Lu's Explanations of the Changes [Ming] Yao Shilin

《陸氏易解》一卷，明姚士粦所輯。呉陸績周易注也。呉志載，績所著有《易釋玄》，《隋經籍志》有績《周易注》十五卷。《經典釋文》序錄作陸績《周易述》十三卷。《會通》一卷。新舊唐書志所載卷數與《釋文》同。原本久佚，未詳孰是。此本為《鹽邑志林》所載，凡一百五十條，朱彝尊以為抄撮。陸氏《釋文》、李氏《集解》二書為之然。此本兼採京氏《易傳注》為多，而彝尊未之及。

This is the abstract written for the book by the editors of the Siku. Lu's Explanations of the Changes, in one juan, was compiled by Yao Shilin of the Ming; what he compiled are the notes on the Zhouyi by Lu Ji of Wu in the Three Kingdoms. The Treatise on Wu in the Records of the Three Kingdoms records that Lu Ji wrote a Yishi xuan, Explanations of the Mysteries of the Changes; the bibliographic treatise of the Sui shu lists Lu Ji's Zhouyi zhu, Notes on the Zhouyi, in fifteen juan; the preface-record of the Jingdian shiwen instead gives Lu Ji's Zhouyi shu, Exposition of the Zhouyi, in thirteen juan, with a further Huitong, Comprehensive Concordance, in one juan; the bibliographic treatises of the Old and New Tang shu give the same number of juan as the Shiwen. The original work has long been lost, and which of these accounts is right can no longer be examined in detail. The present text is the one carried in the Yanyi zhilin, in all one hundred and fifty items; Zhu Yizun held that it was pieced together by excerpting from Lu Deming's Jingdian shiwen and Li Dingzuo's Zhouyi jijie. In fact this text draws in many places also on the notes to Jing Fang's Yizhuan, which Zhu Yizun did not mention. Since the book is a gathering of lost fragments, the items are scattered; each item for the most part first sets out a sentence of the classic, and beneath it is Lu Ji's note.

又稱其經文異諸家者，履帝位而不疚，疚作疾。明辨晢也，晢作逝。納約自牖，牖作誘。三年克之憊也，憊作備。今此本皆無之，豈傳寫又有異同歟。彝尊又言曹溶曾見有三卷者，則後人輯陸氏《易注》之本，或有多寡詳畧之不同，未可知也。昔宋王應麟輯鄭氏《易注》為學者所重，士粦此本雖不及應麟搜討之博，而掇拾殘剰，存什一於千百，亦可以見陸氏《易注》之大畧也。績字公紀，呉郡呉人，官至鬱林太守加偏將軍，事蹟具呉志。士粦字叔祥海鹽人，周亮工書影記其十三而孤，年二十猶目不識丁，寓居德清姜氏家，姜始授以句讀，晚乃卓然自立，蓋亦奇士雲。

The abstract goes on: Zhu Yizun further cited places where Lu Ji's text of the classic differs from the various schools, as in the Judgment of the Lü hexagram, 'treading the emperor's place and not being ashamed', where Lu's text has '疾' for '疚'; in the Appended Statements, 'clearly distinguishing and understanding', where '晢' is written '逝'; in the Kan hexagram, line six in the fourth, 'taking in the covenant from the window', where '牖' is written '诱'; and in Jiji, line nine in the third, 'conquering it in three years, exhausted', where '惫' is written '备'. None of these items is in the present text; perhaps in the course of copying there have again been differences. Zhu Yizun also said that Cao Rong had seen a text in three juan, so the texts in which later people compiled Lu's notes on the Changes may differ in fullness or brevity, and this can no longer be known for certain. Formerly Wang Yinglin of the Song compiled Zheng Xuan's notes on the Changes and was held in weight by scholars; Yao Shilin's text, though it does not match Wang Yinglin in the breadth of its searching, yet by gathering remnants and preserving one part in ten among a thousand hundred, is still enough to show the general outline of Lu's notes on the Changes. Lu Ji, style Gongji, was a man of Wu county in Wu commandery; he rose to be Grand Administrator of Yulin, with the additional title of Lieutenant General; his deeds are in his biography in the Treatise on Wu. Yao Shilin, style Shuxiang, was a man of Haiyan; Zhou Lianggong's Shuying records that he lost his father at thirteen and at twenty still could not read a character; he lodged in the house of the Jiang of Deqing, and only then did the Jiang teach him how to parse sentences; in later years he stood out of himself, and may also be counted a remarkable man.

乾。上九，亢龍有悔。陽極陰來，吉去凶生。用九，見群龍無首，吉。純陽用九之徳。六位時成。十二辰分六位，升降以時消息，吉。利之今作利物，足以和義。聖人作而萬物覩。陽氣至五，萬物茂盛，故譬以聖人在天子之位，功成制作，萬物咸見之矣。六爻發揮，旁通情也。乾六爻，發揮變動，旁通於坤。坤來入乾，以成六十四卦，故曰旁通情也。

The Qian hexagram. The first sentence explained is the line statement of nine at the top, 'the overreaching dragon has regret'. Lu Ji notes: when yang qi (氣) reaches its extreme, yin qi is about to come; the auspicious goes and the inauspicious is born—he does not speak of arrogance in the moral sense, but sets his account directly on the waxing and waning of yin and yang. The second sentence is the line statement of Using Nine, 'see a host of dragons with no head; auspicious'. Lu notes: this is the virtue of pure yang that is able to use nine. The third sentence is the Judgment commentary, 'the six positions are completed in their times'. Lu notes: the twelve branches are allotted among the six line-positions, rising and falling with the time in their waxing and waning, and so it is auspicious—this is the method of explaining the Changes by 'line-and-branch' (爻辰), pairing the six lines with the twelve Earthly Branches and speaking of the meaning of the lines by the waxing and waning of the solar terms. The next sentence, 'benefiting it is enough to harmonise righteousness', has the compiler's interlinear note that 'benefiting it' is in the present text 'benefiting things'. Next is the Words of the Text, 'the sage arises and the ten thousand things look upon him'. Lu notes: when yang qi rises to the fifth line, the ten thousand things flourish, so the comparison is to a sage occupying the Son of Heaven's place; when the work is accomplished and rites and music are instituted, the ten thousand things all get to look upon him. The last sentence is the Words of the Text, 'the six lines put forth and move, and communicate sideways with the feelings'. Lu notes: the six lines of Qian put forth, move, and change, and communicate sideways with Kun; Kun comes in and joins Qian, and so the sixty-four hexagrams are generated; hence it says it communicates sideways with the feelings. 'Sideways communication' (旁通) is a term of the Han Changes: it means two hexagrams whose six lines are in yin and yang wholly opposite, and which communicate with each other.

坤。六三，或從王事，無成有終。陰臣陽君，臣不敢為物之始。陽唱陰和，君命臣終其事也。上六，龍戰于野，其血玄黃，乾配西北，積陰之地，陰盛，故戰乾坤。伴處天地之氣雜，稱玄黃也。又曰戌亥，是乾之位。乾伏本位，積陰之地，猶盛，故戰。為其嗛今作嫌，於無陽也。行今作應地無疆。

The Kun hexagram. First he explains the line statement of six in the third, 'perhaps attending to the king's affairs: no completion, there is an end'. Lu Ji notes: yin is the minister, yang the ruler; the minister dare not be the one who begins things; yang sings and yin answers, the ruler issues the command and the minister finishes the matter—this is to fix the parts of ruler and minister by yin and yang. Next he explains the line statement of six at the top, 'dragons fight in the wild, their blood is black and yellow'. Lu notes: Qian's direction is paired with the northwest, which is a place where yin qi gathers; yin qi is at its fullest, so Qian and Kun fight here; the two dwell together and the qi of heaven and earth is mixed, so the colour of the blood is called black and yellow. He also says: Xu and Hai are precisely Qian's direction; Qian lies hidden in its own home position, and this place is again a place of accumulated yin, the yin qi still full, so there is a fight. What is used here is the method of pairing the directions of the eight trigrams with the twelve branches: Xu and Hai sit in the northwest, precisely at Qian's position. The two items that follow preserve only the text of the classic and collation notes: 'because it is discontented that there is no yang', the compiler noting that '嗛' is in the present text '嫌'; and 'moving over the earth without bound', the compiler noting that '行' is in the present text '应'. Notes of this kind were added by Yao Shilin in comparing the present text; they are not Lu Ji's original words.

屯。雲雷屯，君子以經綸。水在雷上，如雲雷交作，天地草昧，經綸之始，無出於此也。初九，盤桓利居貞。屯難之際，盤桓不進之貌。女子貞不字，十年乃字。字，愛也。時通則道亨，合正匹也。蒙。匪我求童蒙。六五，陰爻在蒙，暗蒙又體艮少，故曰童蒙。

The Zhun hexagram. First he explains the Greater Image, 'Clouds and thunder: Zhun. The gentleman thereby lays out and weaves'. Lu Ji notes: Kan water is above Zhen thunder, like clouds and thunder rising by turns; when heaven and earth first open and the ten thousand things are in rough creation and darkness, there is nothing earlier than this as the beginning of ordering and planning. Next he explains the line statement of nine at the beginning, 'pacing back and forth; favourable to abide in the correct'. Lu notes: just at the juncture of Zhun's difficulty, it is the look of lingering and not advancing. Next he explains the line statement of six in the second, 'the girl is correct and not yet given in word; in ten years she is given in word'. Lu notes: 'word' (字) means love; when the time is open the way is then smooth, and only then does she join with a proper mate—by the sense of the classic, 'word' originally means being promised in marriage and bearing children; Lu glosses it as love, taking the sense of mutual affection and promise. The Meng hexagram. What is explained is the hexagram statement, 'it is not I who seek the youthful Meng'. Lu notes: six in the fifth is a yin line and sits within the Meng hexagram; it is both dark and covered, and its body also belongs to Gen as the youngest son, so it is called youthful Meng. This item uses both the method of line-position and the method of hexagram-image: the yin line fixes its being covered, the youngest son of Gen fixes its being youthful.

需。六四需于血。外卦坎水為險，亦陰稱血也。訟。天與水違行。天道西行，水東流，其路背也。外象乾，西北方之卦。內坎水，正北方之卦。其流東也，二氣不交，曰訟。師。象曰，地中有水，師。坎在坤內，故曰地中有水。師，眾也。坤中眾者，莫過於水。九二在師中吉。陽居九二也。

The Xu hexagram. What is explained is the line statement of six in the fourth, 'waiting in blood'. Lu Ji notes: the outer trigram Kan is water and is danger; Kan also belongs to yin, and yin may likewise be called blood, so it says waiting in blood. The Song hexagram. What is explained is the Greater Image, 'Heaven and water go contrary ways'. Lu notes: the way of heaven runs from east to west, water flows east, and the two roads turn their backs. The image of the outer trigram is Qian, the hexagram of the northwest; the inner trigram is Kan water, the hexagram of due north, and its water flows east; the two kinds of qi do not join, so the hexagram is named Song, Conflict. What is used here is the doctrine of the directions of the eight trigrams: Qian sits in the northwest, Kan in due north, and from the directions one infers the image of 'going contrary ways'. The Shi hexagram. What is explained is the Greater Image, 'In the midst of the earth there is water: Shi'. Lu notes: Kan is inside Kun, so it says in the midst of the earth there is water. 'Shi' means a host; of what is most numerous within Kun, nothing exceeds water, so water is taken for the host. He also explains the line statement of nine in the second, 'in the midst of the army, auspicious'. Lu notes: this is a yang line occupying the place of nine in the second.

比。比卦，一陽五陰，少者為貴，眾之所尊者也。小畜。宻雲不雨，自我西郊，尚往也。一陰劣，不能固陽，是以往也。履。剛中正，履帝位而不疚，光明也。當履之時。眇能視，跛能履。此履非其位六三。泰。上六，城復于隍。三陽務上，坤順而往，往而不巳，否道至。

The Bi hexagram. Lu Ji notes: the Bi hexagram is one yang line and five yin lines; the side that is few is the noble, precisely what the many honour—that is, the one yang of nine in the fifth, to which the many yin attach themselves. The Xiaoxu hexagram. What is explained is the hexagram statement and the Judgment, 'dense clouds, no rain, from our western suburbs; still going'. Lu notes: the hexagram has only one yin line, its force weak, unable to hold yang qi fast, so yang qi still goes upward and rain cannot form. The Lü hexagram. What is explained is the Judgment, 'firm, central, and correct, treading the emperor's place and not being ashamed: brightness'. Lu's note preserves only four words: just at the time of Lü. He also explains the line statement of six in the third, 'the squinting can see, the lame can tread'. Lu notes: this is treading a place that is not its answering place, meaning six in the third, yin and yielding, occupying a yang position. The Tai hexagram. What is explained is the line statement of six at the top, 'the wall returns to the moat'. Lu notes: the three yang lines strive upward, Kun goes in compliance, going and not stopping, and the way of Pi, Obstruction, then arrives—Tai at its extreme becomes Pi, precisely because the three yang have gone all the way up and the Kun body has overturned.

否。小人道長，君子道消。陰小人，陽君子。其亡其亡，繫於包今作苞桑。包，本也，言其堅固不亡。如以巽，繩繫也。苞桑則叢桑也。否終則傾，何可長也。否極則泰來。同人。九五，先號咷而後笑。隔於陽位，不能決勝先克，故曰號咷。後獲合，方喜，故曰後笑。大有。火在天上，大有。離為火，為日，故曰大有。

The Pi hexagram. What is explained is the Judgment, 'the way of the small man grows, the way of the gentleman fades'. Lu Ji notes: yin stands for the small man, yang for the gentleman. Next he explains the line statement of nine in the fifth, 'it will perish, it will perish, tied to a mulberry clump'—the compiler's interlinear note says '包' is in the present text '苞'. Lu notes: 'bao' means the root, saying the root is firm and will not come to perishing; it is also like taking Xun as a rope and tying with it—in the Remarks on the Trigrams, Xun takes the image of a straight rope. So-called bao-sang is a clump of mulberries, deep-rooted and hard to pull up. Next he explains the Judgment, 'when Pi ends it topples; how can it last?' Lu notes: when Pi reaches its extreme, Tai comes. The Tongren hexagram. What is explained is the line statement of nine in the fifth, 'first wailing, then laughing'. Lu notes: between nine in the fifth and six in the second a yang line blocks the way, so one cannot at a stroke take the victory and subdue the enemy, hence first one wails; later they finally meet, and only then is there joy, hence then one laughs. The Dayou hexagram. What is explained is the Greater Image, 'Fire in heaven above: Dayou'. Lu notes: Li is fire and is the sun; the sun is in heaven above and shines on all without remainder, so it is called Dayou, Great Possession.

謙。闕。豫。天地以順動，故日月不過，而四時不忒。坤順震動。隨。動而說。震一陽二陰，陽君陰民，得其正也。王用亨于西山。亨，祭也。蠱。闕。臨。至于八月，有凶。建丑至未，至于八月入遯。觀。風行地上。君子之徳，風。小人之徳，草也。六三，觀我生。我生即道也。利用賓于王。臣道出於六四爻也。

The Qian hexagram (谦), Modest: the original work is missing, and no note could be compiled. The Yu hexagram. What is explained is the Judgment, 'heaven and earth move in compliance, so the sun and moon do not overstep, and the four seasons are not in error'. Lu Ji's note is only four words: Kun compliant, Zhen moving—Yu is Zhen above and Kun below, and the hexagram-virtues are used to explain 'compliant so as to move'. The Sui hexagram. What is explained is the Judgment, 'moving and pleased'. Lu notes: the Zhen trigram is one yang and two yin; yang is the ruler, yin the people, and each obtains its proper part. He also explains the line statement of six at the top, 'the king uses the offering on the western mountain'. Lu notes: here '亨' is read as xiang, and means sacrifice. The Gu hexagram is also missing. The Lin hexagram. What is explained is the hexagram statement, 'coming to the eighth month, there is the inauspicious'. Lu notes: the Lin hexagram is the month of built Chou; counting from Chou to Wei, the eighth month enters the Dun hexagram—this is the method of pairing the twelve hexagrams of waxing and waning with the months: Lin governs the twelfth month, built Chou; eight months later Dun governs the sixth month, built Wei; yang fades and yin grows, hence the inauspicious. The Guan hexagram. What is explained is the Greater Image, 'Wind walking the earth'. Lu notes, taking the sense of the Analects: the gentleman's virtue is like wind, the small man's virtue like grass; when the wind walks, the grass bows. He also explains the line statement of six in the third, 'contemplating my life'. Lu notes: 'my life' is the way I myself walk. Next he explains the line statement of six in the fourth, 'favourable to be a guest of the king'. Lu notes: the way of the minister is shown by this line, six in the fourth—six in the fourth is near the ruler and receives the fifth, hence the image of being a guest of the king.

噬嗑。動而明。象雷電也。九四，噬乾胏，得金矢，利艱貞吉。象曰利艱貞吉，未光也。肉有骨，謂之胏。離為乾肉，又為兵矢，失位用刑，物亦不服，若噬有骨之乾胏也。金矢者，取其剛直也。噬胏雖復，艱難終得申其剛直，雖獲正吉，未為光大也。賁。六四，賁如皤如，白馬翰如。匪冦婚媾。震為馬，為白，故曰白馬翰如。按皤亦白素之貌也。

The Shike hexagram. What is explained is the Judgment, 'moving and bright'. Lu Ji notes: this is the image of thunder and lightning—Zhen below is thunder and governs movement, Li above is lightning and governs brightness. He also explains the line statement of nine in the fourth, 'biting dried flesh with bone, obtaining a metal arrow; favourable to be hard and correct; auspicious', and its Image commentary, 'favourable to be hard and correct; auspicious: not yet bright'. Lu notes: dried flesh with bone is called zi. Li is dried flesh, and also takes the image of weapons and arrows; nine in the fourth, yang occupying yin, has lost its place; when punishment is used, people and things also do not submit, like gnawing dried flesh with bone, which costs effort. So-called metal arrow takes the sense of its firmness and straightness. Gnawing the dried flesh with bone, though it is hard again and again, can in the end extend its firmness and straightness; though one obtains the auspiciousness of holding to the correct, it still cannot be counted as bright and great. The Bi hexagram (贲), Adorned. What is explained is the line statement of six in the fourth, 'adorned thus, white thus, a white horse flying thus; not a robber, a marriage'. Lu notes: Zhen takes the image of a horse, and also of white, so it says a white horse flying thus. The sentence that follows, 'note: po is also the look of plain white', is a comment added by the compiler Yao Shilin, not Lu Ji's own note. This item most shows Lu's way of explaining the Changes: within one sentence of the classic, each word is sought from the hexagram-image.

剝。象曰，山附於地，剝。艮為山，坤為地，山附於地，謂髙附於卑，貴附於賤，君不能制臣也。君子得輿，小人剝廬。君子全得，剝道安其位，小人終不可安也。復。七日來復。七日陽，之稱也。七凡稱陽數也。謂坤上六，陰極，陽戰之地。陰雖不能勝陽，然正當盛陽不可輕犯。六陽涉六陰反下七爻在初，故稱七日。日亦陽也。初九，不逺復，無禔今作祗，悔。反至初九，陽來陰復。逺，違也。禔，安也。

The Bo hexagram. What is explained is the Greater Image, 'The mountain attached to the earth: Bo'. Lu Ji notes: Gen is mountain, Kun is earth; a mountain attached to the earth is the high depending on the low, the noble depending on the base, an image of a ruler unable to control his ministers. He also explains the line statement of nine at the top, 'the gentleman obtains a carriage, the small man strips the hut'. Lu notes: the gentleman is able to preserve himself, and the way of stripping, arriving here, lets him be at rest in his place; the small man in the end has no rest. The Fu hexagram. What is explained is the hexagram statement, 'in seven days comes the return'. Lu notes: the 'seven' of seven days is a name of yang; wherever seven is named it belongs to the yang numbers. Here it refers to six at the top of the Kun hexagram, the place where yin qi is at its extreme and yang comes to fight with it; though yin cannot overcome yang, yet just when yang qi is first full one must not offend it lightly. The six yang lines pass through the six yin lines and return below; the seventh line is precisely at the beginning, so it is called seven days; 'day' also belongs to yang. He also explains the line statement of nine at the beginning, 'not going far, returning; no regret to be settled'—the compiler's interlinear note says '禔' is in the present text '祗'. Lu notes: returning to nine at the beginning, yang comes and yin returns; 'far' means to go against, 'ti' means to be at rest. Taking seven as a yang number and counting the days by the six lines going and returning is precisely the common method of the hexagram-qi school of the Han Changes for inferring 'in seven days comes the return'.

無妄。缺。大畜。六四，童牛之角今作牿。頥。天地養萬物，聖人養賢以及萬民。上下陽位，包陰也。大過。大過，大者過也。大者相過。坎。習坎，坎水。龍深陷於物，處坎之險，不可不習，故曰習坎。便習之習，後不可履於險，而不陷沒者，不以剛履柔，不能成坎之道也。維心亨乃以剛中也。內外居坎，陽處中而為坎主，純陰得陽，為名臣得君，而安其居也。君得一名臣而顯其道。

The Wuwang hexagram: the original work is missing. The Daxu hexagram preserves only one sentence of the classic: six in the fourth, the horn of a young ox—the compiler's interlinear note says '角' is in the present text '牿'. The Yi hexagram (頤), Nourishing. What is explained is the Judgment, 'heaven and earth nourish the ten thousand things; the sage nourishes the worthy and thereby the ten thousand people'. Lu Ji notes: the two yang positions, nine at the top and nine at the beginning, are at the two ends, enclosing the four yin lines in the middle, precisely the image of nourishing. The Daguo hexagram. What is explained is the Judgment, 'Daguo: the great ones pass'. Lu notes: it is the great ones, the yang, that pass and overstep—Daguo has four yang in the middle and two yin outside; yang is full and passes. The Kan hexagram. What is explained is the hexagram statement, 'repeated Kan'. Lu notes: Kan is water. The dragon is sunk deep among things; dwelling in Kan's danger, one cannot but practise it familiarly, so it is called repeated Kan; this 'practice' is the practice of becoming practised and fluent. Thereafter, whoever goes through danger and does not come to sinking, if it is not by treading the yielding with the firm, cannot accomplish the way of Kan. He also explains the Judgment, 'it is the heart that is smooth, for it is firm and central'. Lu notes: the inner trigram and the outer trigram are both Kan; the yang line sits in the centre and is the master of Kan; in the midst of pure yin one obtains a yang, like a famous minister meeting a bright ruler, and so able to be at rest in his dwelling; when the ruler obtains one famous minister, his way is then made plain.

象曰，水洊至，習坎。君子以常徳行習教事。洊，再。習，重也。水再至而益通流，不舎晝夜，重習相隨以為常有，似於習，故君子象之。以常習教事如水不息也。六三，來之坎。坎險且枕入于坎，窞勿用。枕閒礙為害之貌。離。明兩作離，大人以繼明照于四方。離卦中虛，始於乾象，純剛健不能柔，故以北方陰氣貫中剛而文明也。

Next he explains the Greater Image of the Kan hexagram, 'Water coming again and again: repeated Kan. The gentleman thereby makes constant his virtuous conduct and practises the affairs of teaching'. Lu Ji notes: '洊' means again, '习' means to double. Water comes again and again and flows still more freely, day and night without pause, repeating and following and becoming the constant state, close to the sense of the word 'practice'; so the gentleman takes his image from it—by constantly and repeatedly practising the affairs of teaching, like flowing water that does not rest. He also explains the line statement of six in the third, 'coming and going, Kan, Kan; dangerous and moreover a pillow; entering the pit of Kan; do not use'. Lu notes: 'pillow' is the look of blocking and doing harm. The Li hexagram. What is explained is the Greater Image, 'Brightness twice making Li; the great man thereby continues brightness and shines on the four quarters'. Lu notes: the Li hexagram is hollow in its middle line, and originally comes from the image of Qian; Qian is of pure firmness and strength and cannot be yielding, so the yin qi of the north is made to run through the firm centre, and thereby its civil brightness is accomplished. Explaining the yin in the middle of Li by the yang in the middle of Kan is the account, in Jing Fang's line, of 'Qian and Kun joining and giving birth to the six children'; Lu Ji inherits it.

咸。咸亨利貞，取女吉。艮少男，兊少女。男下於女，取婦之象。天地感而萬物化生。天地因山澤，孔竅以通，其氣化生萬物也。恆。九三，不恆其徳。恆，者常也。而九三以陽居，位立於陰陽交互之上，是知不久為失所也。

The Xian hexagram. What is explained is the hexagram statement, 'Xian: smooth, favourable to the correct; taking a girl, auspicious'. Lu Ji notes: Gen below is the youngest son, Dui above the youngest daughter; the man is below the woman, precisely the image of taking a wife—in the old rites the man first goes below the woman, hence taking a girl is auspicious. He also explains the Judgment, 'heaven and earth stimulate and the ten thousand things are transformed and born'. Lu notes: heaven and earth communicate through the openings of mountain and marsh; their qi stimulate each other, and thereby the ten thousand things are transformed and born. The Heng hexagram. What is explained is the line statement of nine in the third, 'not constant in his virtue'. Lu notes: 'heng' means constant. Nine in the third occupies its place as a yang line, sitting above the interchange of yin and yang; one can know that it cannot last long and will lose the place it occupies—nine in the third sits at the extreme of the lower body, a place where above and below both change, and so it cannot be constant and lasting.

遯。天下有山，遯。遯，退也。遯之時義大矣哉。謂陽氣退，陰氣將害，隨時遯，避其義大矣。初六，遯尾厲，勿用有攸往。陰氣已至於二，而初在其後，故曰遯尾也。避難當在前，而在後，故厲往，則與災難會，故勿用有攸往。大壯。內陽升降，二眾俱陽，曰大壯。君子以非禮弗履。天尊雷卑，君子見卑乘尊，終必消除，故象以為戒。非禮不履，喪羊於埸今作易。埸，謂疆埸也。

The Dun hexagram. What is explained is the Greater Image, 'Beneath heaven there is a mountain: Dun'. Lu Ji notes: 'Dun' means to withdraw. He also explains the Judgment, 'great indeed is the timely meaning of Dun'. Lu notes: this is to say that yang qi withdraws and yin qi is about to do harm; to withdraw with the time, its meaning is great. Next he explains the line statement of six at the beginning, 'the tail of withdrawal; danger; do not use having a place to go'. Lu notes: yin qi has already gone up to the second line, and six at the beginning still falls behind it, so it is called 'the tail of withdrawal', that is, withdrawing and falling at the end. In fleeing difficulty one ought to take the lead; now one is instead behind, so there is danger; if one goes forward, one meets the disaster exactly, so it says it is not favourable to have a place to go. The Dazhuang hexagram. Lu notes: the yang of the inner trigram rises and falls; the many lines of the lower two bodies are all yang, so it is called Dazhuang, Great Strength. He also explains the Greater Image, 'the gentleman does not tread what is not ritual'. Lu notes: heaven above is the honoured, thunder below the lowly; now thunder is in heaven above; the gentleman, seeing the lowly riding upon the honoured, knows that it will in the end be removed, and so takes the image as a warning. He also explains the line statements of nine in the third and six in the fifth, 'not treading what is not ritual' and 'losing the sheep at the boundary'—the compiler's interlinear note says '埸' is in the present text '易'. Lu notes: 'yi' means a boundary.

晉。晉，康侯。康。安也，樂也。明夷。六二，明夷，睇今作夷于左股。旁視曰睇。家人。正家而天下定矣。聖人教，先從家始，家正則天下化之，修已以安百姓者也。婦子喜喜今作嘻嘻，終吝。九五，王假有家，勿恤吉。假，大也。五得尊位，據四應二，以天下為家，故曰王大有家。天下正之，故無所憂，則吉。睽。說而麗乎明。兊處下為積陰暗之象也。離在上為明照於下。上九，先張之弧，後說之弧說合作脫。先，疑暗也。後說明也。

The Jin hexagram. What is explained is the hexagram statement, 'Jin: the peaceful marquis'. Lu Ji notes: 'kang' means peace, and means joy. The Mingyi hexagram. What is explained is the line statement of six in the second, 'Mingyi, glancing at the left thigh'—the compiler's interlinear note says '睇' is in the present text '夷'. Lu notes: looking askance is called di. The Jiaren hexagram. What is explained is the Judgment, 'when the house is made correct, all under heaven is settled'. Lu notes: the sage's teaching begins first from one house; when the way of the house is correct, all under heaven is moved by it: this is cultivating oneself in order to give peace to the hundred surnames. The next item preserves only the text of the classic, 'wife and children giggling, in the end regret', the compiler noting that '喜喜' is in the present text '嘻嘻'. Next he explains the line statement of nine in the fifth, 'the king is great in having a house; do not worry; auspicious'. Lu notes: 'jia' means great. Nine in the fifth obtains the honoured place, rests on six in the fourth below and answers six in the second, and takes all under heaven as one house, so it says the king is great in having a house; all under heaven is made correct by him, so there is nothing to worry about and one obtains the auspicious. The Kui hexagram. What is explained is the Judgment, 'pleased and attached to brightness'. Lu notes: Dui sits below, the image of yin qi gathered and dark; Li is above, brightness shining down. He also explains the line statement of nine at the top, 'first stretching the bow, then laying the bow aside'—the compiler notes that '说' should jointly be read as '脱'. Lu notes: first, through suspicion, there is darkness; later the suspicion is resolved and there is clarity.

蹇。蹇，當位貞吉，以正國今作邦也。正國為漢朝諱。解。雷雨作，解。震雷坎雨。百果草木皆甲宅今作拆。宅根也。解而拇。拇，足大指。損。損下益上。乾九三，變六三，陰柔益上，九臣奉君之象。君子以懲忿□今作窒慾。益。風雷益。內外順動，風雷益，四象分明，剛柔定矣。

The hexagram of Jian. The explanation refers to the Commentary on the Judgment, "When the positions are appropriate and the course is upright, it is auspicious, for it is to govern the state." The annotator notes that in the current edition, "state" is written as "state," and Lu Jie's annotation says that changing "state" to "state" was to avoid the taboo of Han Gaozu Liu Bang's name. This passage can be used to trace the source of Lu's edition. The hexagram of Jie. The explanation refers to the Great Image, "Thunder and rain arise, and the hexagram is Jie." Lu's annotation says that the upper trigram Zhen represents thunder and the lower trigram Kan represents rain. He also explains the Commentary on the Judgment, "All fruits and grasses have their roots." The annotator notes that in the current edition, "roots" is written as "split," and Lu's annotation says that "roots" refers to the root. He also explains the fourth line statement, "The big toe is released," and Lu's annotation says that "big toe" refers to the big toe of the foot. The hexagram of Shen. The explanation refers to the Commentary on the Judgment, "Loss at the lower and gain at the upper." Lu's annotation says that the nine in the third line of Qian changes to six in the third line, and the yin and flexible line ascends to the upper trigram, representing the image of ministers serving the sovereign. The next passage only contains the text "The gentleman is to restrain anger and suppress desires," and the original text has a missing character marked as "□." The annotator notes that the current edition reads "suppress," and this is recorded without filling in the missing character. The hexagram of Yi. The explanation refers to the Great Image, "Wind and thunder bring benefit." Lu's annotation says that the internal and external trigrams are in harmony and in motion, wind and thunder benefiting each other; the four trigrams are distinct, and the positions of the yang and yin lines are thus determined.

夬。象曰，澤上於天，夬。水氣上天，決。降成雨，故曰夬。姤。天下有風，姤。后以號令誥四方。巽，入也。風入於坤，皆動也，故知天下有動其物也。姤之時義大矣哉。天地相遇，萬物亦然，其義大矣。累今作羸豕孚蹢躅。萃。萃王假有廟萃下無亨字。王五廟上也。王者，聚百物以祭其先，諸侯助祭於廟中。假，大也。言五親奉上矣。象曰，澤上於地。萃君子以除戎器，戒不虞。除猶修治也。凡聚眾，必慎防閒暇。陽為主，成萃之義，伏戎必豫備，眾聚去疑心。

The Guai hexagram. What is explained is the Greater Image, 'The marsh above in heaven: Guai'. Lu Ji notes: water-qi rises to heaven, decides, and coming down becomes rain, so the hexagram is named Guai—Guai means to decide. The Gou hexagram. What is explained is the Greater Image, 'Beneath heaven there is wind: Gou. The sovereign thereby issues commands and announces to the four quarters'. Lu notes: the nature of Xun is to enter; when wind enters Kun earth, nothing is not stirred, so one knows that under heaven there is that which can stir the ten thousand things. He also explains the Judgment, 'great indeed is the timely meaning of Gou'. Lu notes: heaven and earth meet and the ten thousand things are likewise, and its meaning is very great. The next item preserves only the text of the classic, 'a lean pig, truly hobbling', the compiler noting that '累' is in the present text '羸'. The Cui hexagram. What is explained is the hexagram statement, 'Cui: the king is great in having a temple'; the compiler notes that Lu's text has no 'smooth' after 'Cui'. Lu notes: the king has five temples and the great temple sits above; the king gathers the hundred things to sacrifice to his ancestors, and the feudal lords assist the sacrifice in the temple; 'jia' means great. This is to say that the kin of nine in the fifth serve what is above. He also explains the Greater Image, 'The marsh above on the earth: Cui. The gentleman thereby puts in order the weapons of war, on guard against the unforeseen'. Lu notes: 'chu' is like repairing and ordering. Whenever one gathers a host, one must carefully guard against times of ease; taking a yang line as master and accomplishing the meaning of gathering, one must first prepare hidden arms; when the many are gathered together, suspicion can be put away.

升。地中生木，升。君子以順徳，積小以髙大。合抱之木始於毫末。王用亨于岐山。亨，嘆音，火庚反。今此作祭享之享。困。困卦，上下不應，陰陽不交。六三陰，上六亦陰，無配入九五，求陽陽亦無納也。九五，劓刖。劓刖，當為倪亻兀。象曰，劓刖，志未得也。無據無應，故志未得也。二言朱紱，此言赤紱。二言享祀，此言祭祀。傳互言耳無他義也。謂二困五，三困四。五初困上，斯乃迭困之義也。

The hexagram of Ascending. The interpretation is from the Great Image, which says, "Wood grows from the earth, ascending; the superior man follows the virtue of the superior and accumulates small things to reach great heights." Lu Ji notes: a tree that embraces a person grows from a tiny sprout—this is a saying from the Book of Dao, and Lu uses it to illustrate the meaning of accumulating small things to achieve greatness. Another interpretation is of the line statement of the fourth line, "The king uses the sacrifice at Qishan." Below this is the annotator's phonetic note: "Heng" here is read as a tone of admiration, with a reverse sound of "huo geng," and now this character is written as "xiang" meaning sacrifice. For the hexagram of Being Impeded, Lu notes: the hexagram of Being Impeded has upper and lower parts not corresponding, yin and yang not intersecting; the third line is a yin line, and the sixth line at the top is also a yin line, unable to find a spouse and entering the fifth line, seeking yang, but yang has no room to accept it. Another interpretation is of the line statement of the fifth line, "Nose and foot amputations." Lu notes: the two characters "ni yu" should be "ni" and another character composed of "ren" and "wu," meaning an appearance of unease. Further, interpreting the Image Commentary, "Nose and foot amputations, the will is not attained," Lu notes: having no basis and no responding line, the mind is not attained. He also compares the second and fifth lines: the second line says "red silk," this line says "red silk"; the second line says "sacrifice," this line says "worship." This is merely the text alternating in expression, with no other meaning. What is meant by being impeded is that the second line is impeded by the fifth line, the third line is impeded by the fourth line, and the fifth line and the first line are impeded by the sixth line at the top. This is the meaning of mutual impeding.

井。井，改邑不改井。井道以澄清見用，為功也。井，象徳不可渝變也。木上有水，井。君子以勞民勸相。井以徳立，君正民信，徳以其道也。井收勿幕。收，井乾也。革。革，已日乃孚。孚，猶信也。象曰，君子豹變，其文蔚也。兊之陽爻，稱虎。陰爻，稱豹。豹，虎類而小者也。君子小於大人，故曰豹變，其文蔚也。

The Jing hexagram. What is explained is the hexagram statement, 'the town is changed, the well is not changed'. Lu Ji notes: the way of the well takes as its merit that the water is clear and is put to use; the well images virtue that cannot be altered. He also explains the Greater Image, 'Wood above has water: Jing. The gentleman thereby labours the people and encourages mutual help'. Lu notes: the well stands by virtue; when the ruler is upright the people trust him; virtue must accord with its way. Next he explains the line statement of six at the top, 'the well is drawn; do not cover it'. Lu notes: 'shou' means the railing on the well. The Ge hexagram. What is explained is the hexagram statement, 'on the si day there is then trust'. Lu notes: 'fu' is like trust. He also explains the Image commentary of six at the top, 'the gentleman changes as a leopard, his pattern rich'. Lu notes: the yang lines of the Dui hexagram are called tiger, the yin lines leopard; the leopard is of a kind with the tiger and smaller in body. The gentleman's station is smaller than the great man's, so it says he changes as a leopard, his pattern rich. Distinguishing tiger and leopard by the yin and yang of the lines is a typical method of taking the image.

鼎。鼎，象也。以木巽火，亨飪也。木見火中發。火木相資，象鼎之兆。下穴為足，中虛見納，飪熟之義明。九三，鼎耳革。九三，成鼎之徳。六五，鼎黃耳。象曰，鼎黃耳，中以為實也。六五，委任賢臣，假之位也。得中承陽，故曰中以為實。震。震驚百里。震為雷聲，驚於百里。春發秋收，順天行也。取象定吉凶。艮。闕。

The Ding hexagram. What is explained is the Judgment, 'Ding: an image; with wood, Xun, and fire, one cooks'. Lu Ji notes: wood meets fire and burns forth in the fire; fire and wood aid and complete each other, precisely the sign of a tripod. The lowest stroke of the hexagram-body is broken in the middle like a hollow, and is the tripod's feet; the middle is empty and can hold, and the meaning of cooking until ripe is then clear—this is taking the very shape of the hexagram-strokes as the image of a tripod. He also explains the line statement of nine in the third, 'the tripod's ears are changed'. Lu notes: nine in the third accomplishes the virtue of the tripod. Next he explains the line statement of six in the fifth, 'the tripod has yellow ears', and the Image commentary, 'the tripod has yellow ears: the centre is taken as the solid'. Lu notes: six in the fifth appoints worthy ministers and confers office upon them; six in the fifth obtains the central place and receives a yang line above, so it says 'the centre is taken as the solid'. The Zhen hexagram. What is explained is the hexagram statement, 'Zhen startles a hundred li'. Lu notes: Zhen is the sound of thunder, able to startle all within a hundred li; what arises in spring and is gathered in autumn all follows the course of heaven; in explaining a hexagram one must take its image and only then fix good and ill fortune. The Gen hexagram: the original work is missing.

漸。漸之進也，女歸吉也。進得位往有功也。艮變八卦，終於漸。漸終，降純陰入坤，分長女，三陰之兆也。柔道行也。初六，鴻漸于干。水畔稱乾。六二，鴻漸于盤，飲食衎衎。賢人進位也。六四，鴻漸于木，或得其桷。桷，榱也。歸妹。歸妹，征凶。震，長男。兊，少女。少女匹長男，氣非合也。歸妹以嬬今作須。嬬，妾也。

The Jian hexagram (漸), Gradual. What is explained is the Judgment, 'Jian is advancing; a girl's marrying is auspicious; advancing, one obtains the place, and going there is merit'. Lu Ji notes: of the eight hexagrams that change from the Gen palace, the last hexagram is Jian; when Jian comes to its end, it descends into pure yin and enters Kun, and the eldest daughter is divided out, a sign of the three yin, so it says the way of the yielding obtains its course. What is used here is Jing Fang's sequence of the eight palaces: the eight hexagrams of each palace change out in order; Jian is the returning-soul hexagram of the Gen palace, hence 'ending in Jian'. He also explains the line statement of six at the beginning, 'the wild goose gradually reaches the bank'. Lu notes: the water's edge is called gan. Next he explains the line statement of six in the second, 'the wild goose gradually reaches the rock; eating and drinking, at ease'. Lu notes: this is the image of a worthy man advancing to occupy his place. He also explains the line statement of six in the fourth, 'the wild goose gradually reaches the tree; perhaps it obtains a rafter'. Lu notes: 'jue' is a roof-rafter. The Guimei hexagram. What is explained is the hexagram statement, 'Guimei: going, inauspicious'. Lu notes: Zhen above is the eldest son, Dui below the youngest daughter; a youngest daughter matched with an eldest son, their kinds of qi do not accord, so to go is inauspicious. He also explains the line statement of six in the third, 'marrying the younger sister with a waiting-maid'—the compiler's interlinear note says '嬬' is in the present text '须'. Lu notes: 'xu' means a concubine.

豐。豐其屋，蔀其家，窺其戶。闃其無人，三歲不覿，凶。上六，積暗而動，凶之於上，反下見陰之兆。旅。山上有火，旅。火在上，無止，象旅之義。初六，旅瑣瑣，斯其所取災。瑣瑣，小也。艮為小石，故曰旅瑣瑣也。履非其正，應離之始。離為火，艮為山。以應火，災焚自取也。故曰斯其所取災也。

The Feng hexagram. What is explained is the line statement of six at the top, 'making the house abundant, screening the home, peering at the door; quiet, there is no one; for three years one does not see; inauspicious'. Lu Ji notes: six at the top is darkness gathered to the extreme and then moving; the inauspicious arises in the upper place, and shining back below one sees the sign of yin qi—bu is a covering, qu is still and empty of people; though the house is abundant and great, within there is not a single person, precisely the image of the fullest flourishing turning to decline. The Lü hexagram (旅), Traveller. What is explained is the Greater Image, 'On the mountain there is fire: Lü'. Lu notes: fire is on the mountain and does not stay, precisely according with the meaning of a sojourner. He also explains the line statement of six at the beginning, 'the traveller, petty and petty: this is where he takes his disaster'. Lu notes: 'suosuo' means small; Gen takes the image of a small stone, so it says the traveller, petty and petty. Six at the beginning treads a place that is not its proper place, and also answers the beginning of the Li body above; Li is fire, Gen is mountain; taking the mountain to answer fire, fire burns the forest, and the disaster is one brought on oneself, so it says 'this is where he takes his disaster'. This item uses together hexagram-virtue, hexagram-image, line-position, and the answering line, and most shows the form of Lu's explaining the classic.

巽。木，乾象。陰來蕩成巽。巽者，順也。象曰，重巽以申命。巽為命令。重命令者，欲丁寧也。剛巽乎中正而志行。二得中，五得正，體兩巽，故曰剛巽乎，中正也。皆據陰，故志行也。柔皆順乎，剛是以小亨。陰為卦主，故小亨。兊。兊，說以先民。兊下六陰凝，艮上於陽健，納兊為妻，二氣合也。

The Xun hexagram. Lu Ji notes: Xun is wood, based on the image of Qian; one yin line comes and stirs into it, and it becomes the Xun hexagram; the meaning of 'Xun' is to comply. He also explains the Greater Image, 'doubled Xun, thereby repeating the command'. Lu notes: Xun is command; so one repeats and makes the command plain in order to charge again and again. Next he explains the Judgment, 'the firm complies with the central and correct, and the aim is carried out'. Lu notes: nine in the second obtains the centre, nine in the fifth obtains the correct; the upper and lower two bodies are both Xun, so it says the firm complies with the central and correct; both lines rest on a yin line below, so the aim of the heart is carried out. He also explains the Judgment, 'the yielding all comply with the firm, and thereby there is small smoothness'. Lu notes: a yin line is the master of this hexagram, so it is only a small smoothness. The Dui hexagram. What is explained is the Judgment, 'pleasing, thereby going before the people'. Lu notes: in the lower body of Dui, yin qi condenses; Gen is above and yang is strong; taking Dui as wife, the two kinds of qi join—this explains 'pleasing' by the doctrine of pairing the eight trigrams as husband and wife.

渙。渙，散也。乘木有功也。虛舟行也。風行水上。木浮於水也。節。闕。中孚。中孚，信也。豚魚吉。信及豚魚也。豚魚，幽微之物。信尚及之，何況於人乎。我有好爵，吾與爾糹麻今作縻之。小過。闕。既濟。坎離分子午，水上火下，性相交敵，不相間隔，故曰既濟也。未濟。離炎上，坎務下。二象不合，各殊陰陽也。

The Hexagram of Huan. The explanation refers to the "Sequence of Hexagrams" which says "Huan means dispersion." It also explains the "Commentary on the Judgment" which says "It is effective to ride on wood." Lu Ji's note says this refers to an empty boat moving on water. Another explanation refers to the "Great Image" which says "Wind moves on water," and Lu's note says that wood floats on the water. The Hexagram of Jie is missing from the original text. The Hexagram of Zhongfu. The explanation refers to the "Sequence of Hexagrams" which says "Zhongfu means sincerity." It also explains the Hexagram Statement "A pig and a fish are auspicious" and the "Commentary on the Judgment" "Sincerity reaches even the pig and the fish," and Lu's note says that pigs and fish are hidden and lowly creatures; sincerity can reach them, and how much more so can it reach people. The next entry only contains the text "I have a good cup of wine, I will share it with you," and the editor's marginal note says that "ma" in the current text is written as "mi," and this character in the original manuscript was a combination of the left "ma" radical and the right "ma" character, so it is recorded as is without alteration. The Hexagram of Xiaoguo is missing. The Hexagram of Ji Ji. Lu's note says that the Kan and Li trigrams are located in the positions of Zi and Wu respectively, with water above and fire below, their natures are interacting yet opposing, and they are not separated from each other, so it is called Ji Ji. The Hexagram of Wei Ji. Lu's note says that the fire of Li rises upward and the water of Kan flows downward, the two trigrams cannot meet, each belonging to yin and yang respectively, so it is called Wei Ji. Using Zi and Wu to determine Kan and Li is the usual method in the study of Najia and the theory of爻辰.

鼓之以雷霆。鼔，鼔動也。六爻之動，三極之道也。極，至也。天有陰陽二氣，地有剛柔二性，人有仁義二行。六爻之動，法乎此也。凡三才極至之道也。初四下極，二五中極，三上上極也。是故君子所居而安者，易之序也。序，象也。辯吉凶者，存乎辭。吉凶之兆見乎爻象。夫乾，其靜也顓今作專。子曰，勞而不伐，有功而不置今作徳，厚之至也。野容誨淫野今作冶，野，言妖。野容儀，教誨淫佚也。

What follows are Lu Ji's notes on the various chapters of the Appended Statements. 'Drum them with thunder and lightning': Lu notes: 'drum' means to set in motion. 'The movement of the six lines is the way of the three extremes': Lu notes: 'extreme' means the utmost. Heaven has the two qi of yin and yang, earth has the two natures of the firm and the yielding, man has the two conducts of humaneness and righteousness; the changes of the six lines take their law from this: this is the way of the three powers at their utmost. The concrete allotment is: the first line and the fourth are the lower extreme, the second and the fifth the middle extreme, the third and the top the upper extreme. 'Therefore what the gentleman dwells in and is at rest in is the sequence of the Changes': Lu notes: 'sequence' means the image. 'Those who distinguish the auspicious and the inauspicious reside in the statements': Lu notes: the signs of the auspicious and the inauspicious appear in the line-images. The next item preserves only the text of the classic, 'as for Qian, in its stillness it is dedicated', the compiler noting that '颛' is in the present text '专'. Another item preserves only the text, 'the Master said: to labour and not boast, to have merit and not set it down, is the utmost of thickness', the compiler noting that '置' is in the present text '德'. 'A wild manner teaches licence': the compiler notes that '野' is in the present text '冶'; Lu notes: 'wild' means alluring; an alluring look and bearing is precisely teaching people licence.

凡三百有六十當期之日。日月十二，交會積三百五十四日，有竒為一會。今雲三百六十，當期則入十三月六日也。十三月為一期，故云當期之日也。是故四營而成易。分而為二以象兩一營也。掛一以象三，二營也。揲之以四，以象四時，三營也。歸竒於扐，以象閏四營也。謂四度營為方成易之一爻者也。以動者尚其變。變為爻之變化，當議之而後動矣。

'In all, three hundred and sixty, matching the days of a year': Lu Ji notes: sun and moon meet twelve times in a year, amounting to three hundred and fifty-four days, and with a remainder they make one meeting; now it says three hundred and sixty, and to match a full year one must go on to the sixth day of the thirteenth month. Thirteen months make one period, so it says 'matching the days of a year'—this is to explain, by the difference between the synodic month and the tropical year, why the numbers of the Qian and Kun yarrow-counts are three hundred and sixty. 'Therefore four operations complete the Changes': Lu notes: dividing the yarrow stalks into two to image the two modes is the first operation; hanging one to image the three powers is the second; counting them by fours to image the four seasons is the third; placing the remainder between the fingers to image the intercalary month is the fourth. That is to say, it takes four procedures to accomplish one line of the Changes. 'Those who act by it honour its change': Lu notes: 'change' is the change of the line; one should first deliberate and then act.

夫易開物成務。開物，謂庖犧引伸八卦，重以為六十四，觸長爻策至於萬一千五百二十，以當萬物之數，故曰開物。聖人觀象而制網罟，耒耜之屬，以成天下之務，故曰成務也。六爻之義，易以工今作貢。退藏於宻。受蓍□之報應，決而退藏之於心也。是興神物，以前民用。神物，蓍也。聖人興蓍以別吉凶，先民而用之，民皆從焉，故曰以前民用也。

'The Changes open things and complete tasks': Lu Ji notes: so-called opening things means that Fuxi extended the eight trigrams, doubled them to make the sixty-four hexagrams, and by touching kind and inferring brought the number of line-counts to eleven thousand five hundred and twenty, precisely matching the number of the ten thousand things, so it says opening things; the sage observed the hexagram-images and made such implements as nets and traps, ploughs and ploughshares, to accomplish the tasks of all under heaven, so it says completing tasks. The 'eleven thousand five hundred and twenty' comes from the Appended Statements, and is the total of the yarrow-counts of the two parts, Qian and Kun. The next item preserves only the text of the classic, 'the meaning of the six lines: the Changes thereby offers', the compiler's interlinear note saying that '工' is in the present text '贡'. 'Withdrawing, one stores it in the secret': Lu notes: one receives the response reported by the yarrow; here the base text has a missing character, recorded as 'receiving the ☐ response of the yarrow'; after deciding, one withdraws and stores it in the heart. 'This is to raise up the spirit-thing, in order to go before the people's use': Lu notes: the spirit-thing means the yarrow. The sage raised up the yarrow to distinguish the auspicious and the inauspicious, used it before the people, and the people all followed him, so it says 'in order to go before the people's use'.

以神明其徳夫。聖人以蓍能逆知吉凶，除害就利，清潔其身，故曰以此齋戒也。吉而後行，舉不違失，其徳富盛，見稱神明，故曰神明其徳也。利用出入，民咸用之，謂之神。聖人制器以周民用，用之不遺，故曰利用出入也。民皆用之而不知所由來，故謂之神也。天地變化，聖人效之。天有晝夜四時變化之道，聖人設三百八十四爻以效之矣。變而通之以盡利。變三百八十四爻，使相交通以盡天下之利。舉而措之，天下之民謂之事業。變通盡利，觀象制器，舉而措之於天下，民咸用之以為事業。

'Thereby making numinous and bright his virtue': Lu Ji notes: by the yarrow the sage can know in advance the auspicious and the inauspicious, remove harm and go toward benefit, and also make his own person clean, so the Appended Statements says 'thereby one fasts and is on guard'; one first obtains the auspicious by divination and then acts, and the measures will not come to going against; his virtue is rich, thick, and ample, and people call it numinous and bright, so it says 'making numinous and bright his virtue'. 'Beneficial for going out and coming in; the people all use it: this is called spirit': Lu notes: the sage makes implements to complete the people's use, and in using them nothing is left out, so it says beneficial for going out and coming in; the people all use it and do not know where it comes from, so it is called spirit. 'The changes of heaven and earth the sage imitates': Lu notes: heaven has the way of the changes of day and night and the four seasons; the sage set up three hundred and eighty-four lines to imitate it—sixty-four hexagrams, each of six lines, make three hundred and eighty-four. 'Changing and opening them, thereby to exhaust benefit': Lu notes: one changes these three hundred and eighty-four lines and lets them run through one another, so as to exhaust the benefit of all under heaven. 'Raising them and setting them among the people of all under heaven is called an enterprise': Lu notes: one changes and opens and exhausts the benefit, observes the image and makes implements, raises them and puts them into practice under heaven; the people all use them, and this becomes an enterprise.

擬諸其形容，象其物宜，是故謂之象。此明說立象盡意，設卦盡情偽之意也。極天下之賾者，存乎卦。言卦象極盡天下之深情也。天地之道貞觀者也。言天地正可以觀瞻為道也。日月之道貞明者也。言日月正以明照為道矣。夫坤妥今作隤，然示人簡矣。何以聚人曰財。人非財不聚，故聖人觀象制器，備物盡利以業萬民，而聚之也。葢取聚人之本矣。觀鳥獸之文。謂朱鳥，白虎，蒼龍，玄武。四方二十八宿，經緯之文。斵木為耜。耜，耒下耓也，廣五寸。

'Likening them to their forms and appearances, imaging what is fitting to the things: therefore they are called images': Lu Ji notes: this makes clear the meaning of setting up images to exhaust the intent, and of setting hexagrams to exhaust feeling and falsehood. 'What exhausts the hidden of all under heaven resides in the hexagram': Lu notes: it means that the hexagram-image can exhaust the deep feelings of all under heaven. 'The way of heaven and earth is what is correctly to be looked upon': Lu notes: it means that heaven and earth, by being correct and available to be looked upon, are a way. 'The way of sun and moon is what is correctly bright': Lu notes: it means that sun and moon, by being correct and shining, are a way. The next item preserves only the text of the classic, 'as for Kun, it shows people the simple, fallen at ease', the compiler's interlinear note saying that '妥' is in the present text '隤'. 'Whereby does one gather people? By wealth': Lu notes: without goods people cannot be gathered, so the sage observed the image and made implements, prepared things and exhausted their use, to give the ten thousand people an occupation, and thereby gathered them; this is probably the root of gathering people. 'Observing the patterns of birds and beasts': Lu notes: it means the four images, the Vermillion Bird, the White Tiger, the Azure Dragon, and the Dark Warrior, that is, the crossed patterns of the twenty-eight lodges of the four quarters—he does not take the birds and beasts on the ground, but goes straight to the star-lodges in heaven as the 'patterns of birds and beasts', precisely the reading of the image-and-number school. 'Hewing wood to make a ploughshare': Lu notes: the ploughshare is the share at the lower end of the plough, five inches wide.

易窮則變，變則通，通則久，是以自天佑之，吉無不利。陰窮則變為陽，陽窮則變為陰，天之道也。庖犧作網罟，教民取禽獸，以充民食。民眾獸少，其道窮，則神農教布殖以變之，此窮變之大要也。窮則變，變則通，與天終始，故可久民得其用，故無所不利也。既辱且危，死期將至。妻其可得見邪。六三從困辱之象，易之大過為棺槨死之象，故曰死期將至。妻不可得見也。道有變動，故曰爻。天道有晝夜日月之變，地道有剛柔燥溼之變，人道有行止動靜吉凶善惡之變。聖人設爻以效三者之變動，故謂之爻者也。

'The Changes, when exhausted, change; having changed, they open; having opened, they last; therefore they are blessed from heaven, auspicious, nothing unfavourable': Lu Ji notes: when yin reaches its extreme it changes to yang, when yang reaches its extreme it changes to yin: this is the way of heaven. Fuxi made nets and traps and taught the people to take birds and beasts to fill their food; later people were many and beasts few, and that road came to its end, so Shennong taught sowing and planting to change it: this is the great outline of 'exhausted, then change'. When exhausted they change, when changed they open, ending and beginning with the way of heaven, so they can last; the people obtain their use, so there is nothing unfavourable. 'Already shamed and in danger, the time of death is about to arrive; can the wife still be seen?': Lu notes: this is the image of confinement and shame in which six in the third of the Kun hexagram (困) sits; six in the third changes and goes to Daguo; Daguo has the image of a coffin, governing death, so it says the time of death is about to arrive and the wife cannot be seen—taking the image from the hexagram that the present hexagram changes into is the method of the 'going-to hexagram' (之卦), commonly used by the image-and-number school. 'The way has movement and change, therefore it is called a line': Lu notes: the way of heaven has the changes of day and night, sun and moon; the way of earth has the changes of the firm and the yielding, the dry and the wet; the way of man has the changes of going and stopping, movement and stillness, the auspicious and the inauspicious, good and evil; the sage set up the lines to imitate the movements and changes of these three, so they are called lines.

危者使平。文王在紂世有危亡之患，故於易辭多趨危亡求自免。濟建成王業，故易爻辭危者使平，以象其事。否卦九五，其亡其亡，繫于苞桑之屬是也。易者使傾。易，平易也。紂安其位，自謂平易，而反傾覆。故易爻辭，易者使傾，以象其事。明夷上六，初登于天，後入于地之屬是也。水火不相射。射，音亦厭也。帝出乎震。安為動主，靜為躁君。

'The endangered he makes level': Lu Ji notes: King Wen, living in the age of King Zhou, had the worry of danger and perishing, so in the statements of the Changes he often speaks from the place of danger and perishing in order to seek to save himself; later he accomplished the kingly work, so in the line statements 'the endangered he makes level' is precisely taking its image from his affair. The sort of thing in Pi, nine in the fifth, 'it will perish, it will perish, tied to a mulberry clump', is this. 'The easy he makes to topple': Lu notes: 'yi' means level and easy. Zhou sat at ease in his place, thought himself level and easy and without affair, and instead toppled; so in the line statements 'the easy he makes to topple' also takes its image from this affair. The sort of thing in Mingyi, six at the top, 'first climbing to heaven, later entering the earth', is this. These two items tie the wording of the Appended Statements directly to the historical affairs of King Wen and Zhou, a common practice of Han men in speaking of the Changes. 'Water and fire do not shoot at each other': Lu notes: 'she' is read like 'yi', and means to dislike. 'The lord issues from Zhen': Lu notes: stillness is the master of restlessness—governing movement by stillness, so though the lord issues from the direction of Zhen's movement, he in fact takes stillness as his root.

乾為首，為君，為父。乾為首也，乾象堅剛，天地之尊，故為君父。坤為腹，為母。坤順容於物。乾為馬，為龍。天行運轉不息。為阪生，阪當作反。為風。風，土氣也，巽坤之所生，故為風。亦取靜於本而動於末也。為矯輮漢讀為扭挼二音。輮讀為柔。為小石。艮，剛卦之小，故為小石者也。訟必有眾起，故受之以師。師者，眾也。丈人者，聖人也。帥師未必聖人，若漢髙祖、光武應此義也。明夷誅也。誅，傷也。

What follows are notes explaining the Remarks on the Trigrams and the Sequence of the Hexagrams. 'Qian is the head, is the ruler, is the father': Lu Ji notes: Qian is the head; the image of Qian is hard and firm, the most honoured between heaven and earth, so it is ruler and father. 'Kun is the belly, is the mother': Lu notes: Kun is yielding and compliant and can hold the ten thousand things. 'Qian is the horse, is the dragon': Lu notes: taking the sense of heaven's body turning without rest. 'It is slope-born': Lu notes: 'slope' should be 'reverse'. 'It is wind': Lu notes: wind is the qi of earth, born of Xun and Kun, so it is wind; it also takes the sense of the root being still and the tips moving. 'It is bending and twisting': the compiler's interlinear note says Han men read it as the two sounds niu and ruo; Lu notes: 'rou' is read as yielding. 'It is a small stone': Lu notes: Gen is the smaller among the firm hexagrams, so it takes the image of a small stone. The Sequence, 'conflict is sure to raise a host, therefore it is received by Shi; Shi means a host': Lu notes: the 'elder' spoken of in the Shi hexagram is a sage; yet those who lead armies are not necessarily all sages; men like Gaozu of Han and Guangwu also count as answering this meaning. The Mixed Hexagrams, 'Mingyi is punishment': Lu notes: 'punishment' means to wound. The compilation of the whole book stops here; the items are scattered, yet the methods of Najia, line-and-branch, hexagram-qi, and the going-to hexagram are all to be seen in it, enough to glimpse Lu Ji's path of explaining the Changes by image and number.