revolution and the Hexagram of Thunder, surely not without purpose. Perhaps it is because after a revolution, the cauldron is taken to receive the new; and the Hexagram of Thunder represents the eldest son, who is the master of the important state treasure. King Wu conquered the Shang dynasty and moved the nine cauldrons to Luoyi, was it not precisely because this object was of great significance? Su said: From the Five Emperors, the Three Dynasties, down to the Han dynasty, all those who received the Mandate of Heaven did not fail to possess this cauldron; when the cauldron exists, the state flourishes; when the cauldron is lost, the state perishes. Generally speaking, the cauldron must first be destroyed before the state follows suit, how could there be a change of dynasty and the cauldron still pass on as before? This precisely conforms to the meaning of the Zhou Changes, "taking the new."

觀乎彖辭，以木火亨飪也，此蘇氏所謂用器也。戰國之時，鼎為周患，秦與齊楚皆欲之，三國之君未嘗一日而忘周者，以鼎在焉故也，是惡知聖人立器觀象之哉？初六：鼎顛趾，利出否，得妾以其子，無咎。象曰：鼎顛趾，未悖也；利出否，以從貴也。卦有専取乎象者，鼎是也。以上九為，六五為耳，四三二為腹，則初六者趾也。

The Commentary on the Judgment says, "Using wood to assist fire, this is suitable for cooking." This is what Su Shi referred to as "using vessels." During the Warring States period, the nine tripods became a curse for the Zhou royal family, and both Qin and Qi, Chu wanted to obtain them. The kings of the three states never forgot the Zhou royal family, precisely because the tripods were in the hands of the Zhou. They did not understand the profound meaning of the sage's creation of objects and observation of phenomena. The line statement of the initial line says: the tripod's foot is overturned, which allows the removal of filth; marrying a concubine and having a son through her, there is no fault. The Small Image Commentary says: "The tripod's foot is overturned," which does not contradict the norm; "favorable for expelling blockage" is to follow the superior. The hexagram contains an image specifically representing objects, and the Hexagram of the Tripod is such a case. Taking the upper ninth line as the handle of the tripod, the sixth line in the fifth position as the ear of the tripod, the fourth, third, and second lines as the body of the tripod, then the initial line is the foot of the tripod.

鼎以安靜不動為體，趾所以承鼎也。鼎而顛其趾，則所以為鼎者覆矣。鼎不覆則不能去而納新，故利在出否。否者，濁也。鼎以取新為義，不可不潔也，濁者出則可以受實矣。妻者，嫡也，尊且正也，正家而天下定矣；妾非正也。得妾者，匹嫡也，如趾之顛而反處乎上也。然有時而不得已者，春秋之義，母以子貴，是出否惡也。

The tripod is based on stability and immobility. Its legs support the body of the tripod. However, if the legs are turned upside down, the tripod itself becomes overturned. But if the tripod does not overturn, it cannot discard the old and take in the new. Therefore, overturning is beneficial for removing impurities. "Fu" refers to filth. The tripod signifies the taking in of the new, and thus must be clean; only by removing filth can it hold actual contents. "Qi" refers to the principal wife, who is both honored and properly positioned, ensuring family order and thus world peace. "Nie" refers to a concubine, whose status is not properly established. "Getting a concubine" means placing her on equal footing with the principal wife, just as the tripod's legs turned upside down end up on top. However, this may sometimes be unavoidable: the principles of the Spring and Autumn Annals state that "a mother gains status through her son," which is equivalent to removing filth.

否惡既出，所以為利，如妾之至賤，越嫡而上配乎主者，悖也；以子而貴，則非悖也。初六上應九四，有從貴之象，如鼎顛而出否，固有以顛為貴者。夏之鼎覆而商受之，商之鼎覆而周受之，然則出否者其在鼎初乎！若大臣不勝其任，不過折足，所覆者美實而已，未繫於存亡也。聖人寓不盡之意於卦初，姑言其小者耳。

After the filth has been removed, it is said "it is advantageous." Just as a concubine was originally extremely lowly, but if she surpasses the嫡 wife and becomes the wife of the master, this is disorderly; but if she becomes noble because of her son, it is not disorderly. The first line responds to nine in the fourth, showing the image of following a noble person. It is like a tripod overturning and expelling filth, indicating that there is a principle of valuing overturning. The tripod of the Xia dynasty overturned and was taken over by the Shang dynasty; the tripod of the Shang dynasty overturned and was taken over by the Zhou dynasty—so the matter of "expelling filth" should probably be in the first line of the tripod. As for ministers who are incapable of their duties, it is merely breaking the tripod's legs, and the overturned tripod is just a dish of food, not involving the survival of the state. The sage寄托s infinite meaning in the first line, and for now, just speak of the smaller aspect.

九二：鼎有實，我仇有疾，不我能即，吉。象曰：鼎有實，慎所之也；我仇有疾，終無尤也。陰虛而陽實，以九居二，二於鼎為腹，受實者也。自二之四為乾，乾，陽物，是鼎有實也。九二正應在五，五之於二，仇匹也。五欲下應於二，而四三以剛強塞其往來之路，九五之所甚病而不於下者也。九二居中正之位，為臣而盡臣道，不可加矣，六五欲增益之，適以累之耳，故不我能即然後乃吉也。

The line statement for the second line says: The tripod is full of things, my spouse has a sickness and cannot come close to me, which is auspicious. The small image commentary says: "The tripod is full," means one should be cautious in choosing where to go; "my enemy has a sickness," ultimately results in no fault. A yin line represents emptiness, while a yang line represents fullness. The line nine in the second position, with the second line in the image of the tripod representing the belly of the tripod, which is where things are stored. From the second line to the third and fourth lines, the lines together form the image of the heaven trigram, which is a yang trigram, thus meaning "the tripod is full." The line nine in the second position is in a correct and upright position, as a minister fulfilling his duty to the sovereign, which is already complete. The line six in the fifth position, which corresponds to the second line, is regarded as the spouse. The line six in the fifth position originally wished to respond to the second line, but the lines nine in the fourth and nine in the third blocked the path, which is exactly the place where the line six in the fifth position (the original text mistakenly says "nine in the fifth") is deeply concerned and unable to proceed. The line nine in the second position is in the correct and upright position, as a minister fulfilling his duty to the sovereign, which is already complete. The line six in the fifth position wishes to bestow more favor upon him, but this becomes a burden, so it is only auspicious after "he cannot come close to me."

鼎有實，非虛器也，人臣負其實才之象。即，就也。伊尹耕於萃野，孔明處於草廬，二主能輕身而往從之，然後可以出而有為。今二已處人臣中正之位，非不召之臣也，正其君臣之分可也，故不我能即乃二之福也。象曰鼎有實，慎所之也；我仇有疾，終無尤也。人臣有可用之才，當擇其所從則不枉道矣，故曰慎所之也；能守其職任則免乎悔吝矣，故終無尤也，此人臣自處於中正之道也。

"The鼎 has something in it," meaning it is not an empty vessel, symbolizing a minister who possesses genuine talent and learning. "即" means to approach or come close. I Yin was plowing in the fields of Xin, and Zhuge Liang lived in a thatched cottage, yet King Tang and Liu Bei, the two rulers, humbly went to visit them personally, and only then did they agree to come out and accomplish great deeds. Now, the second line (nine two) has already reached the proper position of a minister, no longer being an unsummoned minister. The proper distinction between ruler and minister is now established, so "not being able to approach me" is actually a blessing for nine two. The Small Image Commentary says, "The鼎 has something in it, so be cautious about where you go," and "My enemy has an illness, ultimately there will be no blame." A minister who possesses useful talent should be cautious in choosing whom to follow, so as not to stray from the right path, hence "be cautious about where you go." By maintaining one's proper role, one avoids regret and blame, hence "ultimately there will be no blame." This is precisely how a minister should conduct himself with the virtue of uprightness and correctness.

九三：鼎耳革，其行塞，雉膏不食，方雨虧悔，終吉。象曰：鼎耳革，失其義也。鼎以象言，九三居之上，處離之下，與二四皆腹也，非耳也。曰鼎耳革者，言六五之道至此而變革也。六五，君道也，君易其常道，則賢臣在下者於是否隔而不通矣。三，陽也，以九居三，人臣過乎剛則強臣也，宜乎在上者有不能堪也。人臣孰不欲行其志？若君疑其臣，則退而窮處可也，故曰其行塞也。

The line statement for the third line says: The handle of the tripod has changed, movement is obstructed, and the delicious wild chicken cannot be eaten; when rain comes, regret is reduced, and finally it is auspicious. The small image commentary says: The change of the handle of the tripod indicates the loss of its proper function. In terms of the image of the tripod, the third line is above the trigram of wind and below the trigram of fire, and shares the same body as lines two and four, so it is not the handle. Saying 'the handle has changed' refers to the change of the way of the sixth line five. The sixth line five represents the way of the sovereign; when the sovereign changes his constant way, the virtuous ministers below are then cut off. The third line is a yang position, and is occupied by a strong line nine, so the minister is overly strong and becomes a powerful minister, which is why the superior is somewhat overwhelmed. How can a minister not wish to carry out his aspirations? But if the sovereign suspects his minister, then the minister should withdraw and live in seclusion, hence it is said 'his movement is blocked'.

雉膏，鼎中之美實也，以象美徳，謂有美徳而不進也。不食者，謂人主懸美祿以待天下之賢，而三乃自守窮獨而不復貪冒者，良由君臣始交之際，其情未通，雖明良相遇，亦不能大有為於天下也。方雨虧悔終吉者，陽氣升而陰固之，則為密雲耳；雨者，陰陽和也；方雨者，陰陽方欲和也，以象君臣方情通道合，則前之所悔者既虧而終吉矣。上下疑阻而不交者，悔也，既交則悔虧矣。象言鼎耳革，失其義者，人君不能體離明之照，虛已聴納，則失其為耳之義矣。

"The 'chizao' refers to the fatty delicacies in the tripod, symbolizing excellent virtue, indicating that one possesses virtue but does not seek to be used. 'Not eating' means that the sovereign offers generous rewards in anticipation of virtuous talents from across the land, yet the Nine in the Third remains content with solitude and no longer desires more. This is because at the initial stage of the relationship between sovereign and minister, their feelings have not yet connected. Even if a virtuous sovereign and a capable minister meet, they cannot yet achieve great accomplishments. It says 'the rain is about to come, regret is reduced and ultimately leads to good fortune' because the yang energy rises and the yin energy holds it back, forming dense clouds. 'Rain' represents the harmony of yin and yang, and 'the rain is about to come' signifies the beginning of their harmony, symbolizing the connection between sovereign and minister and the alignment of their principles. Thus, previous regrets are reduced and ultimately lead to good fortune. When there is mutual suspicion and separation, this is 'regret'; once they connect, the regret is diminished. The 'Small Image Commentary' says 'the tripod's ears are changed, losing their meaning,' meaning that if the sovereign cannot demonstrate the clarity of the Li trigram and humbly listen and accept, he loses the significance of the 'tripod's ear.'"

九四：鼎折足，覆公餗，其形渥，凶。象曰：覆公餗，信如何也。鼎之恃足，猶宮室之恃柱礎也，未有柱礎傾折而宮室不摧者。南山有臺之詩，樂得賢也，得賢則能為家之光，立太平之基矣。鼎之九四處大臣之位，當腹心之寄，國之廢興存亡繫焉，可以非其人乎？下有二陽不能引而進，獨與初六為內應，是忌其同列而締交乎小人也，是折其足而覆其養賢之資也。

The statement of the fourth line says: The tripod is broken at its foot, overturning the delicacies of the prince and duke, the body of the tripod is stained with dirt, which is ominous. The Small Image Commentary says: Overturning the delicacies of the prince and duke, what can be done with it? The tripod relies on its foot, just as a house relies on its pillars and foundation stones. There has never been a case where the pillars and foundation stones collapse but the house does not fall. The poem "Nanshan You Tai" from the Book of Songs speaks of the joy of obtaining a virtuous person; obtaining a virtuous person brings glory to the state and lays the foundation for peace. The line nine four in the Hexagram of the Tripod is in the position of a minister, bearing the heavy responsibility of the heart of the state, the rise and fall of the state depends on this. How can one use the wrong person? It has below it two yang lines, nine two and nine three, but cannot support or use them, instead only forming an inner alliance with line one six. This is being suspicious of virtuous people in the same rank and instead associating with petty men, which is like breaking one's own tripod foot, overturning the capital for nurturing virtuous people.

其形渥者，言汙之甚也。汙之狀見於面目形骸之外，甚者或至刀鋸之戮、原野之刑加焉，其凶甚矣。象言覆公餗，信如何者，大臣不能量力事主，而固寵保位，至不勝任而顛覆戮辱隨之，尚何救哉？孔子曰：不曰如之何如之何者，吾末如之何也已。信如何者，信乎無如之何也。先儒以形為刑，渥為剭，言大臣不勝任則受其大刑。王曰：古之大刑有剭誅之法。然則刑者誅及其身而巳，至其形渥凶，豈獨戮辱其身而巳哉？

"The form is overwhelmed," meaning the disgrace has reached its extreme. This disgrace is evident beyond one's appearance and body, and in severe cases, it may even involve torture and punishment such as being cast out into the wilderness. The danger is at its peak. The Small Image Commentary says, "Covering the royal offering, how can trust be maintained?" This refers to a minister who does not measure his ability when serving the sovereign, only concerned with maintaining his position and favor. When he is unable to fulfill his duties, disgrace and punishment follow one after another, and there is no way to save the situation. Confucius said: those who do not ask themselves "what should be done, what should be done" have no way to be helped. What is meant by "how can trust be maintained" is that there is truly no way to deal with it. Earlier scholars read "form" as "punishment" and "overwhelmed" as "crucifixion," saying that a minister who is unable to fulfill his duties will suffer severe punishment. Wang said: in ancient times, there was a severe punishment called "crucifixion." However, punishment only affects the person himself; as for "the form is overwhelmed and dangerous," it is not merely about killing and disgracing him alone.

六五：鼎黃耳金，利貞。象曰：鼎黃耳，中以為實也。五居鼎上，中虛而無為，雖不若足之任重、腹之受實，若無用，而鼎用以之成也。以扛鼎，耳以受，而鼎始成運動之功。六五為鼎之得中，而能虛己以受物，有君之象，故為耳。黃者，中也；金，上九也。耳處鼎上，又處耳上，耳無為而有為也。雖在卦上，居鼎之終而不得中正之位，故為而已，貴而無位。

The line statement of the fifth line says: The Cauldron is adorned with yellow ears and golden handles (the character 'handle' is missing in the original text), and it is appropriate to maintain the correct position. The Small Image Commentary says: The Cauldron has yellow ears, thus it is in the center and becomes full. The sixth line in the fifth position is located at the upper part of the Cauldron, which is empty in the middle and does not act. Although it does not resemble the foot of the Cauldron bearing the weight or the body of the Cauldron containing things, it seems useless. However, the function of the Cauldron is completed precisely because of it. The handle is used to carry the Cauldron, and the ear supports the handle, thus the Cauldron achieves its function of carrying. The sixth line in the fifth position is the central line in the image of the Cauldron, and it is able to be empty to receive external things, thus resembling a ruler. Therefore, it is taken as the Cauldron's ear. 'Yellow' is the color of the center; 'gold' refers to the ninth line at the top. The ear is located on top of the Cauldron, and the handle is located on top of the ear. Although the ear seems to do nothing, it actually does something. The ninth line at the top, although it is at the top of the entire hexagram, is at the end of the Cauldron's process and does not occupy the central and correct position, so it can only serve as the handle. It is noble but lacks a real position.

利貞者，為利也。體本柔弱，介乎強臣之間，能虛巳無為，以正道格之，則眾陽皆為我用矣。象曰黃耳金，中以為實，非虛名也。上九：鼎玉，大吉，無不利。象曰：玉在上，剛柔節也。上九之為不可易也。上處卦之極，體柔而用剛，鼎道既成，不為燥溼之所變易，有玉之徳焉。

The explanation of "favorable to uprightness" emphasizes that only by upholding correctness can there be benefit. The fifth line, which is inherently soft and weak, is sandwiched between strong ministers. By maintaining humility and non-action, and using the right path to influence them, all the yang lines will be used for the benefit of the whole. The Small Image Commentary says, "A yellow ear with a golden handle, solid in the middle," indicating that its "solidity" is not mere empty reputation. The line statement for the top line says: "The tripod is paired with a jade handle, great good fortune, no disadvantage." The Small Image Commentary explains: "The jade handle is on top, indicating a proper combination of strength and flexibility." The role of the top line is irreplaceable. It is at the top of the hexagram, with a soft nature but a strong function; after the way of the tripod has been completed, it does not change or deform due to dryness or dampness, possessing the virtue of jade.

金從革者也，玉不可革也。固鼎之所用，非虛器也。在五為金，在上為玉，則益貴矣。以玉為，又所以飾鼎，而鼎道大成，故大吉而無不利也。象曰玉在上，剛柔節者，上九以剛乘柔，居鼎之上而用之有時，且六五之柔非不行，是相資而為用、相待而成功者也。又玉之為徳，其溫潤有似乎仁而非柔也，縝栗有似乎義而非剛也，故曰剛柔節也。

Metal can be melted and reshaped, but jade cannot be altered. It is indeed essential for the tripod, not a mere ornament. At line six in the fifth position, it is a golden handle, but at line nine at the top, it becomes a jade handle, which is even more precious. Using jade as a handle can also decorate the tripod, and the way of the tripod is thus fully realized, hence great good fortune and no adverse outcomes. The Small Image Commentary says, "Jade is on top, indicating the regulation of hardness and softness." This is because line nine at the top, with a yang line, dominates the yin lines, occupying the highest position of the tripod at an appropriate time. Moreover, line six in the fifth position, being yin, cannot function without a handle. The two are mutually dependent for their use and success. Furthermore, the virtue of jade is that it is warm and moist, resembling benevolence, yet not soft; it is dense and firm, resembling righteousness, yet not harsh. Therefore, it is said, "the regulation of hardness and softness."

下經。震下震上。震：亨。震來，笑言啞啞，震驚百里，不鬯。彖曰：震，亨。震來，恐致福也；笑言啞啞，後有則也；震驚百里，驚逺而懼邇也；出可以守宗廟社稷，以為祭主也。震，動也。動萬物者莫疾乎雷。蓋雷發聲，則蟄者皆奮，甲者皆坼，屈者皆伸，故震然後能亨也。人之處乎燕安，無以警畏之，則怠惰驕慢，惟湛樂之從，卒而困窮者多矣，故震然後能亨也。懼也。震來而知懼，則可以不懼矣，故笑言啞啞也。

The lower and upper parts of the Zhen hexagram are both Zhen. The hexagram statement says: Zhen, smooth; the thunder roars, and people become cautious and respectful, their laughter and talk ceaseless; the thunder's sound shakes a hundred li away, and the priest's ladle and wine do not fall. The commentary on the judgment explains: Zhen is smooth because the thunder's roar causes people to feel fear, and fear is the source of blessings; the ceaseless laughter and talk is because after fear there is order; the thunder's sound shaking a hundred li means that those far away are startled and those near are cautious; the eldest son can hold fast to the ladle and wine without losing them, thus being able to guard the ancestral temple and state, and serve as the priest. The meaning of "Zhen" is movement, and nothing moves more swiftly than thunder. When thunder roars, the creatures that have been hidden awaken, the armored seeds split their shells, and the curled plants stretch out. Therefore, there must first be movement, then all things can be smooth. People in comfort, if there is nothing to make them cautious and respectful, will become lazy and arrogant, pursuing pleasure without restraint, and many will eventually fall into hardship. Therefore, there must first be movement, then human affairs can be smooth. This character is interpreted as fear: when thunder roars and people understand fear, they no longer need to fear, so they can laugh and talk ceaselessly.

字不見於經傳，惟許慎《說文》云：蠅虎也。諸儒皆承此說。蓋蠅虎之物，必周旋而進退，故震來而能者，恐懼之象也。啞啞，和樂之聲也。震驚百里不鬯，何也？雷之震驚，震至逺及百里，而不失其鬯，以見倉卒之際，精誠專一，不為外物所移奪，可以付重器矣。者，載鼎實之器；鬱鬯，所以灌也。

The character "xu" is not found in classical texts, and only Xu Shen's "Shuo Wen Jie Zi" mentions it as "ying hu," which is a small spider skilled in leaping and pouncing. Scholars throughout history have followed this interpretation. Perhaps because ying hu, this small creature, moves with circling glances and cautious steps, the person who, upon the arrival of thunder, behaves with the same carefulness is a symbol of fear. "Ya ya" refers to the sound of joy and laughter. Why does the thunder's sound shake an area of a hundred li, yet the "bi chang" remains undisturbed? The thunder's shaking is terrifying and reaches a hundred li away, yet the person holding the "bi chang" does not spill the wine. This shows that in times of sudden change, he remains sincere and focused, not allowing external disturbances to take away his mind. Such a person is worthy of entrusting with the state's important objects. "Bi" is a tool used to take out the sacrificial animal from the tripod, and "yu chang" is the fragrant wine used for the ritual to appease the spirits.

彖言震來恐致福者，恐懼則能致福，此聖人所以畏無難而不畏多難也。眾人當震擾之時，鮮有不失其常度者，惟君子雖恐懼畏慎，若無所容，而其中實從容燕笑，不失其常度也，故曰笑言啞啞，後有則也。震驚百里，驚逺而懼邇者，邇者懼，逺者驚，則威之所加者廣矣。雷之震發，猶人君威令，必能驚逺而懼邇，然後可以震動萬方而無不肅也。

The Commentary on the Judgment says, "When the Thunder comes, it brings fear which leads to blessings." This is because holding onto fear can bring about good fortune, which is precisely why the sage fears that the world has no difficulties, rather than fears having too many. Common people, when encountering disturbances and shocks, rarely remain calm and composed; only the gentleman, although feeling fear and being cautious, appears as if constrained and unable to find a place to stand, yet inside he remains tranquil and at ease, speaking and laughing as usual, without losing his usual standards. Therefore, it is said, "Laughing and talking with a cheerful voice, there is a rule afterward." "Shaking a hundred miles, startling the distant and frightening the near" means that those nearby are frightened while those far away are startled, thus the scope of the power and influence becomes vast. The occurrence of thunder is like a ruler issuing a decree with authority, which must be able to startle those far away and make those nearby obey, only then can he shake the four directions and have all people stand in respectful submission.

震為長子，長子主器者也。古者天子之出，太子監國，當震動之際，能不鬯，是其器業之大，必能守宗廟社稷之重，蓋自其微者而察之也。孔子曰：禘自既灌而往者，吾不欲觀之矣。祭祀之道，誠敬為先，灌其始也。不誠不敬，鮮有不所守者，故不鬯，聖人知其可以守宗廟社稷而為祭主也。自古居儲君之位，任主器之重，上既嫌疑，下亦窺伺，鮮有不蹈禍敗者。以秦皇、漢武之英果，而扶蘇、戾園卒以見殺，況其下者乎？聖人於卦、彖、爻、象，皆反覆致其恐懼戒慎之意，其為後世慮，豈不深逺哉！

The hexagram Zhen represents the eldest son, who is the one in charge of the ancestral temple and the ritual vessels. In ancient times, when the Son of Heaven went on a journey, the crown prince would remain to govern the state. In times of sudden upheaval and disturbance, the crown prince could still hold onto the ladle of wine used in the ritual, showing that his character and ambitions were grand, and that he was surely capable of safeguarding the ancestral temple and the state. This is an examination of a person from the smallest details. Confucius said, "After the ceremony of pouring wine as an offering, I no longer wish to watch the rest of the rites." The way of worship is first and foremost based on sincerity and reverence. The pouring of wine is the beginning of the ritual. Those who lack sincerity in heart and respect in appearance rarely fail to lose what they are entrusted with. Therefore, those who can hold onto the ladle of wine, the sages know that they can guard the ancestral temple and the state and serve as the chief priest. Since ancient times, those who held the position of heir apparent and bore the responsibility of guarding the ritual vessels have often faced suspicion from the sovereign father and intrigue from the petty ministers, and few have escaped disaster. Even those as wise and decisive as Qin Shi Huang and Han Wu Di, their sons Fu Su and Li Ji still ended up being executed, and how much more so those with less ability than them? The sages repeatedly emphasize the importance of being cautious and fearful in the hexagram statements, the彖 statements, the line statements, and the images. Their concern for future generations is indeed profound.

曰：洊雷，震。君子以恐懼修省。洊者，如水之洊至；雷聲相繼而至曰洊，蓋威怒之。孔子當迅雷風烈必變，所以敬天怒、畏天威也。恐懼則知所修省矣。雷之洊至，非變異之大者，君子必惕然有敬畏之心焉，聖人防患必於其微。《詩》：敬天之怒，無敢戲豫；敬天之渝，無敢馳驅。況于山冡崒崩、日月薄蝕、彗孛飛流，而恬然不為之警懼乎？成王惑管、蔡，疑周公，天乃雷電以風，雷之變豈無自而然哉？君子所當恐懼而修省也。

The Image Commentary says: "Thunder sounds one after another, this is the Zhen hexagram; the gentleman takes it as a model, thus being cautious and self-disciplined, and examining his faults." "Jian" is like water coming in waves, and thunder sounds one after another is called "Jian," which represents the extreme of its wrath. Confucius, when encountering sudden thunder and fierce winds, would necessarily change his expression and show concern, which is precisely showing reverence for Heaven's anger and fear of Heaven's majesty. When the heart is full of fear, one understands the need to cultivate oneself and examine one's faults. Although the successive sounds of thunder are not among the greatest calamities, the gentleman still takes it seriously and feels reverence, showing that sages always deal with potential dangers from the smallest beginnings. The Book of Poetry, Great Odes, Board says: "Reverence for Heaven's anger, not daring to play or indulge; reverence for Heaven's anomalies, not daring to act recklessly." How much more so when encountering great changes such as mountain collapses, solar and lunar eclipses, and comets and strange stars appearing in the sky, could one remain calm and not feel alarmed? King Cheng of Zhou was misled by the slander of Guan叔 and Cai叔, suspecting Zhou Gong, and Heaven then sent thunder, lightning, and strong winds. Could this change of thunder be without cause? This is precisely the place where the gentleman should feel fear and cultivate himself and examine his faults.

初九：震來，後笑言啞啞，吉。象曰：震來，恐致福也；笑言啞啞，後有則也。繇辭統論一卦之體，而初爻為眾爻之主，故其辭皆同。蓋震為長子，乾統三男，而長子用事，震所以代乾也。然當震之時，陽欲奮而二陰阨之，則其勢必有危我者，能自警懼，然後可以吉，故於初爻特加一後字，以見非有之懼，則不能致啞啞之吉也。

The first line statement says: "Thunder strikes and there is alarm, afterwards there is laughter and joy, which is auspicious." The Image Commentary says: "Thunder strikes and there is alarm, fear can bring good fortune; laughter and joy follow fear, indicating that after fear there is order." The hexagram statement summarizes the whole hexagram, while the first line is the main line among all the lines, so its line statement is the same as the hexagram statement. The Zhen hexagram symbolizes the eldest son, and Qian governs the three yang hexagrams. The eldest son is entrusted with affairs, and Zhen is the one acting on behalf of Qian. However, at the time of movement, yang energy wishes to rise but is blocked by the two yin lines above, creating a situation where there is a threat to itself. Only by being vigilant and cautious can one obtain good fortune, so the word "after" is specially added in the first line to indicate that without prior caution and fear, one cannot achieve the auspiciousness of laughter and joy afterwards.

六二：震來厲，億貝，躋于九陵，勿逐，七日得。曰：震來厲，乘剛也。彖辭以震驚百里不鬯，知可以守宗廟社稷以為祭主，蓋以卦之全體言之。震以陽剛為主，陽雖在下，陰以退聽，故處震之時能安靜不動，惟剛者能之。六以陰而處二，其時與位皆純乎陰者也，故震來則危厲而失其所守。其所資，億言所之多也。

The line statement of the second line says: "Thunder strikes and brings danger, losing a great amount of wealth, ascending to the high hill of nine layers; there is no need to search for it, for it will be regained after seven days." The image commentary says: "Danger arises from the second line riding over a strong line." The hexagram statement uses "Thunder shaking a hundred miles yet the sacrificial wine remains unspoiled" to illustrate that such a person can guard the ancestral temple and state altars and serve as the chief priest, speaking of the whole hexagram. The Zhen hexagram is dominated by yang strength, though yang is in a lower position, while yin retreats and obeys. Therefore, in a time of shaking, one can remain calm and still, a quality only the strong and vigorous can achieve. The second line, with its yin nature, is in the second position, and both its timing and position are purely yin. Thus, when thunder strikes, it brings danger and instability, and it loses its integrity. "Bai" refers to the means of subsistence, while "yi" indicates the large amount lost.

躋于九陵者，有所避也。九，陽數之極，言所避遐逺也。古人於至崇至深之地，皆以九為言，如九天、九地、九淵，以見崇深之極處也。勿逐七日得者，既能危懼遁避，則在我者盡矣，可以勿逐而自得也。宣王遇烖而懼，側身修行，以致中興之治，覆文武之業，豈必外務而馳逐之乎？

"Rising to the ninth high hill" means taking refuge. The number "nine" represents the extreme of the yang number, indicating that one has retreated to an extremely distant place. In ancient times, whenever referring to extremely high or deep places, the number "nine" was used, such as "nine heavens," "nine earths," and "nine abysses," to signify the utmost height and depth. "There is no need to search for it; after seven days, it will naturally be regained" means that since one has been cautious and retreated, the duty one should fulfill has already been fulfilled, so there is no need to seek it out, and it will naturally be regained. King Xuan of Zhou, upon encountering ominous signs, felt fear, turned inward for self-reflection, and corrected his virtue, thus achieving the revival of the dynasty and restoring the foundation established by King Wen and King Wu. Is it necessary to seek externally in order to gain something?

復卦言反復其道，七日來復，天行也。以卦氣言之，爻各主一日，卦位有六，七日乃更始。自二至上，復反於初；復自初之二，則所歴七爻，乃七日也。陰陽得之理，循環無窮，豈有常哉？未有常治而不亂、常否而不泰者，故知七日卦氣之終，不俟追逐而自復也。曰震來厲乘剛者，六二處中正之位，在他卦為吉，今震來而厲，則以乘初九陽剛也。陽上陰下，陽尊陰卑，今以陰乘陽，則危道也。

The Hexagram of Returning says, "It returns by reversing its course, and after seven days it returns again, as is the way of heaven." According to the theory of hexagram qi, each line corresponds to one day, and each hexagram has six lines, so on the seventh day the cycle begins again. Counting from the second line to the top line, and then returning to the first line, and again counting from the first line to the second line, the total is seven lines, which corresponds to seven days. The principle of yin and yang gaining and losing is cyclical and never constant. There is no situation that remains permanently stable without disorder or permanently adverse without reversal, so we know that seven days mark the end of a hexagram's qi cycle, and it naturally returns without needing to be pursued. The Image Commentary says, "Thunder comes with danger, because it is riding on the strong." The line six two originally occupies a central and upright position, which is favorable in other hexagrams. But now thunder comes with danger, because it is riding on the strong line nine at the beginning. Yang should be above, yin below; yang is exalted and yin is humble. Now yin is riding on yang, which is a dangerous path.

六三：震蘇蘇，震行無眚。曰：震蘇蘇，位不當也。六以陰柔而居陽剛不中之位，非處震之道，故震至而蘇蘇也。王弼曰：震者，驚駭怠惰，以肅懈慢者也。震動而至於蘇蘇，則驚懼甚矣，以此而行，可以無過。又四為震主，而三能承之，當震之時，知敬順之道，故可無眚也。言震蘇蘇位不當者，震為長子，以不鬯為善，今蘇蘇然若無所容者，由所處非其位也。為長子而處非其位，可不畏哉！

The third line statement says: "Below the thunderous movement, the spirit is unsettled, but if one can proceed amidst the fear, there will be no calamity." The Image Commentary says: "The trembling and confusion is because the position is inappropriate." The third line, with its yin and soft nature, is located in a yang and strong position, but not in the central position, which is not in accordance with the way of the thunder. Therefore, when the thunder comes, it causes confusion and unease. Wang Bi says: Thunder is used to alarm the lazy and to correct the careless. When the trembling reaches the point of unsettled spirit, it shows that fear has reached its extreme. If one acts with this sense of caution, there will be no mistakes. Moreover, the fourth line is the main line of the Zhen hexagram, and the third line can follow it. In the time of shaking, knowing the principle of respect and obedience, it is therefore possible to avoid calamity. The Image Commentary says, "Zhen Su Su, because the position is inappropriate." Zhen symbolizes the eldest son, and the virtue lies in not losing the sacrificial wine. Now, being confused and uncertain, as if having nowhere to belong, is precisely because the position is not the right one. As the eldest son yet in an inappropriate position, can this not be alarming!

九四：震遂泥。曰：震遂泥，未光也。九四陷於重陰，逼於尊極，未能超然處於物上。當震之時，以剛健之才，處嫌疑之地，如陽欲出地，而上下二陰壅遏之，其勢不能致逺而大有所為也，故曰震遂泥，未光也。震本主動而有能行之，其道本當光亨，以阨於二陰，故未能也。

The line statement of the fourth line says: "Thunder strikes but finally gets stuck in the mud." The image commentary says: "Thunder is blocked by mud, indicating that its path is not yet bright." The ninth line in the fourth position is trapped among many yin lines and is close to the supreme position, so it cannot rise above all things. At the time of movement, he is in a position of suspicion and suspicion, with his strong and vigorous ability. It is like yang energy trying to emerge from the ground, but the two yin lines above and below block and hinder it. The situation prevents him from pursuing great achievements, so it is said, "Thunder is blocked by mud, its path is not yet bright." Thunder is originally about action, and he has the ability to act. His path should be bright and unimpeded, but because he is blocked by two yin lines, he is unable to realize his potential.

六五：震往來厲，億無，有事。曰：震往來厲，危行也；其事在中，大無也。古之聖王處尊極之位，能慄慄危懼而無荒怠之失，則可以永保其位矣。當震之時，下有九四之強臣，五無應而來乘剛，或往或來，能自危懼，則可以萬萬無失矣。無有事者，不其所有之事也；無非事者，所有之事未易概舉，不鬯則事之大者也。震之時，往來皆危行也，能履於危，則可安其位而無失矣。六五為動主，雖居中正之位，其才柔弱，非能濟乎險難者，本有失也；以位處中正，故得大無也。

The Line Statement of the Fifth Line says: "Thunder shakes, whether going or coming, is dangerous. Though there is great movement, there is no loss, and the ancestral temple rites are still carried out as usual." The Image Commentary says: "Thunder shaking, going and coming with danger, indicates acting in perilous circumstances; the affairs he oversees are in the middle way, so there is ultimately no great loss." Ancient sage kings, residing in the highest position, could be cautious and fearful without committing any faults, thus maintaining their position. In the time of shaking, there is a strong minister below, the Nine in the Fourth. The Six in the Fifth has no proper response, and the strong minister comes up to occupy the strong position. Whether going or coming, as long as he remains cautious, there will be no loss. The phrase "no loss but with affairs" means not losing the affairs he oversees. The phrase "no loss is not without affairs" means that the affairs he oversees cannot all be fully carried out at once, but not losing the sacrificial wine is the most important among them. In the time of shaking, going and coming are both in danger. If one can stand firm in danger, he can remain in his position without any mishap. The Six in the Fifth is the master of shaking. Although he is in the middle and upright position, his nature is weak, and he is not someone capable of overcoming difficulties. He should have suffered some loss; however, because he is in the middle and upright position, he ultimately suffers no great loss.

上六：震索索，視矍矍，征凶。震不于其躬，于其鄰，無咎，婚媾有言。曰：震索索，中未得也；雖凶無咎，畏鄰戒也。處震之極，其勢必危，故氣索索而幾盡，視矍矍而無主也。居嫌疑之地，當危懼之時，能以安靜退縮自處，庶可免禍；而上六陰柔之質，性復動躁，急於有行，其凶必矣。上既無應，而下比於五，五其鄰也。上雖處震動之極而無其位，方海內震擾之時，而六五實任其責，又禍非已致，故震不于其躬而于其鄰，則在我為無咎也。

The line statement of the sixth line at the top says: "Below the thunder shaking, the spirit is exhausted and the eyes are startled and look around, going forward brings misfortune. The shaking does not fall upon oneself but upon the neighbor, thus there is no fault, but there may be complaints between relatives." The image commentary says: "The spirit is exhausted because it has not reached the middle path; although there is danger, there is no fault because it takes the neighbor's situation as a warning." The sixth line at the top is at the peak of the shaking, so the situation is inevitably dangerous, thus the breath is exhausted and the eyes are startled, and the mind is without direction. Being in a position of suspicion and suspicion, at a time of danger and fear, if one can remain quiet and retreat, perhaps misfortune can be avoided. However, the sixth line is of a yin and soft nature, and its disposition is restless and eager to act, so misfortune is inevitable. The sixth line has no proper correspondence below, but is adjacent to the sixth line in the fifth position, which is its 'neighbor.' Although the sixth line is at the extreme of shaking, it has no corresponding position; when the world is shaken and disturbed, the actual responsibility falls upon the sixth line in the fifth position, and the misfortune is not self-inflicted, so the shaking does not fall upon oneself but upon the neighbor, thus there is no fault on one's own side.

婚媾有言者，上六雖不任責，既處上極，望我者亦眾，方天下震擾，豈得盡歸于其鄰，恝然忘情若秦越之人哉？雖所親者且有怨懟之言，況他人乎？言震索索中未得也、雖凶無咎畏鄰戒也，以所處上極，未得中道，故驚懼之甚，至索索然也。上六有往雖凶，而能恐懼修省，以鄰為戒，則可以免咎矣。

The explanation of "marriage and union have words" is because although the sixth at the top does not bear actual responsibility, it is in the highest position and many people look to it. In a time of great turmoil and disturbance, how can one entirely shift the responsibility onto neighbors, remaining indifferent as if the people of Qin look upon the people of Yue? Even close relatives may express grievances, let alone others. The Image Commentary says "trembling with fear, not yet having reached the middle," "though there is danger, there is no blame, because of the warning from neighbors." This is because the sixth at the top has already reached the extreme upper position and has not yet reached the middle, thus experiencing extreme fear until even the spirit is exhausted. Although going forward may bring danger, if one can be fearful and cautious, self-cultivate and reflect on one's mistakes, taking the neighbor's situation as a warning, one can avoid blame.

艮下艮上。艮其背，不其身；行其庭，不見其人，無咎。彖曰：艮，止也。時止則止，時行則行，動靜不失其時，其道光明。艮其止，止其所也。上下敵應，不相與也，是以不其身，行其庭不見其人，無咎也。道之廢興，繫乎聖人出處之間。艮之為卦，一陽極乎上，二陰處乎內，群陰為主而一陽在外，此可止之時也。時茍當止，不可強行，故艮其背者，得所止也。人之相面，所以盡交際之道；背者陰也，非交物者也。能止於所當止，非獨忘物也，而至於忘我，故不其身，不見其人，雖戶庭之內，而人我俱忘矣。

The upper and lower parts of the Gen hexagram are both Gen. The hexagram statement says: "Stopping at one's back, not perceiving one's own body; walking in one's courtyard, not seeing the people in the courtyard, there is no fault." The commentary on the judgment says: "Gen means stopping. When it is time to stop, stop; when it is time to move, move. Neither movement nor stillness miss their proper time, thus its way is bright. 'Stopping at the back' means stopping at the proper place. The two yao in the upper and lower parts are opposing each other but not in harmony, and they do not communicate with each other, so one does not perceive oneself. Walking in the courtyard but not seeing the people there, there is no fault." The rise and fall of the Dao depend on the emergence and retirement of the sage. The Gen hexagram has one yang yao at the top and two yin yao inside, with the group of yin in power and one yang outside, which is precisely a time for rest. If the situation calls for stopping, one must not force movement, so "stopping at the back" is finding the proper place to stop. When people face each other, it is to fulfill the etiquette of interaction. The back belongs to yin, being the part that does not interact with external things. To stop at the proper place is not only to forget external things, but even to forget oneself, hence not perceiving oneself and not seeing others; although both are within the same gate and courtyard, both have forgotten each other.

當可止之時，猶出而交物，則咎悔隨之；於可止之時而能止，是真止矣。行於有人之境，如入無人之境，物與我無相尤也，故無咎。彖言艮止者，釋艮之義，一言可盡者，止而已。聖人又惡夫一往而不返者，故曰時行則行，時止則止，動靜不失其時，其道光明也。聖人動與陽同波，靜與陰同徳，豈滯於一隅，若聚塊積塵哉？一動一靜，適於義而巳，故能大有為於天下，而其道光明也。

When it is appropriate to stop, yet one goes out to interact with external things, regret and misfortune follow; when it is appropriate to stop and one stops, this is true "stop." Walking among people, one should be as if entering an uninhabited place, so that external things and self do not resent each other, thus there is no regret. The Commentary on the Judgment says, "Gèn means stop," explaining the meaning of the character Gèn, which is fully expressed in one word: "stop." However, the sage also disapproves of those who go away without returning, who know only to stop but not to act. Therefore, it says, "When it is appropriate to act, act; when it is appropriate to stop, stop. Both movement and stillness are in harmony with the right timing, and its way is bright." When the sage acts, he moves with the yang energy; when he is still, he rests with the yin energy. How could he be stuck in a corner, like a pile of soil or accumulated dust? Movement and stillness are only to conform to righteousness, so he can achieve great things under heaven, and his way is bright.

艮，震之反也。九三為震。艮，東北之卦，有震動之焉。卦之反合，爻之升降，豈有常哉？艮其止，止其所者，止得其所，謂艮其背也。若止於前，則有所見，而聲音接於耳目者擾擾矣，故惟止於背為得其所也。上下敵應，不相與者，一陰一陽，上下不敵，所以相與。故形躁好靜，質柔愛剛；二女同居，雖近而不相得；鳴鶴在陰，雖逺而相求。故近不必比，而逺不必乖，特在應與耳。今六爻既相敵而非應，如人之相背而行，雖眾而各不相知，是以不其身，行其庭不見其人，無咎也。

The Gèn hexagram is the reverse image of the Zhèn hexagram. The yao at position Nine in the Third takes the image of Zhèn. The Gèn hexagram is located in the Northeast, and within it there is an implication of movement. The reversal and combination of the hexagram's structure, and the rising and falling of the yao positions, where is there anything that remains unchanged? "Gèn qí zhǐ, zhǐ qí suǒ yě" means to stop at the proper place, which refers to "stopping at the back." If one stops in front, there will be sights and sounds, and the clamor of external things will never cease. Therefore, only stopping at the back can be considered being at the proper place. "Shàng xià dí yìng, bù xiāng yǔ yě": one yin corresponds to one yang, and the upper and lower do not oppose each other, so they can respond and connect with each other. Therefore, the form that is restless prefers stillness, and the nature that is soft loves strength; two women living together, although close, do not harmonize with each other; the Nine in the Second of Zhōngfú says "the cry of the crane in the shade," although distant, they still respond and seek each other. This shows that being close does not necessarily mean being close in affection, and being far apart does not necessarily mean being estranged; the key is whether there is a corresponding connection. Now, the six yao of Gèn hexagram are paired in opposition but do not form a proper correspondence, like people walking with their backs to each other, although there are many people, they do not understand each other. Therefore, it is said that one does not realize oneself, walking through a courtyard without seeing the people, and there is no fault.

曰：兼山，艮。君子以思不出其位。上能兼下，大能兼小，尊能兼卑。艮以兩山相重，勢均而力敵，非相應也，而相兼也。兼非異體也，各止於其所止而巳。君子體此以思不出其位，謂安其分守，無躁妄也。夫止者施於其背，則真止矣，是猶山兼山，豈復有動乎？聖人以此示人，則物各安其性命之正矣。

The Image Commentary says: "Two mountains overlapping, this is the Gen hexagram; the gentleman takes it as a model, thus his thoughts do not exceed his position." The superior can包容 the inferior, the great can包容 the small, the noble can包容 the humble. The Gen hexagram is composed of two mountains overlapping, with equal power and mutual equivalence, not mutually responding, but mutually containing. What is meant by "comprehensiveness" is not another different form, but rather each stopping at its proper place. The gentleman observes this hexagram, and keeps his thoughts within his proper position, meaning he remains in his proper role and does not act rashly or recklessly. If the practice of "stopping" can be applied to one's back, then it is truly stopping, just as mountains overlapping, where could there be any movement? The sage uses this principle to instruct the world, and thus all things in the universe rest in the proper way of their nature and destiny.

初六：艮其趾，無咎，利永貞。曰：艮其趾，未失正也。足本主動，曰趾者，固以止為義，況艮之時而以陰柔處下，動則悔吝生矣。於艮而能止，是不失其幾，故得無咎也。利永貞者，當艮之初，動則入於邪矣，故利在永貞。貞者，靜而正也。當止而止，卷懐其道，若將終身焉，故以永貞為利，此聖人肥遁之時也，故曰艮其趾，未失正也。止於其初，雖未可語權，於正道為未失也。

The Line Statement for the first line says: "Stopping at one's toe, there is no fault, and it is advantageous to maintain constancy in the right path." The Image Commentary says: "Stopping at the toe, indicates that one has not lost the right path." The foot is the organ responsible for movement, and by referring to the "toe," the meaning of "stopping" is already implied. Moreover, at the time of stopping, with a yin and flexible force in the lowest position, any movement would lead to regret and hardship. Being able to stop at the right time means not missing the opportunity, hence there is no fault. The statement "advantageous to maintain constancy in the right path" is because at the beginning of stopping, any movement would lead to wrong paths, so it is advantageous to maintain constancy in the right path. "Zhen" means being quiet and in harmony with the right path. When one should stop, one stops, concealing and preserving one's way, as if intending to do so for life, hence taking long-term constancy as advantageous. This is precisely the time when the sage withdraws and retreats, thus saying "Stopping at the toe, has not lost the right path." Stopping at the beginning of an affair, although not yet capable of flexible adaptation, is still in accordance with the right path without error.

六二：艮其腓，不拯其隨，其心不快。曰：不拯其隨，未退聽也。趾也，腓也，股也，一體而相為用者，其行其止，皆非三者所得專也。然腓在足上，其形雖動躁，未有足行而腓不應者，故腓之從足，猶股之隨腓，觀乎咸卦則可見矣。咸以動而感，而艮則靜而止。六二體既躁動，而上下拘制，不能自專以有為，安能拯其隨乎？隨為三也。二既不應五而上承於三，三雖以陽剛處上，當艮之時，志在隨人而已，無能為也。雖欲用其智謀以拯救之，而其志卒不得伸，故其心不快也。象言不拯其隨未退聽者，二處人臣中正之位，志在有為，非能終止也，其肯恝然情於斯世哉？

The Line Statement of the Second Line says: "It stops its calf, but cannot save the part it follows, and the heart is not at ease." The Image Commentary says: "It cannot save what it follows, because the Nine in the Third above has not yet retreated and yielded." The toes, the calf, and the thigh are parts of the same body, working together. Whether to move or to stop is not something any one of these three can decide alone. However, the calf is above the foot, and although its form is restless, it has never been the case that the foot moves while the calf does not follow. Therefore, the calf following the foot is like the thigh following the calf. Looking at the imagery of the Hexagram of "Salty Taste" (Xian), this can be understood. Xian is about movement and response, while Gen is about stillness and stopping. The form of the Second Line is originally restless, but it is restrained by above and below, and cannot act on its own. How can it save what it follows? What it follows is the Nine in the Third. Since the Second Line does not correspond with the Fifth, it looks upward to the Nine in the Third. Although the Nine in the Third is yang and occupies a high position, during the time of Gen, it is only willing to follow others and cannot accomplish anything. Even if the Second Line wants to use its wisdom to save it, its aspirations cannot be fulfilled, so the heart is not at ease. The Image Commentary says, "It does not save what it follows, because it has not yet retreated and yielded," because the Second Line is in the proper position of a minister, with aspirations for action, and is not someone who can remain still all the time. How could it be indifferent to the world entirely?

九三：艮其限，列其夤，厲熏心。象曰：艮其限，危熏心也。夫一人之身，四肢百骸，動靜相為用者也。今艮其限，上下內外隔絶而不相通，猶裂其膂脊而為二物也，其危厲甚於熏灼其心也。限，身之中；夤，脊膂肉也。自其限而止之，猶裂其脊膂，言君臣上下各止其止而不相通也。三居下卦之極，而九以陽剛處之，施止於限，果於靜止而不知變以趨時者也，昧乎時行時止之義，故聖人以為戒焉。古之人有行之者，如漢二龔、魏範粲，雖全大節，當時處之，其危厲熏灼痛忿之狀，豈人所能堪哉？

The line statement of the third line says: "Stopping at the waist, tearing the muscles along the spine, dangerous and perilous as a fierce fire scorching the heart." The image commentary says: "Stopping at the waist, this is dangerous as a fierce fire scorching the heart." A person's body, with limbs and bones, functions through the coordination of movement and stillness. Now, stopping at the waist causes the upper and lower parts, as well as the inside and outside, to become disconnected, like tearing the spine into two parts. This danger is even more severe than a fierce fire scorching the heart. "Limit" refers to the middle part of the body, and "yin" refers to the muscles along the spine. Cutting off at the waist is equivalent to tearing the spine, meaning that the ruler and the ministers, the superior and the inferior, each stop at their own place without communication. The third line is located at the top of the lower trigram and holds a yang strong quality. Applying "stopping" at the waist, it insists on firm stillness without understanding the need for flexibility to adapt to the situation, and fails to grasp the principle of "when to act, act; when to stop, stop." Therefore, the sage uses this as a warning. Indeed, there were people in history who acted this way, such as Gongseng and Gongshe of the Han dynasty, and Fan Can of the Wei dynasty. Although they preserved their great principles, the dangerous and painful state of being scoured by the fire of peril and frustration, which they endured at that time, was something ordinary people could not bear.

六四：艮其身，無咎。曰：艮其身，止諸躬也。六四已進而達乎下卦之上，能兼乎上下者也，故以全體言之，曰艮其身也。處近君之位，不能以道濟天下，蓋六五柔弱之君，非有剛健勇決之臣以輔翼之，不足以大有為也。四能量其君，度其才，止於所當止，故得無咎而已。象曰艮其身止諸躬者，躬有致恭之義。人臣之節，行止進退，不失恭順，雖不能止天下之所當止，而為全身之計則善矣，故爻以為無咎，而象言止諸躬而已。夫身為大臣，宜兼濟天下，而為獨善之行，聖人之所深鄙而可以忘言者也。

The Line Statement of the fourth line says: "He stops himself entirely, without fault." The Image Commentary says: "Stopping himself, it is stopping only himself." The fourth line has already advanced beyond the top of the Lower Trigram, making it a line that can connect both upper and lower. Therefore, in terms of the whole body, it is called "Stopping himself." He is in a position close to the ruler, yet he is unable to use the right way to help the world. Since the fifth line is a weak ruler, without a strong and decisive minister to assist, he cannot achieve great success. The fourth line can assess his ruler and evaluate his own abilities, stopping at the appropriate place, so he only ends up without fault. The Image Commentary says, "Stopping himself, stopping himself alone," where "gong" implies respect and self-restraint. The virtue of a minister lies in maintaining proper conduct and humility in all actions and movements; although he cannot stop the chaos that should be stopped, his plan for self-preservation is sufficient. Therefore, the Line Statement only says he has no fault, and the Image Commentary only says he stops himself. As a minister, one should strive to benefit the world, yet he only chooses to cultivate himself, which is something the sage deeply disapproves of and does not elaborate on.

六五：艮其輔，言有序，悔亡。象曰：艮其輔，以中正也。六五在六爻為君位，君無為也，出言則為號令；輔者，言之所出也。王者之言，其出如綸，能艮其輔，則言不妄發而悔可亡矣。夫下卦為趾、為腓、為限，得其一體而已；進至六四則為身，然猶局於形體，非能超乎形體之外也。惟六五處中正之位，有輔頰之象，一言之善則千里應之，一言之失則千里違之，能運乎形體而不為形體所拘，故吾欲止天下之當止，孰有不從者？五為艮主，故所止如此。

The Line Statement of the fifth line says: "Control the mouth, speak in an orderly manner, and regret disappears." The Image Commentary says: "Control the mouth, because it is in the central and correct position." The fifth line is in the position of the ruler among the six lines. A ruler should be quiet and not act, but once he speaks, his words become commands. The "mouth" is the place from which words are issued. The words of a ruler, once spoken, can influence the whole world, like a silk thread pulling everything together. If one can control his mouth, then words are not easily spoken, and regret can disappear. The lower trigram represents the toes, the lower leg, and the waist, each representing only a part of the body. When it ascends to the fourth line, it represents the whole body, but still remains within the form and cannot transcend the form. Only the fifth line, which is in the central and correct position, has the image of the mouth and the cheek, representing the ability to speak effectively. A single well-spoken word can be responded to a thousand miles away; a single wrong word can cause a thousand miles to turn away. He can control the body without being controlled by it, so when he wants to stop something that should be stopped, who would not listen? The fifth line is the main line of the mountain trigram, so the boundary it controls is like this.

上九：敦艮，吉。故曰：敦艮之吉，以厚終也。上九，重艮之終也，二山相重，敦厚之至。人能靜止如山之相重，出乎萬物之上，其孰能動搖之？故曰敦艮吉也。曰敦艮之吉以厚終者，夫以靜止為徳，終之實難；上以剛健為徳，至誠而不息者也，與夫作輟者異矣，故曰以厚終也。

The line statement of the Upper Ninth says: "To be earnest and steadfast in stillness, it is auspicious." Therefore, the Image Commentary says: "The auspiciousness of the firm and steady is because it can maintain earnestness throughout." The Upper Ninth is the final line of the卦 of two overlapping mountains. Two mountains piled upon each other represent the utmost in earnestness and steadfastness. If a person can remain as still and self-restrained as overlapping mountains, transcending all things, who could shake him? Therefore, it is said "the firm and steady is auspicious." The Image Commentary says, "The auspiciousness of the firm and steady is because it can maintain earnestness throughout." To regard stillness and restraint as virtue is difficult to maintain from beginning to end; the Upper Ninth possesses the virtue of strength and sincerity, unceasing and consistent, differing greatly from those who act intermittently and abandon their tasks halfway. Therefore, it is said that the Upper Nine can maintain earnestness throughout.