It is disliked when there is no Yang.

《坤·上六·文言》：“陰疑於陽必戰，為其嫌於無陽也，故稱龍焉。”註疏與各家講解，均未能明悉。鄭注“嫌”讀如“群公謙”之謙，或作謙。謙，雜也。以嫌作雜字解。雜於無陽，語亦費解。《九家》作兼，謂陰陽合居，故曰“兼陽”，則“無”字又為贅文。王弼云“為其嫌於非陽而戰”，《正義》謂“陰盛似陽為嫌，純陰非陽，故稱龍以明之”。說各不同，其未能暢發經旨則一也。

The Wenyan of the upper sixth line of the Kun hexagram says: "When yin is so strong that it resembles yang, it must fight, because it fears being suspected of not having yang, so it is called 'dragon'." All previous annotations and interpretations have failed to clarify this. Zheng Xuan interpreted "xian" as "qian" from "qian" in "qun gong qian," and explained "qian" as "za," meaning he treated "xian" as if it were "za." However, the phrase "za yu wu yang" remains difficult to understand. The Jiā Jiā Yì wrote "jian," saying that it refers to yin and yang coexisting, so it is called "jian yang," making the character "wu" seem redundant. Wang Bi said, "It fights because it fears not being yang." The Zhou Changes Justice says, "When yin is strong and resembles yang, it is called 'xian,' pure yin is not yang, so it is called 'dragon' to clarify this." Different interpretations have been proposed, yet none have clearly explained the meaning of the classic text, which is a common point of agreement among them.

辛齋按：陽本無盡，坤之上六為純陰之候，近乎有無陽之嫌。今可舉例以明之：五月初五日，相傳為端午節，又曰端陽節。九月初九日，曰重陽日。而十月曰小陽月。夫五月，於卦之消息為姤，一陰始生，端者始也，當曰“端陰”，何以稱之曰“端陽”？九月，於卦為剝，碩果僅存，陽已將盡，乃何以稱之曰“重陽”？十月於卦為坤，爻辰正值坤之上六，純陰無陽，何以曰“小陽”？此正扶陽抑陰之意，為其嫌於無陽也，故稱“端陽”“重陽”“小陽”焉。則坤上之“嫌於無陽”，其義可比例而得，不待煩言而解矣。

I remarked: Yang energy is originally boundless. The sixth line at the top of the Hexagram Qian is the time of pure yin, which is almost like having no yang. Here we can use examples to illustrate this. May fifth is traditionally the Dragon Boat Festival, also called the End Yang Festival. September ninth is called Chongyang, also called Chongjiu. October is called Xiaoyangchun, the small yang spring. May is the Hexagram Gou in the twelve message hexagrams, where one yin is just beginning to arise. "Duan" means beginning, so it should be called "Duan Yin," but why is it called "Duan Yang" instead? September is the Hexagram Bao in the message hexagrams, where only one fruit remains, and yang energy is about to end. Why is it called "Chongyang" instead? October is the Hexagram Kun in the message hexagrams, where all six lines are yin. The yao chen (the twelve zodiac signs paired with the six lines) correspond to the sixth line at the top of Hexagram Kun, which is pure yin with no yang. Why is it called "Xiaoyang" instead? This is precisely the intention of supporting yang energy and restraining yin energy. Because it seems to have no yang, it deliberately calls it "Duanyang," "Chongyang," and "Xiaoyang." Therefore, the meaning of the sixth line at the top of Hexagram Kun, "Xian yu wu yang," can be understood in the same way, without needing further explanation.

《易》數，以陽統陰者也。《易》象，以陽變陰者也。《易》義，扶陽抑陰者也。故陽大陰小，陽貴陰賤。凡對待之字，幾無不以此為例。顧何以立天之道，不曰“陽與陰”，而曰“陰與陽”？又曰“一陰一陽之為道”，又曰“分陰分陽”？輒以陰居先而陽居後，必曰陰陽，無言陽陰者，其義何居？

The numbers of the Book of Changes are governed by yang encompassing yin, the images of the Book of Changes are formed by the transformation of yin through yang, and the principles of the Book of Changes are to support yang and restrain yin. Therefore, yang is great and yin is small, yang is esteemed and yin is despised. Almost all paired terms follow this order. However, why does the "Commentary on the Hexagrams" mention establishing the way of heaven without saying "yang and yin" but instead "yin and yang"? The "Great Treatise" also says "the way is the interplay of one yin and one yang," and also says "differentiating yin and yang." It always places yin first and yang second, always saying "yin and yang," never "yang and yin." What is the reason behind this?

曰：此即天地之在義，而《易》道之妙用也。天尊地卑，《易》之序也。乃乾天顛下首而周乎地之下，坤地有常而高舉於天之上。於是地天泰，四時成。天德不為首，而地道代終。一陰一陽，往來升降。至三陰三陽水火既濟六爻皆當位，乾坤定矣。反之為一陽一陰，至三陽三陰，乃火水未濟。六爻皆不當位，離坎不續終，而為男之窮矣。

This is exactly the principle between heaven and earth, and also the subtle application of the Way of the Book of Changes. Heaven is exalted and earth is humble, which is the constant order of the Book of Changes; yet the Heaven Trigram (Qian) lowers its head and moves down to beneath the earth, while the Earth Trigram (Kun) rises above the Heaven, thus forming the Tai hexagram, where earth is above and heaven is below. The four seasons thus continue endlessly. Therefore, the Qian hexagram says that the Heavenly Virtue does not remain at the top, and the Kun hexagram says that the earth's path replaces heaven to complete the task. One yin and one yang alternate and rise and fall, until there are three yins and three yangs, forming the Ji Ji hexagram, where water is above fire. All six lines are in their proper positions, and the positions of Qian and Kun are thus determined. Conversely, if it is one yang and one yin, continuing until there are three yangs and three yins, it forms the Wei Ji hexagram, where fire is above water. All six lines are not in their proper positions, and the Li and Kan trigrams fail to reach their endpoints. This is the end of the path for a man.

《繫傳》曰：“陽卦多陰，陰卦多陽。其故何也？陽卦奇，陰卦偶。其德行何也？陽一君而二民，君子之道也。陰二君而一民，小人之道也。”此章闡明《易》道陰陽之大義，為全《易》之關鍵。辨卦爻陰陽之德行，數理之體用，乃學者入手之綱領。故設為問答以明之。

The Great Treatise says: "In a yang hexagram, there are more yin lines, and in a yin hexagram, there are more yang lines. Why is this so? Because the number of strokes in a yang hexagram is odd, while that in a yin hexagram is even. What is their virtue? A yang hexagram is like one ruler and two subjects, which represents the way of the gentleman; a yin hexagram is like two rulers and one subject, which represents the way of the petty person." This chapter explains the great principle of yin and yang in the Way of the Book of Changes, which is the key to the entire Book of Changes. It clarifies the virtue and numerical reasoning of yin and yang lines in the hexagrams, which is the fundamental guideline for those studying the Book of Changes. Therefore, it is specially set out as a question and answer to explain this.

陽卦者，震、坎、艮，皆一陽而二陰。陰卦者，巽、離、兌，皆一陰而二陽。乾坤為各卦之原，且純體不易，其陰陽易知，故不在此設問之列。歷來注《易》家，於“一君二民”、“二君一民”之義，異說紛歧，莫可折衷。皆因泥於一二之數聯屬君民，故無論如何曲折遷就，終不可通。

The so-called yang hexagrams refer to Zhen, Kan, and Gen, each consisting of one yang line and two yin lines. The so-called yin hexagrams refer to Xun, Li, and Dui, each consisting of one yin line and two yang lines. Qian and Kun are the fundamental hexagrams, being pure yang and pure yin respectively, without any mixed lines, so their yin and yang are immediately apparent and thus not included in this discussion. Throughout history, commentators on the Yi Jing have had varied interpretations of the meaning of "one ruler and two subjects" and "two rulers and one subject," but no consensus has been reached. This is because they have been overly focused on matching the numbers "one" and "two" to ruler and subject, leading to interpretations that are convoluted yet still fail to make sense.

孫氏取鄭康成氏《禮記·王制》注云：“一君二民，謂黃帝堯舜。地方千里，為方千里者百。中國之民居七千里，計七七四十九方千里。四裔之民，居五十一方千里。是中國四裔，二民共事一君。二君一民，謂三代之末，以地方五千里。一君有五千里之五，五五二十五，更足以一君。二十五始滿千里之方五十，乃當堯舜一民之地。故曰二君一民。”

Sun's commentary cites Zheng Xuan's annotation on the "Rites" (Li Ji) under "The System of the Ruler," stating: "The phrase 'one ruler and two peoples' refers to the time of the Yellow Emperor and Yao and Shun. The territory was ten thousand li in width and height, forming a square of a thousand li, totaling one hundred such blocks. The people of the Central Plains lived within a distance of seven thousand li, which amounted to forty-nine square thousand li, while the people in the four distant regions lived within fifty-one square thousand li. This was the situation where two groups of people, the Central Plains and the four distant regions, served one ruler. The phrase 'two rulers and one people' refers to the end of the Three Dynasties. The territory was five thousand li in width and height, with one ruler governing five square thousand li. Five times five equals twenty-five, which was still enough to accommodate another ruler. Two such twenty-fives make fifty square thousand li, equivalent to the territory of one people during the time of Yao and Shun, hence called 'two rulers and one people.'"

可謂極迂迴曲折之致，而不敢謂其確合經義。至《朱子語類》，謂“二君一民，試問一個民而有兩個君，看是甚麼樣”。則尤為滑稽矣。宋人講解大意與朱子略同。其實孔子語意，甚為明白。“一君二民”。謂君得其一民得其二也。“二君一民”，謂君得其二民得其一也。“一”“二”兩字，不過表示多寡之意。故下文曰“君子之道”“小人之道”，經義顯豁呈露，無待曲解。何以時歷三千年，經無數之經師大儒而迄未講明？是可怪也。

This can be said to have become extremely roundabout and convoluted, yet one cannot claim it truly aligns with the original meaning of the classics. As for the statement in the "Zhu Zi Yu Le" that "two kings and one commoner, if we ask how a commoner can have two kings, what kind of situation would that be," this is even more absurd. The interpretations of the Song dynasty scholars were roughly similar to Zhu Xi's, all focusing on the numbers of kings and commoners. In reality, Confucius' meaning was very clear: "one king and two commoners" means the king accounts for one part and the commoners for two parts; "two kings and one commoner" means the kings account for two parts and the commoner for one. The words "one" and "two" are merely used to indicate more or less. Therefore, the following text speaks of "the way of the superior man" and "the way of the inferior man." The meaning of the classic is clearly presented, and there is no need for forced interpretations. Why, after three thousand years and through countless master scholars of the classics, has it never been clearly explained? This is truly a strange matter.

見伏動變，謂之四通。“見”者，即本卦所獨動之一爻也（如地雷復，則復之初九即為見）。見之下，即為“伏”（如復內為震，震下即伏巽）。見顯向伏隱，所謂由其可見，推其所不可見，故有見即有伏。見者動，動必有所之。之者往也，動之始也。有所之而之其所，則見者伏而伏者見，所以為變也。

The four terms "see," "hide," "move," and "change" are collectively known as the "Four Communications." "See" refers to the single line in the primary hexagram that becomes active (for example, in the hexagram of Earth over Thunder "Fu," the line "Initial Nine" is the one that is seen). Below the seen line is the "hidden" line (for example, in the hexagram "Fu," the inner trigram is "Zhen," and beneath it is hidden "Xun"). "See" means something visible, while "hide" means something concealed; that is, by understanding the visible, one can infer the hidden, so whenever there is something seen, there must also be something hidden. The line that is seen must move; when it moves, it necessarily goes somewhere. "Zhi" means to go, and it signifies the beginning of movement. When something moves and goes to where it should be, the originally seen line becomes hidden, and the originally hidden line becomes seen. This is called "change."

於八卦之象，兌見巽伏，震起艮止，而八卦之循環變化，悉在其中。故即以此而推之於爻，則亦不外此四者。而爻之性情才用，亦胥可見矣。見知現在，伏知將來。覆以窮其相反之情，變動中爻以盡其曲折之妙。故動而之於伏曰“動”，通變而存其位曰“變”。通一爻而有四卦之通，是以能該隱顯，極常變，以周知天下之務。

In terms of the symbolic representations of the Eight Trigrams, the Trigram 兑 (Dui) signifies manifestation, 兀 (Xun) signifies concealment, 震 (Zhen) signifies movement, and 艮 (Gen) signifies stillness. The cyclical transformations of the Eight Trigrams all include these four aspects. Therefore, applying this principle to the lines (yao) of the hexagram, they also fall within the four categories of "manifestation, concealment, movement, and change." The nature and function of each line can thus be discerned. Manifestation reveals the present, concealment reveals the future; by turning the hexagram upside down, one can explore opposite situations, and by examining the middle lines, one can understand the subtle intricacies within. Therefore, movement leading to the position of concealment is called "movement," and change that remains in the original position is called "change." A single line connects four trigrams, thus enabling the integration of both hidden and manifest aspects, and the comprehensive understanding of constant and change, thereby encompassing all worldly affairs.

見伏動變，循環迭更。如坤初為見，則乾初為伏，而姤復包其中。如復初為見，則姤初為伏，而乾坤又包其中。至其性情之同，則伏與動變，均與可見之爻互相發明。陰陽動靜，流行不息，無往而不還隱而不見之理。故伏卦者，即見卦之所託以變動者也。動在內卦，則陰下而陽上。動在外卦，則陰上而陽下。是陰陽所生之陰陽，所以有少陰少陽之別。變在內外卦者反是。見伏為交，則動變為之摩蕩矣。

The four concepts of appearance, concealment, movement, and transformation alternate in a cycle. For example, if the first line of the Qian hexagram is considered as appearing, then the first line of the Kun hexagram is concealed, and the hexagrams Guo and Fu are included within them. Similarly, if the first line of the Fu hexagram is considered as appearing, then the first line of the Guo hexagram is concealed, and the hexagrams Qian and Kun are included within them. As for the aspects where their nature is the same, the concealed hexagram, along with movement and transformation, can all be understood in relation to the visible line. Yin and yang, movement and stillness, continuously flow without ceasing; there is no such thing as something going away without returning or disappearing forever. Therefore, the concealed hexagram serves as the basis for the movement of the visible hexagram. If movement occurs within the inner trigram, then yin is below and yang is above; if movement occurs within the outer trigram, then yin is above and yang is below—this is the generation of yin and yang from yin and yang, hence the distinction between lesser yin and lesser yang. When transformation occurs within the inner or outer trigrams, the situation is exactly the opposite. The interaction between appearance and concealment leads to the mutual interaction of movement and transformation.

一爻而具四爻之通，如乾二獨動，則坤二伏矣（乾“利見大人”，坤“直方大”）。師二為動，則同人之二為伏矣。故設卦觀象，不可泥於一卦一爻。古人一家之學，雖未必能通貫全經，而一無障礙。如孟氏之旁通，京氏之飛變，虞氏之之正，邵氏之加倍四分，均各有獨到之處。但證之於經傳而合者，固皆有可取。而足與經義相發明，由博反約，慎擇精審，是在學者之神而明之，非一言之所能盡者矣。

Within a single line there is the relationship of connection with the four lines. For example, when the line nine in the second position of the Qian hexagram is active, the line six in the second position of the Kun hexagram is its hidden counterpart. The line statement of Qian nine in the second says "It is advantageous to see a great man," while the line statement of Kun six in the second says "Straight, square, and great." Similarly, when the line nine in the second position of the Shi hexagram is active, the line six in the second position of the Tongren hexagram is its hidden counterpart. Therefore, when setting up hexagrams to observe images, one should not fixate on a single hexagram and its line. Although the doctrines of various ancient scholars may not fully connect with the entire text without obstacles, such as Mengxi's "mutual correspondence," Jingfang's "flying and hidden transformations," Yu Fan's "correcting the line," Shao Yong's method of doubling and the theory of four parts, each has its own unique insights. Any explanation that aligns with the classic texts is inherently valuable. However, to achieve mutual clarification with the meaning of the text, to return from breadth to simplicity, and to carefully select and examine, this depends on the scholar's own intuitive understanding and cannot be fully explained in a single sentence.

胡氏煦《周易函書》，原文多至一百餘卷。後雖節錄為《約注》、《約存》、《別集》，尚有三十餘卷，亦《易》說之大觀矣。其全書綱要，以《繫傳》開而當名辨物一語為主。謂伏羲先天圖，以黑白二色分別陰陽，皆連貫若環，至文王始開而為八卦，開而為六十四卦，以為發千古未有之秘。

In the Qing dynasty, Hu Xu's original manuscript of the Zhouyi Han Shu consisted of more than a hundred volumes. Later, although it was abridged into the works titled Yu Zhu, Yu Cun, and Bi Ji, which still totaled over thirty volumes, it can be considered a significant contribution to the interpretation of the Yi Jing. The main theme of the entire work is based on the sentence from the Xici Zhuan, "open and clarify names and distinguish things," meaning that the sages revealed the hexagrams, making names correspond to things and enabling distinctions. He said that Fuxi's Earlier Heaven diagram used black and white to differentiate yin and yang, connected in a circular manner. It was only with King Wen that it was "opened" to become the Eight Trigrams and then the sixty-four hexagrams, which he believed revealed a secret unknown since ancient times.

其實周子太極圖，陰陽相互，分為三層。胡氏所繪之先天、小圓、大圓圖，即由周子太極圖衍而成之。又拆之為八卦六十四卦，謂為文王所開，其牽強固不待智者而知，即其本書中亦往往不能自圓其說。蓋八卦不但有其象，尚有其數。若以黑白二色分別陰陽之爻，將一九四六之數，亦以黑白二色代之乎？其誣不待辨而明矣。然其於《易》理，致力頗深。融合漢宋，時有心得，瑕不掩瑜。三書之可取者甚多。其八字命爻之說，尤為詳人所略，語極精到，大有畀於初學，特約其大意如左。

In fact, Zhou Dunyi's "Diagram of the Supreme Ultimate" features black and white yin and yang interweaving, divided into three layers. Hu Xu's Earlier Heaven Diagram, Small Circle Diagram, and Great Circle Diagram were derived from Zhou's "Diagram of the Supreme Ultimate." He further broke them down into the Eight Trigrams and the sixty-four Hexagrams, claiming that these were "opened up" by King Wen. This reasoning is clearly forced, and even a person without great intelligence can see through it. In his own writings, he often fails to be consistent. The Eight Trigrams not only have symbolic forms but also numerical aspects. If black and white are used only to distinguish yin and yang lines, then numbers such as one, nine, four, and six—how could they be represented by black and white? The inadequacy of his theory is evident without needing argument. However, he made deep efforts in understanding the principles of the Book of Changes, integrating Han learning and Song learning, and occasionally had insightful realizations. His shortcomings cannot obscure his merits, and there are many valuable points in his three works. Among these, his explanation of the "Eight Characters and Lines" is particularly detailed, addressing aspects others have overlooked. His statements are precise and helpful for beginners, so I have specially summarized the main points of his work below.

聖人命爻之義，有十二樣筆法：陰陽各六，九六分稱是也。然其因卦論爻，因爻論卦，而三百八十四爻之義，已各各迥別。顧此十二樣筆法，要其寓意止有八字：初、上、九、六、二、三、四、五是也。

The sage assigned names to the lines of a hexagram, expressing their meanings in twelve different ways. A hexagram has six positions; when a yang line occupies these positions, it is called 'Initial Nine,' 'Nine in the Second,' 'Nine in the Third,' 'Nine in the Fourth,' 'Nine in the Fifth,' or 'Nine at the Top.' When a yin line occupies these positions, it is called 'Initial Six,' 'Six in the Second,' 'Six in the Third,' 'Six in the Fourth,' 'Six in the Fifth,' or 'Six at the Top.' Yang and yin each have six forms, distinguished by the terms 'Nine' and 'Six,' making a total of twelve. However, although the naming follows these twelve patterns, when applied to specific hexagrams, the lines must be interpreted according to the nature of the hexagram and the situation of the line. Thus, among the 64 hexagrams and 384 lines, each line has a unique meaning. In the end, the characters used in these twelve forms are only eight: 'Initial,' 'Top,' 'Nine,' 'Six,' 'Second,' 'Third,' 'Fourth,' and 'Fifth.'

何以初命為初，上命為上也？曰：聖人立卦，止於三爻，不以兩畫，不以四畫，其妙正在於此。何也？以天下之物，各有其位。位之所乘，各有其時。時與位合，而參差不齊之數出焉。聖人設卦立象，凡以考時之所值，位之所乘而已。然時有三候，位有三等，故立卦亦止於三爻。

Someone asked: Why is the lowest line called "Chu" and the top line called "Shang"? The answer is: The sage created the structure of the hexagram using only three lines, not two lines or four lines. The profound meaning lies exactly here. Why is that? Because all things in the world occupy a position, and each position carries a particular time; when time and position combine, they produce the varied and diverse "numbers." The sage established the hexagram and created images, which was simply to examine what time a thing is appropriate for and what position it occupies. Time can be summarized as the three phases: initial, middle, and final. Position can be summarized as the three levels: upper, middle, and lower. Therefore, the hexagram is established with only three lines.

何云時有三候？曰：此概辭也。今但取一時，銖銖寸寸而較之，雖累百千萬，不足盡此一時之數矣。譬自盤古開天以及堯舜，其中歷年原不可考。今以三候約之，曰此古之初，此古之中，此古之末，則無不可以意會者(近世科學家研究歷史地質等學者亦概用此法)。又一歲十二月，今亦以三候約之，為歲之初，歲之中，歲之末，亦無不可心意會者。下至時日亦然。是流行之機，或遠或近，或舒或促，皆無有踰此三候者也。

Why is it said that time has only three phases? This is a general statement. If we take a period of time and divide it into minute parts for detailed calculation, even if we accumulate hundreds of thousands of units, we still cannot count the number of units within that time. For example, from the time of Pangu creating the world up to the time of Yao and Shun, the exact number of years is unknown. Now, by using the three phases, we can roughly divide it into the beginning of ancient times, the middle of ancient times, and the end of ancient times, and everyone can understand it. (Modern scientists studying history and geology also mostly use this method of dividing periods.) Similarly, the twelve months of a year are also divided into three phases, called the beginning of the year, the middle of the year, and the end of the year, which is also easy to understand. The same applies to a day or an hour. This shows that the mechanism of time flowing, whether the span is long or short, and whether the pace is slow or fast, cannot go beyond these three phases: beginning, middle, and end.

何云位有三等？曰：此亦概辭也。今但取一物銖銖寸寸而數之，累千百萬，不足盡此一物之位矣。譬若立五尺之竿於此，以三等約之，上者上，中者中，下者下，盡之矣。又立千尺百尺之竿於此，亦以三等約之，上者上，中者中，下者下，盡之矣。是形器之屬，或高或卑或廣或狹，均無有踰此三等者也。

Why is it said that positions can only be divided into three categories? This is a general statement. If you take an object and measure its parts one by one, counting them to millions, you would never exhaust all the positions of that object. For example, if you set up a pole that is five feet high here, using the three categories to summarize, the upper part is called upper, the middle part is called middle, and the lower part is called lower, and thus it is fully described. Similarly, if you set up a pole that is hundreds or thousands of feet high, using the same three categories, the upper part is called upper, the middle part is called middle, and the lower part is called lower, and thus it is fully described. This shows that any object with form, whether tall or short, wide or narrow, cannot go beyond the three categories of upper, middle, and lower.

況上古民淳事簡，以三候約時，以三等約位，得其大概，已可共喻。後世知識日開，人事日繁，一歲之候，分而為月，又分而為日，又分而為時刻分秒，細分之至於毫釐絲忽之不可盡。其於位之大小長短，亦復如是。皆其細已甚者也。至約以三等三候，曾有出聖人之範圍者乎？

Moreover, in ancient times, people's customs were simple and sincere, and affairs were straightforward. Using three phases to approximate time and three categories to approximate space was sufficient to convey the general idea and enable mutual understanding. However, in later generations, knowledge has gradually become more enlightened, and human affairs have become increasingly complex. Time has been divided first into months, then into days, then into hours, minutes, seconds, and even further into fractions such as hair, thread, and so on, which can never be fully divided. Similarly, the measurement of space's size and length has also become increasingly detailed. All of this is excessive in refinement. Yet, if we still use the three categories and three phases to approximate, is there anything that would go beyond the scope set by the sages?

凡有位者必有時，於是乎有上之時，中之時，下之時。凡有時者必有位，於是乎有初之位，中之位，末之位。聖人慾以卦象盡天下之物，則不得不體物象所自具之時位而命之爻。所以三爻之設，決不可以增減也。

Anything that occupies a position must exist within a certain period of time, thus there are times of upper position, middle position, and lower position. Anything that exists within time must occupy a certain position, thus there are initial positions, middle positions, and final positions. The sage uses hexagrams to encompass all things under heaven, and therefore must name the lines according to the inherent time and position of the things themselves. For this reason, the arrangement of the three lines must never be increased by one line, nor decreased by one line.

然就三爻而立之名，則取時必遺位，取位必遺時。聖人知陰陽必偶，而物生必先氣而後形，於是乎立為重卦。以時而命內卦之初，明乎氣之肇端，於此始也。以位而命外卦之上，明乎形之成質，於此定也。周公釋爻，每兼時位，職是故也。時陰而位陽，時虛而位實。時由乾出，位由坤始也。

But if only the third line is used to name, taking 'time' would lose 'position', and taking 'position' would lose 'time', making it difficult to balance both. The sage knew that yin and yang must always come in pairs, and that all things are first generated by qi and then take form. Therefore, he overlapped single trigrams to form hexagrams with six lines: using 'time' to name the first line of the inner trigram, called 'initial', to indicate the beginning of qi's movement; using 'position' to name the top line of the outer trigram, called 'upper', to indicate the completion of form. Zhou Gong often spoke of both time and position in his line statements, precisely for this reason. In terms of nature, time belongs to yin and position to yang; time is abstract and position is concrete. In terms of origin, time arises from the active movement of Qian, and position begins from the stillness of Kun.

流行不息者時，乾道之動用也。故不可定之以位。鎮靜而有常者位，坤德之靜體也。故不可定之以時。卦爻剛柔，悉出乾坤。無一卦一爻無剛柔，則無一卦一爻無動靜，則無一卦一爻不具此時位者矣。然時出於乾，而陰爻亦得言之；位出於坤，而陽爻亦得言之者，此又乾坤相須之大用，不可偏廢者也。

What is in constant motion is "time" (时), which is the dynamic aspect of the Heaven (乾) principle, so it cannot be confined by fixed positions; what is still and has a constant order is "position" (位), which is the static aspect of the Earth (坤) principle, so it cannot be confined by flowing time. The yao (lines) of the hexagrams are all derived from Heaven and Earth, and no hexagram or line lacks both yin and yang. Therefore, no hexagram or line lacks both movement and stillness, and thus no hexagram or line does not simultaneously possess time and position. However, although time originates from Heaven, yin lines can still discuss time; although position originates from Earth, yang lines can still discuss position. This is the great function of Heaven and Earth relying on each other, and neither side should be neglected.

言初而不言中末，言上而不言下中何也？曰：《易》為上古之書，文字初起，不能不簡而賅，使人便於傳習，而深致其思。後世文字既繁，遂連篇累牘而不止，反不若古人之簡而能賅其要也。如屯卦繼乾坤而居《序卦》之首，曰剛柔始交。剛柔者，乾坤也。交者，剛柔之互也。始者賅六十二卦之辭，聖人知六爻各一其時位，而又不能合一時位，乃賅以一字，即以初字著其時之理於下，而以上字著其位之理於上，各從其所重而定之云爾。

Someone asked: Since time is divided into beginning, middle, and end, why do we only mention 'beginning' and not 'middle' or 'end'? And since position is divided into upper, middle, and lower, why do we only mention 'upper' and not 'lower' or 'middle'? The answer is: The Zhou Changes is an ancient classic, and the language was just beginning to emerge. Therefore, it had to be concise yet comprehensive, making it easy for people to transmit and study, and to think deeply about its meaning. Later generations used more elaborate language, often writing lengthy passages that never ended, yet they were not as effective as the brevity of the ancients, who could still capture the essence. For example, the hexagram Zun comes immediately after Qian and Kun and is placed first in the 'Sequence of Hexagrams'. The 'Sequence of Hexagrams' says it 'marks the beginning of the interaction between the strong and the flexible'. 'Strong and flexible' refer to Qian and Kun, and 'interaction' refers to the mutual engagement of the strong and the flexible. The single character 'beginning' encompasses the meaning of all the other sixty-two hexagrams. The sage understood that each of the six lines has its own time and position, yet they could not be combined into a single time or position. Therefore, he used one character to summarize them: the lower line is marked with 'beginning' to indicate the principle of time, and the upper line is marked with 'upper' to indicate the principle of position. Each is named according to the aspect it emphasizes.

乾以始之，故舉其端而言初。坤以終之，故竟其委而言上。又使知卦既有初，則其為中為末舉可類推。既有上，則其為中為下舉可意想也。又使知上與初對，則上字原可以賅末。初與上對，則初字原可以賅下。皆簡而能賅，引端而無待竟委者也。《周易》卦爻，文字所不能賅者，而象無不可以賅之。象固不可限量也。

Heavenly Stem Qian governs the beginning, so it is called "Initial" to indicate the origin; Earthly Stem Kun governs the end, so it is called "Upper" to indicate the conclusion. This naming convention allows people to understand that if a hexagram has an "Initial" line, the middle line and the final line can be similarly inferred; if it has an "Upper" line, the middle line and the lower line can also be imagined in the same way. It also shows that "Upper" and "Initial" are opposites, and the term "Upper" inherently includes the meaning of "end"; similarly, "Initial" and "Upper" are opposites, and the term "Initial" inherently includes the meaning of "beginning." This is concise yet comprehensive, requiring only the mention of one end without needing to describe the whole beginning and end. In the hexagrams of The Zhou Changes, any meaning that words cannot fully express can be fully expressed through the hexagram images—because images themselves have no limits.

內卦為來，外卦為往。初則來之始，上則往之極也。用一初字，是欲人溯源於太極。用一上字，是欲人知極則必反也。有往則必有反，有來則必有初。如人從何處來，則必有最初發足之地，非僅向發足時考之也。是要窮到地頭，知其來自何處耳。

In the six lines of divination, the lower three lines form the inner trigram and belong to 'coming'; the upper three lines form the outer trigram and belong to 'going'. The first line is the starting point of 'coming', and the top line is the end of 'going'. Using the character 'initial' (初) is to lead people to trace back to the source, the Taiji. Using the character 'top' (上) is to make people understand that when something reaches its extreme, it must return. If there is going, there must be returning; if there is coming, there must be an initial point. Just as asking where a person comes from, he must have a starting place, not just the time he began, but one must trace back to the very beginning to find out where he really comes from.

緣爻象從來之處，非可易察。故孔子曰“其初難知”。若其既有所往，自無往而不反之理。今以一字說到極處，而必反之理即在其中。由其上之已無可加，則往到極處，已顯而易明。故孔子曰“其上易知”也。

Since the origin of the lines (yao xiang) is not easily discernible, Confucius said in the "Great Treatise" (Xici) part two, "At the beginning, it is difficult to know." However, once something has already moved forward, there is no reason for it to go forward without returning. Now, using the character "shang" (upper) brings the statement to its conclusion, thus containing the principle that "extreme movement must reverse." Because there is nothing above "shang," having reached the extreme, the situation becomes clearly evident, so Confucius said, "At the uppermost point, it is easy to know."

今以上之一字例諸初，則初當曰下。以二三四五之序次例諸初，則初當曰一。乃不曰下不曰一而特命為初，此正聖人寓義之最精處。因《易》之卦爻，原本先天，在陰陽未判之先，渾然一太極耳。逮一畫開天，自無出有，乾元一亨，萬物之始，悉資於此。但形質未成之先，止有氣耳。氣機初萌，實托始於乾元，毓靈於太極。

Taking the character 「上」 to compare with the very last line, it should be called 「下」; taking the sequence numbers two, three, four, and five to compare with it, it should be called 「一」. Yet it is neither called 「下」 nor 「一」, but instead is named 「初」. This is precisely where the sages have embedded the most subtle meaning. Because the lines of the hexagrams in the Zhou Yi originate from the Earlier Heaven: before yin and yang were differentiated, there was only a single, undivided Taiji. When the first line was drawn, the void gave rise to being, and the creative power of Heaven (Qian) began to flourish, initiating all things. However, before form and substance had solidified, there was only Qi. The Qi's movement had just begun, actually relying on the creative power of Heaven and receiving its spiritual essence from the Taiji.

方斯時也，既無實質可指以定其位，非考之以時，曷由辨乎？顧時有三候而初則氣機之方萌，方從太極天心流衍而出，故特用一“初”字，以發明卦爻所從出源頭。而“來”字之義，亦即寓於“初”字之中。《彖》以內卦稱“來”，即從“初”字出也。凡物既有初，則此後豈有窮盡？故不言中末，是初之重於中末也。位既定於上，則下焉皆其所統。故不言下中，是上重於下中也。

At this very moment, there is no actual form or substance to point to and determine its position. Without examining it from the perspective of "time," how can we distinguish it? Although time is divided into three phases, the first line is precisely the moment when the vital energy just begins to stir, and it is the very first moment when the primordial energy from the Supreme Ultimate Heaven's center starts to flow. Therefore, the term "initial" is specially used to indicate the source from which the hexagram and its lines originate. The meaning of "coming" is also contained within the term "initial." The Commentary on the Judgment refers to the inner trigram as "coming," which is precisely derived from this "initial" concept. Since all things have a beginning, how could they ever have an end? Therefore, only "initial" is mentioned rather than "middle" or "end," showing that "initial" is more significant than "middle" or "end." Since the position is fixed as "upper," all the lines below are under its jurisdiction. Therefore, only "upper" is mentioned rather than "lower" or "middle," showing that "upper" is more significant than "lower" or "middle."

八卦本於太極，而太極無象可求。故以兩儀初成之爻，命之曰初。為其有形可睹，自此一爻而始。故二三四五皆紀之以數。乃初之一爻，非數所能始，以有太極在其前也。巽以伏卦而取震象一陽未生之始，亦曰無初，是正有無分界之始，亦即此初字之義也。緣其分位，本屬兩儀，又不得上侵太極之一。論其成質，實居有形之最先，又不得連太極而序之。以下侵中爻之二，故以初命爻。使人探本窮源，由其能來之故。而追索於所以有初者，果何在耳？

The eight trigrams originate from the Taiji, but Taiji has no form that can be sought. Therefore, the first line was named "Chu" because visible forms begin with this line. The second, third, fourth, and fifth lines are numbered, but the first line cannot be numbered, since there is a Taiji before it. The trigram Xun derives its image from the hidden trigram Zhen, representing the beginning when one yang line has not yet emerged. The line "Wu Chu You Zhong" in Xun's fifth line indicates that "Chu" is the starting point of the boundary between "having" and "not having," which is the meaning of the character "Chu." In terms of its position, it belongs to the two principles but cannot encroach upon the "one" of Taiji above it. In terms of its formation into tangible form, it is the first among visible things and cannot be combined with Taiji, thus encroaching upon the second line below. Therefore, the term "Chu" is used for this line to encourage people to trace back to the origin, from its ability to "come," and further inquire: what is the origin that gives it this "Chu"?

以初爻之義例諸上，則上當曰末。以二三四五之序例諸上，則上當曰六。今不曰末不曰六而特命為上者，言乎其爻極於此止於此也。蓋立卦定於三爻，重卦止於六畫。伏羲畫卦至六爻，已成六十四象，足以備天下萬事萬物之理。六爻之外，無以復加。聖人即寄無以復加之義，於最後所成之一爻，而命之為上，言此外已無可上也。

The meaning of the first line is compared with the top line, which should then be called "末" — "初" refers to the beginning of time, and naturally its opposite is the end of time. When comparing the sequence numbers of the second, third, fourth, and fifth lines with it, it should be called "六". Now, it is neither called "末" nor "六", but instead named "上", meaning that this line is the ultimate and the final one. Since a single trigram is fixed at three lines and a compound trigram stops at six lines, Fuxi drew the trigrams up to six lines, completing all sixty-four trigrams, which are sufficient to encompass the principles of all things in the world. Beyond the sixth line, there is nothing more to add. The sage expressed the meaning of "no further addition" in the last line drawn, naming it "上", meaning there is no higher or more exalted position beyond it.

二三四五紀之以數，而上獨非數者，以數之所衍，原無終窮之時。即上之一位，亦非數之所能極也。然以九二六二之類比之，而初之九六，何獨在下？蓋因乾元之亨，先氣後形；而氣之將至，則無形可執。今觀揲蓍求卦之時，分二掛一，揲四歸奇，明知此爻之形體，必將有成，則是此爻已有其初矣。

The second, third, fourth, and fifth lines are all referred to by numbers, but the line called "upper" is not numbered. This is because the derivation of numbers is endless, and even the position of "upper" cannot be exhausted by numbers. However, when we compare this with terms like "nine in the second" and "six in the second," why is the first line called "nine at the beginning" and "six at the beginning," with the numbers placed after the term "beginning"? This is because the principle of the Creative (Qian) initiates the process of generation and movement, first there is the vital energy and then the form. When the vital energy is about to manifest but has not yet fully formed, there is no form to grasp. Consider the process of divination with yarrow stalks: the stalks are divided into two groups, one stalk is hung, and the remaining stalks are counted in groups of four, with the remainder held in the fingers. At this point, it is already known that the line will certainly take form, meaning that the line already has its "beginning."

然氣至而形未著，則陰陽之體猶未可定，故不能定之以位，而但可考之以時，而稱之為初。必待三變既足，察其數之多少，有陰陽老少之可辨，乃始有九六之可稱矣。譬若妊娠將娩，當胞胎乍轉，業已知其生之初矣。然分別男女，必待既生以後，審其形體而後能定。是時之可征者在先，而形之可觀者在後。故九六在初字之下也。

However, although the qi has arrived but the form is not yet evident, the nature of yin and yang remains undetermined, so it cannot be fixed by 'position,' but must be examined through 'time,' hence it is called 'initial' or 'beginning.' Only when the three transformations are complete and the number obtained is observed, distinguishing the old and young of yin and yang, can 'nine' and 'six' be used. This is like a woman in childbirth, when the fetus begins to move, one already knows the beginning of its birth; but to determine the sex, one must wait until after birth to observe the form. Thus, the verifiable 'time' comes first, and the observable 'form' comes later, which is why the characters 'nine' and 'six' are placed below 'initial.'

二三四五別之以數，不與初上同類，何也？曰：聖人立卦之法，取象於天地之化育。上爻覆之於上，天也。初爻承之於下，地也。其中所有，則資始資生之化，所稱為萬物者也。萬物成形之後，其類實繁。非紀以數，曷由辨之？曰初上何獨不記之以數也？曰：初在理氣相接之始，非數之所能始也。上爻極盡而反，貞下又復起元，豈有終窮之數？故亦不以數紀也。

Someone asked: Why do the second, third, fourth, and fifth lines use numbers to distinguish them, while "initial" and "top" lines are not numbered? The answer is: The sage established the hexagram by taking inspiration from the transformation of heaven and earth generating all things. The top line is at the very top, representing heaven; the initial line is at the very bottom, representing earth; those in between are the creative power of heaven and the nurturing power of earth, which give rise to all things. After all things have taken form, their varieties are countless. Without using numbers to record them, how can they be distinguished? Another question: Why are the initial and top lines not numbered? The answer is: The initial line is at the beginning where principle and energy first meet, something that cannot be marked by "number." The top line reaches the end and then returns, completing one cycle and beginning anew, which is called "Zhen Xia Qi Yuan." Where is there an end to numbers? Therefore, they are not numbered.

初上二爻，九六在下；二三四五，九六在上。何也？曰：卦之初爻既成，陰陽兩象，確有定體。然後審定陰陽所至之分數，如陰陽到二分，便以為九六之二；到三分，便以為九六之三。若嬰孩既生，業已男女可辨，然後可以數紀其長幼之次序。故二三四五在九六之下也。

The first and top lines of a hexagram have the terms "nine" (九) and "six" (六) written after the line name, as in "initial nine" (初九) and "top six" (上六). However, for the second, third, fourth, and fifth lines, the terms "nine" and "six" are written before the line number, as in "nine two" (九二) and "six five" (六五). Why is this so? The answer is: once the first line of a hexagram has taken form, the yin and yang images have definite forms, and then the progression of yin and yang is determined. When the progression reaches the second stage, it is called "nine two" (九二) or "six two" (六二); when it reaches the third stage, it is called "nine three" (九三) or "six three" (六三). This is like a newborn infant who has already been born; gender can be distinguished early on, and then the order of seniority can be determined by numbers. Therefore, the numbers "two," "three," "four," and "five" are placed after "nine" and "six."

卦至上爻，九六又復在下。何也？曰：上為窮極將返之時，其上更無可加。是上之一位，即此卦之大終大止，其位得而主之。陰陽至此，皆不能以自主。泰之復隍，否之傾否，剝之剝廬，皆謂其極則必反。故九六字在下也。

When a hexagram reaches the top line, the characters "nine" and "six" are placed after "upper," becoming "upper nine" and "upper six." This is because the top line is at the point of reaching the extreme and about to return. There is no room left to add anything above it, so the position "upper" signifies the end and the cessation of the hexagram. At this point, yin and yang can no longer act independently. The "upper six" in the hexagram of Tai says "the city returns to the moat," the "upper nine" in the hexagram of Pi says "turning Pi," and the "upper nine" in the hexagram of Bo says "stripping the house." These all describe how when something reaches its extreme, it must turn back. Therefore, the characters "nine" and "six" are placed after "upper."

既以初為來處，則來之義只可言於初。既以上為往時，則時之義只可言於上。乃內三爻均言來，外三爻均言往。何也？曰聖人以三畫成卦，則此三爻雖陰陽上下不同，莫不同具此一卦之性情，又不可執定實有此等三畫之象，確然植立於此而不可易也。

Since "initial" is taken as the origin, the meaning of "coming" should only refer to the first line; since "upper" is taken as the destination, the meaning of "time" should only refer to the top line. However, the Commentary on the Judgment says that when it speaks of "coming," it includes all the inner three lines as coming, and when it speaks of "going," it includes all the outer three lines as going. Why is this so? The answer is: the sage composed a hexagram using three lines, and although these three lines have both yin and yang, and have upper and lower positions, they all together possess the nature and disposition of this hexagram. At the same time, one must not rigidly think that there are actually three lines clearly drawn there, firmly established and unchangeable.

只是聖人假此著數，以探討太極陰陽將形未形之氣機，不能無太少動靜之別，而因畫出奇偶以擬議陰陽相變之分數。其內外上下多寡，純雜有如是耳。氣機無截然可分之候，故三畫只宜作一卦看。氣機亦非形體之可似，故亦不必以連斷之形體拘也。重卦雖分內外，不過體用兩端而已。今既同為內卦，則皆可自初而言來；同為外卦，則皆可因上而言往矣。

The sages merely used the numbers of the yarrow stalks as a basis to explore the vital energy movements of the Taiji and yin and yang before they take form. This vital energy cannot be without distinctions of the sun, lesser sun, great yin, and lesser yin, as well as movement and stillness. Therefore, they drew odd and even lines to symbolize the proportions of the mutual transformation of yin and yang. The terms of inner and outer, upper and lower, more and less, pure and mixed are all about this. The vital energy has no clear boundaries, so the three lines should be viewed as a single trigram. Also, the vital energy is not like a physical form that can be imitated, so it should not be restricted by continuous or broken lines. Although compound trigrams are divided into inner and outer, they are merely the two aspects of 'body' and 'function'. Now that they are all inner trigrams, they can all be discussed from the perspective of 'initial' and 'coming'; and since they are all outer trigrams, they can all be discussed from the perspective of 'upper' and 'going'.

初爻考之以時，然欲追尋來處，則又宜在位上考究。上爻定之以位，然欲人知為窮極將反，則又宜在時上著意。即此時位兩字，所謂有位中之時，有時中之位。參伍錯綜，維精維妙維肖。神而明之，更非言語可盡矣。

The first line is examined from the perspective of "time," but to trace its origin, one must investigate it from the standpoint of "position." The top line is determined by "position," but to make people understand that it reaches its limit and will return, one must pay attention to "time." With regard to the two characters "time" and "position," there is a distinction between "time within position" and "position within time," which interweave and intertwine, reaching an extremely subtle, skillful, and accurate level. As for the ability to grasp this intuitively and apply it skillfully, that is beyond the reach of words.

或問：讀《易》之方法如何？曰：必先讀經。或曰：經文奧衍，初學者不能驟解，必先得明白解釋之注本，而後經始可讀。現所通行之讀本，大都為朱子《本義鄉。而《本義》之解釋既略，且多以不解解之。往往曰“其象如此其占如此”，而究其何以如此，仍不得而知。初學讀之，不但茫無頭緒，且如其解以解經文，亦味同嚼蠟。雖極好學者，讀不終卷，已昏倦欲睡，則經又烏能讀乎？

Someone asked: What method should be used to study the Zhou Changes? The answer was: One must first read the text itself. The other person said: The text is profound and complex, and beginners find it difficult to understand at first. They must first have a commentary that explains it clearly, only then can they proceed to read the text. Currently, the most commonly used editions are Master Zhu's The Original Meaning of the Zhou Changes. However, the explanations in The Original Meaning are either too brief or often take 'not explaining' as explaining: frequently stating only 'its image is like this, its divination is like this,' but not explaining why it is so. Beginners reading it find themselves lost and without direction; following its interpretations to understand the text is like tasting wax. Even the most diligent students become drowsy after reading just one volume, so how can they ever finish the text?

曰：不讀經而看注無益也。不熟讀經而看注，亦仍無益也。讀經之方法，宜先讀最後之《說卦傳》，次讀上、下《繫傳》，然後讀上、下《經》，則於卦位、爻位、象義及彖、象、爻之材德，已略有頭緒。以讀經文，自可領會。必逐卦讀之極熟，認之極清，任舉一爻，而各爻之文相類而相似者，俱可列數；任舉一卦，而反正上下變互諸卦，俱可意會。更有未喻者，然後求之諸家之註釋，方能擇善而從，確獲其益也。

Answer: Not reading the classics and only looking at the annotations is of no benefit; reading the classics without mastery and then looking at the annotations is also of no benefit. The proper order for reading the classics should be: first read the "Commentary on the Hexagrams," then the "Great Treatise" above and below, and finally the Upper and Lower Classics. In this way, one will already have a general understanding of the positions of the hexagrams, the lines, the principles of taking images, and the material qualities and virtues expressed in the彖statements, 象statements, and 爻statements. One must read each hexagram thoroughly until it is completely familiar and clearly understood. To the point where, if any line is given, one can list all the lines similar to it; if any hexagram is given, one can clearly identify its opposite hexagram, its corresponding hexagram, the hexagram formed by exchanging the upper and lower trigrams, and the hexagrams formed by the interacting trigrams. Only when reaching this level and still having some unclear points should one consult the annotations of various schools, at which point one can choose the good and follow it, and truly gain benefit.

曰：諸家之註釋，浩如煙海，宜先閱何種為最善？曰：《易》有四道，辭變象占。尚辭者莫備於《程傳》，深有得於潔淨精微之旨。然其所短者，往往離象數以言理，而有時不免於鑿空。是宜參以紀慎齋之《易問》及《觀易外編》(紀氏名大奎，臨川人，有《雙桂堂叢書》。以性理說《易》而不離於象數，能會漢宋兩派之說而擷其精，乃近人《易》說之最善者也。)，庶可以補其闕失矣。

Another question: With so many commentaries available, which one should be read first? The answer is: The Great Treatise says that the Book of Changes has four approaches—words, transformation, images, and divination. Those who follow the approach of valuing words, there is no commentary more complete than Cheng Yi's Yichuan Commentary on the Changes. It thoroughly grasps the principle of "cleanliness, quietness, precision, and subtlety" of the Book of Changes. Its shortcoming, however, is that it often ignores images and numbers and only discusses meaning and reason, sometimes leading to speculative statements without foundation. Therefore, one should refer to Ji Shenzhai's Yi Wen and Guan Yi Wai Bian (Ji's name was Da Kuai, from Linchuan, Jiangxi, who compiled the Shuanggui Hall Collection. He explained the Book of Changes through the principles of nature and reason without abandoning images and numbers, and was able to integrate the doctrines of the Han and Song schools, taking the essence of both. He is the best among modern commentaries on the Book of Changes). In this way, one can make up for the shortcomings of the Cheng Commentary.

至於象數，宜從漢學。但兩漢《易》說之存於今者，幾無一完本。《李氏集解》雖蒐羅宏富，然東鱗西爪，初學每苦其不能貫串。則宜先閱瞿塘來知德氏《集註》，其於象也較詳，且處處為初學說法，反覆周詳，惟恐讀者不能瞭解。與貌為艱深，故意令人無從索解者，殊有上下床之別。

As for the section on images and numbers, one should follow the Han dynasty scholarship. However, the commentaries on the I Ching from the Han dynasty that have survived to the present are almost none in complete form. Although Li Dingzuo's Collected Explanations of the Zhou Changes from the Tang dynasty is extensive in its collection, it is fragmented and scattered, making it difficult for beginners to grasp as a whole. Therefore, one should first read Lai Zhide's Collected Commentaries on the Zhou Changes from Sichuan's Qutang. It provides a detailed explanation of images and is always considerate of beginners, repeatedly reminding readers to ensure they understand. Compared to those books that deliberately appear obscure and make it hard for readers to grasp, the difference is as great as heaven and earth.

惟來氏僻處巫峽，僅憑自力之研求，於古人之著述，未得遍覽，故其問有自以為創解者，實早為昔人所已言。如用九用六之類，不勝枚舉。而其錯綜之說，尤為後人所攻擊。蓋儒流積習，凡講學者，或漢或宋，必標明一種旗幟，而附他人門戶之下，而後其學說始克成立。雖亦不免一方之攻擊，而必能得一方之擁護。來氏之學，非漢非宋，故受兩方之攻擊，幾體無完膚矣。

Lai Zhide lived in the area around Wuxia and relied solely on his own efforts in research, without having read widely through the writings of ancient scholars. Therefore, his book contains some views he considers new insights, but in fact, these ideas had already been expressed by earlier scholars. For example, terms like "Yong Ji" and "Yong Liu" have numerous examples. Moreover, his theory of "cuo" and "zong" has been particularly criticized by later scholars. Originally, the tradition among Confucian scholars was that anyone who engaged in scholarly study had to align either with the Han learning school or the Song learning school, always taking a clear stance and attaching themselves to a particular school of thought in order for their doctrines to be established. Although this approach inevitably led to criticism from one side, it also ensured support from the other. Since Lai's learning did not belong to either the Han or the Song schools, he faced attacks from both sides, almost being completely refuted.

然來氏於象，亦僅得十之五六，而於數尤未能辨晰。蓋數雖原本於河洛，但《易》有體數，有用數，有五行數(即納音數)，有納甲數，各有不同。來氏不辨於此，故遇言數之卦，開口便錯，是則其所短矣。

But Lai Shi only understood the images to a degree of five or six tenths, and he could not clearly analyze the numbers. Although numbers originate from the Yellow River Chart and the Luo Writing, the Book of Changes contains different kinds of numbers: the essential numbers, the applied numbers, the Five Phases numbers (also known as Nayin numbers), and the Najia numbers, each distinct. Lai Shi failed to distinguish between them, so whenever he encountered a hexagram involving numbers, he made mistakes immediately. This was his weakness.

曰：《易》注之言數者，宜閱何書？曰：《易》之言數，皆根於孔子《繫傳》之天一地二至天九地十。河洛實數之淵源，雖漢學家盡力辨駁，而數理實有其徵驗，非空言所可掩也。朱子《啟蒙》演繹頗詳，宋人丁易東氏之《數衍》，及近人江慎修氏之《河洛精蘊》，更推闡盡致。餘如宋末朱元昇氏之《三易備遺》，於五行數尤有獨到之處。

Another question: Which books should be read for understanding the numerical aspects of the Book of Changes? The answer is: The Book of Changes discusses numbers, and all of this originates from Confucius' Great Treatise, specifically the passage from "Heaven one, Earth two" to "Heaven nine, Earth ten"—odd numbers one, three, five, seven, and nine belong to Heaven, while even numbers two, four, six, eight, and ten belong to Earth. The Yellow River Chart and the Luo Writing are the actual sources of these numbers. Although Western scholars have strongly argued that they were later fabrications, the numerical principles indeed have verifiable applications and cannot be concealed by mere verbal debate. Zhu Xi's "Easy Enlightenment on the Book of Changes" provides a very detailed exposition. The "Derivation of Numbers" by Ding Yidong of the Song dynasty and "The Essence of the Yellow River and Luo Writing" by Jiang Shenxiu of the modern era offer even more thorough explanations. In addition, Zhu Yuansheng of the late Song dynasty's "Complete Remains of the Three Books of Changes" has particularly unique insights into the numerical aspects of the Five Phases.

至邵子《皇極》先天數，雖自成一家(邵子專以一二三四五六七八分陰陽剛柔之太少，乾兌離震但為一二三四之代名詞耳。惟先天圓方二圖於陰陽消長推衍精詳，妙合天然，是於六日七分之外又另闢蹊徑。然以之入用，仍取京圖。)，然於卦義發明實多。朱子《啟蒙》，採用其說十之八九，自為言象數者不可不讀之書也。揚子《太玄》，演數甚精，足與《易》道相證。學者果有餘暇，不妨涉獵及之，以廣理趣。若溫公之《潛虛》，更不逮《太玄》遠矣。

As for Shao Kangjie's "Earlier Heaven" numbers in his work "Huangji Jingshi," although they form their own school of thought, Shao used only the numbers one, two, three, four, five, six, seven, and eight to distinguish yin and yang and the qualities of hardness and softness. The trigrams Qian, Dui, Li, and Zhen are merely substitutes for one, two, three, and four respectively. Only the circular and square diagrams of the Earlier Heaven provide a detailed and precise analysis of the waxing and waning of yin and yang, skillfully harmonizing with nature. This is a separate path beyond the "six days and seven parts." However, if one really wants to apply it, one should still refer to Jing Fang's diagram of the trigram energies. In terms of elaborating on the meanings of the trigrams, Shao's work is indeed very rich. Master Zhu's "Yixue Menglun" adopts Shao's views to a large extent, and it is a book that those who study the imagery and numbers of the Book of Changes must read. Yang Xiong's "Tai Xuan" from the Han dynasty is very precise in its mathematical reasoning and is sufficient to complement the principles of the Book of Changes. Scholars who have spare time may find it worthwhile to read it, to broaden their understanding of the principles. As for Sima Wen Gong's "Qian Xu," it is far inferior to "Tai Xuan."