The Hexagram of Brightness Dimmed

明夷，利艱貞。鄭云：夷，傷也。日出地上，其明乃光，至其人地，明則傷矣。按二至四互坎，故曰艱；坤安故曰貞。利艱貞者，言當明夷之世，宜以艱苦貞定自守也。象曰：明入地中，明夷。內文明而外柔順，以蒙大難，文王以之。利艱貞，晦其明也。內難而能正其志，箕子以之。

The Hexagram Statement of Mingyi says: It is advantageous to maintain uprightness in hardship. Shang's interpretation: Zheng Xuan said that "yi" means injury. The sun appears on the earth, its brightness is revealed; but when it enters the earth, its brightness is injured. Shang notes: The second and fourth lines together form "Kan," which represents danger and difficulty, so it is said "jian" (hardship); "Kun" is characterized by peace and compliance, so it is said "zhen" (uprightness). "Li jian zhen" means that in the era of Mingyi, one should maintain uprightness through hardship. The Commentary on the Judgment says: When brightness enters the earth, that is Mingyi. The inner part is civilized and the outer part is gentle, thus suffering great difficulties. King Wen acted in this way. "Li jian zhen" means to conceal one's brightness; even when facing internal difficulties, one can maintain one's integrity, as Jizi did.

離文明，坤柔順，離內坤外，故曰內文明而外柔順。坎為難，故曰以蒙大難。坤為文，震為王，故曰文王。文王國羌里，幾經艱難，而後出之，故日以蒙大難。坤為黑，坎為隱伏，明伏地下，故曰晦其明。坎在下，故曰內難。坎為志為正，故曰內難而能正其志。震為子為箕，故曰箕子。《易林》《賁》之《屯》云：章甫薦履，箕子佯狂，以屯震為箕子也。箕子紂請父，故曰內難。紂囚箕子，箕子佯狂為奴，晦明不用，僅以身免，故曰箕子以之，以，用也。《易》凡於人名地名，無不從象生，除焦延壽外，無知此者。震箕象形，《易林》屢用。象曰：明入地中，明夷。君子以蒞眾，用晦而明。象曰：君子于行，義不食也。初潛龍勿用，況當明夷之世，方自晦之不暇，當然不得祿食也。

Shang's interpretation says: "Li" represents civilization, and "Kun" represents flexibility and compliance. Since "Li" is inside and "Kun" is outside, it is said that the inner part is civilized and the outer part is flexible and compliant. "Kan" represents difficulty, so it is said that one faces great difficulties in the state of confusion. "Kun" represents culture, and "Zhen" represents the king, so together they are called "Wen Wang" - King Wen was imprisoned in Youli, endured great hardships, and eventually escaped, so it is said that one faces great difficulties in the state of confusion. "Kun" represents blackness, and "Kan" represents concealment. Brightness is hidden underground, so it is said that brightness is obscured. Since "Kan" is in the lower trigram, it is said that there is difficulty within. "Kan" represents will and correctness, so it is said that there is difficulty within but one can correct one's will. "Zhen" represents the son and the basket, so it is said that "Jizi" (the basket man). In "Bian" of "Zun" in "Jiao's Forest of Changes," it says "Zhangfu Jianlv, Jizi Yangqiang," which uses "Zhen" in "Zun" to refer to Jizi. Jizi was the father of King Zhou, so it is said that there is difficulty within. King Zhou imprisoned Jizi, who pretended to be mad and served as a slave, concealing his wisdom and not using it, preserving only his life. Therefore, Jizi used this method. In "The Zhou Changes," all names of people and places arise from the trigrams. Except for Jiao Yanshou, no one understood this. The character "Zhen" resembles a basket, and "Jiao's Forest of Changes" often uses it. The Great Image says: brightness entering the earth is "Mingyi," the gentleman takes it as a model, when governing people, he uses concealment as a means, and thus reveals clarity. The Small Image says: the gentleman walks on the road, according to righteousness, he should not accept food and salary. Shang's interpretation says: the first line originally represents the hidden dragon that should not act, and especially in the time of Mingyi, one should even hide oneself, so of course one cannot accept salary and food.

六二：明夷于左股，用拯馬壯吉。《釋文》云：股，馬、王肅作般。孫堂云：般，盤之省，漢碑盤字常作股，股常作般，然則馬、王雖作般，義仍作股，漢時般、股通用不分也。互震為左，巽為股，巽伏不見，故曰夷于左股。三震為馬。拯，鄭云承也，子夏傳作升，仍音承。用拯馬壯吉者，言二承三，三陽，故壯吉也。舊解獨惠棟謂馬謂三，而謂三升二故壯，則又非。承者順，謂陰順陽，象釋曰順，即釋拯義也。象曰：六二之吉，順以則也。則者法也，陰以陽為則。順以則，謂陰順陽，釋拯馬之義也。乃舊解皆不知其所謂，故愈說愈晦。豈知象以解經，順即謂拯也。

The line statement for line six two says: Light is injured in the left leg, and a strong horse is used for rescue, which is auspicious. Shang's interpretation says: The Classic Interpretation says the character 'gu' was written as 'pan' by Ma Rong and Wang Su. Sun Tang says: 'Pan' is a simplified form of 'pan', and in Han dynasty inscriptions, the character 'pan' was often written as 'gu', and 'gu' was often written as 'pan'; thus, although Ma and Wang wrote 'pan', the meaning is still 'gu'. In the Han dynasty, 'pan' and 'gu' were used interchangeably. The interacting trigrams 'Zhen' represents the left, and 'Xun' represents the leg. 'Xun' is hidden and not apparent, so it is said that the injury is in the left leg. Line three belongs to 'Zhen', which represents a horse. 'Zhen' is said by Zheng Xuan to mean 'support', and in the transmission of Zi Xia, it is written as 'sheng', but the pronunciation is still the same as 'support'. 'Using a strong horse for rescue is auspicious' means that line six two supports line nine three. Nine three is a yang line, so it is strong and auspicious. Old interpretations only Hui Dong said the horse refers to line three, but he explained it as three rising to two, thus making it strong, which is wrong. 'Support' means 'smooth', referring to yin following yang. The small image commentary uses the word 'smooth' to explain, which is exactly explaining the meaning of 'rescue'. The small image commentary says: The reason line six two is auspicious is because it is flexible and follows the principle. Shang's interpretation says: 'Principle' refers to the law, and yin follows yang as the law. 'Smooth following the principle' refers to yin following yang, which is exactly explaining the meaning of 'rescue by a horse'. Old interpretations did not understand what it was talking about, and the explanations became more obscure. How could one know that the image commentary is used to explain the classics, and 'smooth' refers to 'rescue'.

九三：明夷於南，句狩，句得其大首，不可疾，句貞。三遇坤，坤為夜為黑，震為南。《左傳》成十六年，晉筮遇《復》曰南國戚（左足），以坤為國，震為南也。三南遇坤，故曰明夷於南。震為狩為大，坎為首為獲，故曰得其大首，言得其渠率也。《詩·大雅》吳天疾威，傳：疾猶急也。不可疾，言雖得其大首，不可持之過急也。貞謂宜安定也，疾與貞相對為義。舊讀疾貞連文，九家謂不可疾正，最為害理，獨項氏《玩辭》以貞自為句，與經義合。又舊讀以南狩連文，義亦不協。象曰：南狩之志，乃大得也。陽遇陰故大有得。

The line statement for the third line says: "Light is injured in the south" (the phrase "in the south" is taken as a separate sentence), "going out to hunt" ("shou" is taken as a separate sentence), "capturing their leader" (the following is taken as a separate sentence), "do not act too hastily," "consulting the oracle" ("zhen" is taken as a separate sentence). Shang's interpretation: The third line meets the earth trigram "Kun" above, "Kun" represents night and darkness, "Zhen" represents the south. In the "Zuo Zhuan" (Commentary of Zuo), in the sixteenth year of Chenggong, the people of Jin divined the hexagram "Fu" and the statement said, "the southern state is squeezed," which is taking "Kun" as the state and "Zhen" as the south. The third line moving south meets "Kun," thus indicating the夷 (barbarian) in the south. "Zhen" represents hunting and great things, "Kan" represents the head and capture, so it says "capturing the great head," meaning capturing the leader of the other side. The "Shijing" (Classic of Poetry) "Da Ya" has "the great heaven is fierce and swift," and Ma's commentary says: "fierce" is like "hasty." "Not being hasty" means even though the leader has been captured, one should not act too quickly. "Zhen" means to be stable, "ji" and "zhen" are contrasted in meaning. The old reading combined "ji zhen" into one sentence, and the Nine Schools of the I Ching interpreted it as "not being hasty and correct," which is harmful to the meaning. Only Xiang Anshi's "Zhou Yi Wan Ci" (Commentary on the Zhou Changes) took "zhen" as an independent sentence, which aligns with the meaning of the text. The old reading also combined "nan shou" into one sentence, which is not in harmony with the meaning. The small image commentary says: The heart of hunting to the south is to gain greatly. Shang's interpretation: Because a yang line meets a yin line, there is a great gain.

六四：入于左腹，獲明夷之心，于出門庭。震為左，坤為腹，為門庭，為心。四坤體，故曰人於左腹。坤閣故曰獲明珍之心于出門庭。震為出，言行至四人坤，悉明夷之故，正在於是也。四當位有應，故無吉凶。坤心之象，《益》九五云有孚惠心，心調二，二坤體也；又《益》九五象云大得志，志亦謂坤，故《易林》《需》之《否》云志如死灰，以坤為死為志。人第知坎為心志，不知坤亦為心志，故《易》辭多誤解。象曰：入于左腹，獲心意也。坤為心意，故曰獲心意。舊解多以三升五成坎為心意，穿鑿無理，不可從。

The line statement for the fourth line: entering the left abdomen, probing the heart of Mingyi, and stepping out from the gate. Shang's interpretation says: "Zhen" represents the left, "Kun" represents the abdomen, the gate, and the heart. The fourth line is within the body of Kun, so it says entering the left abdomen. "Kun" also represents a place of concealment, so it says obtaining the heart of Mingyi at the time of leaving the gate. "Zhen" represents movement, meaning that when reaching the fourth line, entering into Kun, the reason for Mingyi is fully understood. The fourth line is in the proper position and has a correct response, so the line statement does not mention fortune or misfortune. "Kun" represents the heart: in "Yi" nine five, it says "having sincerity and kindness in the heart," where the "heart" refers to the second line; the small image commentary of "Yi" nine five also says "greatly fulfilling one's will," where "will" also refers to Kun. Therefore, in "Jiao's Forest of Changes" "Xu" changing into "Pǐ," it says "will like dead ashes," which uses Kun to represent death and will. People only know that Kan represents heart and will, but do not know that Kun also represents heart and will, so many phrases in "The Zhou Changes" are misunderstood. The small image commentary says: entering the left abdomen is obtaining the mind. Shang's interpretation says: "Kun" represents the mind, so obtaining the mind. Old interpretations often use the third line rising to the fifth line to form Kan to explain the mind, which is forced and unreasonable, and should not be followed.

六五：箕子之明夷，利貞。震為箕子已見前。據《易林》，此箕子則孩子也。《決（左無）》之《中孚》云：道路不通，孩子心饋。以中孚互震為孩子。又《家人》之《龔》云：孩子貪餌。以伏震為孩子。又《損》之《大畜》云：嬰兒孩子，未有知識。以大畜上艮為嬰兒，互震為孩子。凡《易林》取象，無不本之《易》，《易》他處無孩子象也。

Sixth line five statement: Like Ji Zi, the light is injured, favorable to maintain correctness. Shang's interpretation: "Zhen" represents Ji Zi, which has already been discussed. According to the "Forest of Changes" by Jiao, the "Ji Zi" here actually refers to "child." In the transformation from "Gua" to "Zhong Fu," it says "the road is blocked, the child's mind is confused," using the hidden Zhen trigram as the child; in the transformation from "Jia Ren" to "Feng," it says "the child is greedy for bait," using the hidden Zhen trigram as the child; in the transformation from "Sun" to "Da Xu," it says "infant and child, without knowledge," using the upper trigram Gen of Da Xu as infant and the hidden Zhen trigram as child. All imagery in the "Forest of Changes" is based on the "Zhou Changes," but the "Zhou Changes" elsewhere does not have the image of "child," so this image can only come from this line of "Ming Yi."

宋吳械《韻補》云：古亥字音喜亦音其。按亥字既讀為其，則其字亦必讀為亥。《淮南子·時則訓》A （？）萁隧火，高誘注：萁讀為該備之該，即A（？） 該燧火也。真既讀為該，於是亥、孩、刻、亥（上草），與其、箕常通用。《書·微子》我舊雲刻子，《論衡》作我舊雲孩子，孩子謂紂，言久知其愚蒙昏饋（左　）也，是應為孩子而作刻子。《墨子·非攻篇》紂播棄黎老，賊誅孩子，是孩子即箕子。古之所謂誅，不盡是殺，賊誅孩子，即幽囚箕子也，是應為箕子而作孩子。

The Song dynasty scholar Wu Yu of the "Yun Bu" (Rhyme Supplement) said that the ancient character "亥" was pronounced like "喜" (xi), also like "其" (qi). Since "亥" can be read as "其", then "其" can also be read as "亥". The "Shi Ze Xun" (On the Timeliness of the Seasons) from the "Huainanzi" mentions "Cuan Qi Sui Huo", and Gao Yu's commentary says that "Qi" is read as "Gai" (the "Gai" in "Gai Bei"), which is "Gai Sui Huo". Since "亥" is read as "Gai", then the group of characters "亥, hai, ke, gai" can be used interchangeably with "qi" and "ji". The "Shu Shang" (Book of Documents) says "Wo Jiu Yun Ke Zi", and the "Lun Heng" (Discourses on the Balance) quotes it as "Wo Jiu Yun Hua Zi". "Hua Zi" refers to King Zhou, meaning that it was known from the beginning that he was foolish and confused. This shows that the original should have been "Hua Zi" but was written as "Ke Zi". The "Mozi" (Mo Tzu) in the "Fei Gong" (Against Warfare) says that King Zhou "Bo Qi Li Lao, Ze Zhu Hua Zi", where "Hua Zi" refers to Ji Zi. The ancient term "Zhu" was not always to kill; "Ze Zhu Hua Zi" means to imprison Ji Zi. Thus, the original should have been "Ji Zi" but was written as "Hua Zi".

故此處六五之箕子，漢趙賓又作亥（上草）茲。夫《墨子》以孩子作箕子，則《明夷》六五之箕子，《易林》作孩子，正與《墨子》合，與《論衡》同，孩子皆謂紂也。孩、箕、刻、亥（上草），皆非訛字，以音同古通用，猶盤桓之盤，或作盤，作盤（下木），作般，皆非訛字也。《易林》云：嬰兒孩子，未有知識。釋孩子之義也。六五天子位，孩子之明夷，謂紂昏蒙。惟其指紂，故象傳推及於文王箕子；不然，象傳之箕子，胡以無一異讀哉。故《易林》《垢（左女）》之《明夷》云：西戎為疾，幽君去室。《明夷》六五君位，坤黑，故曰幽君；坎為室，六五在坎外，故曰幽君去室。幽君即釋孩子之義。又《困》之《明夷》，邃態作云：蒙覆大臣。坤為雲，亦釋昏蒙之義。

Therefore, in this instance, the "Jizi" of line six in the fifth position, the Han dynasty scholar Zhao Bin wrote it as "Gai Zi." Since the "Mozi" wrote "Jizi" as "Hai Zi," the "Mingyi" line six in the fifth position's "Jizi" in the "Yilin" is written as "Hai Zi," which matches the "Mozi" and also agrees with the "Lunheng." These "Hai Zi" all refer to King Zhou. The forms "Hai," "Ji," "Ke," and "Gai" are not errors, but merely different pronunciations that were commonly used in ancient times, just as the character "Pan Huan" can be written as "Pan," "Pan," or "Ban," and these are not errors. The "Yilin" says, "Infant and child, without knowledge," which is explaining the meaning of "Hai Zi." Line six in the fifth position is the position of the Son of Heaven, and "Hai Zi's Mingyi" refers to King Zhou's darkness and confusion. Because it refers to King Zhou, the Image Commentary extends the meaning to King Wen and Jizi; otherwise, why would the Image Commentary's "Jizi" have no variant reading at all? Therefore, the "Yilin" in the "Gou" hexagram's "Mingyi" says, "Western Rong as illness, the hidden ruler leaves the palace." The "Mingyi" line six in the fifth position is the ruler's position, "Kun" represents black, so it is called the "hidden ruler"; "Kan" represents the palace, and since line six in the fifth position is outside the "Kan" structure, it is said the "hidden ruler leaves the palace." "Hidden ruler" is explaining the meaning of "Hai Zi." Also, in the "Kun" hexagram's "Mingyi," it says, "Clouds cover the great ministers," "Kun" represents clouds, which is explaining the meaning of darkness and confusion.

又《京房易傳》《明夷》云：君暗臣明，不可止。君暗謂六五，臣明謂六二，亦以五為君，不以為紂臣。又象傳曰：孩子之貞，明不可息也。貞，正也，言孩子居天子之正位，天子一日萬幾，故明不可息。若箕子已晦其明矣，有何不可息。古今釋者千百家，於此語未有能通者。蓋文王與微子，不欲明斥紂，故以孩子為代名，猶《麥秀歌》之謂狡童也。

The Jing Fang Commentary on the Yi explains the hexagram Ming Yi by saying, "When the ruler is dark and the minister is bright, it is not advisable to stop." Here, "ruler being dark" refers to line six in the fifth position, while "minister being bright" refers to line six in the second position. This interpretation treats line five as the ruler rather than as a minister of Zhou. Now looking at the Image Commentary, it says, "The virtue of the child is bright and cannot be extinguished." "Zhen" means correctness or uprightness, indicating that the child occupies the correct position of the Son of Heaven. The Son of Heaven has to handle myriad affairs each day, so his brightness cannot be stopped. If this refers to Ji Zi, who had already concealed his brightness, how can there be talk of "not being extinguished"? Among the hundreds of commentators throughout history who have interpreted this passage, none have been able to make sense of it. King Wen and Wei Zi did not wish to openly criticize King Zhou, so they used the term "child" as a substitute, just as the "Song of Millet" refers to him as "Jiao Tong."

觀《墨子》以箕子為孩子，則此之箕子，亦為孩子，《易林》之讀，獨得其真。自孩、箕音同通用之義弗明，竟作紂臣矣。豈知孩子即謂紂，與《微子》之孩子同。彼夫趙賓作亥（上草）茲，劉向、荀爽作亥（上草）滋，蜀才作其子，王弼作其茲，惠棟作亥子，雖與象傳義不合，然皆知作紂臣之必非。乃孔疏不從王注，而從馬融，竟作紂臣解，疏已。五本君位，馬融作紂臣解，亦知其不安，而以箕子演疇、有君德為解，益可證《易林》以孩子為紂之精。五承乘皆陰，下又無應，故曰利貞，謂宜艱貞自守不妄動也。象曰：箕子之貞，明不可息也。五為天子，天子一日萬幾，明息則政亂矣，故曰明不可息。

Looking at the "Mozi" which refers to Ji Zi as a child, we can know that the term "Ji Zi" here is equivalent to "child." The interpretation in the "Yi Lin" has uniquely grasped the true meaning. Since the sounds of "Hai" and "Ji" were once used interchangeably, the meaning has been lost, and people have generally taken "Ji Zi" to mean a minister of Zhou. But where is the knowledge that "child" refers to Zhou himself, and that the "child" in the "Shangshu · Weizi" passage refers to the same person? As for Zhao Bin's reading as "Gai Zi," Liu Xiang and Xun Shuang's reading as "Gai Zi," Shu Cai's reading as "Qi Zi," Wang Bi's reading as "Qi Zi," and Hui Dong's reading as "Hai Zi," although they do not conform to the meaning of the Image Commentary, they all knew that interpreting it as a minister of Zhou was definitely wrong. Yet Kong Yingda's commentary did not follow Wang Bi's annotation but instead followed Ma Rong, and mistakenly interpreted it as a minister of Zhou, which was very careless. The fifth line originally represents the position of a ruler, and Ma Rong interpreted it as a minister of Zhou, which he himself felt was inappropriate, so he tried to justify it by saying that Ji Zi presented the "Hong Fan" nine categories and possessed the virtue of a ruler. This further confirms the accuracy of the "Yi Lin" in interpreting "child" as Zhou. The fifth line is both above and below a yin line, and there is no proper corresponding line below, so it says "favorable to uprightness." This means that one should maintain uprightness and remain steadfast in difficulty, and not act recklessly. The Small Image Commentary says: The uprightness of the child is bright and cannot be extinguished. Shang's interpretation: The fifth line represents the Son of Heaven, who has myriad affairs to attend to each day. If the brightness is extinguished, the state affairs will be in disorder, so it explains that the brightness should not be stopped.

上六：不明晦，初登于天，後入于地。明夷之初為晉，晉日在地上而為晝，故曰初登于天。乃晉覆成明夷，日在地下而為夜，故曰後人於地。人地故晦而不明。卦正如彼，覆則如此，此文王示序卦之義也。象曰：初登于天，照四國也；後入于地，失則也。坤為國，震卦數四，故曰四國。則謂三，上為四五所格，不能應三，故曰失則。此則字與六二順以則、《謙》六四不違則義同，皆謂陽。舊解皆不知失則之故何在，泛說之，非。

The line statement for the topmost yao (line) says: Not seeing brightness, but a single darkness, initially rising into the sky, then sinking into the earth. Shang's interpretation says: The previous form of the hexagram Mingyi (Darkness) is Jin (Progress), where the sun is on the ground and it is day, so it says initially rising into the sky. When Jin is inverted, it becomes Mingyi, and the sun is underground, resulting in night, so it says later sinking into the earth. Once it has entered the earth, it is dark and not bright. Within the same set of hexagrams, when viewed upright it is like that, and when viewed inverted it is like this. This is exactly where King Wen used it to reveal the meaning of the sequence of hexagrams. The small image commentary says: Initially rising into the sky, it is shining over the four states; later sinking into the earth, it is losing the rule. Shang's interpretation says: "Kun" represents the state, and the number of the hexagram Zhen is four, so it refers to four states. "Rule" refers to the nine in the third line. The upper sixth line is blocked by the fourth and fifth lines, and cannot respond to the third line, so it is losing the rule. This "rule" is the same as the "rule" in the six in the second line "smooth and following the rule" and in the six in the fourth line of Qian "not violating the rule," both referring to the yang line. Old annotations did not understand why "losing the rule" occurs, and only vaguely explained it, which is incorrect.

家人，利女貞。《歸藏》曰散家人。卦以一陽一陰，散處於卦內，又上卦巽風，下卦火炎上，均有敬意，故以為名乎。馬融曰：家人以女為奧主，長女中女，各得其正，故曰利女貞。然象傳曰男正位乎外，似家人兼男女言，特女尤利耳。又考《太玄》擬家人為居，雲踞膚赫赫，為物城郭，萬物咸宅，是以家人初上爻皆陽，故曰膚，曰城郭，而人宅其中，故曰家人也，義似較各家為優。二四得正，承陽有應，故利於女子之占也。

The hexagram "Family" states: It is favorable for a woman to maintain uprightness. Shang's interpretation says: The "Guicang" version of the Book of Changes refers to this hexagram as "Scattering the Family." In this hexagram, one yang and one yin line are dispersed within the hexagram, and the upper trigram is Xun (Wind), while the lower trigram is Li (Fire), which rises upward, all containing the meaning of dispersion, hence the name. Ma Rong said: In the hexagram of Family, the woman is the mistress of the house. The eldest daughter (Xun) and the middle daughter (Li) each hold their proper position, hence it is favorable for a woman to be upright. However, the Commentary on the Judgment says "the man holds the proper position outside," indicating that the hexagram of Family refers to both men and women, but especially benefits women. Further examination of the "Tai Xuan" says that "residence" corresponds to the hexagram of Family, stating "sitting on the skin, bright and glorious, forming a city and walls, all things dwell within." In the hexagram of Family, the first line and the top line are both yang, hence it is called "skin" and "city and walls," and people dwell within, hence it is called Family—this interpretation seems more profound than that of others. The second line and the fourth line both hold the proper position, and the upper line has a proper response to the yang line, hence it is favorable for divination concerning women.

象曰：家人女正位子內，男正位乎外，男女正，天地之大義也。家人有嚴君焉，父母之謂也。父父、子子、兄兄、弟弟、夫夫、婦婦，而家道正，正家而天下定矣。女正位乎內謂二，男正位乎外謂五，二五者夫婦，即天地也，即父母也，父母皆得正位，故曰嚴君。嚴君者尊也。卦下五爻皆得正，故曰父父、子子、兄兄、弟弟、夫夫、婦婦。初震交，震為子，為兄，為夫；三艮爻互坎，坎艮皆為弟；巽為婦。父子兄弟夫婦皆得正，則家正，家齊則國治，故曰天下定。

The Commentary on the Judgment says: In the Hexagram of the Family, the woman is within and occupies her proper position, the man is outside and occupies his proper position; both male and female are in their proper places, which is the great principle of heaven and earth. Within a family, there is a ruler who exercises authority, which refers to the parents. The father is like a father, the son like a son, the elder brother like an elder brother, the younger brother like a younger brother, the husband like a husband, and the wife like a wife; thus the family is properly ordered. When the family is properly ordered, the world is at peace. Shang's interpretation says: "The woman in her proper position within" refers to the Second Line, and "the man in his proper position outside" refers to the Fifth Line. The Second and Fifth Lines are the husband and wife, which are also heaven and earth, or the parents. Since both parents are in their proper positions, they are called "strict ruler," which means a superior authority. This hexagram has the five lines below the top line all in their proper positions, so it is said "the father is the father, the son is the son, the elder brother is the elder brother, the younger brother is the younger brother, the husband is the husband, and the wife is the wife." The First Line is the Zhen trigram, which represents the son, the elder brother, and the husband. The Third Line is the Gen trigram, and it also contains the Kan trigram. Both Kan and Gen represent the younger brother. The Xun trigram represents the wife. Thus, father and son, elder and younger brothers, husband and wife are all in their proper positions, and the family is properly ordered. When the family is properly ordered, the country is well governed, hence the world is at peace.

象曰：風自火出，家人。君子以言有物，而行有恆。巽木生火，火動生風，故曰風自火出。物，孔疏云事也。按《周禮·地官》司門幾出人之不物者，注：衣服視瞻，不與眾同，及所操物，不如品式者。然則不物即違常，即不法也。言有物者，即言不離乎經常也。

The Great Image Commentary says: Wind arises from fire, which is the hexagram of the Family. The gentleman takes it as a model, speaking with substance and acting with regularity. Shang's interpretation says: The wood of Xun generates fire, and when fire moves, wind arises, hence wind comes from fire. "Things" is explained by Kong Yingda as "affairs." According to the Zhou Li, the official in charge of the gate examines those who are "not in accordance with things," and Zheng Xuan's commentary says: those whose clothing and appearance are different from the norm, and those who carry objects that do not conform to standards. Thus, "not in accordance with things" means violating the norm and not following the law. "Speaking with substance" means speaking without departing from the regular way.

初九：閒有家，悔亡。《釋文》馬云：閒，闌也，防也。離中虛外堅，故離有閒義，即《太玄》所謂為物城郭也。能閉其家，故侮亡也。荀、鄭訓閒為閒習，似非。象曰：閒有家，志未變也。初應在四，四體坎，坎為志。志未變者，言初與四為正應，無敢或渝，所謂行有恆而家道正也。其以遂為說者，皆因不得解而穿鑿也。

The line statement for the first line (Initial Nine): At the beginning, establishing a defense for the family, regret disappears. Shang's interpretation: The "Classic Interpretation" cites Ma Rong as saying that "xián" means a fence or a barrier. The hexagram of Li (Fire) has a hollow center and a firm exterior, so Li has the meaning of "xián," which is what the "Tai Xuan" refers to as "building walls and fortifications for things." Being able to defend the family well, thus regret disappears. Xun Shuang and Zheng Xuan interpret "xián" as familiarity, which seems incorrect. The small image commentary says: "xián" has a family, meaning the mind has not changed. Shang's interpretation: The initial nine has a proper correspondence with the fourth line, which is in the body of Kan (Water). "Kan" represents will. "Will not change" means that the initial and fourth lines have a proper correspondence, and they dare not have the slightest deviation, which is what the Great Image Commentary refers to as acting with consistency and the family path being correct. Those who use the character "suì" to explain it are doing so because their interpretations do not make sense and are forced.

六二：無攸遂，在中饋，貞吉。象曰：家人高高（左口），未失也；婦子嘻嘻，失家節也。失、佚古通，未佚者言不敢放逸也。若嘻嘻則淫佚而不中節矣，故曰失家節。失，下讀得之失，上讀佚，以與節韻。

The Line Statement for line six-two says: Not to act independently and achieve things, but to stay at home and manage meals, the divination is auspicious. (The text below this is missing the Line Statement and commentary for line nine-three.) The Small Image Commentary says: If the whole family scolds severely, it is still not inappropriate; but if women and children laugh and joke, they have lost the proper conduct of managing the household. Shang's interpretation says: "Shi" and "yi" were anciently used interchangeably. "Wei shi" means not daring to indulge in pleasures; but if they laugh and joke, they become licentious and disorderly, thus losing the household's proper conduct. The same character "shi" is read as "shi" in the latter sentence meaning gain or loss, and as "yi" in the former sentence meaning indulgence, in order to rhyme with "jie."

六四：富家大吉。乾為富，四承重陽，當位有應，體坎，坎為室家，故曰富家大吉。凡上卦為巽，四當位無不吉者，如《小言》《觀》《益》《巽》《渙》《中孚》，六四皆吉。誰不當位者，雖臨重陽，不盡吉也，此《易》例也。虞翻旨命三變成艮，最為害理，三當位，胡為使失正哉。象曰：富家大吉，順在位也。言富之故，以順陽也。五得位，故曰順在位。

The line statement for the fourth line (six in the fourth) says: It brings family wealth and great good fortune. Shang's interpretation says: "Qian" represents wealth, and the fourth line is above two heavy yang lines, is in the proper position and has a correct response, and is located within the trigram Kan, which represents family. Therefore, it is said that a wealthy family brings great good fortune. In all hexagrams where the upper trigram is Xun, the fourth line is always good fortune if it is in the proper position, such as in the hexagrams Xiao Xu, Guan, Yi, Xun, Hun, Zhong Fu. Their sixth lines in the fourth position are all good. However, if the fourth line is not in the proper position, even if it is adjacent to two heavy yang lines, it does not necessarily bring full good fortune. This is the general rule in the Zhou Changes. Yu Fan forcefully insists that the third line changes into Gen, which is most damaging to the meaning. The third line was originally in the proper position, so why should it lose its correctness? The small image commentary says: Wealthy family brings great good fortune, because the line is flexible and occupies its proper position. Shang's interpretation says: This refers to the reason for wealth being due to following the yang line. The nine in the fifth position is in the proper position, so it is said to be flexible and in the proper position.

九五：王假有家，勿恤，吉。五天子，故曰王。假，《釋文》更白反，注至也。案《虞書》格子上下，傳：格，至也，是王弼、陸德明皆讀假為格，與《萃》之王假有廟同。王假有廟，言王以至誠感神明；王假有家，言王以至德威格家人，無有不正，故無所憂而吉也。象曰：王假有家，交相愛也。交相愛，謂二五交孚，即釋格義。諸家皆釋假為大，與交相愛之義相去甚遠，故唯王注為得也。

The fifth line statement says: The king moves in harmony with his family, there is no need to worry, and it is auspicious. Shang's interpretation: Five represents the Son of Heaven, so it is called the king. "Jia" is explained as "ge" in the "Classic Interpretation," which means "to reach." According to the "Book of Yu," there is "ge yu shangxia," and Kongzi explained "ge" as "to reach." Thus, Wang Bi and Lu Deming both read "jia" as "ge," which is the same as in the "Cui" hexagram "Wang ge you miao." "Wang ge you miao" means the king reaches the spirits through sincere virtue; "Wang ge you jia" means the king reaches his family through virtue, making all within the family upright, so there is no cause for worry and it is auspicious. The small image commentary says: The king reaches his family, meaning mutual love. Shang's interpretation: Mutual love refers to the mutual trust between lines two and five, which is explaining the meaning of "ge." All other interpretations take "jia" as "da," which is far from the meaning of "mutual love," so only Wang Bi's commentary is correct.

上九：有孚，威如，終吉。上九居家之上，為全家所戴，故曰有孚，曰威如。上居卦終，故曰終吉。象曰：威如之吉，反身之謂也。巽究成震，震為威，言震巽相反覆，故曰反身。虞翻命三變成陰，以說反身，三當位，胡能使變。乃惠棟不知其強說，謂《蹇》上六志在內為反身。夫《蹇》三上皆當位有應與，若《家人》則三上皆陽，艮傳所謂敵應也，上胡能反三哉。

The line statement for the top line (上九): There is sincerity and authority, ultimately leading to good fortune. Shang's interpretation: The top line is at the top of the hexagram, supported by the whole family, hence there is sincerity and authority; the top line is at the end of the hexagram, hence it leads to good fortune. The small image commentary says: The good fortune of authority comes from self-reflection. Shang's interpretation: "Xun" (wind) reaches its extreme and becomes "Zhen" (thunder), and "Zhen" represents authority; this indicates that "Zhen" and "Xun" are opposite to each other, hence self-reflection. Yu Fan explains "self-reflection" by changing the third line to a yin line; the third line was originally in the correct position, so changing it is forced. Hui Dong did not realize this was a forced interpretation, and he also said that the line "the mind is within" in the "Jian" hexagram's top line refers to self-reflection. In the "Jian" hexagram, the third line and the top line are both in the correct position and have mutual correspondence, but in the "Jia Ren" hexagram, the third line and the top line are both yang lines, which is exactly the situation described in the "Gen" hexagram's commentary as opposing correspondence. How could the top line seek the third line for self-reflection?

睽，對事吉。《歸藏》作瞿，《說文》鷹隼視也，《禮·玉藻》視容瞿瞿，注：驚視不審貌。夫驚而懼，視而不審，則視象必至乖違明矣。至《周易》日睽，義與瞿略同。睽，乖也，《說文》目不相聽也。卦三至五兩目相背，相背則視乖。聽，從也，不相從，則一目視為彼，一目視為此，如三上所言是也。蓋卦之得名，全以卦象。《六書故》：睽，反目也。與《說文》義同。自反目之義失，舊解於三上爻辭皆莫詳其故矣。小謂陰，六五得中有應，故小事吉也。

The Hexagram of Kui states: "Minor matters bring good fortune." Shang's interpretation says: In the "Guicang" version of the Book of Changes, this hexagram is called "Qu." The "Shuowen" explains that "Qu" refers to a hawk or falcon staring with wide open eyes. The "ZiZhuang" in the "Liji" says "looking with a startled gaze," and Zheng's commentary explains that this is a look of alarm and unclear vision. If one is both startled and fearful, and sees without clarity, then the vision must be distorted, which is clear. When the Zhou Changes changed the name to "Kui," its meaning is roughly the same as "Qu." "Kui" means to be estranged or to be out of harmony. The "Shuowen" says that "Kui" refers to the eyes not looking in the same direction. The lines three to five of this hexagram represent the image of two eyes looking in opposite directions. When they look apart, their vision becomes separated. "Listening" means following; when the eyes do not look in the same direction, one eye looks here and the other looks there, which is exactly the situation described in the line statements of line six in the third position and line nine at the top. This shows that the name of this hexagram comes entirely from its symbolic image. The "Liu Shu Gu" says "Kui" means to turn one's back, which is the same meaning as in the "Shuowen." Since the meaning of "turning one's back" has been lost, the old commentaries have failed to explain the line statements of line three and the top line. "Minor" refers to the yao (line) of yin, and line five, which is in the center and has a proper response, thus brings good fortune in minor matters.

象曰：睽，火動而上，澤動而下，二女同居，其志不同行。說而麗乎明，柔進而上行，得中而應乎剛，是以小事吉。天地睽而其事同也，男女睽而其志通也，萬物睽而其事類也，睽之時用大矣哉。火性炎上而即居上，水潤下而即居下，愈去愈遠，故二女同居不同行。坎為志也。然所以睽者，以同為女也。若夫天地男女，其形雖睽隔，而其功用，無不和合而同也；其心志無不相感而通也。即推而至於萬物，若繁賾不可計數矣，然只有物即有陰陽，有牝牡，陰陽牝牡，則必合而為類無疑也。故睽亦有時有用也。

The Commentary on the Judgment says: The hexagram of parting is characterized by fire moving upward and marsh moving downward. Two women living together have different aspirations. They are joyful and attached to brightness. The flexible lines ascend to a position of honor, achieving the center and responding to the strong, thus achieving good results in minor matters. Heaven and earth are separated but their nurturing functions are the same; men and women are separated but their aspirations are connected; all things are separated but they follow their own kinds. The use of parting is indeed great. Shang's interpretation says: Fire naturally rises upward and is already in the upper position; water naturally flows downward and is already in the lower position. The more they are separated, so to speak, the more they are said to be two women living together but not walking together. "Kan" represents aspirations. However, the reason for separation is that both are women. As for heaven and earth and men and women, although their forms are separated, their functions are harmonious and unified, and their aspirations are mutually responsive. Extending this to all things, although they are numerous and varied, there is always yin and yang, and male and female. Where there is yin and yang and male and female, there must be a classification and combination, which is certain. Therefore, "parting" also has its time and its function.

象曰：上火下澤，睽。君子以同而異。同者同為女，異者不同行。君子法之，不拘於一。初九：悔亡，喪馬，勿逐自復，見惡人，無咎。震為馬，兌二折震，震毀，故曰喪馬。震為復，二必升五，升五則下成震，故曰自復。離為惡人，初前遇之，兌見，故曰見惡人。蓋初居潛龍之位，勿用之時，居易俟命，無所動作，故悔亡而無咎也。象曰：見惡人，以辟咎也。

The Great Image Commentary says: Above is fire, below is marsh, which is the hexagram of Kui. The gentleman takes it as a model, maintaining small differences within great harmony. Shang's interpretation: "Same" refers to both being women, "different" refers to differing aspirations; the gentleman follows this, not being confined to one aspect. The line statement for the first line: Regret disappears, losing a horse, there is no need to chase, it will return by itself; encountering an evil person, there is no blame. Shang's interpretation: "Zhen" represents a horse, and "Dui" at the second line breaks "Zhen," indicating the image of destruction, so losing the horse. "Zhen" represents return, and the nine at the second line must ascend to the fifth position. After ascending to the fifth, the lower part again becomes "Zhen," so it returns by itself. "Li" represents an evil person, and the first line moving forward meets it. "Dui" represents seeing, so encountering an evil person. The first line is in the position of a hidden dragon, which is a time of non-action. It remains in a peaceful state, waiting for the mandate of heaven, taking no action, so regret disappears and there is no blame. The Small Image Commentary says: Meeting an evil person is to avoid calamity.

九二：遇主于巷，無咎。五為卦主，《豐》九四云遇其夷主是也。二應之，離為巷，故曰遇主于巷。有應得中，故無咎。離巷象失傳。《易林》《無妄》之《小畜》云：魷蝦去海，遊於枯裡，街道迫狹，不得自在。小畜上巽為魚，故曰魷蝦；乾為海，巽在外，故曰去海；離為桔為裡為街巷，《說文》巷，裡道；《詩·鄭風》巷無居人，傳曰巷裡塗。離上下陽，中虛，儼然里巷也。巷為裡道，故象曰未失道。巷象失傳，故舊解無不誤，不足怪也。象曰：遇主于巷，未失道也。得應，故曰未失道。

The line statement for the second line (Nine in the Second): encountering the master in the alley, there is no fault. Shang's interpretation says: the fifth line is the main line of the entire hexagram. In the hexagram of Fullness, the fourth line says "meeting the夷master," which is used in this way. The second line corresponds with it. "Li" represents the alley, so it says meeting the master in the alley. Because it has a correct correspondence and is in the central position, there is no fault. The image of "Li" as an alley has been lost. In "Jiao's Forest of Changes," the hexagram of No Deceit and the hexagram of Small Increase says: "Shrimp and fish leave the sea, moving in the dry alley, the streets are narrow, they cannot be free." The upper trigram of Small Increase is Xun, representing fish, so it refers to shrimp and fish; "Qian" represents the sea, and Xun is in the outer trigram, so it refers to leaving the sea; "Li" represents dryness, alley, and street. The "Shuo Wen" says that an alley is the path within a li. The "Book of Songs, Zheng Feng" has "the alley has no inhabitants," and Mao's commentary says that an alley is the path within a li. The hexagram of Li has yang above and below, with the middle empty, which clearly resembles an alley. Since an alley is the path within a li, the small image commentary says "has not lost the way." The image of the alley has been lost, so old interpretations are not accurate, which is not surprising. The small image commentary says: meeting the master in the alley, has not deviated from the correct path. Shang's interpretation says: because it has a correct correspondence, it says has not lost the way.

六三：見輿曳，其牛掣，其人天且劓，無初有終。兌為見，坎為輿，為曳，坎輿在前，而三居坎後，故曰見輿曳。五離為牛。掣鄭作，雲牛角皆踴也，踴，起也。《說文》作獎，雲角一仰一俯；子夏傳作獎，雲一角仰。案契、契（下加解）同字，皆音摯，義皆同。又《易林》《大言》之《睽》云：傷破妄行，觸壁契（下加解）牆。亦以角踴為說，不以滯隔為訓。只王弼作掣，音與諸家同，義與諸家異，非也。其牛契（？）者，言牛角騰踴上出也。

The line statement for the sixth line in the third position: seeing a large cart being dragged, the ox's horns are raised up, and the person has been subjected to the punishment of branding and nose-cutting, initially not smooth but eventually resulting in something. Shang's interpretation says: "Dui" represents seeing, "Kan" represents a cart and dragging; the cart is in front and the sixth line is behind Kan, so it is said to see the cart being dragged. The fifth line is in the body of Li, "Li" represents an ox. The character "chē" is interpreted by Zheng Xuan in another way, saying that all the ox's horns are raised up, "yǒng" means rising. The "Shuowen" gives another character, saying that one horn is raised and the other is lowered; Zi Xia's commentary also uses that character, saying that one horn is raised. These two characters originally are the same, both read as "zhì," and their meanings are the same. Also, in "Jiao's Forest of Changes" under "Dàyǒu" and "Kuí," it says, "Injury and reckless movement, hitting a wall and pulling against a wall," which refers to the horns being raised up, not as an obstruction. Only Wang Bi uses "chē," which is pronounced the same as the other interpretations, but his meaning differs from the others, which is incorrect. "Its ox is pulling," refers to the ox's horns rising up.

天。馬融雲契（？）鑿其額曰天，虞翻雲黥額為天，割鼻為劓，鯨即古之墨刑，馬云鑿殆誤也。艮為額為鼻，艮伏不見，故曰劓；兌上毀缺，故曰天。惟古刑無名天者。俞越（左　）云：天為兀字，古文天作兀（下再加兀），以形近，故兀訛為天。《莊子》云魯有兀者，《釋文》云刖足曰兀。其人兀且劓，猶《困》九五曰劓刖也。按三震象半見，故曰刖足，俞氏之說或是也。

Now talking about the character 「天」. Ma Rong said that carving the forehead was called 「天」. Yu Fan said that tattooing the forehead with ink was called 「天」, and cutting off the nose was called 「劓」. Qing (黥) is the ancient name for tattooing. Ma Rong said 「凿」 (carving) might be wrong. 「艮」 refers to the forehead and the nose; since 「艮」 is hidden and not visible, it is said to be 「劓」. 「兑」 is on top and has the appearance of something broken, so it is called 「天」. However, there was no name called 「天」 in ancient punishments. Yu Yue said: 「天」 is actually the character 「兀」. The ancient form of 「天」 was similar to 「兀」, so 「兀」 was mistakenly written as 「天」. The book 「Zhuangzi」 says 「Lu had a person who was hunchbacked」, and 「Classic of Phonology」 says cutting off the foot was called 「兀」. 「His person was hunchbacked and had his nose cut off」, which is similar to the line 「劓刖」 in the 「Guan」 hexagram's line nine in the fifth position. Shang said: Line six in the third position is in the middle of the appearance of 「震」, so it is said to be amputating the foot. Yu's explanation might be correct.

又胡安定云：天當作而，古文相類，傳寫遂誤。在漢法臉罪，無髡其鬢髮日而。又《周禮》梓人作其鱗之而，亦謂髡其鬢髮。按之而，注訓為頰版，《釋文》云禿也，《玉篇》亦訓頎為禿，賈疏亦無髡其鬢髮之解，然版之為禿，字書皆同，則而者禿也。禿則天然無發，不必受刑，似胡說不如俞說優也。三不當位，故初不吉；有應承陽，故曰有終。

Hu Yuan said: The character "tian" should be read as "er". In ancient texts, the two characters are similar in form, and errors occurred during copying. In the Han dynasty legal system, the髡刑 (kun刑) punishment involved shaving the side hair, called "er". The "Zi Ren" section of the "Zhou Li" mentions "zuo qi lin zhi er", which also refers to shaving the side hair. Shang氏 noted: "zhi er", Zheng's annotation interprets it as the armor plate on the cheek, the "Classic Explanation" says it means bald, the "Yu Pian" also interprets the character as bald, and Jia Gongyan's commentary does not explain it as shaving the side hair. However, if "ban" is interpreted as bald, all the dictionaries agree, so "er" means bald. Since baldness is naturally hairless, there is no need for punishment. Therefore, Hu's interpretation seems less appropriate than Yu's. The sixth line in the third position is not in the correct position, so the initial situation is not auspicious; there is a correct response and it is supported by a yang line above, so it is said to have a final outcome.

象曰：見奧曳，位不當也；無初有終，遇剛也。位不當故無初，遇剛故有終。九四：睽孤，遇元夫，交孚，厲無咎。坎為孤為夫。虞翻強令四變成震，以取夫象。豈知《左傳》襄二十四年筮遇困之大過，坎變巽，曰夫從風，以坎為夫也。坎者乾元之精，故曰元夫；比曰元永貞，是其義也。四上下皆陰，故曰交孚。坎險故曰厲，交孚則志行，故厲無咎。象曰：交孚無咎，志行也。坎為志。志行，言陽得陰則孚也。此爻舊解皆用虞氏交變，取夫象，信漢儒不信左氏，豈不異哉。

The Small Image explains the line nine in the third: the chariot is held back, the ox is pulled, because line six in the third is yin and flexible in a yang position, which is inappropriate. Initially it meets resistance but eventually achieves harmony, because it corresponds with line nine at the top, which is yang. The position is inappropriate so there is no beginning, but meeting yang leads to a successful conclusion. The line four statement says: isolated and in conflict, yet encountering the 'original husband', they communicate with sincerity, though in a dangerous situation, there is no fault. 'Kan' is both 'isolated' and 'husband'. Yu Fan forced line four to change into 'Zhen' to form the image of 'husband', but did not realize that in the 'Zuo Zhuan' of the twenty-fourth year of Duke Xiang, Cui Zhu divined for marrying Tang Jiang, and encountered 'Kun' changing into 'Da Guo', which was the lower trigram 'Kan' changing into 'Xun'. The divination statement said 'the husband follows the wind', showing that before the Han dynasty, 'Kan' was already considered as 'husband'. The single yang in 'Kan' is the essence of 'Qian' yuan, so it is called 'original husband'. The 'Bi' hexagram statement 'original enduring sincerity' has the same meaning. Line four is surrounded by yin above and below, so yin and yang meet and trust each other, hence it is said 'mutual trust'. 'Kan' represents danger, so it is said 'dangerous'. Since mutual trust has already been achieved, the mind is connected, so even though dangerous, there is no calamity. The Small Image says that mutual trust leads to no fault because the will is carried out, because 'Kan' is also 'will'—when a yang line meets a yin line, they can trust each other. Old annotations universally used Yu Fan's line change theory to form the image of 'husband', preferring the Han Confucian rules rather than the actual records in the 'Zuo Zhuan', which is really strange.

六五：悔亡，厥宗噬膚，往何咎。同人六二云「同人于宗」，以五陽為宗，宗主也，坤先述後得主是也。茲以九二為宗。艮為膚，以剛在外也，故離亦為膚。二兌體，兌口逼近離膚，故曰厥宗噬膚。然二為正應，二五相上下，各得位，故往無咎。離膚象，《易林·師之井》云「范子妙材，戮辱傷膚」，井互離，兌毀折，故曰戮辱；離兌連體，故傷膚，是焦氏以離為膚也。井中爻亦睽也。象曰：厥宗噬膚，往有慶也。得陽應，故曰有慶。

The line statement of the fifth line says: regret disappears, the person from the same clan bites through the skin, going forward, is there any calamity? The line statement of the second line in the hexagram of 'Following' says 'following the clan,' so the yang line of the fifth line is taken as 'clan,' and 'clan' means the main one. The hexagram statement of 'Earth' first says 'first being lost' and then 'finding the main one,' which is the same meaning. Here, however, the yang line of the second line is taken as 'clan.' The hexagram 'Mountain' has the image of 'skin,' taking the outer yang line as skin covering the body. 'Fire' is also taken as 'skin,' because its outer part is strong and its middle is empty. The second line is in the lower part of 'Lake,' which is mouth. The mouth is adjacent to 'Fire,' which represents skin, so it is said 'the main one bites through the skin.' The second line and the fifth line are originally in a correct correspondence, each occupying their proper position, so going forward brings no calamity. As for the evidence that 'Fire' represents 'skin,' the 'Forest of Changes' by Jiao Yanshou, in the hexagram 'Well' from 'Army,' says 'Fan Zi is a talented man, punished and disgraced, injuring the skin.' The second to fourth lines of the 'Well' hexagram form the 'Fire' hexagram, and 'Lake' represents destruction, so it is said 'punished and disgraced.' 'Fire' and 'Lake' are connected, so it is said 'injuring the skin,' showing that Jiao Yanshou indeed took 'Fire' as 'skin.' The middle line of the 'Well' hexagram also forms the hexagram 'Strife.' The 'Small Image' says that the main one biting through the skin going forward brings joy, because the fifth line receives the yang line of the second line, so it is called 'joy.'

上九：膜孤，見豕負塗，載鬼一車，先張之弧，後說之壺，匪寇，婚媾，往遇雨則吉。睽為反目，目反故所見不同：一日見為豕，一見為鬼；一目見張弧而懼，一見說壺而喜；一見為寇，一見為婚媾也。見字統全爻而言，反目之精神全出。舊解若只見豕負塗者，由不知睽之取象，在反目也。

The line statement for the top nine: separated and isolated, seeing a pig carrying mud on its back, seeing a cart carrying ghosts, first drawing the bow to shoot, then putting down the bow; the one coming is not a robber, but a suitor; if going forward and encountering rain, it is auspicious. The imagery of the hexagram "Kui" is "turning back," meaning the two eyes look in different directions, so although it is the same object, the two eyes see it differently: one sees a pig, the other sees a ghost; one sees drawing the bow and feels fear, the other sees putting down the bow and feels joy; one sees a robber, the other sees a marriage proposal. The character "see" in the line statement encompasses the entire line, fully expressing the spirit of conflicting eyes. Old interpretations that take "seeing a pig carrying mud" as literally seeing a muddy pig do not understand the fundamental imagery of the hexagram "Kui," which lies in "turning back."

離為見，互坎為豕、為塗、為車、為鬼。坎數一，故曰一車。坎為弧為矢，張弧則欲射我矣。離為壺，說遺也，而坎為酒，遺我以壺酒，則意善也。坎為寇，三雖坎體，而應上九，則婚媾也，寇則非矣。兌為雨，上往居三，故曰遇雨。三上相上下，各當位，故吉。之上內，宜曰來，然賽五往外也曰朋來，需三往上也曰三人來，蓋自本位言則曰來，去本位言則曰往，不能執也。壺，王弼作弧，茲從京、馬、鄭、王肅、翟子玄。說，《釋文》始銳反，音稅。象曰：遇雨之吉，君疑亡也。坎為疑，疑之故全在坎。上往三成大壯，天雷一震，坎象消釋，故曰群疑亡。坎為眾，故曰群疑，即上所見諸象也。

The trigram "Li" represents the eye, hence it signifies "seeing." From the third to the fifth lines, the trigrams form an inner "Kan," which has various symbolic meanings such as "pig," "mud," "chariot," and "ghost." The number of "Kan" is one, so it is said "one chariot." "Kan" also represents bow and arrow, and drawing the bow implies the intention to shoot at me. "Li" is hollow in the middle, hence it signifies "vessel." "Shuo" means to give as a gift; "Kan" represents wine, so when someone gives a vessel of wine as a gift, it signifies goodwill. "Kan" also represents bandits; although the sixth line in the third position belongs to the "Kan" trigram, it corresponds with the top line, which signifies a marriage, not banditry. "Dui" represents rain, and the top line descending to the third position signifies "meeting rain." The third line and the top line correspond internally and externally, and each is in its proper position, hence it is auspicious. The top line descending to the inner trigram, by its own position, should be said "coming"; however, in the hexagram "Zhan," the ninth line of the fifth position refers to "companions coming," and in the hexagram "Xu," the ninth line of the third position refers to "three people coming." This shows that when focusing on the original position, it is said "coming," but when considering movement away from the original position, it is said "going," and one should not be rigid in this regard. The character "hu" in Wang Bi's version is written as "hu," following the interpretations of Jing Fang, Ma Rong, Zheng Xuan, Wang Su, and Zhai Zi Xuan. The character "shuo" is pronounced "shui" according to the "Shi Wen" commentary. The "Xiao Xiang" explains the auspiciousness of meeting rain as the elimination of doubts. "Kan" represents doubt, and the generation of doubt within one line is due to the mutual "Kan" trigram. The top line descending to the third position forms the hexagram "Da Zhuang," with thunder moving in the sky, and the "Kan" image dissipates, hence it is said "doubts vanish." "Kan" also represents the multitude, hence "group" doubt refers to the series of illusory images seen earlier, such as the pig, ghost, bow, and bandits.

蹇：利西南，不利東北，利見大人，貞吉。重坎故日蹇。坤在西南，五往居坤中，得中有應，放曰利西南。艮居東北，三陽窮於上而多凶，故不利東北。大人謂五，往得尊位，故利於出見，傳所謂往有功也。往五當位居中，故貞吉。

The hexagram "Jian" (Obstruction) states: It is advantageous to go to the southwest, but not to the northeast; it is advantageous to see a great person, and to maintain correctness brings good fortune. This hexagram has "Gen" (Mountain) below and "Kan" (Water) above. The second to fourth lines also form an intercalated "Kan," and together with the upper trigram "Kan," it forms a double "Kan," indicating danger upon danger, hence the name "Jian" (which means stumbling or difficulty in advancing). In the Later Heaven trigrams, "Kun" (Earth) is located in the southwest. The line nine two moves to occupy the central position of "Kun," thus attaining the center and having a responding line, hence it is advantageous to go to the southwest. "Gen" (Mountain) is located in the northeast. The line nine three, being yang, is blocked by the upper trigram and faces many dangers, hence it is not advantageous to go to the northeast. "Great person" refers to line nine five. When line nine two moves towards it, it attains the position of honor, hence it is advantageous to go out and meet it. The "Commentary on the Judgment" says "going brings merit," which is exactly this meaning. When the line moves to the fifth position, it is both in the correct position and in the center, hence "correctness brings good fortune."

彖曰：蹇，雞也，險在前也。見險而能止，知矣哉。蹇利西南，往得中也。不利東北，其道窮也。利見大人，往有功也。當位員吉，以正邦也。蹇之時用大矣哉。坎險又止，故曰見險而能止，此卦義也。虞翻於利不利之故，蓋茫然莫解，復以《參同契》月出庚之說解利西南，月滅癸之說解不利東北。豈知茲所謂西南確指坤位，坤為邦，五居坤中，故曰正邦。而翻則曰月生西南，夫月於三日出庚，庚豈西南哉，真管輅所謂美而偽也。

The Commentary on the Judgment says: "Jian" means difficulty, with obstacles in front. Seeing danger and stopping without advancing is truly wise. "Jian is favorable to the Southwest" refers to the Nine in the Second position moving forward to reach the central position. "Unfavorable to the Northeast" means that path has reached its end. "Favorable to see a great man" means that moving forward can achieve success. "Being in the correct position and maintaining sincerity brings good fortune" means using this to correct the state. The function of the "Jian" hexagram is indeed great. The upper trigram "Kan" represents danger, and the lower trigram "Gen" represents stopping, so it is said "seeing danger and being able to stop," which is the main meaning of the entire hexagram. Yu Fan was actually confused about why it is favorable to the Southwest and unfavorable to the Northeast. He even cited the "Zhou Yi Cangtongqi" saying "the moon arises in Geng" to explain "favorable to the Southwest," and "the moon disappears in Gui" to explain "unfavorable to the Northeast." He had no idea that the Southwest here actually refers to the "Kun" position. "Kun" represents the state, and the Nine in the Fifth is in the central position of "Kun," so the Commentary on the Judgment says "correcting the state." Yu Fan, however, said the moon arises in the Southwest — the moon appears on the third day in the Geng direction, which is the west, not the Southwest. This is truly what Guan Lu criticized as "beautiful but false."

象曰：山上有水，蹇。君子以反身修德。見險而止，反身修德，以俟之而已。文言云「進德修業」，乾三云「君子終日乾乾夕惕若」，修德之事也。艮為身，反身者反而求諸己，不徒止而不前也。艮身象，艮彖云「艮其背不獲其身」，以艮為身也。故《易林·需之坎》云「名困身辱，勞無所得」，坎中爻艮，艮為名、為身，坎隱伏，故名困身辱。虞翻用卦變，以坤為身，不知艮亦為身也。

The Great Image says: mountains with water on top represent the hexagram of Difficulty; thus, the gentleman understands the need to examine himself and cultivate virtue. When danger is seen, one should stop and turn back to cultivate one's virtue, waiting for the right opportunity. The "Wenyan" section of the "Qian" hexagram says "cultivating virtue and developing one's career," and the "Nine in the Third" of the "Qian" hexagram says "the gentleman remains diligent all day and remains cautious at night," both referring to the cultivation of virtue. The hexagram "Gen" has the image of the body, meaning "turning back to oneself" refers to seeking virtue within oneself, not merely stopping and not moving forward. The association of "Gen" with the body is well established: the hexagram statement of "Gen" says "keeping still on the back, not obtaining the body," which clearly uses "Gen" to represent the body. Therefore, in the "Jiao's Forest of Changes · Xu Zhì Can," it says "fame is confined and the body is disgraced, labor yields nothing," because the second to fourth lines of the "Can" hexagram form "Gen," which represents both "fame" and "body," and "Can" signifies concealment and obscurity, hence fame is confined and the body is disgraced. Yu Fan interpreted this by using hexagram transformation, taking "Kun" as the body, but did not realize that "Gen" itself represents the body.

初六：往黎，來譽。四不應，二至四坎，初臨之，故往蹇；來居初，靜而不動，則有譽也。又為名，故曰譽。象曰：往蹇來譽，宜時也。宜時，正義作宜待，釋文云張氏作宜時，鄭本作宜待時，虞同，茲從張氏。艮為時，宜時者，謂時宜如此也。阮校云：石經待也二字漫漶，而不言上有宜宇，可見鄭虞讀似非。

The Line Statement for the first line (Initial Six): going forward is difficult, but returning brings reputation. The first line and the fourth line are both yin lines and do not correspond with each other. The lines from two to four form the trigram "Kan" (Water), symbolizing danger. The first line is adjacent to this dangerous situation, so going forward is difficult. Retreating to the initial position and remaining still brings reputation. The trigram "Gen" (Mountain) also represents "name" or "reputation," hence the term "reputation" is used. The "Small Explanation" says: going forward is difficult, returning brings reputation, which is appropriate for the time. The phrase "appropriate for the time" is in the "Correct Meaning of the Zhou Changes" by Kong Yingda as "appropriate to wait." Lu Deming's "Commentary on the Classics" says that the Zhang version reads "appropriate for the time," Zheng Xuan's version reads "appropriate to wait," and Yu Fan and Zheng Xuan are the same. Here we follow the Zhang version. "Gen" represents "time," so "appropriate for the time" means that the situation naturally calls for this. Yuan Ruan's "Notes on Textual Criticism" says that the Tang stone inscription's "wait" is blurred and indistinct, but it did not mention the presence of the character "appropriate" above it, suggesting that the reading of Zheng Xuan and Yu Fan may not be correct.

六二：王臣蹇蹇，匪躬之故。艮為臣，五為王，二應五，故曰王臣。艮為憧僕，古臣僕不分，故艮亦為臣。二臨重坎，故曰王臣蹇蹇，蹇蹇言劬勞也。艮為躬，匪躬之故，言所以劬勞如此者，乃從王事，匪為私也。艮臣象，損上九云「得臣無家」，小過六二云「遇其臣」，遁六三云「畜臣妾吉」，皆以艮為臣也。象曰：王巨蹇蹇，終無尤也。有應故無尤。尤古音信，詩部風「大夫君子，無我有尤」，與下之協；此與上時下之協，與詩同，故正義上象作宜待非。

The line statement for the second line says: The king's minister toils with great difficulty, not for his own sake. "Gèn" represents a minister, and "nine in the fifth" represents the king. The second line corresponds with the fifth line, so it is said "the king's minister." "Gèn" also represents a servant, and in ancient times, ministers and servants were not distinguished, so "Gèn" also represents a minister. The second line is in the position below "Kǎn," so it is said "the king's minister toils with great difficulty." "Jiǎnjiǎn" describes tireless toil. "Gèn" also has the meaning of "gōng" (self), so "fěi gōng zhī gù" means that he toils like this for the sake of the king's affairs, not for his own benefit. There is further evidence that "Gèn" represents a minister: the upper ninth line of "Sǔn" says "obtaining a minister without a family," the second line of "Xiǎo Guò" says "meeting his minister," and the third line of "Dùn" says "keeping servants and concubines is auspicious," all of which take "Gèn" as a minister. The small commentary says: The king's minister toils with great difficulty, ultimately without blame. The second line has a proper correspondence, so there is no blame. The character "yóu" in ancient pronunciation rhymes with the "zhī" rhyme class. In the "Poetry · Bèi Fēng" (now in "Yōng Fēng · Zài chí"), "dàfū jūnzi, wú wǒ yǒu yóu" rhymes with the "zhī" in the following line. Here, "yóu" rhymes with "shí" in the previous small commentary and "zhī" in the following text, just like in the Poetry. This shows that the "Zhou Yi Zhenyi" is incorrect in writing the previous small commentary as "yí dài."

九三：往蹇，來反。往遇險，反據下二陰則利也，故曰往蹇來反。象曰：往蹇來反，內喜之也。內謂下二陰，陰欲承陽，故曰內喜之，釋來反之故也。六四：往蹇，來連。正義馬云「連亦難也」，王弼云「往來皆難」，是亦訓連為難。蓋四居上下坎之間，故往來皆難。荀爽謂與至尊相連，朱子謂連於九三者皆非也。又屯上六云「泣血漣如」，淮南子引作連如，蓋與此義同，亦連為難之一證。

The line statement for the third line (nine in the third): going forward is difficult, but returning brings support. The third line moves upward and encounters the danger of the "Kan" trigram, but returning brings it to the support of the two yin lines below, the initial line and the second line, which is advantageous. Therefore it says "going is difficult, returning is favorable." The small commentary says: "going is difficult, returning is favorable," refers to the joy within. "Within" refers to the two yin lines below, which naturally wish to support the yang line, so the inner yin lines welcome it, explaining why "returning is favorable." The line statement for the fourth line (six in the fourth): going forward is difficult, and returning also involves difficulty. The "Zhou Yi Zhenyi" cites Ma Rong who says "connected is also difficult," and Wang Bi says "both going and returning are difficult," showing that they both interpret "lian" as "difficult." The fourth line is sandwiched between the upper "Kan" and the interacting "Kan," so both going and returning are difficult. Xun Shuang says "lian" refers to being connected to the supreme position, and Zhu Xi says it refers to being connected to the third line, both of which are incorrect. Additionally, the upper sixth line of "Zun" says "crying blood with tears," which the "Huainanzi" cites as "lian ru," which has the same meaning, providing further evidence that "lian" is interpreted as "difficult."

象曰：往蹇來連，當位實也。坎為實，當位實者，言四位當，惟所值上下皆實，故進退難也。坎剛中故為實。《易林·屯之師》云「李梅冬實」，師震為李梅，坎為冬為實也。舊解皆以乾為實，致此句義不明瞭。豈知此賓字謂坎，上下坎，方能明來往皆難之義也。

The Xiao Xiang says: "Going on the difficult path and coming with connection, this is the situation of being in the right position and being solid." "Kan" has the image of "solidity." What is meant by "being in the right position and being solid" is that the sixth line in the fourth position, being a yin line in a yin position, is originally in the right place, but the lines above and below it are both "Kan," which represents "solidity," hence the difficulty of moving forward or backward. "Kan" has one yang line in the center and is strong, hence it is called "solid." The Jiao's Forest of Changes, in the section on "Zun" changing into "Shi," says "Plum and peach bear fruit in winter." — The lower trigram of "Shi" is "Zhen," which represents plum and peach, and the upper trigram is "Kan," which represents winter and fruit. Old interpretations all took "Qian" as "solidity," making this sentence hard to understand. They did not realize that the character "solid" here refers to "Kan." Only by recognizing that both above and below are "Kan" can the difficulty of moving forward or backward be clearly explained.

九五：大蹇，用來。當位居尊，故曰大蹇。陰以陽為朋，陽往陰中，故曰朋來。虞翻以下卦伏兌為朋，豈知象傳曰中節，即謂五居坤中，如合符節，釋朋義也。象曰：大蹇朋來，以中節也。言五在陰中，陰陽相遇，如符節之合。

The Line Statement of the Fifth Line (Nine Five): In great difficulty, companions come. Nine Five, with a Yang line in a Yang position, is in the proper place and holds a high position, so it is said 'great difficulty'. Yin takes Yang as 'companions', and a Yang line moving among a group of Yins is said 'companions come'. Yu Fan took the hidden 'Dui' within the Lower Trigram 'Gen' as 'companions', but did not understand the 'Small Image' which says 'it is in the middle and proper'. This is precisely referring to Nine Five being in the middle position of 'Kun' (the group of Yins), like two halves of a seal fitting together perfectly. The statement itself is explaining the meaning of 'companions'. The 'Small Image' says: 'Great difficulty, companions come, because it is in the middle and proper.' It means that Nine Five is in the midst of many Yins, where Yin and Yang meet, like a seal fitting perfectly without any gap.

上六：往蹇，來碩，吉，利見大人。上窮故往蹇。來碩謂應三，三陽故曰碩。爾雅釋詁「碩，大也」，陽大故曰碩。利見大人，謂順五，五為大人。象曰：往蹇來頂，志在內也；利見大人，以從貴也。應三故曰在內，三體坎，故曰志在內。五天子位，故曰從貴。

The line statement for the sixth line at the top says: going forward is difficult, but returning brings great gain, which is auspicious and favorable for meeting a great person. The sixth line at the top has reached the end of the entire hexagram, and going further is impossible, hence it is said 'going is difficult.' 'Coming and gaining' refers to its correspondence with the third line, which is a yang line. Yang represents greatness, hence it is said 'great gain.' The Er Ya says 'suo means great,' and since yang lines represent greatness, it is called 'great.' 'Favorable for meeting a great person' refers to the sixth line following and supporting the fifth line, which is called 'the great person.' The Xiao Xiang says: going is difficult and coming brings great gain, indicating the mind is within; favorable for meeting a great person, because it follows the noble. The sixth line corresponds with the third line, which is within the inner trigram, hence 'within'; the third line also belongs to the mutual 'Kan' trigram, 'Kan' represents 'mind,' hence 'mind is within.' The fifth line is the position of the Son of Heaven, hence 'following the noble.'

解：利西南，無所往，其來復吉；有攸往，夙吉。震出險故曰解。歸藏作荔，荔與離通。上林賦「答（上草）還離支」，離支即荔支；千祿字書「離支，俗作荔支」，是離荔音同通用。離即解也，義與周易同。坤位西南，四居坤初，前臨重陰，陽得陰則通，故利西南。五得敵，故不利往，來復於二，各當其位，故曰其來復吉。有攸往，謂二往五。夙，早也。禮記孔子間居「夙夜基命有密」，疏「夙即聽也，聽明也」。二坎為夜，五震為晨，二往五則由夜及晨而天明矣，明故吉也。舊解于吉之故，皆言早往得位故吉，而王注詁夙為速尤誤。豈知詩書皆以夙與夜對言，夙為早者，言早晨也，非速也。

The hexagram statement of "Jie" (Release) says: it is favorable to go to the southwest; if there is no place to go, returning to the original position is auspicious; if there is a place to go, going early is favorable. The upper trigram "Zhen" (Thunder) moves out from the lower trigram "Kan" (Water) danger, thus called "Jie" (Release). In the "Guicang," this hexagram is called "Li," which is the same as "Li" (Fire). The "Shiji" (Records of the Grand Historian) mentions "Da te li zhi," which refers to "li zhi" as lychee; the "Ganlu Zishu" by Yan Yuansun says "li zhi" is commonly written as "li zhi." This shows that "li" and "li" are pronounced the same and can be used interchangeably. "Li" is the same as "Jie," which aligns with the meaning of the hexagram in the "Zhouyi." The trigram "Kun" is located in the southwest; the line nine four is at the beginning of the upper trigram's yin lines. It faces two yin lines ahead, and yang meeting yin leads to communication, hence it is favorable to go to the southwest. The line nine five and nine four are both yang, which is "getting an opponent," so it is not favorable to go forward; returning to the second position, each line is in its proper place, hence "coming back is auspicious." "You you wang" refers to line nine two moving to the fifth position. "Su" means early. In the "Liji" (Book of Rites), "su ye ji ming you mi," the commentary by Kong Jun says "su is xin, xin is morning." The lower trigram "Kan" represents night, the upper trigram "Zhen" represents morning, and line nine two moving up to the fifth position is moving from night to morning, hence the light of day. Old commentaries explain this "auspiciousness" as going early to gain a position, hence auspicious. Wang Bi's commentary interprets "su" as "quick," which is even more incorrect. They fail to consider that in the "Shijing" (Book of Songs) and "Shangshu" (Book of Documents), "su" is always paired with "ye" (night), and "su" meaning early refers to morning, not speed.

彖曰：解，險以動，動而免乎險，解。解利西南，往得眾也。無所往，其來復吉，乃得中也。有攸往夙吉，往有功也。天地解而雷雨作，雷雨作而百果草木皆甲坼，解之時大矣哉。坎險震動，震在外，動而出險，故曰解。六五前遇陰，故曰無所往；來居二，居中當位，故吉。九二往居五，故有功。雷震坎雨，是天地解也。

The Commentary on the Judgment says: The hexagram of "Release" has a lower trigram of Kan (Water), representing danger, and an upper trigram of Zhen (Thunder), representing movement. When movement occurs, one escapes from danger, hence the meaning of "Release." "Release is favorable to the southwest" means that going in that direction brings the support of the yin lines. "If there is no place to go, returning is auspicious" means that returning brings one to the central position. "If there is a place to go, going early is auspicious" means that going forward leads to success. When the qi of heaven and earth is released, thunder and rain arise; when thunder and rain occur, the husks of all fruits and grasses burst open. The meaning of the hexagram of "Release" being in harmony with the time is indeed great. The lower trigram Kan represents danger, and the upper trigram Zhen represents movement. Since Zhen is outside, movement leads one out of danger, hence it is called "Release." The sixth line above the fifth line is a yin line, and since the fifth line is also yin, they repel each other, hence "there is no place to go." Returning to the second position brings both centrality and proper position, hence auspiciousness. The ninth line in the second position moves upward to the fifth position, hence "going forward leads to success." Zhen represents thunder, and Kan represents rain. When thunder and rain occur together, it signifies the release of the qi of heaven and earth.

震為春，為百果草木。離為甲，孫星衍云「甲，皮也」。震動故甲拆，訴說文「裂也」。言草木當春，得雷雨胚胎迸裂，蓓蕾怒發，芽　潛滋，而外甲訴也。史記律書「甲者言萬物剖符甲而出」。又禮月令「其日甲乙」，鄭注云「時萬物，皆解孚甲」，皆甲拆之的解也。

"Zhen" represents spring and also signifies all fruits and plants. The second to fourth trigrams are "Li," which symbolizes "Jia" (the outer shell). Sun Xingyan said "Jia is the skin." "Zhen" signifies movement, so the outer shell bursts open; the character "che" is explained in the "Shuowen Jiezi" as "to split." This refers to plants in spring receiving the nourishment of thunder and rain, with their embryos splitting open, blossoms bursting forth, and tender shoots growing secretly beneath the soil, causing the hard outer shell to crack. The "Records of the Grand Historian: The Book of the Laws" says "Jia means that all things split open their shells to grow." The "Liji: Monthly Orders" says in spring "its day is Jia and Yi," and Zheng Xuan's commentary says "at this time, all things break open their hard shells." These are all accurate explanations of the term "Jia Che."

乃馬陸皆讀訴為宅，雲根也。愚以為訴宅音同，故通用；若以宅為根，則古無此訓，且草木未得雷雨之先，豈皆無孚甲無根乎。鄭康成蓋讀與馬陸同，而知其難通，故又曰「皆讀如人倦之解，以濟其窮」。若曰皆甲宅，即解甲宅也，豈知甲宅即甲訴，不必如是穿鑿。且甲可解，根如何解哉，是仍不通也。然由鄭說，可悟以宅為根之非矣。

However, Ma Rong and Lu Deming both read "chè" as "zhái," saying "zhái" means root. I think "chè" and "zhái" are homophones, so they can be used interchangeably; but if "zhái" is interpreted as root, there is no such explanation in ancient texts. Moreover, before grass and trees receive thunder and rain, could they not have shells or roots? Zheng Xuan probably read "chè" and "zhái" the same way as Ma and Lu, but realizing his explanation did not make sense, he then said the character "jiē" should be read as the "jiě" in "person's fatigue," to save the situation. According to his interpretation, "jiē jiǎ zhái" becomes "jiě jiǎ zhái." But in reality, "jiǎ zhái" is the same as "jiǎ chè," so there is no need for such forced interpretations. Moreover, how can roots be unfastened? It still does not make sense. Nevertheless, through Zheng Xuan's complicated reasoning, it can be seen that taking "zhái" as root is wrong.

乃雅麗堂刻本從惠棟校，竟改集解甲拆為甲宅。豈知苟注本作甲坼，故曰草木萌芽，萌芽即釋拆義也。若作宅，苟胡以不釋，且釋文早言之矣，明本集解可證也。陸道平作纂疏，不顧荀注義如何，亦改作宅，致傳文與注不相應，真可異已。釋文只雲馬陸作宅，後集荀注者，如孫堂如馬國翰，皆改苟注作宅，可謂盲從。

However, the Yayu Hall edition, following Hui Dong's corrections, changed Li Dingzuo's "甲拆" in the "Collected Explanations of the Zhou Changes" to "甲宅." It is important to note that Xun Shuang's original annotation was "甲坼," and in his commentary he said, "grass and trees sprout," where "sprout" explains the meaning of "坼." If the original text had been "宅," why didn't Xun Shuang provide an explanation? Moreover, the "Classic Interpretation" has already clarified this, and the Ming edition of the "Collected Explanations" can also serve as evidence. Lu Daoping, in his "Zhu Shu of the Collected Explanations," regardless of the meaning of Xun's annotations, also changed them to "宅," causing a mismatch between the main text of the "Commentary on the Judgment" and its annotations, which is indeed strange. The "Classic Interpretation" only mentions Ma Rong and Lu Ji as having used "宅," but later editors of Xun Shuang's annotations, such as Sun Tang and Ma Guohan, all changed them to "宅," which can be considered blind following.

象曰：雷雨作，解。君子以教過宥罪。坎為罪過，震為解，故赦過宥罪。初六：無咎。承陽有應，雖失位，得無咎也。象曰：剛柔之際，義無咎也。際，交也。言初承陽，剛柔交際，故義得無咎。

The Great Image says: Thunder and rain arise, which is the image of the Hexagram of Release; thus, the gentleman understands that he should pardon mistakes and forgive offenses. The lower trigram Kan represents 'misfortune' and the upper trigram Zhen signifies 'release'; when these two images combine, it is said that one should pardon mistakes and forgive offenses. The line statement of the first line says: There is no fault. The first line is above the second line of yang and corresponds with the fourth line. Although it is a yin line in a yang position, it still avoids misfortune. The Image Commentary says: At the meeting of yang and yin, there is no blame. 'Interconnection' refers to meeting. It means that the first line is above a yang line, and at this point of meeting between yang and yin, by principle there is no fault.

九二：田獲三狐，得黃矢，貞吉。坎為狐，坎陷故為獲。二應在五，五震為田獵，數三，故曰田獲三狐。坎為矢，互離色黃，故曰得黃矢。貞吉者，卜問吉也。諸家皆以離為矢，離雖為甲兵，然若斧象則專屬兌，矢則專象坎。坎為棘、為匕、為直、為穿，故為矢，經從未以離為矢。象曰：九二貞吉，得中道也。離為道，二中位，故曰中道。

The line statement for line two: hunting in the fields and capturing three foxes, obtaining a bronze arrowhead, the divination is auspicious. "Kan" has the image of "fox," and "Kan" also represents a trap, hence "capture." Nine two corresponds to nine five, and nine five is in the "Zhen" trigram, "Zhen" represents hunting, and the number of "Zhen" is three, hence "hunting and capturing three foxes." "Kan" represents arrows, and lines two to four form "Li," "Li" has the color yellow, hence "obtaining a yellow arrow." "Zhen Ji" means the divination is auspicious. All schools assign "arrow" to "Li"; although "Li" is indeed associated with armor and weapons, the image of axes and halberds belongs specifically to "Dui," and the image of arrows belongs specifically to "Kan." "Kan" represents thorns, dagger, straightness, and penetration, hence "arrow." The text of the "Zhou Yi" has never assigned "Li" to "arrow." The "Xiao Xiang" says: Nine two's divination is auspicious because it attains the middle path. The inter-trigram "Li" represents "path," and nine two is located in the middle position of the lower trigram, hence "middle path."

六三：負且乘，致寇至，貞吝。三不當位，坎為車，三在車上，故曰乘。上震向外視之艮，艮為負何，故曰負且乘。坎為寇，三上下皆坎，故曰致寇至。古者君子方得乘車，若負戴則為小人之事，今負且乘焉，望之不似，則盜賊從而生心，故曰致寇至，言招致使來也。致卜問吝矣，貞吝與上貞吉為對文，故夫從虞氏以貞吉為之正者非也。象曰：負且乘，亦可且也；自我致戎，又誰咎也。說文「戎，兵也」，寇至故謂致戎。

The third line statement says: carrying burdens while riding in a carriage, which brings about bandits, and the divination indicates a sense of regret. The sixth line in the third position is a yin line in a yang position, thus not in the proper place. The lower trigram is 'Kan' (Water), which represents a carriage, and the sixth line is sitting on the carriage, so it is said 'riding'. The upper trigram is 'Zhen' (Thunder), which when viewed from outside in reverse becomes 'Gen' (Mountain), and 'Gen' symbolizes carrying burdens, so it is said 'carrying and riding'. 'Kan' also represents bandits, and the sixth line is surrounded by 'Kan' trigrams above and below, so it is said 'inviting bandits to come'. In ancient times, only gentlemen could ride carriages, while carrying burdens was the task of commoners; now carrying and riding together appears inappropriate, so bandits take notice, hence 'inviting bandits to come'—'inviting' means to attract them. Divination indicates regret. 'Zhen' and 'Ji' in the previous line are contrasting terms, so those who interpret 'Zhen' as 'the correct state of the changing line' are incorrect. The 'Small Image' says: carrying and riding, indeed quite disgraceful; bringing about warfare, who can blame you? The 'Shuo Wen Jie Zi' says 'Rong means military force', so when bandits come, it is called 'inviting military force'.

九四：解而拇，朋至斯孚。拇，陸績云「足大指也」，王肅云「手大指」。手指於震象不合，故陸注是也。震為足，四前遇重陰，陽遇陰則通，故曰解而拇，言利往也。復家云「朋來無咎」，陰以陽為朋。九四前遇重陰，下乘陰，陰孚於陽，故曰朋至斯孚，言上下陰其共於四也。彖傳謂往得眾，指此爻也。舊解皆從虞翻說，謂四陽從初，下兌故朋至斯軍，致孚義全晦。象曰：解而拇，未當位也。解而拇，前進也，四失位，進至五則當位矣，申解而拇之故也。

The line statement for the fourth line says: "Loosen your big toe, and when friends come, they will be trustworthy." The character "拇" is explained by Lu Ji as the big toe of the foot, and by Wang Su as the big finger of the hand. Fingers do not match the symbolic meaning of "Zhen" (Thunder), so Lu Ji's explanation is correct. "Zhen" represents the foot, and the fourth line meets two yin lines, the sixth and the top, before it. When yang meets yin, it moves smoothly without obstruction, so it says "Loosen your big toe," meaning it is favorable to go forward. The "Commentary on the Judgment" of the "Fu" hexagram says "friends come without blame," indicating that yin takes yang as its "friends." The fourth line is preceded by two heavy yin lines and is also covered by the yin line at the third position below. All the yin lines are trustworthy toward yang, so it says "friends arrive and thus become trustworthy," meaning that the yin lines above and below all turn to the fourth line. The "Commentary on the Judgment" says "going forward gains the support of the people," referring precisely to this line. Old interpretations all follow Yu Fan's view, saying that the yang of the fourth line must descend to follow the first line, forming the "Dui" trigram below, so "friends arrive and thus become trustworthy." This has obscured the meaning of the character "fu" (trustworthy). The "Small Commentary" says: "Loosen your big toe, it is not in the proper position." "Loosen your big toe" means to go forward; the fourth line, being yang in a yin position, is originally not in the proper position. When it moves forward to the fifth position, it becomes proper, which explains the meaning of "Loosen your big toe."

六五：君子維有解，吉，有孚于小人。震為君子謂四。君子維有解，言四宜升五，當位而吉。小人謂陰，四升五成坎，坎上下皆陰，有孚維心亨，故曰有率於小人。象曰：君子有解，小人退也。君子有解，謂九四升五；小人退，謂五退居四。釋爻義可謂至明白矣。

The Line Statement for the fifth line says: A gentleman is fortunate if he is released from difficulties; this is also true for a petty person. "Zhen" represents the gentleman, referring here to the Nine in the Fourth. "The gentleman is released" means that the Nine in the Fourth should ascend to the fifth position, thus being in the correct position and achieving good fortune. "Petty person" refers to a yao of the yin type. When the Nine in the Fourth ascends to the fifth position, the upper part becomes "Kan," which has yin lines both above and below. This corresponds to the Hexagram Statement of "Kan" which says "With sincerity in the heart, the way is smooth," hence the phrase "having sincerity toward the petty person." The "Small Image" says: The gentleman is released, the petty person retreats. "The gentleman is released" refers to the Nine in the Fourth ascending to the fifth position; "the petty person retreats" refers to the original Six in the Fifth descending to the fourth position. This explanation of the line meaning is made very clear.

上六：公用射隼于高墉之上，獲之無不利。震為公為射為隼，伏龔為塘為高，六居賣上，故射隼于高墉之上。蓋卦為重坎，上六履重坎之上，動作如意，故獲之無不利也。震射，左氏象；震為鴻鵠故為隼，俱見易林，詳焦氏易詁。象曰：公用射隼，以解體也。坎為悖，上六居重坎之外，故曰解悻。

The line statement for the sixth line above the upper trigram is: The king and duke shoot falcons from a high wall, and with one shot he captures them, and there is no disadvantage. "Zhen" has the image of a duke, and also represents shooting and falcons; the upper trigram "Zhen" contains the hidden trigram "Xun," which represents walls and height. The sixth line is situated on top of the wall, so it is said "shooting falcons from a high wall." The entire hexagram has "Kan" below and the trigrams three to five interrelated as "Kan," forming a repetition of "Kan." The sixth line stands outside the repeated "Kan," and its actions are carried out smoothly, so it is said "capturing them without any disadvantage." "Zhen" represents shooting, which is an image found in the "Zuo Zhuan" examples; "Zhen" also represents the great bird, hence falcons, as mentioned in "Jiao's Forest of Changes." Detailed arguments are presented in my work "Jiao's Glosses on the Changes." The "Xiao Xiang" says: The duke uses shooting falcons to resolve contradictions. "Kan" has the image of contradiction (discord), and the sixth line is situated outside the repeated "Kan," so it is said "resolving contradictions."