Gè Guà

息長也，言更代用事也。但兌離皆陰卦，易之道陰遇陽，陽遇陰方志得。若陰遇陰，陽遇陽，則為敵矣。中孕六三曰得敵，艮彖曰敵應，是也。故其志不相得。巽為志，二至上正反巽，故不相得。己中央土，仁義禮智信，信亦隸中央，故曰己日乃孚。革而信之，信故無悔。四時相代實相革，期無或爽，信也。湯武革命，天人皆應，亦信也。不信則不能革，故時之所關甚大，此其義也。

The original text concludes the Upper Sixth Line of the Well Hexagram directly here, and the Hexagram Statement of the Revolution Hexagram, "On the sixth day, trust is established; the beginning is prosperous, advantageous, and beneficial, with no regret," along with the section from the Commentary on the Judgment, "Water and fire alternate, two women living together, their aspirations not in harmony," is entirely missing. Only Shang Binghe's commentary on the Judgment remains. Now, following the original text accurately, I do not substitute with the commonly used version. "Xí" means growth, indicating that water and fire take turns being dominant, alternating and replacing each other. However, Dui and Li are both yin hexagrams. In the Yi, the general rule is that yin meets yang and yang meets yin in order to fulfill their aspirations; if yin meets yin and yang meets yang, they become adversaries. The Sixth Line of Zhongfou Hexagram mentions "meeting an adversary," and the Commentary on the Judgment of Gen Hexagram says "adversary responding," which means exactly this. Therefore, the Commentary on the Judgment says that two women living together have "their aspirations not in harmony." Xun represents aspirations, and in the main hexagram, the Second Line to the Top Line forms a correct Xun stacked with an inverted Xun, with opposite directions, hence the aspirations are not in harmony. The Heavenly Stem "Ji" belongs to the central earth, and among the Five Constants—Ren, Yi, Li, Zhi, Xin—"Xin" (trustworthiness) also belongs to the central earth. Therefore, the Hexagram Statement says "On the sixth day, trust is established"—only on the sixth day is trust established. Change leading to trust, with trust, there is no regret. The changing of the four seasons is essentially mutual transformation, never failing to occur on time, which is trust; the revolution of Shang Tang and King Wu of Zhou, where heaven and people both responded, is also trust. Without trust, there can be no change, so "time" here is of great importance. This is the meaning of the Revolution Hexagram.

象曰：澤中有火，革。君子以治曆明時。歷者日月星辰之所歷，識其處以定四時。《書》所謂敬授民時，《大戴記》之《夏小正》，《小戴記》之《月令》皆歷也。卦上兌為月，下離為日，乾為寒，離為暑，兌雨巽風皆備，故君子法之，以治曆明時。

The Great Image Commentary says: There is fire in a marsh, which is the Hexagram of Revolution; thus, the gentleman understands the need to reform the calendar and clearly discern the seasons. The term "calendar" refers to the path traced by the sun, moon, and stars, recording their positions to determine the four seasons. The "respecting and imparting the proper time to the people" mentioned in the Book of Documents, the Xia Xiao Zheng in the Da Dai Li Ji, and the Yuesheng in the Xiao Dai Li Ji all belong to the category of calendars. The primary hexagram has the upper trigram Dui representing the moon and the lower trigram Li representing the sun; Qian represents cold, Li represents heat; Dui represents rain, Xun represents wind—thus, the sun, moon, cold, heat, rain, and wind are all present, so the gentleman takes this as a model to reform the calendar and discern the seasons.

初九：鞏用黃牛之革。離外則故曰鞏，鞏固也。離為牛，《左傳》曰純離為牛。離六二云黃離，故曰黃牛。乃虞翻則謂離無牛象，干寶謂離父本坤，故曰黃牛，皆非也。離外堅為甲故為革，革皮去毛者也。固莫團於牛革，言初當勿用之時，不可妄動，宜固守也。牛革所以喻其固也。象曰：鞏用黃牛，不可以有為也。初潛龍勿用，故不可以有為。又上無應，即不信也，不信即不可革。

The first line statement says: Use yellow ox hide to bind firmly. The outer line of the Li hexagram is strong and solid, so it is said "gong" (to bind), meaning firm. The Li hexagram represents an ox, as the Zuo Zhuan example states that a pure Li hexagram represents an ox. The line statement of the second line of the Li hexagram says "yellow Li," so it is called "yellow ox." Yu Fan, however, says that Li does not represent an ox, and Gan Bao says that the parent hexagram of Li is K'un, hence the yellow ox. Both views are incorrect. The outer line of Li is hard like a shell, so it has the image of "ge" (to change), meaning the hide of an animal without hair. There is no material more firm than ox hide, which means that the first line is at a time when it should not act, and should not act rashly, but should remain firm. Using ox hide as a metaphor for its firmness. The Small Image Commentary says: Using yellow ox hide to bind, it is not appropriate to act. The first line is like the first line of the Qian hexagram, "the hidden dragon does not act," so it is not appropriate to act; moreover, there is no corresponding line above, which means there is no sincerity, and without sincerity, there can be no change.

六二：己日乃革之，征吉，無咎。二離主爻，離貞己，故曰己。二有應，故曰己日乃革。二遇陽，故拉吉而無咎也。按二為日中，王弼以過往詁己日，故決知其非是。象日：已日乃革之，行有嘉也。乾為嘉，行有嘉，謂二征則遇陽，遇陽故人。

The line statement for the second line says: It is only on the day of Ji that change is implemented, going forward is auspicious and there will be no error. The second line is the main line of the Li hexagram. In the method of Najia, the Li hexagram is associated with the heavenly stem Ji, hence it is said 'Ji'. The second line corresponds with the fifth line, hence it is said 'on the day of Ji, change occurs'. The second line moving forward meets a yang line; yin meeting yang leads to communication, hence it is auspicious and there will be no error. Since the second line is in the central position of the lower trigram, it corresponds to the central position of the day, but Wang Bi interprets 'Ji day' as a day that has already passed, thus it can be determined that his interpretation is wrong. The Small Image Commentary says: Change is implemented on the day of Ji, going forward will bring beauty. Qian represents beauty, 'going forward with beauty' refers to the second line meeting a yang line, and meeting yang leads to mutual communication.

九三：征凶，貞厲，革言三就，有孚。三臨重陽，陽遇陽則窒，故征凶。卜問厲也。然三應在上，上兌為言，而兌為毀折，故曰革言。就即也，遇也。革言三就有孚者，言三雖得敵，不能應上，若上六即三，則甚順利而有孚也。

The statement for the third line (Nine in the Third) says: going forward brings danger, and divination shows peril; there are three proposals for change coming forward, with sincerity in heart. The third line is closely adjacent to the fourth and fifth lines, both of which are yang lines. Yang meeting yang causes blockage, hence going forward brings danger. "Zhen Li" means the result of divination is perilous. However, the third line corresponds to the sixth line above. The upper trigram is Dui, meaning speech, and Dui also signifies breaking and breaking the old to make way for the new, which is change. Therefore, it is said "change in speech." "Jiu" means approaching or meeting. "Change in speech, three times meeting with sincerity" means: although the third line meets a yang line and becomes an opponent, unable to correspond above, if the sixth line comes down to approach the third line, it will be very smooth and sincere.

兌為言，乾亦為言，言多故曰三就。又三在三爻，損六三云三人行，需上六云三人來，皆以在三交，取數於三。三就者三遇也，謂革言來之多也。有孚者上孚於三也。易理失傳，舊解於征凶之故，莫有明者。豈知征凶貞厲，謂陽遇陽；下二句謂上應三，義不相屬也。象曰：革言三就，又何之矣。之往也。又何之者，言上六即三，不必他往也。蓋革言日至則孚者眾，而事已審，革之而已，勿再猶豫不定也。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) Glossary: Xiao Xiang Zhuan = Small Image Commentary Xiang Zhuan = Image Commentary San Yao = Third Line Jiu San = Nine in the Third Liu San = Six in the Third Shang Liu = Six at the Top Dui represents speech, as does Qian. The image of speech is complex and overlapping, hence the phrase "three approaches." Furthermore, the Nine in the Third is itself located at the Third Line. In the hexagram "Xun," the Six in the Third says "three people are walking," and in the hexagram "Xu," the Six at the Top says "three uninvited guests come," both because the lines are at the Third position and thus take the number three. "Three approaches" means threefold meeting, describing the continuous emergence of change. "Having sincerity" means that the Six at the Top has sincere intentions toward the Nine in the Third. The principles of the Book of Changes have long been lost, and old interpretations have not clearly explained the reason for "dangerous journey." How could one know that "dangerous journey, sincerity and danger" refers to the meeting of Yang with Yang as enemies, while the next two lines refer to the response of the Six at the Top to the Nine in the Third, and these two meanings are not connected. The Small Image Commentary says: the proposals for change approach three times, where can they go? "Zhi" means to go. "Again, where to go?" means that the Six at the Top is now close to the Nine in the Third, and there is no need to go elsewhere. Generally, proposals for change come every day, and those who agree are many. The matter has been clearly examined, so it is time to take action and change, without further hesitation.

九四：悔亡，有孚，改命吉。四失位，宜有悔，無應予則無孚。然九四居乾之中，乾為信，故無悔而有孚。巽為命，四至上巽覆，是改命也。《易林》人畜之決（左無）也：太子扶蘇，出於遠郊，佞幸成邪，改命生憂。即以決（左無）上兌為改命本此也。改命則革也。蓋初以時未至而固守，二孚於天時，三孚於人事，至四遂實行改革矣。乾四雲或躍在淵，與此理同也。自覆象失傳，舊解皆以四變陰成既濟為改命。既濟者終正，何吉之有哉，非也。

The line statement for the fourth line (nine at the fourth): regret disappears, the mind is sincere, and changing the heavenly mandate brings good fortune. The fourth line is a yang line in a yin position, thus it is out of place and should bring regret. Also, it has no corresponding line, so it should not be sincere. However, the fourth line is located within the trigram Qian, formed by lines three, four, and five. Qian represents sincerity, so regret disappears and sincerity is present. The trigram Xun represents destiny, and the lines from four to the top form an inverted Xun. The Xun trigram has already collapsed, which is the image of changing destiny. The "Forest of Changes" by Jiao says, "The crown prince Fu Su comes from the distant outskirts, flatterers become corrupt, changing destiny brings worry," using the upper trigram Dui of Guai as an inverted Xun to represent changing destiny. The origin of this image is here. Changing destiny is equivalent to transformation. Generally, the first line holds firm because the time is not yet ripe, the second line responds to the heavenly timing, the third line responds to human affairs, and by the fourth line, actual reform begins. The line "or leap into the abyss" in the Qian hexagram is based on the same principle. Since the method of taking the inverted image has been lost, old interpretations have regarded the fourth line turning into a yin line to form Ji Ji as "changing destiny." However, Ji Ji represents all things being settled in their proper places, so how can there be "good fortune"? Therefore, this is incorrect.

象曰：改命之吉，信志也。巽為志，改命則實行革命，故曰伸志，言得行其志也，志行故吉。九五：大人虎變，未占有孚。乾為大人為虎。大人虎變者，喻大人履九五之尊，威德誕敷，崇高巍煥，改易舊觀，故曰虎變。下有應，故未占而有孚也。乾虎象失傳，後惟茹敦和、俞樾知之。虞翻以坤為虎，宋衷以兌為虎，皆非。象曰：大人虎變，其文炳也。五應二，二離為文，故其文炳。

The Small Image Commentary says: Changing and transforming the heavenly mandate brings good fortune because the mind and will can be fully expressed. Xun represents the will, and changing the mandate means actually carrying out a revolution, so it is said "extending the will," meaning the ability to realize one's aspirations. When the will is realized, it is therefore auspicious. The line statement of the fifth line says: The great man transforms like a tiger, without needing to consult omens, there is already trust. Qian represents the great man, and Qian also represents the tiger—the tiger image is not found in the Sayings on the Hexagrams, but was recovered by Shangshi from the Forest of Changes by Jiao. "The great man transforms like a tiger" metaphorically describes the great man ascending to the exalted position of the fifth line, with his prestige and virtue widely spreading, lofty and brilliant, completely transforming the old situation, hence "tiger transformation." The second line, which is yin, corresponds with it, so there is already trust without needing to consult omens. The image of the tiger as Qian has long been lost, and only Ru Dunhe and Yu Yue understood it. Yu Fan took Kun as the tiger, and Song Zhong took Dui as the tiger, which is incorrect. The Small Image Commentary says: The great man's tiger transformation is because his literary brilliance shines brightly. The fifth line corresponds with the second line, and the second line is in the body of Li, which represents literary brilliance, hence the brilliance of literary achievement.

上六：君子豹變，小人革面，征凶，居貞吉。伏艮為君子，為豹。君子豹變者，謂革命後住命之動，皆得封拜而有茅土，尊顯富貴，易世成名，故曰豹變。陰稱小人，民為面，艮伏故革面。小人革面者，謂革命之後，除舊佈新，小民皆改易其視向也。面向也，《史記·項羽本紀》馬童面之，是也。上六當位，不宜動宜靜，故征凶居吉。艮面象，《易林》遁之蒙云：雲過吾面。以蒙坎為雲，艮為面。虞氏謂面指四，非。象曰：君子豹變，其文蔚也；小人革面，順以從君也。下應三，離為文。面向也，故曰順以從君，言下順乾也。

The line statement for the sixth line above: A gentleman is like a leopard, suddenly transformed, while the petty person also changes his face and direction; going forward brings danger, but staying in place and maintaining correctness brings good fortune. The primary hexagram has a hidden image of the mountain, representing the gentleman and the leopard. "A gentleman's leopard transformation" refers to after a revolution, those who follow and serve are rewarded with fiefs, becoming noble and prosperous, achieving status through a change of dynasty, hence called "leopard transformation." A yin line is called a petty person, and the mountain represents the face. Here, the mountain image is hidden, so it is said "changing the face." "A petty person changing his face" refers to after a revolution, removing the old and establishing the new, common people change their direction. "Face" means direction. In the "Records of the Grand Historian: The Biography of Xiang Yu," Lü Mating turned his face toward Xiang Yu, using this meaning. The sixth line is a yin line in a yin position, originally proper, so it should not act recklessly but remain still; thus, going forward brings danger, but staying in place brings good fortune. The image of the mountain as the face is found in "Jiao's Forest of Changes" in the hexagram Duan changing to Meng, "clouds passing over my face," using the image of the cloud from Kan in Meng and the mountain as the face. Yu Fan's assertion that "face" refers to the fourth line is incorrect. The "Small Image Commentary" says: "A gentleman's leopard transformation" refers to his literary excellence; "a petty person changing his face" refers to obedience and following the sovereign. The sixth line responds to the third line, which is in the body of Li, and Li represents literature; "face" means direction, so it refers to obedience and following the sovereign, meaning those below obey the Yang of Qian.

象曰：木上有火，鼎。君子以正位凝命。鼎偏倚則勢危，故貴正，不正則束（左食）覆。鼎斂實於內，故貴凝，不凝則實漫矣，故君子取之，以正位凝命。初六：鼎顛趾，利出否，得妾以其子，無咎。震為趾，震伏巽隕，故曰顛趾。巽為臭腐，故曰否，否惡也汙也。初在下卑汙之地，出之四則各當位而利矣。四，兌為妾，四來初是得妾也。初之四體震，震為子，是得妾兼得子也，故利出也。

The original text finishes the statement of the Sixth Line of the Hexagram of Revolution and directly proceeds to the Great Image of the Hexagram of Cauldron, omitting the Hexagram Statement of the Cauldron, which begins with "Original Goodness, Smoothness," and the Commentary on the Judgment, which says, "Cauldron is an image. It is wood with fire, used for cooking." This includes the annotations. Only the Great Image and following sections are retained. According to the original text, without relying on the commonly circulated version for supplementation. The Great Image Commentary says: Wood with fire on top, this is the Cauldron. The gentleman learns from this to maintain proper position and consolidate his mission. Once the Cauldron is tilted, the situation becomes dangerous, so it is important to maintain proper position. If it is not properly positioned, the food in the Cauldron will spill out. The Cauldron contains the food within, so it is important to consolidate, and if it is not consolidated, the food will overflow. Therefore, the gentleman takes this as a model, maintaining proper position and consolidating his mission. The statement of the First Line says: The foot of the Cauldron is upside down, thus spilling out the filth inside. Marrying a concubine and having a son through her does not result in fault. The Zhen trigram represents the foot, and here the Zhen trigram is hidden, while the Xun trigram has the meaning of falling, hence it is said "upside down foot." The Xun trigram represents stench, hence it is said "no." "No" refers to filth and corruption. The First Line is in the lowest and most despicable position, but if it is moved to the Fourth Position, both the First and Fourth Lines will be in proper positions and thus beneficial. The Fourth Line is represented by the Dui trigram, which is a concubine, and when the Fourth Line moves down to the First Position, it is "acquiring a concubine." When the First Line moves up to the Fourth Position, it forms the Zhen trigram, which represents a son. Thus, acquiring a concubine and a son, it results in spilling out the filth, which is beneficial.

象曰：鼎顛趾，未體也；利出否，以從貴也。停逆也，初陰順陽，故曰未悖。初承陽應四，故曰從貴。九二：鼎有實，我仇有疾，不我能即，吉。乾為實，仇匹也，指五。五乘陽勢逆，不能即二，故曰有疾。豫六五乘剛曰貞疾，茲與之同。我謂二，二為三四所隔，既不能即五；五因乘剛有疾，亦不能即二。然我與我仇，究為正應，始雖阻，終必合也，故結之曰吉。象曰終無尤，即謂二五終合也。

The Small Image Commentary says: The tripod overturns, but this is not yet considered contrary to the norm; pouring out filth is to follow the noble. "Contrary" means to be rebellious. Initially, the line six, being yin, follows the yang line, so it is said "not contrary." Line six above follows the yang line and corresponds with nine four, so it is said "to follow the noble." The line statement of nine two says: The tripod is full of food, my opponent is sick and cannot approach me, which is auspicious. The trigram Qian represents reality, "opponent" means matching or adversary, here referring to line six five. Line six five, being yin, oversteps the yang line nine four, its situation is contrary and not harmonious, so it cannot approach nine two, hence "has illness." In the hexagram Yu, line six five oversteps the strong and says "upright illness," which is the same example here. "I" refers to nine two, which is separated by lines three and four, so it cannot approach line six five; line six five, because of overstepping the strong, is sick and cannot approach nine two. However, "I" and "my opponent" are ultimately in proper correspondence, although there was initially an obstacle, they will eventually meet, so the conclusion says "auspicious." The Small Image Commentary says "eventually without blame," precisely referring to the eventual meeting of lines two and five.

象曰：鼎有實，慎所之也；我仇有疾，終無尤也。之往也。二前臨重陽，行不利，故慎所之。二五終合，故終無尤。按此爻舊解，鮮有當者，一仇字失詁。虞翻謂二據四婦，四為仇；朱子以仇為初。陽遇陽為敵之義，自漢失傳，故慎所之三字，皆莫知所謂。清儒以漢為步趨，漢儒誤遂無不誤矣。

The Small Image Commentary says: There is food in the tripod, so one should be cautious about the direction one goes; my opponent is sick, and in the end there will be no mistake. "Zhi" means to go. Nine in the Second is immediately followed by Nine in the Third and Nine in the Fourth, two yang lines, so moving forward is not favorable, hence one should be cautious about the direction one goes. Two and Five will eventually meet, so in the end there will be no mistake. According to the old interpretations of this line, few have been correct, and the problem lies entirely in the incorrect interpretation of the character "chou" (opponent): Yu Fan said that Nine in the Second occupies Nine in the Fourth, which is the "wife," thus taking Four as the opponent; Zhu Xi took "chou" as the initial line. The principle that yang meets yang to form an opposing relationship has been lost since the Han dynasty, so the phrase "be cautious about where you go" is now meaningless to everyone. Qing dynasty scholars took Han scholars as their model, and since Han scholars made a mistake, later scholars could not be correct.

九三：鼎耳革，其行塞，雉膏不食，方雨虧悔，終吉。三至五兌為耳，巽隕落，故曰耳革。行，道也。《易林》復之中孚云：鼎煬其耳，熱不可舉，大路壅塞，旅人心苦。以行為道路。蓋三承乘皆陽，陽遇陽故其行塞。上離為雉，兌為膏，雉膏在上，乃上不應三，故雉膏不食。

The third line statement says: The handle of the tripod breaks off and changes shape, movement is obstructed, and one cannot eat the delicious wild fowl; when rain comes, loss and regret will be resolved, and finally it will be auspicious. The interaction between the third and fifth lines forms the trigram Dui, which represents the ear. The trigram Xun has the meaning of falling, so it is said 'ear changes,' meaning the handle of the tripod falls off. 'Travel' here refers to a road. The 'Forest of Changes' by Jiao says 'the tripod's handle is scorched, too hot to lift, the great road is blocked, travelers' hearts are distressed,' taking 'travel' as a road. Generally, the third line is above the fourth line and below the second line, both being yang lines. Yang meeting yang causes obstruction, hence the road is blocked. The upper trigram is Li, representing the wild fowl, and Dui represents the fat and grease. The delicious wild fowl is above, but the upper line is also a yang line and does not correspond with the third line, so the fat and grease of the wild fowl cannot be obtained.

兌為雨，為昧，故曰虧悔，虧悔不明也。吳先生雲悔晦也。按《易林》復之云：陰霧作匿，不見白日。不見白日，虧也。《於虛賦》日月蔽虧，江淹詩金峰各虧日，是也。陰霧作匿晦也，吳讀與《易林》同也。終吉者，初之四則三臨重陰，陽得陰則通，故吉。象曰：鼎耳革閱失其義也。義宜也。鼎之用全在耳，今耳革失其用，故曰失義。

The trigram Dui represents rain and also darkness, hence the phrase "kuai hui" which means darkness and confusion. Wu Rulun said that "hui" should be read as "huì" meaning darkness. According to the "Forest of Changes" by Jiao, the hexagram Fu says "dark mist obscures, no daylight is visible" — not seeing daylight is "kuai", as in "sun and moon obscured" from Sima Xiangru's "Zixu Fu", and "golden peaks each lose the sun" from Jiang Yan's poetry, all referring to this meaning. "Dark mist obscures" is "huì". Thus Wu's reading aligns with the "Forest of Changes". The phrase "eventually good" is because the line Six at the Beginning moves to the fourth position, and Nine in the Third is above two yin lines. Yang gains yin and becomes unobstructed, hence good fortune. The "Small Image Commentary" says: the handle of the tripod is broken, losing its proper function. "Yi" is "yi" meaning appropriate. The function of the tripod lies in its two handles; now the handle is broken, the tripod cannot be used, hence "losing appropriate function".

九四：鼎折足，覆公棘，其刑劇，凶。震為足，三至五兌，兌二折震，震象毀，故曰鼎折足。糞為束（左食），馬云鍵也，鄭云菜也。乃三至五巽覆，四為諸候、三公之位，故曰覆公束（左食）。

The line statement for the ninth line four says: The tripod's foot breaks, the food in the tripod spills out, and the king and ministers will suffer severe punishment, which is dangerous. Shaking represents the foot, and the interaction of lines three to five forms the trigram Dui (Lake). The yin line of Dui breaks the trigram Zhen (Thunder), which represents the shaking, so it is said 'the tripod's foot breaks.' The trigram Xun (Wind) represents 'food,' which is the food in the tripod; Ma Rong says it refers to meat soup, while Zheng Xuan says it refers to vegetables. The interaction of lines three to five forms an inverted Xun, indicating the collapse of the trigram Xun, and the fourth line is the position of the feudal lords and the three dukes, so it is said 'the food spills out.'

刑屋（右 ）王弼作形渥。古青同通用，《管子·心術下》云：意然後刑，刑然後思。注：意感其事，然後呈形。是刑形古通用，茲從各家。京云刑在頁（左九）為屋（右 ）。《漢書·敘傳》：底劇鼎臣。師古注劇（左屋）厚刑。又《周禮·秋官·司氏》：邦若屋誅。鄭注云：屋當讀為其刑劇之束（左食）。劇（左屋）誅謂不於市也。蓋四不當位，故象凶，如是賣束（左食）之象。

"The term 'xing zhi' is written as 'xing wo' in the Wang Bi edition. In ancient times, the characters 'xing' and 'xing' were used interchangeably. The 'Xiaoxiang' section of the 'Guanzi' says 'yi ran xing, xing ran si,' meaning that when the mind is formed, then form is manifested. The commentary explains that when the mind has a feeling, it then shows outward form. This shows that 'xing' and 'xing' were used interchangeably in ancient times. Here, we follow the readings of the scholars and take it as 'xing.' Jing Fang says: applying punishment on the head is called 'zhi.' The 'Hanshu·Xuyuan' mentions 'di zhi ding chen,' and Yan Shigǔ's commentary explains that 'zhi' refers to severe punishment. Also, the 'Zhou Li·Qiuguan' mentions 'bang ruo wu zhu,' and Zheng Xuan's commentary says that 'wu' should be read as 'qi xing zhi' in 'qi xing zhi,' meaning 'zhi' refers to execution not carried out in public but within a house. In general, the ninth line in the fourth position has a yang line in a yin position and is not in the proper place, so the yao is dangerous. This is like a cauldron overturned and food turned upside down."

按《易林》未濟之無妄云：求糜耕田。以無妄互巽為糜。而馬氏訓束（左食）為健，與《易林》同，鍵即糜也。鄭氏訓為菜，按《韓奕》之詩曰：其敕（上草）維何，維荀及蒲。疏引易曰鼎折足，覆公敕（上草）。是束（左食）與敕（上草）通用，而鄭訓與詩合，蓋皆巽象，可從。

According to Jiao's Forest of Changes, the hexagram Wufei (Without Attainment) discusses "seeking porridge to plow the field," taking the mutual trigram Xun (Wind) of the hexagram Wuxiang (Without Pretense) as porridge. Ma Rong interprets "tu" as "jian" (key), which agrees with the Forest of Changes, and "jian" refers to a type of porridge. Zheng Xuan interprets "tu" as vegetables. According to the Book of Songs, Da Ya, Han Yi, it says "what is the vegetable? It is bamboo shoots and calamus." Kong Yingda's commentary cites the Classic of Changes, "the tripod breaks its leg, covering the public's vegetable," showing that "tu" and "su" are interchangeable. Zheng Xuan's interpretation aligns with the Book of Songs. Both interpretations actually take the image of Xun, and both can be accepted.

九家云：三公調陰陽，猶鼎之凋五味，足折束（左食）覆，猶三公不勝其任，而覆天子之美，故受此重辜也。王弼以形渥為沾儒，程子謂為汗澀，豈知《下繫》云：德薄而位尊，鮮不及矣。謂及於刑辟也，即讀為刑劇（左屋）也。工程所釋，皆望文生義，非也。象日：覆公像信如何也。乾為信，信如何者，言行為如此，信仰失也。

The Nine Schools of the Book of Changes say: The three high officials harmonize yin and yang, just as a tripod harmonizes the five flavors. If the tripod's legs break and the food spills out, it is like the three high officials failing in their duties, overturning the king's virtuous governance, thus deserving such severe punishment. Wang Bi interprets "xíng wò" as being wet and damp, while Cheng Yi interprets it as sweating profusely. But they fail to realize that in the Great Treatise, Part Two, it says, "If one's virtue is shallow yet his position is lofty, few can escape punishment," where "jí" means to be subjected to punishment, and should be read as "xíng zì." Wang Bi and Cheng Yi's interpretations are mere guesswork based on the text's surface meaning and are incorrect. The Small Image Commentary says: Overturning the tripod's food for the prince, how can there be any credibility left? Qian represents trust, and "xìn rú hé" means that one's conduct has reached such a point that one's authority has been lost.

六五：鼎黃耳金鉉，利貞。兌為耳，離黃中，故曰黃耳。乾為金，故曰金鉉。鉉與扃同，《士冠禮》設局鼎（上加帽），鄭注扃今文為鉉，《釋文》扃鼎扛也，孔疏所謂貫鼎耳而扛之，是也。伏坎象也。六五得中，下有應，故利貞。利貞言二五應也。象曰：鼎黃耳，中以為實也。乾為實，九二云鼎有實，五得中應二，故中以為實。實指二。黃中色，故曰中以為實。

The line statement for the fifth line says: The tripod has a yellow ear and a metal handle, it is favorable to inquire. The trigram Dui represents the ear, and Li represents yellow, which is in the center, so it is said 'yellow ear'. The trigram Qian represents metal, so it is said 'metal handle'. 'Xuan' and 'Jiong' refer to the same object. The Book of Rites, the ceremony of the scholar's hat, mentions 'setting up Xuan and Mei'. Zheng Xuan's commentary says that 'Jiong' is written as 'Xuan' in the modern text. The Classic Interpretation says 'Jiong' is the horizontal bar used to carry the tripod. The Kong commentary explains that it is the bar through which the tripod is lifted, referring to this object. This is the hidden image of Kan. The line six in the fifth position is in the central position of the upper trigram, and below it is the corresponding line nine in the second, so it is favorable to inquire. 'Beneficial to hold firm' refers precisely to the correspondence between lines two and five. The Small Image Commentary says: The yellow ear of the tripod is because the central position is real. Qian represents reality, and line nine in the second says 'the tripod has something real'; line six in the fifth occupies the central position and corresponds to line nine in the second below, so it is said 'the center is real', and 'real' refers to line nine in the second. Yellow is the color of the center, so it is said 'the center is real'.

上九：鼎玉鉉，大吉無不利。乾為玉，上九陽為直，故象玉鉉。又上九以鉉舉鼎，動作自如，無有滯礙，故大吉無不利，與大畜上九義同。象釋曰剛柔節，以五陰為承也。象日：玉鉉在上，剛柔節也。上陽得五陰為承，故曰剛柔節。諸家多以三變應上成未濟，為剛柔節，豈知六爻獨三當位，胡可使其失正。且變而成未濟，六爻皆不安，胡能大吉。此自虞翻卦變伎倆，以濟其窮者，可復申述之乎。

The line statement for the topmost yang line (上九) says: The tripod is raised with a jade bar, which brings great good fortune and no obstacles. The trigram Qian represents jade, and since the topmost yang line is a yang line with a straight and strong nature, it is taken as the image of a jade bar. Furthermore, the topmost yang line uses the jade bar to lift the tripod, moving smoothly without any hindrance, thus resulting in great good fortune and no obstacles, which is the same meaning as the topmost yang line of the hexagram Daxu. The Small Image Commentary explains, "the regulation of yin and yang," because the topmost yang line receives the yin of line six in the fifth from below. The Small Image Commentary says: the jade bar is in a high position, indicating proper regulation between yin and yang. The yang of the topmost line receives the yin of line six in the fifth below, hence "the regulation of yin and yang." Many scholars believe that the change of the third line to correspond with the topmost line, resulting in the hexagram Weiji, is what is meant by "the regulation of yin and yang." But they do not realize that among the six lines of the original hexagram, only the third line is in the correct position, so how can it lose its proper position? Moreover, after changing to Weiji, none of the six lines are stable, so how can it be "great good fortune"? This is merely a trick used by Yu Fan in his theory of hexagram changes, to cover up his inconsistencies. Why should we still elaborate on this?

震：亨，震來A？，笑言啞啞，震驚百里，不喪匕鬯。震振也，動也。一陽伏二陰之下，陽必上升，故振動而為雷，為起。《歸藏》作釐，李過曰釐者理也，黃宗炎曰謂雷釐地而出以作聲。愚按震為笑樂，為喜，而釐與僖通，《史記》以魯僖公釐公，是其證。《說文》傅樂也，與喜同。

The Zhen hexagram: smooth and unimpeded; the sound of thunder strikes, causing fear, then one laughs and remains calm; the power of thunder shakes a hundred miles, yet the dagger and the wine in the hands of the priest remain undisturbed. "Zhen" means to stir up and to move. A single yang line is hidden beneath two yin lines, so the yang energy inevitably rises, thus causing vibration, becoming thunder, becoming movement. The Guicang Yi describes this hexagram as "Li," Li Guo says "Li" means to govern, Huang Zongyan says "Li" refers to thunder splitting the earth and making a sound. My view: Zhen has the image of joy and happiness, and "Li" is homophonous with "Xi," which means joy. The Records of the Grand Historian writes Lu Xi Gong as Lu Li Gong, which is evidence; the Shuowen Jiezi explains this character as meaning joy, with the same meaning as "xi."

又震為生為福，而釐亦為福，《前漢·文帝紀》祠官祝釐，如淳曰福也。是釐與震義多同，故《歸藏》作釐，《周易》作震。陽得出故亨。AA？恐懼貌，陽來居初，故日震來。雷之發也，萬物震恐，故震來A？A？。陽遇陰則通，故笑言啞啞。啞啞笑貌。

Furthermore, Zhen signifies the image of growth and blessings, and "li" also means blessing: The "Book of Han·Wen Di Ji" says that the officials in charge of sacrifices "zhù lī," and Zu Chun's commentary explains that "lī" means blessing. This shows that "lī" and "Zhen" share many similar meanings, so the "Guicang" uses "lī" while the "Zhou Yi" uses "Zhen." Yang energy emerges from the earth, thus achieving smoothness. "Xi xi" refers to the appearance of fear; when a yang line comes to the first position, it is said "Zhen comes." When thunder erupts, all things tremble in fear, hence "Zhen comes xi xi." The yang line at the beginning meets a yin line above, and when yang meets yin, it becomes smooth, hence "xiao yan ya ya"; "ya ya" refers to the sound of laughter.

震為百，艮為裡，坎為棘匕，為鬯。鬯櫃（左禾）酒也，震為黍，坎為酒，故曰鬯。震驚百里，不喪匕鬯者，言震雷雖威及百里，而不驚懼也。匕所以載牲，曾所以降神，皆祭祀之用，故傳曰可以守宗廟為祭主也。

The trigram Zhen represents a hundred, and Gen represents a village. Kan represents a thorny tree, and the knife used for ritual sacrifice is controlled by the thorny tree. "Chang" is a fragrant wine made from black millet. Zhen represents millet, and Kan represents wine, so together they form the image of "Chang." "Zhen zhong bai li, bu sàng bi chang" means that although the thunder's power shakes an area of a hundred li, the person performing the sacrifice remains calm and undisturbed. "Bi" is a vessel used to lift the sacrificial animal from the bronze tripod, and "Chang" is the fragrant wine used to worship the spirits. Both are ritual implements used in worship, so the Commentary on the Judgment says that such a person can guard the ancestral temple and serve as the chief sacrificer.

彖曰：震亨，震來，恐致福也；笑言啞啞，後有則也；震驚百里，驚遠而懼邇也；出可以守宗廟社稷，以為祭主也。震為福，故曰恐致福。則，法也，互坎為法則。震為後，後有則者，言陽復於下為陰主也。震為出，為祭，為主；艮為守，為社稷，為廟；震為長子。驚遠懼邇，能匕鬯不失，故可為祭主，而長守宗廟社稷也。

The Commentary on the Judgment says: The hexagram Zhen is亨通. Thunder sounds suddenly, causing fear, because knowing fear brings blessings; afterwards, one can talk and laugh freely, because there is order in conduct. The thunder's power shakes a hundred miles, causing distant people to be startled and nearby people to be frightened; the eldest son comes forth to take charge, able to protect the ancestral temple and state, and to preside over sacrifices. Zhen represents blessings, so knowing fear leads to blessings. "Then" refers to order, and the interacting lines contain the image of Kan, which signifies order. Zhen represents the ruler, "the ruler has order" means that the yang line returns to the lower position and becomes the master of all the yin lines. Zhen represents going out, sacrifice, and leadership; Gen represents guarding, the state, and the ancestral temple; Zhen also represents the eldest son. It can cause both distant and near people to be startled, yet in the midst of thunder, the wine and vessels remain undisturbed, so it can preside over sacrifices and guard the ancestral temple and state for a long time.

象曰：存（左水）雷震。君子以恐懼修省。存（左水）再也，上下震故曰存（左水）雷。困震而恐，因恐而修省。初九：震來AA？，後笑言啞啞，吉。陽在下，故曰後，言初雖AA？恐懼，後則樂也，陽遇重陰故也。象曰：震來AA？，恐致福也；笑言啞啞，後有則也。恐則修省，修省則致福。

The Great Image Commentary says: Thunder sounds continuously, which is the trigram Zhen; the gentleman thus understands the need to maintain vigilance and self-cultivation, reflecting on his mistakes. "Xian" means again or continuously, as both the upper and lower trigrams are Zhen, hence "Xian Thunder." Because of the thunder's shock, there is fear, and because of fear, one cultivates oneself and reflects on mistakes. The line statement for the first nine: Thunder strikes, causing fear, but then one remains calm and joyful, which is auspicious. A yang line in the lowest position is called "Hou," meaning that although the first nine initially feels fear, it later turns into joy, because it meets the overlapping yin lines above. The Small Image Commentary says: Thunder causing fear leads to awareness and thus brings blessings; remaining calm and joyful indicates that afterwards, one's actions are orderly. Maintaining vigilance leads to self-cultivation and reflection, and self-cultivation and reflection bring blessings.

六二：震來厲，億喪貝，濟（左足）于九陵，勿逐，七日得。來者復也。震來厲，言陽復初，二乘之，故危厲不安也。億噫通，《釋文》云本亦作噫，虞翻雲惜辭也。艮為貝，震者艮之覆，故喪貝。古以貝為貨幣，因厲喪貝。震為言，故曰惜辭。鄭作十萬解，似不如虞義也。

The line statement for the second line says: Thunder sounds come with danger, alas, the shell money is lost, ascending to the high hill nine times; there is no need to chase, after seven days it will be regained naturally. "Come" means return. "Zhen comes with danger" refers to the yang line returning to its original position, with the line six two resting upon it, thus causing danger and unease. "Yi" is the same as "yi," and the "Classic Interpretation" says some versions use "yi." Yu Fan explains this as an exclamation of regret. Gen represents shell money, and Zhen is the inverted image of Gen. When Gen is overturned, the shell money is lost, hence "loss of shell money." In ancient times, shells were used as currency, and due to the danger, the shell money was lost. Zhen represents speech, hence the expression of regret. Zheng Xuan interprets "yi" as ten thousand, which seems less appropriate than Yu Fan's explanation.

二至四艮，艮為陵，艮陽在上，陽老故曰九陵。震為臍，躍升也，而坎為盜，在艮陵上，言有人持貝，臍九陵以去也。然不必逐也。震為逐，數七，故曰七日。震為復，勿逐七日得者，言所喪之貝，不必追逐，至七日自然來復也。

The second line to the fourth line form the trigram Gen, which represents a hill. Gen has a yang line at the top, and yang numbers are considered old with nine, so it is called "nine hills." Zhen represents ascending, meaning to leap upward; Kan represents theft. Since the Kan trigram is above the Gen hill, it suggests that someone took the shells and climbed up the nine hills to escape. However, there is no need to chase. Zhen also means to pursue, and Zhen's number is seven, so it is said "seven days." Zhen also represents return, and "do not chase for seven days and it will return" means the shells do not need to be chased, and they will naturally return on the seventh day.

舊解皆以離為貝，《易林》剝之蒙云：齊貝贖狸。蒙上艮為齊為貝。又謙之蠱、訟之大畜，皆曰喪貝，亦皆以上艮為貝。蓋艮堅在外，與離同也。象曰：震來厲，乘剛也。乘剛故危。六三：震蘇蘇，震行無青。蘇蘇，鄭云不安也。坎為疾病，故為眚。蓋三不當位，故不安，然得陽為承，亦無眚也。象曰：震蘇蘇，位不當也。虞以蘇為死而復生，由象傳觀之，鄭釋為當。

Old commentaries all take Li as representing a shell, but actually in "Jiao's Forest of Changes," under the hexagram "Bao" changing into "Meng," it says "carrying a shell to redeem a cat," which takes the upper trigram Gen as representing both carrying and a shell. Also, in "Qian" changing into "Gu" and "Song" changing into "Da Xu," it says "losing a shell," which also takes the upper trigram Gen as representing a shell. Generally speaking, Gen is a hard shell on the outside, which is similar in nature to Li, which is externally firm and internally empty, so it can represent a shell. The "Small Image Commentary" says: Thunder coming brings danger, because the line six in the second is overpowering a yang line. Overpowering a yang line causes danger. The line six in the third says: Under the thunder, there is anxiety and unease, walking amidst the shaking without calamity. "Su su" is explained by Zheng Xuan as a state of unease. Kan represents disease, so there is an image of calamity. Generally speaking, the line six in the third is a yin line in a yang position and is not in the right place, so it is uneasy; however, it is above the line nine in the fourth, which is yang, and a yin line supporting a yang line is harmonious, so there is no calamity. The "Small Image Commentary" says: Unease is because of being in the wrong position. Yu Fan interprets "Su" as death followed by revival, but according to the "Small Image Commentary," Zheng Xuan's interpretation is more appropriate.

九四：震遂泥。遂隧之省文，隧即墜也。《論語》文武之道，未墜於地，石經作隊。又《列子》矢隧地而塵不揚，皆以隧為墜。遂古文隧之省。《荀子·理論篇》人焉而隧，楊驚注云隧古墜字，故荀爽作隧。四坎為泥，陷四陰中，故隧泥。震為行，隧泥則行難矣。象曰：震遂泥，朱光也。坎隱伏，故未光。

The fourth line statement says: Thunder strikes and falls into mud. "Sui" is a simplified form of "tui," which means to fall. The Analects of Confucius, in the chapter Zizhang, says, "The ways of Wen and Wu have not fallen to the ground," and in the Han stone classics, "fall" is written as "dui." The Liezi says that an arrow "tui through the ground without raising dust," using "tui" as meaning "fall." "Sui" is an ancient form of "tui." In the "Lisun" chapter of Xunzi, it says, "He who goes there and tui," and Yang Jing's commentary says "tui" is an ancient form of "dui." Therefore, Xun Shuang used "tui" for this line. The fourth line is in the Kan trigram, which represents mud, and it is trapped between the four yin lines above and below, so it falls into mud. Zhen represents movement, but when falling into mud, movement is blocked. The Small Image Commentary says: Thunder strikes and falls into mud, which means it has not yet become prominent. Kan represents concealment, so it has not yet become prominent.

六五：震往來厲，億無喪有事。往得敵，來乘陽，故往來皆危厲也。自陽遇陽陰遇陰為敵之理失傳，於是虞翻不知往厲之故在陰遇陰，只以乘剛為說。乘剛則來厲，於往無涉也。五得中位尊，匕鬯之事，故無喪也。象曰：震往來厲，危行也；其事在中，大無喪也。行，道也。大無喪即億無喪。

The line statement for the fifth line says: In the midst of thunder, going is dangerous, coming is also dangerous; however, there is no loss, and the rites of worship continue as usual. The sixth line moves upward and meets the sixth line above, both being yin lines, thus forming an opposing relationship. When it retreats, it overpowers the yang line nine in the fourth. Therefore, both going and coming are dangerous. Since the principle that 'yang meets yang and yin meets yin to become enemies' has been lost, Yu Fan did not understand that the reason for 'danger in going' is due to yin meeting yin. He only explained it as 'overpowering yang,' but 'overpowering yang' can only explain 'danger in coming,' and has nothing to do with 'going.' The fifth line occupies the central position in the upper trigram and is noble, thus presiding over the rites of worship, so there is no loss. The Small Image Commentary says: Thunder's movement in both directions is dangerous, indicating danger in the path; the matter it presides over is in the center, so there is no great loss. 'Path' here refers to the way. 'Greatly without loss' corresponds to the line statement's 'no loss.'

上六：震索索，視矍矍，征凶。震不于其躬，于其鄰，無咎。婚尼（左木）有言。索索，鄭云猶縮縮，足不正也。三在震上，蘇蘇不安，上亦同也。？？，鄭云目不正也。《說文》佳欲逸走也，徐曰左右驚顧也。震，目無上皆，故因恐懼而視矍矍也。

The line statement for the top six line: Below the thunder trigram, the feet are trembling and the eyes are frightened and looking around, indicating danger ahead. The thunder does not fall upon oneself but upon the neighbor, so there is no fault; however, matters of marriage may bring disputes. "Suo suo" is explained by Zheng Xuan as similar to "suo suo," indicating an unsteady gait. The six in the third line is above the trigram of thunder and is anxious and uneasy, just as the situation of the top six line is. "Jue jue" is explained by Zheng Xuan as an improper gaze. The "Sayuan" says "Qu" is the appearance of a bird startled and about to flee, and Xu Kai says it refers to looking around left and right. The trigram of thunder lacks one horizontal line, resembling an eye without an upper lid, hence the frightened gaze of both eyes.

《易林》訟之豫云：眵難無距，與鵲格鬥，翅折目盲，為鳩所傷。眵，《說文》目傷目（上此）也。豫上震，目無上目（上此），故日眵，曰盲，義即本此也。虞翻不知易用象之妙，以卦無視象，命三變成離取視象，易取象無此迂曲也。三無應，故征凶。震不于其躬于其鄰，仍驚遠懼邇之意。艮為躬，艮覆為震，故不于其躬于其鄰。

In Jiao's Forest of Changes, the hexagram Sun is interpreted as "a young chicken without a spur, fighting with a magpie, with broken wings and blind eyes, wounded by a dove." "Cing" is said in Shuo Wen to mean injury to the eyes with the eye sockets溃烂. The upper trigram of Yu is Zhen, which lacks one horizontal line at the top, resembling a broken eye socket. Thus, "Cing" and "blindness" are explained in this way. Yu Fan did not understand the subtle use of imagery in the Book of Changes, thinking that the primary hexagram lacks the image of "seeing," so he changed the third line of nine to Li to obtain the image of sight. The imagery used in the Book of Changes is not so roundabout. The sixth line at the top and the third line are both yin lines and do not correspond, so there is danger in moving forward. "Zhen does not strike itself but its neighbor" still expresses the meaning of the Commentary on the Judgment, "startled by distant things and fearful of nearby ones." Gen represents the body, and when Gen is inverted, it becomes Zhen. The image of the body has been inverted, so the thunder does not strike itself but its neighbor.

震為鄰，《易林》蹇之噬嗑云：不利出鄰，疾病憂患。噬嗑下震為鄰為出，出即與坎險遇，而有疾病憂患之苦，是明以震為鄰也。鄰仍謂三也。言三蘇蘇，即知其可懼而戒備也，知懼故無咎。

The trigram Zhen has the extraordinary image of "neighbor": In "Jiao's Forest of Changes," the hexagram Jian changing to Shihe says "unfavorable to go to the neighbor, illness and worries." The lower trigram of Shihe is Zhen, which represents neighbor and movement. When one moves out, they immediately meet the danger of Kan, thus causing illness and worries. This clearly treats Zhen as neighbor. The term "neighbor" still refers to the sixth line in the third position. It means that when one sees the sixth line in the third position being anxious and uneasy, the sixth line at the top knows the situation is dangerous and prepares in advance. Knowing caution, there will be no mistakes.

卦二至上正反震，故有言。有言者爭訟，與困之三至上正反兌有言不信同也。卦三男俱備，無一女象，故不能婚媾，如婚媾則必爭訟也。自覆象失傳，此句舊解二千年無一當者。只《易林》中孚之謙云：伯氏爭言。謙亦正覆震，與震二至上同。爭言即有言，震為伯也。象曰：震索索，中未得也；雖凶無咎，畏鄰戒也。在震上，故曰中未得。因畏而戒，故無咎。

The second line to the top line of the primary hexagram form a correct Zhen (Thunder) and inverted Zhen overlapping, thus producing the image of "having words." "Having words" refers to disputes, similar to the third line to the top line of the Guan (Obstruction) hexagram, which forms a correct Dui (Lake) and inverted Dui overlapping, resulting in "having words without trust." In the primary hexagram, Zhen represents the eldest son, Kan represents the middle son, and Gen represents the youngest son; all three sons are present, and there is no image of a woman, so marriage cannot be formed. If one forces marriage, disputes will certainly arise. Since the method of "reversed image" has been lost, none of the previous interpretations over the past two thousand years have been correct. Only the "Jiao's Forest of Changes" in the hexagram Zhongfu (Inner Truth) under the line Qian says "Brother Bo disputes in words." The Zhongfu hexagram also forms a correct Zhen and inverted Zhen overlapping, with the same structure as the Zhen hexagram from the second line to the top. "Disputing in words" is the same as "having words," and Zhen also represents Bo, meaning the eldest son. The "Small Image Commentary" says: both feet are drawn back, indicating that the middle path has not yet been attained; although there is danger, there is no fault, because one sees the shock of the neighbor and thus becomes cautious. The top line is at the top of Zhen but not in the middle, so it says "the middle is not attained." Due to fear and vigilance, there is no fault.

艮其背，不獲其身，行其庭，不見其人，無咎。《歸藏》作狠，狠《廣韻》很之俗宇。《說文》很不聽從也，一曰行難也。艮鄭云艮之言很也，是很艮義同。艮止也，震為行，震反故止。雜卦震起也，艮止也，即言正反之義也。舊說以陽在上為止，非其義也。艮為背為身為庭為人。艮其背，靜也。三至五互震，故又曰行其庭，行其庭動也。乃因無應與，靜則不獲身上手足之用，動則不見庭除應予之人。無動作無交際，故亦無咎也。

The hexagram "Gen" (Mountain): It signifies stopping at the back, feeling unaware of one's own body; walking in the courtyard, not seeing the people within it; there is no mistake. In the "Guicang Yi," this hexagram is called "Hen," and "Hen" in the "Guangyun" is a variant character for "Heン." The "Shuowen" says "Hen" means not obeying, and another interpretation says it refers to walking with difficulty. Zheng Xuan says "Gen" means "Hen," showing that "Hen" and "Gen" have the same meaning. "Gen" means stopping, while "Zhen" means movement. When "Zhen" is reversed, it becomes "Gen," hence meaning stopping. The "Zagua Zhuan" says "Zhen means movement; Gen means stopping," which refers precisely to the relationship between the upright Zhen and the reversed Zhen. The old interpretation that a yang line in the upper position signifies stopping does not conform to the original meaning. "Gen" represents the back, the body, the courtyard, and people. "Gen qi bei" signifies stillness. The third to fifth lines form the mutual relationship of Zhen, so it is also said "xing qi ting," meaning movement. "Xing qi ting" signifies action. Because the entire hexagram has opposing lines with no corresponding lines, when still, one does not feel the movement of one's limbs, and when moving, one does not see corresponding people in the courtyard. Since there is neither action nor interaction, there is no mistake.

象曰：艮，止也。時止則止，時行則行，動靜不失其時，其道光明。艮其止，止其所也。上下敵應，不相與也，是以不獲其身，行其庭不見其人，無咎也。艮為時，下艮，故曰時止則止。三至五互震，故曰時行則行。止則靜，行則動，動靜隨時，故其道光明。艮為道路，陽在上故光明。六爻無應予，故曰敵應。

The Commentary on the Judgment says: The hexagram "Mountain" represents stopping. When it is appropriate to stop, one stops; when it is appropriate to act, one acts. Motion and stillness both occur at the right time, thus the path is bright. "Stopping at the right place" means stopping where it should be stopped. The hexagram has upper and lower trigrams that are opposite to each other, and they do not harmonize with each other, so one does not feel one's own body, and when walking in the courtyard, one does not see people, thus there is no error. "Mountain" represents time; the lower trigram is "Mountain," so it says "when the time comes to stop, one stops." The third to fifth lines form the trigram "Thunder," so it says "when the time comes to act, one acts." Stopping is stillness, acting is motion; both motion and stillness follow the right time, so the path is bright. "Mountain" represents the path, and the yang line is in the upper position, so it is bright. None of the six lines correspond with each other, so it says "opposition and response."

陰陽相遇為朋為類，若陽遇陽，陰遇陰，則皆為敵。同人九三云敵剛，以比應皆陽，故曰敵剛，以陽遇陽為敵。中孚六三云得敵，《子夏傳》云四與三為敵，而不釋其義。荀爽解之曰：三四俱陰，故稱敵也。以陰遇陰為敵，此實易義之根本。

When yin and yang meet, they become friends and kindred; if yang meets yang or yin meets yin, they become adversaries. The line Nine in the Third of the hexagram Tongren says "enemy of yang," because it is compared and corresponds with yang lines, so it says "enemy of yang," which is yang meeting yang to become adversaries. The line Six in the Third of the hexagram Zhongfou says "meeting an enemy," and the Zixia Transmission states that the fourth and third lines are adversaries, but it does not explain the reason; Xunshuang explains that the third and fourth lines are both yin lines, so they are called adversaries. This is yin meeting yin to become adversaries. This principle is indeed the fundamental principle of the Book of Changes.

明乎此則屯二之十年乃字，此三之比之匪人，頤六二之失類、六五之不利涉，大壯初九之征凶，解九四這解而拇，決（左無）初九之往不勝、九四之其行次且，鼎九二之慎所之，震六五之往厲，皆可觀象而得其義，否則不知其所謂矣。此易義之所以終古長夜也。然觀《子夏傳》之解得敵，似此義韓嬰已知之，荀爽能釋之，然可以於上列各爻，任其失解，抑有解而採輯者不合其意而不錄歟。

Having understood this principle, one can find definite interpretations for the lines in the hexagrams such as the "ten years to write" in the second line of the Zhun hexagram, "comparing with the wrong person" in the third line of the Bi hexagram, "losing the class" and "not advantageous to cross a great river" in the second and fifth lines of the Yi hexagram, "dangerous to go forward" in the first line of the Da Zhuang hexagram, "loosing the big toe" in the fourth line of the Jie hexagram, "not victorious in going forward" and "moving slowly" in the first and fourth lines of the Guai hexagram, and "be cautious in where you go" in the second line of the Ding hexagram, and "danger in coming and going" in the fifth line of the Zhen hexagram. Otherwise, one would not know what they mean. This is precisely why the meaning of the Book of Changes has been like a long night for thousands of years. However, looking at the interpretation of "getting an enemy" in the Zhuxi transmission, it seems that Han Ying already understood this meaning, and Xun Shuang could also explain it. So why have these lines remained misunderstood in the examples listed above? Perhaps they had their own interpretations, but the compilers of the collected works found them unsatisfactory and did not include them.

象曰：兼山，艮。君子以思不出其位。艮為位，艮止故不出。坎為思，得中唯心亨，亦不出。學易之君子法之。九三：艮其限，列其夤，厲熏心。限，《說文》阻也，《玉篇》界也，即脊骨界左右也，故馬荀鄭虞皆訓為要。三居卦中，坎為要，故取象於限。坎為脊為肉，故取明於夤。夤，馬虞皆以為夾脊肉。

The Great Image says: two mountains overlapping, this is the hexagram Gen; the gentleman thus understands that his thoughts do not exceed his position. Gen represents position and also represents stopping, so thoughts do not go beyond one's proper place. Kan represents thought, and since Kan is in the central position, it is said "the mind is harmonious," also not going beyond. The gentleman who studies the Book of Changes takes this as a model. The line statement for the third line says: stopping at the waist, tearing the flesh between the spine, the danger and peril are like fire burning in the heart. "Limit," according to the Shuowen Jiebi is obstruction, and according to the Yüanpian is boundary, which refers precisely to the division of the spine between left and right. Therefore Ma Rong, Xun Shuang, Zheng Xuan, and Yu Fan all interpret it as the waist. The third line is in the central position of the entire hexagram, and Kan represents the waist, so the image is "limit." Kan represents the spine and flesh, so the image is "yin." "Yin" is considered by Ma Rong and Yu Fan to be the flesh on both sides of the spine.

脊骨居中為限，脊肉左右分列。列裂同，《墨子·明鬼下》云生列兕虎，《荀子·哀公問》云兩驂列兩服人廄，注皆作裂。脊肉裂分左右，脊界其中，故曰裂其夤，皆坎象也。艮為火，互坎為心，故厲熏心。

The spine is in the center, representing 'limit' or 'boundary,' while the flesh on both sides of the spine spreads out to the left and right. The term '列' is equivalent to '裂,' meaning 'to split' or 'to break apart.' The text in the 'Mokezi · Ming Gui Xia' mentions '生裂兕虎,' and in the 'Xunzi · Aigong Wen,' it says '两骖列两服入厩,' with the annotations using '裂.' When the flesh along the spine splits apart to the left and right, the spine remains in the middle, so it is said '裂其夤,' which is derived from the image of the Kan trigram. The艮 trigram represents fire, and the interacting trigram Kan represents the heart, hence the danger and peril are likened to fire scorching the heart.

自坎肉象失傳，後懦皆不知噬嗑三四五三爻之肉象，及此夤象何屬。自艮火象失傳，虞翻以艮為閽，讀紊為閽，謂古閽作熏字，並云馬吉熏灼其心。未聞易道以坎水熏灼人者，豈知艮為火，馬氏所詁，正與易合。

Since the image of坎 as flesh disappeared, later Confucian scholars did not know where the image of "flesh" in the third, fourth, and fifth lines of the 噬嗑 hexagram came from, nor did they know which hexagram the image of "yín" belonged to. Since the image of 艮 as fire disappeared, Yu Fan took 艮 as "hūn" (a gatekeeper), read "xūn" as "hūn", saying that the ancient character for "hūn" was written as "xūn", and also said that Ma Rong interpreted it as "xūn zhuó qí xīn" (burning the heart). No one has ever heard that the Book of Changes would use the water of 坎 to burn people's hearts. How could they know that 艮 was originally fire, and Ma Rong's interpretation actually matched the image of the Book of Changes.

至荀氏以熏為動，讀作動。來知德又云以三十年之功，始悟熏字之由於伏離。由斯證一象之失傳，可使名家易人人異詞，真可嘆也。艮火坎肉象，皆詳《焦氏易詁》。《易林》艮之無妄云：顛覆不制，痛熏我心。是焦亦作熏。象曰：艮其限，危熏心也。厲危也，故曰危熏心。

As for Xun Shuang taking "xun" as "dong," reading it as "movement"; Lai Zhide also said that he spent thirty years to realize that the character "xun" comes from the hidden fire of Li. This shows that the loss of a hexagram can lead to different interpretations by famous scholars of the Yi, each holding their own view, which is truly lamentable. The images of Gen representing fire and Kan representing flesh are both detailed in "Jiao's Glosses on the Changes." "Jiao's Forest of Changes" states in the hexagram Gen followed by Wuxiang: "Overturning without control, pain burns my heart," showing that Jiao Yanshou originally used "xun." The "Small Image Commentary" says: suppression in the waist, dangerous as fire burning the heart. "Lai" means danger, so it is said "danger burns the heart."

六四：艮其身，無咎。艮為身，見上彖。虞以坤為身為孕非也。初趾二腓，三要四身，按爻序自下而上，故象釋為躬。得位故無咎。象曰：艮其身，上諸躬也。艮為躬，躬即身也。三四居卦之中，故曰要，曰身，並無他義。虞氏謂五動乘四則妊身，以止諸躬為妊身，卦天離象，強命王爻變成離，惑亂學，莫此為甚。

The line statement for the fourth line says: restraining oneself, there will be no mistake. The trigram Gen represents the body, as explained in the previous commentary on the judgment. Yu Fan's interpretation, taking Kan as the body and as pregnancy, is incorrect. In the primary hexagram, the first line represents the toe, the second line the calf, the third line the waist, and the fourth line the body, arranged from bottom to top. Therefore, the small image commentary explains "body" as "gong" (self). The fourth line, being a yin line in a yin position, is in the correct place, so there will be no mistake. The small image commentary says: restraining oneself means restraining oneself. Gen represents gong, which is the body. The third and fourth lines are in the center of the hexagram, so they are called "waist" and "body," with no other meaning. Yu Fan, however, says that the fifth line changing and riding on the fourth line is "pregnancy," interpreting "restraining oneself" as pregnancy. The primary hexagram does not have the image of Li, yet he forcefully assigns the change of the fifth line to form Li, confusing and misleading scholars, which is the most serious mistake.

六五：艮其輔，言有序，悔亡。輔，《說文》人頰車也，在頰之上，與牙車相對。春秋僖五年輔車相依，注云車牙車。疏牙車，牙下骨之名，在頰之下。蓋幾物人口，皆賴牙車載之，故名曰車。人慾嚼物，或言語，則牙動而上與輔對，故曰輔車相依。

The Line Statement of the Fifth Line (Six in the Fifth): It restrains the mouth's cheekbone, speech becomes orderly, and regret disappears. "Cheekbone" is explained in the Shuowen Jiezi as the bone on the upper part of the face's cheek, opposite the "jawbone" (lower jaw). In the Spring and Autumn Annals, Volume 5 of Duke Xian, there is the phrase "cheekbone and jawbone rely on each other." Du Yu's annotation says that "jawbone" refers to the jawbone. Kong Yingda's commentary explains that the jawbone is the bone below the teeth, located on the lower part of the face. Generally, when food enters the mouth, it is carried by the jawbone, hence the name "jawbone." When a person chews or speaks, the jawbone moves up and down in relation to the upper cheekbone, hence the saying "cheekbone and jawbone rely on each other."

輔在上不動，故艮為輔，頤即用以取象。三至五震，震為言，上卦震反，故曰艮其輔。序者次也，言不紊也。三至五震，時而當言則言；四至上震反，時而不當言，則言止矣，故曰言有序。《詩·大雅》序賓以賢，言賓之位次，與其賢相當，秩然不亂也。言行君子之樞機，時言則言，時止則止，有序如是，故無悔也。虞氏易序作孚，言孚於上也。

The bone of support is located above and remains still, so the trigram Gen (Mountain) takes the image of "support." The hexagram Yi (Nourishment) uses this image. The trigrams from the third line to the fifth line form Zhen (Thunder), which represents speech; the upper trigram is the inverted image of Zhen, indicating that speech is stopped. Therefore, it is said "Gen its support." "Sequence" refers to order, meaning speech is not disorderly. The trigrams from the third to the fifth line form Zhen, indicating that speech should be made when appropriate; the trigrams from the fourth to the top form the inverted Zhen, indicating that speech should be stopped when inappropriate. Thus, it is said "speech has order." The Book of Poetry, Great Ya, "Xing Wei" says "sequence the guests according to their virtue," meaning the seating arrangement of guests corresponds to their virtue, orderly and not confused. Speech and action are the key points for a gentleman. When appropriate, speak; when appropriate, stop. Being orderly to this extent, there is no regret. Yu Fan interpreted the character "sequence" as "faith," meaning the sixth line gains trust from the top line.

象曰：且其輔，以中正也。五中而不正，正字或疑衍，又或作正中。然未濟九二傳中以行正也，大壯九二傳大者正也，大謂九二，似亦不拘。上九：敦艮吉。敦與頓通，頓止也。易凡言敦，皆有止義、待義，義詳敦臨敦復。敦艮者，頓止於上也，下履重陰，故吉。象曰：敦艮之吉，以厚終也。艮為山，故曰厚；而艮為終，故曰以厚終，唯厚故止也。

The Small Image Commentary says: Suppressing the mouth and cheeks is because it is in the center and upright. Although the Six in the Fifth is in the center, it is a yin line in a yang position and thus not properly upright, so some doubt whether the character "正" (upright) is a later addition, and some versions read "正中" (upright center). However, the Small Image Commentary of the Nine in the Second of the Upper Trigram says "being in the center enables uprightness," and the Small Image Commentary of the Nine in the Second of the Great Strength says "the great one is upright" (here "great" refers to the Nine in the Second). This suggests that the use of the character "正" in the commentary is not strictly confined. The line statement of the Upper Nine says: To suppress with sincerity and firmness is auspicious. "敦" is the same as "顿," and "顿" means to stop. In the Book of Changes, whenever "敦" is used, it implies stopping or waiting, as seen in the explanation of "敦临" in the卦 of Approaching and "敦复" in the卦 of Returning. "敦艮" means to stop at the upper position. The Upper Nine is below two yin lines, and a yang line stepping on a yin line is harmonious, hence it is auspicious. The Small Image Commentary says: The reason why "敦艮" is auspicious is that it can conclude with sincerity. Since "艮" represents a mountain, it is said "thick"; since "艮" also represents the end, it is said "to conclude with thickness" — precisely because of its thickness, it can stop.