Appendix: Upper Sixth of the Earth Trigram "The dragon fights in the wild, its blood turns black and yellow" explanation

此爻不以闢卦解之，不能明也。龍者，陽也，何以至《坤》上六而戰？則以闢卦《剝》當戌，至亥消剝入坤，至上六而純陰。乃陽本居亥，陽伏陰下，陰牝陽，故《易林》曰：「陽入陰室，相與合齒。」陽求出，出震則《復》矣，仍闢卦。當其未出，乾元坤元靜默感通，氤氳姤合，無以名之，強名曰龍戰而已。其血玄黃者，卽出震時天地所遺氤氳之氣也。震為玄黃、為出，六子之生以此也。此血非陰非陽，乃天地之雜也。然非卽《易林》「陽入陰室，相與合齒」之言以求之，鮮不為聖人神化之筆所迷矣。

If this line is not explained with the twelve Great Trigrams, it will remain unclear. The dragon represents Yang, so why does it need to "fight" in the Upper Sixth line of the Earth Trigram? Because in the Great Trigrams, the Trigram of Splitting occurs in the month of戌, and by the month of亥, the Yang energy has been completely consumed and enters the Earth Trigram. At the Upper Sixth line, it becomes entirely Yin. However, the original Yang of Heaven is located at the亥 position, where Yang is hidden beneath Yin and is contained within it. Therefore, the "Yi Lin" says, "Yang enters the Yin chamber, and they mutually bite their teeth." Yang desires to emerge; when it emerges as Zhen, it becomes the Trigram of Return, still within the cycle of the Great Trigrams. Before it emerges, the Primordial Yang of Heaven and the Primordial Yin of Earth are silently feeling each other and blending in a misty and turbid state, which cannot be named, so it iswith difficulty called "dragon fighting." As for "its blood is black and yellow," this refers to the misty and turbid energy left by heaven and earth when Yang emerges in Zhen. Zhen has the color black and yellow and the meaning of birth; the six sons are generated precisely through this. This "blood" does not belong to Yin or Yang, but is a mixture of the two energies of heaven and earth. However, if one does not trace back to the "Yang enters the Yin chamber, and they mutually bite their teeth" from the "Yi Lin," few people will not be confused by the mysterious and subtle style of the sage.

「疑」之與「凝」，自漢以來不能決，而「嫌」字之異讀尤多：鄭作「謙」，荀、虞、陸、董作「隒」，《九家》作「兼」，少「無」字。以文理言，《九家》似順，清儒治漢《易》者各有所主。今以《易林》證之，《夬》之《坤》曰：「陽入陰室。」是陽為陰為凝也，卽陽為陰所牝也。陰牝陽，陽伏不見，有無陽之嫌，故稱龍以明之，明非無陽，特伏耳。伏必求出，出必戰。

The character "yi" in this passage has always been uncertain since the Han dynasty, whether it should be read as "yi" or "ning." The character "xian" has even more variant readings and spellings: Zheng Xuan wrote "qian," Xun Shuang, Yu Fan, Lu Ji, and Dong Yu wrote "yan," and the "Nine Schools Commentary on the Yi" wrote "jian," and also omitted the character "wu." Looking at the meaning alone, the reading of the "Nine Schools Commentary on the Yi" seems more coherent. Modern scholars studying the Han dynasty's "Yi" have each held their own views. Now, using the "Yi Lin" for verification: In the "Gua" hexagram's "Kun" section, it says "Yang enters the Yin chamber," which is precisely Yang being gathered and contained by Yin. Once Yin has contained Yang, Yang becomes hidden and invisible, hence the suspicion that there is no Yang, so a "long" character is specially added to clarify — indicating that there is still Yang, but it is merely hidden. Since it is hidden, it must eventually emerge; once it emerges, there must be "battle."

故《易林》《中孚》之《坤》云：「乾坤利貞，乳生六子。」利貞卽凝也，六子之生，凝之功也。夫子生則出震矣。又曰：「長大成就，風言如母。」夫不曰如父而曰如母，曰風言，正釋嫌於無陽也。後儒謂王弼從俗本增「無」字，又有謂「嫌於無陽」與下「稱龍」句文不順者，豈知自西漢已然哉！

Therefore, the "Kun" section of the "Yi Lin" from the "Zhongfu" says, "Kun and Qian are favorable and upright, giving birth to six sons." "Favorable and upright" refers to "congealing," and the reason the six subordinate hexagrams, Zhen, Kan, Gen, Xun, Li, and Dui, are generated is precisely due to the effect of "congealing." Once the sons are born, yang arises from Zhen. The "Yi Lin" then continues, "They grow and mature, the wind speaks like a mother." It does not say "like a father" but "like a mother," and it specifically mentions "wind speech" (Xun represents wind, and Xun is precisely where Zhen is hidden). This is precisely explaining the phrase "because it is suspected of lacking yang." Later scholars claim that Wang Bi added the character "wu" (no) according to the vulgar version, and some say that "suspected of lacking yang" does not flow smoothly with the next sentence "called dragon." But they do not realize that the text was already like this in the Western Han dynasty, when Jiao Yanshou lived.

餘向疑《坤》上六稱龍，《文言》釋此，謂「陰凝於陽必戰，為其嫌於無陽，故稱龍」。及《說卦》云：「戰乎乾。乾，西北之卦也，言陰陽相薄也。」夫若無闢卦坤居亥之說，則《坤》上六純陰耳，胡得言龍？乾獨居西北耳，胡得言陰陽相薄？是文、孔心目中皆有坤居亥之象也。又《臨》「八月有凶」，謂《臨》《遯》也；《復》「七日反覆」，謂《復》《姤》也。

I have always been puzzled as to why the Sixth Line at the Top of the Hexagram Qian is called "dragon." The Wenyan explains this line by saying, "When yin accumulates against yang, there must be a struggle, for it is suspicious of the absence of yang, hence it is called dragon." The Shuogua also says, "Struggle in Qian. Qian is the hexagram of the northwest, meaning the mutual confrontation of yin and yang." Imagine: if there were no concept of the twelve trigrams with Qian located at the亥 position, then the Sixth Line at the Top of Qian would merely be a pure yin. How could it be called "dragon"? Qian is merely located alone in the northwest. How could it be called "mutual confrontation of yin and yang"? This shows that in the minds of King Wen of Zhou and Confucius, there was originally the image of Qian located at the亥 position. Now looking at the Hexagram Lin's statement, "Until the eighth month there is danger," refers to the eight months between Lin and Dun. The Hexagram Fu's statement, "Seven days to return," refers to the mutual generation between Fu and Guo.

《左傳》晉與楚戰，筮得《復》，曰：「南國蹙，射其元王中厥目。」是亦以《復》居正北也，闢於子也，是十二闢自古有也。餘持是說既久，後見干寶《周禮》注引《歸藏》云：「《復》子、《臨》丑、《泰》寅、《大壯》卯、《夬》辰、《乾》巳、《媾》午、《遯》未、《否》申、《觀》酉、《剝》戌、《坤》亥。」正十二闢也，無惑乎《易》與《左氏》皆用之也。卽漢人注《易》，往往用闢卦而不明言，若其例為人所共知者，亦足以證其說之古矣。

The *Zuo Zhuan* records that during a battle between the State of Jin and Chu, a divination using the *Fu* hexagram was performed, and the oracle said, "The southern state will be pressed, shooting at its king, hitting his eye." This also placed the *Fu* hexagram in the direction of due north, which is the position of the *Bi* hexagram during the month of Zi. This shows that the twelve *Bi* hexagrams have existed since ancient times. I have held this view for a long time. Later, I saw that Gan Bao's commentary on the *Zhou Li* cited the *Gui Cang* saying: "The *Fu* hexagram corresponds to Zi, the *Lin* hexagram to Chou, the *Tai* hexagram to Yin, the *Da Zhuang* hexagram to Mao, the *Gua* hexagram to Chen, the *Qian* hexagram to Si, the *Gou* hexagram (i.e., *Gou*) to Wu, the *Dun* hexagram to Wei, the *Pǐ* hexagram to Shen, the *Guan* hexagram to You, the *Bo* hexagram to Xu, and the *Kun* hexagram to Hai." This is exactly the twelve *Bi* hexagrams. It is no wonder that both the *Zhou Yi* and the *Zuo Zhuan* used them. Even commentators on the *Yi* during the Han dynasty often implicitly used the *Bi* hexagrams without explicitly mentioning them, as if it was a universally known convention. This sufficiently proves that the theory of *Bi* hexagrams has a long history.

文王演《易》，蓋多因襲舊義，而今無可考。如《坤》上六不以闢卦解卽不能通，是文王用闢卦也。乃干寶《周禮》注引《連山》云：「帝出乎震，齊乎巽，相見乎離，致役乎坤，說言乎兌，戰乎乾，勞乎坎，成言乎艮。」與今《說卦》文多同。又朱漢上引《歸藏》易，有乾大亦、乾為天、為君、為父、為闢、為卿、為馬、為禾，又為血卦。可見《說卦》之文皆自古相傳之易說，又以見後天方位不始於文王，古連山氏已有。然則《周易》之文因襲於二易明矣。

King Wen of the Zhou dynasty compiled the Zhou Yi, probably mostly following the existing interpretations from previous dynasties, though we can no longer verify this. For example, the line 'Upper Sixth' in the Hexagram of Kūn does not make sense if interpreted using the twelve trigrams of the dividing trigrams, which suggests that King Wen did use the dividing trigrams. Gan Bao, in his commentary on the Zhou Li, cited a passage from the Lianshan: 'The Emperor emerges from Zhen, aligns with Xun, meets at Li, exerts labor at Kūn, speaks at Dui, fights at Qian, toils at Kan, and completes speech at Gen.' This is largely the same as the text in the Shuigu. Zhu Zhen, also known as the Han Shang Master, also cited the Yijing from the Guicang, which included 'Gan Da Yi' and other entries such as 'Qian represents Heaven, Sovereign, Father, Ruler, Minister, Horse, Millet, and the Blood Trigram.' This shows that the text in the Shuigu has been passed down since ancient times as interpretations of the Yijing. It also shows that the Later Heaven Trigrams were not started by King Wen, but existed even in the time of the ancient Lianshan dynasty. Therefore, it is clear that the wording of the Zhou Yi has inherited the interpretations from the Lianshan and Guicang.

坎之為耳，古今說者極錘鑿之能，無一有當，則以求之過深也。《坎》初云：「入于坎窞。」《說文》云：「窞，坎內之坎也。」又曰：「旁入也。」案耳空旁入，屈曲難通，正坎內之坎也，《說文》正釋坎為耳之義也。學者能卽《說文》坎窞之義求之，則坎為耳象如繪出矣。

The reason why the trigram Kan is taken as representing the ear has been extensively explained by scholars throughout history, yet none of their interpretations have been satisfactory. The problem lies in their overcomplicating the issue. The hexagram Kan, specifically the line "Initial Six" says, "entering the deep pit of Kan." The "Shuo Wen Jie Zi" explains: "Kan means a small Kan within Kan." It also says, "Kan is entering from the side." The ear hole is indeed an entrance from the side, winding and deep, difficult to reach, which precisely corresponds to "Kan within Kan." The explanation in the "Shuo Wen Jie Zi" actually clearly illustrates why Kan is taken as the ear. Scholars only need to follow this explanation to clearly understand the symbolic representation of Kan as the ear.

茲再證之《易林》。《同人》之《坎》云：「孔德如玉，出於幽谷。」《坎》中爻震，為孔、為玉、為出，震在坎上，故曰出於幽谷。幽谷卽坎窞也，卽耳象也，純以形言，並無他義。後儒謂北方主聰，故為耳；又有以坎屬腎，腎水衰則耳聾為說者，皆賢者失之過也。

Take the "Yi Lin" to verify this. The "Tong Ren" hexagram's "Kan" says, "A great virtue is like jade, emerging from a deep valley." The "Zhen" trigram arises in the middle of the "Kan" hexagram. "Zhen" has the image of a hole, the image of jade, and the image of emergence. And this "Zhen" trigram is exactly above the "Kan" hexagram, so it is said "emerging from a deep valley." "Deep valley" refers to the "Kan" pit, which is also the image of the ear—this is purely based on shape, with no other meaning. Later scholars said that the north is associated with hearing, so "Kan" represents the ear. Others cited that "Kan" corresponds to the kidney in the human body, and when kidney water declines, hearing becomes impaired. These are all interpretations that over-examine and go beyond the original meaning.

《說卦》獨以震為長子，坎、艮卽不言。《易林》本之，凡單言子者皆指震；若言艮，則小子、少子也。反而求之《易》亦然，詳見首卷。此義至東漢卽失傳。虞翻往往以艮為子，又往往以震為子，恐與艮、坎不分而必曰長子，皆不知此例之證也。

The Say卦 only refers to Zhen as "the eldest son," but does not use this term for Kan or Gen. The Yi Lin followed the same convention: whenever it mentions the character "zi" alone, it refers to Zhen; if it refers to Gen, it uses "xiaozi" or "shaoshi." Conversely, when checking the Zhou Changes, the situation is the same, as detailed in the first volume of this book. This principle was lost by the Eastern Han dynasty. Yu Fan sometimes took Gen as "zi" and sometimes Zhen as "zi," while the Say卦 probably insisted on adding the character "chang" to call Zhen "changzi" in order to avoid confusion between Zhen, Gen, and Kan. Yu Fan's approaches are clear evidence of his lack of understanding of this principle.

前已為龍，此不應作龍審矣。虞翻、干寶皆作「駹」，雲蒼色；鄭作「尨」，雲取日出色。案《左傳》閔二年「尨奇無常」，又「衣之尨服」，注：「尨，雜也。」是鄭義與虞、乾義同，後儒多從之。案《易林》《觀》之《頤》云：「尨降庭堅。」《頤》上艮，艮為庭、為堅；下震，震為尨、為出，故曰尨降。又《謙》之《頤》、《需》之《大畜》語同，是《易林》亦作「尨」，讀與鄭同，但取象則異。

The "Say on the Trigrams" had already stated that Zhen represents "dragon," so it is clear that it should not be written as "dragon" again here. Both Yu Fan and Gan Bao wrote it as "long," interpreting it as a bluish-green color. Zheng Xuan wrote it as "mang," explaining it as the mixed colors at sunrise. According to the "Zuo Zhuan" Min Gong Er Year, there is "mang qi wu chang" and "yi zhi mang fu," with the commentary stating: "mang means mixed." This shows that Zheng Xuan's interpretation is the same as Yu Fan's and Gan Bao's, and later scholars mostly followed this. Looking at the "Yi Lin," in the "Guan" trigram changing to "Yi," it says "mang jiang ting jian." The upper trigram of "Yi" is Gen, which represents courtyard and firmness; the lower trigram is Zhen, which represents mang and movement, hence "mang jiang." The same expression appears in "Qian" changing to "Yi" and "Xu" changing to "Da Xu." This shows that the "Yi Lin" also wrote it as "mang," pronounced the same as Zheng Xuan, but with a different symbolic meaning.

鄭作雜，此則訓為犬類。《詩·召贈》「無使尨也吠」，《說文》云：「尨，多毛犬。」案震、巽相對，巽為寡髮，震當然為多毛。《易林》《節》之《謙》云：「首髮如蓬。」是以震為長髮也，故曰尨降。尨降庭堅雖皆人名，此則象取多毛犬也。尨多而狀善吠，無一不與震象合，較以尨為蒼雜者義似勝矣。艮為狗取其守，此則取多毛而善吠，義絕不復也。

Zheng Xuan interpreted "mang" as a mixture of colors, but here it is interpreted as a type of dog. The Book of Poetry, Zhuan Nan, contains "do not let the mang bark," and the Shuo Wen Jie Zi says, "mang is a dog with much hair." Since the Zhen and Xun trigrams are opposite, and Xun is interpreted as "sparse hair," Zhen naturally represents much hair. The Yi Lin, Jie zhi Qian, says "the hair starts like a thorn bush," which takes Zhen as long hair, hence "mang xiang." Although "mang xiang" and "ting jian" are both names of ancient people, here they are taken as the image of a dog with much hair. A dog with much hair, fierce in appearance and good at barking, matches the image of Zhen perfectly; compared to interpreting "mang" as a mixture of green and blue colors, this interpretation seems more reasonable. The reason why Gen is taken as a dog is because of its meaning of guarding; here, it is taken as a dog with much hair and good at barking, and the two meanings are not repeated.

《九家》逸象震為玉，是以《易林》每遇震卽言珠玉、珪璋、瑚璉。而「玉」或訛作「王」，《釋文》從之。豈知《易林》凡遇震言堯、舜、湯、武者，皆本帝出乎震，以帝為象也。「玉」不訛也。

The "Nine Schools of the Book of Changes" records an unusual image called "Zhen represents jade," so whenever the Zhen hexagram appears in the "Forest of Divination," it refers to things like pearls, jade, gui zhang, and hu lian. However, in some versions, the character "zhu" (jade) was mistakenly written as "wang" (king). Lu Deming's "Commentary on the Classics" also reads it as "wang." They did not realize that whenever the "Forest of Divination" mentions Yao, Shun, Tang, and Wu in connection with Zhen, it is based on the "Explanation of the Hexagrams" which states "the Emperor comes from Zhen," taking the image of "Emperor," which has nothing to do with the character "wang." This shows that the character "zhu" (jade) in "Zhen represents jade" was not written incorrectly.

震為旉，虞作專靜之專，延叔堅作敷布，干寶以旉為花之通名，後儒各有所主，莫衷一是。案《易林》每遇巽卽言花葉落去，以震伏也；又每遇震卽曰桃李生華，是亦訓旉為華也，象形也。後儒多駁乾說，豈知乾說與焦氏同也。其作專、作敷者，於卦象殊空泛不切；旉為花萼，則於震象恰合也。

The entry "Zhen represents Fu" in "Shu Gua" is interpreted by Yu Fan as "Zhuan," meaning "exclusive stillness," while Yan Du (whose courtesy name was Shuqian) reads it as "Fu," meaning "to spread out." Gan Bao thought "Fu" refers generally to flowers, and later scholars have each held their own views, unable to reach a consensus. According to "Yi Lin," whenever the Xun trigram appears, it speaks of withering flowers and leaves, because the Xun trigram contains the hidden image of Zhen (flowers thus wither); and whenever the Zhen trigram appears, it speaks of peach and plum blossoms blooming. This shows that "Yi Lin" also interprets "Fu" as flowers, taking the meaning from its symbolic representation. Later scholars mostly rejected Gan Bao's interpretation, without realizing that Gan Bao's view is actually the same as Jiao Yanshou's. Reading "Fu" as "Zhuan" or "Fu" in the context of trigrams is too vague and not precise; only by interpreting "Fu" as the calyx of a flower does it fit perfectly with the image of Zhen.

《說卦》震為竹、為葦，《易林》本此，凡遇震卽言周、言孔、言管。《坎》六四以震為樽、為簋、為缶，《易林》遇震卽以為酒杯、為盈。《明夷》以震為箕，《歸妹》以震為筐，《易林》遇震卽言蕢、言筥、言籩豆，凡竹器之屬皆象之。《說卦》言鳴，《易林》遇震，凡物之能鳴者皆屬之。《中孚》言鼓，《豫》卦言樂，《易林》遇震，凡一切樂器皆屬之。《說卦》言稼，《易林》遇震，凡一切黍稷菽豆禾麻之類皆屬之。《說卦》言蕃鮮，《易林》遇震，凡草萊之屬皆屬之。

The "Shuo Guà" says that Zhen represents bamboo and reed. The "Yì Lín" follows this: whenever Zhen appears, it refers to "zhou," "kong," and "guan" (bamboo and reed have hollows with holes, and cutting them forms tubes). In the "Kan" hexagram, line six in the fourth position, "zun wine, gui twice, using fǒu," Zhen is taken as zun, gui, and fǒu. The "Yì Lín" takes Zhen as a wine cup and a full vessel. In the "Ming Yi" hexagram, line six in the fifth position, "Jizi," Zhen is taken as ji. In the "Gui Mei" hexagram, line six at the top, "female holding a basket," Zhen is taken as a basket. In both hexagrams, Zhen is present, and the "Yì Lín" takes Zhen as kei (a basket made of grass), jǔ (a round bamboo container), and bian and dou (types of vessels), all kinds of bamboo containers are attributed to Zhen. The "Shuo Guà" says that Zhen represents horses "as good at making sounds." The "Yì Lín" takes Zhen as anything that can make sound. In the "Zhong Fu" hexagram, line six in the third position, it says "drum," and in the "Yu" hexagram's "Da Xiang," it says "make music." The "Yì Lín" takes Zhen as all musical instruments. The "Shuo Guà" says that Zhen represents crops. The "Yì Lín" takes Zhen as all kinds of millet, sorghum, beans, lentils, grain, and flax. The "Shuo Guà" says that Zhen represents flourishing vegetation. The "Yì Lín" takes Zhen as all kinds of grasses and wild plants.

《說卦》言足、言決躁，於是如鹿、如兔、如蝗蟲，凡以足見長而躁急者，《易林》皆屬之。又《易林》於國名，凡言晉者取震往也，言荊楚者取叢木也，陳者震出，亦取戰陳也，衛者震為警衛也，韓者乾也，亦取震木也，英蓼取草莽也。于姓氏言張者，震健也；蘇李者，震為草木也；言白者，本馵足的顙義也。然不能以此為增象，以皆由《說卦》推演而出。若坤水、坤魚、艮火、巽石之類，方謂之增象，以其至東漢卽失傳。然不明其推演之象，讀《易林》卽不解其所謂也。

The *Sayings on the Trigrams* says that the trigram *Zhen* (Thunder) represents "the foot" and "impetuousness," thus resembling deer, rabbits, and locusts, all of which rely on their feet and are characterized by restlessness. The *Yi Lin* (Commentary on the Changes) classifies all such things under *Zhen*. The *Yi Lin* also uses proper nouns: when it mentions "Jin" (advancement), it refers to *Zhen* as the main trigram moving forward; when it mentions "Jingchu" (a region), it refers to *Zhen* as the dense growth of trees; when it mentions "Chen," it refers to *Zhen* as the main trigram moving out, and also to the meaning of "battle formation"; when it mentions "Wei," it refers to *Zhen* as the guard; when it mentions "Han," it refers to the "dry" in "Han" being the same as the "dry" in *Zhen*, which still relates to wood. When it mentions surnames: "Zhang" refers to the strength and vigor of *Zhen*; "Su" and "Li" refer to *Zhen* as grass and trees; "Bai" is based on *Sayings on the Trigrams* that *Zhen* represents "white hooves" and "white forehead" of a horse. However, these are not new images, since they are all derived from *Sayings on the Trigrams*. Images such as *Kun* (Earth) representing water and fish, *Gen* (Mountain) representing fire, and *Xun* (Wind) representing stone are called added images, as they were lost by the Eastern Han dynasty. However, without understanding these derived images, one cannot comprehend what the *Yi Lin* is actually saying.

寡之於宣，字形本近。虞翻讀為宣，以白為義，並謂馬融讀寡之非，後儒多從之。按《易林》《隨》之《豐》云：「身多禿癩。」《豐》二至四巽，巽為寡髮，故曰禿。又《復》之《坎》云：「髠刑受法。」《坎》通《離》，《離》中爻巽，故曰髠。又《蒙》之《漸》云：「鳥飛無翼。」《漸》上巽，巽為毛羽、為寡，故無翼。又《需》之《否》云：「毛羽憔悴。」《否》中爻巽，為毛羽、為寡，故憔悴。夫曰禿、曰髠、曰無翼，皆以寡為義，不以白為義。又《需》之《小畜》云：「紝績獨處，寡居無夫。」是焦贛明明讀為寡也。

In the "Say on the Trigrams" (《说卦》), the character "寡" in the phrase "巽为寡发" (Xun represents sparse hair) is originally similar in form to the character "宣". Yu Fan read it as "宣", taking the meaning of white, and criticized Ma Rong for reading it as "寡", which was wrong. Later scholars mostly followed Yu's interpretation. However, according to the "Yi Lin" (《易林》), in the hexagram "Following" (《随》) changing into "Great Excess" (《丰》), it says "the body has many bald patches": the second to fourth lines of the "Great Excess" hexagram produce Xun, which represents sparse hair, hence "bald". In the hexagram "Returning" (《复》) changing into "Water" (《坎》), it says "shaved head and legal punishment": "Water" and "Fire" are opposite, and the middle lines of the "Fire" hexagram produce Xun, hence "shaved head" (a punishment involving shaving the head). In the hexagram "Obstruction" (《蒙》) changing into "Gradual Progress" (《渐》), it says "birds flying without wings": the upper trigram of "Gradual Progress" is Xun, which represents feathers and also sparseness, hence "no wings". In the hexagram "Necessity" (《需》) changing into "Opposition" (《否》), it says "feathers withered and憔悴": the middle lines of the "Opposition" hexagram produce Xun, which represents feathers and also sparseness, hence "withered and憔悴". The meanings of "bald", "shaved head", and "no wings" all take the meaning of "sparse", not "white". Furthermore, in the hexagram "Necessity" changing into "Small Accumulation" (《小畜》), it says "spinning silk alone, living alone without a husband", which clearly shows that Jiao Gong (Jiao Yanshou) read it as "寡".

乃《易林》《節》之《井》云：「宣髮龍叔。」各本皆作宣勞就力，祗宋本如此，是又明明讀為宣髮也。然《易林》全部觀之，凡遇巽卽言禿、言髠、言落者不可勝數，皆主寡言，而宣髮祗此一見，故吾深疑《易林》原作寡髮龍叔，後人改寡為宣，以就虞義。清惠棟得此，據為宣發之確證，而不知《易林》言此者至多，皆以寡為義，無以宣為義者。又李道平謂寡於巽無取，豈知巽內虛，《易林》遇巽，不曰耗減寡薄，卽曰花葉落去，於風散之義取象最切，較宣義深遠矣。

However, the "Jing" section of the "Yi Lin" mentions the phrase "Xuan Fa Long Shu" — this phrase is recorded as "Xuan Lao Jiu Li" in all editions, except the Song edition, which reads "Xuan Fa Long Shu," clearly pronounced as "Xuan Fa." Yet, when examining the entire "Yi Lin," there are numerous instances where the trigram Xun is associated with baldness,髡, or withering, all of which take the meaning of "few and thin." The phrase "Xuan Fa" appears only once. Therefore, I suspect that the original text of the "Yi Lin" was "Guo Fa Long Shu," and later editors changed "Guo" to "Xuan" to accommodate Yu Fan's pronunciation. Hui Dong of the Qing dynasty took this phrase as evidence for "Xuan Fa," but he did not realize that throughout the "Yi Lin," whenever Xun is mentioned in such contexts, it always refers to the meaning of "few and thin," and there is no instance where it refers to "Xuan (white)." Li Daoping also said that the character "Guo" has no relevance to the trigram Xun — he did not realize that the inner yao of the Xun trigram is empty, and whenever the "Yi Lin" refers to Xun, it either speaks of depletion and reduction or of withering leaves, which is most appropriate in the sense of "wind dispersing," a meaning far more profound than that of "Xuan (white)."

鄭作乾，虞讀為乾溼之幹。案《易林》《巽》之《艮》云：「使乾口來。」《艮》中爻震為口，互離，故曰乾口。又《乾》之《訟》云：「喉焦唇乾，舌不能言。」亦以互離為乾，是虞讀與焦同也。蓋以《噬嗑》九四干胏、九五乾肉為義也。

The passage in "Shu Gua" stating "Li represents Qian hexagram" is interpreted by Zheng Xuan as "Qian," while Yu Fan reads it as "gan" from the term "gan shi" meaning dry and wet. According to "Yi Lin," in the hexagram "Xun" changing into "Gen," it says "make the dry mouth come." The hexagram "Gen" has a mutual hexagram Zhen in the middle, which represents mouth, and within the hexagram there is also Li, which represents dryness, hence "dry mouth." In the hexagram "Qian" changing into "Song," it says "throat dry, lips dry, tongue cannot speak." The hexagram "Song" has lines two to four producing Li, which again uses Li to represent dryness. This shows that Yu Fan's reading is the same as Jiao Yanshou's. They probably both based their interpretation on "Shi He" nine four "shì gan zōng" and nine five "shì gan ròu" (the upper trigram of "Shi He" is Li), establishing the meaning accordingly.

馬、鄭、王肅皆讀為黔喙，皆以為豺狼之屬、山居之獸。按《易林》《賁》之《否》云：「東風啟戶，黔啄翻舞。」《否》互艮，故曰黔啄；互巽，故曰翻舞。無惟鳥稱啄，能翻舞空中，獸則不能，故《易林》遇艮卽言鷹隼鷂。蓋艮剛在上，為堅，故《易》與《易林》常以艮為角，鳥啄之堅與角同耳。若豺狼之喙，與堅義不合也。又獸屬黔喙者少，若中原之鳥，十九黔啄，故《易林》獨以鳥當之。

The passage in "Shuo Gu" stating "Gèn represents black-beaked animals" is interpreted by Ma Rong, Zheng Xuan, and Wang Su as "Qian Zhui," meaning animals like jackals and wolves that live in mountains. According to "Yi Lin," in the "Ben" hexagram changing into "Po," it says "East wind opens the door, black-beaked birds dance and turn." The second to fourth lines of the "Po" hexagram produce Gèn, hence "black-beaked birds"; the third to fifth lines produce Xun, which represents wind and movement, hence "dance and turn." Only birds are called "zhui," and only birds can fly and dance in the air, which wild animals cannot do. Therefore, "Yi Lin" always uses eagles, falcons, and hawks when referring to Gèn. Generally, Gèn is a single yang line at the top, symbolizing hardness, so the "Zhou Yi" and "Yi Lin" often associate Gèn with horns. The hardness of a bird's beak and horns are of the same kind. If we refer to the beak of jackals and wolves, it does not match the meaning of "hard." Moreover, black-beaked wild animals are rare, while most birds in Central China have black beaks, so "Yi Lin" uses birds specifically to represent this image.

由斯證喙為啄之訛字，在西漢時尚未訛也。後儒有覺其不安，兼鳥獸言者，亦誤也。且艮既為狗、為鼠、為虎、為狐，此不宜重言獸也。此有確證：《左傳》昭五年明夷之謙云：「日之謙當鳥。」日之謙卽離變艮，變艮而云當鳥，則艮為鳥明矣。又《小過》云：「飛鳥遺之音。」亦以艮為鳥。自艮鳥之象失傳，後儒謂《小過》卦形象飛鳥，虞翻謂離為鳥，於是解《易》而誤，解《左氏》亦誤矣。

From this we can prove that "喙" is a corrupted form of "啄," and there was no such corruption in the Western Han dynasty. Later, some people realized this explanation was unsatisfactory, so they proposed a compromise that "黔喙" refers to both birds and beasts, but this is also wrong. Moreover, the trigram Gen (Geng) already includes animal symbols such as dogs, mice, tigers, and foxes, so it should not be repeated here. There is also conclusive evidence: In the fifth year of Duke Zhao of the State of Lu, the "Zuo Zhuan" records the hexagram "Mingyi" (Brightening) and its "Qian" (Hexagram Statement), which says, "When the sun is humble, it becomes a bird." Here, "sun's humility" refers to the trigram Li (Fire) transforming into Gen (Mountain). By transforming into Gen and saying "it becomes a bird," it is clearly evident that Gen represents a bird. Similarly, the "Hexagram Statement" of "Xiao Guo" (Small Crossing) says, "A flying bird leaves its sound," which also uses Gen to represent a bird. Since the symbolic meaning of Gen as a bird was lost, later scholars mistakenly interpreted the entire shape of the "Xiao Guo" hexagram as a flying bird. Yu Fan, on the other hand, said Li represents a bird, leading to incorrect interpretations of both the "Zhou Yi" (Book of Changes) and the "Zuo Zhuan."

前已為狗，當然義復，故虞氏作拘。按《易林》《坤》之《艮》云：「入我邦郭，妻子係獲。」係獲卽拘也。《隨》上六云：「拘係之。」上六伏艮，是《易》亦以艮為拘也。虞讀與焦同也，皆以《易》為本也。

The "Say on the Trigrams" had already stated that Gen is "dog," so if it were repeated here as "dog," the meaning would be redundant. Therefore, Yu Fan wrote "jū" (confinement). According to the "Forest of Divination," in the trigram Kun changing into Gen, it says "entering my city walls, wife and children are captured" — "captured" means "confinement." In the trigram Suí, the sixth line says "confinement." The sixth line is in the upper trigram Dui, whose hidden trigram is Gen. This shows that the "Zhou Changes" also takes Gen as "confinement." Yu Fan's interpretation is the same as Jiao Yanshou's. Both base their interpretations on the "Zhou Changes" itself.

《易林》凡遇艮，卽以為壽考、為仙道、為長生、為松喬，皆取象于堅，此以人為說也。若於木，《節》之《萃》云：「千歲槐根，身多斧瘢。」蓄謀互艮，千歲謂堅，斧瘢謂多節，是焦讀本有堅字也。乃《釋文》云本無堅字，《集解》亦無，虞氏亦祗訓節，不及堅，是虞讀亦無堅字也。若《易林》則有也。

The "Forest of Divination" (Yilin) takes the trigram Gen (Mountain) as representing longevity, immortality, long life, and the immortals Chiguangzi and Wang Zijing. These associations are based on the quality of firmness (jian) inherent in Gen. When referring to human affairs, the term "jian" is used to signify this quality. However, when referring to trees, in the hexagram Jie (Restriction) and Cui (Gathering), there is a line: "A thousand-year locust tree has many axe marks on its trunk." The hexagram contains the structure of Gen (Mountain), and the phrase "accumulated plans" (xu mou) is suspected to be a misreading or omission. The phrase "a thousand years" directly refers to the firmness of Gen, while "axe marks" directly refers to the many knots of Gen. This shows that the version of the "Sayings on the Hexagrams" (Shuigu) used by Jiao Yanshou originally included the word "jian" (firmness), and was expressed as "representing firmness with many knots." However, Lu Deming's "Commentary on the Classics" (Jingjing xingsheng) states that the word "jian" was not present in the original text, and Li Dingzuo's "Collected Explanations of the Zhou Changes" also lacks it. Yu Fan similarly only explains "knots" and does not mention "firmness," indicating that the version he used also lacked the word "jian." In contrast, the version of the "Forest of Divination" (Yilin) used does include the word "jian."

舊謂陽在上故止者，非也。《雜卦》云：「震起也，艮止也。」此互文也，解最有味。蓋艮震同體，震為行故起，震反則不行而止矣。《艮》彖云「時行則行」，謂震也；「時止則止」，謂震覆為艮也。《易》用覆象，莫明於止，莫妙於此，可互為註腳也。自覆象失傳，真詁遂晦。

Old interpretations claimed that Gen (Geng) is a single yang line at the top, thus governing stillness, but this is incorrect. The "Zagua Zhuan" says: "Zhen is movement, Gen is stillness." These two sentences are examples of mutual explanation, and their meaning is particularly interesting. Originally, Gen and Zhen are the same hexagram structure: Zhen represents action, hence it is called "movement." When Zhen is reversed to become Gen, it becomes stillness. The "Tuan" section of the Gen hexagram says, "When the time comes to act, act; when the time comes to stop, stop." The former refers to Zhen, and the latter refers to Zhen reversed into Gen. The "Zhouyi" uses the concept of reversed images, and nowhere is the meaning of "stillness" more clear, nor is the usage more subtle. These two sentences can serve as mutual explanations. Since the example of reversed images has been lost, this true interpretation has become obscure and unclear.

《易林》凡遇兌則曰魯。《坤》之《離》云：「齊魯爭言。」《離》中爻兌巽，巽齊兌魯，通《易林》凡數十用，無作滷者。又鹽滷之地，皆湖澤之舊陂，或近湖澤者始生鹽滷，皆因溼潤，非因剛堅。《書·洪範》「潤下作鹹」，疏云：「水性本甘，久浸其地，變而為鹹。」是其證。又《左傳》襄三十五年，楚子木使表淳滷，注：「淳滷，埆薄之地。」淳者，漬也，沃也。夫必漬而後咸鹵，剛保能咸鹵？

The "Yi Lin" mentions "Lu" whenever the Dui hexagram appears. In the case of the Kun hexagram transforming into the Li hexagram, it says "Qu and Lu contend in speech." The Li hexagram has the Dui and Xun hexagrams emerging in its middle, where Xun represents Qi and Dui represents Lu. Upon examining the "Yi Lin" thoroughly, there are dozens of instances where this usage occurs, none of which use the term "hu." Moreover, the land that produces salt and brine is usually the old embankments of lakes or areas near lakes, where salt and brine are formed due to moisture and dampness, not because the soil is hard and solid. The "Shang Shu · Hong Fan" states, "Moisture descending produces salt." Kong Yingda's "Zhengyi" explains, "Water is originally sweet; after long immersion in the soil, it becomes salty." This is evidence. Additionally, the "Zuo Zhuan" records in the 35th year of Duke Xiang (which should be the 25th year) that the commander of the state of Chu, Zi Mu, sent people to mark the "chun hu" land. Du Yu's annotation says, "Chun hu refers to barren land." "Chun" means soaking and watering. Thus, it is clear that only after water has soaked the land can salt and brine form; how could hard land produce salt and brine?

又案《漢官儀》，天子出入後衛甲楯曰鹵簿；《高帝紀》「毋得掠滷」，皆以威猛強暴取義。又《莊子·則陽篇》：「昔予為禾，耕而鹵莽之，則其實亦鹵莽而報。」注：「鹵莽，麁粗也。」又《釋名》：「地不生物曰滷。」若依《莊子》《釋名》為訓，剛滷二字方可連屬。剛者，堅也勁也；滷者，粗也。剛滷者，謂土地磽确，粗疏而不柔和也。《易林》之訓，蓋與《莊子》《釋名》同也。然不作滷而作魯者，滷魯古通用。

In the "Han Officials' Ceremonies" (Han Guan Yi), it is recorded that when the emperor went out, the shield bearers at the rear of the procession were called "lu bo." The "Han Shu · Gao Di Ji" says, "Do not take or plunder lu," and in these instances, the character "lu" is used to denote strength and ferocity. The "Zhuangzi · Ze Yang" states: "In the past, I cultivated crops, and when I plowed the fields, I was careless and hasty (lu mang), and the harvest I received was also poor." Commentators explain: "Lu mang means carelessness." The "Xinamei" also says: "Land that does not grow anything is called lu." If we take the meanings from the "Zhuangzi" and the "Xinamei," the term "gang lu" makes sense: "Gang" means hard and firm, while "lu" means rough and coarse, so "gang lu" refers to land that is hard, rough, and not soft. The meaning of "gang lu" in the "Yi Lin" is probably similar to that in the "Zhuangzi" and the "Xinamei." As for why the "Yi Lin" uses "lu" instead of "lu," it is because the characters "lu" and "lu" were interchangeable in ancient times.

《史記·遊俠傳》滷公孺，《漢書》作魯公孺，是其證。虞翻訓滷為鹹，不誤也；但以訓剛滷之滷亦為鹹，則誤矣。後人不察，作為定詁。今以《史記》《漢書》證《易林》，由《易林》證《易》，知剛滷之滷確訓為粗鹵，而不訓為鹹。若訓咸，則《易林》不作魯矣。至於《說文》以西方咸地訓滷，殆亦因《說卦》兌西而誤。不然，西方咸地不如東方多也明矣。《禹貢》云：「海濱廣斥。」《史記》釋之云：「海濱廣舄，厥田斥鹵。」是其證也。

In the "Records of the Grand Historian" (Shiji), the name "Hulu Gongru" appears, while the "Book of Han" (Hanshu) writes it as "Lu Gongru," which is clear evidence. Yu Fan interpreted "Hulu" as "Xian" (salt), which is not wrong; but when he also interpreted the "Halu" in the "Discourse on the Trigrams" as "Xian," he made a mistake. Later scholars did not examine this carefully and accepted it as a fixed interpretation. Now, by using the "Shiji" and "Hanshu" to verify the "Yi Lin," and then using the "Yi Lin" to verify the "Zhou Yi," we can see that the "Halu" in "Discourse on the Trigrams" should indeed be interpreted as coarse or inferior, not as "Xian." If it were interpreted as "Xian," the "Yi Lin" would not have written it as "Lu." As for the "Shuowen Jiezi" explaining "Halu" as "Western Xian land," it is likely due to the association of the trigram Dui (Lake) with the West; otherwise, the salt-alkali land in the West is not more than that in the East, which is clearly evident. The "Shangshu · Yugong" mentions "hainan guangxi," and the "Shiji" explains it as "hainan guangxi, jue tian xilu," which is evidence.

上已為羊，此不應復，虞作羔是也。但虞謂羔仍與羊無別，訓為女使，其義甚澀。治虞易者謂鄭作陽，與養通，謂養無家女，行賃炊爨，賤於妾，虞訓女使，正與鄭合。若然，謂羔為養之訛字則可，趕訓羔為斯養，則義不能通也。茲《易林》《晉》之《臨》云：「羔羊皮弁。」是以兌為羔也。羔者小羊，兌少，故為羔。虞訓為女使，非也。艮為手復為指，兌為羊復為羔，與艮指同耳。疑與羊無別者非也。

The previous passage in "Shuo Gua" already states that Dui represents "sheep," so repeating it would be inappropriate. Therefore, Yu Fan's use of "gao" (lamb) is correct. However, Yu Fan also claims that "gao" and "yang" (sheep) are essentially the same, and interprets "gao" as a female servant, which seems awkward. Scholars studying Yu's "Yi" have pointed out that Zheng Xuan's version uses "yang," which is related to "yang" (nourish), referring to a woman without a family who is employed to cook, her status lower than a concubine. Yu Fan's interpretation of "gao" as a female servant aligns with Zheng Xuan's view. If this is indeed the case, then interpreting "gao" as a corruption of "yang" makes sense. However, directly interpreting "gao" as "si yang" (a person to be served) is not reasonable. Now, the "Yi Lin" in "Jin" under "Lin" mentions "gao yang pi bian," using Dui to represent "gao." "Gao" is simply a young sheep, and Dui represents a young girl in "Shuo Gua," taking the meaning of youth. Therefore, Dui is represented as "gao." Yu Fan's interpretation of "gao" as a female servant is incorrect. Just as Ben represents the hand and further represents the finger, Dui represents sheep and further represents "gao" — the reasoning is the same as that for Ben representing the finger. Doubting the view that "gao" and "yang" are the same is wrong.

《易林》《履》之《節》云：「安上宜官，一日九遷。」《節》互艮，艮陽在上而貴，故曰宜官。又《豫》之《艮》云：「厄窮上通，與堯相逢，登升大麓，國無凶人。」厄窮者坎，上通者艮，陽在上，故曰上通；互震為帝，故曰堯；艮山為大麓，震為登為升，亦以艮為貴也。後思《易》《蠱》上九云「不事王侯，高尚其事」，《賁》六五云「束帛戔戔，賁于丘園」，《大畜》上九何天之衛，《剝》上九君子得輿，皆艮象，皆有在上而貴之象，是《易》本以艮為貴，故《易林》本之。

The "Yilin" commentary on the "Lv" hexagram changing into the "Jie" hexagram says, "It is appropriate to hold office and to be promoted nine times in one day." The "Jie" hexagram has the Gen trigram in its middle intercalary position. Gen represents a single yang line at the top, occupying a high position and being honored, hence it is appropriate for holding office. The "Yu" hexagram changing into the "Gen" hexagram says, "In times of hardship, the superior path is open; meeting Yao, ascending the great mountain, the country has no villains." "Hardship" comes from the intercalary Kan trigram (Kan represents danger and peril), "the superior path is open" comes from Gen, because the yang line is at the top, thus the path is open; the hexagram also contains the intercalary Zhen trigram, which represents the emperor, hence Yao is mentioned; Gen represents a mountain, which is the "great mountain," and Zhen represents ascending and rising—this also shows that Gen represents honor. Later, upon further reflection on the "Zhou Yi," the "Gu" hexagram's upper ninth line says, "Not serving princes and nobles, but pursuing lofty matters," the "Ben" hexagram's sixth line five says, "Bundled silk is meager, but it is used to decorate the hills and gardens," the "Da Xu" hexagram's upper ninth line says, "Who will guard the sky (road)?" and the "Bo" hexagram's upper ninth line says, "The gentleman receives a carriage." All these instances involve the Gen trigram, and they all contain the meaning of occupying a high position and being honored. This shows that the "Zhou Yi" originally regarded Gen as representing honor, and the "Yilin" follows this principle.

《左傳》僖十五年，晉筮嫁伯姬於秦，遇《歸妹》之《睽》，卽震變離也。乃曰：「為雷為火，為嬴敗姬，車脫其輹，火焚其旗。」自服虔？杜預，不知姬與旗之象而誤釋。茲《易林》《賁》之《復》云：「姬伯出走。」震為伯、為走。《易林》以震為周，姬者周姓，故震亦為姬，亦猶巽為齊、亦為姜也。為嬴敗姬者，兌西，嬴西方國，震為姬，震變離形毀，故曰敗姬。火焚旗者，震為旗，震變離，故火焚旗。《易林》《豫》之《中孚》云：「干旄旌旗。」他若《師》之《隨》、《履》之《解》，亦皆以震為旗，是其證也。

In the fifteenth year of Duke Xi of the State of Jin, a divination was performed to determine the auspiciousness of marrying Bo Ji to the State of Qin. The result was the hexagram "Guimei" changing into "Kui," meaning the upper trigram Zhen (Thunder) transformed into Li (Fire). The divination text said: "It is Thunder and Fire, leading to the defeat of the嬴 clan and the loss of Bo Ji. The chariot loses its axle, and the banner is burned by fire." From Fu Qian to Du Yu, none understood the symbolic meanings of "Ji" and "flag," thus leading to incorrect interpretations. Now, the "Yi Lin" hexagram "Ben" changing into "Fu" says "Bo Ji flees away": Zhen represents "Bo" and "fleeing"; the "Yi Lin" also takes Zhen as the Zhou dynasty, and since "Ji" is the royal surname of the Zhou dynasty, Zhen also represents "Ji." This is similar to taking Xun as the State of Qi, thus Xun also represents the surname Jiang. The phrase "leading to the defeat of the嬴 clan" refers to Dui being in the west, and "Ying" is the surname of the western State of Qin, while Zhen represents "Ji"; when Zhen changes into Li, the shape of Zhen is destroyed, hence "defeat of Ji." The phrase "fire burns the banner" refers to Zhen representing the banner, and when Zhen changes into Li, which represents fire, thus fire burns the banner. The "Yi Lin" hexagram "Yu" changing into "Zhongfu" says "dry grass and banners," and other instances such as "Shi" changing into "Sui" and "Lv" changing into "Jie" also take Zhen as the banner, which is clear evidence.

總《左傳》所用之象，為東漢人所不知者，《易林》無不用之，此又易象至東漢失傳之證也。又車說其輹者，孔疏引《子夏傳》云：「輹，車下伏兔，今謂之車屐。」案震為車、為履，屐與履同，然則輹亦震象也。車脫其輹者，言震變離，震象毀，故脫輹。孔疏知為車屐，而不言其為震象，則以賈、服、杜諸儒皆不言而不敢決也。豈知《大壯》九四云「壯于大輿之輹」，卽以震為輿、為輹，輹在車下，正震履也。

In summary, all the images used in the "Yi Lin" are found in the "Zuo Zhuan," but the Eastern Han people no longer recognized them. This is another evidence that the images of the Yi hexagrams were lost by the Eastern Han period. Furthermore, the phrase "che shuo (duo) qi fu" (the chariot's axle is broken): Kong Yingda's "Zhengyi" cites Zixia's Commentary on the Changes, stating that "fu" is the part under the chariot called "fu tu," which is now called "che ji." Since Zhen represents a chariot and shoes, "ji" and "li" are the same, so "fu" is also an image of Zhen. The phrase "che duo qi fu" means that Zhen changes to Li, the image of Zhen is destroyed, so the chariot's axle falls off. Kong Yingda knew that "fu" was the same as "che ji," but he did not say it belonged to the image of Zhen, because Jia Kui, Fu Qian, Du Yu, and others did not mention it, and he did not dare to make his own judgment. He did not realize that the "Dazhuang" hexagram's line nine four says "zhuang yu da yu zhi fu," which uses Zhen as the chariot and the axle; since the axle is under the chariot, it exactly matches the image of Zhen as shoes.

行唐尚秉和節之撰。

This volume is still written by Shang Binghe, a native of Xingtang in Zhili (now Xingtang County, Hebei Province). His name is Zhezi.

一、乾南坤北。目得此象，而天尊地卑、天地定位等詞始能解。東漢人不知此象，故以卦變為解。然東漢人深疑其有此象，管輅云：「吾不解古之聖人何以位乾於西北、坤於西南？夫乾元資始統天，何由有別位也。」是疑乾在南也，而訖無如何。豈知《左傳》大有之幹，卽離變乾，而曰「敬如君所」，所者，位也，古人敬離位如干位也，是《左傳》卽以乾為南也。又晉與楚戰，筮遇《復》，云：「南國蹙，射其元王中厥目。」元者首也，乾為首為王。乾若不居南，自北射南，祗中離目可矣，如何能射中王首哉？

First, Qian is in the south and Kun is in the north. With this image, statements such as "Heaven is exalted and Earth is humble" from the Great Treatise and "Heaven and Earth are positioned" from the Discourse on the Hexagrams make sense. People in the Eastern Han dynasty did not know this image, so they had to use hexagram transformations to explain it. However, people in the Eastern Han dynasty also doubted that this image should have existed. Guan Lu said, "I do not understand why the ancient sages placed Qian in the northwest and Kun in the southwest. Qian originates from Heaven and is the beginning of all things; how could it be placed in a different position?" This shows his doubt that Qian should originally be in the south, but he was ultimately helpless. He did not realize that the divination example of the Great Having卦 in the Zuo Zhuan, where the lower trigram Li transforms into Qian, has the divination statement "respect as the ruler's position" — "position" refers to the place. The ancients regarded the direction of Li as the direction of Qian and paid homage to it. This shows that the Zuo Zhuan regarded Qian as being in the south. Also, during the battle between Jin and Chu, the divination resulted in the hexagram Fu, with the divination statement "the southern state is compressed, shoot its chief king, hit his eye." "Chief" refers to the head, and Qian represents the head and the king. If Qian were not in the south, then shooting from the north to the south could only hit the eye governed by Li, how could it hit the king's head?

管輅徒知乾位西北，不知春秋時卽以乾為南，卽西漢末仍以乾為南。《太玄》云「南北定位」，是以南北代天地也，仍以乾為南也。《說卦》明言後天方位者，恐人生疑，管輅卽其一人。至先天方位，為法象所固有，在春秋時人人皆知，故無須明言，況天地水火雷風山澤一再對舉之，無異於明言哉！然至東漢末竟失傳，故雖神於《易》若管輅，亦祗心疑其如是，而不敢定其如是也。

Guan Lu knew only that in the Later Heaven arrangement, Qian is located in the Northwest. He did not know that in the Spring and Autumn period, people already regarded Qian as South. Even in the late Western Han dynasty, they still regarded Qian as South. Yang Xiong's "Tai Xuan" says "north and south are fixed," using north and south to represent Heaven and Earth, indicating that Qian was still considered South. The "Shuo Gua" explicitly mentions the Later Heaven arrangement to prevent people from doubting. Guan Lu was one of those who raised doubts. As for the Earlier Heaven arrangement, it was originally an inherent part of the hexagram forms and symbolic representations, known to everyone in the Spring and Autumn period, so there was no need to mention it explicitly. Moreover, the "Shuo Gua" repeatedly contrasts Heaven and Earth, water and fire, thunder and wind, mountains and marshes, which is no different from stating it clearly. However, by the end of the Eastern Han dynasty, this knowledge had been lost. Therefore, even someone as skilled in the Yi as Guan Lu could only suspect that things should be this way, but dare not confirm it as fact.

二、離東坎西。自得此象，而《既濟》九五爻詞始能解。東漢人亦疑其必離東坎西方合，而不敢竟言，以日東月西當之，用心良苦，而不知離坎之象本如此也。三、艮西北兌東南震東北巽西南。自得此象，而山澤通氣、雷風相薄如能解，而東漢人不知，故祗以同氣同聲為解。

Second, the trigram Li is in the east and Kan is in the west. With this image, the line statement "east neighbor" and "west neighbor" in the hexagram "Already Perfect" makes sense. The people of the Eastern Han dynasty also suspected that Li must be in the east and Kan in the west for the meaning to be consistent, but they were too hesitant to say so directly. Instead, they used the analogy of the sun rising in the east and the moon rising in the west. Their efforts were sincere, yet they did not realize that the original positions of Li and Kan are indeed east and west respectively. Third, Gen is in the northwest, Dui in the southeast, Zhen in the northeast, and Xun in the southwest. With this image, the statement in "Discourse on the Trigrams" "mountain and marsh communicate through the air" and "thunder and wind interact" makes sense. However, the people of the Eastern Han dynasty did not know this, so they could only vaguely explain it with terms like "same qi" and "same sound."

四、乾日兌月。自得此象，《乾》三終日乾乾之終日，及《大畜》日閒輿衛之日，始得解。《恆》彖傳「日月得天而能久照」，始知日月指互兌互乾。他若《小畜》上九、《歸妹》六五、《中孚》六四之月幾望，及《離》卦《蠱》卦彖傳之言月，始知其皆指兌，舊解皆曲說也。

Fourthly, Qian represents the sun and Dui represents the moon. When this image is obtained, the term 'zong ri' ('all day') in 'Jian' Nine in the Third, 'junzi zong ri qianqian', and the term 'ri' ('sun') in 'Da Xu' Nine in the Third, 'ri xian yu wei', are given meaning. The 'Tuan Zhuan' of 'Heng' says 'ri yue getian er neng jiu zhao', which reveals that the 'sun and moon' refer to the Dui and Qian trigrams emerging from the mutual trigrams of 'Heng' (the second to fourth lines contain Qian, and the third to fifth lines contain Dui). Other instances such as 'Yue Ji' Upper Nine and 'Zhong Fu' Six in the Fourth mentioning 'yue ji wang' ('moon nearly full'), and the mention of the moon in the 'Tuan Zhuan' of 'Li' and 'Gu' hexagrams, all refer to Dui. The old interpretations were all mistaken.

五、離星震辰。自得離星象，《豐》六二之見斗、九三之見沬，始知斗沬之取象於離。自得震辰象，《艮》彖之時止則止、時行則行、動靜不失其時，始知時之為震。蓋艮震相反覆而體則同，故艮亦為時，時卽辰也。此與《左傳》艮為言、以艮為覆震同也。又按《漢上易》引虞翻云：「離艮為星。」是離星之象虞氏亦知，而解《豐》不用，何哉？

Fifth, Li represents stars and Zhen represents the moon. By obtaining the image of Li as stars, we find in the line "the sun is seen with the Big Dipper" in line six of the second position of the Fu hexagram, and "the sun is seen with the Milky Way" in line nine of the third position, we realize that the Big Dipper and the Milky Way are both taken as images of Li. By obtaining the image of Zhen as the moon, we find in the "Tao" section of the Gen hexagram, "when it is time to stop, it stops; when it is time to move, it moves; stillness and motion do not miss their time," we realize that the "time" here refers to Zhen. Originally, Gen and Zhen are reverse hexagrams with the same structure, so Gen can also represent time, and "time" is "Chen." This is the same reasoning as in the "Zuo Zhuan," which takes Gen as speech and considers Gen as the reverse of Zhen. Also, according to Zhu Zhen's "Han Shang Yi Zhuan," citing Yu Fan's statement that "Li and Gen represent stars," it is clear that Yu Fan also understood the image of Li as stars. However, he did not use this interpretation when explaining the Fu hexagram. Why was that?

六、坤水艮火。自得坤水象，凡《易》言利涉大川者皆可解；自得艮火象，《旅》九三之旅焚其次始得解，《旅》火在外，炎上不能焚次也。坤水之象，除《易林》用之外，《九家易》獨知之，《九家》又以乾為南，故吾謂《九家》必西漢易師。七、坎土巽石。坎土之象，在《易》祗《震》九四云震遂泥，九四互坎，坎為泥，於為土之義較近，蓋坎為塞而中實，自然土象，故《易林》用之，邵子本之。至巽石之象，《易》《困》六三曰：「困于石，據于蒺藜。」蒺藜者下坎，石則自東漢以來皆用伏艮，向疑其於六三無涉，今得巽石之象，於是困于石三字始得真解。

Sixth, the Earth (Kun) represents water, and the Mountain (Gen) represents fire. When the Earth (Kun) as water appears, the Zhou Changes (I Ching) can be interpreted wherever it mentions "favorable to cross a great river"; when the Mountain (Gen) as fire appears, the line "the traveler burns his lodging" in the Traveler (Lv) hexagram makes sense—since the fire (Li) in the upper trigram of the Traveler hexagram rises upward and cannot burn the lower lodging, the fire that burns the lodging must come from the lower trigram, which is the Mountain (Gen). The Earth (Kun) as water image is used in the Yi Lin (Commentaries on the Changes) and only the Jiujia Yi (Nine Schools of the Changes) still recognizes it. Since the Jiujia Yi also takes the Heaven (Qian) as south, I conclude that the Jiujia Yi must have originated from the school of the Western Han dynasty. Seventh, the Water (Kan) represents earth, and the Wind (Xun) represents stone. The Water (Kan) as earth image appears in the Zhou Changes only in the Thunder (Zhen) hexagram, line nine in the fourth position, which says "the thunder becomes muddy"—since the fourth line is in the position of the intercalated trigram Kan, and Kan represents mud, which is close to the meaning of "earth." Generally, Kan is blocked but has a full central line, so it naturally has the image of earth, which is why the Yi Lin uses it, and Shao Yong also inherited it. As for the Wind (Xun) as stone image, the line "trapped by stone, resting on thornweed" in the Troubled (Kun) hexagram: "thornweed" refers to the lower trigram Kan, while "stone" has been interpreted since the Eastern Han dynasty as the hidden Mountain (Gen). I have always suspected that this has nothing to do with line six in position three; now that we have the Wind (Xun) as stone image (the third to fifth lines of the Troubled hexagram intercalate Xun, and line six in position three is precisely the first line of Xun), the phrase "trapped by stone" has a true explanation.

八、乾山乾河。自得乾山象，《同人》九三升其高陵始得解；自得乾河象，《同人》利涉大川始得解。而乾河之象，亦《九家》知之。九、坤魚兌華。自得此象，《剝》六五貫魚始得解，《大過》九五枯楊生華亦得解，知舊說皆誤也。十、震神震南震父震公震翁同。自得震神象，始知《繫詞》所謂神、《說卦》所謂神皆謂震；自得震南象，始知《易》《明夷》九三明夷於南，及《升》卦詞之甫征吉、《左傳》之南國蹙，皆指震為南；自得震父震公象，始知《蠱》之幹父，《解》及《小過》上卦之公之皆指震。余初解《易林》《復》之《巽》，有伯仲欲南之語，以為巽通震，震上升為南；又閱惠氏《易說》，說《允升》云「進升向南，故曰南征」，亦以上進為南，方喜餘說之不孤，後知《易林》卽以震為南，然後悟前說之皆非。易象失傳之難於索解如此，詳皆見前。

Eighth, the trigram Qian represents mountain and river. When the image of Qian as mountain is obtained, the statement "Rise to the high hill" in the line "Nine in the Third" of the hexagram Tongren makes sense; when the image of Qian as river is obtained, the statement "Beneficial to cross a great river" in the hexagram Tongren's statement makes sense. The image of Qian as river is also known in the "Nine Families Commentary." Ninth, the trigram Kun represents fish, and the trigram Dui represents flowers. When these two images are obtained, the statement "Pass through fish in sequence" in the line "Six in the Fifth" of the hexagram Bao and the statement "Withered willow produces flowers" in the line "Nine in the Fifth" of the hexagram Da Guo make sense, and thus it is known that previous interpretations were entirely wrong. Tenth, the trigram Zhen represents deity, south, father, and public. "Weng" and "Gong" are the same. When the image of Zhen as deity is obtained, it is known that the "deity" mentioned in the "Great Treatise" and the "Sayings of the Hexagrams" refers to Zhen; when the image of Zhen as south is obtained, it is known that the statement "Bright darkness in the southern hunt" in the line "Nine in the Third" of the hexagram Mingyi, the statement "Southward march is auspicious" in the hexagram Sheng's statement, and the statement "The southern country is squeezed" in the "Zuo Zhuan" all take Zhen as south; when the image of Zhen as father and public is obtained, it is known that the statement "Dry father" in the hexagram Gu and the "public" mentioned in the upper trigram Zhen of the hexagrams Jie and Xiao Guo refer to Zhen. At first, when I interpreted the hexagram Fu of Xun in the "Yi Lin," I saw the phrase "Bo Zhong wishes to go south," and thought it was because Xun and Zhen are connected, and since Zhen rises upward, it is south. Later, when I read Hui Dong's "Yi Shuo," he explained the line "Yun Sheng" in the line "Six at the Beginning" of the hexagram Sheng as "Advancing upward to the south, hence called 'southward march'," also taking upward movement as south. I was happy that my view was not alone. Later, I found out that the "Yi Lin" directly takes Zhen as south, and thus realized that previous interpretations were all wrong. After the loss of the Yi images, it is difficult to interpret the Yi to such an extent, and details are all mentioned in the previous text.

十一、艮壽艮貴艮鳥。自得艮壽象，知堅多節確有堅字；自得艮貴象，知《蠱》上九、《剝》上九、《賁》與《大畜》上九爻詞皆指艮貴也；自得艮鳥象，《小過》之飛鳥、《說卦》之黔喙、《左氏》日之謙當鳥，始俱得解。十二、坎為大首為肉。自得大首象，而《明夷》九三、《既濟》上六爻詞皆可解；自得肉象，而《噬嗑》三四五爻詞皆可解，而知舊解之皆誤也。

Eleventh, Gen represents longevity, nobility, and birds. When the image of Gen as longevity is obtained, it is known that the statement in the "Shuo Gu" that Gen "represents wood as firm and full of knots" originally included the character "firm"; when the image of Gen as nobility is obtained, it is known that the line statements of the Upper Nine of the "Gu" and "Bo" hexagrams, and the Upper Nine of "Bian" and "Da Xu" all take the dignity of Gen; when the image of Gen as a bird is obtained, the mention of "flying birds" in the "Xiao Guo" hexagram statement, "black beak" in the "Shuo Gu," and "the sun's humility, when the bird comes" in the "Zuo Zhuan" all make sense. Twelfth, Kan represents the great head and flesh. When the image of Kan as the great head is obtained, the line statements of "Ming Yi" Nine Three "to obtain the great head" and "Ji Ji" Upper Six "to wet the head" can be understood; when the image of Kan as flesh is obtained, the line statements of the third, fourth, and fifth lines of "Shi He" can be understood, and it is also known that the old annotations were entirely wrong.

十三、巽母艮臣艮祖。自得此三象，《小過》六二爻詞始能解。自東漢迄今，治《易》者不啻千百，震君之象知之者已少，至巽母艮臣艮祖三象知者尤少，故竭群儒之力不能通此爻，不能通而強說，於是以初六為祖而穿鑿矣，虞氏其尤也。及《易林》揭出此象，詳卷三，遂迎刃而解，又甚易也。十四、震射震孕。自得射象，《解》上六爻詞、《井》九二爻詞之言射，及《左氏》之射其元，始知射皆指震；自得孕象，始知《漸》九三九五婦孕之皆指震。

Thirteenth, Xun represents the mother, Gen represents the minister, and Gen also represents the ancestor. Only with these three images does the line statement of Xiao Guo's six at the beginning make sense. From the Eastern Han dynasty to the present, there have been more than a thousand scholars studying the Zhou Changes, but few know that Zhen represents the ruler. Even fewer understand the images of Xun as mother, Gen as minister, and Gen as ancestor. Therefore, the scholars have exhausted their efforts but still cannot comprehend this line. Unable to understand it, they force their own interpretations, leading some to say that initial six represents the ancestor, which becomes even more forced. Yu Fan is especially guilty of this. When the Yi Lin reveals these images (see volume three of this book for details), the meaning becomes clear and easy to understand. Fourteenth, Zhen represents shooting and represents pregnancy. With the image of Zhen as shooting, we understand that the "shooting" in Xie's upper six "the public shoots the falcon" and Jing's nine two "shooting the minnow" refers to Zhen. With the image of Zhen as pregnancy, we understand that the "pregnancy" mentioned in Jie's nine three and nine five "the wife is pregnant" refers to Zhen.

十五、震姬震旗。自得此象，《左傳》為嬴敗姬、火焚其旗，姬與旗之象始能解，而知杜注之不當。凡《易林》云姬姜者，皆謂震巽也，震為周，故為姬，猶之以巽為齊、亦為姜也。初讀《易林》，皆不知姬與旗之所指，後由《左氏》證《易林》，由《易林》證《左氏》，始確知其象，覺杜注孔疏之空泛無根。十六、巽敝巽落。自得此象，《井》卦之甕敝漏、《鼎》初六之鼎顛趾始得解。十七、震車震輹。自得此象，《小畜》九三、《大畜》九二之輿脫輹，《大壯》九四之輿輹，始皆得解。

Fifteenth, Zhen represents Ji and Qi. When these two images are obtained, the references to Ji and Qi in the "Zuo Zhuan" "as Ying defeated Ji" and "fire burned its flag" become coherent, and it becomes clear that Du Yu's annotations are inappropriate. Whenever the "Yi Lin" mentions "Ji" or "Jiang," it refers to Zhen and Xun: Zhen represents Zhou, hence Ji; this is similar to Xun representing Qi, hence Xun also represents Jiang. When I first read the "Yi Lin," I had no idea what Ji and Qi referred to. Later, by using the "Zuo Zhuan" to verify the "Yi Lin" and the "Yi Lin" to verify the "Zuo Zhuan," I finally understood their images and realized that Du Yu's annotations and Kong Yingda's commentary are vague and lack foundation. Sixteenth, Xun represents Bi and Luo. When these two images are obtained, the phrase "weng bi lou" in the "Well" hexagram and "ding dian zhi" in the first line of the "Ding" hexagram become coherent. Seventeenth, Zhen represents Che and Fu. When these two images are obtained, the phrases "yu she (tuo) fu" in line three of the "Xiu Xu" hexagram and line two of the "Da Xu" hexagram, and "da yu zhi fu" in line four of the "Da Zhuang" hexagram all become coherent.

十八、艮角巽羸。自《易林》以艮為角，始知《晉》《姤》上九之角、《大壯》九三之角，皆以陽在上而取象。虞氏祗以乾首為說，豈知陽在下，《易》無言角者，《易林》所本也。自得巽羸象，始知《姤》初之羸豕、《井》卦之羸瓶皆指巽，《大壯》九三之羸角，則以上卦之伏巽。十九、震飛震翼。《易林》每以震為飛為翼，因是推之，《易》《泰》六四之翩翩、《小過》飛鳥之飛，皆以震也。

Eighteen, Gen represents the horn, and Xun represents weakness. Since the "Forest of Divination" (Yi Lin) first used Gen to represent the horn, we now understand that the "horn" in the "Jin" hexagram's upper yao, "Jiu Jiū" (upper nine), the "horn" in the "Gou" hexagram's upper yao, "Gou Jiū" (upper nine), and the "horn" in the "Da Zhuang" hexagram's third yao, all refer to the image of a yang line at the top. Yu Fan only explained it by taking Qian as the first, but he did not realize that in any hexagram with a yang line at the bottom, the "Zhou Yi" never mentions "horn." This is exactly the principle on which the "Yi Lin" is based. By understanding Xun as representing weakness, we now know that the "weak pig" in the "Chou" hexagram's first yao, and the "weak vessel" in the "Well" hexagram both refer to Xun. The "weak horn" in the "Da Zhuang" hexagram's third yao is derived from the Xun hidden within the upper trigram Zhen. Nineteen, Zhen represents flying and wings. The "Yi Lin" often uses Zhen to represent flying and wings. By analogy, the "pian pian" (graceful movement) in the "Tai" hexagram's fourth yao, and the "fly" in the "Xiao Guo" hexagram's "flying bird" all derive their imagery from Zhen.

右四十三象，於《易林》之多年矣，而訖不知其所謂。後由各書推《易林》，由《易林》推《易》，反覆推勘，勞精弊神者數年，始通《易林》之詞，始得此四十三象，而經義始通，誤解如黜。鉤深索隱，厥維艱哉！然失傳而未尋得者尚不知有幾也。

The above forty-three images, I have read them for many years in the Jiao's Forest of Changes, but I have never understood what they refer to. Later, I used various classical texts to explore the Forest of Changes, and then used the Forest of Changes to explore the Zhou Changes, repeatedly examining and verifying, spending several years of mental effort, until I finally understood the Forest of Changes' verses, and thus obtained these forty-three images; the meanings of the classic texts became clear, and my old misunderstandings were also dispelled. Investigating the hidden and obscure is indeed arduous! However, there are still many lost images that have not yet been discovered.

至以巽為齊，以兌為魯，以艮為宋，《說文》以木架屋曰宋，正艮象也；為燕，取東北；為魏，魏闕，艮象；以坎為鄭，坎為平，鄭者，《說文》：地町町然平也；以兌為秦，以震為朝鮮、為趙，《說文》：趨也；為韓等，以及人名、地名、鳥獸蟲魚名、蠻夷名，脫口而出，若不經意，然無不與卦象密合。不惟見其用象之能，且證其小學之精。然皆由《說卦》推演之象，而非失傳之象。

As for the "Yi Lin" using Xun to represent Qi state, Dui to represent Lu state, Gen to represent Song state—"Shuo Wen Jie Zi" says "using wooden frames to build houses is called Song," which matches the image of Gen; representing Yan state, taking Gen's position in the Northeast; representing Wei state, because "Wei Qu" is high and fits the image of Gen. Using Kan to represent Zheng state—Kan represents flatness, and "Shuo Wen" explains "Zheng" as "the land is flat," which also fits. Also using Dui to represent Qin state, and Zhen to represent Chosun and Zhao state—"Shuo Wen" explains "Zhao" as "to run quickly," which matches Zhen's meaning of active movement; and also representing Han state, etc. In addition, there are names of people, places, birds, beasts, insects, fish, and the four barbarians, all spoken out naturally, as if carelessly, yet none fails to conform exactly to the hexagram images. This not only shows Jiao's skill in using hexagram images, but also proves the depth of his expertise in textual and phonetic analysis. However, all these are images derived from "Shuo Gua," not lost or forgotten images.