Gather卦

萃：王俊有廟，利見大人，亨利貞，用大牲吉，利有攸往。蘋聚也，坤為萬物，聚於澤中，故曰萃。王謂五，艮為廟，假格通至也，巽為人。王假有廟，言王以至誠，格於宗廟而有事也。九五得位，故曰利見大人；二五應予，故曰亨利貞。兌為羊，巽為豕，坤為牛，皆大牲，有事於宗廟用之而吉也。利有攸往，謂二應五，五天位，故傳曰順天命。

The hexagram "Cui" (Gathering) states: The king comes to the ancestral temple, it is favorable to see a great man, it is prosperous and favorable to maintain the correct path, using oxen and sheep for sacrifice brings good fortune, and it is favorable to go somewhere. "Cui" means gathering. The lower trigram "Kun" represents all things, gathered in the upper trigram "Dui" (Lake), hence called "Cui." "Wang" refers to the nine in the fifth position. The trigrams three to five form "Gen" (Mountain), which represents the ancestral temple. "Jia" and "Ge" are synonymous, meaning to arrive. The trigrams two to four form "Xun" (Wind), which represents people. "Wang jia you miao" means the king arrives at the ancestral temple with sincere devotion to perform the sacrifice. The nine in the fifth position, being yang in a yang position, is said to be favorable to see a great man. The six in the second position corresponds with the nine in the fifth, hence it is prosperous and favorable to maintain the correct path. "Dui" represents sheep, "Xun" represents pigs, and "Kun" represents oxen, all large sacrificial animals, which are used in the ancestral temple to bring good fortune. "Li you xiang" refers to the six in the second position corresponding with the nine in the fifth. The fifth position is the heavenly position, so the "Commentary on the Judgment" says "following the mandate of heaven."

象曰：萃，聚也，順以說，剛中而應，故聚也。王假有廟，致孝享也；利見大人亨，聚以正也；用大牲吉，利有攸往，順天命也。觀其所聚，而天地萬物之情可見矣。五天位，巽為命，坤順，順天命，謂二順五也。艮為觀，坤為萬物，天地萬物，陰陽而已，有陰陽即有情咸，可見而知也。

The Commentary on the Judgment says: The hexagram "Cui" means gathering. The lower trigram is in harmony and the upper trigram is joyful, with nine five being strong and in the center and having a proper response, thus it can gather. "The king goes to the temple to offer sacrifices" refers to fulfilling filial piety through ancestral worship. "It is advantageous to see a great man and to have success" refers to gathering in accordance with the right way. "Using great sacrifices is auspicious, and it is advantageous to go somewhere" refers to following the mandate of heaven. Observing the principle of gathering things, one can see the true nature of all things in heaven and earth. Five is the position of heaven; the interacting trigram "Xun" represents destiny, and the lower trigram "Kun" represents obedience. So "following the mandate of heaven" means that six two obeys nine five. The interacting trigram "Gen" represents observation, and "Kun" represents all things. Heaven and earth and all things are no more than yin and yang. With yin and yang there is mutual affection and interaction, thus they can be observed and known.

象曰：澤上於地，萃。君子以除戎器，戒不虞。戎兵也，月令「以習五戎」，注「五戎弓殳戈矛戰也」。兌為斧鉞，艮為刀兵，除治也。君子觀於革象，因以治戎器而戒不虞。坤為亂，艮為止，止亂，故曰戒不虞，言防意外也。

The Great Image Commentary says: Water overflowing from a marsh onto the land is the image of the hexagram "Cui"; thus, the gentleman understands the need to repair weapons in preparation for unforeseen events. "Rong" refers to weapons. The "Book of Rites · Monthly Orders" states "to practice the five types of weapons," with the commentary explaining that the five weapons are the bow, the halberd, the spear, the spear, and the spear. The upper trigram "Dui" represents axes and halberds, and the interacting trigram "Gen" represents weapons. "Chu" means to repair. The gentleman sees this image and thus repairs weapons to guard against unexpected occurrences. "Kun" represents disorder, and "Gen" represents stopping; stopping disorder means preventing calamity, hence "ji bu yu," which means guarding against unforeseen events.

初六：有孚，不終，乃亂乃萃，若號，一握為笑，勿恤，往無咎。四有應，故曰有孚。乃初為二三所阻格，難於應四，故曰不終。乃亂乃蘋，坤為亂，為聚，言亂萃於下也。四巽為號，艮手為握。若號者，言四召初與相上下也。四下來初，則初四相握手，下卦成震，震為笑，故曰一握為笑也。坤為憂，有應故勿憂。初之四得正，故往無咎。象曰：乃亂乃萃，其志亂也。坤為志為亂。

The line statement for the first line (initial six): There is sincerity but it cannot reach the end, thus there is confusion and gathering; if one calls out, a single handshake brings joy; there is no need to worry, going forward brings no fault. The first line corresponds with the fourth line, so it is said 'there is sincerity'. However, the first line is blocked by the second and third lines, making it difficult to correspond with the fourth line, hence 'not reaching the end'. 'Confusion and gathering' — 'Kun' represents confusion and also gathering, indicating that the group of yin lines are confused and gathered below. The fourth line is in the middle of the trigrams three to five 'Xun', which represents calling out; the trigrams two to four 'Gen' represent the hand, hence 'handshake'. 'If one calls out' refers to the fourth line calling the first line to correspond above and below. When the fourth line moves down to the first position, the first and fourth lines shake hands, and the lower trigram becomes 'Zhen', which represents laughter, hence 'a single handshake brings joy'. 'Kun' represents worry, but since there is a correct correspondence, there is no need to worry. The first line moving to the fourth position is correct, hence 'going forward brings no fault'. The 'Small Commentary' says: 'Confusion and gathering' indicates that their intentions are confused. 'Kun' represents both intention and confusion.

六二：引吉，無咎，孚乃利用侖（左 ）。引進也，禮檀弓「兄弟之子猶子也，蓋引而進之也」。引吉無咎者，言進應五則吉而無咎也。侖（左 ）薄祭也。二孚五，五兌為享，而坤為吝嗇，故曰孚乃利用侖（左 ），侖（左 ）夏祭，互巽為夏也。象曰：引吉無咎，中未變也。進應五仍中位，故曰中未變。

Line 62: If it moves upward, it is auspicious, without blame, and if there is sincerity, it is beneficial for a simple sacrifice. "Yin" means to advance. The "Rites of the Son of Heaven" says, "The sons of brothers are treated as one's own sons, which is advancing." "Yin jí wú jiù" means that when line 62 advances to respond to line 95, it is auspicious and without blame. "Yue" refers to a simple sacrifice. Line 62 is sincere toward line 95, and line 95 is in the "Dui" trigram, which represents enjoyment; while "Kun" is characterized by frugality and restraint, hence "fu nai li yong yue." "Yue" is a summer sacrifice, and the trigram "Xun" from the third to fifth lines represents summer. The "Small Commentary" says: "Yin jí wú jiù," the middle has not changed. Line 62 advances to respond to line 95, and line 5 remains in the middle position, hence "zhong wei bian."

六三：萃如嗟如，無攸利，往無咎，小吝。三無應失位，而巽為嗟，故曰嗟如。巽為利，失位無應，故無所利。三前遇重陽，故往無咎；然上無應，故往小吝也。象曰：往無咎，上巽也。巽順也，上巽言上順四五，四五陽，故無咎。虞氏謂動之四故上賣，誤之遠矣。

The third line statement says: gathering together and then dispersing again, sighing and lamenting continuously, there is no benefit; going forward brings no fault, but there is only a small regret. The sixth line three and the sixth line at the top are both yin and do not correspond with each other, and since the third line is yin in a yang position, it is not in the correct place. From line three to line five, the trigram is 'Xun' (wind), which represents sighing and lamenting, hence the phrase 'sighing and lamenting'. 'Xun' also represents benefit; however, since the third line is not in the correct position and has no corresponding line, there is no benefit. The third line encounters two yang lines, the fourth and fifth lines, ahead of it. Yin meeting yang leads to communication, so going forward brings no fault; but since it does not correspond with the sixth line at the top, there is still a small regret. The 'Small Image' says: going forward brings no fault, because of the upper 'Xun'. 'Xun' means following. 'Upper Xun' refers to the third line following and supporting the fourth and fifth lines, which are both yang lines, hence no fault. Yu Fan said that the third line needs to move to the fourth position to form the upper 'Xun', which is too far off.

九四：大吉無咎。下乘三陰，故大吉；失位故無咎，無咎者僅免於咎也。象曰：大吉無咎，位不當也。繫辭云「無咎者善補過者也」，故無咎非全美之辭。九五：萃有位，無咎，匪孚，元永貞，悔亡。得位居中，故有位無咎。五孚於二，乃為四所阻，難於應二，故曰匪罕。然乾元永貞於五，居高臨下，亦無悔也。象曰：萃有位，志未光也。兌為黯昧，艮為光明，艮伏故志未光。巽為志。

The line statement for the fourth line (Nine in the Fourth): Great fortune, no blame. Nine in the Fourth is below three yin lines, with the yin lines converging, hence great fortune; yet it is a yang line in a yin position, so it only says 'no blame'—'no blame' is merely a forced avoidance of misfortune. The 'Small Commentary' says: Great fortune with no blame, because the position is inappropriate. The 'Great Treatise' says 'no blame means being good at remedying mistakes,' showing that 'no blame' is not a perfect conclusion. The line statement for the fifth line (Nine in the Fifth): Gathering in a high position, no blame; not fully trusting, but maintaining firmness for a long time, regret disappears. Nine in the Fifth is in the proper position and in the center, so it says 'has a position, no blame.' Nine in the Fifth originally could fully trust six in the Second, but is blocked by Nine in the Fourth, making it difficult to respond to six in the Second, hence 'not fully trusting.' However, the virtue of the creative power remains firm in the fifth position, so there is no regret. The 'Small Commentary' says: 'Gathering in a high position, the will is not yet bright.' 'Dui' represents obscurity, 'Gen' represents brightness, and the intercalated 'Gen' in this hexagram is hidden and not visible, hence 'the will is not yet bright'; the intercalated 'Xun' also represents the will.

上六：諮涕夷（左水），無咎。兌為口，故諮，釋文「齊諮嗟嘆之辭」，鄭同，馬云「悲聲怨聲」。兌為澤，故涕夷（左水）。玉篇「目計出曰涕」，說文「演鼻液也」。上乘陽，三無應，故悲哀若是，然當位亦無大咎也。虞翻作齊資，云「齊持資膊也」，即持賻助喪也，非。象曰：齊諮涕夷（左水），未安上也。言不安於窮吝。

The line statement for the sixth line at the top says: lamenting and weeping, tears and snot flowing down together, there is no fault. "兑" represents the mouth, so there is the lamentation called "咨"; the "Classic Interpretation" says "zi ci is the expression of lamentation," which Zheng Xuan agrees with; Ma Rong says it refers to "sad or resentful sounds." "兑" also represents a marsh, so there is the weeping and snot. The "Ziwen" says "the water flowing from the eyes is called tears," and the "Shuowen" says "the mucus from the nose is called snot." The sixth line is below the fifth line which is yang, and it shares the same nature as the third line without a corresponding line, so it reaches this level of sorrow; however, since it is a yin line in a yin position, it does not bring great calamity. Yu Fan wrote "qi zi," saying "qi means to hold, and zi means to offer condolences," meaning to bring money and goods to help with funeral expenses, which is incorrect. The "Xiao Xiang" says: "carrying lamentations and weeping, not secure in the upper position." This means it is not at ease in its situation of hardship and distress.

升：元亨，用見大人，勿恤，南征吉。陽遇陰則通，故名曰升。歸藏曰稱，牧誓「稱而戈」，注「稱舉也」；又譽人曰稱揚。升者升而上，舉者亦揚之使上，故歸藏曰稱，周易曰升，其義並同。陽上升，故元亨，元謂乾元也。大人謂二，二為三所阻格，故不曰利見大人，而曰用見，言二宜升五也。

The Hexagram Statement of "Ascending" says: It is greatly smooth and favorable to see a great person, without worry, and it is auspicious to move southward. A yang line meets a yin line ahead, thus there is unimpeded passage, so the hexagram is named "Ascending." In the "Guicang," this hexagram is named "Cheng": In the "Book of Documents · Mu Shi," it says "Cheng your spear," with the annotation explaining "Cheng means to lift up"; also, praising someone is called "Chengyang." "Ascending" means going upward, and "lifting" also means raising something up so that it goes upward, so the "Guicang" calls it "Cheng" and the "Zhou Yi" calls it "Ascending," meaning the same thing. Yang energy ascends, so "Yuan Heng" ("greatly smooth"), "Yuan" refers to Qian Yuan. "Great person" refers to Nine Two; Nine Two is blocked by another yang line, Nine Three, so instead of saying "favorable to see a great person," it says "use to see," meaning Nine Two should ascend to the fifth position.

坤為憂為恤，二升五大人得位，故曰勿恤。震為南，為徵，三臨群陰，故南征吉。左傳成十六年，晉筮遇復，曰南國戚（左足），以震為南；明夷九三曰南狩，亦以震為南。自震南象失傳，清儒皆用虞氏法，以二升五互離為南。象曰：柔以時升，巽而順，剛中而應，是以大亨。用見大人，勿恤，有慶也；南征吉，志行也。二升五，故有慶。坤為志，三臨重坤，故曰志行。

"The trigram 'Kun' represents worry and care; when the second line (Nine Two) ascends to the fifth position, the great person is in the proper position, hence it is said 'do not worry.' The trigram 'Zhen' represents the south and movement; the third line (Nine Three) is located within the intercalated 'Zhen' trigram from the third to the fifth positions, and is above a group of yin lines, hence it is said 'a southern campaign is auspicious.' The 'Zuo Zhuan' records that in the sixteenth year of Chenggong, a person divined the hexagram 'Fu,' and the divination said 'the southern state is squeezed,' which uses 'Zhen' to represent the south. The line 'Nan Shou' in the hexagram 'Mingyi' also uses 'Zhen' to represent the south. Since the image of 'Zhen' representing the south has been lost, Qing dynasty scholars generally followed Yu Fan's method, saying that after Nine Two ascends to the fifth position, the intercalated trigrams form 'Li,' which represents the south. The 'Commentary on the Judgment' says: the flexible and yielding line rises in accordance with the time, descending into 'Xun' and ascending into 'Kun,' with Nine Two being strong and in the center with a responding line, hence great success. 'Using to see the great person, do not worry' indicates good fortune; 'a southern campaign is auspicious' indicates the realization of one's aspirations. Nine Two ascending to the fifth position brings about good fortune. 'Kun' represents the will, and Nine Three being above multiple 'Kun' yin lines indicates the realization of the will."

象曰：地中生木，升。君子以順德，積小以高大。巽為高為長，故為高大；坤為小為積。積小以高大者，言以坤陰柔順之德，積累以成其高大也。象卦形也。初六：允升，大吉。允施氏作A，說文同，云「A 進也」。晉六三云「眾A」，即眾進也；茲曰A升，仍前進而升也。進遇陽，故大吉。

The Great Image says: trees growing out of the earth represent the image of the Hexagram of Ascending; thus, the gentleman understands that he should cultivate virtue in a smooth and harmonious way, accumulating small things to achieve great results. "Xun" represents height and length, so it signifies "great height"; "Kun" represents smallness and accumulation. "Accumulating small things to achieve great height" means using the gentle and yielding virtue of "Kun," gradually accumulating to attain great height. Here, the term "image" refers to the form of the hexagram. The line statement for the first line: sincere and trustworthy ascent brings great good fortune. The character "允" is in the Shichao version written as "㽙," which the Shuowen Jiezi says is the same, meaning "to advance." The line statement for the sixth line of the Hexagram of晋 says "the people all agree," meaning all people advance together; here, "allowing ascent" still means advancing forward and ascending. The first line advances and meets the yang of the second line, thus bringing great good fortune.

象曰：允升大吉，上合志也。上謂二三，九家謂上交，非。巽伏故為志。九二：孚乃利用尼（左木），無咎。二孚五，五坤為吝嗇，故曰掄。侖（左示）夏日薄祭敢。兌為祭，巽為夏，故曰軍乃利用掄，無咎矣。象曰：九二之孚，有喜也。升五故有喜。

The Xiao Xiang says: "True faith leads to great good fortune, because it aligns with the will above." "Above" refers to the lines nine two and nine three. The Nine Families' commentary says it refers to interaction with the superior position, which is incorrect. "Xun" signifies concealment, hence it is called "will." The line statement of nine two says: "With sincere faith, it is advantageous to perform the thin summer sacrifice, without fault." Nine two shows sincere faith to six five, and six five is in the "Kun" trigram. "Kun" is characterized by frugality and restraint, hence it is called "thin sacrifice." "Thin sacrifice" refers to a simple offering in summer. "Dui" represents sacrifice, and "Xun" represents summer, hence it says "With sincere faith, it is advantageous to perform the thin summer sacrifice, without fault." The Xiao Xiang says: "The sincere faith of nine two brings joy." Nine two is able to ascend to the fifth position, hence there is joy.

九三：升虛邑。馬雲虎丘也。按左傳僖二十八年「晉侯登有莘之虛」，詩衛風「升彼虛矣」。虛者高丘，巽為高，故曰虛；坤為邑。升虛邑者，言升邑之高處也，正巽上象也，與同人九四之乘其庸，取象正同。荀爽作空虛解，後來諸家，以虛為坤象，多宗荀說，非。象曰：升虛邑，無所疑也。坤為迷為疑，陽遇陰，故無所疑。

The line statement for the third line (Nine in the Third) says: "Ascending the high hill city." Ma Rong said, "Empty refers to a high hill." According to the "Zuo Zhuan" from the 28th year of Duke Xian, "The Duke of Jin ascended the old ruins of Shensheng," and in the "Poetry · Yong Feng · Ding Zhi Fang Zhong," it says, "He ascended the high hill." "Empty" refers to a high hill; "Xun" represents highness, so it is called "empty"; "Kun" represents a city. "Ascending the empty city" means ascending the high part of the city, which is exactly the meaning of "Xun" being below and its image rising upward. This is entirely the same as the imagery in "Tong Ren" Nine in the Fourth, "Riding upon the city wall." Xun Shuang interpreted "empty" as empty, and later scholars took "empty" as the empty image of "Kun," mostly following Xun's interpretation, but this is actually incorrect. The "Xiao Xiang" says: "Ascending the empty city, there is no doubt." "Kun" represents confusion and doubt; the yang line of Nine in the Third meets the preceding yin line and becomes connected, hence there is no doubt.

六四：王用亨於歧山，吉，無咎。震為王，兌為亨。震為陵為皈，而形上歧，故曰歧山。王用亨於歧山者，言望二升五，四得承陽，陰順陽，猶臣事君。望二升五，猶望工至歧山，而有所亨獻也。象曰順事，順承也。二若不升五，四如何得承陽哉，故望之也。

The Line Statement of the Fourth Line: The king holds a sacrificial offering at Qishan, which is auspicious and without fault. The interacting trigram 'Zhen' represents the king, and 'Dui' represents the sacrificial offering. 'Zhen' signifies hills and mountains, and its upper part is divided, hence called 'Qishan'. 'The king uses sacrificial offerings at Qishan' means that the Fourth Line (six in the fourth) hopes that the Second Line (nine in the second) will ascend to the fifth position, so that it can receive the yang line. Yin follows yang, just as a subject serves the ruler. Hopes for the Second Line to ascend to the fifth position is like hoping the king will personally come to Qishan to make offerings. The 'Small Image' says 'following the service', 'following' means receiving. If the Second Line does not ascend to the fifth position, how can the Fourth Line receive the yang line? Therefore, it hopes for it.

此正文王服事殷之本旨。乃後儒謂文王作爻辭，不合自稱為王；若為殷王，又無至歧山之理，以爻辭為周公作。此無訟易辭皆由象生，故韓宣子不謂為易辭，而曰易象。即只以人事言，紂尚能國文王，何不可到歧山。且文王於此事數言之，服事忠誠，溢於言表，又豈必實有其事。乃謂王為文王，無理甚矣。李過西谷易說云「若以此王為文王，則王用三驅、王假有廟，亦文王耶」，駁舊說至詳盡。象曰：王用亨於歧山，順事也。坤為順，言二升五，四得承陽，故曰順事。

This is exactly the original intention of King Wen in serving the Shang dynasty. Later scholars, however, argued that King Wen could not have written the line statements since he referred to himself as "Wang" (king). If they claimed it was the Shang king, then it would not make sense for him to have gone to Qishan. Therefore, they concluded that the line statements were written by the Duke of Zhou. In fact, regardless of whether the statements of the Book of Changes come from the hexagram images (so when Han Xuanzi saw it in Lu, he called it "Yi Xiang" instead of "Yi Ci"), if we consider only human affairs, King Zhou was still able to imprison King Wen. Why then could King Wen not go to Qishan? Moreover, King Wen repeatedly mentioned this matter, clearly expressing his loyalty to the Shang dynasty. Why must there be an actual event? To force the term "Wang" to refer to King Wen is unreasonable. Li Guo's "Xi Xi Yi Shuo" says, "If we take this 'Wang' as King Wen, then 'Wang yong san qu' and 'Wang jia you miao' would also be King Wen?" This refutes the old view most thoroughly. The "Xiao Xiang" says: "Wang yong xing yu qi shan," which means "the king used to offer sacrifices at Qishan," indicating a proper and harmonious action. "Kun" represents harmony, meaning that the second line rises to the fifth position, allowing the fourth line to support the yang line. Therefore, it is called "hui shi" (proper action).

六五：貞吉，升階。貞吉，卜問吉也。坤為土為重，故有階級之象。升階言二升五也。五陽，故象曰大得志。象曰：貞吉升階，大得志也。坤為志，陽升五，故大得志。上六：冥升，利于不息之貞。坤為晦冥為夜，故曰冥升；得陽應，故曰利于不息之貞，與利永貞同偕。蓋上六為同性之四五所格，不能應三，故有此象。象曰：冥升在上，消不富也。坤消故不富。

The line statement for the fifth line says: the divination is auspicious, ascending steps. 'Zhen Ji' means the divination result is auspicious. 'Kun' represents earth and overlapping, thus symbolizing steps and levels. 'Ascending steps' refers to the nine in the second line rising to the fifth position. The fifth position is yang, so the 'Small Commentary' says 'greatly fulfilling one's will.' The 'Small Commentary' says: 'Zhen Ji' and 'ascending steps' mean 'greatly fulfilling one's will.' 'Kun' represents will, and a yang line rising to the fifth position thus greatly fulfills its will. The line statement for the sixth line at the top says: ascending in darkness, favorable to maintaining uprightness without ceasing. 'Kun' represents darkness and night, so it is said 'meditating on ascent.' The sixth line at the top receives the yang of the third line below, so it is said 'favorable to maintaining uprightness without ceasing,' which is the same meaning as 'favorable for enduring uprightness.' Probably the sixth line at the top is blocked by the similarly yin sixth line four and fifth, so it cannot smoothly correspond with three, hence this line statement. The 'Small Commentary' says: 'ascending in darkness at the top, not rich.' 'Kun' signifies reduction, so it is said 'not rich.'

困：亨，貞，大人吉，無咎，有言不信。二五剛得中，處險能說，故亨。貞，占也。二五為大人，故貞大人吉也。兌口為言，三至上正反兌，所向不同，故有言不信。此其義始見於《左傳》。《左傳》昭五年明夷之謙曰：於人為言，敗言為讒。謂謙上震為人為言，下艮為反震，故曰敗言。是以正反震為讒。《易林》承其義，於訟之困云：心與言反。正釋此語也。坤之離云：齊魯爭言。離二至五正反兌，故曰爭言，爭言即不信。離二至五，與困三至上同也。舊解皆誤，詳《焦氏易詁》。

The Hexagram of Being Impeded: It is favorable; when questioned, it is auspicious for the "Great Man" of virtue and position, without error; although one speaks, one is not believed. Nine Two and Nine Five both have yang strength in the central positions of the upper and lower trigrams. The lower trigram is Kan, representing danger, and the upper trigram is Dui, representing joy. Being in a dangerous situation yet maintaining joy, thus it is said "favorable." "Zhen" here means to question. The lines Two and Five are the positions of the Great Man, so questioning is auspicious for the Great Man. Dui represents the mouth, and the mouth can speak, so Dui has the image of "speech." The hexagram from line Three to the top line is a correct Dui stacked upon an inverted Dui, two mouths facing opposite directions, each holding a different opinion, thus it is said "there is speech but it is not believed." This example of taking images is first found in the "Zuo Zhuan": in the fifth year of Duke Zhao, it mentions "Mingyi's Qian," saying "speech is for people, false speech is slander." The lower trigram of Qian is Zhen, representing people and speech, and the upper trigram is Gen, which is the inverted image of Zhen, thus called "false speech," showing that a correct Zhen stacked upon an inverted Zhen is slander. The "Jiao's Forest of Changes" follows this meaning: in the hexagram "Song" and "Kun," it says "the heart and speech are opposite," explaining "there is speech but it is not believed." In the hexagram "Kun" and "Li," it says "Qi and Lu contend in speech," because the lines Two to Five of Li are also a correct Dui stacked upon an inverted Dui, thus called "contention in speech," which is mutual disbelief. The structure of lines Two to Five in Li is the same as lines Three to the top in Kui. Old interpretations have all misunderstood this, as detailed in Shang's "Jiao's Glosses on the Changes."

象曰：困，剛B也，險以說，困而不失其所亨，其唯君子乎。貞大人吉，以剛中也。有言不信，尚口乃窮也。坎剛B，三至上剛B，陽陷陰中故困。因而不失其所亨，唯君子能之。君子即大人，若小人即不堪矣。兌為口，三至上正反兌，故曰尚口。尚口乃窮者，言徒尚口說，必有相反而不信者，故窮也。象曰：澤無水，困。君子以致命遂志。水在澤下，則澤竭矣，故曰無水。巽為命，而兌為反巽，為毀折，故曰致命。坎為志，二人於淵不出，故曰遂志。學易之君子以之。

The Commentary on the Judgment says: The hexagram "困" represents the situation where yang is concealed by yin, and is in a dangerous situation yet remains harmonious, being trapped in difficulty but still maintaining the way of success. Only a gentleman can achieve this. "Zhen Da Ren Ji" is because the second and fifth lines are yang in the center. "You Yan Bu Xìn" means that relying solely on words leads to a dead end. The lower trigram is Kan, which is one yang concealed by two yins. The third line to the top line is also yang concealed by yin, yang being trapped within yin, hence called "困." Being in a difficult situation yet maintaining success, only a gentleman can do so; here, "gentleman" refers to the "adult" mentioned in the hexagram statement. A petty person would not be able to endure it.兑 represents the mouth, and the third line to the top line is the upright兑 and inverted兑 overlapped, two mouths facing each other, hence "shang kou" (relying on words). "Shang kou nai qiong" means that relying solely on verbal ability will inevitably lead to adverse comments and lack of belief, thus reaching a dead end. The Great Image Commentary says: A marsh without water, this is the hexagram "困." A gentleman learns from this to be willing to sacrifice his life to fulfill his aspirations. Water should be stored in the marsh, but now it leaks out below the marsh, causing the marsh to dry up, hence "wu shui" (no water). 巽 represents destiny, and兑 is the inverted image of 巽, also implying destruction, hence "ming zhi" (sacrificing one's life). Kan represents aspirations, and the yang in Kan sinks to the bottom of the abyss without emerging, hence "sui zhi" (fulfilling one's aspirations), meaning aspirations are held firm to the end. A gentleman who studies the Book of Changes should take this as a model.

初六：臀困于株木，入于幽谷，三歲不覿，凶。初在下，故曰臀，與決（左無）九四同。株木謂坎。言初欲應四，坎陷為阻，故困于株木。株乾也，《韓非子》守株待兔，而坎為棟，故為株木。坎為幽，坎陷為谷，初在下，故人於幽谷。離伏故不覿。三歲言其久。蓋初失位，處坎下，故其象如此。茹敦和以坎為三歲，王昭素謂初至三三爻為三歲，以坎上六證之，茹說是也。象曰：入于幽谷，幽不明也。離伏坎夜，故幽不明。

The first line statement says: The buttocks are trapped on a dry tree stump and fall into a deep valley, not seeing anyone for three years, which is dangerous. The first line is at the very bottom of the entire hexagram, so it takes the image of the buttocks, similar to the case of the fourth line in the hexagram Guai. "Struck by a tree stump" refers to the lower trigram Kan. The first line originally intended to correspond with the fourth line, but the danger of Kan blocks the way, hence "trapped by the tree stump." "Struck" refers to a tree stump, as there is a story in the Hanfeizi about waiting by a tree stump; Kan also has the image of a beam, which is a wooden structure, so Kan can represent a tree stump. Kan represents darkness, and the dangerous situation of Kan is like a deep valley. Since the first line is at the bottom, it says "falling into a dark valley." Li represents eyes and sight, but in this hexagram, the image of Li is hidden and not visible, hence "not seeing," meaning not seeing people. "Three years" is used to describe the length of time. Basically, the first line is a yin line in a yang position and is out of place, and it is located below the dangerous trigram Kan, so the image is like this. Ru Dunhe interprets the three years as referring to Kan, while Wang Zhao Su says it is because the first line to the third line together make up three lines, hence three years. Using the statement of the sixth line of the hexagram Kan to verify, Ru's interpretation is correct. The Small Image Commentary says: Falling into a dark valley is because of darkness and lack of clarity. Li is hidden, and Kan represents night, so it is dark and unclear.

九二：困于酒食，朱紱方來，利用亨祀，征凶，無咎。坎為酒食，需九五需于酒食是也。二居坎中，故困于酒食。巽為繩為級，坎為赤，巽在二前，故日朱龍（左言）方來，言將膺錫命也。《博雅》紱綬也。朱級貴人所服，以祭宗廟者，故用以亨祀則利也。然五不應故征凶，得中亦無咎。象曰：困于酒食，中有慶也。居陰中，故有慶。

The line statement for the second line says: Being trapped by wine and food, a red sash is about to be presented, which is suitable for holding a worship ceremony; traveling is dangerous, but there is no mistake. The trigram Kan represents wine and food, and the line statement of the fifth line in the hexagram "Need" says "waiting by wine and food," which corresponds to this image. The second line is located within the trigram Kan, so it says "trapped by wine and food." The trigram Xun represents a rope and a sash, and Kan represents the color red. Since the trigram Xun is before the second line, it says that a red sash is about to be presented, meaning that one is about to receive a royal appointment. The "Boya" says: "Fu" is a sash. A red sash is worn by the nobleman and used in the worship of the ancestral temple, so using it for worship is beneficial. However, the fifth line and the second line are both yang lines and do not correspond, so traveling is dangerous; but since the second line is in the middle, there is no mistake. The "Small Image Commentary" says: Being trapped by wine and food, being in the middle brings joy. The second line is between the first line and the third line, which are both yin lines, and is in the middle position, so there is joy.

六三：困于石，據于蒺藜，入于其宮，不見其妻，凶。巽為石，坎為蒺藜。三前臨巽，故困于石；下據坎，故據于蒺藜。石堅剛不可人，蒺藜刺人，不可踐也。巽為人，坎為宮，故人於其官。巽為齊，妻者齊也，故巽為妻。巽為伏，又上無應，故人宮而不見妻也。象而如是，凶可知也。巽石象，宋邵雍用之，後儒怪駭。豈知《焦氏易林》同人之小畜云：戴石上山，步跌不前。小畜小巽為石，下乾為山為首，石在首上，故曰戴石。餘證尚多，詳《焦氏易詁》卷一。

The line statement for the third line (sixth in the third) says: Being trapped by a big stone, stepping on thorns, returning to one's house, yet not seeing one's wife, it is dangerous. The trigram Xun represents stone, and Kan represents thorns. The third line is immediately adjacent to the trigram Xun, hence "trapped by a stone"; below it is the trigram Kan, hence "stepping on thorns." Stone is hard, so one cannot enter; thorns have prickles, so one cannot step on them. Xun represents entering, and Kan represents a house, hence "entering one's house." The ancient pronunciation of Xun is similar to "qi," and "wife" means being equal with the husband, hence Xun also represents "wife." Xun also has the meaning of concealment. Since the third line and the top line are both yin lines without a proper response, one enters the house but does not see the wife. Given the line's image, danger is evident. The image of Xun as stone is an unusual interpretation, which Shao Yong of the Song dynasty once used. Later scholars were surprised, but they did not realize that in "The Forest of Changes" by Jiao, in the hexagram Tongren and Xiaoxu, it says, "Wearing a stone on the mountain, stepping back and unable to move forward." In "Xiaoxu," the lower trigram is Xun, which is stone, and the lower trigram Qian represents the mountain and the head, so the stone is on top, hence "wearing a stone." There are many such supporting examples, see volume one of "Jiao's Glosses on the Changes."

象曰：據于蒺藜，乘剛也；入于其宮，不見其妻，不詳也。《釋文》云：蒺藜茨草。虞翻謂為木名似非。《釋估》茨蒺藜。注：布地蔓生，有子，三角刺人。《詩·庸（右邑）風》牆有茨。傳：茨蒺藜。孔疏：蒺有刺，不可踐者是也。惟不可踐，故以喻乘剛，若為木則不合矣。《正義》作藜，然《爾雅》及《毛詩》傳皆作藜，藜藜通用。阮校必謂藜是，似亦無確證，詳善也。

The Small Image Commentary says: "Walking on thorned plants is because the line six in the third is riding over the line nine in the second yang; entering the door and not seeing the wife is an omen of misfortune." Lu Deming in his "Commentary on the Classics" says that thorned plants are a type of wild gourd plant. Yu Fan thought it was a type of wood, but that seems incorrect. The "Er Ya · Interpretation of Plants" says that "tsi" is the same as thorned plants, and the annotations explain that it grows along the ground, spreads out, and produces fruits with three horns that can prick people. The "Book of Songs · Song Wind" contains the line "The wall has thorned plants," and the Mao Commentary interprets "tsi" as thorned plants. Kong Yingda's commentary explains that thorned plants have prickly spikes and cannot be stepped on, which fits this line perfectly. Because they cannot be stepped on, they are used as a metaphor for the danger of line six in the third riding over yang. If it is considered a tree, the meaning does not fit. The "Correct Meaning of the Zhou Changes" writes it as "li," while both the "Er Ya" and the Mao Commentary on the "Book of Songs" also write it as "li," indicating that the two characters are interchangeable. Yuan Ruan's "Notes on Textual Criticism" insists that it should be written as "li," but there is no conclusive evidence for this, and further examination is needed.

九四：來徐徐，困于金車，吝，有終。來應初為二所阻，故曰徐徐。二坎為車，離色黃外堅，故曰金車。困于金車，申來徐徐之故也。仍陰於險，不得應初也。然與初為正應，初吝終合，故曰有終。象曰：來徐徐，志在下也；雖不當位，有與也。坎為志，志在下，言應初。

The statement for the fourth line says: Coming slowly and gradually, being trapped by a chariot decorated with bronze, there is some reluctance, but ultimately there will be a good outcome. The fourth line comes down to correspond with the first line, but is blocked by the second line, hence it is said 'coming slowly'. The second line is in the body of Kan, which represents a chariot, so there is an image of a chariot. The color of Li is yellow and its exterior is hard, so the meaning of 'metal' is taken, combining to form 'golden chariot'. 'Trapped by the golden chariot' is precisely explaining 'coming slowly'—the fourth line is still trapped in difficulties and cannot correspond with the first line. However, the fourth line and the first line have corresponding yin and yang, originally a proper correspondence. Although there is initial reluctance and obstruction, in the end they will surely meet, hence it is said 'there is a conclusion'. The Small Image Commentary says: Coming slowly is because the mind is focused on the lower position. Although the fourth line is a yang line in a yin position, which is improper, it has a corresponding partner. Kan represents the mind, 'the mind is in the lower position' means the mind is focused on corresponding with the first line.

九五：劓月（右 ），困于赤紱，乃徐有說，利用祭祀。艮伏鼻不見，故曰劓。兌折震足象毀，故曰別。坎為赤，巽為紱，故曰赤紱。乃二爻坎為不應，故困于赤紱。上遇陰利往，故有說。兌為食，故利用祭祀。象曰：劓月（右 ），志未得也；乃徐有說，以中直也；利用祭祀，受福也。坎為志，二無應，故志未得。坎五曰受福，茲與之同，傳所謂祭則受福也。

The line statement for the fifth line says: having suffered the punishments of nose-cutting and foot-cutting, being trapped by a red sash, gradually there is a turning point, and it is appropriate to hold a worship ceremony. The trigram Gen represents the nose, and since this hexagram has the trigram Gen in its image, it signifies concealment, and the nose is missing, hence the term "nose-cutting." The trigram Dui signifies breaking, and the trigram Zhen represents the foot. Dui breaking Zhen indicates the foot is broken, hence the term "foot-cutting." The trigram Kan represents red, and the trigram Xun represents a sash, hence "red sash." However, the second line is also a yang line, and it does not correspond with the fifth line, hence "trapped by the red sash." The fifth line meets the sixth line above, which is yin, and when yang meets yin, there is communication, hence it is appropriate to move forward, thus "gradually there is a turning point." The trigram Dui represents mouth and food, hence it is appropriate to hold a worship ceremony. The Small Image Commentary says: suffering the punishments of nose-cutting and foot-cutting indicates that the mind's aspirations have not yet been realized; gradually there is a turning point because the fifth line is in the center and upright; it is appropriate to hold a worship ceremony because it can receive blessings. The trigram Kan represents the mind, and the second line does not correspond with it, hence the mind's aspirations have not yet been realized. The fifth line's statement in the trigram Kan mentions "receiving blessings," and this is similar to that, which is exactly what the Great Treatise says: holding a worship ceremony brings blessings.

上六：困於葛C？（3田上草），於D E？，曰動悔有悔，征吉。巽為葛C，三至上正反巽，而三不應上，故困於葛C。D E？，危險不安之貌。上乘剛，元應，故有是象。兌為口，曰者自警也。言處此D E？之境，時時以動海有悔自警。動海者言動而應三，三不應故侮。有悔者言下乘陽又有悔也。征吉謂三，言三往四，上得陽應而吉也。此二句向天的解，姑測其義如是。象曰：用於葛C？，未當也；動悔有悔，吉行也。未當者，言上不宜乘陽也。吉行者，三之四上得陽應，故吉也。

The line statement for the top line says: being entangled by vines and creepers, in a dangerous and unstable situation, it says, "One movement brings regret, and indeed there is regret." Moving forward is auspicious. Xun represents vines and creepers, and the primary hexagram's third line to top line forms a correct Xun on top and an inverted Xun below, with the vines crossing each other. Moreover, the sixth line does not correspond with the third line, hence "being entangled by vines." "Nianwu" refers to a state of danger and instability. The top line is overreaching the yang of the fifth line, and there is no corresponding line, hence this image. Dui represents the mouth, "yu" is a self-warning expression, meaning that in such a dangerous situation, one should constantly remind oneself, "One movement brings regret, and indeed there is regret." "Movement and regret" refers to the movement to respond to the third line, but the third line does not respond, hence regret. "Indeed there is regret" refers to the top line being below and overreaching the yang of the fifth line, and itself having regret. "Auspicious movement" refers to the third line moving to the fourth position, so the top line gets a corresponding yang line and thus is auspicious. These two sentences have not had an appropriate explanation before, so I make this tentative interpretation. The Small Image Commentary says: being entangled by vines is due to improper position; one movement brings regret and indeed there is regret, moving forward is auspicious. "Not appropriate" refers to the top line not being suitable for overreaching the yang. "Auspicious movement" refers to the third line moving to the fourth position, so the top line gets a corresponding yang line, hence auspicious.

井：改邑不改井，無喪無得，往來井井，訖至亦未橘（左絲）句井，羸其瓶，凶。水在澤下，澤竭故困。水在澤中，汲之不窮，故兌為並。《易林》復之旅云：井沸釜鳴。以旅互兌為井。鄭玄以巽木為桔槔，汲水以取並象，格槔焉有在井下者乎。

The hexagram "Well": Changing the city but not the well, the well water neither decreases nor increases, and people coming and going all draw water from the well. The rope is almost reaching the bottom of the well, yet the jar cannot be lifted up, and the jar is stuck against the well wall, which is dangerous. Water leaking into the marsh below causes the marsh to dry up, which is the hexagram "Obstruction"; water stored in the marsh is inexhaustible, so the trigram "Joy" has the image of a well. The "Forest of Changes" by Jiao says "the well boils and the pot makes a sound," taking the trigram "Joy" from the interacting trigrams of the hexagram "Travel" as the well. However, Zheng Xuan uses the trigram "Wind" as the lever used for drawing water, taking the image of the well from the water-drawing tool. But how can a lever be placed at the bottom of the well?

兌為井，坤為邑，泰初往坤中，故改邑。二至四仍兌，與泰體同，故不改井。不改故無喪得。初至四正反兌，故曰往來井井。《易林》益之萃云：往來井井。即以蘋三至上正反兌，為往來井井。荀云：訖竟也。訖至者，言更（左絲）繫至並底而盡也。譎（左絲）綆也。亦未譎（左絲）者，言巽繩在下，尚未譎（左絲）瓶使上也。

The trigram Dui represents a well, and the trigram Kun represents a city. The hexagram Well comes from the hexagram Tai. In the hexagram Tai, the first line, Nine at the Beginning, moves into the body of Kun, hence it is said "changing the city." However, the second to fourth lines remain Dui, and the structure is the same as in the hexagram Tai, hence it is said "not changing the well." Since the well does not change, there is no loss or gain. The first to fourth lines consist of a correct Dui and an inverted Dui, moving one way and returning the other, hence it is said "the well is continuously drawn." The Forest of Changes in Jiao's commentary on the Book of Changes mentions "the well is continuously drawn," which uses the reverse and correct Dui trigrams from the third to top lines of the hexagram Cui to illustrate the image of "the well is continuously drawn." Xun Shuang says: "Qì" means completion. "Qì zhì" refers to drawing the rope all the way down to the bottom of the well. "Jù" is the rope used for drawing water, and "yì wèi jù" means the rope of Xun is still at the bottom, and the bucket has not yet been drawn up.

其以訖為幾，渭瓶幾至井口而覆者非也。經明曰未譎（左絲），若至井口，則已譎（左絲）矣。中爻離為瓶，正當毀折之地，而巽為繩，故曰羸。羸累通。井羸其瓶者，言瓶為井闢（下瓦）所拘羸鉤掛也。瓶既為井所掛礙，非覆即破，故凶。

Someone reads 「讫」 as 「几」, saying that the jar almost reached the well mouth before it overturned, which is incorrect. The text clearly states 「未繘」, meaning it had not yet been drawn up. The trigram Li (Fire) represents the jar, which is located at the position of Dui (Lake) metal, indicating destruction. The trigram Xun (Wind) represents the rope, so it is said 「羸」. 「羸」 is synonymous with 「累」. 「井羸其瓶」 means the jar is caught and hung by the bricks of the well wall. Since the jar is obstructed by the well wall, it is either overturned or broken, hence the danger.

揚子雲《酒箴》云：子猶瓶矣，居井之湄，不得左右，牽於纏徵，一旦F？礙，為裳所車（右3田）。注：F？縣也。G？並以磚為秋（下瓦）也。車（右3田）繫也。言瓶縣為井磚所掛礙，而瓶受繫也。是揚子讀並羸其瓶，井不屬上讀。後荀爽襲子云，亦以井屬下讀。其以譎（左絲）井為名者，則下文之羸其瓶，莫詳其故矣，非也。

Yang Xiong's "Jiu Zhen" says: You are like a water jar hanging by the well, unable to move left or right, tied by a rope. Once it is hanging and bumps against something, it is caught by the well's bricks. The annotation explains: "xuan" means to hang; "jing" is a well made of bricks called "gou"; "zhuai" means to pull or tie. The meaning is that the jar is hanging and caught by the well's bricks, thus suffering trouble. This shows that Yang Xiong read "jing" and "ying" as a continuous phrase, with "jing" not belonging to the previous sentence. Later, Xun Shuang followed Yang Xiong and also read "jing" as belonging to the next sentence. As for those who take "ju jing" as a single word, the reason for "ying qi ping" in the following sentence becomes unclear, so their interpretation is wrong.

贏，《易林》家人之頤云：長股贏戶。長股即簫（左蟲）蛸。贏戶者，言以比絲纏繞於戶上也，是以贏為累。故荀訓為拘贏，虞釋為鈞贏。他若陸績、蜀才作累，王肅作縹，王肅作縲，其字雖異，其音皆同，其義如一。

The character 「赢」 is discussed in the 「Jiao's Forest of Changes」 under the hexagram 「Family」 and 「Nourishing the Elderly」, which says 「long legs and entangled doors」. 「Long legs」 refers to a spider with long legs, known as 「xiao shao」; 「entangled doors」 means it uses silk to wrap around doors. This shows that 「赢」 originally meant entanglement. Therefore, Xun Shuang interpreted it as being bound, and Yu Fan explained it as hooking and winding. Other versions, such as those from Lu Ji's edition and Shu Cai's edition, use 「lui」, while Wang Su's edition uses 「piao」 and also 「lei」. Although the characters differ in form, they all have the same pronunciation and the same meaning.

象曰：巽乎水而上水，井。井養而不窮也。改己不改井，乃以剛中也。訖王亦未譎（左絲），來有功也。井羸其瓶，是以凶也。句依荀讀，故汲古閣所刊李氏《集解》，及雅麗堂刊本，皆井字屬下。坎在上故曰上水。巽人也，巽乎水而上水，言以瓶人水，汲水使上也。水所以養人，取之不竭，故養而不窮。二五皆剛，故不改。未譎（左絲）故無功。井拘累其瓶使水覆，故凶。

The Commentary on the Judgment says: entering the water by means of wind and lifting the water up, this is the Hexagram of the Well. Well water nourishes people without end. Changing cities but not changing the well, is because the second and fifth lines are yang and in the center. Drawing the rope to the end but still not bringing up the jar, is because it has not yet succeeded. The well wall holds the jar, so there is danger. The punctuation follows Xun Shuang's reading, so the edition of Ji Gu Ge published by Li Dingzuo in the Collected Explanations of the Zhou Changes and the Ya Li Tang edition both attribute the word "well" to the following sentence. The trigram Kan is in the upper trigram, so it is said "upper water." Xun represents entering, "entering the water and lifting the water up" means putting the jar into the water and drawing the water up. Water is used to nourish people, and it is inexhaustible, so it is said "nourishing without end." The second and fifth lines are both yang and in the center, so it is said "not changing." Not being able to draw up the jar, so it has not succeeded. The well wall holds the jar and causes the water to overflow, so there is danger.

訖至亦未簫（左蟲），荀注云汽竟也。譎（左絲）所以出水通井，今居初未得應五，故未譎（左絲）也，不與井連文。井羸其瓶，荀注云：井謂二，瓶謂初，初欲應五，為二所拘羸。以井屬下讀，與揚子同，故從之。象曰：木上有水，井。君子以勞民勸相。坎為眾為民為勞卦，故曰勞民。《釋詁》相導也。兌為言，故曰勸相，言以言語勸導，使有所勉也。

Regarding the phrase 「讫至亦未繘」, Xu Shuang's commentary says: 「汔」means to reach the end. 「繘」is a tool used to draw water from a well, and now the first line has not yet responded to the fifth line, so it is said 「未繘」. This sentence is not read together with the character 「井」. As for 「井羸其瓶」, Xu Shuang's commentary says: 「井」refers to the second line, and 「瓶」refers to the first line. The first line wishes to respond to the fifth line but is restrained by the second line. He reads the character 「井」as part of the following sentence, which is the same as Yang Xiong's interpretation, so his view is adopted. The Great Image says: wood has water on it, which is the image of the Well; thus, the gentleman understands the need to comfort the people and encourage them to help each other. Kan represents the people and also signifies labor, so it is called the labor卦. The Er Ya · Xigǔ says: 「相」means to guide. Dui represents speech, so it is said 「劝相」, meaning to use words to guide and encourage the people.

初六：井泥不食，舊井無禽。初在井下，故曰泥。兌口為食，兌覆故不食。並原以汲水，今無水而泥，其為舊井無疑也。禽獲也，無水故無所得，其以禽鳥為詁者非。又按舊井者廢井也，兌為井，兌覆為巽，故井廢。象曰：井泥不食，下也；舊井無禽，時舍也。舍，棄也。

The line statement for the first line (Initial Line) says: The well at the bottom is full of mud, and cannot be used for drinking; this is an old well that yields nothing. The first line is at the very bottom of the well, hence it is called 'mud'. The trigram Dui represents the mouth, which is used for eating, so Dui represents food; however, in this case, the trigram Dui is inverted, hence 'not eating'. A well is originally used for drawing water, but now there is no water only mud, so it is certainly an old well. 'Qin' means to capture or obtain, but since there is no water in the well, there is nothing to obtain; those who interpret 'qin' as birds are incorrect. Moreover, 'old well' refers to a well that has been abandoned; Dui represents the well, and when inverted it becomes Xun, indicating the well's image has been destroyed, hence it is an abandoned well. The Small Image Commentary says: The mud at the bottom of the well cannot be used for drinking because it is in the lowest position; the old well yields nothing because it has been abandoned. 'She' means to abandon or discard.

九二：井編鮒，雍（下瓦）敝漏。二後兌體之下，故曰並谷。巽為魚，故曰鮒，《子夏傳》蝦H？也。伏震為射，蝦G？穴居水際，故曰並谷射鮒。伏震為雍（下瓦），巽下缺，雍（下瓦）無當，故敝漏。夫井內之穴，井矢所能加，雍（下瓦）漏則水洩，而失其用。以二前遇陽，應亦陽，故動靜皆不適也。象曰：井谷射鰍？？，無與也。言五元應與。

The line statement for the second line says: The well has a side hole, and small fish are seen darting through it; the jar used for drawing water is broken and leaking. The second line is below the trigram Dui, so it is said 'well valley'. Xun represents fish, so it is said 'small fish'. The transmission of Zi Xia says it refers to frogs. The hidden trigram Zhen has the image of shooting, and frogs of this kind live in holes by the water, so it is said 'well valley with darting small fish'. The hidden trigram Zhen also represents the jar, and the lower line of Xun is empty and defective, so the jar's bottom is not solid, hence it is broken and leaking. The side hole in the well is not within the range of the arrow; once the jar leaks, the water flows away, and the function of drawing water is lost. Because the second line meets the third line which is yang, and the line it should correspond to, the fifth line, is also yang, yang meeting yang causes obstruction, so whether moving or still is not appropriate. The small image commentary says: Well valley with darting small fish, there is no corresponding partner — meaning that the fifth line does not correspond with it.

九三：井渫不食，為我心惻，可用汲，王明，並受其福。三應在上，上居坎水上，故曰井渫。《漢書·王莽傳》潰（左示）毛（左目）不渫。注：渫徹也，通出。揚子《方言》渫歇也。茲曰井渫，謂井水渾蜀沉歇而清徹也。初為促則上為渫，正上居坎水上之象也。

The Line Statement for Nine in the Third says: The well has been cleaned and washed clean, yet no one comes to drink from it, which causes me inner sorrow. This well is usable, and if the ruler is enlightened, all people can benefit from it. Nine in the Third corresponds to Six at the Top. Six at the Top is located above the Water Trigram, so it is said 'the well is cleaned.' The Han Shu, Wang Mang Zhuan mentions 'not cleaned,' with the annotation explaining 'cleaned' as thorough and unobstructed. Yang Xiong's Fangyan says 'cleaned' means to stop. Here, 'the well is cleaned' refers to the turbid water of the well having settled and stopped, thus becoming clear. Initial Six is the mud, while Six at the Top is the clarity, which corresponds to the image of Six at the Top being above the Water Trigram.

夫水潔（左無）宜食矣，乃竟不食者，以五亦陽為阻三不得應上也。兌為食，為使也。坎為心為憂。為我心惻者，言三被阻，不能汲上，使我心優也。然三與上究為正應，上水既渫而清，三僅可汲，五豈能終阻之。王謂五，五坎為隱伏，故不明。然王終有明時，王明則三上汲引，養而不窮，天下普受其福矣。

The water has already become clean and is fit for drinking, yet no one comes to drink it. This is because the Nine in the Fifth line is also a yang line, blocking in the middle and preventing the Nine in the Third line from connecting with the Six at the Top. The trigram Dui represents food and messengers, while Kan represents the heart and worry. "For my heart is pained" indicates that the Nine in the Third is blocked and cannot draw up the clear water from above, causing me sorrow. However, the Nine in the Third and the Six at the Top are still in a proper correspondence. Since the well water has already become clear, the Nine in the Third can draw it up. How could the Nine in the Fifth block it forever? "The king" refers to the Nine in the Fifth, which is in the Kan trigram, representing concealment. Therefore, it is said "not clear." But the king will eventually become clear-sighted. Once the king becomes clear-sighted, the Nine in the Third and the Six at the Top can connect and draw water, benefiting people without exhausting it. Thus, all under heaven will universally benefit from it.

凡爻有正應者，初雖有阻，終必相合。同人九五曰：先號眺（左口）而後笑，大師克相遇。言五克去三四之阻，終能遇二也。漸九五曰：終莫之勝吉，得所願也。盲五終能勝三，與二相合也。茲害三者五，五君位尊，三不敢言克言勝，只冀王明而已。王明則三上終相遇也。

Whenever a line has a proper correspondence, initially there may be obstacles, but ultimately they will be resolved. In the hexagram "Tong Ren" (Union), line nine in the fifth position says, "First wailing and weeping, then laughing and rejoicing; the great army overcomes and meets," meaning that line nine overcomes the obstacles of lines three and four and eventually meets line six in the second position. In the hexagram "Jian" (Gradual Progress), line nine in the fifth position says, "Ultimately, none can overcome it, which is auspicious," and the "Small Image Commentary" says, "It attains the desired outcome," meaning that line nine ultimately overcomes line nine in the third position and meets line six in the second. Here, the obstacle to line three is line five. Line five holds the position of the sovereign and is noble, so line three does not say "overcome" or "victory," but can only hope for the sovereign's discernment. When the sovereign is discerning, line three and line six at the top will eventually meet.

文王服事忠誠，情見乎辭，因五為阻，故呼王明。舊解不知不食之故，在五敵為阻，又不知王明並受其福，即言三上終能應與，特以五而變其辭耳，故無一得解者。象曰：井渫不食，行惻也；求王明，受福也。不食之故，其咎在五，故曰求王明。

King Wen was loyal and cautious in serving the Yin dynasty, and this sentiment is expressed in the line statements. Since the obstruction comes from the Nine in the Fifth, the text only calls for "a wise king." Old interpretations failed to understand why the well's water is clear but not drunk, because the Nine in the Fifth, being a Yang line, forms an opposing obstruction. They also failed to realize that "a wise king, and all will receive his blessing" refers to the eventual correspondence between the Nine in the Third and the Six at the Top, though the latter holds the position of the ruler, hence the different wording. Thus, none of the interpretations make sense. The Small Image Commentary says: The well has been thoroughly drawn but no one drinks from it, and a traveler feels sorrow for it; the appeal to a wise king is to receive his blessings. The reason the well's water is not drunk is due to the Nine in the Fifth, so it says "appeal to a wise king."

六四：井患，無咎。以瓦甓砌井曰秋（下瓦）。兌為井，六四居兌上，則井將修成，故無咎。象日：井秋（下瓦）無咎，修井也。秋（下瓦）修也。九五：井冽寒泉，句食。冽甘也。坎為寒為泉，泉既甘冽，故可食。象曰：寒泉之食，中正也。五雖無應，然位正中，故可食。

The line statement for the fourth line says: Using bricks and tiles to build the well wall does not result in error. Using bricks and tiles to build a well is called "zhuo." The trigram Dui represents the well, and the fourth line is located above the Dui trigram, meaning the well is nearly completed, so there is no error. The Small Image Commentary says: Building the well wall without error is about repairing the well. "Zhuo" means repairing. The line statement for the fifth line says: The well water is cold and sweet, suitable for drinking. "Lie" means sweet. The trigram Kan represents cold and spring water, and spring water is both sweet and cold, so it is suitable for drinking. The Small Image Commentary says: Cold and sweet spring water is suitable for drinking because the fifth line is in the center and upright. Although the fifth line does not have a corresponding line, its position is upright and central, so it is suitable for drinking.

上六：井收勿幕，有孚元吉。收成也，幕蓋也，覆也。坎為隱伏，故為蓋覆。六居坎上故勿幕，言井既成，以出水為功，不宜蓋覆也。三得陽應，故有孚而吉。象曰：元吉在上，大成也。成即收也。

The line statement for the sixth line at the top says: The well has been completed, do not cover the well mouth, with sincerity in heart, it is greatly auspicious. "Shou" means completion, and "mu" means covering. Since Kan represents concealment, there is an image of covering; the sixth line at the top is located above the body of Kan and has already gone beyond the covering, hence it says "do not cover." This means that since the well has already been completed, it should be used for drawing water to benefit people, and should not be covered again. The sixth line at the top corresponds with the third line by yin and yang, thus having sincerity and being auspicious. The Small Image Commentary says: Great auspiciousness at the top position, indicating great success. "Cheng" is the same as "shou."