Great Strength Sheep Enclosure Diagram

《大壯》之卦，下累四陽，有棟宇基北之象，故云壯也。其卦上震下乾，震為蒼食竹，故有藩象。《乾》之九三變則入兌，故有羊象。兌西而震束，卯酉正沖，故有羊觸藩之象。初者，羊之足趾也。羊以角觸，而趾用其力；角贏，則趾困矣。九四實吾之同類，苟決其藩以開大塗，容羊進而贏之，則下三陽反為壯輿之轅矣。此九二、九四所以有貞吉之縣矣。

The hexagram "Da Zhuang" has four accumulating yang lines below, symbolizing the beams of a house and its foundation, hence the name "Zhuang" (strength). This hexagram consists of Zhen above and Qian below. Zhen represents young bamboo, hence the image of a fence; the third line of Qian changes to Dui, hence the image of a sheep. Dui is in the west and Zhen in the east, with卯 and酉 directly opposing each other, hence the image of a ram colliding with a fence. The first line represents the ram's toe; the ram uses its horn to push, but the effort comes from the toe. If the horn is caught, the toe is also trapped. The fourth line is actually of the same kind as the ram. If it were to break the fence and open a path, allowing the ram to advance without being caught, then the three lower yang lines would become the yoke of a cart carrying the ram forward. This is why the lines nine two and nine four have the judgment "Zhen Ji" (upright and auspicious). The original text "Cang shi zhu" refers to "Cang lang zhu" (young bamboo), and "xuan" is actually "tuan."

八卦之象，乾實為馬。《晉》以坤之貞，而陰爻居五位，豈有馬象哉，蓋乾錫之馬耳，因錫馬以致蕃庶，諸侯之象明矣。《易》以明出地上象諸侯者，以火在天上為《大有》，象天子故耳。天子與諸侯，皆南面之君也，必有明德以安民，民安則位安矣，故曰康侯也。

In the symbolic representations of the Eight Trigrams, Qian (Heaven) is indeed associated with a horse. The hexagram Jin (Progress) uses Kun (Earth) as its inner trigram, and the fifth line is a yao (line) of yin, so where is the image of a horse? It is the horse given by Qian; because having received the horse, there are many horses and carriages, thus the image of the feudal lords becomes evident. The Book of Changes uses "light emerging from the earth" to symbolize the feudal lords, because "fire in the sky" from the hexagram Dàyǒu (Great Possession) has already been used to symbolize the Son of Heaven. Both the Son of Heaven and the feudal lords are rulers facing south, and they must have bright virtue to govern the people. When the people are at peace, the ruler's position is secure, so the hexagram statement refers to him as "the healthy lord."

《明夷》之卦，聖人贊之，以《象》、《象》最顯最著，於人事最明。五為箕子，則上為紂矣。九三有南狩而得大首之辭，豈非武王乎？拯馬壯者，又豈非武王之輔相亂臣乎？六四本《坤》畫，而下與三同居人位，又豈非微子、太公之歸周乎？初九與上六同乎坎水，將飛而翼垂，將行而喂根不繼，豈欲拯之而力不能如伯夷、叔齊之徒乎？

The hexagram Mingyi is the one where the sage's commentary in the Commentary on the Judgment and the Image Commentary is most clear and explicit, corresponding most clearly to human affairs. The line six five is Ji Zi, and the line six at the top is Shang Zhou. The line nine three has the line statement "Southward hunting, capturing the great leader," which is not precisely King Wu of Zhou? The line six two "Using aid, the horse is strong," is not precisely the ministers who assisted King Wu, those who governed and brought order? The line six four originally belongs to the hexagram Kun, and it is placed downward in the same human position as nine three, which is not precisely Wei Zi and Jiang Taigong joining the Zhou dynasty? The line nine one and the line six at the top both belong to the hexagram Kan water, one about to rise with low wings, the other about to move forward but not eating for three days, unable to continue, is this not like those people such as Bo Yi and Shu Qi, who wanted to help but lacked the strength? The original text here "The Image, The Image" should be "The Commentary on the Judgment, The Image."

或問文中子《家人》之象，明內而齊外，蓋離、巽之卦也。象一然子象日在：陰一陽，相妃於中，有父母夫婦之，意本於夫子之《象》。焦延壽以上爻為宗廟，五為君；今用之於《家人》，則君位為父矣。孔子曰：家人有嚴君焉，父母之謂也。

Someone asked about Wang Tong (Wenzǐ), of the Sui dynasty, view on the imagery of the hexagram "Family." The hexagram "Family" is clear within and orderly without, which corresponds to the hexagram with lower trigram Li (Fire) and upper trigram Xun (Wind). Within the hexagram, one yin and one yang line are in harmony in the central position, thus expressing the meaning of parents and husband and wife. This meaning originally comes from Confucius' Commentary on the Judgment. (The original text has some errors and omissions, making the phrase "xiàng yī rán zǐ xiàng rì zài" difficult to read.) Jiao Yanshou of the Han dynasty took the top line as the ancestral temple and the fifth line as the ruler. Now applying this method to the hexagram "Family," the ruler's position becomes the father's position. Therefore, Confucius said, "The family has a strict ruler, who is the parents."

《睽》之為卦，六爻相疑者，陰陽相疑也。陽居陰位，是以位相疑。二應五而五連於上，上應三而三連於二，是以應相疑。疑則睽而不合矣。故聖人於六爻之辭，莫不解其疑也，而使陰陽各安其位焉。所以《睽》卦物象，比之他卦最盛，蓋欲盡意而已。

The hexagram Kui involves six lines that are all suspicious of each other, actually representing the mutual suspicion between yin and yang. A yang line occupying a yin position is the suspicion arising from the positions of the lines; the line six two should correspond to nine five, but nine five is connected to upper nine, and upper nine should correspond to six three, but six three is connected to nine two. This is the suspicion arising from the correspondences. Once suspicion arises, they become discordant and fail to unite. Therefore, the sage in the line statements of the six lines is constantly trying to resolve the suspicions so that yin and yang can each remain in their proper positions. This is why the hexagram Kui uses more symbolic images than any other hexagram, simply to fully express its meaning.

《蹇》之二陽，皆陷於陰中，故曰賽。《蹇》之象，往來者四，而不繫往來之象者二。四者皆失中，而二者皆得中也。聖人得中道以自養，故雖處蹇中，而素患難，行乎患難也。何往來之有，五在上位之中，是得中而居上者也；善處賽而不凌下，使人樂歸之，此所以致朋來，而不終孤立於險中矣。二在下位之中，是得中而居下者也。善處賽而不援上，匪其躬而自任其責，此所以致終無尤過，而獲應於上矣。

The hexagram "Jian" has two yang lines that are trapped among yin lines, hence the name "Jian," meaning difficulty in advancing, like a lame person. Among the six lines of the hexagram "Jian," four lines have the term "wanlai" (coming and going), while two do not. The four lines that have "wanlai" all lose the central position, and the two that do not have "wanlai" both hold the central position. The sage cultivates himself by following the middle path, so even though he is in a difficult situation, he remains content with hardship and continues to follow the right way, so where is there any need for coming and going? The line "Ji Wu" is in the upper trigram, holding the central position while occupying the upper position. It is good at dealing with difficulties without oppressing the lower lines, making people willing to follow, thus attracting friends and not remaining isolated in danger. The line "Li Er" is in the lower trigram, holding the central position while occupying the lower position. It is good at dealing with difficulties without clinging to the upper position, not thinking of itself but taking responsibility, thus ultimately having no mistakes and gaining the support from above. The original text "Sai" is the same as "Jian."

三陽之失中也，故勸之反身修德也。四陰之失中也，故勸其連接乎二陽也。初在下，故勉之以養其聲譽，而無苟往。上近五，故勖之以就於充實，而從大人，如四之連耳。

Nine in the Third has lost the central position, so it is advised to turn back and cultivate virtue. Six in the Fourth has lost the central position, so it is advised to connect with the yang line below. Six at the Beginning is at the very bottom, so it is encouraged to first cultivate its reputation and not act rashly. Six at the Top is close to Nine in the Fifth, so it is encouraged to move toward fulfillment and follow the great person, just as Six in the Fourth connects with the yang line.

坎中之一陽，即震下之一陽，始包於坎中，既而出於坎上，動而震下也，若果核之仁變而為芽也，故曰：得黃矢。矢者，中直也。中直，則芽達矣。《解》之為卦，陰陽悖亂而不當其位，上爻故有解悖之象，震之在坎也。君子屈墊於下，混邊於小人之時，而發生敷大易象數布之心不忘也。一曰一脫邊而去，遂伸其志，此九四之與六三所以有拇象。

The yang line in the middle of Kan becomes the yang line below Zhen: at first it was enclosed within Kan, but later it emerged from above Kan, and once it moved, it became Zhen. This is like the sprout within a fruit seed transforming into a shoot, so the line statement of nine in the second says "obtaining a yellow arrow." An arrow is something that is both central and straight; being central and straight allows the sprout to grow. The hexagram "Jie" has yin and yang in disorder and none in the proper position, so the line six at the top has the image of removing disorder, which is exactly the meaning of Zhen being above Kan. When a gentleman bends his body and remains hidden below, mingling with petty people, his mind of growth and spreading never ceases. Once he escapes, his aspirations are fulfilled, which is why nine in the fourth and six in the third have the image of "the thumb."

二卦之《象》，皆言與時偕行。二卦之爻，皆言十朋之龜。言時者，謂時當損而損，天下不以為儉嗇；當益而益，天下不以為驕奢也。言龜者，謂龜筮協從，臣民無逆也。

The Commentary on the Judgment of the hexagrams "Loss" and "Gain" both mention "moving in harmony with the times." The line statements of both hexagrams refer to "ten tortoises." Speaking of "time" means that when reduction is appropriate, one should reduce, and the people will not consider it stingy; when increase is appropriate, one should increase, and the people will not consider it extravagant. Speaking of "tortoises" means that divination by tortoise shells and by yarrow stalks both act in harmony, and ministers and common people do not act against them.

五陽而決一陰，五君子而去一小人，不為難矣。然陰附五位，五與四皆屬之，是謂兌卦。所謂包陽之陰，挾君子之小人，所以難決難去耳。《大壯》之羊，施壯於震。震，同類也。《夬》之羊，施壯於兌。兌，非類也，變我則與同。此四爻所以有牽羊之象，此三爻變有羊象耳。

Five yang lines remove one yin line, and five gentlemen remove a petty person; this is originally not difficult. However, this yin line is attached to the fifth position, and both nine five and nine four are involved, forming the trigram Dui. This is called a yin line that wraps around yang, and a petty person that holds back the gentlemen. Hence, it is difficult to decide and difficult to remove. The sheep in the hexagram Dazhuang places its strength on Zhen, which is of the same kind; the sheep in the hexagram Guai places its strength on Dui, which is not of the same kind, but after a change it becomes the same. This is why nine four has the image of "leading a sheep," and nine three, after a change, shows the image of a sheep.

初與本爻觀之，則有豕象，而九三突其臀。初、二、四觀之，則有魚象，言陽包陰也。於九五觀之，則有瓜葛滋長之象。《姤》本《乾》也，一陰變其初，有龍反化魚象，龍化魚而角無用矣。此《妮》之角所以上窮也。《乾》之一陽，起子而終於巳，巳實居巽方，是《乾》之六陽與巽相遇於巳位，而巽之一陰遂萌矣。此一陰之生，故名曰《姤》也。

Looking at the first line and the present line, there is an image of a pig, and the third line directly hits its hindquarters. Looking at the first, second, and fourth lines together, there is an image of fish, indicating yang enclosing yin. Looking at the fifth line, there is an image of vines and tendrils growing. The hexagram "Gou" originally comes from "Qian," but when the first line changes from yin to yang, there is an image of a dragon transforming into a fish. Once the dragon transforms into a fish, its horn becomes useless, which is why the top line says "Gou its horn" and it reaches the top position in a state of exhaustion. The yang of "Qian" begins at the Zi position and ends at the Si position. The Si position actually resides in the Xun direction, so the six yang lines of "Qian" meet the Xun at the Si position, and the yin of Xun then emerges. Because of the emergence of this yin, the hexagram is named "Gou," meaning "meeting." The original character "ni" is the same as "gou."

《萃》之成卦，則物各以類聚。而陽據南面之位，一為天子，一為諸侯，下統三公、二十七大夫、八十一元士，上奉宗廟之嚴，防眾亂之道，寄於初爻；懲失眾之象，寓於上畫。萃者，物之秋成而後萃也。秋本主於兌，兌卦本以上爻為主。今西南之坤氣，運至西方，而陰畫眾矣，故二陽統之，而上爻失眾焉。

Once the hexagram "Cui" is formed, all things gather according to their categories. Two yang lines occupy the southern positions, one representing the Son of Heaven and the other the feudal prince, governing below the three dukes, twenty-seven great officials, and eighty-one lesser officials, while above they guard the solemnity of the ancestral temple. The principle of preventing disorder among the people is embodied in the first line; the warning against losing the people's support is contained in the top line. The term "Cui" refers to the gathering of all things after they have matured in autumn. Autumn is originally governed by the hexagram Dui, which usually emphasizes the top line. Now, the yin energy from the southwest direction of the earth (Kun) has moved westward, increasing the yin lines, so two yang lines are needed to control the situation, and thus the top line loses the people's support.

巽下之一陰，與坤之三陰一體也。陰沉滯，而陽升騰。升騰者，二陽也。初附二陽而升，三陰又與之一體，故有允升之象。允者，見信於人。

The yin line below Xun is originally one body with the three yin lines of Kun. Yin nature tends to be heavy and sinks downward, while yang nature rises upward. The two yang lines above Xun are capable of rising. The initial line (Chu Liu) relies on these two yang lines to rise upward, and since the three yin lines of Kun are integrated with it, there is an image of "trustworthy ascent" ("Yun Sheng"). "Yun" means being trusted by others.

坤用事於亥，而亥亦木之生，而未成形者也。至於子位，則震居坤下，震亦木也，是木之始芽根耳。若巽居坤下，則有二陽，非震一陽之比，故曰《升》也。《升》居丑位，及乎卯，則木王矣。外卦以位言也，而五天位，是不可以階升也。然貞者，正也。堯、舜、禹、湯昇天位以正，如升階焉。不以貞者，寧免於顛躋乎。

The trigram坤 is in the position of亥, which is the time when wood first begins to grow but has not yet taken shape. When reaching the position of子, the trigram震 is below坤, and since震 also belongs to wood, it is merely the time when wood starts to sprout and take root. If the trigram巽 were below坤, it would have two yang lines, which is not comparable to震 with only one yang line. Therefore, the hexagram is called《升》. The hexagram《升》 is in the position of丑. When reaching the position of卯, wood is at its peak. The outer trigram refers to the position of the lines. The fifth line is the position of the Son of Heaven. The position of heaven is not something that can be reached by climbing steps. However, '贞' means 'correct' or 'righteous'. Yao, Shun, Yu, and Tang ascended to the heavenly position by following the righteous path, just as one ascends step by step. Those who do not follow the righteous path will inevitably fall and be injured.

#1『阻之』，原作『祖之』，據四庫本改。#2『復退』，原作『彼退』，據四庫本改。#3『三陽』，四庫本作『二陽』。#4斗利』，四庫本作『權』字。#5『非德也』，四庫本作『非德』。#6『居』，據上下文義例增補。#7『上下』，原作『上上』，據四庫本改。#8『為嗚耳，外謙』，底本原缺，據《道藏》本《周易圖》卷中及其上下文義補之。

The first item: the original text reads "zǔ zhī" but is corrected to "zǔ zhī" according to the Siku Quanshu edition. The second item: the original text reads "fù tuì" but is corrected to "bǐ tuì" according to the Siku Quanshu edition. The third item: "sān yáng" in the Siku Quanshu edition reads "èr yáng". The fourth item: the character "lì" is changed to "quán" according to the Siku Quanshu edition. The fifth item: "fēi dé yě" in the Siku Quanshu edition reads "fēi dé". The sixth item: the character "jū" is added according to the textual examples in the surrounding context. The seventh item: the original text reads "shàng xià" but is corrected to "shàng shàng" according to the Siku Quanshu edition. The eighth item: the words "wéi wū ěr, wài qiān" are missing in the original text but are added according to the middle section of the "Zhou Yi Tu" in the Daozang and the surrounding context.

#9『地』，底本和四庫本皆作『治』，據《道藏》本《周易圖》卷中及其上下文義改正。#10『猶』原作『尤』，據四庫本改。#11『子』，據四庫本補。#12『乎』，四庫本作『也』字，疑底本誤。#13『朵頤』，原作『孕頤』，據四庫本改。#14『梯』，底本和四庫本皆誤作『梯』。#15『脾』，原作『晦』，據四庫本改。#16『上爻』，四庫本略作『上』字，義同。

Article 9: The character "地" in both the original edition and the Siku Quanshu edition is "治," which is corrected to "治" according to the Zhouyi Tu in the Daozang and the context. Article 10: The character "犹" in the original edition was originally "尤," which is corrected according to the Siku Quanshu edition. Article 11: The character "子" is added according to the Siku Quanshu edition. Article 12: The character "乎" in the Siku Quanshu edition is "也," suggesting that the original edition may have an error. Article 13: The character "朵颐" in the original edition was originally "孕颐," which is corrected according to the Siku Quanshu edition. Article 14: The character "梯" in both the original edition and the Siku Quanshu edition is mistakenly written as "梯," and should be "稊." Article 15: The character "脾" in the original edition was originally "晦," which is corrected according to the Siku Quanshu edition. Article 16: The character "上爻" in the Siku Quanshu edition is abbreviated as "上," with the same meaning.

#17『趣下』，四庫本作一趨下』。#18『之』，據四庫本補。#19『基北』，四庫本作『基兆』，而據《道藏》本《周易圖》卷中疑當作『基址』。三稱何者為是，待考。#20『正沖』，原作『正衡』，四庫本亦是，據此句文義改正。《道藏》本《周易圖》卷中亦作『正沖』。#21『援上』，原作『授上』據四庫本改。#22『震下』，四庫本作一震上』。#23『矢』，原脫，今據其文義補之。#24『有拇象』，四庫本作『有解拇象一。

Article 17: "Quxia" is written as "Quxia" in the Siku Quanshu edition. Article 18: The character "Zhi" is added according to the Siku Quanshu edition. Article 19: "Jibei" is written as "Jizhao" in the Siku Quanshu edition, and according to the "Zaocang" edition of "Zhouyi Tu" in the middle volume, it is suspected to be "Jizhi"; which of the three readings is correct remains to be determined. Article 20: The original text reads "Zhengheng", and the Siku Quanshu edition also reads "Zhengheng". Now it is corrected according to the meaning of this sentence; the "Zaocang" edition of "Zhouyi Tu" in the middle volume also reads "Zhengchong". Article 21: The original text reads "Shoushang", which is corrected according to the Siku Quanshu edition. Article 22: "Zhensha" is written as "Zhenshang" in the Siku Quanshu edition. Article 23: The character "Shi" was originally missing in the text, and is now added according to the meaning of the text. Article 24: "Youmuxiang" is written as "Youjiamuxiang" in the Siku Quanshu edition.

#25『儉嗇』，原作『險嗇』，於義不妥；據四庫本改。#26『於震』，原作『子震』，據四庫本改。#27『壯』，據上文義例補之。#28『變我』，四庫本作『變坎』。#29『初二四』，四庫本作『初於四』。#30『據』，四庫本作『居』。#31『本以』，原作『未於』，據四庫本改。#32『三陰』，原作『三陽』，四庫本亦是。今據《周易圖》卷中。

Article 25: The original text read "xiansae" but this does not make sense; it is corrected according to the Siku Quanshu edition to "jianse". Article 26: The original text read "zi zhen" but it is corrected according to the Siku Quanshu edition to "yu zhen". Article 27: The character "zhuang" is added according to the textual example in the preceding text. Article 28: "bian wo" in the original text is "bian kan" according to the Siku Quanshu edition. Article 29: "chushisi" in the original text is "chuyusi" according to the Siku Quanshu edition. Article 30: The character "ju" in the original text is "ju" according to the Siku Quanshu edition. Article 31: The original text read "weiyu" but it is corrected according to the Siku Quanshu edition to "benyu". Article 32: The original text read "san yin" but it is also "san yang" in the Siku Quanshu edition; now it is corrected according to the middle volume of "Zhou Yi Tu" — the text of this article in the original edition is not yet complete here.

《困》之為卦，屬乎九月兌氣用事，而臨於戌土；澤水為土所壅，故《大象》曰：澤無水，困也。《困》因兌、坎相重而成也。兌正秋，而坎為冬。兌之一陰，象乎始得秋氣而蔓草未殺。故為葛萬之困。六三則秋冬之交，蔓草葉脫而刺存焉，故為漢藥之困。若初六則在坎之下，正大寒之時也，蔓草為霜殺而靡有孑遺，而所存者株木而已。此《困》三陰爻故繫以草木象也。

The hexagram "Kun" (Obstruction) belongs to the time when the Qi of Dui (Lake) is dominant in September, and it is right above the earth element Xu (Earth Dog). The water in the marsh is blocked by the earth, so the "Great Image" says, "A marsh without water, obstruction." The hexagram "Kun" is formed by stacking Dui on top of Kan: Dui corresponds to the beginning of autumn, and Kan belongs to winter. The upper yin line of Dui symbolizes the time when the autumn Qi has just begun and the weeds have not yet been killed by frost, hence the image of "Gelaizi" (a type of vine). The line six in the third position corresponds to the transition between autumn and winter, when the leaves of the weeds have fallen but their thorns remain, hence the image of "Jilizi" (a type of thorny plant). As for the line six at the beginning, it is at the very bottom of Kan, which is the time of great cold, when all the weeds have been killed by frost and nothing remains but the bare stumps of trees, hence the image of "Zhu Mu" (tree stumps). This is why the three yin lines of the hexagram "Kun" are associated with images of plants and trees. The original text "Ge Wan" refers to "Gelaizi," and "Han Yao" refers to "Jilizi."

《井》以陽為泉者，水因天一之陽而生也。坎中之陽出於坎方寒泉也，所謂北方生寒，寒生水之義也。故又日太陽寒水。巽之二陽，一在地位，而趣下是谷，而非井矣；一陽雖在人位，居梵之下，汲之不及，不若五爻浮溢於梵上也。井欲溢，而鼎戒盈，此德為器之辨也。《鼎》卦鉉、耳、趾皆全，而趾欠其一，所以初爻言鼎顛趾，言鼎倒而趾在上也。下一陰反有兩耳之象，五爻故曰黃耳，以別初焉。

The hexagram of Well uses a yang line to represent the spring, because water arises from the yang of heaven. The single yang line in the center of Kan represents the cold spring, which is the meaning of the "Su Wen" saying "the north produces cold, and cold produces water." Therefore, it is also called "sun yang cold water." The two yang lines of Xun, one located at the position of the earth and tending downward, represent a valley rather than a well; the other, although located at the position of humans, is situated beneath the well wall and cannot be drawn up, unlike the nine in the fifth line, which allows water to overflow above the well wall. A well is considered good when it can overflow, while a tripod should be cautious of being full, which is the difference between "de" and "qi." The hexagram of Tripod has all its parts, the handle, the ear, and the legs, but lacks one leg, so the first line says "the tripod overturns its foot," meaning the tripod is overturned with the foot facing upward. The yin line below has the image of two ears, so the line of six in the fifth says "yellow ears," distinguishing it from the first line. The original text "fan" should be "zhou," referring to the well wall.

《革》雖有鼎鬲革生為熟之象，然以爐輪之象為正，蓋以離火鼓鑄兌金，而金從革也。革而後鼎者，以鼓鑄而成鼎也。夏后氏鑄鼎，而湯、武因之，以寶其器，故有湯、武革命之象。

The Hexagram of Revolution, although it also refers to the image of using cauldrons and cooking vessels to transform raw materials into mature ones, is primarily interpreted as representing the image of a furnace and bellows. This is because it depicts the use of fire from the trigram Li (Fire) to blow and melt the metal from the trigram Dui (Lake), which corresponds exactly to the statement in the "Book of Documents · Hongfan" that "metal is called from revolution." The "Xugua" arranges the Hexagram of Cauldron after the Hexagram of Revolution because casting metal is necessary to make cauldrons. The Xia Dynasty cast nine cauldrons, which were continued by the Shang Tang and King Wu of Zhou, who regarded them as precious objects. Therefore, this hexagram also symbolizes the revolution of Shang Tang and King Wu of Zhou. The original term "lu lun" refers to "lu bei," meaning the leather bellows used for blowing air.

《震》之六爻，初勸之以有戒懼之心，而後言笑；二又戒之以喪貝而勿逐，是欲人內無妄動於一心，而外無貪其利也；三爻則言震蘇蘇，是欲人修慝而辨惑，無終入於迷塗也。皆動心之要也。外卦論動之邇，故四言遂泥，以表事之凝滯而不決；五言無喪，以表事之成；上言征凶，以表事之敗。

The hexagram Zhen has six lines. The first line advises people to first hold a cautious and respectful attitude before they can speak or laugh. The second line warns that even if one loses money or property, there is no need to chase after it, teaching people to keep their minds calm and not be greedy for external gains. The third line speaks of "Zhen Su Su," which means one should eliminate wrong thoughts and clarify doubts, so as not to eventually become lost. These are all key points about "moving the heart." The outer trigram discusses the traces left by movement: the fourth line mentions "Sui Ni," indicating that things become stagnant and cannot be decided. The fifth line says "Wu Sang," meaning that things are successfully accomplished. The sixth line states "Zheng Xiong," indicating that the matter ends in failure.

《艮》之象，言輔、頰不言口，言身不言腹，言夤、限不言臍，有背面而立之象，故曰艮其背也。統一卦而觀之，下不分其腓、趾，上不別其身、輔，四陰排布，宛有背骨之狀。上一陽為肩膊，中一陽而為脊膂也。脊膂，取其貫中而已。

The hexagram of "Mountain" (Gèn) describes the yao (lines) in terms of the cheek and jawbone but not the mouth, the body but not the abdomen, the back muscles and waist but not the navel. Everywhere it conveys the image of standing with one's back to others. Therefore, the hexagram statement says, "Gèn its back." When considering the entire hexagram, the lower part does not distinguish between the lower leg and toes, and the upper part does not differentiate between the body and the jawbone. The four yin lines arranged together resemble the shape of a spinal column: the top yang line represents the shoulders, and the middle yang line represents the spine. The image of the spine is taken only for its function of connecting through the center.

《艮》之九三，《艮》之主也，以陽居陽，其性躁動，譬之於腰焉，俯仰罄折，起居行止，莫不因之；然其運動，實繫於心也，故聖人繫之以熏心之象。六二以陰居陰，其性靜矣，有腓象；心欲動而腓不能舉行，其心安有快意乎？故聖人又繫之以其心不快之辭。

The ninth line in the third position is the main line of the entire hexagram. A yang line in a yang position indicates a restless nature. Using the body as an analogy, it is like the waist: whether bowing down, raising up, bending, or moving about, nothing can be done without it. However, its movement actually originates from the heart, so the sage gives it the image of 'dangerous and troubling the heart.' The sixth line in the second position is a yin line in a yin position, indicating a quiet nature, with the image of the calf muscle. If the mind wants to move but the calf muscle cannot lift, how can the heart be happy? Therefore, the sage also gives it the line statement 'its heart is not joyful.'

《漸》卦，下艮而上巽，時當正月立春之後，鴻漸來之候矣，故六爻皆係以鴻也。鴻者，隨陽之烏，而艮、巽限乎子、午之陽，方繫之以鴻，豈不宜哉？三居艮卦之上，上居巽卦之上，是南北二陸也。三以一陽限於群陰之闖，當鴻雁北來之際，烏獸將孳尾之時，故有夫征婦孕之象也。三與四，氣交於人位，故孕也。若五與二，一居於天，一處於地，遠應而雌雄有別，故不孕耳。

The "Gradual Progress" hexagram has the lower trigram艮 (Mountain) and the upper trigram巽 (Wind). This corresponds to the time of the beginning of spring in the first lunar month, when geese gradually begin to fly from the south. Therefore, all six lines are associated with the character "geese." Geese are birds that migrate with the yang energy, and the trigrams艮 and巽 are precisely located between the yang energies of the子 (Rat) and午 (Horse) positions. It is indeed appropriate to associate the image of geese with this hexagram. The line nine in the third position is at the top of the Mountain trigram, and the line nine at the top is at the top of the Wind trigram, representing the northern and southern landmasses. The line nine in the third position, with a single yang line among a group of yin lines, corresponds to the time when geese are flying north and animals are about to mate, hence the image of a husband going to war and a woman becoming pregnant. The lines nine in the third and six in the fourth interact in the human position, hence the possibility of pregnancy. However, the lines nine in the fifth and six in the second are located in the heavenly and earthly positions respectively, being far apart and thus not corresponding, with distinct male and female characteristics, hence no pregnancy. The original text uses "wu" for "bird" and "chuang" for "between."

震為蒼筧竹，下實而上虛，筐象也。《歸妹》之卦與《泰》相類，而人位二爻兩相交互，有掩袂之象。人之一身，左陽而右陰；陰陽之交，如兩袂之交也。娣，位乎下，其畫陽也；君，位乎上，其畫陰也。《易》以陽善而陰惡，陽貴而陰賤，此君之袂不如娣之袂矣。

The trigram Zhen is symbolized by young green bamboo, with the lower part solid and the upper part hollow, resembling a bamboo basket. The hexagram Guimei is similar in form to the hexagram Tai, but the two lines in the human position are interwoven, symbolizing the overlapping of sleeves. A person's body has the left side belonging to yang and the right side belonging to yin; the interweaving of yin and yang is like the overlapping of two sleeves. The position of the娣 (a younger sister accompanying in marriage) is at the lower position, which is yang; the position of the君 (the main wife) is at the upper position, which is yin. The Book of Changes considers yang as good and yin as evil, yang as noble and yin as lowly, so the line statement of the sixth line in the fifth position says that the sleeve of the main wife is not as good as that of the娣.

蓋以《歸妹》安行非正也。其卦乃遷東方之陽，以就西方之陰，是震氣入於兌，木為金之剋制也。故必月幾望而後吉。月望，則陰敵陽，有少陵長，賤易貴之變矣。所以《歸妹》之縣唯曰：征凶，無攸利。以行不以正者，非聖人之事也。

This is because the hexagram "Gui Mei" (Return of the Maiden) does not follow the correct path. This hexagram involves moving the yang from the east to accommodate the yin of the west, meaning the energy of Zhen (Thunder) enters Dui (Lake), and wood is restrained by metal. Therefore, it is favorable only when the moon is full but not yet complete. When the moon is fully round, yin and yang are equal, leading to disturbances such as the young oppressing the old and the low replacing the high. Hence, the "Tuan Ci" (Discourse) of "Gui Mei" only states "Traveling brings danger; there is no benefit." Acting without following the correct path is not what the sage would do. The original text "xuan" refers to "tuan."

伏羲畫震於束，而置離於南方者，表少陽之氣動於束方，太陽之明盛於南方也。文王以震重離，遂名日《豐》，言少陽之震運至於南方，合太陽之離明，而為豐盛耳。所以文王於《豐》縣，明盛極必衰之理，日宜日中；於《豐》爻，明明極必昏之理，日日中見斗與沬也。文王所繫卦爻之辭，唯日與斗也。

Fuxi placed Zhen in the east and Li in the south to indicate that the energy of the young yang begins to move in the east and the bright yang reaches its peak in the south. King Wen placed Zhen on top of Li, and named the hexagram "Feng," meaning that the young yang Zhen moves to the south and combines with the bright yang Li, thus achieving fullness and abundance. Therefore, in the "Tuan Ci" of "Feng," King Wen pointed out the principle that when something reaches its peak, it must decline, saying "It is appropriate at noon." In the "Yao Ci" of "Feng," he explained the principle that when brightness reaches its peak, darkness must follow, saying "The Big Dipper appears at noon" and "A mist appears at noon." The hexagram statements and line statements that King Wen attached to the hexagrams mention only the sun and the Big Dipper.

孔子之《象》，遂論及月，何哉？蓋《豐》卦在五、六月之交，日在柳宿之度，而斗指午、未之分。柳宿之度，實通三辰，故有見斗之理。

Then why does Confucius mention the moon in the Commentary on the Judgment? Because the time corresponding to the卦 of Fullness is around the intersection of the fifth and sixth months, when the sun reaches the degree of Willow Mansion, and the handle of the Big Dipper points between Wu and Wei. The degree of Willow Mansion actually connects the three celestial bodies: sun, moon, and stars, which is why the Big Dipper can be seen during the day.

六二以中道，遂懷資得童僕。九四以剛柔相濟而有應，遂得資斧。皆近利，不若六五也。離之所以明者，順以行其智也，故曰畜牝牛吉。上九之喪牛，是喪其明也。《旅》當《夫》之後，《乾》之前也，陽盛皆客氣，所以反日《旅》也。

The second line holds to the middle path, thus possessing wealth and gaining a servant; the fourth line, being flexible and strong, with mutual support, thus obtains tools. These two lines are both close to seeking profit, but they are not as good as the fifth line. The brightness of the hexagram Li comes from the use of its wisdom through flexibility and gentleness, so the hexagram statement of Li says 'keeping a female ox is auspicious'; the top line 'losing the ox' means losing this brightness. The hexagram Lü comes after Guai and before Qian, with strong yang energy but encountering only polite people wherever it goes, so it is called Lü, meaning to dwell as a guest. The original text 'fu' refers to 'Guai'.

《旅》之上九得勢而主權者，寄一身於炎炎之上，而不知有焚巢之禍。九三趨炎而躁進，而不知有焚次之災。六二、九四雖以柔道而旅，或懷資，或得斧，獲利於時，而二必以身而後兔過，四之心尤不快也。豈非戒旅以求利之事乎？若六五者，始以離雉有文明之美，而射之，而亡其矢，而不獲，是道不行而利不得也。

The upper nine of the Travel卦 holds power and is in a strong position, relying on the blazing fire at a high place, but does not realize the danger of burning its nest. The nine three follows the heat and rushes forward hastily, but does not realize the disaster of burning the lodging. The six two and the nine four, although they are in a foreign place with a gentle and compliant approach, either hide wealth or obtain tools, gaining some advantage temporarily. However, the six two must be careful in self-restraint to avoid mistakes, while the nine four is even more dissatisfied. Is this not a warning to travelers not to pursue profit alone? As for the six five, it initially admires the fire as a symbol of civilization and beauty, and goes to shoot it, but misses an arrow and fails to hit it—this indicates that the path is not feasible and no benefit is obtained. The original text 'rabbit passing' refers to 'avoiding mistakes'.

《巽》以陽為肺簣，而以陰為林足者，以肺下有足之象，四陽行列，有簣之象也。九二林之束壁，而上九將之西壁也，故皆云《巽》在林下，以林足附之也。九五為龍飛，而為虎變者也。飛龍為甲，虎變為庚，是以一氣之變更耳。上九喪斧，剛過也。九二用史、巫，剛中而未得位也。九三之頻蹙，又無位而失中也。由是觀之，則權以有位而得中者行矣。非九五，而誰乎？

The hexagram of Xun uses yang lines as the bed boards and reed mats, and yin lines as the bed legs, because beneath the bed boards there must be legs; four yang lines arranged side by side resemble a spread-out bamboo mat. The line Nine in the Second is at the eastern wall of the bed, and the line Nine at the Top is at the western wall, so both lines say "Xun is beneath the bed," referring to the bed legs from this perspective. The line Nine in the Fifth is both a flying dragon and a tiger transformation: the flying dragon corresponds to Jia, and the tiger transformation corresponds to Geng, but they are merely a change of the same qi. The line Nine at the Top "losing his tools and axe" indicates excessive yang; the line Nine in the Second inviting the historian and the shaman to pray shows yang that is strong but not in the correct position; the line Nine in the Third being repeatedly pressed is even more so, lacking both position and the center. Therefore, authority should be exercised by someone who is both in the correct position and in the center — besides the line Nine in the Fifth, who else could it be? The original text "Lin" refers to "bed," and "shu bi" refers to "eastern wall."

《坎》之初六，主於冬至。《離》之初九，主於夏至。《震》、《兌》之初，則主於春、秋之分也。故以《兌》之下二爻陽氣尤盛，為七月之象；中二爻陰陽中分，為八月之象；上二爻陰過於陽，為九月之象。此《兌》卦所以四爻為言商兌，以見《震》角、《離》徵、《坎》羽之音；五爻言孚剝，以見《震》、《央》、《離》、《娠》、《坎》、《復》之理也。

The first line of the hexagram Kan governs the winter solstice, while the first line of the hexagram Li governs the summer solstice. The first line of the hexagrams Zhen and Dui respectively govern the spring equinox and the autumn equinox. Therefore, the two lower lines of the hexagram Dui represent the time when yang energy is most vigorous, corresponding to the seventh month; the middle two lines represent the time when yin and yang are equal, corresponding to the eighth month; and the upper two lines represent the time when yin has already surpassed yang, corresponding to the ninth month. This is why the line nine in the fourth position of the hexagram Dui says "Shang Dui"—using the Shang tone to express the tone of Zhen (Jue), Li (Zheng), and Kan (Yu). The line nine in the fifth position of the hexagram Dui says "Fu Yu Bo," which is used to illustrate the mutual relationship between Zhen and Guai, Li and Gou, and Kan and Fu. The original text "yang" refers to "Guai," and "shan" refers to "Gou."

一陽生於子，而六陽亢於巳。子屬坎，而巳屬巽，以巽重坎，所以為《渙》也。渙者，散也。卦氣當夏至之後、大暑之前也，是陽氣散於外也。陽雖散於外，而有生生不窮者在其中，是坎中之一陽也。一元之氣，是坎中之一陽也。

One yin is born at the Zi position, and six yins reach their peak at the Si position. Zi belongs to Kan, and Si belongs to Xun; when Xun is superimposed over Kan, it forms the hexagram "Huan." "Huan" means dispersion. The qi of this hexagram corresponds to the period after the summer solstice and before the great heat, which is the time when yang qi is dispersing outward. Although yang is dispersing outward, there is something that continues to generate endlessly within, which is the single yang in Kan. This is called the original qi of the universe, which is precisely that single yang in Kan.

陽主氣，陰主形。一陽散於外，故言汗、血也。二陰分於中，故言群、躬也。躬分而為四支，群分而為五臟、六腑形也，是皆一元之氣分散而成也。人之生也，本於元氣。元氣出於坎水，是為天一之精也，蒸而為汗，流而為血，以養四肢五臟。

Heavenly Stem governs energy, while Earthly Branch governs form. One Yang spreads outward, so the Line Statement says 'sweating' and 'dispersing blood'. Two Yins live apart in the middle, so the Line Statement says 'dispersing the group' and 'dispersing the body'. The body, when separated, becomes limbs, and the group, when separated, becomes the five viscera and six腑. All of these are formed from the dispersion of the original energy. Human life fundamentally depends on original energy; original energy comes from the Water Trigram Kan, which is the essence produced by the first Heaven Stem. This essence rises up, vaporizes to become sweat, flows to become blood, and is used to nourish the limbs and internal organs.

巽之上爻，兌之下爻，變皆成坎。坎氣蒸上，為巽木之枝葉潤也。坎氣下濡，為兌澤之中聚水草也。澤水竭，則為困矣，是水下洩也。兌之一陽下洩，則有戒欲之象。坎之一陰上缺，則有戒嗜之象。戒欲二不出戶庭。戒嗜，故云甘、苦之味。

The top line of Xun and the bottom line of Dui both change to Kan. The energy of Kan rises upward, moistening the branches and leaves of Xun wood; the energy of Kan descends downward, nurturing water plants in the marsh of Dui. When the water in the marsh dries up, it becomes the hexagram of Guan, which represents water leaking downward. The single yang line of Dui leaking downward signifies the image of restraining desires; the single yin line of Kan at the top opening up signifies the image of restraining habits. Restraining desires is expressed as 'not going out of the gate'; restraining habits is expressed as tasting sweet and bitter flavors.

初爻言不出戶庭無咎，二爻言不出戶庭凶者，是戒欲之義也。初爻變為坎，天一之水是為真精之原，君子能知通塞之理，慎密而不出，閉其精戶，是養生之要也。坎二則火也，門庭者是開竅為心也。心火貴乎下濟於水，心明貴乎外明於物，不出則失中道矣，亦戒欲之義也。六三言嗟者悔嘆而不節，六四言安者安於能節，是皆明告利害於人也。養生之道，盡此二卦。

The first line says, "Without going out of the gate, there is no blame," and the second line says, "Without going out of the courtyard, there is misfortune." Both are talking about the principle of restraining desires. The first line changes into Kan, which represents water under heaven, the source of true essence. A gentleman who understands the principle of openness and closure, being cautious and not easily going out, keeping the gate of essence closed, is the key to cultivating life. When Kan reaches the second line, it becomes fire. The term "door and courtyard" refers to the opening of the senses and connection to the heart. Heart fire is valuable for descending to nourish kidney water, and a clear mind is valuable for illuminating external things. If one is overly closed and does not go out, one loses the middle path, which is again the principle of restraining desires. The third line says, "Alas, if only," indicating failure to control and later regret. The fourth line says, "Resting in moderation," meaning being at ease with the ability to control. These clearly explain the advantages and disadvantages. The principles of cultivating life are all contained in the hexagrams of "Huan" and "Jie."

《中孚》生陽，羽族卵生也。《咸》卦生陰，血肉之物胎生也。故《中孚》為生陽之始，《小過》為生陽之成也。烏雀四時生卵而春盛，故為立春之象，冬至之卵焉。《中孚》有烏卵之象，烏炎上之性，必以豚魚而後吉。豚魚，潤下之物也。北方子位，豚魚之地也。

The hexagram Zhongfu belongs to the category of generating yang, symbolizing a bird laying eggs with feathers; the hexagram Xian belongs to the category of generating yin, symbolizing a flesh-and-blood animal conceiving and giving birth. Therefore, Zhongfu marks the beginning of generating yang, while Xiaoguo signifies the completion of generating yang. Birds lay eggs in all four seasons, but most especially in spring, so Zhongfu takes the image of the beginning of spring, which corresponds to the eggs formed at the winter solstice. Zhongfu has the image of a bird's egg; birds have a nature that ascends, so they must be paired with pigs and fish, which are moist and descend, and the northern position of the first earthly branch corresponds to where pigs and fish reside. The original text's "wu" is actually "niao" (bird).

《小過》之飛烏離之凶者，由東行而中，南方之網罟也。網罟取離陽，至離而太盛，陰氣生矣。黃帝之律呂，分為乾、坤，妃為坎、離。乾、坤即分六陰、六陽，坎、離則成。

The hexagram Xiao Guo discusses a bird encountering danger because it flew from the east toward the center and collided with a net in the south. The net represents the yang energy of Li; when it reaches the position of Li, the yang energy becomes excessive, and yin energy then arises. The Yellow Emperor established the laws and tones, dividing them into Qian and Kun, and pairing them into Kan and Li: Qian and Kun produce the six yin and six yang lines, while Kan and Li form... the original text here is incomplete.

《既濟》、《未濟》。坎中之陽，將升而至於仲呂，闢卦為《乾》，是謂《乾》盈九不見其首。離內之陰，已入於坎，至於應鍾，闢卦為《坤》，是謂《坤》虛十以導潛龍之氣。《既濟》之首，《乾》之首也。《未濟》之尾，《坤》之尾也。《乾》尾續於《坤》尾，九而後十也。《坤》首繼於《乾》首，二而先一也。

Here we discuss the hexagrams of "Already Completed" (既济) and "Not Yet Completed" (未济). The single yang line in Kan is about to rise and reach the tone of Zhonglü, corresponding to the hexagram Qian, which is called "Qian full to nine and 'its head is not seen'"; the single yin line in Li has already entered Kan and reached the tone of Yingzhong, corresponding to the hexagram Kun, which is called "Kun empty to ten, guiding the hidden dragon's energy." The head of "Already Completed" is the head of Qian; the tail of "Not Yet Completed" is the tail of Kun. The tail of Qian follows the tail of Kun, which is first nine then ten; the head of Kun follows the head of Qian, which is two coming before one.