The Ascending Hexagram (Number 46)

坤上，巽下。 “升”：元亨。用見大人，勿恤；南征吉。 《象》曰：柔以時，“升”，“巽”而順，剛中而應，是以大亨。“用見大人，勿恤”，有慶也。 “巽”之為物，非能破堅達強者也。幸而遇“坤”，故能“升”。其升也有時，故曰“柔以時，升”。“坤”既順之，五又應之，是以“大亨”。大人之於物也，危者安之，易者懼之，下“巽”而上順，質柔而遇易，志得而輕進，以此見大人所畏者也，故不曰“利”。雖不利，不可不見也。見而知畏，其為利也大矣。利之遠者曰“慶”，以其“有慶”，故雖有畏，“勿恤”也。

The hexagram "Sheng" (Increase) has the upper trigram "Kun" (Earth) and the lower trigram "Xun" (Wind). The hexagram statement says: The hexagram "Sheng" is greatly smooth and favorable. With such qualities, one may go to see a great person without worry; proceeding to the south is auspicious. The commentary on the judgment says: The flexible and yielding follow the right time to rise. The lower trigram "Xun" is yielding and the upper trigram "Kun" is also yielding. The line "Nine in the Second" is yang and in the center, and corresponds with "Six in the Fifth," so it is greatly smooth and favorable. "To go and see a great person, without worry" means there will be good fortune. Su Shi said: "Xun" is not something that can break through hardness or penetrate strength; it is fortunate to meet "Kun," so it can rise. Its rising depends on the right time, so it is said "flexible with the right time, rising." Since "Kun" follows it, and "Six in the Fifth" corresponds with it, therefore it is "greatly smooth." A great person deals with people: those in danger are made secure, while those in peaceful times are made cautious. Now the lower trigram is yielding and the upper trigram is also yielding. The nature is weak and the path is smooth, so it is easy to become complacent and advance recklessly. In such a state, going to see a great person is to make him feel reverence, so the hexagram statement does not say "favorable to see." Though it is not favorable, one should not avoid seeing; seeing and understanding reverence brings great benefit. Benefits that are deep are called "good fortune," because there is "good fortune," so even though there is fear, one does not worry.

“南征吉”，志行也。 《彖》曰：“‘巽’而順，剛中而應，是以大亨。”而六五為“升階”，由此觀之，非獨“巽”之上即“坤”，亦“坤”之下援“巽”也。“巽”之求“坤”，“坤”之求“巽”，皆會於“南”，“南征吉”，二者相求之謂也。 《象》曰：地中生木，“升”；君子以順德，積小以高大。

The Commentary on the Judgment says: "Southern campaign is auspicious," meaning the mind's aspirations can be realized. Su Shi says that the Commentary on the Judgment explains "the wind is yielding, the strong and central line responds, thus achieving great success," and the fifth line also says "ascending the steps." From this, it appears not only that "wind" approaches "earth" upward, but also that "earth" draws "wind" downward. "Wind" seeks "earth," and "earth" seeks "wind," and both meet in the southern direction. The phrase "Southern campaign is auspicious" refers precisely to this mutual seeking. The Image Commentary says: a tree grows from the earth, which is the image of the Hexagram of Ascending. The gentleman takes this as a model, cultivating in accordance with virtue, accumulating bit by bit the small things to achieve greatness.

初六：允升，大吉。 《象》曰：“允升大吉”，上合志也。 所以為“升”者，“巽”也；所以為“巽”者，初也。“升”之制在初，故初六雖陰柔，而其於升也蓋誠能之，故曰“允升”。陰升而遇陽，若陽升而遇陰，皆得其所升者也。初六以誠能之資而遇九二，宜其為吉之大者矣。

The first line statement says: "It is indeed possible to ascend, and this is a great blessing." The Image Commentary says: "It is indeed possible to ascend, and this is a great blessing," which indicates harmony with the aspirations above. Su Shi said: The hexagram "Ascending" is formed by "Xun" (Wind), and "Xun" is established by the first line. The master of ascending is located in the first line, so although the first line is a yin line with softness, it is indeed capable of ascending. Therefore, it is said "It is indeed possible to ascend." Whether a yin line ascends and meets a yang line, or a yang line ascends and meets a yin line, it is considered to have found a suitable place to ascend. The first line, with its genuine ability, meets the second line, which is why it receives a great blessing.

九二：孚，乃利用禴，無咎。 《象》曰：九二之“孚”，有喜也。 九二升而遇九三，蓋升而窮者也。雖窮於三，而配於五，窮而之五，五亦無所升；而納之，故薄禮可以相縻而“無咎”也。 九三：升虛邑。 《象》曰：“升虛邑”，無所疑也。 九三以陽用陽，其升也果矣；六四以陰居陰，其避之也審矣；故曰：“升虛邑，無所疑也。”不言“吉”者，以至強克至弱，其為禍福未可知也，存乎其人而已。

The line statement of Nine in the Second says: If one's heart is sincere, then even a thin sacrifice of 禴 will suffice, with no blame. The Image Commentary says: The sincerity of Nine in the Second brings joy. Su Shi says: Nine in the Second rises and meets Nine in the Third, which is rising to a point where there is no way forward. Although it is blocked by Nine in the Third, it is in harmony with Six in the Fifth; from a difficult situation it turns toward Six in the Fifth, which itself has nowhere to go, so it accepts it. Therefore, a thin offering is enough to connect both sides and result in 'no blame'. The line statement of Nine in the Third says: Ascend to an empty city. The Image Commentary says: 'Rising to an empty city' is without doubt. Su Shi says: Nine in the Third, with a yang line in a yang position, rises decisively; Six in the Fourth, with a yin line in a yin position, retreats carefully. Therefore, it is said 'rising to an empty city, without doubt'. The line statement does not say 'auspicious' because it is the strongest overcoming the weakest, and whether it is a blessing or a curse is uncertain, depending entirely on the person's own actions.

六四：王用亨于岐山，吉，無咎。 《象》曰：“王用亨于岐山”，順事也。 上有所適，下升而避之，失於此而償於彼，雖不爭可也，人或能之。今六四下為三之所升，而上不為五之所納，此人情必爭之際也。然且不爭而“虛邑”以待之，非仁人其孰能為此？太王避狄於豳，而亨於岐；方其去豳也，豈知百姓之相從而不去哉！亦以順物之勢而已，以此獲吉，夫何咎之有？

The Line Statement of the Fourth Line says: The king holds a sacrifice at Mount Qi, which is auspicious and without fault. The Image Commentary says: "The king holds a sacrifice at Mount Qi" is in accordance with the trend of things. Su Shi said: There is something above that can be left behind, and when those below rise up, they make way for them. What is lost here can be regained elsewhere. Even without contention, it is possible for ordinary people to do so. Now, the Fourth Line is pressed up by the Third Line and not accepted by the Fifth Line above, which is exactly the critical point where people naturally tend to contend. Yet it does not contend, instead leaving the city empty and waiting for others to come. If it were not for a benevolent and kind person, who could do this? In the past, King Wen of Zhou left Bo when he fled from the Di people, and later held a sacrifice at Mount Qi. When he left Bo, how could he have foreseen that the people would follow in crowds and not disperse? He merely followed the trend of things. By following such a course, how could there be any fault?

六五：貞吉，升階。 《象》曰：“貞吉升階”，大得志也。 “貞”者，貞於九二也。“巽”之所以能升者，以六五之應也；曰：此升之階也。“階”者，有可升之道焉，我惟為階，故人升之；我不為階，而人何自升哉！木之生也，克土而後能升；而土以生木為功，未有木生而土不願者也。故階而升“巽”；則六五為“得志”矣。

The Line Statement of the Fifth Line says: "Maintaining uprightness brings good fortune, like ascending steps." The Image Commentary says: "Uprightness brings good fortune, ascending steps," which greatly realizes the will. Su Shi said: The term "Zhen" refers to uprightness of Nine Two. "Xun" is able to ascend because of the correspondence with Six Five; Six Five says: This is the step for ascending. The term "Jie" refers to a path for climbing; if I am willing to be the step, others can ascend; if I am not willing to be the step, from where can others ascend? A tree grows upward by overcoming the earth; yet the earth takes the credit for nurturing the tree, never unwilling to support the tree's growth. Therefore, Six Five is willing to be the step for "Xun" to ascend, which is its realization of its will.

上六：冥升，利于不息之貞。 《象》曰：“冥升”在上，消不富也。 “冥”者，君子之所息也；“升”至上六，宜息也。然而不息，則消之道也。施於不息之正者則可。孟子曰：“求則得之，舍則失之。”求在我者，此“不息”之正者也；求之有道，得之有命。求在外者，此“不息”之不正者也。

The line statement of the sixth line at the top says: In darkness, still continuing to rise, it is appropriate to use this in the ceaseless right path. The image commentary says: "Rising in darkness" and residing at the top, is a path of decline and not one of abundance. Su Shi said: The term "ming" refers to the time when a gentleman should stop; when reaching the sixth line at the top, one should have already stopped. Yet if one still does not stop, then it is heading toward decline. However, if this ceaseless effort is used on the right path, then it is acceptable. The Mencius, in the section "Complete Heart," says: "If you seek, you will obtain; if you abandon, you will lose." Seeking what is within oneself is the proper way of ceaseless effort; whereas seeking with a certain method but receiving or not receiving according to fate is seeking external things, which is the improper way of ceaseless effort.

兌上，坎下。 “困”：亨，貞大人吉，無咎；有言不信。 《彖》曰：“困”，剛揜也。 九二為初六、六三之所揜，九四、九五為六三、上六之所揜，故“困”。“困”者坐而見制，無能為之辭也。陰之害陽者多矣，然皆有以侵之；夫惟侵之，是以陽不能堪而至於戰。戰者有危道也，而無所謂“困”。“困”之世，惟不見侵，而見揜。陰有以消陽，而陽無所致其怒，其為害也深矣。

The hexagram "Goon" has the upper trigram "Dui" (Lake) and the lower trigram "Kan" (Water). The hexagram statement says: The hexagram "Goon" is smooth; the upright person who maintains correctness is fortunate without fault; at this time, even if words are spoken, they are not believed. The commentary on the judgment says: "Goon" means yang is obscured by yin. Su Shi said: Nine in the second is obscured by six at the beginning and six in the third; nine in the fourth and nine in the fifth are obscured by six in the third and six at the top. Therefore, it is called "Goon."the so-called "Goon" refers to being seated and restrained, with no way to act. The situation where yin harms yang is common, but mostly it is an invasion. Since it is an invasion, yang cannot bear it and thus comes into conflict. Conflict is indeed dangerous, but it is not called "Goon." The situation of the hexagram "Goon" is not one of invasion, but of being obscured: yin gradually weakens yang, and yang cannot even find an object to be angry with. This kind of harm is deeper.

險以說，困而不失其所亨，其唯君子乎？“貞大人吉”，以剛中也。 剛中者，二也；二之謂大人。“貞”於“大人”而後“吉”者，五也。 “有言不信”，尚口乃窮也。 《象》曰：澤無水，“困”；君子以致命遂志。 “水”，潤下者也。在“澤”上則居，在“澤”下則逝矣。故“水”在“澤”下，為“澤無水”，命與志不相謀者也，故各致其極，而任其所至也。

The Commentary on the Judgment continues to say: Being in a dangerous situation yet still harmonious, inpredicament yet not losing his prosperity, perhaps only a gentleman can achieve this. "The upright adult is auspicious" because the yang line is in the center. Su Shi said: The yang line in the center is nine two, and nine two is what is called "the great man." To be upright toward the "great man" and then to be auspicious is the meaning of nine five. The Commentary on the Judgment says: "Words are not trusted" because it is to value words and speech and thus to be at a loss. The Image Commentary says: A marsh without water, this is the image of the hexagram of困. The gentleman takes it as a model, sacrificing his life and death to complete his aspirations. Su Shi said: The nature of water is to flow downward. When water is above the marsh, it can stay; when it is below the marsh, it flows away. Therefore, when water is below the marsh, it becomes "a marsh without water" — this is the situation where life and death cannot both be fulfilled. Thus, one can only let both reach their extremes, and let it go wherever it may.

初六：臀困于株木，入于幽谷，三歲不覿。 《象》曰：“入于幽谷”，幽不明也。 初六，揜九二者也。揜者非一人之所能，故初六之揜九二，必將有待於六三。六三固以初為“臀”也，“臀”得其所據而後其身能有所為。今六三之所據者，“蒺藜”也，則臀已困于株木，身且廢矣。“株木”也，“蒺藜”也，皆非臀之所據者也。夫以柔助剛，則其幽可明；以柔揜剛，其誰明之？“入谷”者也，有配在四而不善二，是以“三歲”不得見也。

The Line Statement of the first line says: The buttocks are trapped on a dry tree stump and fall into a deep valley, and for three years they cannot meet. The Image Commentary says: "Entering the deep valley" indicates darkness and lack of clarity. Su Shi says: The first line is the one that blocks the second line. Blocking is something that cannot be done by one person alone, so for the first line to block the second line, it must rely on the third line. The third line originally takes the first line as its "buttocks"; only with a place to sit can the body act effectively. Now the third line is sitting on "thorn weeds," so the buttocks are already trapped on the dry tree stump, and the whole body is rendered useless. Whether it is a "dry tree stump" or "thorn weeds," neither is suitable for the buttocks to sit on. Using flexibility to assist strength, even in darkness, light can be achieved; using flexibility to block strength, who will illuminate it? Therefore, it is called "entering the valley." It clearly has a proper match in the fourth line, yet it insists on causing trouble with the second line, hence "for three years" they cannot meet.

九二：困于酒食，朱紱方來，利用享祀；征凶，無咎。 《象》曰：“困于酒食”，中有慶也。 “困”之世，利以柔用剛。二與五皆剛者也，二以柔用之，而五以剛用之。天下之易懷者，惟小人也；方其見揜也，爭之以力，雖刀鋸有不足；而將懷之也，則酒食有餘矣，故九二“困于酒食”，所以懷小人也。九五則不然：揜我下者，我劓之；揜我上者，我刖之；輕用其威，威窮而物不服，乃大困也。既困而無助，則雖欲不求二不可得矣。“赤紱”者，所以爵命二也，故曰困於“赤紱”。五以赤紱為困，而二以是為方來，言此五之所困，而二之所不求而至也。困而求二，乃徐有說，以其用說為已晚矣。說於未困，則其所以為說者小，故九二之所困者，酒食而已；說於已困，則其所以為說者重，故九五之所困者，爵命也。祭祀者，人之求神而神無求也。祭之者，人也；享之者，神也。五求二，故祭之；二不求五，故享之而已。享之者固不徵，而征以求之，故“凶”。雖然，其義則不可咎，以其所從者君也。

The line statement of the second line says: "Being trapped by wine and food, the red sash is coming, which is favorable for worship; if going to war, it is ominous, but there is no fault." The Image Commentary says: "Being trapped by wine and food" is because it is in the center and has blessings. Su Shi said: The world of the hexagram "Kun" is suitable for using gentle means to apply strength. Both the second line and the fifth line are strong lines. The second line uses gentle means to apply strength, while the fifth line uses harsh means. The easiest people to pacify are the petty people: when they block you, you should fight them with force, even the sword and axe are not enough; but if you are willing to pacify them, a meal and drink would be sufficient. Therefore, the second line being "trapped by wine and food" is exactly the method to pacify petty people. The fifth line is different: if those below me block me, I cut off their nose; if those above me block me, I cut off their feet. Using force easily, exhausting power but people still not obey, that is the great difficulty. Already in a difficult situation and without help, then even if he does not want to seek help from the second line, he cannot do so. The red sash is the thing used to confer rank and position upon the second line, so it is said to be trapped by the red sash. The fifth line sees the red sash as a difficulty, while the second line sees it as "coming from the other side." This is the reward given by the fifth line when he is in difficulty, and also the second line receives it without seeking. When one is finally in difficulty, he goes to seek the second line, thus gradually gaining joy, but this joy comes too late. If one can make people joyful before they are in difficulty, the means to please them can be small, so the second line is only trapped by wine and food. But when one is already in difficulty, the means to please them become heavy, so the fifth line is trapped by rank and position. As for worship, it is people who seek the gods, not the gods seeking people: the worship is for people, and the enjoyment is for the gods. The fifth line seeks the second line, so he is the one who performs the worship; the second line does not seek the fifth line, so he is only the one who receives the worship. The one who receives worship should not go to war, if he goes to war to seek others, so it is ominous. Although so, from the point of view of righteousness, it is not blame-worthy, because he follows the ruler.

六三：困于石，據于蒺藜；入于其宮，不見其妻，凶。 《象》曰：“據于蒺藜”，乘剛也；“入于其宮，不見其妻”，不祥也。 六三，上揜四、下揜二者也。堅而不可勝者，石也；四之謂“石”。傷而不可據者，“蒺藜”也，二之謂“蒺藜”。六三陰也，而居於陽，自以為陽，而求配於上六，“不祥”也。三之應在上，而上六非其應也，“宮”則是矣，而非其“妻”。故曰：“入于其宮，不見其妻，凶。”小人易合而難久，故“困”之三陰，其始相與締交而揜剛，其終初六之“臀”困，六三之“妻”亡。

The line statement of the third line says: being trapped by a stone and sitting on thorns; entering one's house but not seeing one's wife, which is ominous. The image commentary says: "sitting on thorns" is because it is overpowering the strong line above it; "entering one's house but not seeing one's wife" is an ominous sign. Su Shi says: the third line is a line that covers the fourth line above and the second line below. The stone is hard and unbreakable, and the fourth line is the "stone"; the thorns are harmful and not to be sat upon, and the second line is the "thorns." The third line is originally a yin line, but it is in a yang position, so it mistakenly considers itself yang, and thus turns to the top line for union. This is why it is "ominous." The third line's proper corresponding line is the top line, but the top line is not its true spouse: the house is correct, but the person inside is not its "wife," hence "entering one's house but not seeing one's wife, ominous." Small people may easily come together but cannot last, so the three yin lines in the hexagram of困 initially unite to cover the yang lines, but in the end, the "buttocks" of the first line are trapped and the "wife" of the third line disappears.

九四：來徐徐，困于金車，吝；有終。 《象》曰：“來徐徐”，志在下也；雖不當位，有與也。 初六我之配，二之所惡也。二剛而在下，載己者也，故為“金車”。欲下從初六而困於二，故其來“徐徐”，不急於配。配之所怨，剛之所與也，故雖“吝”而“有終”。 九五：劓、刖，困于赤紱，乃徐有說，利用祭祀。 其曰“赤紱”，正也；“朱紱”，嚴之也；下受上之辭也。 《象》曰：“劓、刖”，志未得也；“乃徐有說”，以中直也；“利用祭祀”，受福也。 “用”，九二也。

The fourth line statement says: Coming slowly, being trapped by a golden carriage, there is regret, but ultimately there is a good outcome. The Image Commentary says: "Coming slowly" indicates the mind is below; although occupying an improper position, there is assistance from others. Su Shi says: The initial line is the proper match for the fourth line, yet it is disliked by the second line. The second line is strong and located below, carrying the things of the fourth line, so it is compared to a golden carriage. The fourth line wishes to descend to follow the initial line but is blocked by the second line, so it comes "slowly," not rushing to take its proper match. The match's object of resentment is precisely the side favored by the strong line, so although there is "regret," there is ultimately a good outcome. The fifth line statement says: Suffering the punishments of nose-cutting and foot-cutting, trapped by a red sash, slowly there is joy, favorable for worship. Su Shi says: Here it says "red sash," which is its proper name; the second line above says "red sash," which adds solemnity, that being the way of receiving it from below. The Image Commentary says: "Nose-cutting and foot-cutting" indicates that the mind has not yet been realized; "only slowly there is joy" is because the fifth line is in the center and upright; "favorable for worship" is because it can receive blessings. Su Shi says: The term "use" refers to the second line.

上六：困於葛蘲，于臬危兀危；曰：動悔，有悔；征吉。 柔而牽己者，葛蘲也；三之謂“葛蘲”。剛而難乘者，臬危兀危也；五之謂“臬危兀危”。上六困於此二者而不能去，則謀全之過也。曰：不可動，動且有悔，而不知其不動乃所以有悔也。上無揜我者，則吉莫如征也，而不徵，何哉！以柔用剛，則乘之者至以為“蒺藜”；以剛用剛，則乘之者以為“臬危兀危”而已。 《象》曰：“困於葛蘲”，未當也。 上六足以為配，而六三未足以當也。 “動悔有悔”，吉行也。

The line statement of the top six says: being entangled by vines, standing in a dangerous and unstable position; in the heart it says: once there is movement, regret will follow, and indeed there is regret; going to war is auspicious. Su Shi says: the soft and entangling vines are the 'Gé Téng', and the six in the third is that 'Gé Téng'; the hard and difficult to overcome is the unstable and dangerous thing, and the nine in the fifth is that 'Niè Wù'. The top six is trapped by these two things and cannot escape, because it is overly eager for perfection and thus miscalculates. In its heart it says: do not move, for once there is movement, regret will follow; but it does not realize that it is precisely by not moving that regret is brought about. There is no one above to protect me anymore, so the most auspicious thing is to move forward and go to war, yet it refuses to do so. Why is that! Using softness to control strength, those who dominate it only regard it as prickly 'Jí Lí'; using hardness to control strength, those who dominate it also only regard it as dangerous and unstable 'Niè Wù' at most. The Image Commentary says: 'being entangled by Gé Téng' is because of improper handling. Su Shi says: the top six is capable of being the spouse of the six in the third, yet the six in the third cannot be paired with it. The Image Commentary says: 'movement brings regret' is to say that going to war is the auspicious action.

兌上，坎下。 “井”：改邑不改井，無喪無得，往來井井，汔至亦未繘井，羸其瓶，凶。 《彖》曰：巽乎水而上水，“井”，井養而不窮也。“改邑不改井”，乃以剛中也；“汔至亦未繘井”，未有功也。“羸其瓶”，是以凶也。 食者，往也；不食者，來也。食不食，存乎人。所以為“井”者，存乎己。存乎人者，二；存乎己者，一。故曰“往來井井”。“汔”，燥也。至井而未及水，曰“汔”。至得水而來出井，曰“未繘井”。井未嘗有得喪，“繘井”之為功，“羸瓶”之為凶，在汲者爾。 《象》曰：木上有水，“井”；君子以勞民勸相。 人之於井，未有錮之者也；故君子推是道“以勞民勸相”。

The hexagram "Well" has the upper trigram "Dui" (Lake) and the lower trigram "Kan" (Water). The hexagram statement says: A city can be changed, but a well cannot be changed; the water in the well neither decreases nor increases; people coming and going all go to the well to draw water. When drawing water, the rope has not yet reached above the well, and the jar is broken, resulting in misfortune. The commentary on the judgment says: A wooden bucket is lowered into the water and brings it up, which is called "Well"; the well nourishes people without ever being exhausted. "Changing the city but not the well" is because the second line and the fifth line are strong and centered; "almost reaching but not yet drawing water from the well" indicates the work is not yet completed; "breaking the jar" is why there is misfortune. Su Shi said: Those who come to draw water for drinking are called "going," and those who do not come are called "coming." Whether people drink or not depends on them, but the well becomes a well because of itself. There are two sides depending on others, but only one side depending on itself, so it is said "coming and going to the well." "Qi" means to approach; when one reaches the well but does not yet reach the water, it is called "qi"; when water is drawn up but not yet lifted out of the well, it is called "not yet drawing water from the well." The well itself has never been about gain or loss; lifting water with the rope is considered success, and breaking the jar is considered danger, but these are all matters for the person drawing water. The image commentary says: Water on wood, this is the image of the hexagram "Well"; the gentleman takes this as a model, comforting the people and encouraging them to help each other. Su Shi said: People have never enclosed the well to monopolize it; thus, the gentleman extends this principle to "comfort the people and encourage mutual assistance."

初六：井泥不食，舊井無禽。 《象》曰：“井泥不食”下也；“舊井無禽”，時舍也。 《易》以所居為邪、正，然不可必也；惟“井”為可必。井未有在潔而不清，處穢而不濁者也，故即其所居，而邪、正決矣。孔子曰：“君子惡居下流，天下之惡者歸焉。”初六，惡之所鍾也；君子所受於天者無幾，養之則日新，不養則日亡，擇居所以養也。《彖》曰“井養而不窮”，所以養“井”者，豈有他哉！得其所居則潔，潔則食，食則日新，日新故不窮。“井泥”者，“無禽”之漸也，“泥”而“不食”，則廢矣。“舊井”，廢井也；其始無人，其終無禽。無人猶可治也，無禽不可治也。所以為井者亡矣，故時皆舍之。

The line statement for the first line says: The well has become muddy at the bottom, and the water is not drinkable; it has become a useless well, even birds do not come. The image commentary says: "The well water is not drinkable" because it is at the very bottom; "the old well has no birds" because the situation has abandoned it. Su Shi said that the Zhou Changes usually determine righteousness and wickedness based on the position of a single line, but this is not always reliable; only the well is absolutely reliable. There is no well that is in a clean place and yet the water is not clear, or in a dirty place and yet the water is not turbid. Therefore, if we look at the position it occupies, righteousness and wickedness are immediately clear. Confucius said: "A gentleman hates to be in a low place, because the evil name of the world is attributed to it." The first line is the place where all evils gather. People receive from heaven only a small amount, and if they cultivate themselves, they renew day by day; if they do not cultivate themselves, they wither day by day. Choosing where to dwell is the way of cultivation. The commentary on the judgment says "the well nourishes without end," so what is the secret to cultivating the well? If it is in a suitable place, it is clean; if it is clean, people come to drink; if people come to drink, it renews day by day; if it renews day by day, it will never run dry. "Muddy well water" is the beginning of "no birds come." When the well becomes muddy and no one drinks from it, the well becomes abandoned. "Old well" is a useless well; at first, no one comes, eventually not even birds come. If no one comes, it can still be repaired, but if not even birds come, there is nothing to repair it. The thing that makes it a well has already disappeared, so people of the world abandon it.

九二：井谷射鮒，甕敝漏。 《象》曰：“井谷射鮒”，無與也。 九二居非其正，故無應於上則趨下而已。下趨者，谷之道也；失井之道而為谷，故曰“井谷”。九二之所趨者，初六也；初六之謂“鮒”。井而有“鮒”，則人惡之矣，然猶得志於甕，何也？彼有利器，而肯以我汙之歟？此必敝漏之甕，非是甕，不汲是井也。

The line statement of the second line says: The well water leaks out from the side hole, only enough to catch small fish, and the bucket used to draw water is broken and leaking. The image commentary says: "The well becomes a valley, catching small fish," because there is no corresponding person above it. Su Shi says: The second line is in an improper position, and since there is no proper correspondence above, it can only flow downward. Flowing downward is the nature of a valley; losing the function of a well and becoming a valley, thus it is called "well-valley." The second line is directed toward the initial line, and the initial line is that "small fish." When there are small fish in the well, people dislike them; yet they can still be content with the bucket. Why is that? If someone has a good vessel, would they be willing to let me dirty it? It must be a broken and leaking bucket; only such a bucket would draw from such a well.

九三：井渫不食，為我心惻；可用汲，王明並受其福。 《象》曰：“井渫不食”，行惻也；求“王明”，受福也。 “渫”，潔也。九三居得其正，井潔者也。井潔而不食，何哉？不中也。不中者，非邑居之所會也，故“不食”。井未有以不食為戚者也，凡為我惻者，皆行道之人爾，故曰“行惻”。“行惻”者，明人之惻我，而非我之自惻也，是井則非敝漏之甕所能容矣，故擇其所用汲者。曰：孰可用者哉？其惟器之潔者乎？器之潔，則王之明者也；器潔王明，則受福者非獨在我而已。

The line statement of the third line says: "The well has been cleaned and purified, yet no one comes to drink from it, causing me deep sorrow; this well can be used for drawing water, if the king is enlightened, all people can share its benefits." The image commentary says: "The well is cleaned but not used," is the passing traveler feeling sorrow for it; seeking "the enlightened king," is to share the blessings together. Su Shi said: "Xie" means to clean. The third line is in the correct position, representing the line of the well's water being clean. The well has been cleaned but no one comes to drink from it, why is that? Because it is not in the central position. Not being in the central position, it is not a place where people from the city or village pass through, so it is "not used." The well itself will never be sad because no one comes to drink from it; whoever feels sorrow for me is just a passing traveler, so it is said "sorrow is felt." Saying "sorrow is felt" is to clarify that it is others who feel sorrow for me, not me myself feeling sorrow. Such a well cannot be contained by a broken and leaking jar, so we need to choose the vessel for drawing water. Someone asks: what kind of vessel can be used? The answer is: only a clean vessel. A clean vessel means the king is enlightened; a clean vessel and an enlightened king mean that the blessings will not be limited to me alone.

六四：井甃，無咎。 《象》曰：“井甃無咎”，修井也。 “修”，潔也。陽為動、為實，陰為靜、為虛。泉者所以為井也，動也實也；井者泉之所寄也，靜也、虛也。故三陽為泉，三陰為井。初六最下，故曰“泥”；上六最上，故曰“收”；六四居其間而不失正，故曰“甃”。“甃”之於井，所以御惡而潔井也，井待是而潔，故“無咎”。

The Line Statement of the Fourth Line says: "Using bricks and stones to build the well wall, there is no fault." The Image Commentary says: "The well wall has no fault," meaning it is repairing the well. Su Shi said that the word "修" here means making it clean. Yang is active and substantial, while Yin is passive and empty. Spring water is what makes the well a well, belonging to activity and substance; the well is the place where spring water resides, belonging to passivity and emptiness. Therefore, the three Yang lines represent the spring water, and the three Yin lines represent the well. The line "Initial Six" is at the very bottom, so it is called "mud"; the line "Upper Six" is at the very top, so it is called "closure"; the line "Six in the Fourth" is in the middle without losing its correctness, so it is called "well wall." Using bricks and stones to build the well wall is to block filth and keep the well water clean; the well depends on it to be clean, so there is "no fault."

九五：井洌寒泉，食。 《象》曰：“寒泉”之“食”，中正也。 此其“正”，與九三一也，所以食者，“中”也。 上九：井收，勿幕；有孚，元吉。 《象》曰：“元吉”在上，大成也。 “收”者，甃之上，窮也。“收”非所以為井，而井之權在“收”。夫苟幕之，則下雖有寒泉而不達，上雖有汲者而不獲，故“勿幕”，則“有孚，元吉”。

The line statement of the fifth line says: The well water is clear and cold, a sweet and cold spring, suitable for drinking. The image commentary says: The cold spring is used by people because it is upright and just. Su Shi says: The "correctness" in the fifth line is the same as that in the third line; it is because of the "center" that people come to drink from it. The line statement of the top line says: The well mouth's closing part should not be covered; with sincerity, there is great good fortune. The image commentary says: "Original good fortune" residing at the top is a great accomplishment. Su Shi says: "Closing" refers to the topmost layer of the well wall made of bricks, that is, the end of the well. "Closing" itself is not what makes the well a well, yet the key to the well lies in "closing." If it is covered, then even if there is sweet and cold spring water below, it cannot be brought up, and even if there are people drawing water above, they cannot obtain it. Therefore, it says "do not cover," which is why "with sincerity, there is great good fortune."

兌上，離下。 “革”：巳日乃孚，元亨利貞，悔亡。 《彖》曰：“革”，水火相息，二女同居，其志不相得，曰：“革”。“巳曰乃孚”革而信之；文明以說，大亨以正；革而當，其悔乃亡。 水、火，則有男女之象然後能相生，此非水、火也。“二女同居”而已。“二女同居”則“睽”，所以不“睽”者，“兌”欲下而遇“離”，“離”欲上而遇“兌”，雖欲相違而不能也。既不相得，又不相違，則不能無相攻；攻而不已，必有一勝；勝者斯“革”之矣。火能革金，“離”革“兌”者也，故曰“革”。火者金之所畏也，而金非火則無以就器用，器成而後知火之利也。故夫“革”，不信於“革”之日，而信於已“革”之日，以其始之不信，是以知悔者“革”之所不能免也，特有以亡之爾。

The Hexagram of Revolution has the Upper Trigram as 「Dui」 (Lake) and the Lower Trigram as 「Li」 (Fire). The Hexagram Statement says: The Hexagram of Revolution is only believed on the Si day, it is greatly smooth, favorable for upholding the right path, and regret disappears. The Commentary on the Judgment says: 「Revolution」 is when water and fire mutually extinguish each other; two women living in the same house but with different hearts, this is called 「Revolution」. 「Belief comes on the Si day」 means that people only believe after the change has taken place; the brilliance and joy are great, smooth and upholding the right path; when the change is appropriate, regret naturally disappears. Su Shi said: Water and fire must first have the image of male and female pairing before they can mutually transform each other; but this hexagram is not about water and fire, it is only about two women living together — 「Dui」 is the young woman, 「Li」 is the middle woman. Two women living together should be like the Hexagram of Estrangement, where they are apart from each other. But they are not apart because 「Dui」 wants to go down but meets 「Li」, and 「Li」 wants to go up but meets 「Dui」, they cannot avoid each other. Since they cannot come together and cannot avoid each other, they must attack each other; continuous attack will surely result in one side winning, and the winner will 「revolutionize」 the other. Fire can transform metal, and this hexagram is 「Li」 transforming 「Dui」, so it is called 「Revolution」. Fire is what metal fears, but metal cannot become a tool without fire; once the tool is made, people realize the benefit of fire. Therefore, the act of revolution will not be trusted on the day it is initiated, but only after the revolution is completed. Because it is not trusted at the beginning, people know that regret is inevitable in revolution, but it can eventually disappear.

天地革而四時成；湯武革命，順乎天而應乎人。革之時大矣哉！ 《象》曰：澤中有火，“革”；君子以治曆明時。 “歷”者天事也；“時”者，人事也。

The Commentary on the Judgment continues to say: heaven and earth change and the four seasons are formed; King Tang of Shang expelled King Jie of Xia, and King Wu of Zhou attacked King Zhou of Shang, changing the mandate of heaven, above conforming to heaven and below responding to people. The timing corresponding to the hexagram of Change is indeed significant! The Image Commentary says: there is fire in the marshy water, which is the image of the hexagram of Change; the gentleman takes it as a model, rectifying the calendar and clearly distinguishing the seasons. Su Shi said: "Calendar" belongs to heaven, and "time" belongs to mankind.

初九：鞏用黃牛之革。 《象》曰：“鞏用黃牛”，不可以有為也。 以卦言之，則“離”革“兌”者也；以爻言之，則陽革陰者也。六爻皆以陽革陰，故初九、九三、九四、九五四者所以革人；而六二、上六者人革之。初九、九三所以為革者，火也；而六二者火之所附，初九、九三之所欲革者也。火以有所附為利，而所附者以得火為災，故初九、九三常願六二之留而不去也。夫六二苟留而不去，其見革也無日矣。六二之慾去，如“遯”之九三之慾遯也，故初九當用“遯”之六二，所以執九三者，固而留之。六二之所以去者，以我有革之之意也；故“不可以有為”，有為則革之之意見矣。

The line statement for the initial nine says: "Use yellow ox hides to bind firmly." The image commentary says: "Binding with yellow ox hides" means that at this time, there should be no action. Su Shi said: In terms of the whole hexagram, it is "Fire" changing "Lake"; in terms of the line, it is yang changing yin. All six lines are yang changing yin, so the initial nine, third nine, fourth nine, and fifth nine are those who initiate change, while the second six and top six are those being changed. The initial nine and third nine are able to initiate change because of fire; the second six is the thing that fire depends on, and it is exactly the target of the initial nine and third nine's change. Fire benefits from having something to rely on, but the thing that is relied on suffers disaster because of the fire. Therefore, the initial nine and third nine always hope that the second six will stay. But if the second six really stays, then being changed is just a matter of time. The second six wanting to leave is like the third nine in the hexagram of Retreat wanting to flee. Therefore, the initial nine should follow the example of the second six in the hexagram of Retreat, using yellow ox hides to bind the third nine firmly. The second six wants to leave precisely because I have the intention to change it; therefore, it is said "there should be no action" — once there is action, the intention to change it is revealed.

六二：巳日乃革之，征吉，無咎。 《象》曰：“巳日革之”，行有嘉也。 初九之所以固我，非愛我也，畏我去之；故未見其革爾。徒見其今之固我而不我革，以為可信而與之處，則及矣。君子見幾而作，彼今日不革，巳日必革之，故“征吉”。為初九計，則宜留；自為計，則宜徵。六二之所謂“嘉”者，五也；五之所以為“革”者，與初異矣。舍初從五，其吉也，豈復有咎哉！

The Line Statement of the Second Line says: On the day of Si, it will be changed, going out to campaign brings good fortune, without fault. The Image Commentary says: 'On the day of Si, it will be changed,' indicating that this action will result in a favorable outcome. Su Shi said: The reason why the Nine at the Beginning holds me tightly is not out of love for me, but to prevent me from leaving. Therefore, at present, it is still not evident that it will change me. If one only sees that it holds me today without changing me and thus believes it can be trusted and stays with it, disaster will come. A gentleman acts immediately upon seeing subtle signs: although it does not change me today, on the day of Si it will certainly change me, hence 'good fortune in going out to campaign.' For the Nine at the Beginning, the Second Line should remain; for oneself, the Second Line should go out to campaign. The 'good' mentioned in the Second Line refers to the Nine in the Fifth. The way of change practiced by the Nine in the Fifth is different from that of the Nine at the Beginning. To abandon the Nine at the Beginning and follow the Nine in the Fifth, such good fortune, how could there be any fault?

九三：征凶，貞厲。革言三就，有孚。 《象》曰：“革言三就”，又何之矣！ 九三有應於上，故其意常欲征也。六二之所以不得去者，以我乘之也；舍之而征，則二去矣。二苟去之，則我與初九無所施其革，二陽相灼而喪其所附，則窮之道也。故“征凶，貞厲”。貞者，不征之謂也；不征則與六二處而不相得以相革者也，故危。雖危而不凶，言者以也。“革言三就”，猶曰革以三成。三者相持而成革，明二之不可去也。二存則初與三相信，二去則初與三相疑，此必然之勢也。故曰：“革言三就，有孚。”

The line statement of the third line says: Going to war will bring misfortune, even if one remains steadfast there will be danger. After careful deliberation on the proposal for change, there will be sincerity. The Image Commentary says: "The proposal for change is thrice confirmed," where else could it go! Su Shi says: The third line corresponds with the top line, so it is always eager to go to war. The reason the second line cannot move is because the third line is pressing upon it. If I abandon it to go to war, the second line will leave. Once the second line leaves, there will be no place for me and the first line to carry out the change. The two yang lines will burn each other and lose their support, which is the state of being at an end. Therefore it says, "Going to war will bring misfortune, remaining steadfast brings danger." What is meant by "steadfastness" is not going to war. Not going to war means having to stay with the second line, which leads to mutual discord and mutual change, hence danger. Although dangerous, it is not necessarily disastrous, and the line statement says this for a reason. "The proposal for change is thrice confirmed" means that change requires the effort of three parties. The three parties restrain each other and thus achieve change, showing that the second line must not be allowed to leave. If the second line remains, the first line and the third line trust each other; if the second line leaves, the first line and the third line will become suspicious of each other, which is an inevitable situation. Therefore it says: "The proposal for change is thrice confirmed, there is sincerity."

九四：悔亡，有孚；改命，吉。 《象》曰：“改命”之“吉”，信志也。 下之二陽，以火為革者也；故見革者惟欲去之，此德不足者也。德不足而革，則所革者亡，革者亦凶。故初九、九三，皆以六二之留為吉也。上之二陽則不然，其革也以說。革而人莫不說，非有德者，其孰能之？九四，未當位者也；未當位而革，故悔革而說，故“悔亡，有孚”也。改命者始受命也，雖未當位，而志自信矣。

The fourth line statement says: Regret disappears, sincerity remains; changing the heavenly mandate brings good fortune. The Image Commentary says: The reason why changing the mandate is auspicious is because its sincerity is trusted by people. Su Shi said: The two yang lines below are transformed by fire, so the party being changed only wants to flee, which is due to insufficient virtue. If one lacks virtue and yet initiates change, then the party being changed flees, and the one initiating change also meets misfortune. Therefore, both the initial nine and the third nine consider it auspicious to retain the second six. The two yang lines above are different: their change is carried out through harmony. When change occurs and everyone is joyful, who else but a virtuous person could achieve this? The fourth nine is a line that is improperly positioned; initiating change from an improper position should bring regret, but its change brings joy to people, hence 'regret disappears, sincerity remains.' The term 'changing the mandate' refers to reaccepting the heavenly mandate; although improperly positioned, its sincerity naturally gains the trust of people.

九五：大人虎變，未占有孚。 《象》曰：“大人虎變”，其文炳也。 《易》曰：“雲從龍，風從虎。”虎有文而能神者也，豹有文而不能神者也。故大人為虎，君子為豹。非大人而革者，皆毀人以自成，廢人以自興，故人之從之也，必占其可從而後信。若大人之革也，則在我而已炳然日新，天下之所謂文者自廢矣，此豈待占而後信者哉！

The line statement of the fifth line says: "The great man is like a tiger shedding its fur, completely renewed, and does not need to consult omens to gain the trust of others." The Image Commentary says: "The great man's transformation is like a tiger's," meaning his virtue is bright and radiant. Su Shi said: "The Zhou Changes, the section on the Qian hexagram's Wenyan says: 'Clouds follow the dragon, wind follows the tiger.' The tiger has virtue and can communicate with spirits, while the leopard has virtue but cannot communicate with spirits. Therefore, the great man is compared to the tiger, and the gentleman to the leopard. Those who are not great men but carry out changes must rely on destroying others to achieve themselves, and discard others to elevate themselves. Therefore, when people follow them, they must first consult whether it is appropriate to follow, and only then dare to believe. As for the great man's change, it is already bright and radiant and ever-renewing within himself; thus, all those who claim to have virtue in the world naturally become obsolete. How could one need to consult omens before believing?"

上六：君子豹變，小人革面，征凶，居貞吉。 《象》曰：“君子豹變”，其文蔚也；“小人革面”，順以從君也。 上六，見革於大人者也。此見革者君子也，則其向之未革，乃其避世之遇爾。豹生而有文，豈其無素而能為之哉！若小人也，則革面而已。朝為寇讎，莫為腹心，無足怪者。下之二陽，德不足者也，故六二以征為吉；上之二陽，大人也；故上六以征為凶。

The line statement of the sixth line at the top says: A gentleman is like a leopard shedding its old skin, displaying remarkable refinement and beauty; a petty person merely changes his expression. At this time, going to war is ominous, but remaining in a proper and stable position is auspicious. The image commentary says: "A gentleman's transformation is like a leopard's shedding of its skin," meaning his refinement and beauty are abundant and impressive; "a petty person's change of face" means he is submissive and follows the superior. Su Shi said: The sixth line at the top is the party being transformed by a superior. If this person is a gentleman, then he has not yet been transformed before because he was in a time of retreat. A leopard is born with its patterns; how could it be something it suddenly imitates? If it is a petty person, then it is merely changing his expression; being an enemy in the morning and a trusted aide by evening is not surprising. The two yang lines below are lacking in virtue, so it is auspicious for line six to go to war; the two yang lines above are the superiors, so it is ominous for line six to go to war.

離上，巽下。“鼎”：元吉，亨。《彖》曰：“鼎”，象也。“象”者，可見之謂也。天之生物不可見，既生而剛強之者可見也。聖人之創業，其所以創之者不可見，其成就熟好，使之堅凝而不壞者可見也。故《象》曰：“君子以正位凝命。”“革”所以改命，而“鼎”所以凝之也；知“革”而不知“鼎”，則上下之分不明而位不正，雖其所受於天者，流泛而不可知矣。

The upper trigram is "Li" (Fire), and the lower trigram is "Xun" (Wind), forming the hexagram "Ding" (Tripod). The hexagram statement says: The hexagram "Ding" brings great good fortune and smoothness. The commentary on the judgment says: The hexagram "Ding" represents a visible image. Su Shi explains: The term "image" refers to the aspect that can be seen. Heaven nurtures all things, but the process of nurturing is not visible; however, once things have been formed and become firm and strong, this aspect becomes visible. Similarly, a sage establishes a great cause, but the effort and intention behind the establishment are not visible; however, once the cause is completed and perfected, solid and unbroken, this aspect becomes visible. Therefore, the image commentary says: "The superior person regulates his position and consolidates his destiny." The hexagram "Ge" (Change) is used to change heaven's mandate, while the hexagram "Ding" is used to consolidate heaven's mandate. If one only understands change but not consolidation, the distinctions between above and below will be unclear, and positions will not be properly established. In that case, even what is received from heaven will become chaotic and dispersed, and be difficult to grasp.

以木“巽”火，亨飪也。聖人亨以享上帝，而大亨以養聖賢。大器非器也，大亨非亨也。取“鼎”之用而施之天下，謂之“大亨”。“鼎”之用，極於亨帝而已，以其道養聖賢，則亨之大者也。國有聖賢，則君位定而天命固矣。“巽”而耳目聰明，柔進而上行，得中而應乎剛，是以“元亨”。“元亨”，所謂“元吉，亨”也。柔進而上行者，五也；五得中而應乎剛，則所以為耳目者，“巽”也。《象》曰：木上有火，“鼎”；君子以正位凝命。

The Commentary on the Judgment says: Adding firewood to the fire in accordance with the fire's direction is called cooking. The sage uses the ingredients for cooking to offer sacrifices to the Supreme Deity, and also uses grand cooking to nourish the sages. Su Shi said: The greatest vessel is no longer just a vessel, and the greatest cooking is no longer just cooking. Extending the function of the tripod to the whole world to carry out the rites, this is called "Great Prosperity." If we consider only the vessel, its use is at most to cook animals for sacrifice to the Supreme Deity; but if we use the principle contained within the tripod to nourish the sages, that is the greatest form of cooking. When there are sages in the state, the ruler's position is secure, and the mandate of heaven is firm. The Commentary on the Judgment then says: Humble and compliant, with keen hearing and sight, the flexible line advances and occupies the high position, attains the middle path and harmonizes with the strong lines above and below, thus "Great Prosperity" is achieved. Su Shi said: Here, "Great Prosperity" refers to the "Great Good" and "Prosperous" in the hexagram statement. The flexible line advancing to the high position is the line six in the fifth; the line six in the fifth occupies the middle position and corresponds with the strong line nine in the second. Thus, the line below, "Wind," serves as the ears and eyes. The Image Commentary says: Fire burning on wood, this is the hexagram of the Tripod; the gentleman takes this as a model, maintaining his proper position and establishing his appointed duty.

初六：鼎顛趾，利出否；得妾以其子，無咎。《象》曰：“鼎顛趾”，未悖也；“利出否”，以從貴也。六爻皆“鼎”也。當其處者有其象，故以初為“趾”，二與三四為“腹”而實在焉；五與上為“耳”。初六上應九四，顛趾之象也；夫“鼎”，聖人將“以正位凝命”，亨而熟之至於可食而後已；苟有不善者在焉，則善與不善皆亨而並熟，而善者棄矣。鼎於是，未有實也；故及其未有實而顛之，以同其不善。如待其有實，則夫不善已汙之矣，實非吾之所欲棄也。於是焉而顛之以其所欲棄，出其所不欲棄，則天下之亂或自是起矣。

The first line statement says: The tripod's legs are turned upside down, and this precisely removes the filth from the tripod; marrying a concubine and having a son through her will not result in any wrongdoing. The Image Commentary says: "The tripod's legs are overturned," which does not contradict the natural order; "it is advantageous to remove the blockage," which is to comply with the superior force. Su Shi said that the six lines together form a tripod, and each line takes its image according to its position: the first line is the tripod's leg, the second line and the third and fourth lines are the body of the tripod, and the actual contents of the tripod are placed there; the fifth line and the top line are the handles. The first line corresponds with the ninth in the fourth line, and is drawn up by the attraction, which is exactly the image of the tripod's legs being overturned. The tripod is an instrument used by the sage to "establish proper positions and consolidate destiny." It is not complete until the food is thoroughly cooked and ready to eat; if there is something bad mixed in, then both the good and the bad are cooked together, and the good will also be discarded along with the bad. At this point, the tripod is still empty, so it is advantageous to turn it over while it is empty, removing all the bad things at once. If we wait until the tripod is already filled, the bad things have already polluted the good, and these things were not what I wanted to discard; when we turn it over, we discard both what I wanted to discard and what I did not want to discard, and perhaps the chaos of the world begins from here.

故曰：“鼎顛趾，未悖也。”“顛趾”而“出否”，盡去之道也；盡去之，則患鼎無實。聖人之於人也，責其身不問其所從，論其今不考其素，苟騂且角，犁牛之子可也。鼎雖以“出否”為利，而擇之太詳、求之太備，天下無完人。故曰：“得妾以其子，無咎。”從其子之為貴，則其出於妾者可忘也。九二：鼎有實，我仇有疾，不我能即，吉。《象》曰：“鼎有實”，慎所之也；“我仇有疾”，終無尤也。九二始有“實”者，“仇”者六五也。所謂“耳”也，九二之實，六五之所舉也。故其《象》曰：“鼎黃耳”。中以為實也，“仇有疾”而不能即我，畏九四也。“鼎”以耳行，故耳能即之則食，不能即之，則不食之道也。始有實者以不食為吉，惡其未足而輕用之也。故曰：“鼎有實，慎所之也。”

Therefore, the Image Commentary says: "The tripod is overturned, but it is not contradictory." Turning the tripod upside down to remove dirt is a thorough way of cleaning; but if it is cleaned too thoroughly, there may be nothing left in the tripod to use. The sage treats people by focusing on their present character rather than their origin, and by judging their current performance rather than their past history. Just as the Analects of Confucius, in the chapter on Yongye, says, if a cow is entirely red and has straight horns, even if it is born from a mixed-color ox, it can still be used as a sacrifice for worship. Although the tripod benefits from removing dirt, if one is too particular and demands perfection, there would be no perfect person in the world. Therefore, the Line Statement says: "Acquiring a concubine's son, there is no blame." Since what is valued is the son's importance, it is acceptable not to be particular about his origin. The Line Statement of Nine in the Second says: "The tripod contains food, my rival is ill and cannot approach me, which is auspicious." The Image Commentary says: "The tripod contains food," meaning one should be cautious about where one goes; "my rival is ill," meaning there will be no blame. Su Shi says that the Second Line is the one where the tripod begins to have food. The term "rival" refers to a matching opponent, which refers to the Fifth Line. The Fifth Line is the ear mentioned earlier, and the food in the Second Line depends on the Fifth Line's ear to lift it up. Therefore, the Image Commentary of the Fifth Line says: "The tripod has a yellow ear," meaning it is based on the virtue of being in the center. The rival is ill and cannot approach me because it fears the Fourth Line. The tripod needs the ear to be moved, so if the ear can approach it, it can eat; if not, it cannot eat. When there is food but it is not yet cooked, it is considered auspicious not to be eaten, because it is forbidden to take it too soon. Therefore, the Image Commentary says: "The tripod has food, be cautious about where you go."

九三：鼎耳革，其行塞。雉膏不食，方雨虧悔，終吉。《象》曰：“鼎耳革”，失其義也。“耳”，上九也。九三之實，上九之所舉也。熟物之謂革，鼎之熟物，以腹不以耳；而上九“離”之極，火之所炎，以耳革者也。耳之受炎也，足以廢塞其行而不足以革，故曰：“鼎耳革，失其義也。”九三，實之將盈者也，於是可食矣，而其行廢，故雖有“雉膏”而不食也。耳以兩舉者也，六五之耳可“鉉”，而上九之耳不可鉉，則六五雖欲獨舉得乎？陰欲行而陽欲留，其為悔也大矣，故至於雨然後悔，虧而終吉。雨者，陰陽之和，“玉鉉”之功也。

The line statement for the third line says: The tripod's ears are scorched and distorted, and the movement of the tripod is obstructed. The delicious wild fowl cannot be eaten, but when rain comes, regret is reduced and ultimately good fortune is achieved. The image commentary says: 'The tripod ears are changed,' meaning the tripod ears have lost their original function. Su Shi says that here 'ear' refers to the upper nine. The contents held by the third line depend on the upper nine to lift them. To cook food is called 'change,' and the tripod cooks food by means of its belly, not its ears. The upper nine is at the top of the 'li' fire, which is the place where the fire is most intense, so it is as if the ears are being used to 'change' the food. The tripod ears are scorched by the fire, which only prevents the tripod from being moved, but cannot cook the food. Therefore, the image commentary says: 'The tripod ears are changed, losing their meaning.' The third line is the line where the contents of the tripod are nearly full. It was already possible to take the food, but the path of movement is blocked, so even the delicious wild fowl cannot be eaten. The tripod ears need both to lift it. The fifth line's ear can be used to lift the horizontal bar, which is used to lift the tripod, but the upper nine's ear is too hot to be used for that. Then, if the fifth line wants to lift it alone, can it do so? Yin wants to move while yang wants to stay, so the regret is great. Therefore, one must wait until yin and yang interact and rain comes, then regret is reduced and good fortune is achieved. Rain is the product of the harmony of yin and yang, which is the effect mentioned later as 'jade bar.'

九四：鼎折足，覆公餗，其形渥，凶。《象》曰：“覆公餗”，信如何也？鼎之量，極於四，其上則耳矣。受實必有餘量，以為溢地也。故九三以不食為憂，明不可復加也；至於九四，溢則覆矣。故孔子曰：“德薄而位尊，知小而謀大，力少而任重，鮮不及矣。”方其未及也，必有告之者而不信，及其已信，則無如之何矣。

The statement of the fourth line says: The tripod's legs break, overturning the delicacies of the prince and marquises, the body of the tripod is stained and in disorder, which is ominous. The Image Commentary says: If the delicacies of the prince and marquises are all overturned, how can such a person be trusted? Su Shi said: The capacity of the tripod reaches its limit at the fourth line, and beyond that is the handle. When holding something, one must leave space for possible overflow. Therefore, the worry of the third line is about not being able to eat, which shows that it is already full and cannot take more; when reaching the fourth line, once it is full, it will overflow and overturn. Therefore, Confucius in the Great Treatise of the Zhou Changes says: 'Those with shallow virtue but high status, limited wisdom but great ambitions, and weak strength but heavy burdens, rarely escape calamity.' When disaster has not yet arrived, there will always be someone warning him, but he does not believe; when he finally believes, it is too late to prevent it.

六五：鼎黃耳，金鉉；利貞。《象》曰：“鼎黃耳”，中以為實也。上九：鼎玉鉉，大吉；無不利。《象》曰：“玉鉉”在上，剛柔節也。六五、上九，皆所謂“耳”也。上九之耳，見於九三，故不復出也；在炎而不灼者，玉也；金則廢矣。六五之為耳也，中而不亢，柔而有容，故曰“黃耳”，則其所以為“鉉”者，以金足矣。上九之為耳也，炎而灼，不可以迫，故曰“耳革”，則其所以為鉉者，玉而後可。

The Line Statement of the fifth line says: The tripod has a yellow ear, paired with a golden handle; it is advantageous to maintain the right path. The Image Commentary says: 'The tripod has a yellow ear' because it is in the central position, and the central path is real. The Line Statement of the topmost line says: The tripod is paired with a jade handle, which brings great good fortune; there is no disadvantage. The Image Commentary says: The jade handle is at the highest position, and it regulates the interaction between the strong and the gentle. Su Shi said: the sixth line and the topmost line are both the ears mentioned earlier. The ear at the topmost line has already been discussed in the third line, so it is not repeated here. The material that remains unburnt in the fire is only jade; gold is no longer suitable here. The ear at the fifth line is in the central position, neither high nor exaggerated, gentle and capable of containing things, so it is called 'yellow ear'; providing such an ear with a handle, gold is sufficient. The ear at the topmost line is heated by the fire, too hot to approach, so it is called 'ear革'; providing such an ear with a handle, jade is essential.

金鉉可以及五而不可以及上，玉鉉則可以兩及矣。可以兩及，則上九之剛、六五之柔，我為之節也。九二之實，利在於不食，故六五之耳，利在於貞而不行；九三之實，以不食為憂，故上九之耳，得玉鉉則“大吉，無不利”。無不利者，上與五、與三之所利也。以鼎熟物，人皆能之；至於鼎盈而憂溢、耳炎而不可舉，非玉鉉不能。此“鼎”之所以“養聖賢”也。

The golden chain can be used on the sixth line's ear, but not on the top line's ear; the jade chain, however, can be used on both ears. Since the jade chain can be used on both, the strength of the top line and the gentleness of the sixth line can both be regulated and harmonized by the jade chain. The food in the second line is good because it is not eaten immediately, so the advantage of the sixth line's ear is that it remains steadfast and does not act rashly. The food in the third line is bad because it cannot be eaten, so the top line's ear, once paired with the jade chain, becomes "greatly auspicious and without any disadvantage." The phrase "without any disadvantage" means that the top line, the sixth line, and the third line all benefit. Everyone can cook food in a cauldron; but when the cauldron is full and there is fear of spilling, and the cauldron ears are too hot to lift, this difficult situation can only be resolved by the jade chain. This is precisely the reason why the " Cauldron " hexagram is able to "nurture sages and virtuous people."

震上，震下。“震”：亨。震來虩虩，笑言啞啞；震驚百里，不喪匕鬯。《彖》曰：“震”，亨。“震來虩虩”，恐致福也；“笑言啞啞”，後有則也。“震驚百里”，驚遠而懼邇也。“震”者，陽德之先，震陰而達陽者也，故“亨”。“震驚百里”，言其及遠也；“不喪七鬯”，言其和也；若震而不和，則必有僵仆隕墜者矣。“七鬯”，祭器也；必取祭器者，以見震長子也。若威而不猛，則可以為祭主矣。“出”之為言，見也。

The upper trigram is "Zhen" (Thunder), and the lower trigram is also "Zhen" (Thunder). The hexagram statement says: The hexagram "Zhen" (Thunder) is smooth and unimpeded. When thunder strikes, people are startled and uneasy, but after it passes, they can laugh and talk freely; the thunder's sound shakes a hundred miles away, yet the sacrificial knife and wine in the hands of the chief priest remain undisturbed. The commentary on the judgment says: The hexagram "Zhen" (Thunder) is smooth and unimpeded. "Zhen comes with fear" indicates that fear brings about good fortune; "laughing and talking joyfully" means that after the event, there is order and regulation. "Shaking a hundred miles" refers to people far away being startled and those nearby being afraid. Su Shi said: "Zhen" is the herald of Yang virtue, which shakes the Yin and allows Yang to flow smoothly, hence "smoothness" ("hen"). "Shaking a hundred miles" refers to its power reaching far away; "not losing the sacrificial knife and wine" refers to its strength without losing peace. If there were shaking without peace, then certainly some would be stunned or injured. The sacrificial knife and wine are ritual vessels, and they are specifically mentioned to show that "Zhen" symbolizes the eldest son. If there is authority without cruelty, then it can serve as the chief priest in the ancestral temple. The meaning of the character "chu" is to appear.

《象》曰：氵存雷，“震”；君子以恐懼修省。初九：震來虩虩，後笑言啞啞，吉。二陽，震物者也；四陰，見震者也。“震”之為道，以威達德者也，故可試而不可遂。試則養而無窮，遂則玩而不終。初九，試而不遂者也，以虩虩之震，而繼之以啞啞之笑，明其不常用也。惟其不常用，故二陰莫敢犯其鋒，皆以逃避而後免也。《象》曰：“震來虩虩”，恐致福也；“笑言啞啞”，後有則也。以其威之不常用，故知其所以震物者，非以害之，欲其恐而致福也。“有則”者，言其不遂也。

The Image Commentary says: Thunder resounds repeatedly, this is the Hexagram of Zhen; the gentleman takes it as a model, keeping in mind caution and self-cultivation. The line statement of Chou Ji says: When the thunder shocks, there is fear and alarm, but after that, one can talk and laugh freely, which is auspicious. Su Shi says: In the hexagram, two yang lines are the ones that cause the movement, while the four yin lines are the ones that receive the movement. The principle of Zhen is to convey virtue through authority, so it can only be used temporarily, not continuously. Using it temporarily, the authority remains strong; using it continuously, people become accustomed to it and it cannot be sustained. Chou Ji is precisely the line that uses it temporarily without continuous use. First there is fear and alarm, then there is ease and laughter, showing that it does not constantly use authority. Because it is not used constantly, the two yin lines dare not challenge its power, and they avoid it to escape misfortune. The Image Commentary says: "Zhen comes with fear," is because fear brings blessings; "laughing and talking joyfully," refers to the fact that after the event, there is order. Su Shi says: precisely because its authority is not constantly used, we know that its movement of the world is not to harm things, but to make them keep in mind caution and thus gain blessings. What is meant by "there is a principle," is that it does not use authority to the extreme.

六二：震來，厲；億喪貝，躋于九陵，勿逐，七日得。《象》曰：“震來，厲”，乘剛也。初九之威不可犯也，來則危，往則安。故雖“喪貝”而“勿逐”，“躋于九陵”以避之。以初九之不遂其震，而繼之以笑言也。故七日可以得所喪也。“喪貝”以明初九之威，“七日得”以明初九之不以威窮物也。六三：震蘇蘇，震行無眚。《象》曰：“震蘇蘇”，位不當也。六三不鄰於震矣，而猶蘇蘇然，懼也。行而避之，然後無眚，以明初九之威能及遠也。

The line statement for the second line says: Thunder strikes, causing danger; having lost a great deal of wealth, one should ascend to the high hill to take refuge, and not pursue it, for after seven days the lost item will be recovered. The image commentary says: "Thunder comes, danger arises," because the second line is above a strong line. Su Shi says: The strength of the first line is not to be challenged; when it approaches, danger arises, but when avoided, safety is achieved. Therefore, although "loss of wealth" is mentioned and "do not pursue" is advised, it is better to "ascend to the high hill" to avoid it. Since the first line does not apply the shaking to its fullest extent, there follows a harmonious laughter, so after seven days the lost item can be recovered. The mention of "loss of wealth" is to show the strength of the first line; the mention of "seven days to recover" is to show that the first line does not force people into a desperate situation. The line statement for the third line says: Under the shaking, there is confusion and uncertainty; as long as one avoids action, there will be no disaster. The image commentary says: "Shaking with confusion," because the third line is in an inappropriate position. Su Shi says: The third line is no longer adjacent to the source of the shaking, yet still feels confused, showing its fear. By withdrawing to avoid it, there is no disaster, which clearly shows that the strength of the first line can reach far away.

九四：震遂泥。《象》曰：“震遂泥”，未光也。震於已震之後，遂而不知止者也，故“泥”。“泥”者，以言其不能及遠也，故二陰皆以處而不避為吉。六五：震往來，厲；億無喪，有事。《象》曰：“震往來，厲”，危行也；其事在中，大無喪也。九四以其“遂泥”之威加於六五，非六五之所當畏，其衰可坐而待也。夫九四雖未可乘，然往而避之則過矣，故曰：“往來，厲。”往來皆危，則以處為安矣。九四之威既已泥矣，豈復能如初九一震而喪六二之貞哉！以六五居中，處而待之，非獨無喪，億將有功。故曰：“億無喪，有事。”

The fourth line statement says: "The thunder is exhausted, sinking into the mud." The Image Commentary says: "Thunder sinking into mud" means it cannot achieve great success. Su Shi says: when others have already caused a shock, one follows with another shock, using it continuously without knowing when to stop, thus sinking into the mud. The term "mud" refers to its power not reaching far, so both the upper and lower yin lines are auspicious if they remain in peace and do not avoid. The fifth line statement says: "Thunder comes and goes, both are dangerous; but there will be no great loss, and things can still be carried on." The Image Commentary says: "Thunder coming and going, dangerous" means action is dangerous; but its affairs follow the middle path, so there will be no great loss. Su Shi says: the fourth line uses its exhausted power of sinking into mud to affect the fifth line, which is not something the fifth line should fear; it should just sit and wait. Although the fourth line is still not able to dominate, it is excessive to deliberately run away from it, so it says "coming and going, dangerous." Coming and going are both dangerous, so it is appropriate to remain in peace and stillness. Since the fourth line's power has already sunk into the mud, how can it be like the first line, which with one shock could cause the second line to lose its firmness? The fifth line is in the central position, remaining in peace to wait for the right time, not only will there be no loss, but there will also be expected achievements. Therefore, the line statement says: "Expecting no loss, there will be affairs."

上六：震索索，視矍矍，征凶。震不于其躬，于其鄰，無咎；婚媾有言。《象》曰：“震索索”，中未得也；雖凶無咎，畏鄰戒也。九四至此，其實不能為，徒襲其餘威以加上六。上六未得其已衰之情，故猶“索索”、“矍矍”而畏之。苟畏之不已，而征以避之，則四張而不可止矣，故凶。聖人知其不足避也，故告之曰：“震不于其躬，于其鄰”，言九四之威僅可以及五，而不及上；可以戒而無咎，無庸征也。九四始欲以威加物，及其泥而物莫之畏也，則其及於上六者，有言而已，衰之甚也。六爻皆無應，故九四兼有二陰，得稱“婚媾”也。六二“喪貝”而五無喪，六三“震行無眚”，而上六“征凶”，九四之不及初也遠矣。

The line statement of the sixth line says: Below the shaking, one trembles and shivers, eyes wide with fear, looking around anxiously, and traveling is dangerous. The shaking does not fall upon oneself, but upon the neighbor, so there will be no fault; however, one party in the marriage may have some grievances. The Image Commentary says: "Shaking with fear" is because there is still no certainty in the heart; although there is a dangerous appearance, one does not actually incur guilt, because seeing the neighbor shaken, one is aware of the need for caution. Su Shi said: When the nine at the fourth line reaches this point, it has already become ineffective, and can only exert its remaining authority upon the sixth line at the top. The sixth line at the top has not yet realized the actual decline of this authority, so it still trembles and looks around in fear. If one continues to fear and finally decides to flee, then the authority of the nine at the fourth line will become more prominent and cannot be restrained, hence danger. The sage knows that it is not worth avoiding, so he warns, "The shaking does not fall upon oneself, but upon the neighbor," meaning the authority of the nine at the fourth line is only sufficient to affect the six at the fifth line, not the sixth line at the top; as long as one is cautious, there will be no fault, and there is no need to travel and flee. The nine at the fourth line initially intended to use its authority to subdue all things, but when it has fallen into a pit and all things no longer fear it, then what it can exert upon the sixth line at the top is merely a few words, showing how greatly it has declined. In this hexagram, none of the six lines have a proper response, so the nine at the fourth line is able to connect with both the upper and lower yin lines, thus being called "marriage." The six at the second line "loses the shell" while the six at the fifth line suffers no loss, the six at the third line "shakes while traveling without misfortune," while the sixth line at the top "faces danger when traveling," and the nine at the fourth line is far worse than the nine at the first line.