Volume Nine, Lower Classic of Shang's Studies on the Zhou Changes

咸，亨，利貞，取女吉。咸，感也。《歸藏》曰欽，《詩·秦風》憂心欽欽，傳：思望之，心中欽欽然。蓋以少男仰求少女，有欽慕之情，是欽亦有感意，與咸義同。六爻皆有應，故曰亨利貞。少女在前，肖男在後，而艮為求，兌為悅，艮男求女，兌悅應之，得婚姻之正，故曰取女吉。

The Hexagram Statement of 《Xian》: It is smooth and favorable to maintain the correct course, and it is auspicious to marry a woman. Shang's interpretation says: "Xian" means response or感应. The 《Guicang》 refers to this hexagram as "Qin," and the 《Book of Songs·Qin Feng》 mentions "grief in the heart, Qin Qin," with Mao's commentary explaining it as thinking and longing, with the heart full of Qin Qin. A young man looks up to seek a young woman, with feelings of admiration, showing that "Qin" also implies response, and its meaning is the same as "Xian." This hexagram has all six lines with proper responses, hence it is smooth and favorable to maintain the correct course. The young woman (兑) is above and in front, while the young man (艮) is below and behind. "Gèn" signifies seeking, and "Duì" signifies joy. The young man seeks the young woman, and the young woman is joyful and responds, conforming to the proper way of marriage, hence it is auspicious to marry a woman.

象曰：咸，感也，柔上而剛下，二氣感應以相與，止而悅，男下女，是以亨利貞，取女吉也。天地感而萬物化生，聖人感人心而夫下和平。觀其所感，而天地萬物之情可見矣。否三上交，故曰柔上而剛下；山澤通氣，故曰二氣感應以相與；艮止兌悅，故曰止而悅；兌上艮下，故曰男下女。天地感即陰陽和合，和合則萬物生；聖人感人則仁義兼施，仁義俠（左水）則天下和平。蓋天地萬物之事，莫不由感而通，由感而成，而其所以能感之故則情也，故曰其情可見。

The Commentary on the Judgment says: "Xian" means mutualsympathetic response. The flexible line ascends while the strong line resides below; the two energies interact and correspond, thus being close and joyful. The man is in a lower position than the woman, hence it is smooth, beneficial, and proper. Heaven and earth mutuallysympathetic response, thus generating and nurturing all things. The sage moves the hearts of people, thus achieving peace under heaven. By observing the object ofsympathetic response, one can see the actual conditions of heaven, earth, and all things. Shang's interpretation says: This hexagram is formed by exchanging the third line and the top line of the "Po" hexagram, hence the flexible above and the strong below. Mountains and marshes communicate with each other, hence the mutual感应 of the two energies. "Gen" signifies stopping, and "Dui" signifies joy, hence stopping and joy. "Dui" is above and "Gen" is below, hence the man is below the woman. The mutual感应 of heaven and earth is the harmony of yin and yang. Harmony leads to the generation of all things. The sage moves the hearts of people, thus applying both benevolence and righteousness. When benevolence and righteousness are widespread, peace prevails under heaven. All things in heaven, earth, and the world are connected and formed through感应. They are able to感应 because of the root of "qing" (emotion). Hence, the emotion is visible.

象曰：山上有澤，咸。君子以虛受人。艮為君子，艮男下兌女，卑以自牧，故曰以虛受人。虞翻曰：否坤為虛，乾為人，今坤虛，三受上，故以虛受人。初六：咸其拇。拇，《釋文》馬、鄭、薛云：足大指也。初在下震交，故曰成其拇。咸及拇，則欲行矣。象曰：咸其拇，志在外也。外謂四，初應在四，初四相上下，則各當其位。足者人所恃以行，今感在拇，故欲之外也。巽伏故亦為志，見《易林》，亦失傳象也。

The Great Image Commentary says: Mountains above a marsh, this is the Hexagram of "Salty Taste," the gentleman takes it as a model, to be open-minded and receptive to others. Shang's interpretation says: "Gèn" represents the gentleman, Gèn is the male, and Dui is the female, the male is subdued beneath the female, being humble and self-cultivated, thus it is said to be open-minded and receptive to others. Yu Fan says: In the Hexagram of "Opposition," the Earth is emptiness, and the Heaven is the person, now the Earth is empty, the third line receives from the top line, thus it is called being open-minded and receptive to others. The first line's statement:sympathetic response to the big toe. Shang's interpretation says: "Mǔ," according to Ma Rong, Zheng Xuan, and Xue Yu as cited in "Classic Interpretations," refers to the big toe of the foot. The first line is in the position of the lower trigram Zhen, thus the感应 is on the big toe. When the感应 reaches the big toe, one desires to move. The Small Image Commentary says: "Salty taste on the big toe," the mind is outside. Shang's interpretation says: "Outside" refers to the ninth line in the fourth position. The first line's correct corresponding line is the fourth, the first and fourth lines are in opposite positions, thus they are in their proper places. The foot is what people rely on for walking, now the感应 is on the big toe, so one wishes to go outward. "Xun" represents concealment, thus there is also the image of "will," as seen in "Jiao's Forest of Changes," which is an extinct image.

六二：成其腓，凶，居吉。脛腓所恃以行，感及於腓，則欲前進，乃進而凶者何也？按二當位，承陽有應，與《革》二至上同，《革》六二征吉，此應與之同，然而凶者，以《革》義取革新，故利於徵；若《咸》則義取陰陽相感，感在五為正應，乃三四亦陽，二獨與五，則為三四所忌，故動凶居吉。此與《同人》六二同：二同於五，原為正應，然而吝者，以三四亦陽，二不與同而獨同五，則招忌也，其故皆在三四。近比三則失五之正應，遠應五則有近不承陽之嫌。《遁》六二蟄以牛革，亦戒其動，以《遁》二與《同人》《咸》體同也。

Line Statement of the Second Line: The response is felt in the calf of the leg, which is ominous, but if one remains settled, it is auspicious. Shang's interpretation: The calf of the leg is what one relies on for movement. When the response is felt in the calf, one wants to move forward, but moving forward is ominous. Why is this so? The Second Line is in the correct position, and it is supported by a yang line above, with a proper response. This is similar to the Second Line of the Hexagram of Revolution, which says "proceeding is auspicious." The relationship and response of this line are the same as that line, yet here it is ominous, because the meaning of the Hexagram of Revolution is about changing the old for the new, thus it is favorable for proceeding. The meaning of the Hexagram of Sincerity is about mutual感应 between yin and yang. The proper response is at the Fifth Line, but the Third and Fourth Lines are also yang. The Second Line here only responds to the Fifth Line, thus it is disliked by the Third and Fourth Lines. Therefore, movement is ominous, while settling is auspicious. This is similar to the Second Line of the Hexagram of Fellowship: the Second and Fifth Lines are naturally in a proper response, yet it says "difficulty." This is also because the Third and Fourth Lines are yang, and the Second Line does not align with them but only aligns with the Fifth Line, thus it is disliked. The root of the problem lies in the Third and Fourth Lines. Being close to the Third Line causes the loss of the proper response with the Fifth Line, while being distant from the Fifth Line raises suspicion of not supporting yang nearby. The Second Line of the Hexagram of Retreat says "to hold on with a yellow ox hide," which also warns against reckless movement, because the situation of the Second Line in the Hexagram of Retreat is similar to that in the Hexagrams of Fellowship and Sincerity.

腓，《說文》脛端（左月）也。喘（左月），《說文》腓腸也。段玉裁云：腓腸謂脛骨後之肉，腫之言肥，似中有腸者，故曰腓腸。按段釋腓腸，至為明晰，即今俗所謂腿肚也。《莊子·天下篇》禹腓無跋（左月），注：跋（左月），細毛也，腓因勞受摩揩，故跋（左月）不生。然則腓為脛肚明矣。人之行恃脛，感及於脛，必前進矣，進則有咎，故曰凶；居則不動而承陽，故曰居吉。此爻凶義，鮮有詳其故者。崔憬謂二應五，失艮止義；惠棟謂二比三，失五正應，義皆未備。

"The term '腓' is explained in the 'Shuo Wen' as the flesh at the end of the leg; '腨' is said to be the same as '腓肠'. Zhu Yucai explains that '腓肠' refers to the flesh behind the tibia, which becomes swollen and thick, appearing as if it contains intestines, hence the name '腓肠'. Shang's commentary states that Zhu's explanation is the clearest, referring to what is commonly known today as the calf of the leg. The 'Zhuangzi·Tianxia' mentions that Yu the Great had '腓无胈', with the note that '胈' refers to fine hair, and the calf, due to frequent friction from labor, does not grow fine hair. This clearly shows that '腓' refers to the calf. Since walking depends on the calf, sensing the calf implies movement, and movement leads to misfortune, hence the ominous nature of this line. If one remains still and receives the yang line above, it is considered auspicious. The specific reason for the ominous nature of this line is rarely clearly explained. Cui Jing says that the second line does not correspond with the fifth, losing the meaning of 'Geng' (mountain) which signifies stillness; Hui Dong says that the second line is in harmony with the third, losing the proper correspondence with the fifth. Both explanations are incomplete."

象曰：雖凶居吉，順不害也。二承陽有應，當位，本無凶理，象辭恐人生疑，故釋其故。言爻辭雖云動凶居吉，然陰順陽為天職，六二但上承諸陽，亦無害也。傳意似重近取，不必遠應也。翼經之大，莫過於是。

The Small Image Commentary says: Although it is凶, if one remains in a safe position it becomes吉利, because being柔顺 will not lead to harm. Shang's interpretation says: The second line is above a yang line and has a proper correspondence, and its position is appropriate, so there should be no reason for it to be凶. The image commentary fears that people may doubt, so it specially explains the reason. The meaning is that the line statement says that movement leads to凶 and staying leads to吉利, but the nature of being阴 and柔 to follow the yang is its heavenly duty. As long as the second line follows and supports the yang lines above, there will be no harm. The meaning of the commentary seems to place more emphasis on close correspondence rather than distant proper correspondence. The commentary's ability to support the classic text is nowhere more clear than in this case.

九三：咸其股，執其隨，往吝。巽為股，股在腓上，故咸及於股。陽遇陽則窒，上雖有應，不能往也，往則為四五所忌而吝生矣。若初二則隨三者也，三下履重陰，止於是可矣。執者止也，止於三下比於陰，不必前進，否則吝窮也。象曰：咸其股，亦不處也，志在隨人，所執下也。股所以行，故曰不處。巽為志，乾為人，言初二志在隨三，故三之所執，宜於下也。

The third line statement says: Thesympathetic response reaches the thigh, holding on to the person one follows, going forward would result in difficulty. Shang's interpretation says: "Xun" represents the thigh, the thigh is above the calf, so the感应 rises to the thigh. Yang meets Yang and becomes blocked, although the top line is in harmony with it, it cannot move away; once it moves, it is obstructed by the fourth and fifth lines, thus difficulty arises. As for the first and second lines, they follow the third line; the third line is standing on two yin lines below, so it is sufficient to stop here. "Hold on" means to stop, stopping below the third line and being close to the yin lines, there is no need to move forward, otherwise difficulty and hardship will arise. The small image commentary says: Feeling the thigh, also indicates unwillingness to stay in place, the mind is to follow others, what is held on to is below. Shang's interpretation says: The thigh is used for walking, so it says "not staying in place." "Xun" represents the will, "Qian" represents people, meaning the first and second lines' will is to follow the third line, so what the third line holds on to should be below.

九四：貞吉，悔亡，憧憧往來，朋從爾思。四不當位，承乘皆陽，故必貞定無為，方免悔吝。朋謂初，爾謂四，憧撞，思不定也。蓋四來應初則三害之，初往應四則二害之，故初四不宜動，宜靜。然阻愈多則感愈切，朋從爾思者，言初不得應陽，而慕思四也。象曰：貞吉悔亡，未感害也；憧憧往來，未光大也。下繫云：凡易之情，近而不相得則凶，或害之。三近四，二近初，然三亦陽，為四敵；二亦陰，為初敵，故二三為初四害。知其害而不動，害斯免矣，故曰未感害也。初四相上下成離，離為光大，今不能相上下，故曰未光大。

The line statement for the fourth line (Nine in the Fourth): If one maintains correctness, it will be auspicious, and regret will vanish. One's mind is unsettled and moves about, but friends will follow one's thoughts. Shang's interpretation says: Nine in the Fourth is not in the proper position. The ones above and below it are all yang lines, so it must remain firm and inactive to avoid regret. "Friend" refers to the first line (Six at the Beginning), and "you" refers to Nine in the Fourth. "Chong chong" describes a state of unsettled mind. Nine in the Fourth comes down to correspond with the first line, but the third line will hinder it. The first line goes up to correspond with Nine in the Fourth, but the second line will hinder it. Therefore, both the first and the fourth lines should remain still and not move. However, the more obstacles there are, the more intense the mutual influence becomes. "Friend follows your thoughts" means that the first line cannot correspond with a yang line, so it can only yearn and think of Nine in the Fourth. The small image commentary says: If one remains firm and correct, regret will vanish, because there has been no sense of harm. "Chong chong coming and going" means that it has not yet become great. Shang's interpretation says: The Great Treatise below says that all the situations expressed in the Book of Changes, if they are close but not harmonious, will be inauspicious, or if they are harmful. The third line is close to the fourth, and the second line is close to the first. However, the third line is also yang, becoming the opposing line to the fourth; the second line is also yin, becoming the opposing line to the first. Therefore, the second and third lines become the calamities of the first and fourth lines. Knowing that there is harm but not acting recklessly, the harm is avoided, so it is said that there has been no sense of harm. If the first and the fourth lines can each occupy the positions above and below each other, they would form the trigram "Li" (Fire), which represents greatness. Now they cannot be above and below each other, so it is said that it has not yet become great.

九五：咸其每（左月），無悔。每（左月），《說文》背脊肉也，鄭、虞同。伏艮，艮為背，故曰咸每（左月）。當位得中，故無悔。感居人身之上，故象曰志末，末謂上六。言九五感上，近而無阻，故無悔也。案五正應在二，而舍二感上者，以三四害之也。象曰：咸其每（左月），志末也。《大過》云本末弱，以上為末也。茲曰志末，謂五為三四所阻，不能應二，故舍遠取近，感在上也。

The line statement for the fifth line says: The response is felt in the back fat, without regret. Shang's interpretation: This character is explained in the Shuowen as referring to the fat on the back. Zheng Xuan and Yu Fan have the same interpretation. The trigram hidden beneath the fifth line is "Gen" (Mountain), which represents the back, so the response is felt in the back. The fifth line is in the proper position and is central, hence there is no regret. The response has reached the upper part of the body, so the small image commentary says "the will is at the end," where "end" refers to the sixth line at the top. This means the fifth line is responding to the sixth line at the top, which is close and unobstructed, hence there is no regret. According to the correct response of the fifth line, it should be with the second line, but it instead responds to the top line because the third and fourth lines are blocking the way in the middle. The small image commentary says: the response is felt in the back fat, the will is at the end. Shang's interpretation: The Great Exceeding says "both beginning and end are weak," indicating that the top line is considered the end. Here, saying "the will is at the end" means that the fifth line is blocked by the third and fourth lines, so it cannot respond to the second line, hence it seeks the nearby top line for response.

上六：咸其輔頰舌。虞翻曰：耳目之間日輔頰。按《說文》：輔，人頰車也；頰，面旁也。《左傳》輔車相依注：輔，輸頰；車，牙車。正義云：《易》以輔頰舌三進並言，則三物也。故鄭注《頤》卦云：頤者口車輔也，震動於下，又止於上，口車動而上，因輸嚼物以養人。

The Line Statement for the Sixth Line at the Top says: It relates to the jaw, the cheek, and the tongue. Yu Fan said: The area between the ear and the eye is called the cheek. Shang's commentary says: The "Shuowen" explains that "fu" refers to the cheek bone, and "jia" refers to the side of the face. The annotation to the "Zuo Zhuan" on "fu che xiang yi" says: "Fu" is the outer side of the jaw, and "che" is the jaw joint. Kong Yingda's commentary says: The "Zhou Yi" lists "fu," "jia," and "she" together, indicating they are three separate things. Therefore, Zheng Xuan's commentary on the "Yi" hexagram says: "Yi" refers to the mouth joint and the cheek, with movement below (Zhen) and stillness above (Gen), the mouth joint moving upward, relying on the cheek to chew food and nourish people.

按鄭所謂口車即牙車，牙車在口下，故曰動而上；輔在口上，故曰因輔嚼物以養人，是輔與牙車對，在口中，頰在面旁，居口上，與頤連，不過頰在上，頤在下，頰以骨言，頤以肉言耳，是輸與頰確為二物，又皆為口之屬，故與舌並言。兌為口為言，輔頰舌皆兌象，所用以言者，感及於是，則言說多矣，故象日滕口說。來矣鮮云：舌動則輔應而頰隨之，三者相須用事，皆所以言者，皆兌象。象曰：咸其輔頰舌，泰（左月）口說也。《釋文》：滕，達也。九家作乘，虞作滕，鄭云送也。按鄭、虞說非也。朱子云：滕與騰通，即達也。李鼎祚本正作騰。

Shang's note: Zheng Xuan said that "kouche" refers to the jaw, which is located below the mouth, hence the movement upward. The "fu" is located above the mouth, so it is used to chew food to nourish people. Thus, "fu" and the jaw are relative, both located in the mouth. The "jia" is on the side of the face, above the mouth, connected to the "yi", but the "jia" is bone and the "yi" is muscle. Therefore, "fu" and "jia" are indeed different, yet both belong to the mouth, so they are mentioned together with the tongue. "Dui" represents the mouth and speech; "fu", "jia", and "tong" are all images of "Dui", all used for speaking. When the感应 reaches here, speech increases, so the Small Image Commentary says "teng kou shuo". Lai Zhide said: when the tongue moves, the "fu" responds, and the "jia" also moves, the three work together, all used for speaking, all belong to the image of "Dui". The Small Image Commentary says: feeling the "fu", "jia", and "tong", the mouth and tongue are open. Shang's explanation: "Classic Interpretation" says "teng" means to be unobstructed; the nine families' version of the Book of Changes says "cheng", Yu Fan's version says "teng", and Zheng Xuan explains it as "song". Shang's note: Zheng Xuan's and Yu Fan's interpretations are incorrect. Zhu Xi said "teng" is the same as "teng", meaning to be unobstructed; Li Dingzuo's version correctly uses "teng".

恆，亨，無咎，利貞，利有攸往。咸男下女，男求女，得婚姻之正，夫婦之道既立，則長男在前，長女在後，夫倡婦隨，終身以之，故受之以恆。恆，常也，久也。卦六爻皆有應，故亨利貞。《易林》《大畜》之《未濟》云：乾坤利貞，乳生六子。利貞者和合也。二五應初承重陽，四臨重陰，故曰利有攸往。虞翻謂終變成益者是也。

The Hexagram of Constancy: It is smooth, without fault, favorable to maintain the correct position, and favorable to go somewhere. Shang's interpretation: The Hexagram of Mutual Attraction represents a man in a subordinate position to a woman, a man seeking a woman, conforming to the proper way of marriage; once the relationship between husband and wife is established, the eldest son (Zhen) is above and in front, and the eldest daughter (Xun) is below and behind, the husband leads and the wife follows, thus throughout life. Therefore, the "Sequence of Hexagrams" follows the Hexagram of Mutual Attraction with the Hexagram of Constancy. "Constancy" means constant and enduring. This hexagram has all six lines in proper response, hence it is smooth and favorable to maintain the correct position. The "Forest of Changes" by Jiao mentions in the section of "Great Accumulation" and "Non-Completion": "Heaven and Earth are favorable to maintain the correct position, giving birth to six sons," indicating that "favorable to maintain the correct position" refers to the harmonious union of yin and yang. The second line corresponds with the fifth, the first line is supported by two yin lines, and the fourth line is preceded by two yang lines, hence it is favorable to go somewhere. Yu Fan says that the Hexagram of Constancy ultimately transforms into the Hexagram of Gain, which is exactly this meaning.

象曰：恆，久也，剛上而柔下，雷風相與，巽而動，剛柔皆應，恆。恆亨無咎利貞，久於其道也。天地之道，恆久而不巳也。利有攸往，終則有始也。日月得天而能久照，四時變化而能大成，聖人久於其道而天下化成。觀其所恆，而天地萬物之情可見矣。泰初四相上下成震巽，故曰剛上而柔下。震巽相反覆，乾坤者震巽之終，震巽者乾坤之始，故曰終則有始。《蠱》先甲三日、後甲三日，終則有始，與此理同也。夫婦者天地也，天地之道，循環往來，恆久不已。乾為日，兌為月，日月久照，恆也。震為春，巽為夏，兌秋，乾冬，四時反覆，無有窮期，恆也。乾為聖人，震巽為草木，故曰萬物之情。

The Commentary on the Judgment says: "Heng" means constancy. The strong lines ascend and the yielding lines descend, thunder and wind are intimately connected, the yielding is gentle and can move, the strong and yielding each find their proper response, thus forming the hexagram of Heng. Heng is smooth, without blame, and beneficial to maintain constancy on the correct path. The way of heaven and earth is constant and unceasing. It is beneficial to go on a path because the end is the beginning. The sun and moon receive the assistance of heaven and thus can shine constantly, the four seasons change continuously and thus achieve great success, the sage maintains his way constantly and thus the world is cultivated and transformed. Observing what is constant, the true nature of heaven and earth and all things can be seen. Shang's interpretation says: this hexagram is formed by exchanging the first and fourth lines of the Tai hexagram, resulting in Zhen and Xun, thus indicating that the strong is above and the yielding is below. Zhen and Xun are opposite to each other, and Qian and Kun are the endpoints of Zhen and Xun, while Zhen and Xun are the starting points of Qian and Kun, thus indicating that the end leads to the beginning. The hexagram Gu also says "three days before the first day and three days after the first day," which is also an example of the end leading to the beginning, and the principle is the same. Husband and wife are heaven and earth, the way of heaven and earth is cyclical and unending, constant and unceasing. "Qian" represents the sun, "Dui" represents the moon, the sun and moon shining constantly is constancy. "Zhen" represents spring, "Xun" represents summer, "Dui" represents autumn, "Qian" represents winter, the four seasons cycle endlessly, which is also constancy. "Qian" represents the sage, "Zhen" and "Xun" represent grass and trees, thus illustrating the nature of all things.

象曰：雷風，恆。君子以立不易方。雷風同聲相應，可常可久，立而易方，則不恆矣，故此卦六爻皆有應，而爻辭皆不取。《論語》有勇知方，注：方，義也。立不易方，即蹈義而行，無或違也。

The Great Image Commentary says: Thunder and Wind, that is the Hexagram of Constancy, the gentleman takes it as a model, standing firm without changing his principles. Shang's interpretation says: Thunder and Wind respond to each other in harmony, they can be constant and enduring; if one has stood firm yet changes direction, then it is not constant. Therefore, although all six lines of this hexagram have proper correspondences, the line statements do not generally take the meaning of correspondence. The Analects contains the phrase "having courage and knowing the right way," with the commentary explaining that "the right way" is righteousness. "Standing firm without changing direction" means following the Way and righteousness without deviation.

初六：浚恆，貞凶，無攸利。浚，深也。虞翻云：乾初為淵故深。深謂陽。乃泰初陽上居四，四陰下居初，雖皆失位，而仍有相求相交之象，故曰浚恆。乃四陽為二三所隔，不能應初，若初則可應四也。惟初遠應四，則有近不承陽之嫌，為二三所忌，故曰貞凶，無攸利。貞，卜問。巽為利也。

The first line statement says: Deep inquiry into constancy leads to a凶 omen, there is no benefit. Shang's interpretation says: "Jun" means deep. Yu Fan says the first line of the Qian trigram is a deep pool, so it is called deep; "deep" refers to a yang line. This hexagram is formed by moving the yang line from the first position of the Tai hexagram to the fourth position, and moving the yin line from the fourth position to the first position. Although both lines are out of their proper positions, there is still an image of mutual seeking and interaction, so it is called "Jun Heng." However, the yang line at the fourth position is blocked by the second and third lines, so it cannot correspond with the first line. If we look from the first line's perspective, it can correspond with the fourth line. But since the first line is far from the fourth line, it seems to neglect the nearby yang line, which is disliked by the second and third lines, hence the omen of danger and no benefit. "Zhen" means to inquire. "Xun" represents benefit.

象曰：浚恆之凶，始求深也。又在初稱始，宜靜不宜動，況陰居初失位，尤不宜動，以違恆久之義。乃初六求與四陽交，不知二三之有厲，故曰浚恆之凶，始求深也，言凶之故在初六求與四交也。《焦氏易林》《泰》之《恆》云：蔡倏適楚，流連江濱，逾日歷月，思其後君。糞為草莽，故為蔡；叢木為楚，故震為楚。言初求四，故曰蔡侯適楚。乾為江海，初在乾下，故曰流連江濱。乾為日，兌為月，初前臨乾兌，故曰逾日歷月。初求交四，震為君，故曰思其後君。林詞專釋此爻與四之關係，而曰思其後君，釋求深之義，尤為明白，故本焦義以為詁。

The Small Image Commentary says: The reason why "Junneng" is ominous is because the initial effort is too deep. Shang's interpretation says: The first line is also called "beginning," which is suitable for stillness rather than movement; moreover, a yin line in the first position is already out of place, and even less suitable for movement, as movement would contradict the meaning of constancy. The line "Chilu" is inclined to seek union with the yang line "Jiu Si," but does not realize that the lines two and three are in between and pose a danger. Therefore, the ominous nature of "Junneng" arises from the initial seeking of union with the fourth line. The entry "Jiao's Forest of Changes" under "Tai" and "Heng" says: "Cai Hou went to Chu, lingering by the riverbank, for days and months, thinking of his later sovereign." The grassy wilderness symbolizes "Cai," so "Cai" is taken; the dense woods symbolize "Chu," so "Zhen" represents "Chu." This refers to the first line seeking the fourth line, hence "Cai Hou went to Chu." "Qian" represents rivers and seas, and the first line is below the "Qian" trigram, hence "lingering by the riverbank." "Qian" represents the sun, "Dui" represents the moon, and the first line faces "Qian" and "Dui" in front, hence "passing days and months." The first line seeking union with the fourth line, "Zhen" represents the sovereign, hence "thinking of his later sovereign." Jiao's Forest of Changes specifically explains the relationship between this line and the fourth line, using "thinking of his later sovereign" to highlight the meaning of "seeking deeply," making it particularly clear. Therefore, Shang's interpretation follows Jiao's meaning for the annotation.

丸二：悔亡。二不當位，前臨重陽，宜有悔矣。然得中位，進雖不利，中正自守，亦無悔也。象曰：九二悔亡，能久中也。乾為久，為三四所隔，不能應五，故久於中。卦以恆為義，久中故悔亡。

The line statement for the second line: Regret disappears. Shang's interpretation: Nine in the second is not in the correct position, facing two yin lines ahead, which should bring regret; however, it occupies the central position, so although advancing is not favorable, as long as it remains upright and proper, there will be no regret. The small image commentary says: The disappearance of regret for Nine in the second is due to its ability to remain in the central position for a long time. Shang's interpretation: "Qian" represents duration, and Nine in the second is separated by lines three and four, unable to respond to Nine in the fifth above, so it can only stay in the central position for a long time. The entire hexagram is based on the concept of "constant" (heng), and being able to remain in the central position for a long time leads to the disappearance of regret.

九三：不恆其德，或承之羞，貞吝。乾為德，三承乘皆陽，宜靜不宜動，倘亟於應上，而四或害之，則羞吝生矣，故貞吝也。又三居巽上，下橈，進退不定，亦不恆之一因也。象曰：不恆其德，無所容也。乾為德，承乘皆陽，進退有阻，故曰無所容。

The third line statement says: He cannot maintain his virtue, perhaps will suffer disgrace, and the divination indicates regret. Shang's interpretation says: "Qian" represents virtue. The third line is a yang line, which is supported above and supported below by other yang lines; it is suitable to be still rather than to move. If it urgently goes to respond to the sixth line at the top, the fourth line will hinder it, thus disgrace and regret arise, hence the statement of regret. Moreover, the third line is in the upper position of "Xun," which is flexible and downward curving, and its advance and retreat are uncertain, which is another reason for "not being constant." The small image commentary says: Not maintaining his virtue, he has nowhere to take refuge. Shang's interpretation says: "Qian" represents virtue. The third line is supported above and supported below by yang lines, and its advance and retreat are both obstructed, hence he has nowhere to take refuge.

九四：田無禽。震為田獵，禽，獲也。下應初，三二遇敵，受阻，故無禽。按四前臨重陰，例之《豫》四、《大壯》《解》《豐》，四爻皆吉，茲獨不吉者，卦以恆久貞定為義，故不取利往也。象曰：大非其位，安得禽也。乾為久，乾四失位，故曰久非其位。

The fourth line statement says: "Hunting in the fields but obtaining nothing." Shang's interpretation says: "Zhen" represents hunting, and "qin" means capturing. The ninth line at the fourth position responds to the sixth line at the beginning, but the third and second lines are opposing lines, blocking the way, hence obtaining nothing. According to the fourth line of the hexagram "Yu" and the fourth lines of "Da Zhuang," "Jie," and "Feng," these lines are all favorable, but this line is not favorable, because the hexagram "Heng" establishes its meaning based on constancy and firmness, so it does not take the meaning of "favorable to go forward." The small image commentary says: staying in an inappropriate position for a long time, how can there be capture? Shang's interpretation says: "Qian" represents duration, and the fourth line of the Qian trigram is out of position, so duration is not appropriate.

六五：恆其德，貞婦人吉，夫子凶。二五為夫婦，乾為德，六五下遇重陽，而正應在九二，通利極矣。陰得陽應，終身順承，故貞婦人吉。乾為夫，《大過》九二老夫得女妻是也，故夫子謂九二，六五者九二之婦，本為正應。然二著應五而從婦，則三四遇敵，橫犯災難，故曰夫子凶。《大畜》初九曰不犯災，《需》初九曰不犯難行，二卦初九皆有正應，而皆二三得敵，故日災難，茲與之同。象曰：婦人貞吉，從一而終也；夫子制義，從婦凶也。五應二，故曰從一而終。坤為義，乾制義者也。陽得陰應，本無足貴，況應之而犯災難乎？故曰從婦凶也。

The line statement for the fifth line says: To maintain one's virtue constantly, when consulted about a woman it brings good fortune, but for a man it brings misfortune. Shang's interpretation: Two and five form a couple, "Qian" represents virtue. The fifth line is under two strong yang lines, and it corresponds directly with nine two. It reaches the peak of smoothness; yin receives yang to correspond, and thus throughout life it is harmonious and submissive, so a woman is virtuous and fortunate. "Qian" represents the husband. In "Da Guo" nine one, it says "not encountering calamity," and in "Xu" nine one, it says "not encountering difficulty." These two lines have proper correspondence, but are obstructed by two and three, thus resulting in calamity. The situation here is similar. The small image commentary says: A woman's virtue brings good fortune because she remains faithful throughout her life; a man should decide according to righteousness, and following a woman brings misfortune. Shang's interpretation: Five corresponds with two, so it is faithful throughout. "Kun" represents righteousness, and "Qian" represents the regulation of righteousness. Yang receiving yin to correspond is not particularly valuable, and何况 the correspondence may even lead to calamity, so following the woman brings misfortune.

上六：振恆，凶。上六居動之極，故日振恆。振，起也。卦以貞靜恆久為義，振則於恆德或違，故凶。象曰：振恆在上，大無功也。交至上而窮，不宜動。大謂三，三欲應上，為四所隔，故曰大無功。

The line statement for the sixth line at the top: seeking constancy in a state of unrest, it is凶. Shang's interpretation: the sixth line is at the top of the shaking trigram, so it is said 'shaking in constancy.' 'Shaking' means movement. The entire hexagram defines constancy through uprightness and stillness. Once there is movement, it contradicts the virtue of constancy, hence it is凶. The small image commentary says: shaking in constancy is at the top position, the great one achieves no merit. Shang's interpretation: when the line reaches the top, it has reached its limit, and further movement is not appropriate. 'Great' refers to nine three, which wishes to respond to six six but is blocked by nine four, hence the great one achieves no merit.

遁，亨，小利貞。遁月卦闢未，陰長陽消，小人道長，君子道消。遁者退也，避也。當陰盛之時，勢須退避，否則其禍有不可勝言者矣，故曰遁亨。蓋以行止論，潔身退隱，否所謂儉德避難也，無所謂亨；而以禍福論，防微慮遠，不事王侯，高尚其事，優遊事外，亨莫亨於是矣，故傳日適而亨也。陽大陰小，小利貞者，謂宜貞定也。傳曰浸而長，謂陰方長，長則消陽，故利於靜，不利於動也。

The Hexagram of Retreat: It is smooth and favorable, small matters benefit from holding to the correct path. Shang's interpretation: The Hexagram of Retreat is the hexagram representing the sixth lunar month in the twelve hexagrams of the changing cycle, when the yin energy gradually increases and the yang energy gradually diminishes. The way of the petty person grows, while the way of the gentleman recedes. "Retreat" means to retreat and to avoid. When yin is dominant, one must retreat in terms of circumstances, otherwise calamity is inevitable. Therefore, retreat is smooth. If we consider action and inaction, retreating and preserving oneself is exactly what the Hexagram of Oppression refers to as "frugality in virtue to avoid calamity," which is not smooth. But if we consider fortune and misfortune, being vigilant and looking ahead, not serving the prince, and maintaining a lofty conduct, living calmly outside worldly affairs, there is no greater smoothness than this, hence the Commentary on the Judgment says "retreat and it is smooth." Yang is great, yin is small. "Small benefits from uprightness" means one should remain steadfast and unmoving. The Commentary on the Judgment says "gradually growing," indicating that yin energy is growing, and as it grows, it consumes yang. Therefore, it is favorable to be still rather than to move.

象曰：遁亨，通而亨也，剛當位而應，與時行也。小利貞，浸而長也。通之時義大矣哉。五當位，二有應，故曰剛當位而應。然而不能不適者，時不可也，故曰與時行。遁太早則有過情之譏，如嚴光是也；太晚則不能適，沉溺於小人之中，而不能免，如劉歆是也。行而宜之之謂義，故夫子極嘆時義之大。

The Commentary on the Judgment says: "Dun is prosperous, because after retreating one can achieve success; the strong line is in the proper position and has a corresponding line, and one acts in accordance with the situation. A small benefit comes from uprightness, because the Yin energy is gradually increasing. The meaning of the time for Dun is indeed great." Shang's interpretation says: "Nine in the Fifth is in the proper position, and Nine in the Second corresponds with it, so it is said that the strong line is in the proper position and has a corresponding line. However, one cannot avoid retreating, because the situation does not allow for staying, so it is said to act in accordance with the time. Retiring too early may invite criticism of artificiality, as was the case with Yan Guang of the Eastern Han dynasty; retreating too late means one cannot retreat at all, and one becomes entangled among petty people and cannot escape, as was the case with Liu Xin." To act in a proper way is called "yi" (righteousness), so Confucius strongly praised the greatness of "the meaning of the time."

象曰：天下有山，遁。君子以遠小人，不惡而嚴。凡卦皆合上下卦以立名，乾健艮止，皆無退義，然而遁者，以乾與艮先後天皆居西北也。西北者幽潛無用之地，《太玄》謂曰冥，冥者明之藏也，故曰遁。乾為君子，遠遁在外，故曰遠小人。五應二，故曰不惡；然以有阻隔故，絕難為與，故曰不惡而嚴，蓋外不與絕，內實遠之也。

The Great Image Commentary says: Heaven over mountains is the hexagram of Retreat. The gentleman takes inspiration from it, keeping distance from petty people, not openly showing hatred but maintaining dignity. Shang's interpretation: All hexagrams are named based on the combination of the upper and lower trigrams. The trigram Qian represents strength and the trigram Gen represents stillness, neither of which inherently signify retreat. This hexagram is named Retreat because Qian and Gen are located in the Northwest in both the Earlier Heaven and Later Heaven arrangements. The Northwest is a secluded and useless place. Yang Xiong's "Ta Xuan" refers to it as "ming," meaning the place where light is stored. Hence it is called Retreat. Qian represents the gentleman, who retreats far away, thus keeping distance from petty people. The line Nine in the Fifth corresponds with Six in the Second, hence it is said "not hatred." However, because there is an obstruction in between, it is extremely difficult for them to truly connect, hence it is said "not hatred but strict"—on the surface not cutting off completely, but internally keeping distance.

初六：通尾，厲，勿用有攸往。爻象初為尾，初往應四，則為同性之二所阻，危厲之道也，勿往則免矣。象曰：遁尾之厲，不往何災也。艮為止，在艮宜靜，勿用有攸往，則無災矣。

First Line Statement: Retreat and fall to the end, danger, do not go forward. Shang's interpretation: According to the principle of yao positions, the first line is the tail. The initial six (initial line) moving towards the fourth nine (fourth line) is blocked by the six two (second line), which is also yin, making it a dangerous path; not going forward avoids danger. Small Image Commentary says: Danger of retreating to the end, what disaster is there if not going forward? Shang's interpretation: "Gen" means stopping, being in the Gen structure should be quiet, not going forward, thus there is no disaster.

六二：執之用黃牛之革，莫之勝說。艮為牛，《無妄》六三或繫之牛是也。二居中，故曰黃牛。《易林》《既濟》之《艮》云伺候牛羊，《同人》之《無妄》云負牛上山，皆以艮為牛。艮為皮革。執，持也，止也，艮手為執。言二得中正，宜貞定自持，如牛革之固，莫能勝我而說去也，仍小利貞之怡（右下日）也。說，脫同。象曰：執用黃牛，固態也。巽為志，牛革者至固之物，持志如是，貞定極矣，故曰固志。固則不動，不動則不消陽。

The line statement for the second line says: Use yellow ox leather to bind it, no one can loosen it. Shang's interpretation says: "Gèn" represents an ox. The line "or tie up an ox" in "Wú Wàng" line six three is the same image. The second line is in the middle, and the central color is yellow, so it is called a yellow ox. "Jiao's Forest of Changes" in "Jì Jì" with "Gèn" says "waiting on cattle and sheep," and in "Tóng Rén" with "Wú Wàng" says "carrying an ox up the mountain," both use "Gèn" to represent an ox. This is an image not mentioned in "Shuō Guà." "Gèn" also represents leather. "Zhí" means to hold on or to stop, and since "Gèn" represents the hand, it also means to hold. This means that line six two, having attained the middle and correctness, should remain firm and self-restrained, like ox leather which is firm and unbreakable, no one can overcome it and make it loose. This still reflects the meaning of the hexagram statement "small benefit of uprightness." "Shuō" and "tuō" are the same. The small image commentary says: using a yellow ox to bind, is about a firm mind. Shang's interpretation says: "Xùn" represents the will, and ox leather is the most solid thing. Holding on to the will to this extent, uprightness is reached to the extreme, so it is said to be firm in will. Firmness does not move, and not moving does not consume yang energy.

九三：係遁，有疾厲，畜臣妾，吉。巽為繩，故曰繫；艮止故曰秒遁，言繫戀而不即遁也。巽為疾，三無應，往遇敵，故有疾厲。然下有重陰，承順於三，畜臣妾則吉，艮為臣妾也。巽疾象，詳《履》卦象傳注。艮臣象亦本《易林》，《易林》《決（無左）》之《坎》云君臣擾憂，坎中爻艮震，震為君，艮為臣，故曰君臣擾憂；又《兌》之《艮》云臣圍其君，亦以艮為臣。蓋艮為憧為僕，故為妾；臣與僕古不分，故為臣。由是知《蹇》六二曰王臣塞蹇，《小過》六二曰遇其巨，《易》原以艮為臣也。象曰：繫遭之厲，有疾憊也；畜臣妾吉，不可大事也。《廣韻》：憊，贏困也。陸績云：大事謂天下之政，潛道之世，但可居家，畜養臣妾，不可治國之大事。

The line statement for line nine in the third position says: Being bound up, unable to retreat, there is illness and danger; keeping servants and concubines brings good fortune. Shang's interpretation says: "Xun" represents a rope, hence "to bind"; "Gen" represents stopping, hence "to bind and retreat," meaning being attached and unable to leave immediately. "Xun" represents illness, and line nine has no proper response, so going forward meets an opposing force, hence there is illness and danger. However, there are two yin lines below that follow and support line three, so keeping servants and concubines brings good fortune, because "Gen" represents servants and concubines. The image of "Xun" representing illness is explained in the commentary on the "Lu" hexagram. "Gen" representing servants is based on "Jiao's Forest of Changes": In the "Gua" hexagram changing into "Kan," it says "the king and ministers are disturbed and anxious." The middle line of "Kan" produces "Gen" and "Zhen," "Zhen" representing the king and "Gen" representing the minister, hence the king and ministers are disturbed and anxious. In the "Dui" hexagram changing into "Gen," it says "the ministers surround the king," using "Gen" again to represent the minister. "Gen" represents servants and concubines, so it also represents concubines. Ministers and servants were not distinguished in ancient times, so it also represents ministers. Thus, in the "Jian" hexagram line six two, it says "the king's ministers are diligent," and in the "Xiao Guo" hexagram line six two, it says "meeting his ministers." The "Zhou Changes" originally uses "Gen" to represent ministers. The small image commentary says: The danger of being bound and retreating is due to illness and being in difficulty; the good fortune of keeping servants and concubines is because one is not capable of handling great affairs. Shang's interpretation says: The "Guangyun" says "bei" means weakness and difficulty. Lu Ji says: Great affairs refer to the state's affairs. In an era of withdrawal and retreat, one can only stay at home and keep servants and concubines, and cannot manage state affairs.

九四：好道，君子吉，小人否。虞翻曰：否乾為好為君子，陰稱小人。按四與初有應，好適者，外不與小人絕，當禍患未形之時，從容而遁也。然知幾其神，惟君子能之，若小人則繫戀而不去也，故曰君子吉，小人否。象曰：君子好遁，小人否也。

The fourth line statement says: Favoring retreat, the gentleman is auspicious, the petty person cannot do it. Shang's interpretation: Yu Fan said that in the hexagram of "Obstruction," the trigram Qian represents favor and the gentleman, while the yin lines are called petty persons. Shang notes: The line nine in the fourth position corresponds with the line six at the beginning, which is referred to as "favoring retreat." This means that on the surface, one does not decisively cut off from the petty person, but takes advantage of the fact that the calamity has not yet formed, and retreats calmly. However, foreseeing the subtle signs is a marvelous feat, which only the gentleman can accomplish; the petty person will only cling to their position and refuse to leave, hence the gentleman is auspicious and the petty person is not. The small image commentary says: The gentleman favors retreat, while the petty person cannot.

否，不也。小人不肯退，不退則凶咎至矣。九五：嘉道，貞吉。乾為嘉，五居中當位，下有應與，大必適也，乃識微慮遠，及此嘉時而遁焉，故曰貞吉。象曰：嘉遁貞吉，以王志也。五應在二，二互巽，巽為伏，故為心志。虞翻用卦變謂四與初巳易位，三已變成坎，上來之三，成坎為志。夫聖人觀象繫辭，其所用象，乃在三變之後，迂曲如此，使後學鳥從測之哉。

"Fu" means "not." The petty person refuses to retreat, and if he does not retreat, calamity will come. The line statement of the fifth line says: "A beautiful retreat, the divination is auspicious." Shang's interpretation says: "Qian" represents beauty, and the fifth line is in the central position, with a proper response below, so it is not necessary to retreat; however, it perceives things subtly and plans far ahead, so it retreats at this good opportunity, hence "Zhen Ji" (the divination is auspicious). The small image commentary says: "A beautiful retreat, the divination is auspicious," because the mind is upright. Shang's interpretation says: the proper response of the fifth line is the second line, and the second line generates "Xun," which represents concealment, hence the image of "mind." This is an unusual image not recorded in "Shuo Gu" but preserved in "Jiao's Forest of Changes." Yu Fan uses the theory of changing hexagrams, explaining that the fourth line and the first line have already exchanged positions, the third line has already transformed into "Kan," and the top line has come to occupy the third position, forming "Kan" as the mind. The sage observed the images and connected them with statements, and the images used are only revealed after three successive changes, making the path so circuitous that later learners have no way to guess.

上丸：肥通，無不利。子夏傳釋肥為饒裕，虞翻以乾盈為肥，皆非。《後漢·張衡傳》注引《淮南九師訓》云：飛而能適，吉孰大焉。《易林》《需》之《遁》云去如飛鴻，《節》之《道》云奮翅鼓翼，王弼云曾（左矢）繳不能及，並皆讀為飛。朱芹引姚寬《西溪叢語》云：肥古作琶，琶蜚同字，是肥即蜚，蜚即飛也。蓋上九居極上，高飛遠引，無有阻隔，故無不利。而乾為行，故為飛，乾九五飛龍在天是也。象曰：肥遁無不利，無所疑也。上九逍遙世外，故無所疑。

The line statement for the top nine (上九): High flight and distant retreat, there is no disadvantage. Shang's interpretation: Zi Xia's transmission interprets "肥" as rich and abundant, Yu Fan interprets "肥" as the fullness of Qian, but both are incorrect. The annotation of the "Later Han Book" on the "Zhang Heng Biography" cites the "Nine Teachers' Training" from the "Huainanzi" saying "to fly and be able to vanish, what greater good is there?" The "Jiao's Forest of Changes" in the "Need" hexagram to "Retreat" says "leaving like a flying wild goose," and in the "Restraint" hexagram to "Retreat" says "spreading wings and flapping them," Wang Bi says "the arrow and net cannot reach." All of these interpret "肥" as "飞." Zhu Qin cites Yao Kuan's "Xi Xi Cong Yu" saying: "In ancient times, '肥' had another form of writing, which is the same character as '蜚,' showing that '肥' is '蜚,' and '蜚' is '飞.'" The top nine is at the top of the entire hexagram, high flying and retreating far, without obstruction, so there is no disadvantage. Since "Qian" represents movement, it also represents flying. The line statement of the nine in the fifth position of Qian, "a dragon flying in the sky," is this image. The small image commentary says: "Fatty retreat brings no disadvantage, there is no doubt." Shang's interpretation: The top nine is leisurely in the world beyond, so there is no doubt.

大壯，利貞。《雜卦》云：大壯則止。《序卦》云：物不可以終壯，故授之以晉，晉者進也，是亦訓為止，故與進對文。《太玄》擬為格，格，阻也，亦止也；又擬為夷，夷，傷也，故馬、虞訓壯為傷。吳先生曰：傷則必止，二義相因。按《說卦》震為蕃，蕃有閉義，《詩》四國於蕃，箋云蕃屏也；《周禮》大司徒蕃樂，杜子春讀蕃為藩，謂藩閉樂器而不用，是蕃與藩通。大壯之所以為止者，以震藩屏閉在前也。四不應初，二三遇敵，下陽全為四所格阻，故日曰貞，言利於貞定不動也，即止也。不止則傷，四五兩爻是也。鄭、王謂為強盛，然注莫古於十翼，莫精於《太玄》，皆不如是言，疑非《易》本旨。

The Hexagram Statement of 《Da Zhuang》 says: It is advantageous to maintain the correct course. Shang's interpretation: The 《Za Gua Zhuan》 says, "Da Zhuang then stops," and the 《Xu Gua Zhuan》 says, "Things cannot remain strong for long, hence it is followed by 《Jin》," which means progress. Thus, "Zhuang" is also interpreted as "stop," and it is paired with "progress" to form a contrast. Yang Xiong's 《Tai Xuan》 uses "Ge" to correspond with 《Da Zhuang》; "Ge" means obstruction, which is also "stop." It also uses "Yi" to correspond, and "Yi" means injury, so Ma Rong and Yu Fan interpreted "Zhuang" as injury. Wu's comment says: Injury necessarily leads to stopping, and the two meanings depend on each other. Shang's note: The 《Shuo Gua》 says Zhen represents "Fan," which has the meaning of blockage. In the 《Book of Songs》, "Four countries are enclosed by Fan," and Zheng's annotation says Fan means barrier. In the 《Rites of Zhou》, the Grand Master of the People has "Fan music," and Du Zichun reads "Fan" as "Fan," meaning enclosing musical instruments and not using them. Thus, Fan and Fan are homophones. The reason 《Da Zhuang》 takes the meaning of "stop" is because the barrier and enclosure of Zhen are in front. The Nine in the Fourth does not correspond with the Nine at the Beginning, and the Second and Third lines are opposing, with all the Yang lines below being blocked by the Fourth line. Therefore, it says "It is advantageous to maintain the correct course," meaning it is advantageous to remain steady and not move, that is, to stop. If one does not stop, injury will occur, as shown by the Fourth and Fifth lines. Zheng Xuan and Wang Bi interpreted "Zhuang" as strength, but there is no interpretation of the 《Zhou Yi》 older than the Ten Wings, nor is there an interpretation more precise than the 《Tai Xuan》, and they do not say this, so it is likely not the original meaning of the 《Zhou Yi》.

象曰：大壯，大者壯也，剛以動，故壯。大壯利貞，大者正也，正大而大地之情可見矣。大謂乾，乾在下為四所格，故曰大者壯也。蓋剛宜靜，剛而動必多阻格，釋壯之故也。利貞者，貞定。《乾》象傳云：各正性命，保合太和，乃利貞。天地之情，本如是也。象曰：雷在天上，大壯。君子以非禮弗履。震為履，震履乾，即卑履尊，非禮甚矣。陸績曰：君子見卑履尊，終必消除，故以為戒。大象每相反為義，此其一也。

The Commentary on the Judgment says: Great Strength refers to the great being strong; it is strong and vigorous yet capable of movement, hence called strength. Great Strength is favorable for uprightness, meaning the great can maintain uprightness; uprightness and greatness reveal the true nature of heaven and earth. Shang's interpretation says: "Great" refers to Qian, which is in the lower trigram but is obstructed by Nine in the Fourth. Therefore, the great becomes strong. Strength should be still, but if strong and reckless in action, it will meet many obstructions, which explains the meaning of "strength." "Favorable for uprightness" means uprightness and stability. The Commentary on the Judgment of the Qian hexagram says, "Each establishes its own destiny, preserving the great harmony, thus it is favorable for uprightness," which is how the true nature of heaven and earth is naturally so. The Great Image Commentary says: Thunder above the sky is Great Strength; the gentleman takes it as a model, not proceeding on improper paths. Shang's interpretation says: "Zhen" means to tread, and Zhen treads on Qian, meaning the low treads on the high, which is highly improper. Lu Ji says: the gentleman sees the low treading on the high and knows that such behavior will eventually be eliminated, so he takes it as a warning. The Great Image Commentary often establishes its meaning from the opposite side, and this is one example.

初九：壯于趾，征凶，有年。初應在四，四震為趾，乃四亦陽，初失應，故壯于趾，言趾有所阻格也。又二三亦陽，陽遇陽則窒，故征凶。有二，《說文》：有，不宜有也，《春秋傳》日月有食之是也。依《說文》，有孚者，謂不宜於有也，即不孚也，正與象辭孚窮之義合也。象曰：壯于趾，其孚窮也。初得敵，無應，故孚窮。九二：貞吉。二得中，故貞吉，與下貞歷為對文。象曰：九二貞吉，以中也。二承乘皆陽，得敵，似不吉，然而言者，以位中也。

The line statement for the first line (Initial Nine): Strength is manifested in the toes, going to war is ominous, there is sincerity. Shang's interpretation: The initial nine has a proper correspondence with the fourth line, which belongs to the trigram Zhen (Thunder), "Zhen" represents the toes; however, the fourth line is also a yang line, so the initial nine loses its correspondence, hence the strength is in the toes, meaning the toes are obstructed. The second and third lines are also yang, yang meeting yang causes blockage, so going to war is ominous. The character "you" (have), according to the "Shuowen", means "not suitable to have", as in the "Spring and Autumn Annals" and its commentaries, "the sun and moon have an eclipse", which is this usage. According to the "Shuowen", "you fu" (having sincerity) means not suitable to have sincerity, that is, not sincere, which corresponds with the small image commentary "fu qiong" (sincerity exhausted). The small image commentary says: strength in the toes, meaning its sincerity is exhausted. Shang's interpretation: The initial nine is in the enemy body without proper correspondence, hence sincerity is exhausted. The line statement for the second line (Nine in the Second): The divination is auspicious. Shang's interpretation: The second nine is in the center, hence the divination is auspicious, contrasting with the third line's "zhen li" (caution and danger) in the following text. The small image commentary says: the second nine's auspiciousness is because it is in the center. Shang's interpretation: The second nine is above and below by yang lines, forming the enemy body, seemingly not auspicious, yet it is said to be auspicious because it is in the center.

九三：小人用壯，君子用罔，貞歷，羝羊觸藩，贏其角。三應在上，小人謂上六，君子謂三。乃上六慾應三，而為五所格，故用壯；三欲應上，而為四所格，故用罔。目，無也，言三上皆失其用也，故卜問歷。中爻互兌，故曰羊；四震為藩；贏，纏繞也；三在下卦之上，於交象為角。羝羊觸藩，贏其角者，言三欲上升，為九四所阻格，若羝羊以角觸藩而不能決，角反為藩所困也。荀爽以五為角，五為角，則藩已決矣，胡有贏象哉。震藩象，《易林》《乾》之《豐》云藩屏周衛，《同人》之《師》云藩屏湯武，皆以震為藩，而藩與蕃通，《說卦》震為蕃，即《易林》所本也。象曰：小人用壯，君子罔也。罔猶否也。

The line statement for the third line (nine in the third): small people use force, but the gentleman has no use for it, and the divination indicates danger; a ram collides with a fence and gets its horns entangled. Shang's interpretation says that the correct correspondence of nine in the third is six at the top. 'Small people' refers to six at the top, and 'gentleman' refers to nine in the third. Six at the top wishes to correspond with three, but is blocked by six in the fifth, so it uses force; nine in the third wishes to correspond with the top, but is blocked by nine in the fourth, so it is 'useless'. 'Wang' means nothing, indicating that both three and the top have lost their place of action, hence the danger in divination. The middle lines produce the trigram 'Dui', so it is said to be a ram; the fourth line belongs to 'Zhen', which represents a fence; 'ling' means entanglement; three is above the lower trigram, and according to the line image, it represents the horn. 'Diyang chu fan, ling qi jiao' means that nine in the third wishes to rise up, but is blocked by nine in the fourth, just like a ram using its horns to collide with a fence but unable to break through, and its horns are instead entangled by the fence. Xun Shuang takes the fifth line as the horn; if five were the horn, the fence would have already been broken through, and there would be no image of entangled horns. The image of a fence comes from 'Zhen', as stated in 'Jiao's Forest of Changes': 'Qian' changing to 'Feng' says 'fence and screen surrounding the guards', and 'Tongren' changing to 'Shi' says 'fence and screen of Tang and Wu', both taking 'Zhen' as a fence. Since 'fan' and 'fan' are homophones, 'Shuo Gu' says 'Zhen' represents 'fan', which is the basis for the image in 'Jiao's Forest of Changes'. The small image commentary says: small people use force, but the gentleman has no use. 'Wang' is like 'Pinyin'.

九四：貞吉，悔亡，藩決不贏，壯於大典之復（左車）。四前監重陰利往，故貞吉無悔，故藩決不贏。震為輿，為復（左車）。象曰尚往，是四往五也。四往五，震象毀，而兌為毀折，故曰壯于大輿之復（左車）。蓋卦以止為義，藩決則進，進則有傷，五爻喪羊相因而至矣。虞翻因不知復（左車）象，氦復（左車）為腹，非。

The fourth line statement says: The divination is auspicious, regret disappears, the fence is broken through and the horn is no longer entangled, strength is shown in the large cart's axle. Shang's interpretation says: Nine in the fourth is facing two yin lines in front, it is advantageous to go forward, so the divination is auspicious without regret, so the fence is broken and not entangled. "Zhen" represents the cart and also the axle. The small image commentary says "still going forward," meaning the fourth line moves to the fifth. When the fourth line moves to the fifth, the Zhen image is destroyed, and "Dui" represents destruction, so it says strength is shown in the large cart's axle. This hexagram is based on the concept of stopping, when the fence is broken, one must move forward, and moving forward leads to injury, so the凶 of "losing a sheep" in line six five follows closely. Yu Fan did not understand the image of the axle, and interpreted "輹" as "abdomen," which is wrong.

象曰：藩決不贏，尚往也。尚往言上進居五。六五：喪羊于易，無悔。兌為羊，兌毀折故喪羊。易，《釋文》云陸作場，謂疆場也，古文往往如是。《說文》場，田畔也。《詩·小雅》疆場有瓜。喪羊於場，言喪羊于田畔也。諸家作難易解，不辭甚矣。惟場象無有詳者，按震為阪，《說文》阪，坡也，山協也，《詩·小雅》瞻彼阪田，場既為田畔，疑仍震象也。然雖喪羊，下有應得中，亦無悔也。象曰：喪羊于易，位不當也。位不當，釋喪羊之故也。

The Small Image Commentary says: "The藩 is firm and not weak, indicating movement upward." Shang's interpretation: "Shangwang" means advancing and occupying the fifth position. The line statement of the sixth line: "Lost a sheep on the field boundary, without regret." Shang's interpretation: "Dui" represents a sheep, and "Dui" also signifies destruction, hence the loss of the sheep. The character "易" is said by the "Classic Interpretation" to be written as "埸" in Lu Deming's version, referring to the field boundary, a common ancient writing style. The "Shuowen" says "埸" means the edge of a field. The "Book of Songs, Xiao Ya" mentions "the field boundary has melons." "Lost a sheep on the field boundary" means losing a sheep at the edge of the field. Various interpretations taking it as "easy" or "difficulty" are utterly inappropriate. However, the symbolic meaning of "埸" has not been clearly explained. According to "Zhen" representing a slope, the "Shuowen" says a slope is a hillside or the side of a mountain, and the "Book of Songs, Xiao Ya" mentions "looking at the sloped field." Since "埸" is the edge of a field, it might still be associated with the image of "Zhen." Although a sheep was lost, there is a proper response below and it is in the central position, hence there is no regret. The Small Image Commentary says: "Lost a sheep on the easy path," indicating an improper position. Shang's interpretation: an improper position is the reason for losing the sheep.

上六：羝羊觸藩，不能退，不能遂，無攸利，艱則吉。卦全體兌象，故仍曰抵羊。上欲應三，而為五所格，五亦陰得故。三之藩在四，上之藩在五，故退欲來三，為藩所阻；進欲前往，而道已窮，故不能退不能遂。巽為利，巽伏故無攸利。然上當位有應，艱貞自守，終吉也。象曰：不能退，不能遂，不詳也；艱則吉，咎不長也。《釋文》云：詳，審也，審慎也。言不能退不能遂之故，咎在不慎審於始而妄動也。鄭、虞、王肅、王弼皆釋詳為善，於義亦通。三上為正應，終必和合，故曰咎不長。

The line statement for the sixth line at the top says: A ram collides with a fence, cannot retreat, cannot advance, there is no benefit, but if one remains in hardship and upholds correctness, it is auspicious. Shang's interpretation says: The entire hexagram has the image of Dui, so it still refers to the ram. The sixth line at the top wants to correspond with the third line, but is blocked by the fifth line, since the fifth line is also yin, forming an opposing line. The fence of the third line is at the fourth line, and the fence of the sixth line at the top is at the fifth line, so when it wants to retreat, it meets the fence at the third line; when it wants to advance, the path has already reached its end, hence it cannot retreat or proceed. "Xun" represents benefit, as Xun is hidden and not apparent, hence there is no benefit. However, the sixth line at the top is in the correct position and has a proper correspondence, so if one maintains correctness amidst hardship, it will ultimately be auspicious. The small image commentary says: Not being able to retreat and not being able to proceed is due to lack of caution; hardship brings auspiciousness, because the misfortune will not last long. Shang's interpretation says: The "Classic Interpretation" says "xiang" means careful and cautious. This refers to the reason for not being able to retreat and not being able to proceed, the misfortune comes from acting recklessly without careful consideration at the beginning. Zheng Xuan, Yu Fan, Wang Su, and Wang Bi all interpreted "xiang" as "shàn" (good), which is also reasonable in terms of meaning. The third line and the sixth line at the top are in proper correspondence, so they will eventually harmonize, hence the misfortune will not last long.

晉，康侯用錫馬蕃庶，晝日三接。離出地居五，南面響明而治，故曰晉。晉，進也。四諸侯。康，美也，大也，《禮·祭統》康周公注：康猶褒大也。《易林》《隨》之《恆》云：實沉參虛，封為康侯。康侯略如大侯，為諸侯之美稱，猶《詩》之言齊侯、言平王也。坎為馬，坤亦為馬；坎為眾，坤亦為眾，故曰用錫馬蕃庶。艮為手故曰錫，錫，予也，言康侯恭順，來賓于王，錫賁眾多。《雜卦》晉，晝也。艮為手，數三，離為晝，故曰晝日三接。侯果曰：《大行人》職曰，諸公三晌三問三勞，諸侯三響再問再勞，於男三晌一問一勞，即天子三接諸侯之禮也。晝日三接，即一晝三覿也。

The hexagram "Jin" (Progress) statement says: "The well-mannered prince was granted many carriages and horses, and was received three times in one day." Shang's interpretation says: "Li (Fire) arises on the earth and occupies the fifth position, facing south toward the light to govern the world, so it is called 'Jin,' which means progress. The fourth line represents the prince. 'Kang' means beauty and greatness. The commentary on 'The Rituals of the Rites' says 'Kang Zhou Gong' (Praise of Duke Zhou), where 'Kang' is like a term of praise. 'Jiao's Forest of Changes' in 'Sui' to 'Heng' says 'Shi Chen Can Xu, Feng Wei Kang Hou,' meaning 'Shi Chen' (a constellation) is empty, and he was granted the title of 'Kang Hou.' 'Kang Hou' is roughly equivalent to 'Da Hou,' a respectful title for a prince, similar to how the 'Book of Songs' refers to 'Qi Hou' and 'Ping Wang.' 'Kan' represents horses, and 'Kun' also represents horses. 'Kan' signifies many, and 'Kun' also signifies many, so it is said that many horses were granted. 'Gen' represents hands, so 'Xi' (grant) is used, meaning to give; it indicates that Kang Hou was respectful and came to pay homage to the Son of Heaven, receiving abundant rewards. 'Za Gua Zhuan' says 'Jin' is day. 'Gen' represents hands, its number is three, and 'Li' represents day, so it is said that the day had three meetings. Hou Guo says: 'The 'Rites of the Grand Officer' says that the reception of the dukes is three feasts, three inquiries, and three labors; the reception of the princes is three feasts, two inquiries, and two labors; the reception of the lesser dukes is three feasts, one inquiry, and one labor. This is the ceremony of the Son of Heaven receiving the princes three times a day. 'Day three meetings' means being received three times in one day."

象曰：晉，進也，明出地上，順而麗乎大明，柔進而上行，是以康候用錫馬蕃庶，晝日三接也。明出地上謂離，順謂坤，柔進而上行謂五，進居地上，得君位也。象曰：明出地上，晉。君子以自昭明德。

The Commentary on the Judgment says: "Jin" means advancement, with light emerging from the earth. The soft and yielding line adheres to the great brightness. The soft line advances and occupies a high position, thus the virtuous lord, Kanghou, receives many chariots and horses, and is received three times a day. Shang's interpretation says: "Light emerging from the earth" refers to Li, "order" refers to Kun, "the soft line advancing upward" refers to six five. Advancing and occupying the earth, he attains the position of the ruler. The Great Image Commentary says: Light emerging from the earth is the hexagram JIN. The gentleman takes it as a model, to manifest his own virtue.

二無應，進遇坎，坎為憂，故曰愁如。貞吉者，卜問吉也。介，虞、九家皆訓為大。坤為母，伏乾為大、為福、為王，故曰受茲介福于其王母。王母謂二，言二雖不宜於進，然得中為坤本位，必受此大福也。舊解謂王母指六五，六五亦陰，焉能福二，故夫陰遇陰、陽遇陽，敵應之理不明，說《易》無不誤也。象曰：受茲介福，以中正也。言二所以受茲大福者，以得此中正之位也。若六五則中而不正，各家因曰王母疑非五莫能當，豈知下坤方為母，伏乾故曰王母，《易林》此例甚多也。

This section explains the line statement of the sixth line of the hexagram "Jin" (Progress), which originally omitted this line statement. Shang's interpretation says: the sixth line has no proper correspondence and encounters the Kan (Water) trigram, which represents worry, hence "chou ru" (like sorrow). "Zhen ji" (a correct question yields good fortune) means that asking about this situation results in good fortune. "Jie" (intermediate) is interpreted by Yu Fan and the nine schools of the Book of Changes as meaning "great." "Kun" (Earth) represents a mother, and the hidden Qian (Heaven) within Kun represents "greatness," "good fortune," and "king," so it is said that the line receives this great good fortune from its "Wangmu" (Queen Mother). "Wangmu" refers to the hexagram's Kun trigram, which is where the second line is located. It means that although the second line is not suitable for advancement, it is in the middle and occupies the position of the original Kun, so it must receive this great good fortune. Old interpretations say "Wangmu" refers to the fifth line. However, the fifth line is also a yin line; how can it bestow good fortune upon the second line? Clearly, if one does not understand the principle that yin meets yin and yang meets yang, forming opposing forces, one will make mistakes in interpreting the Book of Changes. The small image commentary says: receiving this great good fortune is because of being in the middle and upright. Shang's interpretation says: this is because the second line occupies the middle and upright position. As for the fifth line, it is only in the middle but not upright. Therefore, various interpretations say "Wangmu" refers only to the fifth line. But why not recognize that the lower Kun is the mother, and since Kun contains the hidden Qian, it is called "Wangmu"? There are many such examples in the "Jiao's Forest of Changes."

六三：眾允悔亡。施氏於《升》初六允升，讀作允（A：左上山左下卒），就允（A）進也，此允字當與之同，故吳澄亦讀作眾允（A）。眾斯允（A）者眾進。坤為眾，言群陰並進而承陽也，故曰悔亡。虞翻詁允為信，朱子從之，與象傳上行之義不合。象曰：眾克之志，上行也。坎為志，上行謂進而承陽，即釋允（A）義，可見施讀合也。

The line statement for the third line (six in the third): When all people advance together, regret disappears. Shang's interpretation: Shi's explanation in the "Ascending" hexagram's first line "allowing ascent" reads the character "允" as another character (which originally had the form of a person above a soldier, but the original text is missing, only the shape is described), and that character means "advance." Therefore, the "允" here should be read the same way, so Wu Cheng also reads it as "all advancing." "众允" means all people advancing together. "Kun" represents the multitude, meaning that the yin lines are advancing together to support the yang line, hence regret disappears. Yu Fan interprets "允" as sincerity, and Zhu Xi follows this interpretation, which is inconsistent with the small image commentary's meaning of "ascending." The small image commentary says: the will of all people advancing is to go upward. Shang's interpretation: "Kan" represents will, and "ascending" refers to advancing to support the yang line, which is exactly explaining the character "进," showing that Shi's reading is correct.

九四：晉如鼠，貞厲。《釋文》子夏傳作碩鼠，雲五技鼠也，古蓋音同通用。艮為鼠，為穴，坎為盜。鼠居穴中，伺隙盜竊，晝伏夜動。四失位，前臨夷主，下擁萬民，而坎為隱伏，為畏怯，欲進居五，恐下民生疑；欲下應初，又恐失五位，進退周章，有類於碩鼠，故貞厲也。象曰：碩鼠貞厲，位不當也。位不當，即謂不中不正。

The fourth line statement says: Advancing is like a shishu, the divination indicates danger. Shang's interpretation: The Classic Interpretation says that Zi Xia's transmission reads 'shushu', which is a mouse with five skills. In ancient times, it was probably pronounced the same and used interchangeably. 'Gen' represents a mouse and a hole, 'Kan' represents theft. Mice live in holes, waiting for opportunities to steal. They hide during the day and move at night. The ninth in the fourth line is out of position, facing a formidable ruler ahead and a multitude of people below. 'Kan' represents concealment and fear. It wants to advance to the fifth position but fears the people below will doubt it; it wants to respond to the first six but fears losing the fifth position. It is hesitating forward and backward, very much like shushu, hence the divination indicates danger. The small image commentary says: Shushu zhen li, meaning the position is improper. Shang's interpretation: Position is improper, meaning it is neither in the center nor upright.

六五：悔亡，矢得勿恤，往吉，無不利。六五得尊位，晌明而治，故侮亡。矢，輔嗣作失，茲從孟、馬、荀、虞、鄭、王肅諸家。坎為矢，五坎體，是得矢也；坎為恤，得矢為用，故勿恤；承陽故往吉。坎矢象，《噬嗑》九四云得金矢，以坎為失也，《易林》常用，乃至漢末竟失傳。象曰：矢得勿恤，往有慶也。往遇陽，故曰往有慶。虞翻強命五變得乾為有慶，豈知六五上下皆乾陽，五居其中，往承陽故有慶；若五變為陽，往遇陽得敵，尚能有慶哉。

The line statement for the fifth line: regret disappears, obtaining an arrow without worry, going forward brings good fortune, and there is no disadvantage. Shang's interpretation says: the sixth line in the fifth position attains a position of honor, facing the light and governing the world, so regret disappears. In Wang Bi's version, the character '矢' (arrow) is written as '失' (loss), but here we follow the interpretations of Meng Xi, Ma Rong, Xun Shuang, Yu Fan, Zheng Xuan, and Wang Su. 'Kan' represents an arrow, and the fifth line is within the Kan structure, so it is obtaining an arrow; 'Kan' also represents concern, and obtaining an arrow is suitable for use, so it says 'no need to worry'. It is supported by a yang line above, so going forward brings good fortune. The image of 'Kan' as an arrow is also seen in the line statement of 'Shi He' (噬嗑) for the ninth line in the fourth position, which says 'obtaining a golden arrow'; this is also using 'Kan' as an arrow. The 'Jiao's Forest of Changes' often uses this, but it was lost by the end of the Han dynasty. The small image commentary says: obtaining an arrow without worry means going forward brings joy. Shang's interpretation says: meeting a yang line when going forward, so there is celebration. Yu Fan insists that the fifth line must change into Qian (Heaven) to bring celebration; but he does not realize that both above and below the sixth line in the fifth position are Qian yang lines, and the fifth line is in the middle, so going forward to support a yang line brings celebration. If the fifth line changes into a yang line, then meeting a yang line when going forward would result in an opposing structure, how could there be celebration?

上九：晉其角，維用伐邑，厲吉，無咎，貞吝。爻例上為角，故曰晉其角。坤為邑。《離》上九云王用出征，有嘉折首，是離有征伐象，蓋離為甲兵，故維用代色。然下應柔爻，故必振厲方吉元咎，以不全吉，故貞吝。象曰：維用伐邑，道未光也。離為光明，至上光將熄矣。夫王道大光，則無用征伐，用征伐必未光也。

The line statement for the top line (上九): Advancing to the tip, it can only be used to attack the city-state. Being in a dangerous and perilous situation, one must be cautious and fearful to achieve good fortune, without fault, but there is a sense of regret in divination. Shang's interpretation: According to the principle of line positions, the top line is at the tip, so it is said to advance to the tip. "Kun" represents the city-state. The line statement for the top line of the "Li" hexagram says, "The king uses it to go to war, with a good result of capturing the head." This shows that "Li" has the image of military action, because "Li" represents military forces, so it can only be used to attack the city-state. However, since it responds to a flexible line below, one must be vigorous, cautious, and fearful to achieve good fortune and without fault; because it is not entirely auspicious, there is a sense of regret in divination. The small image commentary says: Using it to attack the city-state, the way is not yet fully bright. Shang's interpretation: "Li" represents brightness, but when it reaches the top line, the brightness is about to fade. When the way of the king is greatly bright, there is no need for military action; if military action is taken, it must be because the way is not yet fully bright.