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

漸：女歸吉，利貞。上下卦皆陰承陽，陰承陽即婦從夫，故曰日漸。漸進也，次也，言陰次於是，宜進而承陽也。巽為婦，艮止於下，有女歸之象。二五應，故利貞而吉。象曰：漸之進也，女歸吉也。進得位，往有功也。進以正，可以正邦也。其位，剛得中也。止而巽，動不窮也。五得位故有功。艮為邦，故曰正邦。象曰：山上有木，漸。君子以居賢德善俗。居積也，居賢德即積賢德也。坎為積，艮為賢，巽為風俗，有賢德故以善俗。居賢德善俗，皆非猝然可能之事，皆漸義也。

The hexagram "Gradual Progress" indicates that a woman going to marriage is auspicious and suitable for maintaining correctness. The primary hexagram has the yin lines above and below, all following the yang lines. Yin following yang represents the wife following the husband, hence it is called "Gradual Progress." "Gradual Progress" means advancing step by step in order, indicating that the yin lines are arranged in sequence, and should proceed in order to follow the yang lines. Xun represents the wife, and Gen represents stillness at the bottom, symbolizing a woman going to marriage. The line six in the second corresponds with nine in the fifth, so it is suitable to maintain correctness and auspicious. The Commentary on the Judgment says: "Gradual Progress" means advancing step by step, and a woman going to marriage is auspicious. Advancing and each attaining their proper position, going forward will bring merit; advancing with correctness can correct the state. The "proper position" refers to nine in the fifth being yang and in the center. Inner stillness and outer compliance, so action will not be obstructed. Nine in the fifth is in the correct position, thus bringing merit. Gen represents the state, so it is said "correcting the state." The Image Commentary says: Mountains with trees growing on them, this is the hexagram "Gradual Progress." The gentleman thus understands the need to accumulate virtue and improve customs. "Residing" means accumulating, "residing in virtue" means accumulating virtue. Kan represents accumulation, Gen represents virtue, and Xun represents customs. With virtue, one can improve customs. Accumulating virtue and improving customs are not things that can be done hastily, and both conform to the meaning of "Gradual Progress."

初六：鴻漸于干，小子厲，有言，無咎。鴻大雁也，艮為鴻。周公時訓，以雁北鄉當屯卦，是以坎為北，互艮為雁。故《易林》師之萃云：鴻雁啞啞，以水為家。以萃互艮為鴻也。需之遁云：去如飛鴻。亦以遁下艮為鴻。千水涯也，二至四坎水，初在坎下，故曰鴻漸于干。艮少故為小子。有言者爭訟，震為言，艮為反震，敗言，故曰有言。左傳云敗言為讒是也。有言故厲，然初為士，潛伏在下，亦無咎也。象曰：小子之厲，義無答也。初勿用，故義無咎。

The first line statement says: Wild geese gradually fly to the water's edge, young people are in danger and will encounter disputes, but they will not commit mistakes. "Wild geese" refer to large geese, and the trigram Gen (Mountain) has the image of wild geese. The "Book of Zhou Gong's Seasonal Instructions" associates the phenomenon of "geese facing north" with the hexagram Zun (Obstruction), using Kan (Water) as north and the interacting trigrams Gen (Mountain) as geese. Therefore, the "Forest of Changes" by Jiao says "wild geese cry, living by the water," using Gen (Mountain) in the hexagram Cui (Gathering) as geese. Similarly, the line statement of "Need" to "Dun" says "leaving like flying geese," using Gen (Mountain) in the lower trigram of Dun (Retreat) as geese. "Dry" refers to the water's edge, and the interacting trigrams from the second to fourth lines form Kan (Water), with the first line below Kan (Water), so the geese gradually fly to the water's edge. Gen (Mountain) represents a young man, hence "young person." "Having words" refers to disputes: Zhen (Thunder) represents speech, and Gen (Mountain) is the inverted image of Zhen (Thunder), so inverted speech becomes slanderous words, hence "having words." The presence of disputes brings danger, but since the first line is in a lower position, like a hidden person who has not yet acted, there will be no mistake. The "Small Image Commentary" says: the danger of the young person, by nature, does not involve mistakes. The first line is at the time of "not to use," so by nature, there is no mistake.

六二：鴻漸于盤，飲食行（中乾），吉。盤大石也，三艮為石，故漸於盤。二坎體，坎為飲食。行行（中乾），和樂也。二當位得中應五，故象吉如是。象曰：飲食行行（中乾），不素飽也。坎中實為飽，應在五，巽為白，故曰素飽。素飽猶素餐，不素飽，言得之以道也。

The line statement for the second line says: Wild geese gradually fly to the big stone, eating and enjoying themselves in comfort, which is auspicious. "Pán" means big stone. The third line is in the structure of Gen (Mountain), which represents stone, so it says gradually reaching the stone. The second line is in the structure of Kan (Water), which represents food and drink. "Kàn kàn" describes a joyful and harmonious state. The second line, being a yin line in a yin position and in the correct place and middle, also corresponds with the fifth line, so the line is auspicious. The Small Image Commentary says: Eating and enjoying oneself is not just idling. The middle line of Kan is yang, and the middle is full, so it is full. The corresponding fifth line is in the structure of Xun (Wind), which represents white, so it says "sù bǎo." "Sù bǎo" is similar to "sù cān," and "not sù bǎo" means the food comes from the right path.

九三：鴻漸于陸，夫征不復，婦孕不育，凶，利禦寇。馬云山上高平曰陸。艮為夫，在上，故不復。《易林》復之剝云：夫亡從軍，抱膝獨宿。以剝艮為夫也。孕，妊娠也；育生也。震為孕，《左傳》昭元年武王邑姜方震太叔是也。三震覆，故不育。郭璞《洞林》否之小過云：婦女胎反見華益。否三互巽，故知為婦女；二四互艮，世變良，艮為反震，是胎反也。胎亦孕也，義即本此也。

The line statement for the third line: Wild geese gradually fly to a high and level land, the husband is far away on a military campaign and does not return, the wife is pregnant but cannot give birth, which is dangerous; it is favorable to defend against thieves and bandits. Ma Rong said that a high and level place on a mountain is called "Lu." Gen represents the husband, and since Gen is present above and outside, the husband does not return. In "Jiao's Forest of Changes," the hexagram of "Bo" (Decay) says, "The husband dies in the army, sitting alone with his knees hugged," which uses the Gen trigram as representing the husband. "Yun" means to be pregnant, and "yu" means to give birth. Zhen represents pregnancy; in "Zuo Zhuan" (Commentary of Zuo), Year One of Zhao Gong Yuan, it says that the wife of King Wu, Yicang, was "zhen Taishi," meaning she was pregnant with Taishi, which is this image. The third line is in the reversed Zhen trigram, so the image of pregnancy is reversed, hence the inability to give birth. Guo Pu's "Dong Lin" (Forest of the Depths) says in the divination of "Pǐ" (Obstruction) changing into "Xiao Guo" (Minor Excess): "A woman's pregnancy is reversed." The third line of Pǐ is in the intercalated trigram Xun, so it is known to refer to a woman; the trigrams from the second to the fourth are Gen, and after the change, Gen becomes the reversed Zhen, which is exactly "a reversed pregnancy." "Tai" (pregnancy) is also "yun" (pregnancy), and its meaning is derived from this.

巽為寇，三下擁群陰，而艮為守禦，為堅，寇在外，守禦在內，使外寇不人，故利也。舊解皆以坎為寇，豈知坎之為寇，以其隱伏，巽亦為伏，故易亦以巽為寇。且以坎為寇，坎寇已在內矣，如何能御之。虞翻以坎為寇，謂自上御下，自上御下，其利在上，於三何與。一象失傳，使經義顛倒錯亂，至於如此，真可喂也。

Wind represents a bandit -- the upper trigram Wind is outside, which indicates an external bandit. The ninth line three is surrounded by a group of yin lines, while Mountain represents defense and firmness. The bandit is outside and the defense is inside, preventing the bandit from entering, hence it says "favorable for defending against bandits." Old commentaries all took Water as the bandit, but they did not realize that Water is considered a bandit because of its hidden nature. Wind also has the meaning of concealment, so the Book of Changes also uses Wind to represent a bandit. Moreover, if Water is taken as the bandit, since Water is in the mutual trigrams from line two to four, the bandit is already inside, how can one defend against it? Yu Fan took Water as the bandit, saying that defense is from above to below. However, if defense is from above to below, the benefit is to those in the upper position, which has nothing to do with line nine three. The loss of one hexagram has led the meaning of the classic to be so confused, which is truly regrettable.

象曰：夫征不復，離群五也；婦孕不育，失其道出；利用御冠，順相保也。坤為眾為丑，丑眾也，《詩·小雅》執訊獲五是也。高附離也。群丑謂下二陰，言三陽繫戀於下二陰，故不復也。諸家訓離為去，與下順相保之義不合，非也。艮為道，坎為失，故失道不育。下二陰順三陽，以為保守，故曰順相保。

The Small Image Commentary says: The husband goes on a distant campaign and does not return, indicating separation from the group; the wife becomes pregnant but does not give birth, indicating deviation from the right path; it is advantageous to resist bandits, indicating harmony between superior and inferior and mutual protection. The trigram坤 represents the people and ugliness, and "ugliness" refers to the people. The Book of Songs, Xiao Ya, "Chu Che" says "Zhi Xun Huo Chou," which means this. "Li" means attachment. "Group of wicked people" refers to the two yin lines below the Nine in the Third, indicating that the yang line of Nine in the Third is attached to the two yin lines below, hence it does not return. Various interpretations take "Li" as departure, which is inconsistent with the meaning of the following sentence "mutual protection," and thus is incorrect. The trigramGen represents the path, and Kan represents loss, so it is said to be losing the path and not giving birth. The two yin lines below are obedient to the yang of Nine in the Third, thus protecting themselves, hence it is said "mutual protection."

六四：鴻漸于木，或得其桷，無咎。巽為鴻，九家逸象巽為鸛，鸛鴻皆水鳥，故亦為鴻。周公時訓以鴻雁來當巽卦，是以巽為鴻。故《易林》中孚之同人云：鴻飛遵陸。以同人互巽為鴻。又大畜之兌云：鴻盜我襦，逃于山隅。兌互巽為盜為鴻。舊以離為鴻非也。巽為木為桷，《說文》椽方曰桷。得桷言安也。四當位承陽，故無咎。象日：或得其桷，順以巽也。言順承五上二陽。

The fourth line statement says: Wild geese gradually fly up to the trees, perhaps they can find a straight wooden beam to rest on, and there will be no mistake. The trigram Xun also has the image of 'wild geese': The extraordinary image in the Nine Schools Commentary on the Book of Changes says that Xun represents the stork, and since the stork and wild goose are both water birds, Xun can also represent the wild goose. The "Book of Zhou Gong's Seasonal Instructions" associates the phenomenon of 'wild geese arriving' with the trigram Xun, which is why Xun is taken as representing the wild goose. Therefore, in the Forest of Changes by Jiao, the line 'wild geese fly along the land' in the卦 of Zhongren uses the mutual trigrams of Zhongren to represent Xun as the wild goose; and the line 'wild geese steal my robe, fleeing to the mountain corner' in the卦 of Daxu uses the mutual trigrams of Daxu to represent Xun as both thief and wild goose. Previous interpretations taking Li as representing the wild goose are incorrect. Xun represents wood and the beam called 'jue' in the Shuo Wen, which says that a square wooden beam is called 'jue'. Finding a 'jue' beam means having a stable place to rest. The fourth line is a yin line in a yin position and is in the correct place, and it also follows the yang line of the fifth line above, so there will be no mistake. The Small Image Commentary says: Perhaps obtaining the 'jue' beam, is being gentle and humble. This means that the fourth line is obedient and follows the two yang lines above it, the fifth and the top lines.

九五：鴻漸于陵，婦三歲不孕，終莫之勝，吉。巽為高，五應在二，二艮體，五居艮上，故漸於陵。巽為婦，震為孕，震伏，下敝漏，故不孕。又五應在二，為三所阻，不能應二，故三歲不孕。坎為三歲，言其久。然五與二為正應，三豈能終阻之，故終勝三，得所願而吉也。莫之勝，言三不能勝五也。象曰：終莫之勝吉，得所願也。五終能應二，故得所願。舊解皆從虞氏以成既濟定為說，強命初上變，非。

The line statement for the fifth line says: Wild geese gradually fly up to the high hill, a woman is unable to conceive for three years, but ultimately no one can surpass it, which is auspicious. Wind represents high ground, and the fifth line corresponds to the second line. The second line is in the earth element, and the fifth line is above the earth element, so it is said to gradually reach the high hill. Wind represents a woman, and Thunder represents pregnancy; here the Thunder image is hidden, and the lower part has a deficiency, so there is no conception. Moreover, the fifth line corresponds to the second line, but is blocked by the third line, so it cannot correspond with the second line, hence the three years of infertility. The trigram Kan represents three years, indicating the length of time. However, the fifth line and the second line are originally in a proper correspondence, so how can the third line block them forever? Therefore, ultimately surpassing the third line, fulfilling the wish and being auspicious. "No one can surpass it" means that the third line cannot surpass the fifth line. The Small Image Commentary says: Ultimately, no one can surpass it and it is auspicious, meaning the wish is fulfilled. The fifth line ultimately corresponds with the second line, so the wish is fulfilled. Old interpretations all follow Yu Fan's explanation of "completing the final completion," forcing the first line and the top line to change, which is incorrect.

上九：鴻漸于陸，其羽可用為儀，吉。在卦上，與三同，故仍漸于陸。巽為羽，儀飾也。其羽可用為儀者，巽為高為白，言上居高明之地，羽毛鮮潔，故可用以為儀，賁一切也。巽羽之象，《易林》隨之小畜云：奮翅鼓翼。以小畜上巽為翼。又頤之兌六翮長翼，亦以兌互類為翼。象曰：其羽可用為儀吉，不可亂也。儀型萬方，秩然不紊，故不可亂。

The line statement for the topmost yao, Upper Nine: Wild geese gradually fly to high land, their feathers can be used for ceremonial adornment, which is auspicious. Upper Nine is at the top of the entire hexagram, and is in the same position as Nine in the Third, so it still says 'gradually moving to land.' The trigram Xun represents feathers, and 'ritual adornment' refers to ornamentation. The statement that feathers can be used for ritual adornment is because Xun represents highness and whiteness, meaning that Upper Nine is in a lofty and bright position, and its feathers are white and bright, so they can be used for adornment to embellish everything. The image of Xun as feathers is found in the 'Forest of Changes' under the hexagram following the hexagram of following and nurturing, where it says 'spreading wings and flapping wings,' using the upper trigram Xun as wings. Also in the hexagram of nourishment and joy, it says 'six primary feathers and wings,' using the interacting trigram Xun as wings. The 'Small Image Commentary' says that feathers can be used for ritual adornment and are auspicious, which is not to be disturbed. They can serve as a model for the world, with order and propriety, so they must not be disturbed.

歸妹：征凶，無攸利。兌為少女，故曰妹。震為歸，婦人謂嫁曰歸，故曰歸妹。震類長女從長男為恆，則曰利有攸往。茲少女從長男，與恆同耳，乃彖義則與恆相反，曰征凶無攸利何為也。

The hexagram "Gui Mei" (Return of the Younger Sister) says that going forward is dangerous and brings no benefit. The trigram Dui represents the young girl, hence the term "Mei" (younger sister). The trigram Zhen represents returning, and for a woman, going out to marry is called "Gui" (return), hence the name "Gui Mei" (Return of the Younger Sister). Zhen represents the elder son, and when the elder son is paired with the elder daughter, it forms the hexagram "Heng" (Permanence), which says "It is advantageous to go forward." Here, the younger sister follows the elder son, which is similar to "Heng." However, the meaning of the "Tuan" (Judgment) of "Gui Mei" is opposite to that of "Heng," stating "Going forward brings danger, and there is no benefit." Why is this so?

曰恆下巽，巽陰承陽，與上震無一爻不相應，故利有攸往。歸妹則巽覆為兌，陰乘陽，初三皆失應，故征凶。巽為利，巽覆故無攸利。又中四爻皆不當位，貞靜自守，尚恐有咎，動則悔吝生矣，故征凶不利也。

Answer: The lower trigram of the Hexagram of Constancy is Xun, whose yao is yin and lies below to receive the yang yao, corresponding with the upper trigram Zhen's six yao in pairs, so there is no yao that does not correspond, hence "favorable to go somewhere." The Hexagram of the Maiden, however, has Xun inverted into Dui, with the yin yao above the yang yao, forming "riding over," and both initial nine and nine in the third position lose their correspondence, hence "dangerous to go forward." Since Xun is favorable but has now overturned, it becomes "unfavorable to go anywhere." Moreover, the four middle yao are not in the proper position; even if they remain quiet and self-restrained, they may still be wrong, and once they move, they will bring regret and regret, hence "dangerous to go forward, nothing is favorable."

下繫云：其為道也屢遷，變動不居，周流六虛，上下無常，剛柔相易，不可為典要，唯變所適。正謂此。恆與歸妹，上卦同也，下卦同為二陽一陰也，乃巽則如彼，巽覆則如此，唯變所適也。唯變所適，謂甲卦與乙卦，一爻變動，則吉凶相反，非謂卦無是象，強命某爻變，以成其象也。自漢以來，因誤解變動不居、唯變所適二語，援為護符，浪用爻變，以濟其窮，前有虞翻，後有焦循，其尤也。

The Great Treatise says: The principles of the Book of Changes are constantly shifting and changing, never staying in one place, flowing through the six lines of the hexagram's empty positions. There is no fixed upper or lower position; yin and yang change into each other, and cannot be regarded as fixed rules. Instead, they adapt to the changes. This describes exactly such a situation. The hexagram "Heng" and "Gui Mei" have the same upper trigrams, and the same lower trigrams of two yang lines and one yin line. However, when the lower trigram is Xun, it becomes "Heng," and when Xun is reversed to become Dui, it becomes "Gui Mei." This is called "only adapting to the change." What is meant by "only adapting to the change" is that if there is only one line different between hexagram A and hexagram B, their fortune and misfortune will be opposite. It does not mean that the hexagram originally does not have that image, and then one can arbitrarily point to a line changing to create that image. Since the Han dynasty, people have misunderstood the phrases "changing constantly" and "only adapting to the change," and have used them as a talisman, misusing the changing of lines to cover up their own unclear explanations. Yu Fan in the past and Zhao Xun in the later period were the most prominent among them.

彖曰：歸妹，天地之大義也。天地不交，而萬物不興。歸妹，人之終始也。說以動，所歸妹也。征凶，位不當也。無攸利，柔乘剛也。歸妹而後有夫婦，天地者夫婦之義，天地交而後有萬物，故歸妹為女之終，生人之始。中爻皆不當位，三五皆以柔乘剛，故征凶無攸利也。象曰：澤上有雷，歸妹。君子以水終知敝。女歸則永終，兌毀折，故以知敝為戒。

The Commentary on the Judgment says: The hexagram "Return of the Maiden" discusses the great principles of heaven and earth. When the energies of heaven and earth do not interact, all things cannot arise. Marrying a daughter is the conclusion and beginning of human relationships. Acting out of joy, one marries a maiden. "Going forward brings danger" is because the lines are not in proper position; "no benefit is obtained" is because the yin lines overpower the yang lines. Only through marriage do husband and wife come into being; heaven and earth are the origin of the principle of husband and wife. When heaven and earth interact, they generate all things, so marrying a daughter marks the end of a woman's life in her family and the beginning of human reproduction. The four middle lines of this hexagram are not in proper position, and both the sixth line in the third position and the sixth line in the fifth position are yin lines overpowering yang lines, hence it is said that going forward brings danger and there is no benefit. The Great Image says: Thunder over a marsh, this is the hexagram "Return of the Maiden"; the gentleman thus understands that he should seek a lasting end and foresee decline and failure. A woman, once married, should remain faithful to one husband; the trigram兑 (Dui) has the meaning of destruction, so one should foresee decline and failure as a warning to oneself.

初九：歸妹以娣，破能履，征吉。初在兌下，故曰梯。娣者嫡之女弟也。《公羊傳》諸侯一聘九女，嫁者一娣一侄（左女），騰者皆有至娣。嫁者謂嫡，嫡及兩媵六娃娣共九女。兌折震故跛，然二升五則下成震，震為足，故曰跛能履，征吉也。象曰吉相承，即承二升五而吉也。

The line statement for the initial line (Initial Nine): A daughter is married with her younger sister as a secondary bride, and although she has a limp, she can still walk, and going forward is auspicious. The initial line is at the very bottom of the trigram of兑 (Lake), so it is called "娣" (younger sister). "娣" refers to the younger sister of the main wife. The "Gongyang Zhuan" says that a prince would marry nine women at once, and the main wife would bring one娣 and one侄 (younger cousin), while the secondary brides (媵) would each bring one侄 and one娣; "嫁者" refers to the main wife, and the main wife plus two媵 and six侄娣 make up nine women.兑 has the meaning of breaking, and it breaks the trigram of震 (Thunder), which represents the foot; the foot is broken, so there is a limp. However, the line Nine Two rises to the fifth position, and the lower part becomes震 (Thunder), which represents the foot, so the foot can now walk, hence it is said "a limp can walk, going forward is auspicious." The "Xiao Xiang Zhuan" says "auspicious succession," which refers to the auspiciousness gained by the line Nine Two rising to the fifth position.

象曰：歸妹以娣，以恆也；跛能履，吉相承也。按初無應，二陽為阻，不能前進，有凶無吉。茲曰吉相承，謂二升五下卦成震，初臨重陰，相隨而吉。相承者謂二升五吉，初承其後仍吉也。虞翻求其義而不得，強命初爻變陰承陽為說。夫初當位，胡能使變。經義之不明，此等曲說亂之也。以恆蓋謂女嫁隨娃梯，乃娶婦之常道。說者動以恆卦為解，非。

The Small Image Commentary says: When a daughter is married off, she is accompanied by her younger sisters as attendants, following the established way; a lame person can still walk, which is a fortunate continuation. Initially, the first line and the fourth line are both yang lines and do not correspond with each other, and are blocked by the yang line at the second position, so they cannot advance, which should be ominous rather than auspicious; yet it says "auspicious continuation." This is because after the second line rises to the fifth position, the lower trigram becomes Zhen (Thunder), and the first line faces a double yin line above it. Yang meets yin and thus becomes connected, resulting in auspiciousness. "Continuation" refers to the second line ascending to the fifth position and gaining auspiciousness, and the first line following it also becomes auspicious. Yu Fan sought the meaning but failed to understand it, so he forced an interpretation that the first line changes to a yin line to continue the yang line. However, the first line is already in its proper position, how could it change? The confusion in the meaning of the classic is precisely due to such forced interpretations. "With constancy" probably refers to the custom of a bride being accompanied by her younger sisters when she marries, which is the usual practice in marriage. Those who interpret the classics often arbitrarily cite the Hexagram of Constancy, which is incorrect.

九二：眇能視，利幽人之貞。二三米高，故曰眇。《說文》眇一眇也。能者，以互離也。二應國五，五展為人，克為昧，故曰幽人。利幽人之貞，言利與互相上下，各當位也。象曰：利幽人之貞，未變常也。未變常，言二五相應與乃常道也。

The line statement for line two: A person with one eye blind but still able to see, is suitable for a reclusive person to maintain uprightness. Nine two is located in the middle of the lower trigram, and its position is not high, hence it is said 'blind in one eye.' The Shuo Wen says 'blind in one eye' refers to one eye being smaller and the other eye alone seeing. Yet it is still said 'able to see,' because the interaction of lines two to four forms the trigram Li, which represents the eye. Nine two corresponds above to line five, which is in the trigram Zhen, representing people; while the trigram Dui represents confusion, hence it is called 'reclusive person.' 'Beneficial for the reclusive person to maintain uprightness' means that nine two and line five are suitable for mutual correspondence and each being in their proper position. The Small Image Commentary says: Beneficial for the reclusive person to maintain uprightness, is without changing the constant way. 'Not changing the constant' means that the correspondence between lines two and five is originally the constant way.

六三：歸妹以須，反歸以娣。須，《說文》面毛也。歸嫁也。歸妹為嫡，今以須之故，反嫁為娣也。伏艮為須，《易林》同人之否云：牽於虎鬚。否互艮為虎為須。虞氏訓須為需，需待也。六三若有待義，與九四之有待義復矣。《易林》渙之歸妹云：妹為貌執（下心），敗君正色。莊子田子子方老聃新沐，方將被髮而乾，華然似非人，華言可怖也。是焦氏亦訓須為面毛也，故曰貌華。

The line statement for the third line says: A girl who has facial hair is married off as a secondary wife. "Xu" is explained in the Shuo Wen as facial hair. "Gui" means to marry. The hexagram Gui Mei should represent the main wife, but because of the facial hair, she is reduced to being a secondary wife. The hidden艮 (mountain) represents the facial hair. In the Forest of Changes, the hexagram Tong Ren (Following) in the hexagram Po (Obstruction) says "bound by the tiger's beard," using the hidden艮 (mountain) of Po as the tiger and the beard. Yu Fan interprets "xu" as "xu" meaning waiting. However, if the third line also means waiting, it would overlap with the fourth line's "qian qi" (delayed period) meaning waiting. In the Forest of Changes, the hexagram Huan (Dispersing) transforming into Gui Mei says "the younger sister has a fearsome appearance, undermining the ruler's proper demeanor." In the Zhuangzi, Tian Zi Fang describes Lao Dan just finishing washing his head, with his hair hanging loose and drying, looking lifeless and inhuman—"zhan" means a fearsome appearance. This shows that Jiao Yanshou also interpreted "xu" as facial hair, hence saying "fearsome appearance."

象曰：歸妹以須，未當也。未當言不宜有是惡象也。困上六當位矣，象曰未當也，義與此同。革傳曰革而當，義皆同宜。後雅麗堂集解本見虞注作位未當，竟於象傳添一位字。豈知正文若作位未當，《釋文》早言之矣，今《釋文》無有，可證虞本亦無位字。雅麗本皆從惠棟校，改字甚多，昔人謂惠氏亂經，茲更添字，宜罪之者多也。

The Small Image Commentary says: "Marriage with a daughter who has long hair is not appropriate." "Not appropriate" refers to the fact that such an unfavorable sign should not exist. In the sixth line at the top of the Hexagram of Strife, the Small Image Commentary also says "not appropriate," using the phrase in the same way as here. In the Commentary on the Judgment of the Hexagram of Revolution, it says "Revolution at the right time," where "right time" is equivalent to "appropriate." Later, the Yali Tang edition of the Collected Explanations of the Zhou Changes saw Yu Fan's annotation as "position not appropriate," and added the character "position" to the main text of the Small Image Commentary. But they did not realize that if the original text had indeed been "position not appropriate," the Classic Interpretation Commentary would have recorded it. Since the Commentary does not mention this, it can be proven that Yu Fan's version also did not include the character "position." The Yali Tang edition followed Hui Dong's textual corrections, and many characters were altered. Earlier scholars had already criticized Hui Dong for disrupting the text, and here he added more characters, which is why he has been criticized so much.

九四：歸妹愆期，返歸有時。震為時，坎陷故愆期。愆過也，愆期故遲歸待時，待升五也。又下無應，亦衍期之一因。卦四時俱備，故曰有時。升五則時至矣。象曰：想期之志，有待而行也。坎為志，震為行，有待而行者，待升五也。

The line statement for the fourth line says: A girl who is to be married has missed her wedding date, and her marriage is delayed until the proper time. Zhen represents time, and Kan represents danger or difficulty. Because of the difficulty, the marriage is delayed, hence "愆期." "愆" means error or missing; missing the wedding date, so the marriage is postponed in order to wait for the right time, which is ascending to the fifth position. Moreover, the fourth line, along with the first line, is a yang line and does not correspond, which is another reason for the delay. The primary hexagram has Zhen representing spring, Li representing summer, Dui representing autumn, and Kan representing winter; all four seasons are present, so it is said "there is a time." Ascending to the fifth position means the time has arrived. The Small Image Commentary says: The intention of delaying the time is to wait before acting. Kan represents intention, and Zhen represents action; "waiting before acting" refers to waiting for the ascent to the fifth position.

六五：帝已歸妹，其君之袂，不如其娣之袂良，月既望吉。震為帝，故曰帝乙。帝乙湯也。京房易載基嫁妹之辭，是湯曾嫁妹，故曰帝乙歸妹。震為君為袂，而震亦為口，袂袖口也。袂在五震，故日君袂；在二兌，故曰棵袂，皆取象於口。乃五陰二陽，故君袂不如姊良。

The Line Statement of the Fifth Line: The Emperor Yi married off his younger sister, and the wife's sleeve was less beautiful than the sleeve of the younger sister who accompanied her as a bride; when the moon is about to be full, it is auspicious. Zhen represents the Emperor, so it is said 'Emperor Yi'. Emperor Yi is Shang Tang. Jing Fang's commentary on the Book of Changes mentions the phrase of Shang Tang marrying his sister, indicating that Shang Tang indeed married his sister, hence 'Emperor Yi marries his sister'. Zhen represents the ruler and the sleeve, and also the mouth. 'Sleeve' refers to the opening of the sleeve. 'Sleeve' in the Zhen trigram of the Fifth Line is called 'the ruler's sleeve'; in the Second Line of the Dui trigram, it is called 'the younger sister's sleeve'—both are derived from the image of the mouth. However, the Fifth Line is a yin line while the Second Line is a yang line. Yin is empty and yang is full, so the wife's sleeve was less beautiful than the sleeve of the younger sister who accompanied her.

坎為月，為中，震東兌西，坎月離日，東西相望，正望日也。惟五居坎末，時已過中，故曰既望。既望從孟荀讀，虞作幾，京作近。晁說之雲古文近既讀同，孟云既望者，十六日也。五得中有應故吉。震君震袂震口象皆失傳，說詳《焦氏易詁》。象曰：帝已歸妹，不如其梯之袂良也；其位在中，以貴行也。雖不正而得中，中五位尊，故曰貴。

The trigram Kan represents the moon and the center, while Zhen is in the east and Dui in the west. Kan represents the moon, and Li represents the sun. When the sun and moon are opposite each other in the east and west, this is the "wan" day, when the moon is full. However, the line six in the fifth is at the end of the trigram Kan, indicating that the time has passed the full moon. Therefore, it is called "ji wan." According to Meng Xi and Xun Shuang, it is read as "ji wan." Yu Fan reads it as "ji wan," while Jing Fang reads it as "jin wan." Chao Shuo Zhi says that in ancient texts, "jin" and "ji" were pronounced the same. Meng Xi says "ji wan" refers to the sixteenth day of each month. The line six in the fifth occupies the central position and has a corresponding line, hence it is auspicious. The images of Zhen representing the ruler, the sleeve, and the mouth have long been lost; details are explained in "Jiao's Glosses on the Changes." The "Small Image Commentary" states: When King Yi married his sister, the main wife's sleeve was not as beautiful as that of the younger wife who accompanied her. She was in the central position, hence her noble status. Although the line six in the fifth is a yin line in a yang position, which is not correct, it is in the central position. The central position is also the noble position, hence it is called "gu."

上六：女筐無實，士圭（右刀）羊無血，無攸利。下兌為女，震為筐，女在下，筐在上，故曰女承筐。乃上不應三，故無實。震為虛，亦無實也。震為士，兌為羊，為斧，為毀折，故曰士圭（右刀）羊。乃三不應上，故無血。坎為血，三體離，坎伏，故無血。此與失九二，因爻無應，即就無應取義。舊解坐不知此，故說之永不能通。巽為利，巽伏上下失應，故無攸利。震虛象失傳，虞翻用卦變成坤，取虛象。豈知震為蒼茛竹為葦，皆取其中虛。況象傳曰虛筐，亦以震為虛。象曰：上六元實，承虛筐也。象明言震虛，故知虞氏非。

The line statement for the sixth line at the top says: A woman holds a bamboo basket that is empty, a man slaughters a sheep but there is no blood, and there is no benefit. The lower trigram is Dui, representing a woman, and Zhen, representing a basket; a woman is below and a basket is above, so it is said 'the woman holds the basket.' However, the sixth line at the top and the sixth line in the third position are both yin lines and do not correspond, so the basket is empty. Zhen itself has the image of 'emptiness,' which also means there is nothing real. Zhen represents a gentleman, Dui represents a sheep, a斧 (axe), and destruction, so it is said 'the gentleman slaughters the sheep.' However, since the sixth line in the third position does not correspond with the sixth line at the top, the sheep is pierced but there is no blood. Kan represents blood, the sixth line in the third position is in the body of Li, and Kan's image is hidden, so there is no blood. This line is the same as the second line of the primary hexagram, because the line position does not correspond, so it takes meaning directly from 'no correspondence.' Old annotations failed to understand this, so they could not explain it properly. Xun represents benefit, but Xun's image is hidden and the upper and lower parts have lost correspondence, so 'there is no benefit.' The image of emptiness from Zhen has long been lost, so Yu Fan used the transformation into Kun to get the image of emptiness; but he did not realize that Zhen represents young bamboo and reeds, both of which take the meaning of being hollow in the middle. Moreover, the Small Image Commentary clearly says 'empty basket,' which also takes the meaning of emptiness from Zhen. The Small Image Commentary says: the sixth line at the top gains nothing, holding an empty basket. The Small Image Commentary clearly states that 'emptiness' comes from Zhen, so Yu Fan's interpretation is incorrect.

象曰：雖旬無咎，過旬災也。旬者盈數，過旬災，仍月盈則食之意也。六二：豐其部，日中見斗，往得疑疾，有孚發若，吉。二至五五大坎，坎為隱伏，故中四爻象皆閻昧。部（上草），虞翻雲日蔽雲中稱部（上草）。虞未申其義，然坎雲在離日之上，正日蔽雲中也。離為星，故日斗。又震亦為斗，斗七星也，言離日有障蔽，日隱而星見也。

The original text finishes the hexagram of "Gui Mei" at the line "Shang Liu" and directly proceeds here: the hexagram statement of "Feng" says, "It is favorable to cross, the king comes to it, there is no worry, it is appropriate to be at noon." The "Tuanguan" commentary, the "Daxiang" commentary, which says, "Thunder and lightning both arrive, this is Feng. The gentleman thus decides cases and applies punishment," and the line statement of "Chu Jiū" which says, "Meeting its matching master, although for a full ten days there is no blame, going forward is commendable," along with their respective annotations, are all missing. Only the "Xiaoxiang" commentary of "Chu Jiū" remains. According to the original text, we follow what is actually included, not substituting from the commonly used version. The "Xiaoxiang" commentary says: although matching with the other side without blame, exceeding the limit brings disaster. "Shun" refers to the number of fullness, and exceeding fullness brings disaster, which is still the meaning of the "Tuanguan" saying, "When the moon is full, it is eaten." The line statement of "Liū Èr" says: the covering is great, yet at noon the Big Dipper is seen; going forward will bring suspicion and illness; with sincerity and effort, it is auspicious. The lines from "Er Yao" to "Wu Yao" form the shape of a great "Kan." "Kan" represents concealment, so the images of the four middle lines are all dark and unclear. "Bu," Yu Fan says that when the sun is obscured by clouds, it is called "Bu." Yu Fan did not explain the reasoning behind the imagery, but in fact, "Kan" represents clouds, and clouds are above the "Li" (fire) which represents the sun, so the sun is obscured by clouds. "Li" represents stars, so it is said "Dǒu" (Big Dipper); "Zhen" also represents "Dǒu," and the Big Dipper consists of seven stars. This means the sun is obscured, the sunlight is hidden, while the stars become visible.

二巽體，巽為疑為疾，巽初六象曰進退志疑是也。五不應，故往得疑疾。然二承重陽，手於三四，發若者，言其順利也。陰孚陽故吉。離星巽疑象詳《焦氏易詁》。象曰：有孕發若，信以發志也。有孚故信，巽為志。信以發志者，言陰孚於陽，得行其志也。

Six in the Second is within the trigram Xun, which represents doubt and movement. The Small Image Commentary of the Xun hexagram says, "Advancing and retreating, indicating doubt," which reflects this image. Six in the Fifth and Six in the Second are both yin lines that do not correspond, so moving forward would invite suspicion and disorder. However, Six in the Second is above the two yang lines Nine in the Third and Nine in the Fourth, and thus gains trust from them. "Proceeding smoothly" indicates that things will go well. A yin line gaining trust from a yang line leads to good fortune. The images of Li (Fire) representing stars and Xun (Wind) representing doubt are detailed in Jiao's Glosses on the Changes. The Small Image Commentary says: holding sincere intentions and striving forward, thus sincerity stimulates the will. Because of sincerity, it is said "trust," and Xun represents the will. "Trust stimulates the will" means that a yin line gains trust from a yang line, thus being able to carry out its own aspirations.

九三：豐其沛，日中見沫，折其右肱，無咎。沛大雨貌，《孟子》沛然下雨。《易林》泰之豐云：龍蛇所聚，大水來處，滂滂沛沛，使我無賴。九家雲大暗謂之沛。沫，《子夏傳》星之小者。日中見沫者，言當日中而昏暗見小星也。三兌體，兌為雨，故曰沛。兌為晦，故曰見沫。艮為肱，三應在上，上艮覆，故折其右肱。兌為右為折也。然三當位有應，故無咎。

The line statement for the third line (Nine in the Third): It is like a heavy rain falling, yet at noon small stars are visible, and the right arm is broken, but there is no fault. "沛" describes the appearance of heavy rain. The "Mencius" says "the rain falls in a torrent." In "Jiao's Forest of Changes" under the hexagram Tai to Feng, it says "dragons and snakes gather, great water comes, pppppppp, making me helpless." The "Nine Schools Commentary on the Changes" says that great darkness is called "沛." "沫" is said by "Zi Xia's Commentary" to be a small star. "Seeing a star at noon" means that at the middle of the day, the sky is dark but small stars can be seen. The third line is in the structure of Dui, which represents rain, so it is said "沛"; Dui also represents darkness, so it is said "seeing a star." Gen represents the arm, and the third line corresponds to the sixth line above. The sixth line is a reversed Gen, so the arm is broken, hence "breaking the right arm." Dui represents the right and also destruction. However, the third line is a yang line in a yang position and is in the correct place, and it has a corresponding line, so there is no fault.

象曰：豐其沛，不可大事也；折其右肱，終不可用也。三遇敵，不利往，所應為陰，陰小故不可大事。三雖有應而折肱，故終不可用。虞氏以二至五大過死解，似非。九四：豐真部（上草），日中見斗，遇其夷主，吉。《易林》升之臨云：據斗運樞。以震為斗。茲震在日上，以為障蔽，故仍曰豐其部（上草），日中見斗。主謂五，五柔爻，故曰夷主。《詩·周頌》有夷之行，毛傳夷易也。陽遇陰則通，故曰易曰，曰吉。

The Small Image Commentary says: Obstruction is like a heavy rain, so it is not suitable to undertake great affairs; breaking the right arm means ultimately being unable to act effectively. Nine in the Third meets Nine in the Fourth, both being yang lines, forming an opposing relationship, which is unfavorable for moving forward; the corresponding line is Six at the Top, which is a yin line, and yin represents smallness, so great affairs cannot be accomplished. Although Nine in the Third has a corresponding line, it has broken its arm, so it ultimately cannot act effectively. Yu Fan uses the mutual relationships of lines two to five to form the Great Excess, interpreting it as 'death,' which seems incorrect. The line statement of Nine in the Fourth says: Obstruction is great, seeing the Big Dipper at noon, meeting a compatible superior, which is auspicious. The Forest of Changes by Jiao says 'ascending to the approach' and mentions 'holding the Big Dipper's pivot,' taking Zhen as the Big Dipper. Here, Zhen is located above the sun, becoming the obstruction, so it still says 'enlarging the covering, seeing the Big Dipper at noon.' 'Superior' refers to Six in the Fifth, which is a yin line, so it is called 'the gentle superior.' The Book of Songs, Zhou Songs, has 'a gentle way,' and Mao's commentary says 'gentle' means level. Yang meeting yin leads to communication, so it is called 'gentle' and 'auspicious.'

象曰：豐其部（上草），位不當也；日中見牛，幽不明也；遇其夷主，吉。《易林》升之臨云：據斗運樞，以震為斗。茲震在日上，以為障蔽，故仍日半其部（上草），日中見斗。主謂五，五柔爻，故曰夷主。《詩·周頌》有夷之行，創傳夷易也。陽遇陰則通，故曰易，日吉。象曰：半其部（上草），位不當也；日中見斗，幽不明也；遇其夷主，吉行也。兌為昧，故幽不明。陽遇陰故志行。郭京舉正行上脫志字，宜從。

The Small Image Commentary says: A great obstruction is due to improper position; seeing the Big Dipper at noon indicates darkness; encountering a suitable master brings good fortune. The following passage repeats the previous one: Jiao's Forest of Changes says "according to the movement of the Big Dipper" in the hexagram "Ascending to Meet," taking Zhen as the Big Dipper. Here, Zhen is above the sun, forming an obstruction, so it still says "a great obstruction, seeing the Big Dipper at noon." "Master" refers to line six in the fifth position, which is a yin line, so it is called "夷主." The Book of Songs, Zhou Songs, has "there is a path of yi," and Mao's commentary says "yi" means level. Yang meets yin and thus communicates, so it is called "yi," and thus "good fortune." The Small Image Commentary says: A great obstruction is due to improper position; seeing the Big Dipper at noon indicates darkness; encountering a suitable master brings good fortune. Dui represents confusion, so darkness is indicated. Yang meets yin and thus communication occurs, so the mind can proceed. Guo Jing's Corrections to the Zhou Changes says that the character "行" is missing the character "志" above it, and it should be followed.

六五：來章，有慶譽，吉。呼九四來五，當位居中，彖所謂日中也，故曰章。五得位，故有慶譽吉。或謂四往五不能曰來，豈知六五呼四，當然曰來。況睽上九云往遇雨則吉，是上來內，易有時亦言往也。需上曰有不速之客三人來，是三往上亦曰來也。蹇五大蹇朋來，是陽往五亦曰來也。上曰來章，又何疑乎。象曰：六五之吉，有慶也。慶謂陽升五得位。

The line statement for the fifth line says: attracting brightness and elegance, there is joy and reputation, and it is auspicious. This refers to the nine in the fourth coming up to the fifth position. When the nine in the fourth reaches the fifth position, it is in the correct position and in the center, which is exactly what the commentary on the judgment calls "midday." Therefore, it is called "chapter." The fifth position is correct, so there is joy and reputation, and it is auspicious. Some people say that the four going to the five should be described as "going," not "coming." But they do not realize that it is the six in the fifth that is calling the nine in the fourth, so naturally it should be said "coming." Moreover, the upper line of the卦 of Kui says "meeting rain on the way is auspicious," which refers to the upper line returning to the inner trigram, showing that the Book of Changes sometimes describes such a situation as "going." The upper line of the卦 of Xu says "three unexpected guests come," which refers to the three lower lines moving upward, and it is also called "coming." The nine in the fifth of the卦 of Jian says "great difficulty with friends coming," which refers to a yang line moving to the fifth position and is also called "coming." Here it says "coming and chapter," so what is there to doubt? The small image commentary says: the six in the fifth is auspicious because there is joy. The joy refers to a yang line rising to the fifth position and achieving correctness.

上六：豐其屋，部（上草）其家，窺其戶，闃其無人，三歲不覿，凶。屋家戶，後儒不知其象，穿鑿百出，愈說愈晦，此覆象失傳之故也。按虞注云從外窺三。又九家說重門繫柝云：豫不艮，從外示之。上震復為艮，豐上六從外示內，亦艮也。

The line statement for the sixth line at the top says: building a house high but covering up one's own dwelling; peering in through the door crack, it is quiet and no one is there, for three years no one is seen, which is ominous. The images of house, family, and door have been misunderstood by later Confucian scholars, leading to endless speculative interpretations, making things more confused. The root of the problem lies in the loss of the 'covering image.' According to Yu Fan's commentary, it refers to looking from outside at the third line. The Nine Schools Commentary explains the passage in the Great Treatise about 'double doors and the sound of sticks' by saying that the lower trigram of Yu is not艮but an inverted艮, meaning showing to others from outside. The upper trigram Zhen reversed becomes艮, and the sixth line at the top of the Feng hexagram looking inward also uses this inverted艮.

艮為屋為家為戶，中爻大坎，故障蔽其家。艮為觀，下視，故曰窺其戶。震為人，上應在三，三巽伏，故闃寂無人。闃虞云空也，鄭云無人兒。震為歲，數三，故曰三歲不覿而凶也。闃孟喜作室，窒古與空通用。《列子·黃帝篇》玉人潛行不空，《莊子·達生篇》引作室，然則孟虞之詁同也。

The trigram Gen represents a house, a family, and a door. The four lines in the middle form a large Kan trigram, which represents concealment, so it obscures the family. Gen also represents observation and looking down, hence the phrase "peeking through the door." The trigram Zhen represents people. The line at the top, Six, corresponds to the line Six in the Third. The line Six in the Third is within the hidden trigram Xun, which represents concealment, so it is quiet and empty. "Qù" is interpreted by Yu Fan as empty, and by Zheng Xuan as empty appearance. Zhen also represents years, and its number is three, hence the phrase "three years without seeing people" indicating danger. The character "qù" in Meng Xi's version is written as "zhì," which in ancient times was used interchangeably with "kong" (empty). The "Zhuangzi" text refers to it as "zhì," showing that Meng Xi's and Yu Fan's interpretations are essentially the same.

象曰：豐其屋，天際祥也；窺其戶闃其無人，自藏也。五天位，上在五外，故曰天際。《說文》祥福也善也。徐肱曰凡吉凶之先見其兆者，皆曰祥，故孟喜曰天際祥，天降下惡祥也。自藏謂三，三宜應上，而巽為伏，故曰自藏，釋無人之故也。祥從鄭本，《正義》作翔，翔樣音同通用。

The Small Image Commentary says: Building a house high is a sign of reaching the heavens; peeking through a door crack while being quiet and empty is a sign of self-concealment. Five is the heavenly position, and the sixth at the top is outside five, so it is called "heaven's edge." The Shuo Wen says "xiang" means blessing and goodness. Xu Kai says that any sign indicating good or bad fortune in advance is called "xiang," so Meng Xi says "heaven's edge xiang" is an ill omen from heaven. "Self-concealment" refers to the sixth in the third: the sixth in the third should correspond to the sixth at the top, but it is in the hidden Xun structure, so it is called "self-concealment," which explains the reason for being empty. The character "xiang" is based on Zheng Xuan's version, while the Zhou Changes Justice uses "xiang," which is pronounced the same and can be used interchangeably.

此卦舊解，因易理失傳，不知二五為卦主，於是遇其配主，遇其夷主，皆以震為主，權櫟不合。因卦象失傳，於是爻變卦變，雜然並用，以求其象。學者只涵泳白文，或尚能明其一二；若即舊解求之，則愈茫昧疑惑，真可慨也。

The old commentaries on this hexagram, due to the loss of the principles of the Book of Changes, did not realize that six two and six five are the main lines of the entire hexagram. Therefore, they took the "master" in the initial line "meeting its paired master" and the fourth line "meeting its夷 master" as Zhen, leading to contradictions among themselves. Also, due to the loss of the hexagram images, various methods such as changing lines and changing hexagrams were all used to fit the images they desired. Scholars who merely repeatedly contemplate the original text may still understand something; but if they follow the old commentaries to seek understanding, they will only become more confused and puzzled, which is truly regrettable.

旅。小亨，旅貞吉。旅之卦義，先儒皆以行旅為說。然卦名皆由卦象生，火山何以為旅？侯果、孔疏皆以火在山上，勢難久留，故為旅。如所詁火在山上，不久即滅耳，安見其為行旅？按《易林》剝之旅云：「居正不安，大盜為咎。」大畜之旅云：「安其室廬，傳母何優。」是皆以居家為說，於行旅之義正相反。

The hexagram of Travel, though slightly prosperous, is favorable when one travels while maintaining integrity. Regarding the meaning of the hexagram of Travel, previous scholars have all interpreted it in terms of "traveling outside." However, the name of a hexagram arises from its imagery. The upper trigram is Li (Fire), and the lower trigram is Gen (Mountain), with fire on a mountain. Why then is it called "Travel"? Hou Guo and Kong Yingda in The Correct Meaning of the Zhou Changes both say that fire burning on a mountain necessarily cannot stay long, hence the name "Travel." But according to their interpretation, fire on a mountain will soon go out, so how can one see that it refers to being away from home? Now looking at Jiao's Forest of Changes: the hexagram of Pei (Decrease) in Travel says "dwelling in the right place is unstable, great thieves are the fault," and the hexagram of Da Xu (Great Accumulation) in Travel says "resting in his house, why should the mother worry?" These all speak of staying at home, which is exactly opposite to the meaning of "travel."

履之旅云：「鳥子鵲雛，常與母俱，願慕群旅，不離其巢。」又晉之旅云：「逐旅失群。」是以旅為伴旅。卦二陰隨二陽，一陰隨一陽，陽前陰後，有若伴侶，疑焦氏所詁者於卦象為切。又《釋詁》：旅，眾也。卦離火，艮亦為火，火多故眾，伴旅亦眾也。九三象云：「以旅與下。」以眾與下也。若作行旅，此句難通矣。

The commentary on the hexagram "Travel" by Liu Yu says, "Birds and their young, often stay with their mothers, wish to be with the flock, and do not leave their nests," and the commentary by Jin Yu says, "Following the group and losing the flock." Both treat "travel" as "companions traveling together." From the hexagram's image, the hexagram "Travel" has two yin lines each following a yang line, one yin following one yang, with the yang in front and the yin behind, just like companions traveling together. Therefore, Jiao Yanshou's interpretation is more consistent with the hexagram's image than previous interpretations. Moreover, the "Er Ya · Xigǔ" says, "Travel means a crowd." The upper trigram of this hexagram is Li (Fire), and the Han dynasty's lost image, which Shang氏 relied on, also has Gen (Mountain) as fire. Since fire is abundant, it is called "a crowd," and traveling in groups itself is a "crowd." The "Xiaoxiang" of line nine three says, "To entrust the crowd to the underlings," which means delivering the people to the subordinates. If "travel" is interpreted as traveling on the road, this sentence would not make sense.

又初交旅瑣瑣，斯其所。斯，離也。行旅往來，有不離其所者哉？於行旅之義尤不合，故疑焦義是也。六五得尊位，故小亨、貞吉。彖曰：旅，小亨，柔得中乎外而順乎剛，上而麗乎明，是以小亨，旅貞吉也。旅之時又大矣哉。六五上下皆陽，故曰順乎剛。離六五云「離王公」，即順乎剛也。旅五月卦，當中夏，故曰時。

Now looking at the line statement of the first line, "Traveling in a petty way, thus he departs," the word "斯" means to leave. If we really take this as referring to traveling and coming and going, how could one not leave his dwelling? Clearly, interpreting this hexagram through the lens of travel is even less appropriate. Therefore, I believe Jiao Yanshou's interpretation of "travel" as meaning companion or multitude is correct. The fifth line is in a position of honor, so the hexagram statement says "smallly prosperous" and "upright good fortune." The Commentary on the Judgment says: The hexagram of Travel is small prosperity, because the flexible line six in the fifth position is in the outer trigram and is in the center, thus following and supporting the strong line. It ascends and adheres to the luminous body of the trigram Li, hence "small prosperity." Traveling while maintaining uprightness brings good fortune. The situation corresponding to the hexagram of Travel is indeed significant. The fifth line is flanked by two yang lines, so it is said to "follow the strong." The Commentary on the Small Image of the trigram Li says "Li corresponds to the prince and duke," which also refers to following the strong line. The hexagram of Travel is the hexagram of the fifth month, which is the middle of summer, so the Commentary on the Judgment refers to "time."

象曰：山上有火，旅。君子以明慎用刑，而不留獄。大象以相反見義，此亦其一也。離為明，君子不敢待其明，故用刑必慎。艮為慎，兌為刑也。艮為止，君子不敢怠於事，故不留獄。艮為拘繫、為獄也。

The Great Image Commentary says: Mountains with fire on top, this is the hexagram of Travel; the gentleman thus understands that in adjudicating criminal cases, one must be clear-sighted and cautious, and must not allow cases to remain unresolved for a long time. The Great Image Commentary often derives meaning from the opposite aspect of the hexagram, and this is an example of that: Li represents brightness, yet the gentleman does not rely on his own clarity, so he must be cautious in administering justice; Gen in its tranquil aspect signifies 'caution,' and the interacting trigram Dui signifies 'judicial punishment.' Gen also signifies 'rest,' yet the gentleman does not therefore slacken in his governance, so he does not let lawsuits remain pending; Gen also has the meaning of 'confinement' and 'prison.'

初六，旅瑣瑣，斯其所，取災。瑣瑣，陸績、鄭玄皆訓為小，馬云疲弊視貌。按《爾雅·釋詁》：瑣瑣，小也。注舍人曰：瑣瑣，計謀褊淺之貌。《詩·節南山》「瑣瑣姻姬」，蓋往來猥瑣、勞弊不安也。斯，《釋言》：離也。斯其所，言離其所欲應四也。二得敵，故取災，離為災。蓋初六不當位，而得敵在下，宜靜不宜動，故《易林》復之旅云：「二人輦車，徒去其家，井沸釜鳴，不可以居。」徒去其家，即離其所；並沸釜鳴，即取災也。義詳《焦氏易詁》。象曰：旅瑣瑣，志窮變也。初不當位，二得敵，不能應四，故曰志窮。

Initial Line Six: In the midst of travel, one is petty and trifling, having left one's proper place and thus inviting calamity. The term '琐琐' is interpreted by Lu Ji and Zheng Xuan as 'small,' while Ma Rong says it refers to being weary and exhausted. The Shang Yan says '琐琐' means 'small,' and Guo She Ren's commentary says it refers to shallow schemes. The Book of Poetry, 'Jie南山,' contains the phrase '琐琐姻娅.' Taken together, this means being petty and trifling in movement, and experiencing weariness and unrest. The character '斯' is interpreted in the Shang Yan as 'to leave,' so '斯其所' means that line six is leaving its proper place to respond to line four. However, line two and line six are both yang lines and are in opposition, forming a situation of 'meeting an enemy,' which brings about calamity. The term '离' also has the image of calamity. Line six is originally not in the correct position, and it encounters an enemy in the lower trigram, so it should remain still and not act recklessly. Therefore, the Jiao Forest of Changes, in its commentary on the Travel hexagram, says, 'Two people in a cart, leaving their home, the well boils and the pot clatters, making it impossible to stay.' 'Leaving their home' corresponds to '斯其所,' and 'the well boils and the pot clatters' corresponds to 'inviting calamity.' This meaning is detailed in the Jiao Glosses on the Changes. The Small Image Commentary says: traveling in a petty and trifling manner indicates a situation where one's aspirations are exhausted and thus change. Line six is not in the correct position, and line two is also in opposition to it, making it impossible to respond to line four. Therefore, it is said 'aspirations are exhausted.'

六二，旅即次，懷其資，得僮僕，貞。舉正作員吉，宜從。艮為舍，次，舍也；即次，言就舍也。資，財也，巽為利居中，故懷其資。艮為僮僕，二得位承陽，故得僮僕。貞下宜依舉正增吉字，貞吉與下貞厲為對文。象曰：得僮僕貞，終無龍也。即次身安，懷資用足，得僮僕役使有人，故終天尤。艮初象云志疑也，即以巽為志。雜卦云：巽伏也。心志伏在內，故巽象之。舊解命四變成坎取心象，非。

Line Six in the Second: In the course of a journey, he stays in an inn, carries wealth, and has servants to attend to him, maintaining correctness. Tang Guo Jing's "Corrections to the Zhou Changes" here reads "Zhen Ji," which can be followed. The trigram Gen represents a dwelling, so "ci" (to stay) means to stay in a lodging. "Ji ci" means to stay in an inn. "Zi" refers to wealth, and the trigram Xun represents benefit, with Six in the Second occupying the central position, hence "hui qi zi" (carrying his wealth). Gen also symbolizes servants, and since Six in the Second is in a proper position and supports Nine in the Third, it is said "de tong pu" (obtains servants). The character "Zhen" should be supplemented with "Ji" according to "Corrections to the Zhou Changes," making "Zhen Ji," which corresponds well with the "Zhen Lei" (maintaining correctness) in the Third Line's statement. The "Small Image Commentary" says: obtaining servants and maintaining correctness, ultimately without fault ("zong wu long," where "long" is a corruption of "you"). Staying in an inn ensures safety, carrying wealth ensures sufficient resources, and having servants ensures someone to serve, so there is no fault throughout. The "Small Image Commentary" for the first line of Xun says "zhi yi ye" (doubtful intent), using Xun to represent "heart intent." The "Miscellaneous Trigrams Commentary" says "Xun, fu ye" (Xun is concealment), with heart intent hidden within, hence using Xun to symbolize it. Old annotations suggest that the fourth line changes to Kan, taking the "heart" image from Kan, which is incorrect.

象曰：旅于處，未得位也；得其資斧，心未快也。凡九四比六五，例終升五。歸妹九四曰「有待而行」，待升五也。豐九四曰「遇其夷主吉行也」，六五曰「來章」，亦言回來五也。茲曰未得位，因未得五位，故處以俟也。下六五曰「終以譽命」，即謂四終升五也。

The Small Image Commentary says: temporarily resting during a journey is because one has not yet attained the proper rank; although one has obtained wealth and weapons, the heart is still not at ease. Whenever nine in the fourth is adjacent to six in the fifth, according to the established pattern, it will ultimately ascend to the fifth position. The Small Image of the line nine in the fourth of the hexagram Guī Mèi says "waiting for something before proceeding," which means waiting to ascend to the fifth position. The line nine in the fourth of the hexagram Fēng says "meeting the夷主, which is a fortunate journey," and the line six in the fifth says "coming with commendation," which also refers to returning to the fifth position. Here, it says "not yet in position" because the fifth line has not been attained, so one temporarily rests and waits for the right time. The line six in the fifth says "ultimately receiving a good name and command," which precisely means that nine in the fourth will ultimately ascend to the fifth position.

六五，射雉，一矢亡，終以譽命。離為雉，兌毀折，故射雉。射必以矢，坎為矢，乃坎伏不見，故一矢亡，坎數一也。譽，令聞也，艮為譽。命，爵命也，巽為命。終以譽命者，言巽命在二，雖不應五，然四必得位升五；四升五，二應之，是譽命終及於五也。象曰：終以譽命，上違也。逮，及也。上逮，謂二終上應五也。

Six in the Fifth: Shooting a pheasant on the mountain, losing one arrow, but ultimately gaining fame and a title. The trigram Li represents the pheasant, and Dui signifies destruction, so it is said 'shooting the pheasant'. Shooting requires an arrow, and Kan represents the arrow, but in the hexagram of Travel, the trigram Kan is hidden and not visible, hence 'losing one arrow'. Since Kan corresponds to the number one, it is only mentioned as one arrow. 'Fame' refers to a good reputation, and Gen represents 'fame'. 'Title' refers to a noble title, and Xun represents 'title'. The phrase 'ultimately gaining fame and title' means that the image of a noble title in Xun is associated with Six in the Second. Although Six in the Second is of the same type as Six in the Fifth and thus not in harmony, Nine in the Fourth will certainly take its proper position and ascend to the fifth position. When Four ascends to the fifth position, Six in the Second will then be in harmony with it, and thus the fame and title will ultimately belong to the fifth position. The Small Image Commentary says: 'ultimately gaining fame and title' is because it reaches upward (the original text says 'upper violation', 'violation' is likely a mistake for 'reaching'). 'Reaching' means to reach, and 'upper reaching' means that Six in the Second ultimately harmonizes with the fifth line.

上九，鳥焚其巢，旅人先笑後號兆（左口），喪牛于易，凶。離為鳥，中虛故為巢，巽風搧火於下故焚巢。上履陰，兌悅故先笑；三巽體，男為兆（左口）；三不應上，故後號兆。左傳昭五年「純離為牛」，兌毀折，故喪牛。艮為田為易，易，田畔電。牛在艮外，故喪牛于田畔。焚巢喪牛故凶。晁說之云：易，古文場字，《詩·小雅》「疆場有瓜」是也。

The topmost line nine says: The nest of a bird is burned, the traveler first laughs, then wails, and loses a cow by the field, which is ominous. The hexagram Li represents birds, and the middle line of Li is empty, so it also represents a bird's nest. The lower trigram is Xun, which represents wind, and wind at the bottom fans the fire, so the nest is burned. The topmost line nine is directly below the fifth line six, which is yin, and the trigram Dui represents joy, so it is said 'first laughing'. The third line six belongs to the trigram Xun, which has the image of wailing. The third line six and the topmost line nine are both yin and yang not in harmony, so it is said 'then wailing'. The "Zuo Zhuan" says 'pure Li represents a cow', and Dui represents destruction, so 'losing a cow'. The trigram Gen represents a field and 'easy', 'easy' is the field; the cow is outside the trigram Gen, so it is said 'losing a cow by the field'. The nest is burned and the cow is lost, hence the ominous outcome. Zhao Shuo Zhi says: 'easy' is the ancient character for 'field', as in the "Book of Songs, Xiao Ya" 'the field has melons', where 'field' is used.

象曰：以旅在上，其義焚也；喪牛于易，終莫之聞也。旅，眾也。在上者眾，不自斂抑，則高亢為禍。左傳隱四年「兵猶火也，不戢將自焚」，是其義也。坎為耳，坎伏故莫之聞。虞翻用爻變取震象，謂震為筐故為巢，後儒多從之。按《易林》離之需云「高木腐巢」，需坎為木，在上故曰高木；互離為巢，在澤水中，故曰腐巢。訟之解云「南徒無廬，鳥破其巢」，解上震，震為南為徒，下坎為室，震在坎外，故曰南徒無廬；互離為鳥為巢，而坎為破，故曰烏破其巢。以離為巢，庶得真解。

The Small Image Commentary says: To be in a position of authority with a multitude, one is bound to be burned; losing a cow by the field, in the end no one will hear about it. "Travel" refers to a multitude, and when a multitude is in a position of authority and has great power, if one does not know when to restrain oneself and continues to be overly exuberant, calamity will follow. The Zuo Zhuan, Year 4 of Hiding Prince, says, "War is like fire; if not contained, it will eventually consume itself," which is exactly the same principle. Kan represents the ear, and in this hexagram, the Kan image is hidden, hence "no one hears." Yu Fan used the changing line to take the Zhen image, saying that Zhen represents a bamboo basket and thus a nest, and later scholars mostly followed him. In fact, the Jiao's Forest of Changes, in the Li hexagram, says "high tree with rotten nest"—the Need hexagram has Kan above, representing wood, and being above, it is called "high tree," while the interacting lines form Li, representing a nest, and the nest is in the marsh water, hence "rotten nest." In the Song hexagram, it says "moving south without a dwelling, birds breaking their nests"—the Jie hexagram has Zhen above, representing south and movement, and Kan below, representing a house, with Zhen outside Kan, hence "moving south without a dwelling," while the interacting lines form Li, representing birds and nests, and Kan represents breaking, hence "birds breaking their nests." It is evident that taking Li as the nest is the correct interpretation.