The Yilin uses both Earlier Heaven and Later Heaven, as well as the methods of dividing trigrams and assigning stems.

《易林》用先天，先天乾南坤北；《易林》用後天，後天乾西北坤西南；《易林》用闢卦，闢卦坤西北乾東南：說皆見前。易要用納甲，乾納甲，坤納乙，甲乙在東方。如坤之幹云：「谷風布氣。」《毛傳》：「谷風，東風也。」他若履之幹云：「東向蕃垣。」之坤云：「旁淮東遊。」皆取象甲乙也。後天、闢卦及納甲方位，為東漢人所知；先天方位，除荀氏注同人云「乾舍於離，相與同居」，以乾為南外，餘少知者。

The Yi Lin uses the Earlier Heaven directions, with Qian in the south and Kun in the north; it also uses the Later Heaven directions, with Qian in the northwest and Kun in the southwest; and it also employs the Bi Gua directions, with Kun in the northwest and Qian in the southeast—these have all been mentioned before. The Yi also uses the Najia method: Qian is associated with Jia, and Kun with Yi, both Jia and Yi being in the east. For example, in the entry "Kun's Qian," it says "Valley wind spreads the qi," and the Mao Zhuan explains "valley wind" as east wind; another example is "Lv's Qian" which says "Facing east, the fortified wall extends," and "Lv's Kun" which says "Wandering east along the Huai River," where the word "east" comes from the association of Qian with Jia and Kun with Yi. The Later Heaven, Bi Gua, and Najia directions were known to people of the Eastern Han dynasty; only the Earlier Heaven directions were less known, except for Xun Shuang's commentary on Tong Ren, which says "Qian resides in Li, sharing the same dwelling," treating Qian as southern, while others rarely mentioned it.

漢魏人學易者，往往著易林，如焦氏《易林》、費氏《易林》、崔氏《易林》、許峻《易林》、虞翻《易林》、管輅《易林》，及不知姓名之《易新林》《集林》《占林》等，並見於《隨》《唐志》。焦氏《易林》雖不見於《漢書》，然費《易林》、虞《易林》、管《易要》，史皆未書，亦無議其非者。今所存獨焦林，無可質證。

During the Han and Wei periods, those who studied the Book of Changes often wrote books of the type called "Yi Lin." Examples include Jiao's Yi Lin, Fei's Yi Lin, Cui's Yi Lin, Xu Jun's Yi Lin, Yu Fan's Yi Lin, Guan Lu's Yi Lin, as well as other works such as Yi Xin Lin, Ji Lin, and Zhan Lin, whose authors are unknown. These works are recorded in the Sui Shu Jing Ji Zhi and the Tang Shu Yi Wen Zhi. Although Jiao's Yi Lin is not listed in the Han Shu Yi Wen Zhi, Fei Zhi's Yi Lin, Yu Fan's Yi Lin, and Guan Lu's Yi Yao are also not recorded in the historical bibliographies, yet no one has questioned their authenticity because of this. Now, among these works, only Jiao's Yi Lin remains, and there are no other similar works left for comparison or verification.

於顧寧人疑其為東漢以後人所為。其所持之故，謂焦氏不應用《左傳》，而忘河間獻王之為《左氏春秋》立博士，張蒼、賈誼、張敞、翟方進等皆為左氏專家。二謂《易林》謂漢高為「季」，非漢人所宜言，而忘《史記》之一則曰「季」，再則曰「季」。三謂《易林》萃之益有「昭君是福」之語，昭君出塞，延壽不及見其事。豈知「昭君」謂益有大離之象，而不必實有其事有其人。震之節云：「乾侯野井，昭君喪居。」豈王昭君死於乾侯乎？萃之臨曰：「昭君守國，諸夏蒙德。」豈王昭君又為中國天子乎？此若為昭君，將《易林》言「孔明」，可謂為諸葛亮矣；言「則天」，可謂為武后矣；言「宣和」「政和」，可謂為宋徽宗矣；屢言先天象，可謂為邵子之門人所為矣。豈有窮乎？

In the early Qing dynasty, Gu Yanwu (styled Ningren) doubted that the "Yi Lin" was written by someone after the Eastern Han dynasty. His reasons were threefold. First, he argued that Jiao Yanshou should not have cited the "Zuo Zhuan" — but he overlooked the fact that Hejian Xianwang had already established the "Zuo Shi Chunqiu" as an official text, and figures such as Zhang Cang, Jia Yi, Zhang Chang, and Zhai Fangjin were all experts in studying the "Zuo Shi", so it was not unusual for Western Han scholars to use the "Zuo Zhuan". Second, he claimed that the "Yi Lin" referred to the Han Gaozu as "Ji", which was not something a Han dynasty person would say — but he failed to realize that the "Shiji" repeatedly directly called the Han Gaozu "Ji". Third, he pointed out that in the "Cui Zhi Yi" section of the "Yi Lin", there was a line saying "Zhaojun is a blessing", while Wang Zhaojun's departure to the northern frontier occurred in the Jining year of Emperor Wu of the Northern Han, which Jiao Yanshou could not have witnessed. However, he did not realize that the "Zhaojun" mentioned here refers to the symbolic meaning of the "Yi" hexagram having a great "Li" (Fire) image, where "Zhao" takes the meaning of brightness from "Li", and does not necessarily refer to a real person or event. In the "Zhen Zhi Jie" section, the text says "Ganhou's wild well, Zhaojun's mourning residence" — could Wang Zhaojun have died in Ganhou? In the "Cui Zhi Lin" section, it says "Zhaojun guards the country, all the surrounding states benefit from her virtue" — could Wang Zhaojun have become the emperor of China again? If all these "Zhaojun" references are taken to mean the real Wang Zhaojun, then whenever the "Yi Lin" mentions "Kongming", it could be referring to Zhuge Liang; when it mentions "Zetian", it could be referring to Wu Zetian; when it mentions "Xuanhe" and "Zhenghe", it could be referring to Emperor Huizong of the Song dynasty; and since the text frequently uses the Earlier Heaven hexagram images, it could be claimed that it was written by a disciple of Shao Yong. If this line of reasoning is continued, there would be no end to it.

京房之死，在元帝末年，年方四十。其師必死於京房前乎？其師之年必多於京房三四十歲乎？恐未然也。寧人又以梁王嗣位在昭帝始元二年，共嗣位四十年，其資助焦贛遊學，似必從其嗣位日始者，其說之誣。又謂《易林》用《漢書·李尋傳》若「天門」「太微」等語，創自李尋者，尤為誣枉，及不知林辭為何物。山陽丁晏闢之詳矣。

Jing Fang died in the last year of Emperor Yuan's reign at the age of only forty. Is it necessarily true that a teacher must die before his student? Must a teacher's age always be thirty or forty years older than his student? Perhaps not. Gu Yanwu also argued that since the Prince of Liang ascended the throne in the second year of Emperor Zhao's Shiyuan era and reigned for forty years, the Prince must have supported Jiao Yanshou's travels from the day he took the throne. This conclusion is also without basis. He also claimed that phrases like "Tianmen" and "Taiwei" in the "Yi Lin" come from the "Hanshu · Li Xin Zhuan" and were first proposed by Li Xin, which is even more unjust. It shows that he completely misunderstood the nature of the Lin words. Ding Yan, a man from Shanyang (given name Ding, courtesy name Jianqing), has already refuted these views in detail.

後翟云升、牟庭等，又據費直敘題《易林》為「建新天水焦延壽撰」八字，疑今《易林》為崔篆之《易林》。篆曾為建新大尹，「天水」者，「大尹」之訛；「焦」為「崔」之訛。崔延壽者，必篆亦字延壽也。豈知費敘庸劣，且言及王莽後事，為直所未知，其偽尤著。牟庭自知所據之陋也，則又據《漢紀》：明帝用《周易卦林》筮雨，其繇曰「蟻卦穴戶，大雨將集」，明日大雨，上以詔書問沛獻王輔，輔上書釋其義，詔報曰「善哉，王次序之」，言王詮次繇詞之善也。而牟庭謂帝令王作敘，此敘卽沛獻所作，故及莽事。此與謂篆字亦延壽，說皆武斷可哂。

Later scholars such as Zhai Yunsheng and Mou Ting suspected that the present version of the "Yi Lin" was actually Cui Zuan's work, based on the eight characters "Jian Xin Tian Shui Jiao Yanshou zhuàn" in the preface of the "Yi Lin" attributed to Fei Zhi. Their reasoning was that Cui Zuan had once served as the governor of Jian Xin, "Tian Shui" was a corrupted form of "Da Yin," and "Jiao" was a corrupted form of "Cui." Since it was called "Cui Yanshou," Cui Zuan must have also been known by the courtesy name Yanshou. However, they failed to realize that the preface written by Fei Zhi was poorly composed and mentioned events after Wang Mang's reign, which Fei Zhi could not have known about in his lifetime. This clearly shows that the preface itself was a forgery, making its flaws even more obvious. Mou Ting himself recognized that his evidence was too shallow, so he turned to the records in the "Han Ji" for support. According to these records, Emperor Ming of the Eastern Han used the "Zhou Yi Gua Lin" to inquire about rain, and the divination text was "Yi gu xue hu, da yi jiang ji," which meant "ants are digging holes at the door, heavy rain is coming." The next day, heavy rain indeed came. Emperor Ming then issued an edict asking Pei Xian Wang Liu Fu to explain the meaning of the divination text. In response, Liu Fu submitted a written explanation, and Emperor Ming replied with an edict saying "Zan zai, Wang Ci Xu Zhi," meaning he praised Liu Fu for arranging the divination texts well. However, Mou Ting claimed that this was actually an order from Emperor Ming to Liu Fu to write the preface, and thus the preface of the present "Yi Lin" was written by Pei Xian Wang. Therefore, it could mention Wang Mang's era. This argument, like the claim that "Cui Zuan was also known by the courtesy name Yanshou," is equally hasty and ridiculous.

又以鼎之節有「安民呼池」之言，謂罷呼池為安民縣，事在平帝二年，非篆不及見。豈知同人之豫亦有此詞。各本「安」皆作「按」，「呼」作「湖」。「按民湖池」者，以湖池多盜，遣使按治，故下云「玉杯文案」。此必有故事，為後來所未知。若作「安民」，安民者縣名也，呼池者苑名也，此四字如何相屬？又與下「玉杯文案」義何涉乎？丁儉卿謂牟庭私改「按」為「安」，以就其說，語雖近奇，然「安」為「按」之訛字，無疑也。

Mu Ting again focused on the four characters 「An Min Hu Chi」 in the section 「Ding Zhi Jie」, saying that in the second year of Emperor Ping of the Han dynasty, the Hu Chi Garden was abolished and replaced by An Min County. This event Jiao Yanshou could not have seen, only Cui Zuan could have. But he did not know that in the section 「Tong Ren Zhi Yu」 there was also the same phrase. Moreover, in all versions of the text, the character 「An」 here is actually 「Pan」 and 「Hu」 is 「Hu」, meaning the original text was 「Pan Min Hu Chi」, referring to the fact that there were many bandits in the area of Hu Chi Lake, and the court sent envoys to investigate and deal with them, so the next sentence could follow with 「Yu Bei Wen An」. There must have been a story behind this at the time, but later generations have forgotten it. If Mu Ting changed it to 「An Min」, then 「An Min」 is the name of a county and 「Hu Chi」 is the name of a garden, how could these four characters form a coherent sentence? And what connection is there in meaning with the next sentence 「Yu Bei Wen An」? Ding Yan (Jianqing) said that Mu Ting privately changed 「Pan」 to 「An」 to fit his own interpretation. Although his words were sharp, the fact that 「An」 is a variant of 「Pan」 is unquestionable.

翟等又據《因話録》：唐崔群之鎮徐，當以焦氏《易林》自筮，此「焦」字亦「崔」之訛。昔崔駰常以家林筮，見範書《孔僖傳》，群既駰之後裔，亦必以家林筮，而其詞在今《易林》中，以此定今《易林》為崔篆《易林》。姑無論今傳之《因話録》皆作「焦」，無作「崔」者；卽使是崔《易林》詞偶與焦林同，亦何足異？唐人詩甲詩入乙集、乙詩入甲集者多矣。如「虢國夫人承主恩，平明騎馬入金門」，杜甫詩也，而張祜集亦有。如因祜集有杜詩，便謂《草堂集》皆祜所為，似不然矣。況漢人為易林者前後相望，因襲雷同，理所必至乎。唐時焦氏《易林》、崔氏《易林》並存，見於《唐志》，今亡者一，存者一。崔篆為西漢大儒，其書之亡誠為可惜，然必以相傳甚久之焦氏《易林》屬於崔氏，祗見其誤，未見其安也。

Zhai Yunsheng and others also refer to the account in Tang dynasty Zhao Lin's "Yinhu Lu" that when Cui Qun was appointed governor of Xuzhou, he once used the "Yi Lin" by Jiao to divinate for himself. They argue that the character "Jiao" is actually a miswriting of "Cui." Their reasoning is that in the past, Cui Yin often used his own "Jia Lin" for divination, as recorded in Fan Yel's "Hou Han Shu · Kong Xi Zhuan." Since Cui Qun was a descendant of Cui Yin, he would also have used the "Jia Lin" for divination. Moreover, the divination text in question is also found in the present version of "Yi Lin," so they conclude that the present version of "Yi Lin" is indeed the "Yi Lin" by Cui Zuan. However, it is worth noting that all extant editions of "Yinhu Lu" record the name as "Jiao," none as "Cui." Even if a few lines of the "Jia Lin" coincidentally match those of the "Cui Lin," is that really surprising? There are many examples in Tang poetry where poems by person A are mistakenly included in the collection of person B, and vice versa. For instance, the line "Guo Guo Fu Ren Cheng Zhu En, Ping Ming Qi Ma Ru Jin Men" is originally by Du Fu, yet it also appears in Zhang Hu's collection. If someone were to argue that because Zhang Hu's collection contains Du Fu's poem, Du Fu's "Cao Tang Ji" must be entirely by Zhang Hu, that would clearly be unreasonable. Moreover, during the Han dynasty, many people compiled "Yi Lin," and their works often repeated each other, which was inevitable. In the Tang dynasty, both the "Yi Lin" by Jiao and that by Cui were in existence, and both are recorded in the "Tang Shu · Yiwen Zhi." Now one has been lost and the other remains. Cui Zuan was a great Confucian scholar of the Western Han dynasty, and the loss of his works is indeed regrettable. However, insisting on attributing the well-preserved "Yi Lin" by Jiao to Cui Zuan is clearly an error, and there is no justification for such a conclusion.

丁晏《易林釋文》前後敘，駁議綦詳，然其義有未盡者，故復引申之。至《易林釋文》劉毓崧後跋，按漢家帝諱，謂全書十萬言，獨不見「弗」字，定《易林》作於昭帝時，則真考索有得矣。至顧氏謂林內有「新作初陵」語，疑用成帝起昌陵事。夫一帝卽位卽為起陵，何帝不然，胡獨成帝？又有謂林中如「牡飛」「門啟」等詞，事在成帝時，為延壽所不及見。豈知《京房易傳》已有「厥妖門牡自亡」之占。房死於元帝時，豈必見亡牡之事而後為此詞？此自古來相傳之一種占法，非創聞於成帝時也，尤淺不足辨。

Ding Yan's commentary in the preface and postface of "Yi Lin Shi Wen" is already very detailed, but there are still some points that need further elaboration. As for Liu Yusheng's postscript to "Yi Lin Shi Wen," he starts from the Han dynasty's imperial taboo, pointing out that the entire book of ten thousand characters does not contain the character "fu" (which was the name of Emperor Zhao of Han, Fu Ling). Based on this, he concludes that "Yi Lin" was composed during the time of Emperor Zhao. That is indeed a solid scholarly achievement. As for Gu Yanwu's suggestion that the phrase "xin zuo chu ling" in the "Yi Lin" might refer to Emperor Chengdi's construction of Changling, one must realize that it was customary for an emperor to begin building a tomb upon ascending the throne, something that happened in every dynasty. So why specifically point to Emperor Chengdi? Others have also suggested that phrases like "mu fei" and "men qi" in the "Yi Lin" refer to events during Emperor Chengdi's reign, implying that Jiao Yanshou could not have witnessed them. However, one should not be unaware that the "Jing Fang Yi Zhuan" already contains the divination phrase "ju yao men mu zi wang." Jing Fang died during the reign of Emperor Yuan, so why would he have to personally witness the strange event of a door latch disappearing in order to write such a phrase? This is actually a divination method that has been passed down since ancient times, not something that was first heard about during Emperor Chengdi's time. Such views are particularly superficial and are not worth refuting.

然丁、劉等徒驚其訓詁故事之奧古，尚未知林詞之解易。間當思之，焦氏《易林》實第二易也。《周易》卦辭爻辭，無一字不根於象，一奇也。《周易》一卦一辭，《易林》則一卦為六十四辭，無一林義復，無一林義不翻新出奇變換，二奇也。《周易》用象，巧不可階，往往非言說所能喻，必目覩其象而始知，如剝五「貫魚以宮入寵」、如泰上六「城覆於隍」皆是。《易林》之用象亦然，如井之隨云「蜆（普通本皆作晲）見不祥」，隨三至五巽，巽為蠱，當矣；而蜆又名縊女，好自縊死，巽為繩，直為繫縊形也，其切當神妙，不減於易剝之貫魚也，三奇也。丁晏《釋文》不知宋本獨作「蜆」，謂黃丕烈刊宋本擅改「蜺」為「蜆」以合《爾雅》，冤哉黃乎！

However, people like Ding Yan and Liu Yusheng only marveled at the archaic and profound terminology and extensive references in the "Yi Lin," without realizing that the statements in the "Yi Lin" themselves are actually interpretations of the "Yi." I often ponder: Jiao's "Yi Lin" can truly be called "a second "Yi." The statements in the "Zhou Yi" (I Ching) have no character that is not derived from the hexagram images; this is the first marvel. The "Zhou Yi" has only one statement for each hexagram, but the "Yi Lin" expands each hexagram into sixty-four statements, none of which repeat in meaning, and none of which fail to be fresh and novel, changing endlessly; this is the second marvel. The skill in using images in the "Zhou Yi" is unmatched, often beyond verbal explanation, and must be seen in the hexagram image to be understood. For example, in the "Bo" hexagram, line six five says "passing fish with palace attendants' favor," and in the "Tai" hexagram, line six above says "the city returns to the moat," which are like this. The "Yi Lin" also uses images in this way: the statement "Well following" in the "Yi Lin" says "clams appear as an omen of misfortune" (in all transmitted editions, "clam" is written as "dian"). The hexagram "Following" has the trigrams of wind in its third to fifth lines, and wind represents pests; using the character "clam" is already appropriate. Moreover, clams are also called "suicide women," who like to commit suicide by hanging; wind represents a rope, and a rope hanging straight down is exactly the shape of a hanging noose—this accuracy and subtlety are no less than the "passing fish" in the "Bo" hexagram of the "Zhou Yi," which is the third marvel. Ding Yan's "Shiwen on the Yi Lin" did not know that only the Song edition had "clam," and instead claimed that Huang Pilei, when printing the Song edition,擅自 changed "ni" to "clam" to conform to the "Erya," which is a great injustice to Huang Pilei.

《易林》繇詞，卦不同而詞同，同一詞也，用之甲而當，用之乙亦當，用之丙丁尤當，四奇也。《易林》用象之幽深難解者，如否之謙云「殷商絕嗣」，因殷商子姓，謙體三子俱備，坤為殺為死，子殺死，故殷商絕嗣。大有之漸云「魁行搖尾，逐雲吹水」，漸下艮，先天數七，故曰魁，魁者北斗七星也；艮為尾，反震為搖，坎為雲水，反兌為吹。又如大壯之離云「丑寅不徙，辰巳有咎」，則以離通坎，坎中爻艮震，先後天皆居東北，故曰不徙；離中爻兌巽，先後天皆居辰巳，兌巽為大過，大過死，故曰有咎。如此等詞，或數日思之始能解，或數月不能解，而《易林》如此者不可勝數，若行所無事者，五奇也。又何怪二千年學者不解其詞哉！

The divinatory phrases in the "Yi Lin" often have the same wording even though the hexagrams differ; the same phrase can fit well with one hexagram, and also fit well with another, and even more so with a third or fourth. This is the fourth wonder. The "Yi Lin" uses examples with deep and obscure imagery, such as in "Pu (Obstruction) to Qian (Humility)" which says "the Shang dynasty will have no descendants." The Shang dynasty was of the Zi surname, and the hexagram Qian contains three yang lines: Zhen (Thunder), Kan (Water), and Gen (Mountain), all of which correspond to "Zi." The hexagram Kun (Earth) represents killing and death, so the three "Zi" lines all die, hence the Shang dynasty will have no descendants. Another example is "Da You (Great Possession) to Jie (Gradual Progress)" which says "the leader moves with a tail, chasing clouds and blowing water." The lower trigram of Jie is Gen (Mountain), whose earlier heaven number is seven, hence "the leader" or "the chief star." Gen also represents the tail, and its opposite trigram is Zhen (Thunder), which is active, hence "moving with a tail." Kan represents clouds and water, and its opposite trigram is Dui (Lake), which represents the mouth, hence "blowing." Another example is "Da Zhuang (Great Strength) to Li (Fire)" which says "Chou and Yin do not move, Chen and Si bring misfortune." Li and Kan are connected, and Kan's middle line gives rise to Gen and Zhen. Gen and Zhen are located in the northeast, which corresponds to Chou and Yin in both earlier heaven and later heaven. Hence, they do not move. Li's middle line gives rise to Dui and Xun. Dui and Xun are located in the position of Chen and Si in both earlier heaven and later heaven, and Dui and Xun together form Da Guo (Great Overturn), which has the image of death, hence "misfortune." Such phrases in the "Yi Lin" sometimes take days to understand, and sometimes even months without being clear. There are countless such phrases in the "Yi Lin," yet the author seems to write them effortlessly, which is the fifth wonder. If this is the case, then it is no wonder that scholars over the past two thousand years have failed to understand these phrases.

至此書確定為西漢人作，且確定為焦氏作者，其證有六。一，所用春秋故事，有為三傳、《國語》《韓詩外傳》《說苑》等書所無者，故雖唐人不能注，古書亡也。又所用之字，古義甚多，在在乎西漢淳樸之氣，文不加修飾，自然峭古，與魏晉之塗繢者異。二，顯宗以《周易林》筮雨，遇蹇，其詞在今《易林》中，以問沛獻王輔。當此時，諸王如東平王蒼尤深經學，乃不問蒼而問輔，以輔善說京氏易，焦贛為京氏師，既善京易，必知焦易，故獨問輔。三，凡京氏易說可考見者，如「朋來」為「崩來」、無妄為大旱卦，皆與焦氏易說同，師弟授受，蹤跡分明。

There are six pieces of evidence for determining that this book was written by a person of the Western Han dynasty and specifically by Jiao Yanshou. First, the stories from the Spring and Autumn Annals used in the book are not found in the three transmissions of the Spring and Autumn Annals, namely the Zuo Zhuan, Gongyang Zhuan, and Gu Liang Zhuan, nor in the Guoyu, Han Shi Wai Zhuan, and Shuo Yuan. Therefore, even Tang dynasty scholars could not provide annotations, indicating that the ancient books it relied upon had already been lost. Moreover, the book uses many archaic characters and preserves ancient meanings, showing a simple and unadorned style typical of the Western Han dynasty. Its writing is natural and vigorous, differing greatly from the ornate and elaborate style of the Wei and Jin dynasties. Second, Emperor Ming of Han (Xianzong) used the Zhou Yi Lin to inquire about rain, and the divination result was the Jian hexagram. The yao text of this hexagram is found in the present version of the Yi Lin. Emperor Ming consulted this text with Prince Liu Fu of Pei. At that time, among the feudal princes, Prince Liu Cang of Dongping was especially proficient in Confucian classics, but Emperor Ming did not consult Liu Cang but instead Liu Fu, because Liu Fu was skilled in Jingfang's interpretation of the Yi. Since Jiao Yanshou was Jingfang's teacher, and Liu Fu was well-versed in Jing's Yi, he must have also been familiar with Jiao's Yi, hence the reason for consulting him alone. Third, all the existing interpretations of Jingfang's Yi, such as reading the phrase "peng lai" in the Fu hexagram as "beng lai" and designating the Wuwang hexagram as the hexagram of great drought, are consistent with Jiao's Yi interpretations. The traces of teacher-student transmission are clearly visible.

四，《易林》卦象，如離東坎西、坤水坤魚，東漢人若知，則解經不誤矣，惟其為西漢，故至東漢而失傳。管輅云：「既曰天地定位，豈容有別位哉？吾不知古之聖人何以處乾於西北、坤於西南。」是疑易有先天位，求其說而不得，非失傳而何？致經詁皆誤。五，用韻之古，直同周秦。六，《隨志》卽有焦贛《易林》，《唐志》焦《易林》與崔《易林》並存，其名實久定，不應忽誤崔為焦。由以上諸證，定今之焦氏《易林》斷非費直，亦非崔篆，更非東漢人陸績、虞翻、管輅所能為，而確為焦氏《易林》。彼顧亭林等不究其詞之所謂，其誤解固難怪矣。

Four, the hexagrams used in the "Yi Lin" have specific directional associations, such as Li in the east and Kan in the west, and Kun as water and Kun as fish. If people in the Eastern Han dynasty were aware of these, they would not have made mistakes in interpreting the classics. Since these belong to the teachings of the Western Han dynasty, they were lost by the time of the Eastern Han. Guan Lu said, "If the 'Shuo Gua' says 'Heaven and Earth are positioned,' how can there be another set of directions? I don't understand why the ancient sages placed Qian in the northwest and Kun in the southwest." This clearly shows that he realized the "Yi" had another earlier heaven arrangement, yet he could not find a rationale for it—was it not the loss of transmission? Thus, the interpretation of the classic texts became entirely wrong. Five, the ancient rhyme used in the "Yi Lin" is almost identical to that of the Zhou and Qin dynasties. Six, the "Sui Shu · Jing Ji Zhi" records Jiao Gong's "Yi Lin," and in the "Tang Shu · Yi Wen Zhi," both Jiao Gong's and Cui Shu's "Yi Lin" are listed, so the names and actual works have already been established. It should not be a sudden mistake to confuse "Cui" with "Jiao." Based on the above points, we can conclude that the current version of Jiao Gong's "Yi Lin" could not have been written by Fei Zhi, nor by Cui Zuan, nor by the Eastern Han scholars Lu Ji, Yu Fan, or Guan Lu. It is indeed Jiao Gong's "Yi Lin." The scholars of Gu Yanwu's generation did not deeply investigate the meaning of the verses in the "Yi Lin," so their misunderstandings are naturally unsurprising.

惟二千年學者不知《易林》談易象，故莫能以象定詞，而《易林》之書遂訛誤不堪卒讀。如「蜆見不祥」，妄者不知蜆於巽象細切入微，而竟改為「蜺」，於象無關。又如「李耳匯巢鵲，更相畏怯」，妄者不知「匯」為蝟，《爾雅》有明訓，而以李耳為人名，竟改「匯」為「橐」矣。全書如此者，不勝毛舉。他若城誤為域、域誤為城，喜誤嘉、嘉誤喜，以形近而訛者幾於無林不有，而宋本尤多。又最甚者，竟改三字句為四字句，致韻義皆失，惟宋本存其真。原林為六句四句，刪為五句三句；原林祗二句，而以他林竄入，足成六句四句者尤多。

It is precisely because scholars over the past two thousand years did not understand that the Yi Lin discusses Yi Xiang that they were unable to use the hexagram images to determine the meaning of the text. As a result, the Yi Lin became full of errors and became almost unreadable. For example, the phrase "Xian sees an omen of ill fortune" was wrongly altered by those who did not understand how the character "Xian" relates to the Xun hexagram, which is very detailed. They changed it to "Nie," which has nothing to do with the hexagram. Another example is "Li Er Hui Chao Qiao, more or less fearing each other." Those who altered it did not know that "Hui" refers to hedgehog, as clearly explained in the Erya, but instead took "Li Er" as a person's name and changed "Hui" to "Tuo." There are countless such examples throughout the entire text. Other errors, such as mistaking "Cheng" for "Yu" and vice versa, or "Xi" for "Jia" and vice versa, are common due to similar characters, and almost every section of the Yi Lin has such errors. The Song edition is especially full of these mistakes. The most serious errors are those in which three-character sentences were changed into four-character ones, resulting in the loss of both rhythm and meaning. Only the Song edition preserves the original form. Originally, each section of the Yi Lin had six or four lines, but they were reduced to five or three lines. Originally, some sections had only two lines, yet others inserted lines from different sources to make them six or four lines, which is also quite common.

蓋唐以前皆展轉傳鈔，而其時各家林詞皆在，學者恆就其所喜附入焦林之下，以備參稽，當其初必有標識也，久之遂皆為焦林。豈知焦氏焉能為一卦作二林詞？凡今本下注「又作某詞」者，蓋皆非焦林也。悲哉！西漢書之訛誤，莫甚於《易林》也。原其故，皆由於不求林詞也。今以卦象為權為衡，凡林字不知屬誰是者，則以卦象衡之：其於卦象無涉者，非也；於卦象皆有關，則擇其尤切並於上下文最適者從之，庶乎其誤較寡矣。然有時各本皆如是，雖宋本亦不能正其誤，而文義確有訛謬者，亦尚難免也，則無如之何矣。

This is because the books before the Tang dynasty were passed down through copying, and at that time, the interpretations of each school were still available. Scholars often copied interpretations from other schools into Jiao Yanshou's interpretations for reference and comparison. At first, there must have been marks to distinguish them, but over time they were all regarded as Jiao Yanshou's interpretations. How could Jiao Yanshou have written two interpretations for the same hexagram? Any text in the current version that is noted as "also written as some other term" is likely not the original text of Jiao Yanshou. Alas! The errors in Western Han texts are nowhere more serious than in the "Yi Lin." The root of the problem lies in people's failure to seek the original meaning of the interpretations. Now I use the hexagram images as a standard: whenever the text is unclear, I use the hexagram images to judge. If the text has nothing to do with the hexagram, it is wrong. If two interpretations are related to the hexagram, I choose the one that is most appropriate and fits best with the surrounding context. In this way, errors can be reduced. However, sometimes all versions have the same text, and even the Song edition cannot be used for correction. If the meaning is indeed incorrect, there is nothing to be done about it.

行唐尚秉和節之撰。

This volume was written by Shang Binghe, a native of Xingtang (now Xingtang County, Hebei Province). Binghe's given name is Jiezi.

《易林》之略例既明，其易說可得而窺矣。蓋易之卦詞爻詞，無一字不從象生。易說既失傳，有吾人不知其象者矣，斷無象外之詞，《易林》亦如是。今將《易林》說易之處，一一推測而揭出之：有東漢人誤解相承、至今而不覺者，證以《易林》始正其誤；有東漢人勉強解詁、實浮泛不切、相承至今遵用不改者，證以《易林》而詁始確；有極要之象為東漢人所不知，得《易林》始知有此象而經始通者；有傳寫巽文、互相非難，證以《易林》而字始定者。則謂今日之易說由《易林》多所革新可也。所恨學識譾陋，略窺其端，不能竟其緒耳。

The general principles of the "Yi Lin" have already been explained, so the underlying interpretations of the "Zhou Yi" can now be understood. In general, every word in the hexagram statements and line statements of the "Zhou Yi" comes from the hexagram images. Although the interpretations of the "Zhou Yi" have been lost, there are certainly some images we do not know today, but there will be no words that go beyond the hexagram images. The "Yi Lin" is the same. Now I will examine one by one the parts where the "Yi Lin" explains the "Zhou Yi" and reveal them to people: some are misunderstandings by Eastern Han scholars that have been passed down through generations without anyone noticing, and using the "Yi Lin" to verify them corrects these old errors; some are interpretations forced by Eastern Han scholars that were superficial and not accurate, yet have been used until now without modification, and using the "Yi Lin" to verify them makes the etymology precise; some are very important hexagram images that Eastern Han scholars no longer knew, but with the "Yi Lin" they can now understand these images, and the text of the classic becomes clear; there are also cases where variations in the text arose from copying errors, leading to disputes among different schools, but using the "Yi Lin" to verify them allows the text to be settled. Therefore, it is entirely appropriate that today's interpretations of the "Zhou Yi" have been greatly renewed through the "Yi Lin." What is regrettable is that my knowledge is shallow, and I have only slightly glimpsed the path, so I cannot complete this work thoroughly.

乾為君子為日，見前。三居卦終，終曰終日。虞翻謂陽息至三，二變成離，離為日；荀爽謂日以喻君。虞固穿鑿，荀亦未得，皆由不知乾日象也。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) The trigram Qian represents the gentleman and the sun, as previously explained. The third line, nine three, is at the end of the lower trigram. Being at the end again, it is said 'the sun is at the end.' Yu Fan explains this line, saying that the yang energy rises to the third line, and when nine two changes to yin, it becomes Li, which represents the sun; Xun Shuang, on the other hand, says the 'sun' is used as a metaphor for the ruler. Yu Fan's interpretation is overly forced, and Xun Shuang's explanation is also not accurate, because both fail to recognize that Qian itself already has the image of the sun.

乾彖云「萬物資始」「品物流形」，又曰「首出庶物」。夫曰萬物、曰品物、曰形、曰庶物，皆坤象也，而乾彖言之。坤彖云「含弘光大」，夫曰弘、曰大，則皆乾象，而坤能含之、光而大之。杭辛齋云：「如咸恆則坤含乾之證，如損益則乾得坤始光之證。」然則陰陽二氣實不能分、不能離，見陰卽知陽，見陽卽知陰，易彖已如此。此由《易林》視本象與對象相通而推得之也。

The Commentary on the Judgment of the Qian hexagram says, "All things receive their beginning" and "the myriad things take shape." It also says, "the first to emerge among all things." The terms "myriad things," "various things," "shape," and "all things" originally belong to the Kun hexagram, yet the Commentary on the Judgment of Qian uses them to describe Qian. The Commentary on the Judgment of the Kun hexagram says, "it contains and expands greatly." The terms "contain" and "greatness" originally belong to the Qian hexagram, yet Kun is able to contain them and make them manifest and grand. Hang Xinzhai says: "The two hexagrams of Xian and Heng are evidence that Kun contains Qian; the two hexagrams of Shen and Yi are evidence that Qian can achieve its grandeur only by receiving Kun." From this, we can see that yin and yang energies are inseparable and cannot be separated. When we see yin, we know there is yang within it; when we see yang, we know there is yin within it. The Commentary on the Judgment already expresses this. This principle is precisely derived from Jiao's Forest of Changes, which treats the original hexagram and its corresponding hexagram (the hexagram of mutual transformation) as interconnected.

吳冀州《易說》云：「班如者，猶車班班也，言不一馬也。」此最得解。而虞仲翔訓班為躓，後儒知其不安，又遵《左傳》杜注訓班為別。以「別」訓班馬，已與深夜測知齊師其遁之義不安；若以訓「班如」，則形容全失。茲《易林》剝之復云「班馬還師」，復下震，震為馬，上坤互坤亦為馬，故曰班馬。又觀之既濟、夬之否皆有此詞，皆以多馬班列取象，不惟無躓義、別義，並無徹義。誠以屯下震，中爻坤，上坎，皆有馬象，馬多而前後班列，故曰故如也。

Wu Ruolun, who once served as the governor of Jizhou, in his "Commentary on the Book of Changes" said: "The term 'ban' is like the sound of a carriage moving in succession, meaning there are more than one horse." This explanation is most appropriate. Yu Fan (Zhongxiang), however, interpreted 'ban' as 'zhi' (a horse stumbling), but later scholars found this interpretation inadequate and instead followed Du Yu's annotation in the "Zuo Zhuan" to interpret 'ban' as 'bie' (to separate). However, using 'bie' to explain the "Zuo Zhuan" phrase 'ban ma zhi sheng' (the sound of horses) does not fit the meaning of the passage describing how the sound of horses was used to detect the retreat of the Qi army at night. If used to explain the 'ban ru' in the "Zun" hexagram, the descriptive meaning is entirely lost. Now, according to the "Forest of Changes" by Jiao Shi, in the divination phrase for "Bo" changing to "Fu," it says "ban ma huan shi" (the horses return). The lower trigram of this hexagram is Zhen, which represents horses; the upper trigram is Kun, and the interacting trigrams are also Kun, which also represent horses. Therefore, 'ban ma' is used. Similarly, in the divination phrases for "Guan" changing to "Ji Ji" and "Guai" changing to "Pǐ," the same phrase appears, all referring to the image of many horses arranged in formation. This shows that 'ban' is neither 'zhi' nor 'bie,' and has nothing to do with 'che' (to remove). In reality, the "Zun" hexagram has the lower trigram Zhen, the middle yao interacting with Kun, and the upper trigram Kan, all of which represent horses. The horses are numerous and arranged in formation, hence the term 'ban ru' (like a formation).

虞翻謂艮為山，山足稱鹿，鹿，林也。至王肅則竟作「麓」。鹿、麓古固可通，然屯之「卽鹿」實麋鹿之鹿，取象震也。證之《易林》，凡遇震卽曰鹿：益之恆云「鹿得美草」，恆上震也；遯之師云「鹿下西山」，師二至四互震也。屯六三在震體中，故曰鹿。虞謂鹿為林者，非也。下曰「林中」，此復言林，言理不適矣。

Yu Fan said that Gen represents a mountain, and the foot of the mountain is called "lu," which means mountain forest. Wang Su then simply wrote the character as "lu." Although "lu" and "lu" were interchangeable in ancient times, the "lu" in the line "ji lu" of line six three in the Zun hexagram actually refers to the elk, taking the image of Zhen. This can be verified by the Jiao's Forest of Changes: whenever there is an image of Zhen, it is called "lu." The line statement in "Yi zhi Heng" says "lu gets good grass," and the upper hexagram of Heng is Zhen; the line statement in "Dun zhi Shi" says "lu goes down the western mountain," and the intercalated hexagram of Shi from lines two to four is Zhen. The line six three of Zun hexagram is exactly within the lower hexagram Zhen, so it says "lu." Yu Fan's interpretation of "lu" as mountain forest is incorrect: the line statement clearly says "only entering the forest," and if the "lu" mentioned earlier was already the forest, then repeating "forest" would make the text redundant and illogical.

「卽鹿無虞」者，《淮南子》云：「卽鹿無虞，惟入于林中。夫施薄而望厚者，未之有也。」高誘注云：「虞，欺也。鹿以喻民。」又《三國志·陳琳傳》：「易稱卽鹿無虞，夫微物尚不可欺。」亦詁虞為欺，與《淮南子》同。然則無虞者，言勿以鹿為微物而輕忽之，致穿入林中而無所獲也。震為叢木，故曰林；坤虛，故空入林中。又王弼云：「雖見其禽而無其虞，徒入于林中。」又詁虞為備虞。蓋震為決躁，言卽鹿而無備虞，故無所獲。詁虞字與淮南、陳琳微異，然大義則同也。乃孔疏忽謂虞為虞官，失王義矣。又《左傳》隱五年「不備不虞，不可以師」，蓋王注之所本也。

As for the phrase 「即鹿无虞」, the "Huainanzi" quotes it saying: "Chasing a deer without a guardian, one only enters the forest. Giving a little yet expecting much is never the case." Gao You's commentary explains: "Yu means to deceive. The deer is used as a metaphor for the people." The "Sanguozhi · Chenlin Zhuan" also says: "The "Yi" says 'chasing a deer without a guardian,' even a small thing cannot be deceived." It interprets "yu" as deception, consistent with the "Huainanzi." Thus, "wu yu" means not to regard the deer as insignificant and thus chase it into the forest without result. Zhen represents dense trees, so it refers to "forest"; Kun is empty, so it refers to entering the forest empty-handed. Furthermore, Wang Bi says: "Although one sees the beast, there is no guardian to guide, and one enters the forest in vain." Here, "yu" is interpreted as precaution. Zhen has a nature of decisiveness and restlessness, so chasing the deer without precautions leads to nothing. Wang Bi's interpretation of "yu" differs slightly from that of the "Huainanzi" and Chenlin, but the general meaning is consistent. However, Kong Yingda's "Zhengyi" suddenly interprets "yu" as the official in charge of mountains and marshes, thus losing Wang Bi's original meaning. The "Zuo Zhuan" Yin Gong 5th year has the saying "Without preparation and without precaution, one cannot lead an army," which is likely the basis for Wang Bi's commentary.

蒙，「匪我求童蒙，童蒙求我」。虞仲翔以二五志應為說，當矣。若以焦氏用覆象之例推之，彖既曰志應，似二五互相求也。何則？艮為童蒙、為求，而二至上則正反兩艮相對：正視之則下求上，反視之則上求下，來往相求，並無偏倚，故曰志應。志既相應，則二五互求，故曰非我求童蒙，卽童蒙求我。後人以二為陽，將「匪」字詁實，謂陽不求陰。豈知九二與六五皆不當位，九二升五，六五降二，乃當然之理，胡不求乎？將經文迴環往復之意全失矣。

The Hexagram of "Meng" states, "It is not I who seek the child who is naive, but the child who is naive who seeks me." Yu Fan (Zhongxiang) explained this by referring to the correspondence between the second line and the fifth line, and his interpretation is correct. If we further apply Jiao Yanshou's method of reversing the hexagram, we can see that the Commentary on the Judgment says, "The will corresponds," which is like the second and fifth lines seeking each other. Why? Because the trigram Gen represents both the naive child and seeking, and the Hexagram of "Meng" from the second line to the top line forms two opposite Gen trigrams—one upright and one inverted. When viewed upright, it is the lower seeking the upper; when viewed inverted, it is the upper seeking the lower. Thus, they seek each other in both directions, without favoring either side, hence "the will corresponds." Since the will corresponds, the second and fifth lines are seeking each other, so the Hexagram statement says, "It is not I who seek the child who is naive, but the child who is naive who seeks me." Later scholars, because the second line is a yang line, took the word "匪" literally, saying that yang does not seek yin. But they did not realize that both the second and fifth lines are not in the proper position. The second line ascending to the fifth position and the fifth line descending to the second position is a natural occurrence. How could they not seek each other? If we follow the later scholars' interpretation, the cyclical and reciprocal meaning of the text would be completely lost.

至「再三瀆」，解者皆以卦變為說，尤穿鑿不當。茲《易林》謙之蒙云「盜明相讓」，以二至上正反兩震言相對，故相讓責。又泰之蒙云「讒佞為政」，則以蒙下震言出，上震卽如言相反，故曰讒佞。皆以二至上來往皆震言取養，故彖曰再三瀆。又坎上下皆兌口，亦再三瀆也。易訟卦曰「有言」者，亦以坎上下皆兌口也。

As for the Hexagram Statement "repeatedly disrespectful," interpreters of the Book of Changes usually explain it through hexagram transformations, but this approach is particularly forced and inappropriate. Now, following the "Humble" hexagram in the "Forest of Changes" by Jiao, the phrase "thieves sharing light" is derived from the second line to the top line of the "Obstinacy" hexagram, which consists of one positive and one negative line of the trigram Zhen (Thunder), which represents speech. Therefore, there is the meaning of mutual concession and blame. Similarly, the "Humble" hexagram in the "Prosperity" hexagram is interpreted as "sycophants in power," which comes from the trigram Zhen (Thunder) representing speech in the lower trigram, and the upper trigram Zhen (Thunder) representing speech again, but in opposition, hence the meaning of "sycophants." This is because from the second line to the top line, the lines are all Zhen (Thunder), which governs speech, and repeated speech leads to the "repeatedly disrespectful" statement in the Commentary on the Judgment. Additionally, in the hexagram Kan (Water), the upper and lower lines each form the trigram Dui (Lake), which represents mouth and tongue, thus also forming the image of "repeatedly disrespectful." The hexagram Song (Contention) mentions "speech," which is also due to the upper and lower lines of Kan (Water) both forming Dui (Lake), representing mouth and tongue.

自焦氏以坤為水為江河，此象確定，後凡易言利涉大川者皆迎刄而解。而虞仲翔必以坎為大川，卦無坎象者則強變成坎以當大川，其為穿鑿不待言矣。而後之治漢易者遵用不改，非以為安，舍此說不能解也。茲以坤為大川：需上坎，言陽往居坤中，得位，故利涉。彖曰「往有功也」，亦以陽居坤中當位也，與蹇之利西南通也。彼虞仲翔謂二失位，變而涉坎，坎為大川，得位應五，故曰利涉。如虞所詁，利涉指陰爻矣。二變陰方應五，詁同人尚可，詁需豈不明與彖詞背哉？彖詞固以九五為往為利涉也。又按紀磊《虞氏逸象考正》云：「虞以坎為大川，非也。坎為水為溝瀆，兌象乃為大川。」按紀氏獨能覺坎為大川之非，可謂特識，惟以兌為大川仍誤。一象失傳之害如是。

Since Jiao Yanshou interpreted Kun as water and rivers, once this image was established, all instances in the Book of Changes where "favorable to cross a great river" appears could be easily understood. Yu Fan (Zhongxiang), however, insisted on taking Kan as the great river. When a hexagram did not contain the image of Kan, he would force a yao change to produce a Kan to serve as the great river. This approach is clearly forced and artificial. However, later scholars who studied the Han dynasty interpretation of the Book of Changes continued to use this method without change, not because they found it appropriate, but because they had no other way to explain it. Now, if we take Kun as the great river, the upper trigram of the hexagram Xun is Kan, which is exactly the result of a yang line entering Kun. A yang line occupying the fifth position is in the correct place, hence "favorable to cross." The Commentary on the Judgment says "going leads to success," which refers precisely to a yang line in the correct position within Kun, and this is the same reasoning as in the hexagram Jian, which says "favorable to go southwest." Yu Fan, however, said that the second line (nine two) was out of position, changed to enter Kan, and since Kan is the great river, it was in the correct position and corresponded with nine five, hence "favorable to cross." According to Yu's interpretation, "favorable to cross" refers to a yin line. Nine two changing to yin could correspond with five, which might be acceptable for interpreting Tongren, but how can it be used to interpret Xun? It clearly contradicts the Commentary on the Judgment. The Commentary on the Judgment originally takes nine five as "going" and "favorable to cross." According to Ji Lei's "Correcting the Incorrect Images of Yu's School," "Yu Fan's taking Kan as the great river is incorrect. Kan is water and ditches, while Dui is the great river." Ji's ability to recognize the error in "Kan as the great river" shows remarkable insight. However, his suggestion to take Dui as the great river is still incorrect. The loss of a hexagram image has caused such serious consequences.

自左氏謂謙為讒，更以讒釋明夷之有言，《易林》本之，遇兩兌口兩震言相背或相對者，不謂為讒佞，卽謂為爭訟，凡易言有言者皆得的解。需之小有言，虞仲翔謂震象半見，故小有言。豈知易非以震象全見為有言，凡云有言者皆爭訟也。虞氏求其說而不得，故強解也。清焦循以卦變為說，變愈多而義愈紊，甚於虞之不得解也。茲《易林》小過之需云「與叔爭訟，更相毀傷」，爭訟卽有言也，更相毀傷謂三至五正覆兩兌口相對也。又恆之需云「張牙切齒，齗怒相視」，兌為齒牙，正反兩兌相對，故曰相視，離為視也。《易林》之解需有言，可謂明晰矣。小有言者，二人兌體，兌為小，故曰小有言也。此與明夷之以離為有言同也。離，正反兩兌口相對也。

Since the "Zuo Zhuan" interpreted the "Qian" hexagram as "can" (slander), and then used "can" to explain the "you yan" (there is speech) in the "Ming Yi" hexagram, the "Jiao's Forest of Changes" followed this approach: whenever two Dui (mouths) and two Zhen (speech) trigrams are opposite or facing each other, they are either interpreted as "can ni" (slanders) or "zhengsong" (litigation); thus, all instances of "you yan" in the "Yi" are clearly explained. Regarding the "Xu" hexagram's "jiu er" (nine two) "xiao you yan" (small speech), Yu Fan said that the Zhen trigram was only half visible, hence called "xiao you yan"; but he did not realize that the "Yi" does not require the Zhen trigram to appear fully to be called "you yan". Rather, whenever "you yan" is mentioned, it refers to litigation. Yu's attempt to find an explanation failed, so he had to force an interpretation. Qing dynasty scholar Jiao Xun used the concept of hexagram transformation, but the more transformations there were, the more confused the meaning became, making his interpretation even less coherent. Now, according to the "Jiao's Forest of Changes" "xiao guo zhi xu" (need from small excess) entry, it says "competing with a younger brother in litigation, mutually damaging each other," where litigation is "you yan"; "mutually damaging each other" refers to the three to five lines where the two Dui trigrams, one upright and one inverted, face each other. Another entry, "heng zhi xu" (need from constancy), says "showing teeth, glaring at each other," where Dui represents teeth, and one upright and one inverted Dui facing each other is called "looking at each other," with Li representing eyes and sight. The "Forest of Changes" clearly explains the "you yan" in the "Xu" hexagram. The term "xiao you yan" refers to the nine two entering the Dui trigram, where Dui represents smallness, hence "xiao you yan." This is the same reasoning as in "Ming Yi," where Li (Fire), representing the two inverted Dui trigrams facing each other, is interpreted as "you yan."

彖曰「不利涉大川，入于淵也」，言陽來居坤中而在下，故曰入淵。淵者謂坤，不謂坎；入則謂陽入也。《易林》震之復云「藏匿淵底」，坤為淵，陽在坤下，故曰淵底。《易林》以坤為淵，蓋本之易。今吾人失卻淵象，正宜以《易林》證明也。東漢以來皆以坎為大川，故入屬何爻不能確指，皆由不知坤為水象，故於淵象亦不知。

The "Tuan" section of the "Song" hexagram says, "It is not advantageous to cross a great river, entering the abyss." This refers to a yang line coming to occupy the center of the坤 (Earth) and being in a lower position, hence called "entering the abyss." "Abyss" refers to the坤, not the Kan; "entering" refers to the yang line entering into it. In the "Forest of Changes" from Jiao's work, the "Zhen" hexagram transforming into "Fu" says, "hidden at the bottom of the abyss." The坤 is the abyss, and the "Fu" hexagram has one yang line below the坤, hence "bottom of the abyss." The "Forest of Changes" takes the坤 as the abyss, which was probably inherited from the "Zhou Changes." Today we have lost the image of the "abyss," and we should use the "Forest of Changes" to verify it. Since the Eastern Han dynasty, people have taken the Kan as the great river, so it remains unclear which line the word "entering" refers to. The root of the confusion lies in not knowing that the坤 has the image of water, and thus the image of the abyss is also lost.

虞仲翔仍以震象半見為小有言，並謂初失位，宜與四易位成震言，訖不知有言為爭訟，故必變成震以當有言，與利涉大川必變出坎以當大川同也。按《易林》歸妹之訟云「凶訟不已，相與爭戾」，是以訟之有言為爭訟也。又巽之訟云「一簧兩舌，妄言諂語」，兌為舌，兩舌謂坎上下正反兩兌也。以是推訟之有言，亦以坎上下兩兌口相背。以其居初，陰微勢弱，故曰小有言也。坤為事，坎折坤，故不永所事。初有應，故終吉。

Yu Fan still regarded the half-trigram Zhen as "Xiaoyouyan" (a small word), and claimed that the initial line was out of its proper position and should exchange places with the fourth line to form Zhen as "yan" (word). He never realized that "youyan" (word) refers to litigation, so he insisted on transforming Zhen to represent "youyan," just as he insisted on transforming Kan to represent "dachuan" (great river) when interpreting "lischaguan" (beneficial to cross the great river). According to "Jiaoshi Yilin" (Jiao's Forest of Changes), the "Guimie" (returning to marriage) trigram transforming into "Song" (litigation) says, "Fuxiong song bu yi, xiangyu zhengli" (frequent litigation, mutual conflict), showing that "Jiaoshi Yilin" indeed interprets the "youyan" (word) in the "Song" hexagram as litigation. Also, the "Xun transforming into Song" trigram says, "Yi shang liang she, wangyan chan yu" (one tongue, two tongues, false words and flattery), with Dui representing the tongue, and "liang she" (two tongues) referring to the two Dui trigrams above and below Kan. From this we can infer that the "youyan" (word) in the "Song" hexagram also takes the image of the two Dui mouths facing opposite directions in Kan. Since the initial line is at the very bottom, it is yin and weak, thus "xiaoyouyan" (a small word). Kun represents affairs, and Kan cuts off Kun, hence "buyong suoshi" (not prolonging the affair) — the matter will not be prolonged. The initial line corresponds with the fourth line above, hence "zhongji" (eventually good).

自《易林》用先天象，於是卦名得解者多。先天坤居北，後天坎居北，水地合居，故曰比。比者，親也，近也，和也，言水地合居一方，相親近也。覆之則曰師。師，眾也，言坎從坤居北，故勢眾也。皆合先後天象而立名。

Since the "Forest of Changes" by Jiao used the Earlier Heaven trigrams, many hexagram names were thus explained. In the Earlier Heaven arrangement, the Earth trigram is located in the north, while in the Later Heaven arrangement, the Water trigram is located in the north. Water and Earth are together in the same place, so it is called "Bi." The meaning of "Bi" is to be close, to be near, and to be harmonious, meaning that Water and Earth are in the same direction and thus close to each other. When the "Bi" hexagram is turned upside down, it becomes "Shi." The meaning of "Shi" is multitude, meaning that Water follows Earth in the north, thus creating a great force. These two hexagram names were established by combining the images of both the Earlier Heaven and Later Heaven arrangements.

來矣鮮云：「王三錫命，用錯象也。」錯象卽對象，此最與《易林》旨合。師對同人，師之坎與同人之離對，故通用不分。同人上乾，乾為王；下離，數三；中爻巽，巽為命，故曰王三錫命。此與《易林》巽卦繇詞全用震象旨合。故明清以來談易象者，惟來氏有真悟，不本《易林》，能與《易林》闇合。有清一代治漢易者，以來用先天，向不齒及。豈知西漢易說，東漢已不知，不得以東漢不言先天，便謂易林銜天，肆口謾罵，適形其陋耳。後治漢易者以震為王，說亦可通，特象云「承天寵也」，卽用同人。同人上乾，故曰天。六二與九五應，故曰承天寵，陰承陽也。若用本象，卽陽承陰，與象違矣。

Lai Zhide said: "The phrase 'the king bestowed three mandates' uses a wrong image." A wrong image refers to the opposite trigram, which is most consistent with the principle of Jiao's Forest of Changes. The hexagram "Military Campaign" and "Union with Others" are opposites. The trigram Kan in "Military Campaign" is opposite to the trigram Li in "Union with Others," so the images of the two hexagrams can be used interchangeably. The upper trigram of "Union with Others" is Qian, which represents the king; the lower trigram is Li, whose number is three; the middle trigram is Xun, which represents a mandate. Therefore, it is said "the king bestowed three mandates." This is the same principle as when the divination text of the Xun hexagram in the Forest of Changes entirely uses the image of Zhen. Therefore, since the Ming and Qing dynasties, those who studied the images of the Book of Changes, only Lai Zhide truly understood it. He did not rely on the Forest of Changes, yet his interpretation coincided with it. In the Qing dynasty, scholars who studied the Han dynasty interpretation of the Book of Changes, because Lai used the Earlier Heaven arrangement, generally looked down upon him. But they did not realize that the Han dynasty interpretation of the Book of Changes had already been lost by the Eastern Han dynasty. One cannot judge Lai's interpretation as baseless just because the Eastern Han dynasty did not discuss the Earlier Heaven arrangement. That would only show their own ignorance. Later scholars who studied the Han dynasty interpretation took Zhen as the king, and their explanation was also reasonable. However, the Image Commentary says "receiving the favor of heaven," which uses the image of "Union with Others." The upper trigram of "Union with Others" is Qian, so it refers to "heaven." The second line and the fifth line correspond, so it refers to "receiving the favor of heaven," which is a yin line receiving the yang line. If only the original image of the "Military Campaign" hexagram is used, then it would be a yang line receiving a yin line, which contradicts the Image Commentary.

虞氏謂坎象半見為不雨。若以《易林》例之，此全用對象也。對象豫，中爻坎，坎為雲雨，坎上下皆重陰，故曰密雲。坎之下，坤土艮山，高燥無澤，故不雨。後之人但於本象求之，宜其於象不合矣。後解此不誤者，惟來知德及焦循。來氏云此用錯，焦循雲此用旁通，並以小過六五仍用此詞為證，識過虞翻遠矣。何者？小過與豫體同也。惟焦循又以卦變為說，反致義晦耳。

Yu Fan said that the image of Kan (Water) appears only half, so it says "no rain." If we look at the general approach of Jiao's Forest of Changes, this sentence is entirely using the opposite hexagram (the paired hexagram). The opposite hexagram of Xiao Xu (Small Accumulation) is Yue (Joy), and Yue's middle line contains Kan, which represents clouds and rain. Since Kan has two overlapping yin lines at the top and bottom, it is said "dense clouds." However, the lower part of Kan is Kun (Earth) and Gen (Mountain), indicating dry land without water, so it says "no rain." Later scholars only searched for the meaning within the original hexagram, which is why they failed to match the image. Only Lai Zhide and Jiao Xun later interpreted this sentence correctly. Lai said it used the opposite hexagram (错卦), while Jiao Xun said it used the paired hexagram (旁通), and he used Xiao Guo (Small Crossing) at line six in the fifth as evidence, showing a much deeper understanding than Yu Fan. Why? Because Xiao Guo and Yue have exactly the same structure. However, Jiao Xun also introduced the concept of changing hexagrams, which made the meaning more obscure.

輹訛為輻，凡稍通小學者皆知之，不贅述。惟此仍用對象豫。豫二至四艮，艮為覆震，震為車為輹，震覆，故輿脫輹。震輹之象久失傳。《左傳》僖十五年「車脫其輹」，震變故也。《子夏傳》：「輹，車屐也。」屐行震，故震為輹。虞氏不知用旁通，譏馬融及俗儒以乾為車之非，可謂特識，惟不知此取對象艮，而以坤變至三坤象不見為脫。夫既用旁通矣，而又命坤全變，以不見為脫，其說之支離可知。則以震車震輹之象已失傳，又不知易用覆也。非《易林》，烏從證之。

The character 輹 was mistakenly written as 辐. Anyone with a basic knowledge of ancient Chinese characters would understand this, so there is no need to repeat it. What is important is that this sentence still refers to the hexagram 《豫》. In the hexagram 《豫》, the second to fourth lines form an interrelated trigram of 艮, which is the reverse of 震. 震 represents a cart and also 輹; since 震 is reversed, it is said that "the carriage has lost its 輹" — the carriage body has come loose from the 輹. The image of 震 as 輹 has long been lost. The 《Zuo Zhuan》 records in the fifteenth year of Duke Xi's reign that "the cart lost its 輹," precisely because the image of 震 had changed. The 《Zi Xia Zhuan》 says, "輹 is the same as 跖." 跖 is something used for walking and belongs to 震, so 震 represents 輹. Yu Fan did not understand that this passage requires the use of the principle of mutual transformation, yet he was able to criticize Ma Rong and common scholars for taking Qian as representing a cart, which can be considered a unique insight. However, he did not realize that here the image of 艮 from the hexagram 《豫》 was being used, and instead argued that since the trigram坤 changes to the third line, the image of坤 disappears, which is called "loss." Since the principle of mutual transformation has already been used, yet the trigram坤 is supposed to be completely transformed to represent the disappearance as "loss," it is clear that his explanation is fragmented and incoherent. This is all because the image of 震 as a cart and as 輹 has been lost, and also because the use of reversed images in the 《Yi Jing》 is not understood. Without the 《Jiao Shi Yi Lin》, how could these points be verified?

至夫妻反目，虞仍用旁通，以巽為妻，伏震為夫象，是矣，然全在上，與三何涉哉？虞又以夫妻共在四，離火動，上巽多白眼為反目，此尤不切。茲以《易林》證之，夫妻謂互離也。《易林》豫之家人云「夫婦相背」，家人三四形震，震夫，上巽為婦，震巽相對卽相背。又《易林》坎之未濟云「夫婦不和」，未濟二三及四五皆形震，震夫；三四及五上皆形巽，巽婦；震巽相對卽相背，故不和。小畜三至上與家人三至上體同，與未濟震巽相對之形亦同。

When discussing "couple turning against each other," Yu Fan still used the method of mutual transformation, taking Xun as wife and the Zhen hidden beneath Xun as husband, which is correct. However, since both Xun and Zhen are in the upper trigram, how are they related to the third line? Yu Fan further claimed that both husband and wife are in the fourth line, with Li (Fire) being restless and the upper trigram Xun having "many white eyes," hence "turning against each other," which is even less accurate. Now let us verify with the "Forest of Changes" by Jiao: the term "couple" refers to the mutual trigrams of Li. In the "Forest of Changes" under "Yu" to "Jiaoren," the commentary says "husband and wife turning against each other" — the trigram "Jiaoren" has the third and fourth lines forming half of Zhen, with Zhen representing husband and the upper trigram Xun representing wife. Since Zhen and Xun are opposite in direction, they are said to be "turning against each other." In another instance, "Cann" to "Wei Ji," the commentary says "husband and wife not harmonious" — the second and third lines, as well as the fourth and fifth lines of "Wei Ji," both form half of Zhen, representing husband; the third and fourth lines, as well as the fifth and top lines, form half of Xun, representing wife. Since Zhen and Xun are opposite, they are said to be "not harmonious." The trigram structure from the third line to the top line of "Xiao Xu" is the same as that of "Jiaoren," and also matches the opposite shape of Zhen and Xun in "Wei Ji."

虞氏於震用旁通，非不合也，乃震夫巽婦而反目，用旁通之震則不切，必用本卦半象之震始切；如用旁通，則震巽相得，不相反矣。反目者，據《易林》巽之歸妹云「反目相逐」，歸妹中爻離，離為目，二三半離，三四亦半離，兩半離相對卽相反，故曰反目。以是知小畜之反目，亦以兩半離相對為反目，而震巽者，離之上下也。震夫巽妻，故曰夫妻反目。虞氏亦知震用旁通於反義不安，而以巽多白眼當之。乃《易林》于歸妹亦曰反目，歸妹無巽象，故知虞說不當也。

Yu Fan's use of the method of mutual transformation in the trigram Zhen was not inherently inappropriate; however, since he described Zhen as husband and Xun as wife, leading to the idea of them turning against each other, the Zhen obtained through mutual transformation was not appropriate. Instead, the Zhen from the original hexagram's half trigram was more fitting. If mutual transformation was used, Zhen and Xun would actually complement each other, making the idea of 'opposition' inappropriate. Regarding the term 'turning against each other,' according to the commentary in Jiao's Forest of Changes on the hexagram 'Returning to Maiden,' it says 'turning against each other and chasing after each other.' In the hexagram 'Returning to Maiden,' the middle trigram is Li, which represents the eye; the second and third lines form a half Li, and the third and fourth lines also form a half Li. The two half Lises facing each other represent opposition, hence the term 'turning against each other.' From this, we can see that the 'turning against each other' in the hexagram 'Small Accumulation' is also based on two half Lises facing each other. Zhen and Xun are precisely the upper and lower halves of this Li. Zhen represents husband, Xun represents wife, hence 'husband and wife turning against each other.' Yu Fan himself realized that using mutual transformation for the term 'turning against each other' was unstable, so he used Xun's 'many white eyes' to fit the meaning. However, the Forest of Changes also mentions 'turning against each other' in the hexagram 'Returning to Maiden,' which does not have the Xun trigram, indicating that Yu Fan's interpretation was flawed.

此全用旁通。小畜通豫，四體離對坎，坎為孚為憂。胡為恤，血讀為恤，馬季長如是也。有孚者，謂陰陽相孚應也。恤去惕出者，坎在上，震為去為出，恤去惕出則豫矣，故無咎。豫九四以一陽前臨二陰，故志大行；小畜以一陰前承二陽，故與上合志，其理同也。上謂五上，虞翻等專指五言，是不明陰陽相需之理也。此與升初六之上合志同也。志者坎象。四體離而象皆用坎，卦小畜而詞皆用豫。非《易林》有此例，孰知其所謂哉。

This passage makes full use of parallelism. The hexagram "Xiao Xu" (Small Accumulation) is connected with "Yu" (Joy). The line six in the fourth is located in the body of "Li" (Fire) and faces "Kan" (Water), which represents "fu" (trust) and "you" (anxiety). The original text says "hu wei xu" (why is there concern), which is likely a mistake, and the meaning is that "Kan" also represents "xu" (concern). The character "xue" (blood) should be read as "xu" (concern), as Ma Rong (Zi Chang) did. The phrase "you fu" (having trust) means that yin and yang trust each other. The phrase "xu qu ti chu" (concern leaves, alarm disappears) is because "Kan" is above and "Zhen" (Thunder) represents going away and coming out. When concern is gone and alarm is dispelled, it turns into the joy of "Yu," hence "wu jiao" (no blame). In "Yu" hexagram, the line nine in the fourth is a yang line facing two yin lines, so the "Xiang Zhuan" (Image Commentary) says "zhi da xing" (the will is fully realized). In "Xiao Xu" hexagram, the line six in the fourth is a yin line facing two yang lines, so it is said "shang he zhi" (the upper lines agree with the will). The reasoning is the same. "Shang" refers to the lines six five and nine above. Yu Fan and others specifically refer to the line nine five, which fails to understand the principle of mutual need between yin and yang. This is the same as the "Xiang Zhuan" of the line initial one in "Sheng" (Increase) hexagram saying "shang he zhi." "Zhi" refers to the image of "Kan." The line six four originally is in the body of "Li" but takes the image of "Kan" entirely. The hexagram is "Xiao Xu" but the line statement uses entirely that of "Yu." If it were not for the usual practice in "Jiao Shi Yi Lin" (Jiao's Forest of Changes), who could know what it is really saying?

易言「月幾望」者三，卽小畜上九、歸妹六五、中孚六四是也。自兌月、離東及大象失傳，東漢人必以坎為月，以震為東，於是解歸妹之月幾望：坎月離日，兌西震東，日月相望，恰合。乃小畜則無坎象、無震象，虞翻則命上變成坎，震則用旁通；中孚亦無坎象，虞翻則謂中孚從訟來，訟下坎為月，互離為日。豈知易凡言月幾望者，由《易林》證之，皆以兌為月也。兌月之證見前。此象，清治漢易者以東漢人不知，故皆不知，獨近易家杭辛齋知之，雲凡易言月，除日月並舉者指坎，餘皆指兌。是杭亦以月幾望之月為兌也。惟杭言日月並舉者指坎，則不然。如離、恆、豐彖傳皆日月並舉，皆以互兌為月，而皆無坎象也。

In The Zhou Changes, the phrase "moon nearly full" appears three times, namely in the top line of The Small Accumulation, the fifth line of The Return of the Maiden, and the fourth line of The Sincerity in the Middle. Since the meanings of "the trigram兑 represents the moon," "the trigram离 is in the east," and the general principles of the trigrams have been lost, people in the Eastern Han dynasty insisted that the trigram坎 represents the moon and the trigram震 represents the east. Therefore, when interpreting "moon nearly full" in The Return of the Maiden, they said that坎 represents the moon and离 represents the sun,兑 is in the west, and震 is in the east, so the sun and moon are far apart but still visible, which makes sense. However, The Small Accumulation has neither the image of坎 nor the image of震. Yu Fan therefore made the top line change into坎, and used the method of mutual transformation to get震. Similarly, The Sincerity in the Middle has no image of坎, so Yu Fan said that The Sincerity in the Middle comes from The Contention, and the lower trigram of The Contention, which is坎, represents the moon, while the interacting trigrams, which is离, represents the sun. But in fact, whenever The Zhou Changes talks about "moon nearly full," when we check it against the Forest of Changes by Jiao, it is always the trigram兑 that represents the moon. The evidence for this has already been mentioned before. This image was unknown to scholars of the Han dynasty, and thus also unknown to scholars of the Qing dynasty. Only modern scholar Hang Xinzhai understood it. He said that whenever the Book of Changes talks about "moon," except when the sun and moon are mentioned together, which refers to坎, the moon refers to兑. Therefore, Hang also believed that the "moon" in "moon nearly full" refers to兑. However, Hang's statement that when the sun and moon are mentioned together, it refers to坎 is incorrect. For example, in the Commentary on the Judgment of the trigrams Li, Heng, and Feng, the sun and moon are mentioned together, but they all take the interacting trigram兑 as the moon, and none of these three trigrams have the image of坎.

小畜兌月離日，歸妹兌月離日，中孚兌月、大離為日。《易林》大有之中孚云「卒逢白日」，震白，大離為日。兌西震東，日月望，至為協洽。而兌皆值巽，歸妹上震亦通巽，故曰幾。幾，荀皆作既。既望者，十六日也。按納甲法，十五日干象，月盈甲；十六日旦巽象，月退辛，正既望也，荀讀是也。京作近。虞翻專以納甲解易，巽為既望，當所熟知，乃於小畜既訓幾為近，從京讀；于歸妹則又讀幾為其，致前後不一，則以兌月之象失傳故也。

The hexagram Xiao Xu has Dui as the moon and Li as the sun. The hexagram Gui Mei also has Dui as the moon and Li as the sun. The hexagram Zhong Fu has Dui as the moon and a large Li as the sun. In Jiao's Forest of Changes, the line "Great Possession in Zhong Fu" says "finally encountering the white sun." Zhen represents white, and the hexagram Zhong Fu as a whole is a large Li, which represents the sun. Dui is in the west, Zhen is in the east, and the sun and moon are opposite each other, forming a very appropriate pairing. In these hexagrams, Dui is directly facing Xun. The hexagram Gui Mei has Zhen as the upper trigram, and Zhen is connected with Xun, so it is said "ji." The character "ji" was written as "ji" in Xun Shuang's version. "Ji wang" refers to the sixteenth day of the lunar month. According to the method of Najia: the fifteenth day is the image of Qian, the full moon and receiving the stem; the sixteenth day at dawn is the image of Xun, the moon turning from full to waning and receiving the stem Xin, which is exactly "ji wang." This shows that Xun Shuang's reading is correct. Jing Fang's version is "jin." Yu Fan specialized in using Najia to explain the Book of Changes. Xun as "ji wang" should have been most familiar to him, but when interpreting Xiao Xu, he interpreted "ji" as "jin," following Jing Fang's reading; when interpreting Gui Mei, he read "ji" as "qi," leading to inconsistency. This is still because the image of Dui as the moon has been lost.

彖曰「柔履剛也」，是彖傳卽對對象謙，以坤為柔矣。虞翻解此獨用對象，古義獨存。惟虞以坤為虎，似不如來知德氏以艮為虎，與《易林》例合。何則？艮為虎，見九家逸象，《易林》言虎不啻千百，皆謂艮也。易既取象艮尾而曰虎尾，則虎亦取象於艮也明矣。況謙三至五震，震為履，震上艮下，故曰履虎尾。若以坤為虎，則於象不合矣。晉郭璞《洞林》又以兌為虎，雖各有意義，《易林》亦不用之。

The Commentary on the Judgment of the hexagram "Foot" says, "Softness treads on firmness," indicating that the Commentary on the Judgment is specifically addressing the hexagram "Humility," taking the earth element as softness. Yu Fan's interpretation of this sentence uniquely applies the concept of the tiger, thus preserving the ancient meaning. However, Yu Fan's use of the earth element as the tiger seems less consistent with the general practice in Jiao's Forest of Changes compared to Lai Zhide's use of the mountain element as the tiger. Why is this so? The mountain element as the tiger is found in the lost images of the Nine Schools' Commentary on the Changes; in the Forest of Changes, there are hundreds of references to the tiger, all referring to the mountain element. Since the Zhou Changes uses the mountain element as the "tail" and says "tiger's tail," it is clear that the tiger is also symbolized by the mountain element. Moreover, in the hexagram "Humility," the third to fifth lines form the thunder element, which represents walking or treading. The thunder element is above and the mountain element is below, hence the phrase "treading on a tiger's tail." If the earth element were used as the tiger, it would not conform to the hexagram's imagery. The Jin dynasty scholar Guo Pu's "Dong Lin" also uses the lake element as the tiger. Although each scholar has their own reasoning, the Forest of Changes does not adopt this view.

此亦用對象。對象艮為道路，而與震之大塗鄰，故曰坦坦。至於幽人，仍用對象坎，坎為隱伏，艮為清高。《易林》賁之艮「清人高子」，為君子，故曰幽人。又《易林》離之師云「履道坦坦，平安無咎」，誠以師中爻震，震為大塗，故曰坦坦。師二至上與謙三至上體同，正釋此也。

This line also uses the concept of opposition. The opposite trigram of 《履》 is 《谦》, which contains 《艮》, representing roads. 《艮》 is also adjacent to 《震》, which signifies "great path." Therefore, it is said "tǎn tǎn," meaning flat and wide. As for "yōu rén," it still refers to the opposite trigram 《坎》, which represents concealment, and 《艮》 represents purity and elevation. In the 《Jiao's Forest of Changes》, the line statement of "Bén changing into 《Gèn》" mentions "qīng rén gāo zǐ," referring to the gentleman, hence called "yōu rén." Furthermore, in the 《Forest of Changes》, the line statement of "Lí changing into 《Shī》" says "lǚ dào tǎn tǎn, píng ān wú jiù," meaning "walking on a broad path, safe and without blame." This is because the middle line of 《Shī》 corresponds to 《Zhen》, which signifies "great path," hence "tǎn tǎn." The lines from the second to the top of 《Shī》 are the same as the lines from the third to the top of 《Qian》, and this line statement is explaining the line statement of 《Lǚ》's nine in the second line.

《易林》於既、未濟二卦往往用兌象，如「驅羊南行」是也；用震象，如「逐鹿」（震為鹿）、「山」（艮山）、「西」是也；用巽象，如「順風趕北」是也。而既、未濟實無艮兌震巽四象，皆用半象也。以茲悟履六三「眇能視，跛能履」，亦以二三為半離半震，故彖曰「不足」。不足者，言離震未全見也。後閱《易林》解之節云「左眇右盲」，節下兌為半離，故曰眇；二至五互大離，故曰盲。又剝萃云「兩目失明」，亦以萃上兌，兌為半離，故曰失明。此《易林》解履眇之確詁也。又《易林》否之夬云「鳥飛跌跛」，夬上兌，兌半震而毀折，伏艮為鳥，故曰鳥飛跌跛。又剝之萃云「脛足跛曳，不可以行」，萃上兌，兌亦半震，故曰不可以行。此《易林》解履跛之確詁也。皆與彖傳合，皆以半象也。而虞仲翔以離目不正、兌小為眇忽，又不用其半見之說。豈知彖明曰不足，不足卽半見也。

In interpreting the hexagrams Ji Ji and Wei Ji in Jiao's Forest of Changes, the author often uses the image of Dui, for example, "driving sheep southward"; the image of Zhen, for example, "chasing a deer" (Zhen represents deer), "mountain" (Gen represents mountain), and "west"; and the image of Xun, for example, "following the wind northward." However, the hexagrams Ji Ji and Wei Ji actually do not contain the images of Gen, Dui, Zhen, or Xun, so the images used are all half-images. From this I realized that the line six in the third position of the hexagram Lu, "one eye can see, one leg can walk," also uses the second and third lines to form a half image of Li and a half image of Zhen, so the Commentary on the Judgment says "insufficient." "Insufficient" means that Li and Zhen are not fully manifested. Later, when I read the Forest of Changes entry for "Jie" in the hexagram Jie, it says "left eye blind, right eye blind" — the lower trigram of Jie is Dui, which is a half image of Li, hence "blind in one eye"; the lines from second to fifth form a large Li, hence "blind in both eyes." Similarly, in the Forest of Changes entry for "Bo" in the hexagram Cui, it says "both eyes lost," because the upper trigram of Cui is Dui, which is a half image of Li, hence "loss of sight." This is the correct interpretation of the character "眇" in the hexagram Lu in the Forest of Changes. Also, in the Forest of Changes entry for "Po" in the hexagram Guai, it says "bird flying, stumbling, lame," — the upper trigram of Guai is Dui, which is a half image of Zhen and also has the meaning of destruction, and the trigram hidden beneath Dui is Gen, which represents a bird, hence "bird flying, stumbling, lame." Similarly, in the Forest of Changes entry for "Bo" in the hexagram Cui, it says "stiff and dragging legs, cannot walk," — the upper trigram of Cui is Dui, which is a half image of Zhen, hence "cannot walk." This is the correct interpretation of the character "跛" in the hexagram Lu in the Forest of Changes. All these interpretations agree with the Commentary on the Judgment, and they all use half-images. However, Yu Fan instead interprets "眇" by saying that the eye is not straight and Dui represents something small, thus ignoring his own idea of "half vision." He does not realize that the Commentary on the Judgment clearly says "insufficient," and "insufficient" precisely means seeing only half.

此亦用對象。坤為品物、為庶物、為萬物，見於乾坤彖傳，是坤有茅茹象。故《易林》剝之坤云「荻芝俱死」，以坤為荻芝，卽茅茹。《食貨志》「菜茹有畦」，《晉書·地理志》「環盧種菜茹」，茹固有食義、連引義，而此則訓為菜茹之茹，故下云「拔茅連茹」。焦循以茹字屬下讀，非也。泰對否，下坤為茅茹，正與《易林》象合，故否初六與此同詞。否則用本象矣，否二至四艮，艮手為拔。而虞翻必本大過，以否中爻巽為茅，慎則慎矣，然坤之為茅茹，證之彖傳本經而皆合，舍近不取，必取與初甚遠之互巽，恐非。至後儒以泰下乾，乾卽言茅茹，疑乾亦有此象者，而苦求之，則不知易例矣。

This line also uses an object. The trigram坤 represents things, common objects, and all things, as seen in the Commentary on the Judgment of the trigrams 乾 and坤. Therefore,坤 has the image of "mao ru." Hence, in the Forest of Changes by Jiao, the line "Pei's坤" says "dai zhi ju si," which uses坤 as dai zhi, that is, a type of mao ru. The "Shi Huo Zhi" in the Han Shu mentions "cai ru you qi," and the "Jin Shu · Di Li Zhi" mentions "huan lu zhong cai ru." Although the character "ru" can mean to eat or to be connected, here it should be interpreted as "cai ru," meaning vegetable. Therefore, the following text continues with "ba ma lian ru." Jiao Xun's interpretation of reading "ru" into the next line is incorrect. The trigram Tai and the trigram Po are opposites. The lower trigram of Po is坤, which is mao ru, consistent with the imagery used in the Forest of Changes. Therefore, the line statement of the first line of Po is the same as that of the first line of Tai. The Po trigram uses its own image, where the second to fourth lines form the trigram Gen, which represents the hand, thus enabling the action of "ba." Yu Fan insisted on tracing back to the Da Guo trigram, taking the trigram Xun in the middle of Po as mao. Although his approach was cautious, the trigram坤 as mao ru is consistent with the Commentary on the Judgment and the original text. It is wrong to ignore the immediate and obvious image of坤 and instead take the distant trigram Xun in the middle of the line. As for later scholars who, because the lower trigram of Tai is Qian, associate Qian with mao ru and search for this image in Qian, they are completely misunderstanding the general principles of the Book of Changes.