King Gaozong attacked the Gufang people.

二三形巽，為高；三四形震，震為王為宗為伐；坎為鬼，故曰高宗伐鬼方。

The line Nine in the Third of the Hexagram of Completion says, "High King subdued the Gua Fang." The Second Line and the Third Line form half of the trigram Xun, which represents height; the Third Line and the Fourth Line form half of the trigram Zhen, which represents king, clan, and military campaign; the upper trigram is Kan, which represents ghosts. Together, they exactly form the phrase "High King subdued the Gua Fang."

繻襦同。《易林·復之益》云「襦燒袴燔」，益下震為襦，上巽為袴，艮火，故燔燒，是以震為襦也。既濟三四形震，為襦，故曰襦有；四五形巽，巽為敝為絮，袽，敗絮也，言有襦而衣敗絮，故下曰戒也。戒之故，以四上下皆陽，故象曰有所疑。以上既濟數象，與家人之嘻嘻嗃嗃、困之困于石據于蒺藜、解之負且乘，皆由本爻視上下爻取象，皆半象也。

The characters "繻" and "襦" (short clothing) are the same character. In the "Forest of Divination" section of the "Book of Changes" (Yijing), under the hexagram "Fu" (Return) changing to "Yi" (Benefit), the line says "Rú shāo kù fán": The lower trigram of the hexagram "Yi" is Zhen (Thunder), which represents "rú" (short clothing); the upper trigram is Xun (Wind), which represents "kù" (trousers); the trigrams three to five form the trigram Gen (Mountain), which represents fire, hence the idea of burning. This shows that Zhen represents "rú". In the sixth line four of the hexagram "Ji Ji" (Completion), the trigrams three and four form half of Zhen, which represents "rú", hence the phrase "rú has". The trigrams four and five form half of Xun, which represents broken cloth and stuffing; "rú" refers to rotten cotton stuffing, meaning there is short clothing with broken stuffing inside. Therefore, the text continues with "zong ri jie" (being constantly cautious). The reason for being cautious is that the sixth line four is between two yang lines (nine three and nine five). Thus, the "Image Commentary" says "zong ri jie, you suo yi" (being constantly cautious, there is doubt). The above examples from the hexagram "Ji Ji" are similar to the "Jia Ren" (Family) hexagram's "xi xi" (laughing) and "he he" (grumbling), the "Kun" hexagram's "kun yu shi, ju yu ji li" (being blocked by stone, resting on thorn bushes), and the "Jie" hexagram's "fu qie cheng" (carrying and riding), all of which take images from the current line and its adjacent lines above and below, using half-images.

小過飛鳥遺之音。遺字自來無的解，由卦象失傳故也。今既得其象，艮震皆為鳥，而震為音。下艮為覆震，震口向下，若遺音於人者。遺者送也。易之用覆，有非目視其象而不能得其意者，此也。

The hexagram statement of 《Xiao Guo》 says, "A flying bird leaves behind its sound." The character "遗" has never had a definite interpretation throughout history, due to the loss of the original hexagram imagery. Now that we have recovered its image: both Gen and Zhen can represent a bird, and Zhen also represents sound; the lower trigram of 《Xiao Guo》, Gen, is actually the inverted form of Zhen, known as the reversed image. When Zhen is reversed, its mouth faces downward, resembling the act of giving sound to those below. Therefore, "遗" means to give or present. The 《Book of Changes》 uses reversed images in some instances, where one must actually see the hexagram inverted to fully understand its meaning, and this is one such example.

《易林》以艮震皆為鴻為鳥。小過下艮上震，故彖與初上爻皆言飛鳥。漸卦下艮上巽，艮為鴻，巽通震，震亦為鴻，故六爻皆言鴻。杭辛齋謂卦有半對者，如雷澤歸妹上震對巽，成風澤中孚，故兩卦皆曰月幾望。以此例小過漸，亦上卦震巽對易也，故兩卦皆言鳥。本象與對象不分，觀此益明。

In Jiao's Forest of Changes, both Gen and Zhen can represent wild geese or birds. The hexagram Xiao Guo has Gen below and Zhen above, so the hexagram statement and the lines Six at the Beginning and Six at the Top all mention "flying birds." The hexagram Zhen has Gen below and Xun above, with Gen representing geese and Xun being related to Zhen, so Zhen also represents geese, and all six lines mention "geese." Hang Xinzhai said that hexagrams can have "half pairs," for example, the hexagram Lei Ze Guimei, which changes the upper trigram Zhen to its opposite Xun, becoming Feng Ze Zhongfu. Thus, both hexagrams mention "the moon nearly full." Applying this example to Xiao Guo and Zhen, it is exactly that the upper trigrams Zhen and Xun have exchanged places, so both hexagrams mention birds. The image of the original hexagram and the image of the opposite hexagram are not separate; looking at this example makes it clearer.

離對坎，坎中爻艮震，震為鼓為缶為歌，故曰鼓缶而歌；艮為壽，故曰大耋；震為樂，震之反則嗟也，言三至五震覆也。舊解用象多誤。

The third line of the Li hexagram says, "Without drumming on a jar and singing, there would be lamentations of old age." The opposite hexagram of Li is Kan. In the middle lines of Kan, the trigrams Gen and Zhen emerge. Zhen represents drumming, a jar, and singing, hence "drumming on a jar and singing." Gen represents longevity, hence "great old age," meaning eighty years old. Zhen represents joy, but when Zhen is inverted, it becomes sorrow, which refers to the inverted Zhen formed by the third to fifth lines of the Kan hexagram. Traditional interpretations of this line are mostly incorrect.

或作告，或作梏，或作角，漢儒與漢儒卽聚訟，故至今不決。若以《易林》釋之，則陸續作角者是也。《易林·乾之屯》云「蒼龍單獨，與石相觸，折其兩角」，屯互坤，數二，互艮，為角，故曰兩角，坎為折也。大畜上艮，艮為童，坤為牛，乃坤上變剛，則牛之童者已角矣，是易亦以艮上剛為角也。四為艮初而柔，故曰童牛之角，言角初生而柔。柔當位有應，故吉。

The character "gù" in line six-four of the hexagram "Da Xu" ("Great Accumulation") is sometimes written as "gào," "gù," or "jiǎo." Han scholars debated this issue extensively, and the question remains unresolved to this day. If we refer to the "Jiao's Forest of Changes," the interpretation that it is written as "jiǎo" is more accurate. In the "Forest of Changes" under the hexagram "Qian" changing to "Zun," the commentary says, "A blue dragon alone, colliding with stone, breaking its two horns." The hexagram "Zun" has the second to fourth lines forming the hexagram "Kun," which is associated with the number two, and the third to fifth lines forming "Gen," which represents horns. Therefore, the phrase "two horns" is used. The upper trigram of "Zun" is "Kan," which represents breaking. In the hexagram "Da Xu," the upper trigram is "Gen," which represents youth, and "Kun" represents cattle. Moreover, "Gen" is derived from the upper line of "Kun" changing to a yang line, indicating that the young cattle has already grown horns. This shows that the "Book of Changes" also associates the yang line on top of "Gen" with horns. Line six-four is the first line of "Gen" and is yin and soft, so it is called "child cattle's horn," meaning the horn is newly grown and still tender. This line is in a yin position and is in the correct place, and it corresponds with line one, so it is auspicious.

鄭康成詁何為荷，雲艮為手，手上，肩也；乾為首，首肩之間，荷物處也。虞翻、何妥則以何為當，王弼以為語辭，而宋儒竟從之。今以《易林》決之，王弼掃象演空理固誤，虞何以何為當仍誤，鄭讀何為荷，與噬嗑「何校滅耳」、《詩》「何蓑何笠」同，詁確定矣，故清儒治漢易者皆從之。惟康成詁何字是，而取象則非，從無一人能知之。

The Upper Ninth line of the hexagram "Great Accumulation" says "Heaven's broad avenue." Zheng Xuan interpreted "he" as "he," meaning to bear or carry, explaining that the trigram Gen represents the hand, and above the hand is the shoulder; the trigram Qian represents the head, and between the head and the shoulder is the place where things are carried. Yu Fan and He Tu interpreted "he" as "dang," meaning appropriate or suitable. Wang Bi simply treated it as a particle of speech, and later Song dynasty scholars followed Wang Bi's approach. Now, using the "Forest of Changes" by Jiao to determine, although Wang Bi's approach of eliminating the trigrams and focusing only on meaning was wrong, Yu Fan and He Tu's interpretation of "he" as "dang" was also incorrect. Only Zheng Xuan's interpretation of "he" as "he," meaning to bear, is correct, as it matches the usage in the Upper Ninth line of the hexagram "Devouring the Cricket" "He xiao mie er" (carrying a yoke on the shoulder and injuring the ear) and in the "Book of Songs" "He suo he li" (wearing a cloak and a hat). This interpretation can be confirmed, so Qing dynasty scholars studying the Han dynasty interpretation of the Book of Changes followed him. However, although Zheng Xuan's interpretation of "he" is correct, the imagery he used is inappropriate, and no one has ever noticed this.

按《易林·鼎之萃》云「聚蹠荷兵」，《咸之萃》云「擁兵荷糧」，是焦氏皆以艮為何；又《同人之無妄》云「負牛上山」，《需之屯》云「恃強負力」，皆以艮為負也；又艮彖云「艮其背」，易卽以艮為背也。為背為負，故曰荷也。乃康成不知此象，以艮為手，手上肩，乾為首，首肩之間，詁何字，迂曲甚矣。故夫卦象失傳，雖象在目前而不能覩也。又何天之衢者，形容畜極忽通之意，而不能泥其詞。凡易詞如此者，十蓋八九也。如泥其詞，謂衢如何荷，而訓為語辭，則天又何有衢哉？

According to the "Forest of Divination" in the "Book of Changes" under the "Ding" hexagram's "Cui" section, it says "gathered跖 and armed with soldiers," and under the "Xian" hexagram's "Cui" section, it says "holding soldiers and carrying supplies." This shows that Jiao Yanshou took Gen as "he (荷)." Again, in the "Tongren" hexagram's "Wuwang" section, it says "carrying a cow up the mountain," and in the "Xu" hexagram's "Zun" section, it says "relying on strength and carrying power," both taking Gen as "fu (负)." Looking further at the "Gen" hexagram's "Tuan" text, which says "keeping the back still," we see that the "Book of Changes" originally took Gen as "back." Since Gen is both "back" and "to carry," it can be interpreted as "he." Zheng Kangcheng did not understand this image, so he took a roundabout approach, explaining Gen as hand, with the hand being the shoulder,乾 as head, and the area between head and shoulder being able to carry things, using this path to explain the character "he." This is too convoluted. This shows that once the hexagram images are lost, even when the images are right before our eyes, they cannot be recognized. Moreover, the phrase "he Tian Qi Qu" describes a state of accumulation reaching its peak and then suddenly becoming unobstructed. It cannot be taken literally. Such expressions in the "Book of Changes" are mostly like this. If one insists on taking the words literally and asks how a great road in the sky can be carried on the shoulder, thus interpreting "he" as an interjection, then where would there be a great road in the sky?

孔疏引子夏傳，以輹為車屐，由是知輹為震象，推之易與左氏皆合，說已詳前矣。茲按釋名云「輹似人屐，在軸上」，仍以輹為車屐也。震為車為履，則震之為輹益明矣。

Kong Yingda in The Correct Meaning of the Zhou Changes cites Zixia's Commentary on the Changes, interpreting 'fu' (a part under the carriage, resembling a rabbit's foot) as the wooden sole of a carriage. From this, he understands that 'fu' represents the trigram Zhen (Thunder), and uses it to verify examples of divination in the Zhou Changes and the Zuo Zhuan, which are consistent. This point has already been explained in detail before. Now, according to the Shiming, 'fu' is described as resembling the wooden sole of a shoe, mounted on the carriage axle. This still treats 'fu' as a carriage sole. Since Zhen represents both a carriage and a shoe, it becomes even clearer that Zhen can take the image of 'fu'.

郭璞洞林筮避亂，遇明夷，曰「桑梓之邦，其為魚乎」，明夷震為桑梓，坤為邦為魚也，故曰為魚。又漢上易引郭璞洞林云，筮得豫之小過，曰「五月晦日，群魚來入州城寺舍」，是亦以坤為魚也。坤之艮，艮為城舍，故魚入州城寺舍。原注以乙未為魚，坤貞未也。乃朱漢上不知坤魚象，謂原注為非，而以小過巽為魚。巽固為魚，而此則用坤魚也，漢上不知此象也。

Guo Pu's "Dong Lin" records that he used divination to predict the future when fleeing from chaos, obtaining the卦 of Mingyi, and his interpretation said, "The homeland will become a land of water," meaning his hometown will turn into a water country. The trigrams three to five of Mingyi form Zhen, which represents mulberry and梓 trees; the upper trigram is Kun, which represents a country and also fish, hence the statement "it will become fish." Also, Zhu Zhen's "Han Shang Yi Zhuan" cites Guo Pu's "Dong Lin," stating that when obtaining the卦 of Yu changing into Xiao Guo, the interpretation said, "On the last day of May, a group of fish will swim into the official buildings and temples of the state city," which also uses Kun to represent fish. The change from Yu to Xiao Guo is due to the lower trigram Kun changing into Gen, which represents a city and a building, so the fish enter the city's official buildings and temples. The original note uses Yiwei as representing fish, because the inner trigram of Kun includes Yiwei. However, Zhu Zhen did not understand that Kun can also represent fish, and instead said the original note was wrong, changing to use Xun in Xiao Guo as representing fish. Although Xun can also represent fish, this instance uses the image of fish from Kun, which Zhu Zhen was unaware of.

朱漢上曰：「乾坤為大父母，故能生八卦；姤復為小父母，故能生六十四卦。」是以震巽為父母，與《易林》合。然朱漢上知姤復為父母，而不知姤復為父母之故由於震巽，故於蠱之父母、小過之妣，皆不得其象。

Zhu Zhen (also known as Zhu Hanshang) said: "Qian and Kun are the great parents, so they can give rise to the Eight Trigrams; Gu and Fu are the small parents, so they can give rise to the sixty-four Trigrams." In reality, this is taking Zhen and Xun as the parents, which aligns with the use of images in Jiao's Forest of Changes. The lower trigram of Fu is Zhen, and the lower trigram of Gu is Xun. However, Zhu Zhen only knew that Gu and Fu are the parents, but he did not realize that Gu and Fu can act as parents precisely because they contain Zhen and Xun. Therefore, when he encountered the line statement of the Gu卦 mentioning "father" and "mother," and the line statement of Xiao Guo at line six in the second position mentioning "bi," he was unable to find the corresponding images.

胡渭謂唐以前無言先天象乾，曾於首卷證其不然矣。茲按荀爽注「陰陽之義配日月」云：「乾舍於離，配日而居；坤舍於坎，配月而居。」是乾南坤北，荀氏已一再言之。注同人亦云，與管輅之幹無別位同也。

Hu Wei said that no one before the Tang dynasty had discussed the image of Qian in the southern direction in the Earlier Heaven arrangement of hexagrams. I have already proved in the first volume of this book that this is not the case. Now looking at Xun Shuang's commentary on the Great Treatise, where he says, "The principles of yin and yang correspond to the sun and moon," he explains, "Qian resides in Li, corresponding to the sun; Kun resides in Kan, corresponding to the moon." Since Qian is in the position of Li and Kun is in the position of Kan, and in the Earlier Heaven arrangement Li is in the south and Kan is in the north, this means Qian is in the south and Kun is in the north. Xun Shuang has said this more than once. He also said the same thing when commenting on the Hexagram of Fellowship. This is the same meaning as Guan Lu's statement that Qian does not have a separate position, meaning that Qian resides in the position of Li.

黃梨洲等謂易無先天象，恃說卦未明言為護符。豈知離南坎北，說卦祗明言六卦方位耳，坤兌皆未言也，而何以治漢易者皆以坤為西南、兌為西，是何據耶？梨洲則曰由卦爻推得。後天卦位可由卦爻推得，先天卦位獨不可由卦爻推得耶？既濟九五言東西，正離坎方位也，胡又不推乎？真王氏所謂無理取鬧也。

Huang Zongxi, who styled himself Li Zhuo, and others claim that the Yi Jing does not contain the Earlier Heaven hexagrams, using the fact that the Shuogua Zhuan does not clearly state them as a shield. But they do not realize that the Shuogua Zhuan mentions Li in the south and Kan in the north, which only clearly explains the directions of six hexagrams, leaving out the directions of Kun and Dui. Then why do scholars of the Han dynasty Yi all place Kun in the southwest and Dui in due west? What is their basis? Huang Zongxi would say it is derived from the hexagram lines. Later Heaven hexagram positions can be deduced from the hexagram lines; why then can't Earlier Heaven hexagram positions be deduced in the same way? The Ji Ji hexagram, line nine in the fifth position, says, "The eastern neighbor sacrifices an ox, but the western neighbor's simple sacrifice is better," which refers precisely to the Earlier Heaven position of Li in the east and Kan in the west (Ji Ji has Li below and Kan above). So why does it not use this deduction here? This is truly what Wang Shi called senseless disturbance.

惠棟於荀此注，謂荀用鬼易，而以乾歸合離、坤歸合坎為解。夫乾坤歸魂為大有比，荀注所言乃同人師，同人師為離坎歸魂，非乾坤歸魂。荀曰舍離舍坎，則乾坤正居離坎之位也，非離坎居乾坤之位也。惠氏非不知其說之顛倒，冀崑崙其詞以愚初學而滅其證，故不得不釋之。

Hui Dong commented on Xun Shuang's annotation, saying that Xun Shuang used Jing Fang's "Ghost Yi" eight palace method, and therefore explained the returning soul of the Qian palace combining with Li and the returning soul of the Kun palace combining with Kan. In fact, the returning soul of the Qian palace is the hexagram "Da You," and the returning soul of the Kun palace is the hexagram "Bi." However, the hexagrams mentioned in Xun Shuang's annotation are "Tong Ren" and "Shi," where "Tong Ren" is the returning soul of the Li palace and "Shi" is the returning soul of the Kan palace, not the returning souls of the Qian and Kun palaces. Xun Shuang said that Qian "abandons Li" and Kun "abandons Kan," meaning that Qian and Kun are located in the positions of Li and Kan, not the reverse. Hui Dong was not unaware that his own statement reversed the cause and effect, but he intended to speak in a vague and general way to confuse beginners and eliminate this evidence, so I have to clarify this point.

凡卦之相反者，義必反。如巽為寡髮，《易林》見震則以為多髮多羽翰；艮為鼻，《易林》遇兌則以為劓；震為足，《易林》遇巽則以為刖；艮為山，艮覆則山崩；艮為山陽，艮覆則為山陰。由《易林》推之，易卦爻辭如此者不可勝數，而其義甚隱。彖象傳只渾言大義，而未明言，因之後儒於對象偶識之而不能盡，若覆象則十未察及一二也。聖人蓋已慮及此，故又於最後之雜卦明申其義。

Whenever two hexagrams are opposite to each other, their meanings are also opposite. For example, Xun represents sparse hair; when Jiao's Forest of Changes encounters Zhen, which is opposite to Xun, it takes the image of dense hair and full feathers. Gen represents the nose; when Jiao's Forest of Changes encounters Dui, which is opposite to Gen, it takes the image of cutting the nose, known as "yi." Zhen represents the foot; when Jiao's Forest of Changes encounters Xun, which is opposite to Zhen, it takes the image of cutting off the foot, known as "yue." Gen represents a mountain; when Gen is reversed, it becomes an earthquake or mountain collapse. The southern side of Gen becomes the northern side when reversed. By extending this reasoning from Jiao's Forest of Changes, there are countless instances in the Yi Jing where the line statements follow this pattern, but the underlying principles are very obscure. The Commentary on the Judgment and Image Commentary only give a general idea without clearly stating it, so later scholars could only occasionally recognize a couple of instances of this opposite relationship, but could not fully grasp it. As for the concept of reversed images, hardly any scholars have even noticed a fraction of it. The sages must have foreseen this, so they clearly explained this idea in the last section of the Ten Wings, the Miscellaneous Hexagram Commentary.

雜卦曰：乾剛坤柔，離上坎下，小過過也，中孚信也，信則無過，過則不信矣；大過顛也，頤養正也，顛則失養，養則不隕矣。皆言本象對象相反之義也。曰比樂，反之則憂；曰臨與，反之則求；曰屯不失其居，言陽當位也，乃屯反則雜而不當位；曰震起，震反則止；曰損衰始，損反則盛始；曰大畜時，反之則災而不時；曰萃聚，反之則不聚；曰謙輕，輕者不足也，乃謙反則自足而怡矣；曰噬嗑食，食者實也，頤中有物也，乃噬嗑反則空而為色矣。

The *Zagua Transmission* says, "Heaven is strong and firm, Earth is soft and yielding; the *Li* is above and the *Kan* is below; *Xuguo* is excess, and *Zhongfu* is trustworthiness"—keeping trust means there is no excess, and having excess means there is no trustworthiness; it also says, "Great Excess is overturning; *Yi*, is nourishing the right way"—overturning means losing nourishment, and being able to nourish the right way means not falling. All these are talking about the meaning of the primary hexagram and its opposite hexagram being opposite in meaning. It also says, "Comparison is joy," and when *Bi* is reversed to become *Shi*, it becomes sorrow; it says, "Approach is giving," and when *Lin* is reversed to become *Guan*, it becomes seeking; it says, "Zun does not lose its place," meaning the yang lines of *Zun* are each in their proper position, but when *Zun* is reversed to become *Meng*, it becomes disorderly and lines are not in their proper positions; it says, "Zhen is movement," and when *Zhen* is reversed to become *Gen*, it becomes stillness; it says, "Loss is the beginning of decline," and when *Sun* is reversed to become *Yi*, it is the beginning of prosperity; it says, "Great Accumulation is timely," and when reversed to become *Wuwang*, it becomes disaster and losing the right time; it says, "Cui is gathering," and when reversed to become *Sheng*, it is not gathering; it says, "Qian is humility," and humility is self-aware insufficiency, but when *Qian* is reversed to become *Yu*, it becomes self-satisfaction and contentment; it says, "Shihe is eating," and eating means being full, meaning having something in the mouth, but when *Shihe* is reversed to become *Ben*, the mouth becomes empty and only has ornamentation."

曰兌見，反之則伏；曰隨無故，故者事也，反之則有事；曰剝爛，反之則不爛；曰晉晝，反之則夜而光滅，誅者滅也；曰井通，反之則不通；曰咸速，反之則不速而久；曰渙離，離，去也，反之則不去而止；曰解緩，反之則不舒緩而急難；曰睽外，反之則內；曰大壯則止，反之則不止而退；曰革去故，反之則取新；曰豐多，反之則寡。凡此皆言正象覆象相反之義也，故於否泰明揭其義，曰反其類也。

The "Zagua Zhuan" also says "Dui appears," and when Dui is reversed to become Xun, it signifies concealment; it says "Su without cause," and "cause" refers to affairs, and when reversed to become Gu, it signifies having affairs; it says "Bo, meaning decay," and when reversed to become Fu, it signifies not decaying; it says "Jin, meaning daylight," and when reversed to become Mingyi, it signifies night with extinguished light, meaning "Mingyi, meaning punishment," where punishment means extinction; it says "Jing, meaning communication," and when reversed to become Kun, it signifies obstruction; it says "Xian, meaning quickness," and when reversed to become Heng, it signifies not quickness but duration; it says "Huan, meaning separation," and "separation" means going away, and when reversed to become Jie, it signifies not going away but stopping; it says "Jie, meaning ease," and when reversed to become Jian, it signifies not ease but difficulty; it says "Kui, meaning external," and when reversed to become Jiaoren, it signifies internal; it says "Da Zhuang then stops," and when reversed to become Duan, it signifies not stopping but retreat; it says "Ge, meaning removing the old," and when reversed to become Ding, it signifies taking the new; it says "Feng, meaning abundance of affairs," and when reversed to become Lu, it signifies scarcity. All these examples illustrate that the meaning of the upright trigrams and their reversed counterparts are opposite. Therefore, the "Zagua Zhuan" clearly explains this principle in the hexagrams "Po" and "Tai," saying "Po and Tai reverse their categories."

韓康伯解雜卦曰，或以同根類，或以異相明。以異相明是也，以同相類無有也。後，來知德知其言反象，至卦反則義亦反之意，來氏毫未察知，故詁經多誤。如以坎為孕，較虞氏以離為孚勝矣，乃漸三尚可，漸五遂不合。雜卦之言易象，正如此，反如彼，可謂活潑飛舞，示人讀易當作如是觀、作如是解也。

Han Kangbo's interpretation of the "Zagua Transmission" pointed out that it sometimes groups similar hexagrams together and sometimes contrasts different ones. He was correct in noting the contrast between different hexagrams. However, the grouping of similar hexagrams does not actually occur as he described. Later, in the Ming dynasty, Lai Zhide realized that the "Zagua Transmission" deals with reversed images, but he failed to recognize that when a hexagram is reversed, its meaning also reverses. Therefore, his interpretations often contained errors. For example, he interpreted Kan as representing pregnancy, which is better than Yu Fan's interpretation of Li as representing trust. However, when applying this to the line "the wife is pregnant but does not give birth" in "Zhen" nine three, it iswith difficulty acceptable, but when applied to "the wife is unable to bear children for three years" in "Zhen" nine five, it does not fit. The "Zagua Transmission" discusses the images of the Book of Changes, where the meaning is one way when viewed directly and another way when viewed reversed. It is dynamic and flexible, suggesting that people should read and interpret the Book of Changes in this way.

又以示文王所以必使此四對象相次、二十八正覆象相次者，卽具有此意。故於序卦之外，離其舊序，俾義愈明。不然，人或疑蒙與需、此與小畜有涉也。自雜卦之義不明，於是易之言反象者遂不解矣。

The "Zagua Transmission" also suggests that King Wen had a specific intention in arranging the four groups of elements in pairs and the twenty-eight pairs of positive and negative images. Therefore, the "Zagua Transmission" deliberately disrupts the original order, in order to make this meaning more apparent. Otherwise, people might question the connection between the hexagram "Meng" following "Xu" and this hexagram following "Xiao Xu." Since the intention of the "Zagua Transmission" has become unclear, there has been no one able to understand the parts of the "Book of Changes" that discuss reverse images.

愚嘗卽十翼考之，是否為孔子所作則不敢知，然為一人之文無疑也。其釋經由淺及深，漸次而進。文言釋乾坤，六十四卦之本也；至彖傳則釋上下卦往來上下之義，教初學識本象矣；象傳則言及中爻，教人識互象也；繫傳初言剛柔動靜，次言錯綜變化，無義不備，無象不包，然皆崑崙言之。至說卦，遂明言八卦方位矣。方位者，易之本，乾鑿度所謂「八卦成列，天地之道立，雷風水火山澤之象定」也，先天而天弗違也；又為易之用，乾鑿度所謂「及其散佈用事，四時迭終，五行更廢」也，後天而奉天時也。

I once examined the Ten Wings: whether they were composed by Confucius, I cannot be certain, but it is without doubt that they were written by a single person. They explain the text from simple to profound, gradually advancing. The Wenyan only interprets the Qian and Kun hexagrams, because these two are the foundation of the sixty-four hexagrams; the Commentary on the Judgment explains the meaning of the upper and lower trigrams moving up and down, teaching beginners to recognize the image of the primary hexagram; the Image Commentary discusses the middle lines, teaching people to recognize the image of the nuclear hexagram; the Great Treatise first discusses the yin and yang, movement and stillness, then talks about the reversal and interchanging transformations, covering all meanings and including all hexagram images, though all are expressed in a general and comprehensive manner. It is only in the Shuogua Commentary that the positions of the eight trigrams are clearly explained. Position is the fundamental aspect of the Book of Changes; as the Ganzaodu says, "When the eight trigrams are arranged in order, the principles of heaven and earth are established, and the images of thunder, wind, water, fire, mountain, and marsh are determined," which refers to the earlier heaven trigram positions, also known as the "pre-heaven" mentioned in the Wenyan; position is also the function of the Book of Changes; as the Ganzaodu says, "When they are spread out and put into use, the four seasons alternate, and the five phases succeed each other," which refers to the later heaven trigram positions, also known as the "post-heaven" mentioned as "following the heavenly timing."

方位不明，易不能通。至對象，較互象又進矣。互象有形可察，對象則伏於虛，無形可據，明言之，俾人知象之顯於此者尚有隱於彼。雜卦明申其義。互象漢魏人皆知，對象則不盡知，覆象則知者益少，果不出聖人之所略焉。

If one does not understand directions, one cannot comprehend the Book of Changes. As for 'objects' (of the hexagram), they go a step further than mutual images: mutual images have visible traces that can be observed, but objects are hidden in the void, without any visible traces to rely on. Therefore, they must be clearly stated so that people can know both the manifest image present in this hexagram and the hidden aspect present in another. The Zaji Zhuan precisely explains this meaning. Mutual images were understood by Han and Wei scholars, but objects are not understood by everyone, and even fewer understand the inverted images. Indeed, they all fall into the neglect that the sages had already foreseen.

凡易之所言，皆天地間之公例公理，為萬物萬事所不能逃。先儒謂其專言天道，或專言人事者，皆不知天道不如人事者也。天道與人事，無二理也。仁者見之謂之仁，智者見之謂之智，如執其辭，將一句不能通。

The teachings of the Book of Changes deal with the universal principles and laws of heaven and earth, which all things in the world cannot escape. Some scholars of previous generations said the Book of Changes specializes in the ways of heaven, while others said it specializes in human affairs. These views fail to recognize that the ways of heaven and human affairs are not two separate paths. The ways of heaven and human affairs are not two different principles. The Great Treatise says, "The benevolent person sees it and calls it benevolence; the wise person sees it and calls it wisdom." If one takes this literally, then not a single sentence makes sense.

凡易辭無不從象生。如舍象不求，而只演空理，則聖人之立言，無乃太怪奇乎？且如睽六三上九、小過六二等詞，如不從象生，直謂之發狂可也，尚何聖之足云，是誣聖也。故夫王弼反古，避難就易，去實蹈虛，以諛媚後學，真易之罪人也。

The words of the Book of Changes are not a single sentence that does not arise from the images of the hexagrams. If one ignores the images and does not investigate them, and instead only deduces empty principles, then would not the words of the sage be too strange and odd? For example, in the hexagram Kui, line six in the third place says "He has the face of heaven and the mark of the nose," and in the top line, "He carries a cartload of ghosts, first stretching the bow," and in the hexagram Xiao Guo, line six in the second place says "He passes by his ancestor and meets his mother." If these words are not derived from the images, they can be considered as mad mutterings. How can they be attributed to the sage? That would be a slander against the sage. Therefore, Wang Bi deviates from the ancient method, avoids difficulty and seeks ease, abandoning real images and entering into empty talk, in order to please later learners. He is truly a criminal to the study of the Book of Changes.

凡象用於此而合，用於彼而不合，必誤，如以離為斧是也。又象用於此而合，於彼不合，所取必誤。誤而不求其故，須再三變而始得其象者，皆曲說也。二千年易解之晦，由此也。茲有一證，述之如下。

Whenever an image works well in one context but fails in another, it must be wrongly selected, such as taking Li as an axe. Similarly, if an image fits in one place but not in another, the selection is certainly incorrect. If one selects wrongly and does not investigate the reason, but instead forces the hexagram and its lines to change several times just to make the image fit, these are all distortions. For two thousand years, the interpretation of the Book of Changes has remained obscure, and the root of the problem lies here. Here is an example to illustrate this point.

離彖離為牝牛，說卦坤為牛，左傳云純離為牛，此半象之本也。乃人於睽六三年之牛、革初九之牛、旅上九之牛，除遵用虞氏誤解、不取左氏外，餘皆知此以離為牛，詁甚得也。乃於無妄六三之牛、大畜六四之牛、遯六二之牛，皆知以坤為牛，不誤也，而皆不得解者何也？所取誤也。明之如下。

The Hexagram Li states, "Keeping a female ox is auspicious." The Sayings of the Hexagrams say that Kun represents an ox. An example from the Zuo Zhuan, dated to the fifth year of King Zhao of the State of Zhao, says, "Pure Li represents an ox," which is the basis for using the half-image to represent an ox. As for the ox mentioned in the line Six in the Third of Hexagram Kui, the line Nine at the Beginning of Hexagram Ge, and the line Nine at the Top of Hexagram Lu, except for those who reject Yu Fan's incorrect interpretation and do not follow the Zuo Zhuan, everyone else knows that these instances use Li to represent an ox, and their interpretations are appropriate. However, for the ox in the line Six in the Third of Hexagram Wuwang, the line Six in the Fourth of Hexagram Daxu, and the line Six in the Second of Hexagram Duan, everyone also knows that these use Kun to represent an ox, and there is no mistake in their choice, yet they cannot explain why. Why is this so? It is because the position of the image has been misused. The following explanation will clarify this.

六三巽體，巽為繩，故曰繫；坤為牛，乃坤下剛成震，震為行為人，則牛之繫者已行矣，故曰行人之得。此雖以坤為牛，因坤形滅，故牛亦亡。其措詞之妙，有非凝目注視卦象而不能喻者，徒捃拾舊解無益也。大畜六四之牛，解已見前。

The line "Or a cow may be tied, which the traveler gains but becomes a calamity for the townsmen" from the sixth line of the third position in "Wu Wang" describes a situation where the cow is tied. The sixth line of the third position is located within the trigram Xun (Wind), which represents a rope, hence the term "tied." The trigram Kun (Earth) represents a cow, but the lowest line of Kun turns into a yang line, transforming it into Zhen (Thunder), which is the lower trigram of "Wu Wang." Zhen represents movement and people, so the tied cow has been led away by a traveler, hence "the traveler gains it." Although the cow is symbolized by Kun, since the form of Kun has disappeared, the cow also disappears. The wording is subtle and can only be understood by closely observing the hexagram, not by relying on old interpretations. The cow in the sixth line of the fourth position in "Da Xu" has already been explained earlier.

坤為黃為牛，乃坤上而剛，則牛之革也，此艮之所以為膚也。艮為手，故曰執；艮為守為拘，故莫能脫。

The line "Hold fast with the hide of a yellow ox, none can escape" from the hexagram "Retreat" (Dun) refers to the fact that the lower trigram of Dun is Gen (Mountain), which is the upper line of the trigram Kun (Earth) transformed into a yang line. Since the ox has already been transformed, only its hide remains, which is why Gen can take the image of "skin" (fu). Gen represents the hand, so it is said to "hold fast," meaning to grasp. Gen also represents guarding and confinement, hence no one can escape.

以上牛象，倏有倏無，若隱若見，於卦象恰合，胡用強變成坤以取象哉？坤為牛，乃坤之震，則牛之繫者已行矣（無妄）；坤之艮，則牛之童者已角矣（大畜）；坤之艮，則牛而成革矣（遯卦）。此雖非焦義，乃由焦用象推測，其神妙如此也。

The images of oxen and elephants mentioned above appear and disappear, being visible and invisible, perfectly matching the hexagram symbols. Why then should we force the changing line to become the hexagram of Kūn to fit the image? Kūn represents an ox; when Kūn changes into Zhèn, the ox that was tied up has already been led away, which corresponds to the line six in the third of the hexagram Wúwàng; when Kūn changes into Gèn, the young ox has already grown horns, which corresponds to the line six in the fourth of the hexagram Dàxù; and when Kūn again changes into Gèn, the ox is left only with its hide, which corresponds to the line six in the second of the hexagram Dùn. Although these statements are not the exact words of Jiao Yanshou, they are conclusions drawn by following Jiao's method of interpreting images, and their subtlety is remarkable.

《易林》雖以震為箕、為箕子，本明夷彖傳也。至六五箕子之明夷，自西漢以來無作紂臣解者。蜀趙賓讀箕子為荄茲，荄茲者，萬物方荄茲也，師古云「言根荄方滋茂也」，見孟喜傳，蓋古文原如此。而班固非易家，不知其為確詁，反摭拾梁邱施二家毀謗孟喜之詞，謂孟喜喜為名之，後賓死，因不肯仞云云。

Jiao's Forest of Changes takes Zhen as Ji and Ji Zi, based on the Commentary on the Judgment of Mingyi which says, "Though there is internal difficulty, one can maintain one's correct will, which is what Ji Zi did." As for the Line Statement of the fifth line, "Ji Zi's Mingyi," since the Western Han dynasty, no one has interpreted it as referring to Ji Zi, a minister of Yin Zou. A man from Shu, Zhao Bin, read "Ji Zi" as "Gai Zi," meaning that all things are just beginning to sprout and grow from the roots. Yan Shigǔ's annotation says, "It refers to the sprouting and flourishing of grass roots." This is recorded in the biography of Meng Xi in the Han Shu's Rulín Zhuan, showing that the original text was written this way. However, Ban Gu was not an expert in the study of the Yi Jing, and did not know this was the correct interpretation. Instead, he picked up the criticisms of Meng Xi made by Liangqiu He and Shi Chou, saying that Meng Xi liked to boast about this interpretation. Later, when Zhao Bin died, Meng Xi refused to acknowledge it.

若讀箕子為荄茲，為趙賓創解且大誤者，豈知劉向云「今易箕子作荄滋」，與賓讀同也。向所據皆中古文，非依賓讀，可見賓讀之為舊詁，非所自創，更可見孟喜傳嘲譏孟喜之語之為誣詞。宋晁景迂嘗再四不平，欲為孟喜辨誣，而不能求得其故，至惠定宇始昌言之，惠氏真善於讀史者也。

Some people think that reading "Jizi" as "Gai Zi" is a mistaken innovation by Zhao Bin. But they are unaware that Liu Xiang had previously stated that the current edition of the "Book of Changes" writes "Jizi" as "Gai Zi," which is exactly the same as Zhao Bin's reading. Liu Xiang's reference was to ancient texts preserved in the imperial library, not following Zhao Bin's interpretation. This shows that the reading "Gai Zi" for "Jizi" was an existing scholarly interpretation, not Zhao Bin's own creation. It also demonstrates that the criticism of Meng Xi in the "Book of Han" is entirely false. In the Song dynasty, Chao Yuezi (who styled himself Jingyu) repeatedly expressed his disagreement with this false accusation, trying to clear Meng Xi's name but failing to find supporting evidence. It was only in the Qing dynasty that Hui Dong (styled Dingyu) clearly explained this point, showing that Hui Dong was truly skilled in reading history.

至東漢馬融，始詁六五之箕子亦為殷太師。豈知彖傳所言之箕子，與六五所言之箕子，在當時字必不同，蜀才箕作其，是其證；卽王弼亦讀子為茲，與趙賓同，後人以其音近混同之耳。設六五之箕子卽為殷之箕子，彖傳萬不能引以解易，六十四卦彖傳之辭，有一例如是者乎？可覆按也。凡彖傳皆自出新義，無有引爻詞以解彖者。是皆因卦象失傳，故駭怪荄滋之讀。豈知明夷六五，震體也，震為生，故曰滋；震為萌芽，故曰荄。請還以《易林》明之。

Until Ma Rong of the Eastern Han dynasty, the term "Jizi" in the line statement of "Six in the Fifth" was not interpreted as Ji Zi, the Grand Tutor of the Yin dynasty. In fact, the "Commentary on the Judgment" and the "Jizi" mentioned in "Six in the Fifth" must have used different characters at that time—this is clearly shown by the fact that Shu Cai used "qi" instead of "ji" for the character. Even Wang Bi read "zi" as "zi", consistent with Zhao Bin, but later people confused them due to their similar sounds. If the "Jizi" in "Six in the Fifth" was indeed the Ji Zi of the Yin dynasty, the "Commentary on the Judgment" would not have used it to explain the hexagram. Is there any precedent in the sixty-four "Commentaries on the Judgment" where this happened? It can be checked. All the "Commentaries on the Judgment" originate from new interpretations and do not cite the line statements to explain the hexagram. These misunderstandings arose because the hexagram images were lost. Therefore, people were surprised by the reading of "gai zi". But they should know that in the hexagram "Mingyi", the line "Six in the Fifth" is in the mutual trigram Zhen, which represents growth, hence it is called "zhi". Since Zhen also represents sprouting, it is called "gai". Please use "Jiao's Forest of Changes" to further verify this.

《易林·升之中孚》云「百草嘉卉，萌芽將出」，以震為萌芽也；《小畜之睽》云「芽櫱生達，陽昌於外」，震為芽櫱，睽通蹇，陽居五，故曰生達，故曰陽昌於外。夫所謂芽櫱，卽荄也；生達，卽滋也。明夷互震，陽在下，不得昌於外，故曰荄滋之明夷，言根荄芽櫱，正當坎冬，不得生達，故明夷也。

The "Forest Commentary" of the "Book of Changes" under the hexagram "Ascending" in "Zhongfou" says, "All kinds of grass and flowers, their sprouts are about to emerge." Therefore, Zhen is used to represent sprouts - in hexagram "Zhongfou," lines two to four form an intercalary Zhen; in "Xiaoxu" to "Kui," it says, "Sprouts emerge and reach outward, yang is flourishing externally." Zhen represents sprouts, and "Kui" is opposite to "Jian." In "Jian," the yang lines are in the fifth position, so it is said "sprouts emerge" and "yang is flourishing externally." The term "sprouts" refers to "gai," and "emergence and reaching outward" refers to "zi." Although the intercalary hexagram of "Mingyi" also contains Zhen, the yang lines are at the lower position, so they cannot flourish externally, hence it is called "gai zi zhi Mingyi," meaning the tender sprouts of plants meet the cold water of Kan in winter, unable to sprout and grow, thus suffering damage to their brightness.

又《坎之解》云「寒露所凌，漸至堅冰，草木瘡瘍，華葉落亡」，解下坎，為寒露為堅冰，震為草木，陽在下，故瘡瘍。瘡瘍卽明夷，草木瘡瘍，華葉落亡，卽荄滋明夷也。解與明夷二至上同，說解卽說明夷，與賓詁同也，紛紜之聚訟可以解矣。惠定宇於此爻厯史，辨之綦詳，有功先儒，嘉惠後學，惟不知震為萌芽為胎為孕，故不知荄滋之象，乃讀荄滋為亥子。易明言天干則有之，言十二辰則未見也。

Another passage from the "Forest of Divination" in the "Book of Changes" says: "Cold dew invades, gradually leading to hard ice, grass and trees suffer wounds, flowers and leaves fall off." The "Jie" hexagram has the trigram Kan at the bottom, which represents cold dew and hard ice, and Zhen at the top, which represents grass and trees. The yang line is at the bottom, so grass and trees suffer wounds. Wounds and sores correspond to "Mingyi," meaning injury and loss of brightness. Grass and trees suffering wounds, flowers and leaves falling off, is exactly "Gai Zi Mingyi." The "Jie" hexagram, from the second line to the top line, has the same structure as "Mingyi," which is also Kan at the bottom and Zhen at the top. Therefore, explaining "Jie" is equivalent to explaining "Mingyi," and this aligns completely with Zhao Bin's interpretation. All the disputes can be resolved here. Hui Dong examined the origin of this line very thoroughly, contributing greatly to predecessors and benefiting later scholars. However, he did not realize that Zhen represents sprouting, pregnancy, and gestation, so he did not understand the image of "Gai Zi." The "Book of Changes" clearly mentions heavenly stems, but has not yet mentioned the twelve earthly branches.

賁下離，離下震上艮，故初九曰趾，曰舍車而徒，徒，徒步行也，趾與徒皆震象。六二曰賁其須，艮為須也。《易林·同人之否》云「繫於虎鬚」，否巽為繫，艮為虎為須；又《蹇之旅》云「棘掛我須」，亦以旅艮為須。賁其須與賁其趾對文，治虞易者詁須為待，非也。易皆用半象也。

The lower trigram of the hexagram 贲 is Li (Fire), and the lower two lines of Li form half of Zhen (Thunder), while the upper two lines form half of Gen (Mountain). Therefore, the line Nine at the Beginning says "贲其趾" and "舍车而徒" — "徒" means to walk on foot, and both "趾" and "徒" come from the image of Zhen, which represents foot and movement. The line Six in the Second says "贲其须," which takes Gen as the image of beard. In the "Forest of the Book of Changes" under the hexagram Tongren changing to Pinyin, the line says "系于虎须," where the lines three to five of Pinyin form a mutual trigram Xun (Wind), which represents rope and binding, and the lines two to four form a mutual trigram Gen (Mountain), which represents tiger and beard. In the hexagram Jian and Li, it says "棘挂我须," which also uses the trigram Gen from the lower trigram of Li to represent beard. "贲其须" and "贲其趾" form a parallel structure. Those who study Yu Fan's interpretation of the Book of Changes mistakenly take "须" as waiting, which is incorrect. Both these lines use half-images.

京作撍，子夏傳作簪，雲疾也，鄭云速也，馬作臧，荀作宗，虞作戠，雲聚會也，獨侯果訓為括髮之簪。清之毛奇齡惠士奇惠棟孫星衍錢大蚚焦循王引之翁元圻等，各有所主，大抵皆駁侯果之說，惟毛奇齡翁元圻用侯說，謂簪為冠簪，所以括髮固冠。

The *Yü* hexagram, line nine-four, says "friends gather like hairpins." The character "zān" is rendered as "wēn" in Jing Fang's version, as "zān" in Zixia's Commentary on the Changes, with the meaning "hastening," as "sù" by Zheng Xuan, as "zāng" by Ma Rong, as "zōng" by Xun Shuang, and as "yì" by Yu Fan, with the meaning "gathering." Only Hou Guo of the Tang dynasty interpreted it as a hairpin used to fasten hair and secure a cap. In the Qing dynasty, Mao Qilin, Hui Shiqi, Hui Dong, Sun Xingyan, Qian Daqian, Jiao Xun, Wang Yinzhi, and Wang Yuanqi each held their own interpretations, mostly refuting Hou Guo's view. Only Mao Qilin and Wang Yuanqi adopted Hou Guo's interpretation, considering "zān" as a hairpin used to bind hair and fix the cap.

其駁侯說者，謂古祗有笄，無有簪，簪之名至漢始有。儀禮士喪禮「簪衣於裳」，鄭注云「簪，連也」，儀禮仍漢世之書，不足據也，簪於冠無涉也。繁徵博引，以炫其博，豈知六經何者非漢儒所傳，而能謂六經皆漢世書乎？況簪之與笄，名異而實同，在周則多稱曰笄，在漢則多稱曰簪。說文：笄，簪也；簪，無首笄也。鄭注士冠禮云「笄，今之簪」，其為一物甚明，而惠棟必謂漢時始有簪名。豈知儀禮外，李斯諫逐客書云「宛珠之簪」，韓非子「周主亡玉簪」，其不始於漢甚明。

Those who refute Hou Guo argue that in ancient times there was only "ji" and not "zhan," and the term "zhan" appeared only during the Han dynasty. The "Yili · Sisangli" mentions "zhan yi yu chang," and Zheng Xuan's commentary says "zhan is the same as lianzhui," but since "Yili" was transmitted during the Han dynasty, it is not sufficient evidence. Moreover, this zhan has nothing to do with hats. They cite extensively to show their erudition, but they do not consider that none of the Six Classics were not transmitted by Han scholars; can they say all the Six Classics were written during the Han dynasty? Furthermore, although "ji" and "zhan" have different names, they are actually the same object. In the Zhou dynasty, people mostly called it "ji," while in the Han dynasty, they mostly called it "zhan." The "Shuowen Jiezi" says "ji is the same as zhan" and "zhan is a ji without decoration." Zheng Xuan's commentary on "Yili · Siguangli" also says "ji is the same as today's zhan," clearly indicating that they are the same thing. Yet Hui Dong insists that the term "zhan" appeared only in the Han dynasty. He does not realize that besides "Yili," Li Si's "Jianzhuke Shu" mentions "Wan Zhu Zhan," and the "Hanfeizi" mentions "Zhou Zhu Wang Yu Zhan," clearly showing that zhan existed before the Han dynasty. This is quite clear.

又後儒見漢人訓簪為連為聚，必謂與笄異物，以駁侯說。豈知釋名云「笄，繫也，所以繫冠，使不墮也」，繫之與連，有以異乎？笄貫紐武，注「冠鼻，使與髮連，繫冠不墜」，簪之用猶是也。漢之時冠式或與周小異，其固冠之法則不異也。

Later scholars saw that Han dynasty commentators interpreted "zān" as "lián" and "jù," and thus concluded that it was a different object from "jī," using this to refute Hou Guo. But they failed to realize that the "Shiming" says "jī is the same as xì, used to fasten the hat so that it does not fall." How could "xì" and "lián" be different? The jī passes through the button and wǔ (the rim of the hat), and the commentary says that these are the nose buttons on the hat, which connect the hat to the hair and fasten it so it does not fall. The function of the zān is exactly the same. Although the style of hats in the Han dynasty might have differed slightly from that in the Zhou dynasty, the method of securing the hat was essentially the same.

後儒徒執簪哀於裳之鄭注，訓簪為連，豈知連衣於裳之必有物乎？物卽簪也。又簪衣於裳者，乃死者之衣裳，非復者招魂之衣裳。死者之衣裳上下殊，故以簪連之；復者持以招魂。今必謂簪為連衣裳之物，更不可用以括冠髮，有是理乎？況易如此等字，無不從象生。後儒訓此字，動至千言，然從無有返本歸根、求之卦象者，故愈說愈晦也。

Later scholars only focused on Zheng Xuan's commentary on the phrase "zān yī yú cháng" in the "Rites of Zhou," interpreting "zān" as meaning to connect. But they did not think: in order to connect the upper robe to the lower skirt, there must be an object, and that object is the zān. Moreover, "zān yī yú cháng" refers to the deceased's clothing, not the set of clothes used by the person performing the "fu li" ritual to summon the soul. The deceased's clothing was split into upper and lower parts, so it was connected with a zān. The person performing the ritual carried the clothes to summon the soul. Now, insisting that the zān is only used to connect clothes, and never to fix hair and secure the cap, is there any such logic in the world? Moreover, all the characters in the "Book of Changes" are derived from the trigrams. Yet later scholars, when interpreting a single character, often write thousands of words, but never return to the original trigrams to seek their meaning. Thus, their explanations become more obscure over time.

按《易林·恆之咸》云「簪短帶長」，咸互巽，為帶為長，艮為簪也，兌折，故簪短；又《復之節》語同，節三至五互艮，亦以艮為簪。豫九四艮以一陽統率群陰，若簪之穿物，故曰盍簪；陽以陰為朋，震為髮，言群朋附四，若簪之括冠髮也，故曰朋盍簪。此有一確注，杜詩云「盍簪喧櫪馬」，艮為小木為簪，言群馬之韁共繫於橫木之上，故曰盍簪。能解杜詩，則朋盍簪三字之形容如繪出矣。又艮為小木，古士庶之家嘗以桑為笄，見儀禮；以蓍為簪，見韓詩外傳；以荊為釵，見列女傳，故艮為簪。自艮簪震髮之象失傳，於是此語之神妙都不解，而為無味之聚訟。

According to the "Forest of Divination" in the "Book of Changes," the statement of the "Heng" hexagram's "Xian" forest says "The hairpin is short and the sash is long": In the "Xian" hexagram, the second to fourth lines form the trigram Xun, which represents the sash and its length; the lower trigram is Gen, representing the hairpin; the upper trigram is Dui, representing destruction, so the hairpin is short. The "Jie" hexagram's forest statement is the same. In the "Jie" hexagram, the third to fifth lines form the trigram Gen, which also represents the hairpin. In the "Yu" hexagram, the ninth line in the fourth position is a yang line that commands the five yin lines above and below, like a hairpin passing through many things, so it is said "He Zan" (gathered hairpin); yang is associated with yin as companions, and the upper trigram Zhen represents hair, meaning that the companions rely on the ninth line in the fourth position, just as a hairpin holds the hair of a crown, so it is said "Peng He Zan." There is a clear supporting evidence: Du Fu's verse "He Zan Xuan Li Ma" (the hairpins make a noisy sound as the horses in the stable are restless). Gen represents small wood and a hairpin, describing how the reins of many horses are tied together on a single crossbar, hence "He Zan." If this can be understood, then the scene described by "Peng He Zan" is as vivid as a painting. Gen also represents small wood; in ancient times, the families of scholars and commoners used mulberry wood for hairpins, as recorded in the "Rites of Zhou"; they used the herb yarrow for hairpins, as mentioned in the "External Transmission of the Han Poetry"; and they used osier for hairpins, as recorded in the "Biographies of Women of Virtue." Therefore, Gen can represent a hairpin. Since the images of Gen as a hairpin and Zhen as hair have been lost, the subtle meaning of this line has been ignored, leaving only a meaningless dispute.

又杜詩蔡註解此句雲朋友燕會，可謂大誤。題為杜位宅守歲，時子美尚未官京師，故在從弟家守歲。曰「四十明朝過」，則除夕也；曰「列炬散林鴉」，則深夜也。以唐時風俗，豈有此時會朋友哉？而王應麟謂杜詩注詳博，但不知詩用侯果注，亦未察知蔡注大誤之所在，以此嘆解人千古難索。

Now speaking of the commentary on Du Fu's poetry by the Cai family, interpreting this line as a gathering of friends is a grave mistake. This poem is titled "Keeping the New Year at Du Wei's House," and at that time Du Fu (whose courtesy name was Zimei) had not yet been appointed as an official in the capital, so he was keeping the New Year at his cousin's house. The poem says "At forty, the next morning will pass," indicating it is New Year's Eve; it also says "The torches are lit, scattering the crows in the woods," showing it is already deep into the night. According to the customs of the Tang dynasty, where would people gather friends at such a time? Wang Yinglin praised the commentary on Du Fu's poetry for being detailed and comprehensive, but he did not realize that this line actually follows the interpretation of Hou Guo, and he failed to notice the major error in Cai's commentary. This is truly lamentable, as genuine interpreters of poetry are rare throughout the ages.