Gen Hexagram (Fifty-two)

艮上，艮下。“艮”其背，不獲其身；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“不獲其身，行其庭，不見其人，無咎”也。所貴於聖人者，非貴其靜而不交於物，貴其與物皆入于吉凶之域而不亂也。故夫“艮”，聖人將有所施之。“艮，止也”，止與靜相近而不同，方其動而止之，則靜之始也；方其靜而止之，則動之先也，故曰：“時止則止，時行則行，動靜不失其時，其道光明。”此言“艮”之得其所施者也。

The upper trigram is "Gen" (Mountain), and the lower trigram is also "Gen" (Mountain). The hexagram statement says: When stopping is applied to the back, one does not feel one's own body; walking through one's courtyard, one does not see the people inside, and there is no fault. The commentary on the judgment says: "Gen" means to stop; stopping when it is appropriate and moving when it is appropriate, neither action nor stillness missing their proper time, its path is bright. "Gen its stop" means stopping at the place where it should stop; the yao of upper and lower trigrams are in opposition but not in harmony, and they do not interact with each other, so it is said "not seeing one's own body, walking through the courtyard, not seeing people, no fault." Su Shi said: people value the sage not because he is quiet and does not engage with external things, but because he can enter the circumstances of good and bad fortune together with all things without being confused. Therefore, the "stop" of "Gen" is something the sage uses in practical matters. "Gen, stop" — stop and stillness are similar but not the same: stopping something that should be moving is the beginning of stillness; stopping something that should be still is the prelude to movement. Therefore, it is said "when the time to stop comes, stop; when the time to move comes, move; neither action nor stillness miss their proper time, its path is bright." This describes the proper application of "Gen."

施之於天下之至動，是以為“頤”；施之於天下之至健，是以為“大畜”。今夫兼山“艮”，是施之於“背”而已，“背”固已止矣，“艮”何加焉？所以為柅者、為輪也；所以為防者、為水也。今也不然，為輿、為枙，為山、為防，不亦近於固歟？故曰：“艮其止，止其所也。”此所以“不獲其身”也。“上下敵應，不相與也”，此所以“行其庭，不見其人”也。物各止於其所，是果能止也哉？背止於身，身與之動而背不知也，今我施止於物之所，止有大於是物者。則挾而與之趨矣，我焉得知之？故曰“艮其背，不獲其身”，其庭未嘗無人也，有六人焉，敵應而不相與，則如無人。是道也，非向之所謂光明者也，以為無咎而已。

Placing stillness upon the thing in the world most active leads to the hexagram "Yi"; placing stillness upon the thing in the world most vigorous leads to the hexagram "Da Xu." Now the hexagram "Gen" is two mountains piled upon each other, merely placing stillness upon the "back." The back was already still, so adding another layer of stillness is of no use. The purpose of the brake wood is to stop the moving wheels; the purpose of building a dike is to stop the flowing water. But now it is not like that: adding another carriage to the carriage, another yoke to the yoke, another mountain to the mountain, another dike to the dike. Is this not close to being stubborn? Therefore the Commentary on the Judgment says, "Gen its back, stopping at its place," which is the reason for "not obtaining its body." "Opposition between upper and lower, not interacting," which is the reason for "walking through the courtyard, not seeing a person." If every thing remains in its own place, is this truly stopping? The back is still relative to the body, but when the body moves, the back also moves without being aware of it. Now if I place stillness upon the place where something is, but there is a greater force present, it will drag it along, and how could I be aware of it? Therefore it says, "Gen its back, not obtaining its body." As for the courtyard, there may be people there, clearly six people, but because they are opposing each other in pairs and do not interact, it is as if there were no people. This path is no longer the bright path mentioned before, but merely seeking to avoid fault.

《象》曰：兼山，“艮”；君子以思不出其位。初六：艮其趾，無咎，利永貞。《象》曰：“艮其趾”，未失正也。六二：艮其腓，不拯其隨，其心不快。《象》曰：“不拯其隨”，未退聽也。自“趾”而上，至於“輔”，當其處者有其德，與“咸”一也。“咸”以上六為“輔”，而五為“脢”，“艮”之“輔”在五，而“脢”不取，何也？“脢”則“背”也，“艮”皆取於動者而已。

The Image Commentary says: Two mountains overlapping, this is the Hexagram of Gen; the gentleman takes it as a model, thinking and acting without exceeding his position. The line statement of the first line says: Stop the toe, there is no fault, it is advantageous to maintain a steady and correct course. The Image Commentary says: "Stopping the toe" is not losing the right path. The line statement of the sixth line says: Stop the ankle, but it cannot save the thigh that follows, the mind is not at ease. The Image Commentary says: "Not saving the following," is because what is above has not yet retreated and obeyed. Su Shi says: From the toe up to the cheek, each line corresponds to a part of the body and thus has its corresponding virtue, which is the same as the Hexagram of Xian. The Hexagram of Xian takes the sixth line as the cheek and the fifth line as the back; the Hexagram of Gen takes the fifth line as the cheek, but does not take the back as its image, why is that? Because the back is the "back" mentioned in the Hexagram statement, but the Hexagram of Gen takes the parts of the body that are mobile for its imagery.

“艮”則何為皆取於動者也？曰：卦合而觀之，見兩“艮”焉；見其施“艮”於止，故取其體之靜者而配之，曰“艮其背”。爻別而觀之，不見“艮”之所施，而各見其所遇之位；位有不同，而吉、凶、悔、吝生焉，故取其體之動者而不取其靜，以為其靜者已見於卦矣。

Then why does the "Gen" hexagram take the moving parts for each line? The answer is: when looking at the hexagram as a whole, one sees two "Gen" overlapped; one sees the stopping applied to something that is already still, so one matches the still part of the body with it, saying "Gen its back." But when looking at the six lines separately, one cannot see where the stopping is applied; one can only see the positions each line occupies; positions differ in height, and thus good fortune, misfortune, regret, and hardship arise from this, so one takes the moving parts of the body rather than the still ones, because the still aspect has already been addressed in the whole hexagram.

上止而用下，下止而聽於上，此“艮”之正也。趾能動而聽於腓者也，“艮其趾”，不害於腓之動也；趾不自動而已，止而聽其上，上止則止，上行則行，此“艮”之正者也，故“利永貞”。腓能動而不聽於股者也，或曰“咸其股，執其隨”，隨者股之德也，故謂“股為隨”。“艮其腓”，則股雖欲行而不能矣，下止而不聽於上，上雖有憂患而莫之救，則上之所不快也，以是為失其正矣，故曰：“艮其趾，未失正也。”

When the upper part stops and calls upon the lower part, and the lower part stops and obeys the upper part, this is the correct way of the Hexagram Qian. Although the toes can move, they are subject to the calf; the statement "Gèn qí zhǐ" (stop the toes) does not hinder the calf's movement, for the toes themselves are not adept at moving. When the toes stop, they obey above; if above stops, they stop; if above moves, they move. This is the correct way of the Hexagram Qian, hence the saying "Beneficial to maintain constancy." The calf can also move, but it refuses to obey the thigh; the line statement of the Hexagram Xian, line nine three says "Xian qí gǔ, zhi qí suí," showing that "suí" is the virtue of the thigh, hence the thigh is called "suí." "Gèn qí fei" (stop the calf) stops the calf, and even if the thigh wishes to move, it cannot; when the lower part stops entirely without obeying the upper, the upper, even with worries, has no one to help, which is why the upper is not at ease. In this case, the correct path is lost. Therefore, the Image Commentary contrasts by saying, "Gèn qí zhǐ, wei shi zheng ye."

九三：艮其限，列其夤，厲薰心。《象》曰：“艮其限”，危薰心也。三不“艮於股”而“艮於限”，亦取諸動者也。“限”者，上下之際，所以俯仰之節也。“夤”者，自上而屬於下者也。“艮”於下之極，則其自上而下者絕矣；上下絕，心之憂也。心在六四，故憂之；及心也，謂之“薰”。六四：艮其身，無咎。《象》曰：“艮其身”，止諸躬也。“咸”之九四曰：“朋從爾思。”則四者，心之所在也。施之於一體，則“艮”止於所施，所不施者不及也。施之於心，則無所不及矣，故曰“艮其身”。“艮”得其要，故“無咎”。

The line statement of nine in the third says: "Stopping at the waist, tearing the sinews connecting the back." The danger is like a burning flame that affects the heart. The image commentary says: "Stopping at the limit," meaning the danger is like a burning flame that affects the heart. Su Shi said that the third line does not say "stopping at the thigh" but "stopping at the waist," which is taking a movable part to establish the image. The term "limit" refers to the place where the upper body meets the lower body; the body can bend forward or backward, relying on this as a pivot. The term "yin" refers to the sinew connecting the upper body to the lower body. If stopping is applied at the top of the lower body, then the connection from above to below is broken; when upper and lower are disconnected, it causes inner worry. The position of the heart is at the fourth line, so this is the source of worry; when worry reaches the heart, it is called "xun." The line statement of six in the fourth says: "Stopping at oneself, there is no fault." The image commentary says: "Stopping at the body," meaning stopping is confined within the body. Su Shi said that in the hexagram Xian, the line statement of nine in the fourth says "friends follow your thoughts," showing that the fourth line is where the heart is located. If stopping is applied to a certain part of the body, then stopping stops at that part, and what is not reached is not concerned; if stopping is applied to the heart, then nothing is unreachable, so it is said "stopping at the body." The hexagram Gen has grasped the key point, so there is no fault.

六五：艮其輔，言有序，悔亡。《象》曰：“艮其輔”，以中正也。口欲止，言欲寡。上九：敦艮，吉。《象》曰：“敦艮”之“吉”，以厚終也。“敦”，益也。“艮”至於輔，極矣；而又止之，故曰“敦艮”。梏者不忘釋，痿者不忘起，物之情也。在止之極而不忘於動，非天下之至厚，其孰能之？

The Line Statement of the fifth line says: Stop the mouth, speak in order, regret disappears. The Image Commentary says: "Stopping the mouth," because the sixth line in the fifth position is in the center and upright. Su Shi said: The mouth must be controlled, and speech must be limited. The Line Statement of the top nine says: Stop with sincerity and firmness, it is auspicious. The Image Commentary says: "Stopping with sincerity" is auspicious because it can end with sincerity. Su Shi said: "Dun" means adding another layer. Stopping at the mouth is already the end; to stop again at this point is called "Dun Gen." A person wearing restraints constantly thinks of breaking free, and a person with paralyzed legs constantly thinks of standing up. This is the common nature of all things. Being at the extreme of stopping yet not forgetting the movement within, if it is not done by the most sincere and steadfast person in the world, who else could do it?

巽上，艮下。“漸”：女歸吉，利貞。《彖》曰：“漸”，之進也。“女歸吉”也，進得位、往有功也。進以正，可以正邦也；其位剛得中也。此文轉以次相釋也。“漸”之中有進者，則“女歸”之“吉”也，而利於正。正者孰謂？謂“得位”而“有功”、“可以正邦”者也。其“得位”者何也？“剛中”者也。由此觀之，女則二與四；所歸則五也。止而“巽”，動不窮也。“止而‘巽’”，有所觀望而後進者，故不窮。《象》曰：山上有木，“漸”；君子以居賢德善俗。雲上於天，天所不能居，故君子不以居德；木生於山，山能居之，山以有木為高，故君子以是居德業、善風俗。

The upper trigram is "Xun" (Wind), and the lower trigram is "Gen" (Mountain). The Hexagram Statement says: The Hexagram "Zhan" (Gradual Progress), a woman going to her husband's home is auspicious, and it is favorable to maintain the right course. The Commentary on the Judgment says: The Hexagram "Zhan" represents gradual progress. "A woman going to her husband's home is auspicious" because advancing step by step allows each to be in the right position and any movement will be successful. Advancing along the right path can correct the state; its position is that a strong line is in the center. Su Shi said: This passage in the Commentary on the Judgment is a series of statements that explain each other in sequence. The Hexagram "Zhan" contains the meaning of "progress," which is why "a woman going to her husband's home" is "auspicious," and it is favorable to maintain the right course. What is meant by "right course"? It refers to "being in the right position," "having merit," and "being able to correct the state." What is meant by "being in the right position"? It refers to a strong line being in the center. From this, we can see that the "woman" in the hexagram refers to lines Six Two and Six Four, and the person she marries is line Nine Five. The Commentary on the Judgment also says: Being still and yielding, so when action is taken, there is no dead end. Su Shi said: "Stopping and yielding" means first observing and considering before advancing, so there is no falling into difficulty. The Image Commentary says: Mountains with trees, this is the Hexagram "Zhan"; the gentleman takes this as a model, cultivating virtue and improving customs. Su Shi said: Clouds rising into the sky, but the sky cannot retain them, so the Image Commentary of the Hexagram "Xu" (Waiting) does not use this image to refer to cultivating virtue; trees growing on mountains, the mountain can retain them, and the mountain becomes more prominent because of the trees, so the gentleman of the Hexagram "Zhan" uses this image to accumulate virtue and improve customs.

初六：鴻漸于干，小子厲；有言，無咎。《象》曰：“小子”之“厲”，義無咎也。“鴻”，陽鳥而水居，在水則以得陸為安，在陸則以得水為樂者也。故六爻雖有陰陽之異，而皆取於鴻也。初六，鴻之在水者也，遠則無應，近則遇二，以陰適陰，故曰“鴻漸于干”。“乾”，水涯也。兩陰不能相容，故為“小子”之所“厲”，以至於“有言”。雖然其所適非志於利也，則未至於六三之凶，“無咎”可也。

The line statement for the first line says: Wild geese gradually come down to the water's edge, a young child meets with danger; some words of blame are brought about, but there is no fault. The image commentary says: The danger faced by the young child, according to reason, does not result in fault. Su Shi said: The wild goose is a yang bird that rests on water; in water it finds safety by being able to land, and on land it finds joy by being able to get water. Therefore, all the lines take the wild goose as a symbol, despite the distinction of yin and yang. The first line is the wild goose resting in the water, with no corresponding line far away, and only meeting the second line nearby. A yin line approaching another yin line, so it says 'the wild goose gradually comes down to the bank.' 'Bank' refers to the water's edge. Two yin lines are incompatible, so the young child is in danger, leading to blame. Nevertheless, it goes forward without seeking gain, so it is not as dangerous as the third line. Therefore, it is said to have no fault.

六二：鴻漸于磐，飲食衎衎，吉。《象》曰：“飲食衎衎”，不素飽也。六二，鴻之在水者也。近則遇三，遠則遇五，無適而不得其欲，故擇其尤可恃者從之。二之從三也，雖近而難信；其從五也，雖遠而可恃。二陽皆陸也，在陸而尤可恃以安者，磐也，九五之謂“磐”。六二知五之可恃，不漸於三而漸於五，則食且樂如是。“衎衎”，樂也。“素飽”，徒飽也。夫飲食何為若昌樂也？豈非以五之足恃而不徒飽歟？苟為徒飽而已，則雖三可從；夫苟從三，則飲食未終而憂繼之矣。

The line statement for the second line says: The wild geese gradually alight on the rock, enjoying food and comfort, which is auspicious. The Image Commentary says: "Enjoying food happily," does not mean eating without purpose. Su Shi says: the second line is also a wild goose resting in the water. It meets the third line nearby and the fifth line afar, and wherever it goes, it can fulfill its wishes, so it should choose the more reliable one. Following the third line, although near, is not trustworthy; following the fifth line, although far, is reliable. Both the third and fifth lines are considered land, and the most reliable and stable on land is the rock, and the fifth line is this rock. The second line understands that the fifth line is reliable, so it does not follow the third line but follows the fifth line, thus enjoying food so happily. "衎衎" is the appearance of joy; "素饱" is eating without purpose. Why can the food be enjoyed so freely? Is it not because the fifth line is reliable enough that it is not eating without purpose? If one only seeks to eat without purpose, then following the third line is also acceptable; but once one follows the third line, before the meal is finished, troubles will follow.

九三：鴻漸于陸，夫征不復。婦孕不育，凶；利禦寇。《象》曰：“夫征不復”，離群醜也；“婦孕不育”，失其道也。利用“禦寇”，順相保也。九三，鴻之在陸者也；而上九非其應，故曰“鴻漸于陸”。無應於上而近於四，見四之可欲，則離類絕朋而趨之，故曰“夫征不復”。六二之從我，非正也，將視我而進退者也。上之所為，下必有甚者，九三適四而不反，則難以令於二矣。故曰：“婦孕不育，凶。”四，順於五者；而三寇之，言“禦寇”之利，以明三之不利也。

The line statement of the third line says: The wild geese gradually settle on the land; the husband goes to war and does not return. The woman is pregnant but cannot give birth, which is dangerous; it is advantageous to defend against bandits. The image commentary says: "The husband goes to war and does not return," meaning he has left his own kind; "the woman is pregnant but cannot give birth," meaning she has lost the right path. Defending against bandits is advantageous because the superior and inferior are in harmony and thus protect each other. Su Shi says: the third line is the wild geese resting on the land; the top line does not correspond with it, so it only says "the wild geese gradually settle on the land." Since there is no corresponding line above, and the nearby line is six four, seeing six four as something to desire, he leaves his own kind and cuts off his associates to go toward it, hence "the husband goes to war and does not return." Six two follows me, the third line, but it is not in the right path; it decides its movement based on my actions. What is done above is inevitably done even more below. The third line goes to six four and does not turn back, so it cannot command six two. Hence, "the woman is pregnant but cannot give birth, dangerous." Six four was originally obedient to nine five, but the third line goes to attack it. The line statement says defending against bandits is advantageous, which clearly points out the disadvantage of the third line's action.

六四：鴻漸于木，或得其桷，無咎。《象》曰：“或得其桷”，順以“巽”也。六四，鴻之在水者也。近於五而非其應，故曰“鴻漸于木”。木生於陸，而非鴻之所安也；鴻之為物也，足不能握，其“漸於木”而“無咎”，蓋得其大而有容如桷者焉，九五之謂也。“或”者，幸而得之之辭也。無應而從非其配，非“巽”順，何以相保乎？

The Line Statement of the Fourth Line says: The wild geese gradually fly up to the trees, perhaps finding a square beam to rest on, without fault. The Image Commentary says: "Perhaps it finds a beam," because it is gentle and modest. Su Shi says: the Fourth Line should also be a wild goose resting in the water. It is close to the Fifth Line, but not the proper match for the Fifth Line, hence "the wild geese gradually fly up to the trees." Trees grow on land, which is not a suitable place for wild geese to rest; this kind of bird does not have claws to grasp branches, yet it can "have no fault" when landing on the tree, probably because it found a thick, sturdy branch that is flat and spacious, like a square beam, which refers to the Fifth Line. The word "or" expresses a tone ofby chance (侥幸 means侥幸, which is a term indicating a侥幸 chance or luck). There is no proper match above or below, and the one it follows is not its proper mate; without being gentle and modest, how could it preserve itself and its partner?

九五：鴻漸于陵，婦三歲不孕，終莫之勝，吉。《象》曰：“終莫之勝，吉”，得所原也。九五，鴻之在陸者也；進而遇上九。上九，陵也；陵者，陸之又高者也；進而之陵，動乎無嫌，故六二之為“婦”也，“三歲不孕”而終莫之勝。夫以陸之陵，以為不得其願矣，而婦為之貞如此，則願孰大焉。故曰：“進以正，可以正邦也。”不求之人而求之身，雖服天下可也。

The line statement of the fifth line says: The wild geese gradually fly up to the high hill, the woman has not conceived for three years, in the end no one can surpass her, which is auspicious. The image commentary says: 'In the end, no one can surpass her, auspicious,' because she has obtained what she desired. Su Shi says: the fifth line is the wild goose resting on the land; moving forward, it meets the top line. The top line is the high hill; a hill is a higher place on the land; moving forward to the high hill, the action is bright and without suspicion, so the line six in the second, which is the 'woman,' although 'not conceiving for three years,' in the end no one can surpass her. Moving from the land to the high hill, it seems as if the wish is not fulfilled, but the woman has remained chaste to this extent; is there a greater wish than this? Therefore the commentary on the judgment says: 'Advancing with correctness, one can govern the state.' Not seeking from others but seeking from oneself, even if one wants to bring the world under one's rule, it can be achieved.

上九：鴻漸于陸，其羽可用為儀，吉。《象》曰：“其羽可用為儀，吉”，不可亂也。上九，鴻之在陸者也。上無所適，而三非其應，故曰“鴻漸于逵”。“漸”有三陽，其二為陰之所溷，非其有應，則近而慕之。惟上九不然：夫無累於物，則其進退之際，雍容而可觀矣。

The line statement of the Upper Nine says: The wild geese gradually fly to lofty places, their feathers can be used for ceremonial dances, which is auspicious. The Image Commentary says: "Its feathers can be used for ceremony, which is auspicious," because their formation is not disturbed. Su Shi says that the Upper Nine is also a wild goose resting on land. There is no place above it to go, and the Nine in the Third is not its proper match, so it says "the wild geese gradually reach the crossroads" — "crossroads" refers to a road with many branches. The Hexagram of Gradual has three yang lines, among which two are disturbed by yin lines: one is not properly matched, the other is loved because of its proximity. Only the Upper Nine is not like this: when a person is not dragged by external things, then in his movements forward and backward, he is composed and dignified, worthy of observation.

震上，兌下。“歸妹”：征凶，無攸利。《彖》曰：“歸妹”，天地之大義也。天地不交而萬物不興，“歸妹”，人之終始也。說以動，所“歸妹”也。“說”少者，人之情也；故“說以動”，其所“歸”者，“妹”也。天地之所以交，必天降也；男女之所以合，必男下也。若女長而男少，則“大過”之所謂“老婦”、“士夫”，烏肯下之？夫苟不下，則天地不交，男女不合矣。故“歸妹”者，女少而男長，女用事而男下之之謂也。夫所以下之者，豈一日之故哉！將相與終始故也。

The upper trigram is "Zhen" (Thunder), and the lower trigram is "Dui" (Lake). The hexagram statement says: The hexagram "Gui Mei" (Return of the Maiden) indicates danger in travel and brings no benefit. The commentary on the judgment says: The hexagram "Gui Mei" discusses the great principles between heaven and earth. If heaven and earth do not interact, all things cannot arise. The hexagram "Gui Mei" represents the end and beginning of human relationships. Acting due to joy, the maiden is sent away. Su Shi said: It is natural for people to like the young; thus, "movement is caused by speech," and the one being sent away is the "mei," meaning the maiden. Heaven and earth can interact only when heaven comes down first; men and women can unite only when the man submits first. If the woman is older and the man is younger, it becomes the situation described in the hexagram "Da Guo" ("Great Excess") of "old woman" paired with "shi fu" (a man of low status), and the man would not submit. If he does not submit, heaven and earth will not interact, and men and women will not unite. Therefore, the hexagram "Gui Mei" describes a situation where the woman is young and the man is older, the woman takes the initiative, and the man submits. The man's willingness to submit is not due to a single day's matter; it is because he wishes to stay with her for life, beginning and ending together.

“征凶”，位不當也。“無攸利”，柔乘剛也。“歸妹”之爻，男女皆易位。柔皆乘剛，此男所以說女而致其情者，權以濟事，一用而止可也。以此而征則凶，且男女皆不利也。《象》曰：澤上有雷，“歸妹”，君子以永終知敝。“歸妹”，女之方盛者也。凡物之有敝者，必自其方盛而慮之；迨其衰，則無及矣。

The Commentary on the Judgment says: "Going on a journey is dangerous" because the positions of the lines are improper; "No advantage is gained" because the yin lines are above the yang lines. Su Shi said: In the hexagram of "Following the Maiden," both male and female positions are reversed, and all the yin lines are riding on top of the yang lines. This is precisely the way a man flatters a woman and expresses his affection, which is a temporary strategy, sufficient for achieving a single purpose. If this method is used as a permanent principle, it will bring misfortune, and neither party will benefit. The Image Commentary says: Thunder resounds over a marsh, which is the hexagram of "Following the Maiden"; the gentleman takes this as a model, in order to be able to start and finish things well, and to foresee potential problems in advance. Su Shi said: The hexagram of "Following the Maiden" describes a woman in her prime. Any thing that is destined to fail must be planned for when it is still flourishing; once it has declined, it is too late to act.

初九：歸妹以娣；跛能履，征吉。《象》曰：“歸妹以娣”，以恆也；“跛能履”，吉相承也。九二：眇能視，利幽人之貞。《象》曰：“利幽人之貞”，未變常也。“歸妹”以陰為君，在“兌”則六三是也，而初與二，其娣也；在“震”則六五是也，而四其娣也。所以為“兌”者，三也，故權在君；所以為“震”者，四也，故權在“娣”。權之在君也，則君雖不才，而娣常為之用；權之在娣也。則娣雖無能為損益，猶要其君。

The first line statement says: When a young maiden is married off, her maidens-in-waiting should go with her; a lame person can walk, and it is auspicious to go forward. The Image Commentary says: "Returning to marriage with a younger sister" indicates keeping to the constant and unchanging; the auspiciousness of "a lame person can walk" lies in the mutual support between above and below. The second line statement says: A person who has lost one eye can still see, and it is advantageous for a person of quiet virtue to maintain constancy. The Image Commentary says: "It is advantageous for the quiet person to maintain constancy" indicates not changing the constant way. Su Shi said that the hexagram of "Return to Marriage" is dominated by the yin line: in the lower trigram "Dui" (Lake), the ruler is line six three, while lines initial nine and nine two are her maidens-in-waiting; in the upper trigram "Zhen" (Thunder), the ruler is line six five, while line nine four is her maiden-in-waiting. The key to forming the lower trigram "Dui" lies in line six three, so the authority is in the ruler's hand; the key to forming the upper trigram "Zhen" lies in line nine four, so the authority is in the maiden-in-waiting's hand. If the authority is in the ruler's hand, then even if the ruler has no ability, the maidens-in-waiting will still work for her; if the authority is in the maiden-in-waiting's hand, then even if the maiden-in-waiting cannot help, she will still turn around and control her ruler.

六三不中而居非其位，跛、眇者也。其所以能履且視者，以初與二屈而為之娣也。二者各致其能於六三，故初九曰：“歸妹以娣，跛能履，征吉。”六二曰：“眇能視，利幽人之貞。”已有能履能視之才，不以自行而安為娣？使跛者得之以徵、眇者得之能視，何哉？豈非上下之常分有不可易者邪？故其《象》曰：“歸妹以娣，以恆也。”而九二之《象》亦曰：“未變常也。”九二亦娣也，其不言娣，何也？因初九之辭也。且跛、眇者一人，而為之視、履者二人，是二人者，豈可以廢一歟？故其《象》曰：“跛能履，吉相承也。”是以知其皆娣也，已有其能而不自用，使無能者亨其名，則九二非幽人而何哉！

Su Shi said: The line six in the third position is not in the center and is in an improper place, just like a person who is lame and has one eye missing. It can still walk and see because the line nine at the beginning and the line nine in the second are willing to humble themselves and serve as attendants. These two yang lines each offer their abilities to line six, so the line nine at the beginning says: "Returning to the sister-wife, the lame can walk, going forward is auspicious." The line nine in the second says: "The one-eyed can see, it is advantageous for the reclusive person to maintain constancy." They clearly have the ability to walk and see, yet they do not use these abilities themselves, but instead calmly serve as attendants, allowing the lame person to go out and the one-eyed person to see. Why is that? Is it not because the distinctions of rank are fixed and cannot be changed? Therefore, the image commentary of the line nine at the beginning says: "Returning to the sister-wife, it is because of constancy." The image commentary of the line nine in the second also says: "It has not changed the usual." The line nine in the second is also an attendant, but why does the line statement not mention the word "sister-wife"? It is because it follows the expression of the line nine at the beginning and omits it. Moreover, the person who is both lame and one-eyed is only one, but those who serve him to see and to walk are two people. These two people cannot be missing one. Therefore, the image commentary says: "The lame can walk, it is because of the succession of auspiciousness." From this we can see that they are both attendants. If one has ability but does not use it oneself, allowing the one without ability to enjoy the reputation, then the line nine in the second is not "the reclusive person" what else?

六三：歸妹以須，反歸以娣。《象》曰：“歸妹以須”，未當也。古者謂賤妾為“須”，故天文有“須女”。六三不知其託行於初九，而自以為能履；不知其借明於九二，而自以為能視，是以棄娣而用，“須”未足以當“娣”也。失二娣之助，則以跛、眇見黜而歸矣，歸然後知用娣。故曰：“反歸以娣”。九四：歸妹愆期，遲歸有時。《象》曰：“愆期之志”，有待而行也。九四，六五之娣也。以為權在己，故愆期不行以要其君，君猶待之有時焉，而後歸。此其志以為吾君必有所待，而後能行者也。

The Line Statement of the third line says: When a young maiden is married, she only brings along a lowly concubine, and ends up being sent back, then changes to using a secondary concubine. The Image Commentary says: "Returning to marry through a secondary match" indicates an improper match. Su Shi said that in ancient times, lowly concubines were called "xu," so there is a star named "Xu Nu" in the star system. The third line does not realize that it can only move with the support of the first line, yet it mistakenly believes it can move on its own; it does not realize that it can only see with the eyesight of the second line, yet it mistakenly believes it can see on its own. Therefore, it discards the secondary concubine and chooses the lowly concubine, but the lowly concubine is far inferior to the secondary concubine. Without the help of two secondary concubines, it appears crippled and one-eyed, and is sent back to its mother's house by the husband's family. Only after returning home does it realize that it must use a secondary concubine. Therefore, it is said, "returning with a younger sister." The Line Statement of the fourth line says: When a young maiden is married, she misses the wedding date and delays the marriage. The Image Commentary says: missing the wedding date indicates waiting for the right time to act. Su Shi said: the fourth line is the secondary concubine of the fifth line. It mistakenly believes it holds the power in its own hands, so it intentionally delays the date and does not move, using this as a way to pressure its master. However, the master also has its own time to wait for it, and then it is married. This is its intention: believing that its master must wait for it before the journey can proceed.

六五：帝乙歸妹，其君之袂，不如其娣之袂良；月幾望，吉。《象》曰：“帝乙歸妹，不如其娣之袂良”也，其位在中，以貴行也。“歸妹”未有如六五之貴者也，故曰“帝乙歸妹”。以帝乙之妹而履得其中，則其袂之良否，不足以為損益。非若跛者之託行、眇者之借明也，而九四欲以袂之良而加之，夫袂之良，豈足以加其君哉！“月幾望”者，陰疑於陽，《易》之所惡也。然至於娣之慾加其君，則以“月幾望”為“吉”，以為寧月之幾望，而無寧娣之加其君也。

The Line Statement of the Fifth Line says: "King Yi married off his younger sister, but the sleeves of the main wife were not as beautiful as those of the attendant bride; the moon is nearly full, which is auspicious." The Image Commentary says: "King Yi married off his younger sister, but the sleeves of the attendant bride were better," because she was in the central and upright position, and she married with her noble status. Su Shi said that in the hexagram of "Marriage," there is no position more honorable than the Fifth Line, so it is called "King Yi married off his younger sister." With the status of a royal sister and occupying the central position, whether her sleeves were beautiful or not made no difference to her. This is unlike a lame person needing someone to carry him or a one-eyed person needing someone else's eyesight. But the Fourth Line wants to surpass her by the beauty of her sleeves — how could the beauty of sleeves surpass her own owner? The phrase "the moon is nearly full" refers to the yin approaching yang, almost equal to yang. The Zhou Changes usually dislike such situations. However, when an attendant bride wants to surpass her master, it is considered auspicious to have the moon nearly full; this means that it is better to let the moon approach fullness than to let the attendant bride surpass her master.

上六：女承筐，無實；士刲羊，無血。無攸利。《象》曰：上六“無實”，“承”虛“筐”也。“歸妹”男女皆易位，柔皆乘剛，此豈永終無敝者哉？上六則敝之所終也。天地之情，正大而已。大者不正，非其至情；其終必有名存實亡之禍。“女承筐，無實”，食不績之蠶也；“士刲羊，無血”，用已死之牲也；皆實亡之禍也。《象》曰：“歸妹，征凶，無攸利。”上六處其終，故受其凶之全也。

The line statement of the sixth line at the top says: A woman holds a bamboo basket, but it is empty; a man slaughters a sheep, but no blood comes out. There is no benefit. The image commentary says: The "emptiness" of the sixth line at the top is like holding an empty basket. Su Shi said: In the hexagram "Return of the Maiden," the male and female have exchanged positions, and the yao of the yin lines are all riding on the yang lines. Such a union can hardly have a beginning and an end without faults. The sixth line at the top is the final stage of the fault. The true feelings between heaven and earth are nothing but the words "correctness" and "greatness." If something is great but not correct, it is not the true feelings of heaven and earth. If it goes on like that, it will inevitably lead to the disaster of having a name but no reality. "A woman holds a basket, but it is empty" is like expecting a silkworm that does not spin silk to provide silk for people's clothing; "a man slaughters a sheep, but no blood comes out" is like using a dead animal for sacrifice. These are both disasters of having a name but no real substance. The image commentary cites the hexagram statement: "Return of the Maiden, going forward brings danger, there is no benefit." The sixth line at the top is in the last position, so it fully bears that danger.

震上，兌下。“豐”亨，王假之：勿憂，宜日中。《彖》曰：“豐”，大也；明以動，故“豐”。“王假之”，尚大也。“勿憂，宜日中”，宜照天下也。日中則昃，月盈則食；天地盈虛，與時消息，而況於人乎？況於鬼神乎？“豐”者，極盛之時也。天下既平，其勢必至於極盛，故曰“王假之，勿憂，宜日中”者。不憂其不至，而憂其已至也，宜日之中，而不宜其既中也。既盈而虧，天地鬼神之所不免也，而聖人何以處此？曰：“豐”者，至足之辭也。足則餘，餘則溢；聖人處之以不足，而安所求餘？故聖人無豐，豐非聖人之事也。

The upper trigram is "Zhen" (Thunder), and the lower trigram is "Dui" (Lake). The hexagram statement says: The hexagram "Feng" (Abundance) is smooth and prosperous, the king personally arrives at this situation; do not worry, it is suitable like the sun at noon. The commentary on the judgment says: "Feng" means abundance; having brightness and being able to move, thus it is abundant. "The king arrives there" indicates the admiration of abundance. "Do not worry, it is suitable at noon" means that it should illuminate the whole world. However, the sun reaches noon and then begins to set, the moon is full and then wanes; the fullness and emptiness of heaven and earth still change with the seasons, let alone people and ghosts and spirits? Su Shi said: "Feng" represents the time of extreme prosperity. The world has already been pacified, the situation must inevitably reach its peak, so the hexagram statement says "the king arrives there, do not worry, it is suitable at noon." This is not worrying about it not reaching the peak, but worrying about it having already reached the peak; it is suitable for the sun to be at the zenith, but not suitable for it to have passed the zenith. When something is full, it will wane; this is something that even heaven, earth, ghosts, and spirits cannot escape. Then, how can the sage deal with it? The answer is: "Feng" refers to the complete fullness. When something is completely full, there is surplus; surplus will overflow; the sage always keeps himself in a state of insufficiency, so where would he seek surplus? Therefore, there is no "Feng" in the sage, and "Feng" was never something that belonged to the sage.

《象》曰：雷電皆至，“豐”，君子以折獄致刑。《傳》曰：“為刑罰、威獄，以類天之震曜”，故《易》至於“雷電相遇”，則必及弄獄，取其“明以動”也。至於“離”與“艮”相遇，則曰“無折獄”、“無留獄”，取其“明以止”也。初九：遇其配主，雖旬無咎，往有尚。《象》曰：“雖旬無咎”，過旬災也。凡人，智生於憂患而愚生於安佚。“豐”之患常在於暗，故爻皆以明暗為吉凶也。初九、六二、九三，三者皆“離”也，而有明德者也；九四、六五、上六，則所謂“豐”而暗者也。“離”，火也、日也，以下升上，其性也。以明發暗，其德也。故三“離”皆上適於“震”。

The Image Commentary says: Thunder and lightning together appear, this is the Hexagram of Fulfillment; the gentleman takes it as a model, to decide lawsuits and carry out punishments. Su Shi said: The Zuo Zhuan, Year 25 of Zhao Gong, records Zi Chang's words, saying that establishing punishment and severe prisons is to compare with the heavens' thunder and lightning. Therefore, the Zhou Yi, whenever it encounters a hexagram combining thunder and lightning, must mention the judgment of cases, taking the meaning of 'having brightness and being able to act'. As for the hexagram where 'Li' and 'Gen' meet, it says 'no case of wrongful judgment' and 'no case left unresolved', taking the meaning of 'having brightness and being able to remain still'. The line statement of the initial line nine says: encountering a master who matches oneself, although both are equal there is no fault, going forward will be praised. The Image Commentary says: 'Although for ten days there is no fault', if exceeding this limit there will be calamity. Su Shi said: generally, human wisdom arises from hardship, while ignorance comes from ease. The hexagram of Fulfillment's calamity often comes from the word 'darkness'. Therefore, each line uses brightness and darkness to determine fortune and misfortune. The initial line nine, line two six, and line three nine all belong to the lower trigram 'Li', which is the side of brightness; the lines four nine, five six, and top six, are what is called the grand and dark side. 'Li' is fire, is the sun, its nature is to rise from below, using brightness to illuminate darkness is its virtue. Therefore, the three 'Li' lines in the lower trigram all go upward to meet the upper trigram 'Zhen'.

初九適四，其配之所在也；而九四非其配，故曰“配主”。“旬”之為言，猶曰“周浹”云爾。“尚”，配也，九四以陽居陰，不安於暗者也，方其患蔽而求發，則雖兩剛可以相受，故曰“往有尚”，言其與配同也。及其暗去而明全，“離”之功既周浹矣，則當去之。既浹而不去，則有相疑之災。九四之為人，可與共憂患而不可與同安樂者也。

Su Shi said: The initial line (Chu Jiū) moving upward reaches the fourth line (Jiu Si), which is exactly the position of its spouse; however, the fourth line itself is not its true spouse, so it is only called "matching partner" (Pèi Zhǔ). The character "xún" means "completely pervading and thoroughly harmonious." "Shàng" means "to match." The fourth line, being a yang line in a yin position, is unwilling to stay in darkness; it is precisely when it is suffering from being obscured and seeking someone to illuminate it that even though both are yang lines, they can accept each other, hence "going with the desire to match" (Wǎng Yǒu Shàng), meaning it is treated the same as the true spouse. When darkness is completely dispelled and light is fully realized, the effect of "Li" (Fire) has become thoroughly pervasive and harmonious, and then it should withdraw. If it remains after the harmony is complete, it will bring about disaster from mutual suspicion. A person like the fourth line can be shared in hardship but not in comfort.

六二：豐其蔀，日中見斗，往得疑疾。有孚，發若，吉。《象》曰：“有孚發若”，信以發志也。九三：豐其沛，日中見沬，未折其右肱，無咎。《象》曰：“豐其沛”，不可大事也；“折其右肱”，終不可用也。“蔀”，覆也，蔽之全者也。“見斗”，暗之甚也。“沛”，旆也，蔽之不全者也。“沬”，小明也，明暗雜者也。六五之謂“蔀”，上六之謂“沛”，何也？二者皆陰也，而六五處中，居暗以求明；上六處高，強明以自用。六二之適五也，適於全蔽而甚暗者也。夫蔽全，則患蔽也深；暗甚，則求明也力。六五之暗，不發則已，發之則明矣。故曰：“往得疑疾，有孚，發若，吉。”以陰適陰，其始未有不疑者也，六二雖陰，而所以為“離”，明之所自出也，故始疑而終信也。

The Line Statement for Six in the Second says: A large canopy covers the sky, and at noon the Big Dipper is visible, but going forward brings suspicion and illness. If one's heart is sincere and one can enlighten the other, it is auspicious. The Image Commentary says: "With sincerity, one enlightens others," meaning using sincerity to enlighten the other's mind. The Line Statement for Nine in the Third says: A hanging banner covers the sky, and at noon small stars are visible. Even if the right arm is broken, there is no fault. The Image Commentary says: "Its banner is full," meaning it cannot accomplish great things; "Breaking its right arm," meaning it is ultimately not suitable for use. Su Shi said: "Pù" means covering, referring to being covered completely; "Seeing the Big Dipper" means darkness reaching its peak. "Pèi" is the same as "pèi," meaning banner, referring to being covered but not completely; "Mò" means faint light, referring to a mixture of light and darkness. Why is Six in the Fifth called "Pù" and Upper Six called "Pèi"? Both are yin lines, but Six in the Fifth is in the central position, willingly enduring darkness to seek light; Upper Six is in a high position, forcing brightness and being stubborn. Six in the Second moves to Upper Six, which is going to the place that is most covered and darkest. The more completely covered, the deeper the darkness; the deeper the darkness, the more urgent the pursuit of light. The darkness of Six in the Fifth, if not enlightened, is nothing; but once enlightened, it can become bright. Therefore the Line Statement says: "Going forward brings suspicion and illness, with sincerity, one enlightens others, and it is auspicious." A yin line going to a yin line, at first there is no failure to suspect; although Six in the Second is a yin line, it is the key to forming the "Li" (Fire) brightness, and brightness comes from it, so initially there is suspicion but eventually trust is achieved.

若夫九三之適上六，則適於明暗雜者也；用人則不能，自用則不足，故不可以大事也。君子不畏其蔽，而畏其雜，以為無時而可發也，為之用乎則不可，不為之用乎則不敢，故折其右肱，以示必不可用而後免也。九四：豐其蔀，日中見斗，遇其夷主，吉。《象》曰：“豐其蔀”，位不當也；“日中見斗”，幽不明也；“遇其夷主”，吉行也。“夷”，等夷也。初九之謂夷主，不得其配而得其類也。“幽不明”者，以言其暗之甚，而不雜。“吉行”者，言初九之不可以久留也。六五：來章，有慶譽，吉。《象》曰：六五之“吉”，有慶也。六五以陰居陽，有“章”者也；而能來六二之明，故曰“來章”。借明於人而譽歸於己，君子予之。

As for the line nine in the third position moving towards the line six at the top, it is approaching an object that is both bright and dark; it cannot use others' wisdom, and it lacks the ability to make its own decisions, so it cannot accomplish great things. A gentleman does not fear that the other party is well concealed, but fears that it is a mixture of bright and dark, because such a person can never be awakened. It cannot serve effectively, and it is afraid to refuse, so it would rather break its right arm, appearing completely incapable, in order to escape. The line four statement says: A large curtain covers the sky, but at noon the Big Dipper is visible; encountering a partner of equal status is auspicious. The image commentary says: "A large curtain covers the sky" indicates improper position; "the Big Dipper is visible at noon" indicates darkness and confusion; "meeting the equal ruler" indicates this journey is auspicious. Su Shi said: "Yi" means equal or of the same rank. The line nine at the beginning is the "equal ruler" mentioned here. The line nine in the fourth position did not meet its proper match, but met someone of the same kind. The term "yōu bù míng" refers to being very dark, but not mixed. The term "jí xíng" means that the line nine at the beginning cannot stay long. The line six in the fifth position says: Having attracted a talented and cultured person, there is joy and reputation, which is auspicious. The image commentary says: The auspiciousness of the line six in the fifth position is due to the joy. Su Shi said: The line six in the fifth position, being a yin line in a yang position, itself has culture; and it can attract the brightness of the line six in the second to use for itself, so it is called "lái zhāng." Borrowing light from others while the reputation belongs to oneself is something a gentleman permits.

上六：豐其屋，蔀其家，窺其戶，闃其無人，三歲不覿，凶。《象》曰：“豐其屋”，天際翔也；“窺其戶，闃其無人”，自藏也。上六翔於天際，自以為明之至也；而其暗則足以蔽其身而已，故曰“豐其屋，蔀其家”。九三自折其右肱而莫為之用，豈真無人哉！畏我而自藏也。“三歲不靚”，其自以為明者窮矣，故“凶”。

The line statement of the sixth line at the top says: Building a high house, yet covering the family with mats so that no one can enter, peering through the door cracks, finding it completely empty and silent, not seeing anyone for three years, which is dangerous. The image commentary says: "Building a high house" indicates self-deception of flying high in the sky; "Peering through the door cracks, finding it completely empty" indicates that those people have hidden themselves. Su Shi said: The sixth line flying high in the sky, thinking it has reached the peak of insight; in reality, its darkness is only enough to cover itself, hence saying "Building a high house, covering the family." The third line would rather break its right arm than help it, is there really no one in the family? It is that the people are afraid of it and have hidden themselves. "Not seeing anyone for three years" indicates that its self-assumed cleverness has reached its end, hence "dangerous."

離上，艮下。“旅”：小亨，旅貞吉。《彖》曰：“旅，小亨”，柔得中乎，外而順乎剛；止而麗乎明；是以“小亨，旅貞吉”也。旅之時義大矣哉！“旅”，六二、六五二陰據用事之地，而九三、九四、上九三陽寓於其間，所以為“旅”也。小者為主，而大者為旅。為主者以得中，而順乎剛為亨，故曰“小亨”；為旅者以居貞，而不取為吉，故曰“旅貞吉”。“止而麗乎明”，則居貞而不取之謂也；“貞吉”者指三陽，非二陰為主者之事也，故特曰“旅貞吉”。

The upper trigram is "Li" (Fire), and the lower trigram is "Gen" (Mountain). The hexagram statement says: The hexagram "Lv" (Travel), has slight success, and being a guest in a foreign place while maintaining uprightness brings good fortune. The commentary on the judgment says: "Lv, small success" is because the yao (line) of yin is in the outer trigram and occupies the middle position, thus being in harmony with the yang line. It is able to remain still and attach itself to brightness, so "small success, traveling with uprightness brings good fortune." The meaning of this period of traveling is indeed profound! Su Shi said: In the hexagram "Lv," the two yin lines, six two and six five, occupy the positions of power and governance, while the three yang lines, nine three, nine four, and upper nine, are in a position of being guests among them. This is why it is called "Lv." The small and flexible yin lines become the masters, while the strong and vigorous yang lines become the travelers. The masters, because they are in the middle and in harmony with the yang lines, achieve success, hence "small success." The travelers, because they are content with their position and do not seek to take more, achieve good fortune, hence "traveling with uprightness brings good fortune." "Stopping and attaching itself to brightness" refers precisely to being content with one's position and not seeking more. The two characters "uprightness and good fortune" refer to the three yang lines, not the two yin lines that are in positions of power, so it is specifically said "traveling with uprightness brings good fortune."

《象》曰：山上有火，“旅”，君子以明慎用刑，而不留獄。初六：旅瑣瑣，斯其所取災。《象》曰：“旅瑣瑣”，志窮災也。“羈旅”之世，物無正主，近則相依。自六二至上九，皆陰陽相鄰，而初獨孑然處六二之下，其細已甚，故曰“旅瑣瑣”也。斯，隸也；六二近於九三，三之所取也；初六窮而無依，隸於六二，役於九三。三“焚”二次，並以及初，故曰“斯其所取災”也。

The Image Commentary says: Fire burning on a mountain, this is the Hexagram of Travel; the gentleman takes it as a model, being clear and cautious in the use of punishment, so that cases are not left unresolved. The Line Statement of the first line says: A traveler is lowly and insignificant, this is the reason for his calamity. The Image Commentary says: "Traveling in a lowly manner," refers to a state of destitution that brings about misfortune. Su Shi said: In a world of wandering and temporary residence, nothing has a fixed master; whoever is nearby becomes the one relied upon. From the second line up to the top line, all are yin and yang adjacent to each other, but only the first line is alone beneath the second line, in an extremely isolated position, hence it is said "traveling in a lowly manner." "This" means belonging; the second line is adjacent to the third line, and is the object to be seized by the third line; the first line, having no way out and no support, can only belong to the second line, and be used by the third line. The third line burns down the second line's lodging, and in doing so, also affects the first line, hence it is said "this is the calamity it incurs."

六二：旅即次，懷其資，得童僕，貞。《象》曰：“得童僕，貞”，終無尤也。六二，九三之所即以為次也。因三之資以隸初六，故曰“得童僕，貞”。初六雖四之應，而四為三所隔，終“無尤”之者也。九三：旅焚其次，喪其童僕，貞厲。《象》曰：“旅焚其次”，亦以傷矣；以旅與下，其義喪也。“下”，初六也。六二，我之次也。而初隸於二，懷二而並有之，則初亦我之童僕矣。九三以剛居上，見得而忘義，焚二以取初，則一舉而兩失之矣。

The Line Statement of the Second Line says: The traveler stays in an inn, carrying money, and is served by a servant, maintaining uprightness. The Image Commentary says: "Receiving a servant, uprightness" will ultimately not lead to blame. Su Shi says: the Second Line is precisely the one where the Third Line comes close and stays in the inn. It uses the wealth of the Third Line to take the First Line as a subordinate, hence "Receiving a servant, uprightness." Although the First Line is in a correct correspondence with the Fourth Line, the Fourth Line is separated from it by the Third Line, so ultimately no one will blame it. The Line Statement of the Third Line says: The traveler burns down his inn, loses the servant, and although maintaining uprightness, it is still dangerous. The Image Commentary says: "The traveler burns down his inn" is also a great injury; treating servants as guests, by principle, will result in losing them. Su Shi says: here the word "下" refers to the First Line. The Second Line is the inn where the Third Line stays, and the First Line is subordinate to the Second Line. If I am kind to the Second Line, I will also gain the First Line, so the First Line becomes my servant. The Third Line, being a strong line in a superior position, sees profit and forgets righteousness, burns down the Second Line to seize the First Line, and ends up losing both ends at once.

九四：旅于處，得其資斧，我心不快。《象》曰：“旅于處”，未得位也。“得其資斧”，心未快也。“資斧”，所以除荊棘、治次舍也。九四剛而失位，所乘者九三，有資斧而無地者也，故處而“心不快”。六五：射雉一矢，亡；終以譽命。《象》曰：“終以譽命”，上逮也。居二陽之間，可以德懷，不可以力取。如以一矢射兩雉，理無兼獲。得四則失上矣，若不志於取，亡矢而不射，則夫二陽者皆可以其功譽而爵命之，非獨得四可以及上也。

The fourth line statement says: A traveler can only temporarily find a place to stay; although he has money and an axe, his heart is not happy. The Image Commentary says: "Traveling and staying," indicates not having the correct position; "obtaining his tools," still does not bring happiness. Su Shi said: The term "tools" refers to the implements used to cut through thorns and repair the guest house. The fourth line is a yang line that has lost its correct position, and it is standing on the third line which is also a yang line. This is like having tools but no land of one's own, so one can only stay temporarily and thus "the heart is not happy." The fifth line statement says: Shooting a wild chicken, one arrow is lost; in the end, one gains reputation and rank. The Image Commentary says: "Finally obtaining reputation and rank" indicates the favor reaching upwards. Su Shi said: The fifth line is sandwiched between the fourth line and the top line, both of which are yang lines. It can only use virtue to attract rather than use force to seize. It is like shooting two wild chickens with one arrow; by nature, it is impossible to obtain both. If one obtains the fourth line, one loses the top line. If one has no intention of seizing, one may choose to lose the arrow and not shoot. In this case, both the fourth and top lines will honor and bestow rank upon it due to its virtue and reputation, thus not only obtaining the fourth line but also attaining the top line.

上九：鳥焚其巢，旅人先笑後號咷。喪牛于易，凶。《象》曰：以旅在上，其義焚也。“喪牛于易”，終莫之聞也。九三次於六二之上，上九“巢”於六五之上，皆以剛臨柔。六二、六五皆無應，而在我下，其勢必與我。上九、九三知其無應而必我與也，故易而取之。九三“焚其次”，上九“焚其巢”，其為不義一也。而三止於“貞厲”，上至於“號咷”之凶者，六五旅之主也。“離”之《象》曰：“畜牝牛，吉。”六五之謂牛矣，易五以喪牛，終莫之聞者，驕亢之罪也。

The line statement of the top nine says: A bird burned its nest, and a traveler first laughed and then wept bitterly. Because of negligence, he lost his ox, which is a dangerous situation. The image commentary says: Being in a position of high authority as a guest, by nature he should be burned. 'Losing the ox in ease' means that in the end, no one is willing to tell him the news. Su Shi said: Nine three placed the guest house above six two, and top nine built the nest above six five, both are hard lines dominating soft lines. Six two and six five have no proper response, and both are below me, so they must inevitably submit to me. Nine three and top nine saw that they had no place to rely on and would certainly submit to them, so they acted with negligence and took it. Nine three 'burned his guest house,' top nine 'burned his nest,' their injustice is the same. However, nine three only suffered 'a dangerous situation,' while top nine fell into the dangerous situation of weeping bitterly, because six five is the master of the entire Travel卦. The image commentary of the Li hexagram says: 'Keeping a female ox, it is auspicious.' Six five is that ox; neglecting six five and losing the ox, when the matter came to a head, no one was willing to inform him, which is the punishment of arrogance and self-importance.

巽上，巽下。“巽”：小亨，利有攸往，利見大人。《彖》曰：重巽以申命。君子和而不同，以“巽”繼“巽”，小人之道也。無施而可，故用於申命而已。剛“巽”乎中正而志行，柔皆順乎剛，是以“小亨，利有攸往，利見大人。”所以為“巽”者，初與四也。二五雖據用事之地，而權不在焉，故曰“剛‘巽’乎中正而志行”，言必用初與四而後得志也。權雖在初與四，而非用事之地，故曰：“柔皆順乎剛，是以小亨，”言必順二五而後亨也。“利有攸往”，為二、五用也；“利見大人”，見九五也。有其權而無其位，非九五之大人，孰能容之？

The upper trigram is "Xun" and the lower trigram is also "Xun." The hexagram statement says: The hexagram "Xun" has slight success, is favorable for going forward, and is favorable for meeting a great person. The commentary on the judgment says: Two "Xun" trigrams are used to repeatedly emphasize orders. Su Shi said: A gentleman values harmony but not blind agreement; to follow blindly is the way of a petty person, which is inappropriate in any situation, so it is only used to repeatedly emphasize orders. The commentary on the judgment also says: The strong lines are humble and compliant with the principle of correctness, thus their aspirations can be carried out; the weak lines all comply with the strong lines, so "there is slight success, it is favorable to go forward, and it is favorable to meet a great person." Su Shi said: What makes this hexagram become "Xun" is the two weak lines, Chilu and Liusu. Although the lines Jiuer and Jiwu are in positions of authority, they do not hold actual power, so "the strong lines are compliant with the principle of correctness and their aspirations are realized," meaning that one must employ Chilu and Liusu, then the aspirations can be realized. Although actual power is held by Chilu and Liusu, they are not in positions of authority, so "the weak lines all comply with the strong lines, thus there is slight success," meaning that one must comply with Jiuer and Jiwu, then success can be achieved. "It is favorable to go forward" refers to being employed by Jiuer and Jiwu; "it is favorable to meet a great person" refers to meeting Jiwu. Holding power without the corresponding position, if it is not a great person like Jiwu, who could tolerate it?

《象》曰：隨風，“巽”，君子以申命行事。“申”，重也；兩風相因，是謂“隨風”，申命之象也。古之為令者，必反覆申明之，然後事必行。初六：進退，利武人之貞。《象》曰：“進退”，志疑也；“利武人之貞”，志治也。初六有其權而無其位，九二、九三之所病，故疑而進退也。小人而權在焉，則《易》謂之武人；武人負其力而不貞於君，志亂也；及其治也，則以貞於其君為利。

The Image Commentary says: A wind follows another wind, which is the hexagram of Wind. The gentleman takes it as a model, repeatedly explaining orders and carrying out affairs. Su Shi said: "Shen" means repetition; two winds following each other are called "following the wind," which is the image of repeatedly issuing orders. In ancient times, those who issued commands had to explain them repeatedly before things could be accomplished. The line statement of the first line says: Neither advancing nor retreating, it is advantageous to hold to the right course like a warrior. The Image Commentary says: "Advancing and retreating" indicates hesitation in mind; "advantageous to the virtue of the warrior" indicates the mind being regulated. Su Shi said: The first line holds power but has no position, which is precisely what the nine second and nine third lines detest, so it is hesitant and caught between advancing and retreating. A petty person who holds power is called a "warrior" in the Zhou Changes. A warrior relies on his own strength and refuses to be loyal to the sovereign, which is a confused mind; when the mind is regulated, it becomes advantageous to be loyal to the sovereign.

九二：巽在床下，用史、巫紛若，吉，無咎。《象》曰：“紛若”之“吉”，得中也。九二以陽居陰，能下人者也。知權在初六，故“巽”於床下，下之而求用也。初六，武人也；方且進退，我則下之而求其用，故求者紛然，而用者不力。譬之用史、巫，將以求福於神，神之降福未可知，而史、巫先享其利也。故“吉”而後“無咎”。紛然而求人者，非吉之道也，其所以吉者，居得其中，用事之地也。

The line statement of the second line says: Humble and submissive, lying beneath the bed, employing diviners and shamans to make preparations, it is auspicious and without blame. The image commentary says: "Frenzied activity" is auspicious because the second line is in the center. Su Shi says: The second line, with a yang line in a yin position, is willing to submit to others. It knows that actual power lies with the first line, so it humbles itself to the point of lying beneath the bed, lowering its posture to seek its assistance. The first line is a "military man" hesitating to advance or retreat. I lower my posture to seek its help, so the one making the request is busy and active, while the one being requested does not exert itself. This is like employing diviners and shamans, intending to pray to the gods for blessings, but it is uncertain whether the gods will grant blessings. The diviners and shamans, however, have already gained benefits. Therefore, it is first "auspicious" and then "without blame." To make frantic efforts to seek help from others is not the way to achieve auspiciousness; yet it is still auspicious because it is in the central position, holding a position of authority and power.

九三：頻巽，吝。《象》曰：“頻巽”之“吝”，志窮也。九三以陽居陽，而非用事之地也。知權之在初六也，下之則心不服，制之則力不能，故頻蹙以待之。“復”之六三不能止初九之為“復”也，故“頻復”；“巽”之九三不能止初六之為“巽”也，故“頻巽”。六四：悔亡，田獲三品。《象》曰：“田獲三品”，有功也。六四，有其權而無其位者，與初六均也，蓋亦居可疑之地矣。而有九五以為之主，坦然以正待之，故“悔亡”。九五不求，而六四自求用，故其用也力。譬之於田：田者盡力以獲禽，而利歸於君。“一為乾豆，二為賓客，三為充者之庖。”君子不勞而“獲三品”，其與史巫之功亦遠矣。

The line statement for the third line says: "Frowning and勉强 following, there is regret." The Image Commentary says: "The frequent yielding" brings regret, because the mind has no way out. Su Shi says: The third line is a yang line in a yang position, but it is not in the position of authority and power. It knows that the actual power lies with the initial line six. If it tries to lower itself, it feels resentful; if it tries to suppress it, it lacks the strength. Therefore, it can only deal with it by frowning. In the hexagram "Fu" (Return), the line six three cannot control the initial line nine which is the true "Fu," so it can only "frequently return." In the hexagram "Xun" (Wind), the third line nine cannot control the initial line six which is the true "Xun," so it can only "frequently yield." The line statement for the fourth line says: Regret disappears, hunting yields a third class of game. The Image Commentary says: "Hunting and obtaining three classes," is a meritorious act. Su Shi says: The fourth line is also a line with power but without a position, similar to the initial line six. It is in a position that is easily suspected. However, it has above it the fifth line nine which is in charge. It is straightforward and treats it properly, so "regret disappears." The fifth line nine does not seek it, but the fourth line six actively seeks to be used, so it exerts effort especially. This is like hunting: the hunter exerts effort to capture animals, but the benefit goes to the ruler. The "Gu Liang Zhuan·Huan Gong Fourth Year" says: The first class of game is made into dried meat for worship. The second class is used to entertain guests. The third class fills the ruler's kitchen. A gentleman does not need to personally labor and can "obtain three classes," which is far superior to the small merits of the priest, the historian, and the shaman.

九五：貞吉，悔亡，無不利。無初有終。先庚三日，後庚三日，吉。《象》曰：九五之吉，位正中也。九五履中正之位，進不頻蹙以忌四，退不過“巽”以下之，蓋貞而已矣。此四所以心服而為之用也，是以“吉”且“悔亡”而“無不利”。“無不利”者，四與五皆利也。九五之德如此，故有“後庚”之終“吉”。

The Line Statement of the Fifth Line says: Upholding correctness brings good fortune, regret disappears, and there is no disadvantage. The beginning may be difficult but the end is favorable. Acting on the three days before and after the day of Geng is favorable. The Image Commentary says: The good fortune of the Fifth Line is because it is in the central and correct position. Su Shi said: The Fifth Line stands on the central and correct position. It does not, like the Third Line, frown and suspect the Fourth Line, nor does it, like the Second Line, be overly humble and flatter it. It is simply upholding correctness. This is why the Fourth Line is pleased and willing to serve it, thus it is both 'good fortune' and 'regret disappears' and 'no disadvantage'. The term 'no disadvantage' means that both the Fourth Line and the Fifth Line benefit. When the virtue of the Fifth Line reaches this level, there is finally good fortune after the day of Geng.

上九：巽在床下，喪其資斧，貞凶。《象》曰：“巽在床下”，上窮也；“喪其資斧”，正乎凶也。九二以陽居陰，上九處“巽”之極，故皆“巽”於床下。而上九陽亢於上，非能下人者也；九二之“巽”，將以用初六；而上九之“巽”，將以圖六四也，有用斧之意焉，特以處於無位之地，故喪其斧也。以上下言之則“正”，以勢言之則“凶”。

The line statement for the top nine says: "Humble and submissive, he hides beneath the bed, losing his wealth and axe, and even upholding righteousness brings misfortune." The Image Commentary says: "The wind is beneath the bed," meaning being in a position of high rank yet having no way forward; "losing his wealth and axe" even following the right path cannot avoid misfortune. Su Shi says: the nine in the second line has a yang line in a yin position, while the top nine is at the peak of the "wind" trigram, so both lines mention "the wind beneath the bed." However, the top nine, being yang and strong, is not someone who would willingly be beneath others; the humility of the nine in the second line is to employ the initial six, while the humility of the top nine is to scheme against the six in the fourth, harboring the intention to use the axe. It is because it is in a position without status or power that the axe is lost. In terms of the hierarchy, this action is considered "righteous," but in terms of actual circumstances, it is "misfortune."

兌上，兌下。“兌”，亨，利貞。《彖》曰：“兌”，說也。剛中而柔外，說以利貞。是以順乎天而應乎人。說以先民，民忘其勞；說以犯難，民忘其死；說之大，民勸矣哉！小惠不足以勸民。《象》曰：麗澤，“兌”；君子以朋友講習。取其“樂而不流”者也。初九：和兌，吉。《象》曰：“和兌”之“吉”，行未疑也。九二：孚兌，吉；悔亡。《象》曰：“孚兌”之吉，信志也。和而不同，謂之“和兌”；信於其類，謂之“孚兌”。六三小人，而初九、九二君子也；君子之說於小人，將以有所濟，非以為利也。初九以遠之，而無嫌至九二，則初九疑之矣，故必有以自信於初九者，而後“悔亡”。文予而實不予，所以信於初九也。

The upper trigram is "Dui" (Lake), and the lower trigram is also "Dui" (Lake). The hexagram statement says: The hexagram "Dui" (Lake) is smooth and favorable for maintaining the right path. The commentary on the judgment says: "Dui" means joy. A strong line is in the center while soft lines are outside, following the way of joy, which is favorable for maintaining the right path. Thus, it conforms to the heavenly way and responds to human hearts. Using the way of joy to lead the people ahead, the people forget their toil; using the way of joy to lead the people through hardship, the people forget life and death. The power of joy is so great that it can inspire people to encourage one another! Su Shi said: Small favors and kindnesses are insufficient to motivate the people. The image commentary says: Two lakes connected and moistening each other, this is the hexagram "Dui"; the gentleman takes this as a model, discussing and studying with friends. Su Shi said: This refers to the meaning of "joy without excess" mentioned in the "Book of Rites: Records of Music." The line statement for the first line says: To bring joy through harmony, it is favorable. The image commentary says: The favorability of "harmonious joy" is because its actions do not raise suspicion. The line statement for the second line says: To bring joy through sincerity, it is favorable; regret disappears. The image commentary says: The favorability of "sincere joy" is due to sincere intentions. Su Shi said: Harmony without being superficial is called "harmonious joy"; sincerity towards like-minded people is called "sincere joy." The third line is a small person, while the first line and the second line are gentlemen; gentlemen treat small persons with a pleasant expression, intending to help them achieve something, not for personal gain. The first line is far from the sixth line, so it does not raise suspicion; when reaching the second line, the first line begins to suspect it, so the second line must show trustworthiness to the first line, then "regret disappears." Appearing to be accommodating to the sixth line but giving nothing in reality, this is the method by which the second line shows trustworthiness to the first line.

六三：來兌，凶。《象》曰：“來兌”之“凶”，位不當也。九四：商兌，未寧；介疾，有喜。《象》曰：九四之“喜”，有慶也。九五，“兌”之主也；上有上六，下有六三，皆其疾也。《傳》曰：“美疢不如惡石”。九四介於其間，以剛輔五，而議二陰者也，故曰：“商兌，未寧；介疾，有喜。”言疾去而後有喜也，疾去而後有喜，則《易》之所謂“慶”也。

The line statement for the sixth line says: coming forward to flatter, brings misfortune. The image commentary says: the misfortune of "coming to Dui" is due to improper position. The line statement for the ninth line says: repeatedly weighing who to please, the mind is not at peace; separating the illness, there is joy. The image commentary says: the joy of the ninth line is due to the presence of good fortune. Su Shi said: the ninth line is the master of the Dui hexagram; above it is the sixth line, and below it is the sixth line, these two yin lines are its illness. The "Zuo Zhuan · Xianggong Twenty-Third Year" records Zang Sun He's words: a painful illness that is pleasant to endure is less beneficial than a stone used for leeching. The ninth line is in the middle, with a yang line supporting the ninth line, helping it to weigh these two yin lines, so it says "discussing Dui, not at peace; separating the illness, there is joy." This means there is joy only after the illness is removed; there is joy only after the illness is removed, which is exactly what the "Zhou Yi" refers to as "joy."

九五：孚于剝，有厲。《象》曰：“孚于剝”，位正當也。上六：引兌。《象》曰：“上六引兌”，未光也。六三、上六，皆“兌”之小人，以陰為質，以說為事者，均也。六三履非其位，而處於二陽之間，以求說為兌者，故曰“來兌”，言初與二不招而自來也，其心易知，其為害淺，故二陽皆“吉”，而六三“凶”。

The Line Statement of the Fifth Line says: "Fully trusting those petty people who are engaged in destruction brings danger." The Image Commentary says: "Trust in the destructive" is because the Fifth Line is in a proper position. The Line Statement of the Sixth Line says: "Drawing others to flatter." The Image Commentary says: "The Sixth Line draws the Joyful" indicates that it is still not able to achieve great success. Su Shi said that both the Third Line and the Sixth Line are petty people in the Joyful hexagram, both having the nature of yin and flexibility, and both taking pleasing others as their main concern. The Third Line is in an improper position and is sandwiched between two yang lines, so it flatters to gain favor, hence it is called "coming to the Joyful," meaning that the First Line and the Second Line did not call it, but it came on its own. This kind of person is easy to see through, and the harm it causes is not deep, so both the yang lines are auspicious, while the Third Line itself is inauspicious.

上六超然於外，不累於物，此小人之託於無求以為“兌”者也，故曰“引兌”，言九五引之而後至也，其心難知，其為害深。故九五“孚于剝”，“剝”者，五陰而消一陽也。上六之害，何至於此？曰：九五以正當之位，而孚於難知之小人，其至於“剝”，豈足怪哉！雖然，其心蓋不知而賢之，非說其小人之實也，使知其實，則去之矣。故有“厲”而不凶。然則上六之所以不光，何也？曰：難進者，君子之事也；使上六引而不兌，則其道光矣。

The Sixth at the Top remains aloof, not entangled by external matters. This is a small person pretending to have no desires in order to please others. Therefore, it is called "leading the兑," meaning it will only come when the Fifth at the Center leads it. Such a person's mind is hard to penetrate, and the resulting harm is profound. Hence, the Fifth at the Center is said to have "faith in the剥" — "剥" refers to a hexagram where five yin lines erode one yang line. How could the harm caused by one person be so severe? The answer is that the Fifth at the Center, although virtuous and in the proper position, trusts a person whose mind is hard to read, eventually leading to the situation of the剥 hexagram. What is strange about that? Although this is the case, the Fifth at the Center does not truly understand this person and mistakenly considers it a virtuous person, not because it likes the small person's nature. If it had recognized the truth, it would have dismissed it long ago. Therefore, there is only "danger" but not "calamity." So why is the Sixth at the Top said to be "not bright"? The answer is that refusing to come forward easily is the way of a gentleman. If the Sixth at the Top is led by others but never flatters or pleases, its path would become bright.