The Hexagram of Completion

既濟。亨，小利貞，初吉終亂。爾雅釋天：濟謂之齊。疏：霽，止也。說文同。歸藏作岑昕（上雨），昕（上雨）即霽字。上坎為雨，下離為日，雨過日出，故曰既濟。謙傳天道下濟，即下止也。詩庸（右邑）風「不能旋濟」，傳：濟，止也。莊子齊物論「厲風濟則萬竅為虛」，注：濟，止也。彖傳曰終止，雜卦曰既濟定，亦皆訓濟為止。既者盡也，左傳桓三年「日有食之既」是也。既濟者，言六爻盡當位而止其所也。止其所而不遷，則道窮，故彖辭不許其終吉。

The hexagram Ji Ji is characterized by success, with small matters benefiting from maintaining correctness. It begins auspiciously but eventually leads to disorder. The Er Ya · Shi Tian says "Ji is called Ji," and the commentary explains "Ji" as stopping. The Shuo Wen agrees. The Gui Cang hexagram for this one is called "Cen Ji," where "Ji" means the stopping of rain. The upper trigram is Kan, representing rain, and the lower trigram is Li, representing the sun. After the rain stops, the sun appears, hence the name "Ji Ji." The Commentary on the Judgment of the hexagram Qian says "the heavenly way descends and stops," meaning to stop downward. The Book of Songs · Bei Feng mentions "unable to return and stop," and the Mao Commentary explains "Ji" as stopping. The Zhuangzi · Qi Wu Lun states "when the strong wind stops, all the openings become empty," with the commentary explaining "Ji" as stopping. The Commentary on the Judgment says "to stop," and the Zaji Guashu says "Ji Ji means completion," both interpreting "Ji" as stopping. "Ji" means completion, as seen in the Zuo Zhuan · Huan Gong San Nian "the sun is completely eclipsed," using "ji" in this sense. The term "Ji Ji" refers to all six lines being in the correct position and each stopping at its proper place. Stopping at its place and not moving further means the path is exhausted, hence the hexagram statement does not allow it to end in good fortune. Shang's argument cites the Er Ya, Shuo Wen, Gui Cang, the Commentary on the Judgment of the Qian hexagram, the Book of Songs, and the Zhuangzi, all to demonstrate that the character "Ji" should be understood as stopping rather than its usual meaning of crossing a river. This interpretation makes the meaning of the hexagram name clear.

釋文釋濟為度，太玄釋為成，惟彖傳曰終止，即明釋既義、濟義。既者盡也，終也，終止即既濟。後儒紛紜不已者，以忽略終止，即說卦義也。六爻皆當位有應，故亨。小利貞小字，俞樾雲衍文，卦辭只回亨利貞，故傳特以小者亨也釋之。如原有小字，則人人皆知，傳不如此釋矣。子夏傳虞翻皆以亨小斷句，似非。毛奇齡云：宜以既濟亨句、小利貞句，小利貞與小利有攸往同。按毛說於句讀適矣，然傳曰剛柔正，是兼大小言也，今專以屬之小，於六交當位之義不合。然則小字屬上下讀皆不安，征之彖傳，其為衍文無疑，俞氏之說似為可信。

The Classic Interpretation (Classic Shiywen) explains "ji" as "to cross over," the Taixuan explains it as "to achieve," while only the Commentary on the Judgment (Tuanchuan) says "to terminate," clearly explaining the meaning of "ji" and "ji." "Ji" means complete or end, and "to terminate" is exactly "ji ji." Later scholars have debated this issue endlessly because they have overlooked the fact that "to terminate" is explaining the meaning of the hexagram name. This hexagram has all six lines in proper position and each has a corresponding line, so it is smooth and unobstructed. As for the character "xiao" in "xiao li zhen," Yu Yue believes it is a later addition: the original hexagram statement was only "hen, li zhen," so the Commentary on the Judgment specially explained it as "small things are smooth." If the original text had the character "xiao," everyone would have noticed it, and the Commentary on the Judgment would not have explained it this way. The Zhuxia Commentary and Yu Fan both read "hen xiao" as a connected phrase, which seems incorrect. Mao Qiling said: "ji ji hen" should be one sentence, and "xiao li zhen" another sentence, similar to "xiao li you wang." Mao's interpretation makes the sentence structure smooth, but the Commentary on the Judgment says "the yin and yang are in proper position," which refers to both large and small. Now, if we attribute it solely to "small," it does not match the meaning of the six lines being in proper position. Therefore, the character "xiao" is unstable whether it belongs to the previous or following part. When verified by the Commentary on the Judgment, it is clearly an addition, and Yu Yue's view seems credible.

蓋易之為道，以陽為主，陰與陽絕不平等，故陰得陽應必吉，陽得陰應則不必吉，且有以為凶者，如大過四爻、中孚初爻皆是。既濟二四承乘皆陽，又三陰皆有陽應，故小者亨。彖傳專以亨屬小，亦謂大者不然。大何以不然？凡陽遇重陰必吉，一陰則否。既濟三五皆陷陰中，雖三陽皆得位有應，然所應者陰，固與柔爻異也，此傳之所以專以亨屬之小也。既濟者終止，其在既濟之初，上下得所，民物咸宜，故初吉。然易之道以變通為貴，無或休息，止而終於是，則易道窮矣，故終亂。

In general, the Way of the Zhou Changes (I Ching) emphasizes the Yang. Yin and Yang are not absolutely equal. Therefore, when a Yin line corresponds with a Yang line, it is certainly auspicious, but when a Yang line corresponds with a Yin line, it may not be auspicious, and in some cases may even be inauspicious. For example, in the hexagram Da Guo (Great Excess), line nine at the fourth position, and in Zhong Fu (Faithful Center), line nine at the beginning, both illustrate this. In the hexagram Ji Ji (Completion), lines six at the second and six at the fourth are supported and overlaid by Yang lines, and all three Yin lines have corresponding Yang lines, so it is said "the small one is auspicious." The Commentary on the Judgment specifically attributes "auspiciousness" only to the small one, implying that the great one is not like this. Why is the great one not like this? Whenever a Yang line meets two Yin lines, it is auspicious, but when it meets only one Yin line, it is not. In Ji Ji, lines nine at the third and nine at the fifth are surrounded by Yin lines. Although all three Yang lines are in their proper positions and have corresponding lines, the corresponding lines are Yin lines, and the situation is fundamentally different from that of flexible lines. This is why the Commentary on the Judgment specifically attributes "auspiciousness" to the small one. "Ji Ji" means completion. At the beginning of completion, both upper and lower parts are in their proper places, and all people and things are in harmony, so it is said "initial auspiciousness." However, the Way of the Zhou Changes values change and adaptability, and does not tolerate stagnation. Once it stops and ends here, the Way of the Changes is exhausted, so it is said "final disorder."

彖曰：既濟亨，小者亨也。利貞，剛柔正而位當也。初吉，柔得中也。終止則亂，其道窮也。卦三陰三陽，二為陰始得中，放曰初吉。上六則陰之終，故日終止則亂，坤為亂也。五剛亦得中，不許其吉者，以陷於陰中，與柔得中異也。象曰：水在火上，既濟。君子以思患而預防之。治亂相循環，當治不可忘亂。坎為患為心，故曰思患。

The Commentary on the Judgment says: The hexagram "Already Completed" is smooth and unimpeded, which refers to the small being smooth and unimpeded; it is advantageous to maintain the correct position, because the yin and yang lines each occupy their proper positions; it is initially吉利 because the yin line in the second position is in the center; but when it reaches the end, disorder arises, because its course has reached its limit. This hexagram consists of three yin lines and three yang lines. The second line is the yin line that first attains the center, so it is said "initially吉利." The sixth line at the top is the end of the yin lines, so it is said "when it reaches the end, disorder arises," and the earth (Kun) has the image of disorder. The fifth line is a yang line that also attains the center, but the Commentary on the Judgment does not consider it吉利, because it is surrounded by yin lines, differing from the situation of a yin line attaining the center. The Great Image Commentary says: Water above fire, this is the hexagram "Already Completed"; the gentleman thus thinks of potential troubles and prepares in advance. Prosperity and disorder alternate; in times of peace, one must not forget the possibility of disorder. The trigram Kan represents trouble and the heart, so it is said "thinking of trouble."

初九，曳其輪，儒其尾，無咎。初應在四，四坎為曳，為輪，為儒。四居坎下，故曰曳，曰尾。所有象皆在應爻，舊解苦於本爻求，胡能合乎？曳儒當有咎，得正故無咎。象曰：曳其輪，義無咎也。得正有應，當然無咎。

Initial Nine: Pulling the chariot wheel, the tail gets wet, there is no blame. Initial Nine corresponds to Nine Four, and Nine Four belongs to Kan, which represents pulling, a wheel, and dampness. Nine Four is located below the Kan trigram, so it is said 'pulling' and 'tail'. All the images are on the responding line. Old commentaries have been searching desperately on the original line, how can they be consistent? Pulling the wheel and the tail getting wet should result in blame, but since Initial Nine is in the correct position, there is no blame. The Small Image Commentary says: Pulling the chariot wheel, in terms of meaning, there is no blame. Since Initial Nine is in the correct position and has a corresponding line, it naturally has no blame.

六二，婦喪其弗（上草），匆逐，七日得。左傳昭五年「火水妃也」，故離為坎婦。弗（上草）車蔽也。詩碩人曰「翟弗（上草）以朝」，疏：婦人乘車不露兒，車之前後障以翟羽，以自隱蔽，謂之弗（上草）。按周禮有巾車職，巾所以為蔽，即弗（上草）也。坎為隱伏為弗（上草），乃坎在外，故喪其弗（上草）。蓋離為光明，二承乘皆陽，無所隱蔽，如婦人之喪其弗（上草）也。廬兆鱉云：初曳輪，二喪弗，義實相因，其改字作紱作髟（下也）者，皆非也。震為逐，半震故勿逐。七日得者，震為復，數七，言至七日，自然來復，與震二同義也。象曰：七日得，以中道也。二得中故得。

Six in the Second: A woman has lost the curtain on her carriage, but there is no need to search for it; she will regain it within seven days. The *Zuo Zhuan* says in the fifth year of Zhao Gong that "fire is the consort of water," so *Li* (Fire) is the spouse of *Kan* (Water). "Fu" refers to the covering on a carriage. The *Shi Jing* says "Zhai Fu to go to court," and the commentary explains that women ride in carriages without showing their faces, and the front and back of the carriage are covered with feathers from wild pheasants to conceal themselves, which is called "Fu." The *Zhou Li* mentions the official responsible for the *jin* carriage, where "jin" refers to the covering, which is also "Fu." *Kan* represents concealment, so it is "Fu"; however, *Kan* is in the outer trigram, so it is said "to lose the Fu." Originally, *Li* represents brightness, and the yao above and below Six in the Second are all yang lines, so there is no concealment, just like a woman losing the curtain on her carriage. Lu Zhaoao says: "Yi in the First" refers to dragging the wheel, and "Fu lost" in Six in the Second are related in meaning. Those who change "Fu" to "Fu" or "Di" are incorrect. *Zhen* represents pursuit, but here there is only half of the *Zhen* trigram, so it is said "do not pursue." "Seven days to regain" is because *Zhen* has the meaning of returning, and its number is seven, meaning that it will naturally be regained by the seventh day, which is the same meaning as the second line of the *Zhen* hexagram. The *Xiao Xiang Zhuan* says: "Regained within seven days" is because of holding to the middle path. Six in the Second is in the middle, so it can regain it.

九三，高宗伐鬼方，三年克之，小人勿用。易林於既未濟，偶用半象，本之易也。三四形震，震為帝為主，故曰高宗，曰伐。坎為三年，為鬼方。高宗殷王武丁，鬼方西美國名。範書西羌傳云：殷室中衰，諸侯叛，至高宗伐西戎鬼方，三年乃克。又曰周季歷伐西落鬼戎是也。坎為艱為勞，故三年乃克。小人謂上六。復上六云反君道，比上六云無首凶，師上六云小人勿用，是上六反君道無道，為小人之尤。茲於三交發之者，以三應在上六，故預戒也。象曰：三年克之，憊也。坎為勞，故曰憊，憊疲極也。

Nine in the Third: King Wen of Yin campaigned against the Gufang people, and it took three years to conquer them. Small people should not be employed. The Jiao's Forest of Changes occasionally uses half-images in the two hexagrams of Ji Ji and Wei Ji, based on the Zhou Changes. In this hexagram, the third and fourth lines form half of the Zhen trigram, which represents the emperor and leadership, hence the reference to 'High Ancestral King' and 'campaigning'. Kan represents three years and the Gufang people. King Wen of Yin was King Wu Ding of Yin; Gufang was the name of a western Qiang state. Fan Ye's Book of the Later Han, Western Qiang Biography, says: during the decline of the Yin dynasty, the feudal lords rebelled, and during the reign of High Ancestral King, he campaigned against the western Rong tribes, the Gufang people, and it took three years to conquer them. It also says that Ji Li of the Zhou people campaigned against the Xiluo Guri people, which is similar. Kan represents hardship and labor, so it took three years to conquer. 'Small people' refers to line six above. In the Fu hexagram, line six says 'returning to the way of the sovereign'; in the Bi hexagram, line six says 'no leader, ominous'; in the Shi hexagram, line six says 'small people should not be used'. This shows that line six opposes the way of the sovereign and acts without principle, being the worst among small people. This warning is issued by line nine in the third position because line nine corresponds to line six above, thus serving as a preemptive warning. The Small Image Commentary says: it took three years to conquer, indicating exhaustion. Kan represents labor, so it is said 'exhausted', 'exhausted' meaning extremely tired.

六四，襦有衣袖，終日戒。此與解三用象同。襦說文繒采色，按繒說文帛也。三四震象，震為衣，襦有，言有帛衣也。四五巽象，巽為帛，亦為枷。如（左衣），敗絮也。襦有衣如（左衣）者，言雖有帛衣，衣敗絮以自晦，終日戒備也。離為日，坎為憂，故曰終日戒。蓋四居兩坎之間，坎為盜，俱有所侵犯，故惡衣以自晦。

Six in the Fourth: There is fine silk clothing, but one wears tattered rags, remaining vigilant all day. This is similar to the imagery in the line Six in the Third of the Hexagram 解 (Release). "Rú" is said in Shuo Wen to be colored silk; "zēng" is said in Shuo Wen to be silk cloth. The lines Three and Four together form the image of Zhen (Thunder), which represents clothing. "Rú yǒu" means having silk and silk cloth clothing. The lines Four and Five together form the image of Xun (Wind), which represents silk cloth and also "rú." "Rú" refers to tattered old rags. "Rú yǒu yī rú" means although one has silk and silk cloth clothing, one wears tattered rags to conceal oneself, remaining vigilant all day. Li (Fire) represents the sun, and Kan (Water) represents worry, so it is said "终日戒" (remaining vigilant all day). Originally, Six in the Fourth is located between two Kan trigrams, and Kan represents thieves. One fears someone may come to invade, so one wears poor clothing to conceal oneself.

如（左衣）說文引作奴（下繫），釋文云子夏作茹，茹柳奴（下繫）音同故通用。又云京作絮，按絮即奴（下繫）之形訛字。太玄迎道云「裳有衣襦」，裳者禮服，襦者短衣，乃有裳不用而衣襦，釋此句至為明晰。又釋文儒子夏作襦，薛虞云古文作襦，按襦儒古通。周禮羅氏注，鄭司農云：襦為儒有衣絮之襦。弓人注，鄭司農云：如（下巾）讀為襦有衣奴（下繫）之奴（下繫）。是襦儒枷古通用，故各家讀不同。象曰：終日戒，有所疑也。坎為疑。

The character 「袽」 is cited in the Shuowen Jiezi as 「絮」; the Classic Interpretation says that the version from Zi Xia was 「茹」, and since 「茹」 and 「絮」 sound the same, they were interchangeable. It also says that Jing Fang's version was 「絮」. According to 「絮」 is a distorted form of this character. Yang Xiong's Tai Xuan says, "The lower garment has a short upper garment," where "裳" refers to ceremonial attire, and "襦" refers to a short upper garment. The explanation of this sentence is most clear by contrasting the wearing of ceremonial attire with the wearing of a short upper garment. The Classic Interpretation also says that the character 「儒」 in Zi Xia's version was 「襦」, and Xue Yu says that the ancient text used 「襦」. This shows that 「襦」 and 「儒」 were interchangeable in ancient times. The Luo氏 commentary in the Zhou Li cites Zheng Sizhong's saying: 「襦」 refers to a short upper garment with stuffing; the Archer's Commentary in the Gao Gong Ji cites Zheng Sizhong's saying: 「帤」 is read as the stuffing of a short upper garment. This shows that 「襦」, 「儒」, and 「袽」 were interchangeable in ancient times, hence the different readings. Shang's extensive listing of variant readings aims to explain that the four characters 「襦有衣袽」 have been subject to debate due to differences in the characters used in transmitted texts. However, whether written as 「茹」, 「絮」, or 「袽」, they all refer to old stuffing cloth, contrasting with the silk garment 「襦」, and the meaning of the sentence remains unchanged. The Small Image Commentary says: being constantly on guard all day, indicates a mind full of doubt. Kan represents doubt.

九五，東鄰殺牛，不如西鄰之論祭，實受其福。離位東，故曰東鄰。坎位西，故曰西鄰。離為牛，兌為毀折為斧，故曰東鄰之殺牛。坎為飲食，故為祭。侖（左示）薄祭也，坎為薄，故曰西鄰之掄祭。乾為福，殺牛而祭，當受福矣，然不如掄祭受福者，以坎當五，得中正之時也。此離東坎西之確證。鄭氏謂離日出東，故曰東鄰；坎月生西，故曰西鄰。而不知離即在東，坎即在西，則卦象失傳之故也。又漢人往往以紂與文王之事說此爻，非。象曰：東鄰殺牛，不如西鄰之時也。實受其福，吉大來也。受福故吉。上六，濡其首，厲。坎為首，陰乘陽故襦其首，與比上六之無首義同，彖所謂終亂者此交。象曰：濡其首厲，何可久也。荀爽曰：居上襦五，處高居盛，必當復危，故何可久。

Nine in the Fifth: The eastern neighbor sacrifices a bull in a grand ceremony, but the western neighbor's simple offering is more genuinely accepted by the divine blessings. The trigram Li is in the east, so it is called 'eastern neighbor'; the trigram Kan is in the west, so it is called 'western neighbor'. Li represents cattle, and Dui represents destruction and the axe, so the eastern neighbor kills a bull. Kan represents food and drink, so it is associated with sacrifice; 'Yue' refers to a simple offering, and Kan also represents simplicity, so the western neighbor's simple offering is called 'Yue'. Qian represents blessings. Sacrificing a bull should bring blessings, but the simple offering brings more blessings because Kan is in the fifth position, which is in the center and upright. This is the confirmation that Li is in the east and Kan is in the west. Zheng Xuan said that Li rises in the east, so it is called 'eastern neighbor'; Kan is born in the west, so it is called 'western neighbor'—he did not realize that Li itself is in the east and Kan itself is in the west, which is the reason for the loss of the image of the hexagram. There are also Han dynasty scholars who use the story of King Zhou and King Wen to explain this line, which is also incorrect. The Small Image Commentary says: the eastern neighbor sacrifices a bull, but the western neighbor receives the right time; genuinely receiving blessings is a great fortune. Receiving blessings brings good fortune. Upper Six: The head is wet, which is dangerous. Kan represents the head, and Upper Six is a yin line riding on a yang line, so it causes the head to be wet, which is similar in meaning to the line 'no head' in the hexagram Bi. The hexagram statement's 'final confusion' refers to this line. The Small Image Commentary says: the head is wet and dangerous, how can it last long? Xun Shuang said: Upper Six is at the very top and causes the head of Nine Five to be wet. Being in a high position and in a flourishing state inevitably leads to renewed danger, so it is said to be not lasting.

未濟。亨，小孤訖濟，濡其尾，無攸利。濟止也。六爻皆當位，止其所而不動，故曰既濟。茲六交皆不當位，不止，故曰未濟。終而止，則其道窮；終而不止，則其道不窮，故既未濟相續而循環。柔得五中故亨。艮為小孤，卦有三艮形，故易林渙之未濟云「三虎上山，更相喧喚」，是以未濟為三艮，故曰三虎上山。茲曰小狐，是以艮為狐。訖說文涸也。干寶云：小狐力弱，訖乃可濟，今水未涸，故儒其尾。艮為尾也，濡尾故無攸利。按九家坎亦為狐，茲曰小狐曰尾，艮為小為尾，故知取艮象。濟者，濟坎水也。

The hexagram "Not Yet Completed" is smooth and favorable. A small fox crosses the river when the water is nearly dry, but its tail gets wet, and there is no benefit. "To cross" means to stop. The hexagram "Already Completed" has all six lines in proper position, each stopping at its place without movement, hence it is called "Already Completed." This hexagram, however, has none of its lines in proper position, so it cannot stop, hence it is called "Not Yet Completed." When the process ends and stops, its path is exhausted; when the process ends but does not stop, its path is not exhausted. Therefore, "Already Completed" and "Not Yet Completed" follow each other in a continuous cycle. The flexible line in the fifth position is in the center, hence it is smooth and favorable. The trigram "Gèn" (Mountain) represents a small fox; this hexagram contains three instances of the trigram "Gèn," so in "Jiao's Forest of Changes," the transformation from "Huàn" to "Not Yet Completed" says, "Three tigers climb the mountain, calling to each other," which is precisely referring to the three "Gèn" trigrams in "Not Yet Completed," hence saying "three tigers climb the mountain." Here it says "small fox," indicating that "Gèn" represents a fox. "Qì" is explained in "Shuo Wen" as meaning water that has dried up. Gan Bao says: the small fox is weak and needs the water to be dry in order to cross; now the water has not yet dried, so its tail gets wet. "Gèn" represents the tail, and a wet tail brings no benefit. According to the Nine Schools' interpretation of the Book of Changes, "Kǎn" (Water) also represents a fox, but here it says both "small fox" and "tail," and since "Gèn" represents smallness and the tail, it is clear that the image used here is that of "Gèn." The term "to cross" refers to crossing the water of "Kǎn."

象曰：未濟寧，柔得中也。小狐訖濟，未出中也。濡其尾無攸利，不續終也。雖不當位，剛柔應也。未出中，言二陷於坎中也。六爻皆不當位，無攸利，然賜柔相應，窮則宜變，變則通，故不續終，申不止之義也。象曰：火在水上，未濟。君子以慎辨物居方。乾陽物，坤陰物，陰陽各當位，是居方也。陰陽皆不當位，是聚而失其方也。辨而明之，慎其居而擇所處，則無咎矣，故君子以之。

The Commentary on the Judgment says: The hexagram "Not Yet Completed" is considered to be smooth because the yin lines are in the center. "A small fox approaches the riverbank" indicates that it has not yet escaped from the danger of the Kan trigram. "Its tail gets wet, there is no benefit" means it cannot reach the end. Although all six lines are not in the proper position, the yin and yang lines correspond to each other. What is meant by "not having left the center" is that the line nine in the second position is still trapped within the danger of Kan. Since all six lines are not in the proper position, there is no benefit; however, the yin and yang lines correspond to each other. When something reaches its limit, it should change, and when it changes, it becomes smooth. Therefore, "not continuing to the end" clearly expresses the meaning of "not stopping." The Great Image Commentary says: Fire on water, this is the hexagram "Not Yet Completed." The gentleman learns from this to carefully distinguish things and place them in their proper positions. Qian represents the yang substance, Kun represents the yin substance. When yin and yang are in their proper positions, it is called "residing in their proper place." In this hexagram, yin and yang are not in their proper positions, so they are gathered together and have lost their proper places. If they are clearly distinguished and carefully placed in their proper positions, there will be no mistakes. Therefore, the gentleman takes this as a model.

初六，濡其尾，吝。在下故曰尾，濡尾故吝。象：濡其尾，亦不知極也。極說文棟也，棟居屋中，故極者中也。濡尾知極，言初在下失中。九二，曳春輪，貞吉。坎為輪為曳，居中，故貞吉。象曰：九二貞吉，中以行正也。以位言，九二中而不正，茲曰行正，以正釋貞也，非謂位正。

Initial Line Six: The tail is wet, resulting in regret. Initial Line Six is at the very bottom, hence it is referred to as 'tail'; the tail being wet leads to regret. The Small Image Commentary says: the tail being wet indicates a lack of understanding of the middle path. 'Extreme' is explained in the Shuo Wen as meaning 'beam'; the beam is in the center of the house, so 'extreme' refers to the middle. 'Wet tail without knowing the extreme' means that Initial Line Six is at the lower position and thus loses the middle. Nine in the Second: Holding the wheel, maintaining uprightness brings good fortune. Kan represents the wheel and dragging; Nine in the Second is in the center, hence 'uprightness brings good fortune'. The Image Commentary says: Nine in the Second maintains uprightness and thus brings good fortune, because it is in the center and thus acts uprightly. In terms of line position, Nine in the Second is in the center but not in the proper position; here, 'uprightness' is used to explain the character '贞', not because its position is correct.

六三，未濟征凶，利涉大川。不當位，前遇險，故征凶。征凶則不能利涉，茲日利涉大川，上下文義反背，朱子疑利上有不字。按象云位不當，則不利也，缺以俟知者。象曰：未濟征凶，位不當也。承乘皆險，動則必凶，柔居剛，故位不當。

Six Three: If an undertaking is not yet completed but one goes to war, it will be ominous, but it is advantageous to cross a great river. Six Three is not in the proper position, and ahead there is a danger of the Kan trigram, so 'going to war is ominous'; since going to war is ominous, it is impossible to be advantageous in crossing a river. Yet here it says 'advantageous to cross a great river,' which contradicts the preceding text. Zhu Xi suspects that the character 'not' is missing before 'advantageous.' According to the Small Image Commentary, 'if an undertaking is not yet completed and one goes to war, it will be ominous,' which refers to being in an improper position. Six Three is both above and below a dangerous situation, so any movement will be ominous; since it is a yao of flexibility in a position of strength, it is said to be in an improper position.

九四，貞吉，悔亡，震用伐克方，三年有賞于大國。坎為鬼。易林觀之既濟云「班馬還師」，是用半震，震為馬為反，既濟三半震，故曰班馬還師。茲易曰震用伐鬼方，亦以四五形震，為易林之所本。震為威武為征伐，坎為三故曰三年。有賞于大國者，言伐鬼方有功，以大國賞之也，蓋以五上半艮為國也。貞吉，卜問吉也。高士奇天祿識余云：易震用伐鬼方，敦深謂震乃摯伯名；程傳訓為威武，則三年有賞于大國，何人也？以文理言，此說頗勝，而述之者少。象日：貞吉悔亡，志行也。坎為志，四承乘皆陰，故志行。

Nine in the Fourth: Holding to the correct path brings good fortune, and regret disappears; with vigorous military campaigns against the ghostly region, after three years he receives a reward from a great state. Kan represents the ghostly region. In "Jiao's Forest of Changes," the commentary on "The Completion" says, "The returning army of Ban and Ma," using the image of half a Zhen trigram—Zhen represents horses and returning. In "The Completion," the third line has a half Zhen trigram, hence the phrase "the returning army of Ban and Ma." Here, "The Zhou Changes" says "Zhen is used to attack the ghostly region," also using the combination of the fourth and fifth lines to form half a Zhen trigram, which is the basis of "Jiao's Forest of Changes." Zhen represents strength and military action, and Kan in numbers is three, hence "three years." "Receiving a reward from a great state" refers to being rewarded by a great state for his military success against the ghostly region; since the fifth and upper lines form half a Gen trigram, Gen represents a state. "Zhen Ji" means a divination that results in good fortune. Gao Shiqi's "Tianlu Shi Yu" says: "Zhen is used to attack the ghostly region" in "The Zhou Changes," and Dun Shen believes "Zhen" refers to the name of a person named Zhi Bo. Cheng Yi's "Yi Zhuan" interprets "Zhen" as strength and military action. Then, who is the one who receives the reward from the great state after three years? From the perspective of textual meaning, this interpretation is quite insightful, although it is not widely cited. The "Small Image Commentary" says: holding to the correct path brings good fortune and regret disappears, meaning that one's aspirations are realized. Kan represents aspirations, and the ninth line in the fourth position is above and below connected to yin lines, so the aspiration is realized.

六五，貞吉，無悔，君子之光，有孚吉。離為光，五君位，故君子之光。下有應，故有孚吉。象曰：君子之光，其暉吉也。離為大明，故其暉吉。暉，說文光也。上九，有孚于飲酒，無咎，濡其首，有孚失是。坎為酒，為飲食，上九下履重坎，故有孚于飲酒。有應故無咎。上應在三，三居重坎之中，故亦濡其首。六爻皆有應，故有孚；皆失位，故失是。然不續終之故，正以此也。

Six Five: Holding to the correct path brings good fortune, with no regret; this is the radiance of the gentleman, with sincerity and good fortune. The trigram Li represents light, and Five is the position of the ruler, so it is said, 'the radiance of the gentleman.' Below is Nine Two, which corresponds, so it is said, 'with sincerity, good fortune comes.' The Small Image Commentary says: the radiance of the gentleman brings good fortune. Li represents great brightness, so it is said, 'its radiance brings good fortune.' 'Radiance' is explained in the Shuo Wen as light. Nine at the Top: With sincerity and drinking and revelry, there is no blame; if the head is wet, even with sincerity, it is improper. Kan represents wine and food, and Nine at the Top is above the overlapping Kan structure, so it is said, 'with sincerity in drinking.' There is a responding line, so there is no blame. Nine at the Top corresponds to Six Three, and Six Three is in the overlapping Kan, so it is said, 'its head is wet.' All six lines have their corresponding lines, so it is said, 'with sincerity.' All six lines also lose their positions, so it is said, 'losing the right.' However, the reason for the 'not continuing to the end' mentioned in the Commentary on the Judgment is precisely this.

象曰：飲酒濡首，亦不知節也。上艮為節，節止也，過而不止，故不知節。即未濟之卦形，即異於常卦，故所取之象，往往為本卦所無，如曰逐，曰高宗，曰伐，日襦（左繫）衣如（左衣），曰殺，曰祭，曰福，曰大國，曰震，本卦皆無此象。於是虞氏用卦變以求其象，惝恍支離，莫可究潔。然經於九四曰震，且明以四五為震矣，故知其它皆用半象也。

The Small Image Commentary says: Drinking and getting one's head wet is also a lack of restraint. The upper trigram is艮, which represents restriction; "restriction" means to stop. Exceeding limits without stopping is called "not knowing restriction." The hexagram of 《Unfinished》 is inherently different from ordinary hexagrams, so the images used in the line statements are often not present in the primary hexagram. For example, it refers to "pursuit," "High Ancestral King," "military campaign," "a robe with a patch," "execution," "sacrifice," "blessing," "great state," and "earthquake," none of which are present in the primary hexagram. Therefore, Yu Fan used changing hexagrams to seek these images, but his approach was confused and fragmented, making it difficult to trace. However, the text clearly states "earthquake" in line nine four, and explicitly uses lines four and five as the earthquake trigram. From this, we can infer that the other instances use half-images. Shang氏 particularly highlights this point at the end of his work to summarize his fundamental method of interpreting the Book of Changes: if an image is not found in the primary hexagram, one should look for it in half-images and responding lines, rather than forcing it from changing hexagrams.

易林本之，於觀之既濟云「班馬還師」，震之即濟云「齒齒（右間）齒齒（上契無大）」，兌之既濟云「積石為山」，旅之既濟云「逐鹿南山」，恆之既濟云「三嫗治民」，是皆於既濟取震馬震鹿巽嫗兌齒艮山象。又謙之未濟「千柱百梁」，是以艮為樑柱，未濟三艮形，故曰千柱百梁。又渙之未濟「三虎上山」，亦以三艮為三虎。又蹇之未濟云「一口三舌」，亦以重兌為三舌。凡易林取象，無不本於易。

Jiao's Forest of Changes is based on this method: when observing the hexagram of Ji Ji, it says "Ban Ma Huan Shi" (the horses and camels return to their troops), when observing Zhen in Ji Ji, it says "Yinyin Chi Chi" (bitterly quarreling with teeth), when observing Dui in Ji Ji, it says "Ji Shi Wei Shan" (accumulating stones into a mountain), when observing Lu in Ji Ji, it says "Zhu Lu Nan Shan" (chasing a deer in the southern mountain), and when observing Heng in Ji Ji, it says "San Yu Zhi Min" (three old women governing the people). These are all taking the images of Zhen (Thunder) as horses, Zhen (Thunder) as deer, Xun (Wind) as old women, Dui (Lake) as teeth, and Gen (Mountain) as mountains from the hexagram of Ji Ji. Also, when observing Qian in Wei Ji, it says "Qian Zhu Bai Liang" (a thousand pillars and a hundred beams), using Gen (Mountain) as beams, since the hexagram of Wei Ji has three Gen shapes, thus saying a thousand pillars and a hundred beams; when observing Huan in Wei Ji, it says "San Hu Shang Shan" (three tigers climbing the mountain), also using three Gen as three tigers; when observing Jian in Wei Ji, it says "Yi Kou San She" (one mouth with three tongues), also using two Dui (Lake) as three tongues. All the images used in the Forest of Changes are based on the Zhou Changes. The term "half-image" refers to when two lines already form half of a hexagram, the image of that hexagram can be taken. Shang's continuous listing of six examples is to prove that Jiao Yanshou indeed understood and used this method of taking images.

此用半象，必有所受之，而其詳不傳。由是證施孟梁丘三家易學，其取象皆尚有極繁瑣之口傳。徒以古人尚質，竹書艱難，其所為易傳，皆疏其大義，而不詳其煩瑣，致使象數之細微，皆存之口授，不著竹帛，以傷其方雅。故漢時學易者必有師，非重師，重口授也。口授一絕，後人雖欲知而莫由。幸焦氏易林未亡，吾人可按其辭，抽繹墜象，使易之晦辭，得以復明；易之誤解，俾以復正。不然且終古長夜矣。

Jiao Yanshou used half-images in this way, which must have been based on a tradition he inherited, though the details have not been passed down. This shows that the schools of Shi Chou, Meng Xi, and Liang Qiu He in the study of the Zhou Changes still preserved very elaborate oral traditions in their use of symbolic imagery. Because ancient people valued simplicity and writing on bamboo slips was difficult, the commentaries they composed only explained the general meaning, without recording the detailed and complicated aspects. As a result, the subtle aspects of symbolic imagery and numerical patterns were transmitted only through oral instruction, not written down, leading to their eventual loss. Therefore, studying the Zhou Changes in the Han dynasty necessarily required a teacher, not because of the importance of the teacher's title, but because of the oral transmission. Once the oral transmission was broken, later generations, even if they wanted to know, would have no way to learn. Fortunately, the Jiao's Forest of Changes has not been lost, allowing us to use its verses to reconstruct these lost symbolic images. This enables the obscure expressions in the Zhou Changes to be clarified again, and the misinterpretations of the Zhou Changes to be restored to their correct meanings; otherwise, we would have been forever lost in darkness.

上經終坎離，坎中爻震艮，離中爻巽兌，是舉坎離而六子具也。下經終既未濟，乾坤具備，而即濟一陽一陰，則震兌也；未濟一陰一陽，則艮巽也，是舉坎離而八卦備也，故以為六十四卦之殿。其卦既無所不包，其象遂父母與六子俱備，故易與易林，於既未濟取象獨不同歟。

The Upper Classic concludes with the hexagrams Kan and Li: the middle lines of Kan include Zhen and Gen, and the middle lines of Li include Xun and Dui. Thus, by citing Kan and Li, all six subsidiary hexagrams are complete. The Lower Classic concludes with Ji Ji and Wei Ji: the two principles of Qian and Kun are already present. In Ji Ji, the one yang and one yin lines correspond to Zhen and Dui, and in Wei Ji, the one yin and one yang lines correspond to Gen and Xun. Thus, by citing Kan and Li, all eight trigrams are complete, so they are used as the concluding hexagrams of the sixty-four. Since these two hexagrams encompass everything, their images include both the parents hexagrams and the six subsidiary ones. This is probably why the Zhou Changes and Jiao's Forest of Changes take particular images from Ji Ji and Wei Ji.

繫辭噓吸經髓，摯舉無神，其難解蓋過於經。大抵深於易理者，望而知其所謂；易理不精者，愈讀註釋，愈不得要領。漢注皆以象，宋注皆以理。然辭有明指卦象者，離象而演空理則非矣；有泛言易理者，求解而必於卦象則執矣。茲擇其可解者略說之，其語意崑崙不易知者，則闕。

The Great Treatise absorbs and encompasses the essence of the entire Classic, grasping the main points without getting bogged down in details. Its difficulty is probably even greater than the text itself. Generally speaking, those who have deeply studied the principles of the Book of Changes can immediately understand what it is talking about; those who have not reached a sufficient level of understanding will find that the more annotations they read, the more they fail to grasp the key points. The annotations by Han dynasty scholars all start from the images of the hexagrams, while those by Song dynasty scholars all start from the principles. However, the sentences in the Great Treatise sometimes clearly refer to the images of the hexagrams; if one ignores the images and talks only about principles, that would be wrong. Other times, the text only generally discusses the principles of the Book of Changes; if one insists on applying them specifically to the images, that would be too rigid. Here I will only briefly explain those parts that can be clearly explained, and those whose meaning is as indistinct as the whole of Mount Kunlun, making it hard to see the structure, will be left in doubt and not discussed.

天尊地卑，乾坤定矣。率高以陳，貴賤位矣。動靜有常，剛柔斷矣。首二句言聖人仰觀天，俯察地，因其尊卑而定乾坤二象。三四二句，言乾位南，坤位北，高卑不同，而貴賤以分也。動者乾之常，靜者坤之常，因其動靜之跡，而識其剛柔之性也。

Heaven is above and exalted, Earth is below and humble, thus the positions of the trigrams Qian (Heaven) and Kun (Earth) are determined. High and low are arranged in order, and the distinctions of honor and humility are thus established. One moves and the other remains still, each following its regular course; the qualities of Yang and Yin are thus clearly distinguished. The first two sentences explain that sages look up to observe heavenly phenomena and look down to examine earthly forms, following the distinction of exaltation and humility between Heaven and Earth to establish the two fundamental trigrams, Qian and Kun. The third and fourth sentences explain that Qian is located in the south and Kun in the north, one high and one low, with different positions, thus leading to distinctions of honor and humility. Continuous movement is the regular state of Qian, while stillness is the regular state of Kun; from this movement and stillness, sages recognize the qualities of Yang and Yin.

方以類聚，物以群分，吉凶生矣。方，九家云，道也，所也。方以類聚，言萬物能聚於一方者，以各從其類也。陰陽遇方為類。頤六二象曰行失類，言陰不遇陽也。坤傳曰西南得朋，乃與類行。中率六四曰絕類上，言陰遇陽也。陰陽通為類，類則聚，聚則和合而吉矣。物者陰物陽物，純陽或純陰為群。乾曰見群龍無首，以純陽為群。否二象曰不亂群，以純陰為群。純陽純陰則不交而陰陽分，分則類離，離則凶矣。九家注死生之說云，陰陽合則生，離則死。自類字失詁，舊解皆不知吉凶之故何在，可喟也。

Things gather together according to their kind, and objects are separated according to their groups, and thus fortune and misfortune arise. The character 「方」 is interpreted in the Nine Schools Commentary on the Changes as 「道」, meaning 'way', and also as 「处所」, meaning 'place'. The phrase 「方以类聚」 means that things can gather together in the same place because each follows its own kind. Yin lines and Yang lines meeting together constitute 「类」. The Image Commentary of the second line of the 「颐」 hexagram says 「行失类也」, referring to a Yin line not meeting a Yang line before it. The Commentary on the Judgment of the 「坤」 hexagram says 「西南得朋，乃与类行」, and the fourth line of the 「中孚」 hexagram says 「绝类上」, both referring to Yin lines meeting Yang lines. This shows that Yin and Yang must connect to form 「类」, and when they form a class, they can gather together, leading to harmonious interaction between Yin and Yang and thus good fortune. 「物」 refers to Yin and Yang substances. Pure Yin lines or pure Yang lines are called 「群」. The 「乾」 hexagram says 「见群龙无首」, referring to pure Yang as a group. The Image Commentary of the second line of the 「否」 hexagram says 「不乱群」, referring to pure Yin as a group. When pure Yang and pure Yin gather separately, they cannot interact, leading to separation of Yin and Yang. Separation causes the dispersion of like elements, which results in misfortune. The Nine Schools Commentary on the Changes explains that when Yin and Yang interact, there is life, but when they separate, there is death. Since the meaning of the character 「类」 has been lost, the old interpretations have failed to understand the true source of fortune and misfortune, which is truly regrettable.

在天成象，在地成形，變化見矣。太玄玄離（左手）云，日一南而萬物死，日一北而萬物生，斗一北而萬物虛，斗一南而萬物盈。按日月星斗天之象，象一轉移，則萬物隨以生死，而變化之形，應於地上。以上數者，皆易之原理也。

In the heavens, the sun, moon, and stars form the "image" (xiang), while on earth, mountains, rivers, and living things take shape as "forms" (xing). Change thus manifests through these. Yang Xiong wrote in the "Tai Xuan · Xuan Chi" of the "Tai Xuan": When the sun reaches the south, all things wither and die; when the sun reaches the north, all things sprout and grow. When the handle of the Big Dipper points north, all things become empty; when it points south, all things become full. The sun, moon, stars, and constellations are all heavenly "images." When heavenly phenomena change, earthly things follow with their birth and death, and the traces of change are all reflected on the earth. All these points are the fundamental principles of the "Zhou Yi."

是故剛柔相摩，八卦相蕩。摩即交也。乾坤初爻摩成震巽，中爻摩成坎離，上爻摩成良兌，而六於以生，八卦全矣。八卦以一卦蕩八卦，而六十四卦備矣。蕩猶推也。不曰重而回蕩者，言以一卦加於此卦，復加於彼卦，有類於推蕩也。摩虞翻訓薄，薄即交也。

Therefore, the hard and the soft interact with each other, and the eight trigrams push and move each other. "Mo" means union. The first lines of the trigrams Qian and Kun intersect to form Zhen and Xun; the middle lines intersect to form Kan and Li; the top lines intersect to form Gen and Dui, thus producing the six sub-trigrams, and the eight trigrams are then complete. Then, each of the eight trigrams is used to push and move the other eight trigrams, resulting in the sixty-four trigrams being complete. "Dang" is similar in meaning to "push." Here, instead of saying "repeating trigrams," the term "dang" is used because the same trigram is added to one trigram and then to another, resembling a back-and-forth movement. Yu Fan interprets "mo" as "bo," which means approaching and uniting.

鼓之以雷霆，潤之以風雨，日月運行，一寒一暑。雷出自地，陽自下出上，故震為雷。覆之則陽在上為艮，霆自上下擊，故艮為霆。自晉宋以來，有以霆為電者，後焦循等從之，以霆為離象。豈知此四句，言六子之用，以霆為離，則與下日象復，而六子不全。故霆為電，於字畫雖有本，而在此則非也。雷霆鳴而草木甲訴，故曰鼓。陰在下為巽風，覆之則陰在上為兌雨，自上下降者也。為風則東風解凍，為雨則草木華滋，故曰潤。日南至，月北至則寒；日北至，月南至則暑。坎月離日，對象也；震艮同體，兌巽同體，正覆象也。

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) Thunder and lightning move all things, wind and rain nourish all things, the sun and moon rotate endlessly, cold and heat alternate continuously. Thunder arises from beneath the earth, and yang energy rises from below, so the trigram Zhen is taken as representing thunder. When the trigram Zhen is inverted, with a yang line at the top, it becomes Gen, and since lightning strikes downward from above, Gen is taken as representing lightning. Since the Jin and Song dynasties, some have interpreted lightning as electricity, and later Jiao Xun followed this interpretation, thus taking lightning as the image of the trigram Li. However, they did not realize that these four sentences describe the functions of the six subsidiary trigrams: Zhen, Xun, Kan, Li, Gen, and Dui. If lightning is considered as Li, it would conflict with the image of "sun" mentioned later, making it impossible to complete the six subsidiary trigrams. Therefore, interpreting lightning as electricity, although supported by some dictionaries, does not fit in this context. When thunder and lightning strike, the shells of plants burst open and sprout, so it is called "drumming." A yin line at the bottom represents Xun as wind, and when inverted with a yin line at the top, it becomes Dui as rain, both descending from above. Wind brings the east wind to thaw the frozen ground, rain causes plants to flourish, so it is called "nourishing." When the sun reaches its southernmost point and the moon its northernmost point, it is winter; when the sun reaches its northernmost point and the moon its southernmost point, it is summer. Kan represents the moon, and Li represents the sun, forming a pair of complementary images. Zhen and Gen originate from the same source, and Dui and Xun also originate from the same source, forming a pair of inverted images.

乾道成男，坤道成女，乾知大始，坤作成物。乾以初爻交坤成震，中爻交坤成坎，上爻交坤成艮，以生三男，故曰成男。坤以初爻交乾成巽，中爻交乾成離，上爻交乾成兌，以生三女，故曰成女。大始謂萬物資始，成物謂萬物資生。作虞姚作化，姚云，宜作作，故從孔本。

The principles of the Trigram Qian produce masculinity, while the principles of the Trigram Kun produce femininity. Qian governs the beginning of all things, while Kun is responsible for nurturing and shaping them. Qian combines with the first line of Kun to form Zhen; with the middle line to form Kan; and with the top line to form Gen, thus producing three male trigrams, hence the statement "forming males." Similarly, Kun combines with the first line of Qian to form Xun; with the middle line to form Li; and with the top line to form Dui, thus producing three female trigrams, hence the statement "forming females." "Great beginning" refers to the statement in the Commentary on the Judgment of Qian, "All things receive their beginning." "Forming things" refers to the statement in the Commentary on the Judgment of Kun, "All things receive their growth." The character "作" is written as "化" in the Yu Fan and Yao Xin editions, but Yao Xin himself suggested it should be "作." Therefore, we follow the version used by Kong Yingda.

乾以易知，坤以簡能。易則易知，簡則易從。易知則有親，易從則有功。有親則可久，在有功則可大。可夫則賢人之德，可大則賢人之業。易簡而天下之理得矣。天下之理得，而易成位乎其中矣。釋文云，馬王肅作而易成位乎其中，他本皆無易字，茲從馬王肅本。此言乾坤之德，純一不雜，易知易從也。乾之德剛健純粹，施仁育物而已，故曰易。坤之德收嗇閉藏，順陽成事而已，故曰簡。

Heavenly Stem Qian governs creation in an easy manner, and Earthly Branch Kun supports accomplishment in a simple manner. Ease makes things recognizable, simplicity makes things followable; things that are recognizable attract people, things that are followable lead to achievements; things that attract people endure, things that lead to achievements expand. Being able to endure is the virtue of the virtuous, being able to expand is the career of the virtuous. To grasp 'easy' and 'simple', one holds the principles of the world; when one holds the principles of the world, the Zhou Changes establishes its position between heaven and earth. Lu Deming in his Classic Interpretation says that Ma Rong's version and Wang Su's version read 'and easy becomes established in the middle', while other versions do not have the character 'easy'. Here we follow Ma and Wang's versions. This passage explains that the virtues of Qian and Kun are pure and unadulterated, thus easily recognizable and followable. Qian's virtue is strong and pure, merely giving life and nurturing all things, hence called 'easy'; Kun's virtue is restrained and concealed, merely following the yang energy and completing things, hence called 'simple'.

聖人設卦觀象，繫辭焉而明吉凶，剛柔相推而生變化。古聖人仰觀俯察，象萬物萬事而畫卦，是卦者象也。故韓宣子適魯，不曰見周易，而曰易象，誠以象者易之本。伏羲既畫卦以象萬物，文王遂觀象而繫易辭，是易辭皆由象生。象而吉則辭吉，象而凶則辭凶，辭有吉凶，皆象之所命，聖人只明之而已。然則學易者，不先明卦象，而欲通其辭，是猶論布帛之良苦，而不知其質為絲桌也，可乎。乃自王弼掃象，演空理，唐宋諸儒，以其易而從之，易學遂亡矣。范寧謂其罪浮桀紂，彼實有所見，非故為苛論也。剛柔相推而生變化，如消息卦互相推蕩是也。以卦變爻變言者，失之遠矣。

The sage established the structure of hexagrams, observed their images, and attached statements to the lines to indicate fortune or misfortune. The yao, being either yang or yin, interact with each other to produce change. The ancient sages looked up to the celestial phenomena and examined the terrestrial features, imitating the forms of all things to create the hexagrams. Therefore, the hexagram itself is the "image" ("xiang"). Thus, during the Spring and Autumn period, when Han Xuanzi of the state of Jin visited Lu, he did not say he had seen the "Zhou Yi" but instead said he had seen the "Yi Xiang," because the "xiang" is the fundamental aspect of the "Zhou Yi." Fuxi had already drawn the hexagrams to imitate all things, and King Wen observed these images and attached statements to the lines of the hexagrams. Therefore, the statements of the "Zhou Yi" all originate from the images. If the image is auspicious, the statement is auspicious; if the image is inauspicious, the statement is inauspicious. The auspiciousness or inauspiciousness of the statements depends entirely on the image, and the sages merely clarified it. Therefore, those who study the "Zhou Yi" without first understanding the images and then trying to comprehend the statements of the lines are like commenting on the quality of silk and hemp cloth without knowing that its raw materials are silk and hemp. How could that be acceptable? However, since Wang Bi eliminated the images and focused solely on abstract principles, and the scholars of the Tang and Song dynasties followed him for convenience, the study of images and numbers in the "Zhou Yi" has since been lost. Fan Ning of the Jin dynasty said that Wang Bi's wrongdoing surpassed that of Jie and Zhou, and he indeed saw the core issue, not merely speaking harshly. As for the statement "the interaction of yang and yin produces change," it refers to the twelve message hexagrams interacting with each other. Those who use the terms "hexagram change" and "line change" to explain it have strayed far from the original meaning.

是故吉凶者，失得之象也；悔吝者，憂虞之象也；變化者，戀之象也；剛柔者，晝夜之象也。六支之動，三極之道也。吉則得，凶則失。知悔吝則知憂虞，知憂虞則可趨吉避凶。陽生於復，進而推陰，則萬物化生；陰生於振，退而消陽，則萬物變死。乾剛坤柔，乾大明，晝；坤黑，夜。說文，極棟也；逸雅，棟中也。陸續曰，初四下極，二五中極，三上上極。按初四即地極，二五即人極，三上即天極，故鄭注云，三極三才也。蓋陰陽者，天之極；剛柔者地之極；仁義者人之極。六爻之動，以此為法，隨時通變，不偏不畸，胥合乎中，故曰三極。

Therefore, "good fortune and misfortune" symbolize gain and loss, "regret and hardship" symbolize worry and caution, "change" symbolizes advance and retreat, and "yin and yang" symbolize day and night. The movement of the six lines represents the principles of heaven, earth, and humanity, the "three extremes." Good fortune means having gain, while misfortune means having loss. Understanding regret and hardship means understanding worry and caution, and understanding worry and caution allows one to seek good fortune and avoid misfortune. Yang energy begins to emerge in the hexagram "Fu" and advances to push away yin energy, thus enabling the transformation and growth of all things. Yin energy begins to emerge in the hexagram "Gou" and retreats backward to diminish yang energy, thus causing all things to change and eventually die. The hexagram Qian is strong and firm, while Kun is soft and yielding. The brightness of Qian is day, while the darkness of Kun is night. The "Shuo Wen Jie Zi" says that "ji" refers to the central beam of a roof, and the "Xí míng" says that the beam is in the center of the house. Lu Ji says: the first line and the fourth line are the lower extreme, the second line and the fifth line are the middle extreme, and the third line and the top line are the upper extreme. According to the initial and fourth lines being the earth extreme, the second and fifth lines being the human extreme, and the third and top lines being the heavenly extreme, Zheng Xuan's commentary says that "three extremes" refer to "three elements." In general, yin and yang are the principles of heaven, strength and softness are the principles of earth, and benevolence and righteousness are the principles of humanity. The movement of the six lines is based on these principles, adapting flexibly without bias or excess, all conforming to the middle way, hence called "three extremes."

是故君子所居而安者，易之序也；所樂而玩者，艾之辭也。是故君子居則觀其象而玩其辭，動則觀其變而玩其占，是以自天佑之，吉無不利。居安觀象，靜也。觀象玩辭，玩象辭也，所謂七八占象也。若爻動則為九六，九六觀變，而玩其爻辭以為占，故無不利也。

Therefore, the gentleman who can maintain himself and establish his destiny in peace is guided by the order shown in the Zhou Changes. What he delights in repeatedly contemplating is the line statements. Thus, when the gentleman is at leisure, he observes the hexagrams and contemplates their statements, and when he takes action, he observes the changing lines and contemplates the divination. Therefore, he receives the protection of heaven, attains auspiciousness, and finds no difficulties. Contemplating the hexagrams in quietude refers to the still aspect; observing the hexagrams and contemplating their statements involves considering the hexagrams and their statements, that is, using the unchanging numbers seven and eight to determine the hexagrams. If a line changes, it becomes nine or six; when it becomes nine or six, one must observe its transformation and contemplate the line statement of that particular line for divination, hence achieving no difficulties.

彖者言乎象者也，支者言乎變者也。吉凶者言乎其失得也，悔吝者言乎其小疵也，無咎者善補過也。是故列貴賤者存乎位，齊小大者存乎卦，辨吉凶者存乎辭，憂悔吝者存乎介，震無咎者存乎悔。是故卦有小大，辭有險易，辭也者，各指其所之。七八不變，故占彖；九六變，故占爻。吉則得，凶則失。疵，病也。凡言無咎者，原有咎也，知悔而改，則無咎矣，故日善補過。五乾位，君南面位貴；二坤位，臣北面位賤。齊，正也。陽卦大，陰卦小，卦列則大小分。例如泰小往大來，為大卦；否大往小來為小卦也。又全經陽爻一百九十二，陰爻亦一百九十二，陰陽齊等，毫無偏畸也。介音戛，介者觸也，豫六二云，介于石是也，謂心有所感觸而憂懼，能憂懼悔吝自能免也。震，懼也，棋則侮，悔則無咎。吉則辭易，凶則辭險。之，往也。

The "Tu" is about the overall image of the hexagram, while the "Line Statement" is about the movement of the lines. "Ji Xiong" refers to gain and loss, "Hui Lin" refers to minor faults, and "Wu Jiao" means being good at making up for mistakes. Therefore, the key to arranging the order of importance lies in the positions of the lines, the key to distinguishing size lies in the structure of the hexagram, the key to discerning good and bad fortune lies in the wording, and the key to worry, regret, and annoyance lies in "Jie." The key to being alarmed and cautious to avoid calamity lies in knowing regret. Therefore, hexagrams have big and small ones, and the statements have dangerous and easy ones; the so-called statements each indicate the direction they are heading. When one gets the numbers seven or eight, they remain unchanged, so they are used for the "Tu" statements; when one gets the numbers nine or six, they change, so they are used for the "Line Statements." Good fortune means gaining something, while bad fortune means losing something. "Ci" refers to a fault. Whenever it says "Wu Jiao," it originally means there was a mistake, but knowing regret and correcting it leads to no calamity, so it is said to be "good at making up for mistakes." The number five is the position of the Heaven, where the ruler faces south and sits, thus being noble; the number two is the position of the Earth, where the minister faces north and stands, thus being humble. "Qi" means to be upright. A yang hexagram is considered great, while a yin hexagram is considered small; once the hexagram is arranged, the distinction between great and small becomes clear. For example, the hexagram "Tai" says "small goes, great comes," which is a great hexagram, while the hexagram "Po" says "great goes, small comes," which is a small hexagram. Moreover, the entire book has 192 yang lines and 192 yin lines, with yin and yang perfectly balanced, neither leaning one way nor the other. "Jie" is read as "Jia," meaning to touch or provoke; the line six two of the hexagram "Yu" says "Jie Yu Shi," which means this is the meaning, indicating a mental provocation leading to worry and fear; being able to feel worry and fear naturally avoids regret and annoyance. "Zhen" means alarm and caution; being alarmed and cautious leads to knowing regret, and knowing regret leads to no calamity. The statements of good fortune are easy to understand, while those of bad fortune are difficult to understand. "Zhi" means to go towards.

辭也者各指其所之，言凡易辭，皆視其爻之所往，而定吉凶也。此有二義。一，初之四，二之五，三之上，其爻在此，而其辭往往指應爻，應爻即所之。例如蒙六三曰見金夫不有躬，指上爻象也；泰九二曰朋亡得尚于中行，指六五言。有應故所之皆利，無應則不利也。又幾言志在外、志在內者，亦指所之也。

"The words of the hexagrams each point to their respective destinations," meaning that all the textual expressions in the Zhou Yi should be understood in terms of the direction to which each line is moving, thereby determining fortune or misfortune. This includes two meanings. The first is that the first line moves toward the fourth line, the second line toward the fifth line, and the third line toward the top line; although a line is in a particular position, its expression often refers to the corresponding line it is moving toward. The responding line is the place to which it is moving. For example, in the hexagram Meng, line six three says "seeing a man of metal, not having one's own," which refers to the image of line six nine. In the hexagram Tai, line nine two says "companions are lost, but one is esteemed in the middle path," which refers to line six five. If there is a responding line, the movement is beneficial; if there is none, the movement is not beneficial. Additionally, whenever it says "the mind is outside" or "the mind is inside," it also refers to the direction of movement.

二，凡爻之所比，得類失類，所關最大。例如頤六二，前遇重陰，象傳曰行失類也；中孚六三，前亦遇陰，爻辭曰得敵，皆以陰遇陰為敵，為失類，故所之不利也。又鼎九二曰慎所之，革九三曰征凶又何之矣，皆以陽遇陽，敵剛，所之不利。繫辭指出，故曰各指其所之，餘卦類推。其第一義虞翻不知，而誤解。朱震又謂之為之卦，後獨焦循知之。其第二義訖無知者，教失類慎所之各辭，解無不誤，於是此句亦鮮得解矣。

The second layer is that whether a particular line is of the same type or different from its adjacent lines is of greatest importance. For example, in the hexagram Yi, line six in the second position, the line before it meets another yin line, and the Image Commentary says 'moving is losing the class.' In the hexagram Zhongfū, line six in the third position, the line before it also meets a yin line, and the Line Statement says 'gaining an opponent.' These are both considering meeting yin lines as forming an enemy and losing the class, hence the direction is not favorable. Another example is the hexagram Ding, line nine in the second position, which says 'be cautious about where you go,' and the hexagram Ge, line nine in the third position, which says 'going is dangerous' and 'what else can you go to?' These are both cases of meeting yang lines, which are considered as opposing the strong, hence the direction is not favorable. The Great Treatise points out this layer, saying 'each refers to where it goes,' and the rest of the hexagrams can be understood in the same way. The first layer of meaning Yu Fan did not understand, hence his interpretation was wrong; Zhu Zhen also took 'zhi' as 'the hexagram.' Later only Jiao Xun truly understood it. The second layer of meaning has always been ignored. All the expressions about 'losing the class' and 'being cautious about where you go' have never been interpreted correctly, so the sentence 'each refers to where it goes' has rarely been explained properly.

易與天地準，故能彌綸天地之道。仰以現於天文，俯以察於地理，是故知幽明之故。原始反終，故知死生之說。精氣為物，游魂為變，是故知鬼神之情狀。準同也。彌綸包絡也。幽明即陰陽。乾始於坎終於離，坤始於離終於坎，故云原始反終。始終即生死。九家云，陰陽合則生，離則死，故知死生之說。宋衷云，說舍也，蓋讀如召南召怕所說之說。鄭云，精氣謂七八，游魂謂九六。七八木火之數，九六金水之數，木火用事而物生，故曰精氣為物；金水用事而物變，故曰游魂為變。按七八生，神也；九六死，鬼也。精氣謂之神，物生所信也；游魂謂之鬼，物終所歸也。言木火之神，生物東南；金水之神，終物西北。知其情狀，故不違。

The Zhou Changes (I Ching) is equal to heaven and earth, thus it can encompass and connect the principles of heaven and earth. By looking up to observe the heavenly phenomena and looking down to examine the geographical features, one understands the reasons behind the hidden and the manifest. By investigating the origins of all things and tracing back to their endings, one understands the principles of life and death. When vital energy converges to form bodies, and the wandering souls spread out to cause changes, one understands the true nature of ghosts and spirits. "Zhen" means equality, and "milun" means to wrap and connect. "You ming" refers to yin and yang. The trigram Qian begins at the position of Kan and ends at the position of Li, while the trigram Kun begins at the position of Li and ends at the position of Kan, thus it is said "origin and end." Origin and end correspond to life and death. The Nine Schools' Commentary on the I Ching says: when yin and yang combine, there is birth; when yin and yang separate, there is death, thus one understands the theory of life and death. Song Zhong said "shuo" means "she," which is probably the same as the "shuo" in the poem "Gan Tang" from the "Zhao Nan" section of the Book of Songs, meaning "the place where Zhao Bo rested." Zheng Xuan said: "jing qi" refers to the numbers seven and eight, and "you hun" refers to the numbers nine and six. Seven and eight are the numbers of wood and fire, while nine and six are the numbers of metal and water. When wood and fire are in command, all things grow, thus it is said "jing qi becomes things." When metal and water are in command, all things change, thus it is said "you hun causes change." According to seven and eight, which govern birth, belong to the divine; nine and six, which govern death, belong to the ghosts. "Jing qi" is called the divine, which is the support for the growth of all things; "you hun" is called the ghost, which is the resting place for the end of all things. This means that the divine spirits of wood and fire are in the southeast and nurture all things, while the divine spirits of metal and water are in the northwest and conclude all things. Understanding the true nature of ghosts and spirits, one's actions naturally do not contradict the way of heaven.

與天地相似，故不違。知周乎萬物而道濟天下，故不過。旁行而不流，樂天知命故不憂。安土敦乎仁故能愛。範圍天地之化而不過，曲成萬物而不遺，通乎晝夜之道而知，故神無方而易無體。八卦盡萬物之象，故曰知周萬物。過差也。旁行九家謂指六日七分圖，以一爻值一日，一月值五卦，至歲終而周合無餘，故曰不流。流溢也。凡物皆生於二氣之中，故曰曲成萬物而不遺。乾大明晝，坤蕃閉夜，無方無體，謂周遍也。

The Zhou Changes (I Ching) is similar to heaven and earth, so it does not contradict the way of heaven and earth; its wisdom extends to all things and its principles are sufficient to help the world, so there is no error; it extends widely in all directions without overflowing, delights in heaven's way and knows one's destiny, so there is no worry or fear; it is content with its position and sincere in benevolence, so it can love others; it encompasses the creation of heaven and earth without error, thoroughly understands the nature of all things without omission, and comprehends the principles of day and night, the bright and the dark, thus being profound and without fixed place, the way of the I Ching has no fixed form. The Eight Trigrams have already exhausted the images of all things, so it is said 'knowing all things'. 'Error' refers to a mistake. The term 'running widely' is interpreted by the Nine Schools of the I Ching as referring to the hexagram qi diagram of six days and seven parts: one line corresponds to one day, five hexagrams correspond to one month, and by the end of the year it completes the cycle without remainder, thus it is said 'not overflowing'; 'overflowing' means overflowing. All things are born within the two energies of yin and yang, so it is said 'curvingly forming all things without omission'. The brightness of Qian is day, and the concealment of Kun is night; saying it has no fixed place and no form is to describe its omnipresence.

一陰一陽之謂道，繼之者善也，成之者性也。仁者見之謂之仁，知者見之謂之知，百姓日用而不知，故君子之道鮮矣。顯諸仁，藏儲用，鼓萬物而不與聖人同優，盛德大業至矣哉。富有之謂大業，日新之謂盛德，生生之謂易，成象之謂乾，效法之謂坤，極數知來之謂占，通變之謂事，陰陽不測之謂神。道無他，即一陰一陽也。繼統也。乾統天生物，故曰善；坤傾乾成物，故曰性。仁者見道，謂道為仁；知者見道，謂道為知，不免有偏。百姓顓蒙，日由其道，而不知其所以然，故能體君子之道者甚少也。道難見，見諸生物，故日顯諸仁；然不見其作為，故曰藏儲用。聖人成務故憂天下，若陰陽造化，鼓鑄萬物，無聲無臭，無方無體，故不與聖人同憂。

The alternation of yin and yang is called the Dao. To follow it is to be good, and to accomplish it is to have nature. The benevolent see benevolence in it, the wise see wisdom in it, while common people use it every day without realizing it, so few truly understand the Dao of the gentleman. The Dao is evident in the benevolent virtue that nurtures all things, yet it is hidden in its function. It moves all things without the concern of a sage, and such great virtue has reached its peak. To possess all things is called great achievement, to renew daily is called great virtue, and to continue endlessly is called the Book of Changes. When it takes form, it is called Qian (Heaven); when it follows Qian and supports, it is called Kun (Earth). To exhaust the divination numbers and foresee the future is called divination; to understand change and act accordingly is called action. The transformation of yin and yang is unpredictable, and this is called spirit. The Dao has no other content but the alternation of yin and yang. "Ji" means to lead: Qian governs the heavenly way and generates all things, so it is called "good"; Kun receives the energy of Qian and completes all things, so it is called "nature." The benevolent see the Dao and say it is benevolence; the wise see the Dao and say it is wisdom, yet both are partial. Common people are ignorant and confused, walking daily in the Dao without understanding why, so few truly practice the Dao of the gentleman. The Dao itself is hard to see, but can be seen in its nurturing of all things, so it is said "manifested in benevolence." Yet it cannot be seen in its actions, so it is said "hidden in its function." The sage seeks to accomplish deeds, thus worrying for the world; but the transformation of yin and yang shapes all things silently and without smell, without form or substance, so it does not share the concern of the sage.

盛德謂天，大業謂地。物無不備，故曰富有；變化不息，故曰日新。陽極生陰，陰極生陽，轉相生，故曰生生之謂易。乾三畫象三才，故曰成象；坤效乾而兩之，故曰效法。生數極於五，成數極於十，故大衍之數五十。及其揲著也，只用四十有九，參天兩地，循環往復，然後得此七九八六之數，故曰極數。數極然後理盡，理盡然後能知來，占得其吉凶也。陰陽鼓萬物，萬物不覺知，故曰不測，曰神。

"Shengde" refers to Heaven, and "daiye" refers to Earth. All things are fully present, so it is called "fuguo" (rich and abundant); changes never cease, so it is called "rinxin" (ever new). When yang reaches its extreme, yin arises; when yin reaches its extreme, yang arises, alternating in mutual generation, so it is said "shengsheng zhi wei yi" (the continuous generation of life is called the Book of Changes). The trigram Qian, with three lines, imitates Heaven, Earth, and Humanity, so it is called "chengxiang" (forming images); the trigram Kun follows Qian and divides each line into two parts, so it is called "xiaofa" (emulating). The generating numbers reach their peak at five, and the forming numbers reach their peak at ten, so the "dayan zhi shu" (great derivation number) is fixed at fifty. When actually using the yarrow stalks, only forty-nine are used, following the principle of "canti liedi" (three for Heaven, two for Earth), repeatedly cycling through to derive the numbers seven, nine, eight, and six, so it is called "jishu" (extreme number). When numbers reach their extreme, principles are fully understood; when principles are fully understood, one can foresee the future and determine fortune and misfortune. Yin and yang stir the myriad things, yet the things themselves are unaware, so it is called "buce" (unpredictable) and "shen" (divine).

夫易廣矣大矣，以言乎遠則不御，以言乎邇則靜而正，以言乎天地之間則備矣。夫乾，其靜也專，其動也直，是以大生焉。夫坤，其靜也翕，其動也關，是以廣生焉。廣大配天地，變通配四時，陰陽之義配日月，易簡之善配至德。遠謂乾天，邇謂坤地。復陽動北，南行推陰，左傳謂之射，故曰其動也直，直故大。垢（左女）陰動下，下虛，虛則能容，故曰其動也闢，闢故廣。乾坤配天地，乾坤交成震兌離坎，故變通配四時。荀爽云，乾舍於離，同日而居；坤舍於坎，同月而居，故陰陽配日月。

The way of the Zhou Changes is truly vast and profound: in the distant, it reaches everywhere; in the near, it is quiet and upright; in the space between heaven and earth, it is complete in all things. When Qian is still, it is concentrated and fixed; when it moves, it is direct and unswerving, thus producing the concept of "greatness." When Kun is still, it is reclusive and closed; when it moves, it is expansive and spreading out, thus producing the concept of "broadness." Its vastness matches heaven and earth, its change and adaptability match the four seasons, its yin and yang correspond to the sun and moon, and its simplicity and goodness correspond to the highest virtue. "Far" refers to Qian (Heaven), and "near" refers to Kun (Earth). The hexagram Fu has one yang line emerging from the north, pushing southward the yin energy. The Zuo Zhuan refers to this straight movement as "shooting," thus saying "its movement is direct," and directness enables greatness. The hexagram Gou has one yin line emerging from below, with the lower part empty, which allows for containment, thus saying "its movement is expansive," and expansion enables breadth. Qian and Kun correspond to heaven and earth; when Qian and Kun interact, they generate Zhen, Dui, Li, and Kan, thus change and adaptability correspond to the four seasons. Xun Shuang said: Qian resides in Li, sharing the place of the sun; Kun resides in Kan, sharing the place of the moon, thus yin and yang correspond to the sun and moon.

子曰，易其至矣乎。夫易，聖人所以崇德而廣業也。知崇禮卑，崇效天，卑法地。天地設位，而易行乎其中矣。成性存存，道義之斗。知謂乾效天崇，禮謂坤法地卑。上天下地中間人，故易行乎其中。乾為道，坤為義，出乾人坤，故道義為乾坤之門戶。乾成始，坤成終，成之者性也，往來循環，無或間斷，故曰成性存存。

Confucius said: The Zhou Changes is perhaps the highest. The Zhou Changes is used by the sages to cultivate virtue and expand their undertakings. Wisdom should be lofty, and propriety should be humble; loftiness follows the pattern of Heaven, humility follows the pattern of Earth. When the positions above and below Heaven and Earth are determined, the Way of the Changes begins to operate. To realize one's nature and preserve it without loss is the gateway to the Way. "Knowing" refers to Qian following Heaven and being lofty, "propriety" refers to Kun following Earth and being humble. Above is Heaven, below is Earth, and in the middle is humanity, so the Way of the Changes operates within them. Qian represents the Way, and Kun represents righteousness; from Qian to Kun, the Way and righteousness are the gateways. Qian brings about the beginning of all things, and Kun brings about their completion. "The one who completes things is nature," and the cycle continues without interruption, so it is said "realizing nature and preserving it."

聖人有以見天下之賾，而擬諸其形容，象其物宜，是故謂之象。聖人有以見天下之動，而觀其會通，以行其曲禮，緊辭焉以斷其吉凶，是故謂之爻。言天下之至賾而不可亂也，言天下之至動而不可亂也。擬之而後言，議之而後動，擬議以成其變化。

The sage has the ability to perceive the most complex matters in the world, so he imitates their forms and appearances, symbolizing the appropriate categories for each, thus calling it "Xiang." The sage also has the ability to observe the changes of all things in the world, so he examines their points of convergence and connection, using them to establish rituals and regulations, and attaching words to judge auspiciousness and misfortune, thus calling it "Yao." It comprehends all the most complex matters without appearing chaotic, and all the most varied changes without seeming confused. First imitate, then speak; first deliberate, then act. Relying on imitation and deliberation, it achieves the myriad transformations.

議之而後動，釋文鄭姚桓玄荀柔之皆作儀之。按釋名，儀宜也。漢書外戚傳，皆心儀霍將軍女，作儀義味實深長。但下文云擬議以成其變化，承上文言，鄭玄等上作儀，下又作議，非。又按惡荀讀作亞，亞次也。按惡亞古同字，史記廬絡傳孫綰他人，封為亞谷侯，漢書作惡谷。又語林，有得漢印者，文曰周惡夫，劉原父謂即周亞夫印。而噴與賾通。左傳定四年，會同難，噴有煩言，注噴至也，疏至於會時，有煩亂忿爭之言，然則噴有煩亂意。言天下之至噴而不可亞者，即言天下之物，至為繁賾雜亂，而難以次第也。

"The phrase 'discuss and then act' is discussed in the 'Classic Interpretation Commentary' which states that Zheng Xuan, Yao Xin, Huan Xuan, and Xun Rouzhi all wrote it as 'yi zhi'. According to 'Explanation of Names', 'yi' means 'appropriate'; the 'Book of Han, External Kinship Biography' mentions 'all hearts were inclined towards General Ho's daughter', written as 'yi' implies a deeper meaning. However, the following text says 'proposing and deliberating to bring about change', which is a continuation of the previous statement. Zheng Xuan and others used 'yi' in the previous sentence and 'yi' again in the next, which is inconsistent and inappropriate. Moreover, according to the reading of Xun Shuang, the character 'wu' is pronounced as 'ya', meaning 'sequence' or 'order'. The characters 'wu' and 'ya' were originally the same in ancient times: in the 'Records of the Grand Historian, Lu Wan's Biography', Sun Wan's son was granted the title 'Ya Gu侯', but the 'Book of Han' writes it as 'wu Gu'. The 'Analects of the Forest' also records that someone found a Han seal with the inscription 'Zhou Wu Fu', and Liu Chang thought it was the seal of Zhou Ya Fu. The character 'ze' is also related to 'ya'. In the 'Zuo Zhuan', Duke Ding's fourth year, it records a meeting and alliance, saying 'difficulties in the meeting, ze has many words', Du Yu's annotation says 'ze' means 'to reach', Kong Yingda's commentary explains that at the time of the meeting, there were many confused and quarrelsome words, showing that 'ze' contains the meaning of confusion. The phrase 'speaking of the most intricate and complex matters in the world which cannot be ordered' means that the affairs of the world are extremely complicated and chaotic, making it difficult to arrange them in order."

鳴鶴在陰，其子和之。我有好爵，吾與爾靡之。子曰，君子居其室，出其言善，則千里之外應之，況其邇者乎。居其實，出其言不善，則千里之外連之，況其邇其手。言出乎身力，乎民。行發乎邇見乎遠。言行君子之樞機，樞機之發，榮辱之主也。言行君子之所以動天地也，可不慎平。中孚二至四互震，震為言為善。三至五震反，若相和答者，故曰應之。震為善，三至五震覆，故曰不善。震覆為艮，正與震相反，故曰違之。艮為裡，震為千萬，故曰千里。艮為君子，一為居為室。樞戶樞也，主閉；機弩牙也，主發動。艮為樞，震為機。

"The cry of a crane in the shade, its young respond in harmony. I have a good cup of wine, I will share it with you." Confucius said: A gentleman resides in his own house. If his words are good, they will be responded to even a thousand miles away; how much more so those nearby? If his words are not good, they will be rejected even a thousand miles away; how much more so those nearby? Words originate from oneself and affect the people; actions begin nearby and are seen far away. Words and deeds are the pivot of a gentleman. Once the pivot moves, honor and disgrace are determined. Words and deeds are the things by which a gentleman moves heaven and earth; how can they not be cautious? The second to fourth lines of the Zhongfu hexagram form the trigram Zhen, which symbolizes words and goodness. The third to fifth lines are an inverted Zhen, resembling mutual response and reply, so it is said "response." Zhen represents goodness, but the inverted Zhen in the third to fifth lines is Fu Zhen, so it is said "not good." When Zhen is inverted, it becomes Gen, which is opposite to Zhen, so it is said "rejection." Gen represents the neighborhood, and also represents numbers in the thousands, so it is said "a thousand miles." Gen represents the gentleman, as well as residence and house. "Shu" is the door hinge, responsible for closing; "ji" is the trigger of a crossbow, responsible for shooting. Gen is the shu, Zhen is the ji.

同人先號兆（左口）而後笑。子曰，君子之道，或出或處，或默或語。二人同心，其利斷金；同心之言，其臭如蘭。此明同人九五爻辭。同人旁通師，乾為君子為道，故曰君子之道。師震為出，為語；坤為默；同人互巽為處，故曰或出或處，或默或語。九五與六二應，伏坎為心，故曰二人同心。巽為利，乾為金，離斷金，故曰其利斷金。乾為言，巽為奧為蘭，故曰同心之言，其臭如蘭。

"The same people first weep and then laugh." Confucius said: The path of a gentleman in the world is either to take office, or to retreat, or to be silent, or to speak. When two hearts are in harmony, their sharpness is sufficient to cut through metal. The words spoken with the same mind have a fragrance like orchids. This is an explanation of the line statement of the fifth line of the Hexagram of Fellowship. The Hexagram of Fellowship is in mutual relationship with the Hexagram of Military Campaign. The trigram Qian represents the gentleman and the way, so it says "the way of the gentleman." In the Hexagram of Military Campaign, the trigram Zhen represents movement and speech, and the trigram Kun represents silence. In the Hexagram of Fellowship, the interacting trigram Xun represents retreat, so it says "either to take office or to retreat, either to be silent or to speak." The fifth line and the second line correspond, with the hidden trigram Kan representing the heart, so it says "two hearts in harmony." The trigram Xun represents sharpness, Qian represents metal, and Li can cut through metal, so it says "its sharpness can cut through metal." The trigram Qian represents speech, and Xun represents fragrance and orchids, so it says "words spoken with the same mind have a fragrance like orchids."

初六藉用白茅無咎。子曰，苟錯諸地而可矣，藉之用茅，何咎之有，慎之至也。夫茅之為物薄，而用可重也，慎斯術也以往，其無所失矣。此大過初六爻辭。錯置也。巽為茅，在下故曰錯諸地，曰藉。茅之為物雖薄，然香潔可薦於宗廟，用以縮酒，其重為何如哉。術道也，言持此卑退謹慎之道，則悔吝不生，而無所失也。

"The first line, 'At the beginning, using white reed grass to place things, there is no blame.' Confucius said: Originally, placing things on the ground is enough; why use white reed grass to pad them? How could there be any fault? This is the extreme of caution. Reed grass itself is very lowly, yet its use can be of great importance. If this cautious approach is carried through, there will be no mistakes. This is the line statement of the first line of the Great Excess hexagram. 'Err' means to place. Xun represents reed grass, located at the lower trigram, so it is said 'to place on the ground,' and 'to pad.' Although reed grass is lowly, it is fragrant and clean, suitable for offering in ancestral temples and for filtering wine to remove impurities; its function is indeed very important. 'Method' refers to the way or principle. It means adhering to this humble and cautious attitude in action, so that regret and misfortune will not arise, and there will be no mistakes."

勞謙君子有終吉。子曰，勞而不伐，有功而不德，厚之至也，語以其功下人者也。德言盛，禮言恭，謙也者，致功以存其位者也。釋謙九三爻義。坎為勞，震為言語，為功，艮為位。亢龍有悔。子曰，貴而無位，高而無民，賢人在下位而無輔，是以動而有悔也。釋乾上九。

"Working diligently without boasting, achieving success without claiming virtue, this represents the utmost sincerity and humility. It means taking one's accomplishments but willingly placing oneself below others. In terms of virtue, it should be grand; in terms of etiquette, it should be respectful. Humility is about completing one's deeds while maintaining one's position. This passage explains the meaning of the ninth line in the third position of the 'Gentle' hexagram. The trigram Kan represents labor and hardship, Zhen represents speech and achievements, and Gen represents rank and position. 'The dragon soaring high brings regret.' Confucius said: holding a high position without actual authority, residing at the top without the people, with virtuous individuals below and no one to assist, thus any action would lead to regret. This passage explains the meaning of the ninth line at the top of the 'Sky' hexagram."

不出戶庭，無咎。子曰，亂之所生也，則言語以為階。君不密則失巨，臣不密則失身，凡事不密則害成，是以君子慎密而不出也。節初九爻辭。節二至五亦正反震，故曰言語。而兌為口舌，二至四震言，三至五如言而反，故曰不密。震為君，艮為臣，為身，兌毀折，故曰失，曰害。升九五云升階，以震為階也，故曰言語以為階。艮為慎密。此與上中孚節，皆演正覆象，而注家無知者。

"The door is not left, there is no blame." Confucius said: calamity arises from taking words as a step. If a ruler is not cautious in secrecy, he will lose his ministers; if a minister is not cautious in secrecy, he will lose his life; if anything is not cautious in secrecy, it will lead to disaster. Therefore, the gentleman is cautious and silent, not speaking lightly. This is the line statement of the first line of the "Gai" hexagram. The second to fifth lines of the "Gai" hexagram also form one positive and one inverted "Zhen" trigram, so it is said "words"; and "Dui" represents mouth and tongue, the second to fourth lines are the positive "Zhen" trigram, which is the main speaker, while the third to fifth lines are the inverted "Zhen" trigram, like speaking and then regretting, so it is said "not being secret." "Zhen" represents the ruler, "Gen" represents the minister and the body, "Dui" represents destruction, so it is said "loss," said "harm." The "Sheng" hexagram's ninth line at the fifth says "ascending steps," which is using "Zhen" as a step, so here it is said "words as a step." "Gen" represents being cautious and silent. This section and the previous one on "Zhongfou" are both explaining the positive and inverted images, but no commentator has ever understood this.

子曰，作易者其知盜乎。易曰負且乘，致寇至。負也者小人之事也，乘也者君子之器也，小人而乘君子之器，盜思奪之矣。上慢下暴，盜思伐之矣。慢藏誨盜，冶容誨淫。易曰負且來，致寇至，盜之招也。解六三爻辭。坎為盜，為寇；艮為背，故為負；上卦震為覆艮，故曰負。坎為車，六三下據坎，故曰負且乘。古在上之君子，方得乘車，故曰君子之器；若負戴則小人之事也。今而乘車，是君子也，乃又負戴，是以君子而行小人之事，故致寇至。震為言，故曰誨。

Confucius said: The person who composed the Zhou Changes must have understood the psychology of thieves. The Book of Changes says, "Carrying burdens and riding in a carriage, thieves will come." Carrying burdens is the work of a petty person, while riding in a carriage is the tool of a gentleman. A petty person now rides in a gentleman's carriage, so thieves will come to seize his belongings. If those in authority are lazy and those below are cruel, thieves will come to attack them. If one is careless in guarding property, it is as if one is teaching others to steal; if one is dressed in a seductive manner, it is as if one is inviting others to commit lustful acts. The Book of Changes says, "Carrying burdens and riding in a carriage, thieves will come," which is a case of one inviting thieves. This is the line statement of the sixth line in the third position of the Xie hexagram. The Kan trigram represents thieves and bandits; the Gen trigram represents the back, so it takes the image of "carrying on the back." The upper trigram Zhen is an inverted Gen, so it is said to be "carrying." The Kan trigram represents a carriage, and the sixth line in the third position is located below the Kan, so it is said to be "carrying and riding." In ancient times, only those in superior positions could ride in carriages, so it is said "the tool of a gentleman." Shouldering and carrying burdens, however, is the work of petty persons. Now that one is riding in a carriage, one is a gentleman, yet one is still carrying burdens, which is using the status of a gentleman to perform the work of a petty person, thus inviting thieves. The Zhen trigram represents speech, so it is said "teaching."

於鬯云，招者射之的也。呂氏春秋本生紀云，萬人操弓，共射其一招，高注云，招墩的也。又盡數紀云，射而不中，反攸於招，注，反修其標的，畢校云，招一作的。按的的同，說卦的顙，說文作的顙，是其證。面的古音勺，與招聲近，故通用。盜之招即盜之的，言負且乘與盜以的也。虞翻命二變成艮，取艮手釋招義，非。冶，釋文鄭陸虞姚作野，言妖野容儀。愚謂冶野音義並同，故通用。漢學家必謂野是，非也。

Yu Chang said, "ZhaO" means the target of an archer. The "Ben Sheng" section of the "Lüshi Chunqiu" says, "Ten thousand people hold bows and shoot at one ZhaO," and Gao Yu's commentary explains that "ZhaO" refers to the target. The "Shu Nu" section says, "If one shoots and misses, he should return to correct his ZhaO," and the commentary explains that this means returning to correct one's own target. Bi Yuan's collation notes that in some versions, "ZhaO" is written as "De." According to the original pronunciation, "De" and "Ní" were once the same character. The "Shuo Gua Zhuan" writes "De Sang," while the "Shuo Wen Jie Zi" writes "Ní Sang," which is clear evidence. The ancient pronunciation of "De" was similar to "Shao," so the two characters were interchangeable. "Dao ZhaO" means "Dao De," meaning to carry goods while riding a carriage, which is equivalent to setting up a target for thieves. Yu Fan's explanation that the sixth line in the third position changes to Gen, taking Gen as the hand to explain "ZhaO" as waving the hand is incorrect. The character "Yě," according to the "Jingdian Xishu," is written as "Ye" in the versions of Zheng Xuan, Lu Ji, Yu Fan, and Yao Xin. It refers to a wild and alluring appearance. I believe that "Yě" and "Ye" have the same sound and meaning, so they can be used interchangeably. If Han scholars insist that it must be "Ye," then that is incorrect.

大衍之數五十，其用四十有九。分而為二以象兩，卦一以象三，揲之以四以象四時，歸奇於力力（左手）以象閏，五歲再闖，故再而後卦。此言煤蓍之法，並用數之根本也。凡占必極數，方能知來。五者生數之極，不能再生。又一二三四五五數皆無偶，於是由五加一為六，以與一偶；加二為七，以與二偶；加三為八，以與三偶；加四為九，以與四偶；加五為十，以與五偶。故十者成數之極，不能再加。衍鄭云演也，乾雲合也，蜀才云廣也。五十既為極數，故大衍以此為本也。

The number of "Great Transformation" is fifty, but only forty-nine stalks of yarrow are actually used. First, they are randomly divided into two groups, symbolizing the two principles of Heaven and Earth. Then one stalk is taken out and hung aside, symbolizing the three elements of Heaven, Earth, and Humanity. Next, the stalks are counted in groups of four, symbolizing the four seasons of spring, summer, autumn, and winter. The remaining stalks are placed between the fingers, symbolizing the leap month. Since there are two leap months in five years, the process of placing the remaining stalks between the fingers is repeated twice to form one line of the hexagram. This passage explains the method of divination using yarrow stalks, as well as the fundamental principles of using numbers. Any divination must push the numbers to their extreme to foresee the future. Five is the peak of the "primary numbers" and cannot be further generated. Moreover, the numbers one, two, three, four, and five do not have corresponding pairs. Therefore, adding one to five gives six, which pairs with one; adding two gives seven, which pairs with two; adding three gives eight, which pairs with three; adding four gives nine, which pairs with four; and adding five gives ten, which pairs with five. Thus, ten is the peak of the "completed numbers" and cannot be further added. The character "衍" is interpreted by Zheng Xuan as "deduction and inference," by Gan Bao as "convergence," and by Shu Cai as "vastness." Since fifty is the extreme number, "Great Transformation" takes it as its foundation.

太玄玄圖云，一與六共宗，二與七共朋，三與八成友，四與九同道，五與五相守，正五十也。孔子曰五十以學易，正謂此也。然五十居生數成數之極，極則窮故不用之，用五十之次數四九。由四十九方能衍出六七八九，然六七八九之生，仍由於一二三四。虛一用一也，分二用二也，掛一用三也，象四用四也。揲餘不一則二，不三則四，本一二三四，衍出六七八九。而六七八九，無不含五，十仍五也，非果不用也，此所以為大衍也。

Yang Xiong's "Tai Xuan · Xuan Tu" says: One and six share the same origin, two and seven are companions, three and eight are friends, four and nine are on the same path, and five and five remain together—these numbers add up to fifty. Confucius said, "At fifty one begins to study the Book of Changes," referring precisely to this number. However, fifty is at the peak of the generated numbers and the completed numbers, and when one reaches the peak, it is exhausted, so it is not used. Instead, the number forty-nine, which is one less than fifty, is used. From forty-nine, one can derive six, seven, eight, and nine; yet the origin of six, seven, eight, and nine still depends on one, two, three, and four. Leaving one uncounted is using "one"; dividing into two groups is using "two"; hanging up one is using "three"; counting in groups of four is using "four." Each time counting, the remainder is either one or two, or three or four, based on one, two, three, and four, from which six, seven, eight, and nine are derived; and within six, seven, eight, and nine, there is always five. The "ten" is actually five, not truly discarded. This is the meaning of the term "da yan."

象兩者天地也。掛一者，別以一策掛於左手之小指。象三者三才也。揲之以四，謂每揲四策，一策象一時也。奇者揲餘之策，虞翻云，不一則二，不三則四也。力（左手）馬云指間，范望云，並之於兩手指間。歸奇於力（左手）者，言將揲左揲右之所餘，並掛一，統歸於兩小指間，以為一力（左手），即一變也。一變既已，將過揲之策合之，如式再分掛諜，併力（左手）之於次小指間，以為二變。二變既已，仍公正策，如式再分掛揲，併力（左手）之於有三指間，閃為三變，故曰再力（左手）。再者相續之詞，至三力（左手）則卦矣，故不言三力（左手）。

"The 'two images' symbolize Heaven and Earth. 'To hang one' means to take another stalk of yarrow and hang it on the tip of the left little finger. 'The three images' symbolize the three elements of Heaven, Earth, and Humanity. 'To count by fours' means to count the stalks in groups of four each time, with each stalk representing a season. 'The odd number' refers to the remaining stalks after counting. Yu Fan says that it is either one or two, or three or four. The term 'tuo' is explained by Ma Rong as the space between fingers, while Fan Wang says it refers to pinching the stalks between two fingers. 'To return the odd stalks to the tuo' means to gather the leftover stalks from the left and right hands, along with the one previously hung on the left little finger, and place them between the tips of the left little finger and the next finger, forming one 'tuo,' which completes one 'change.' After completing one change, the counted stalks are gathered again and the process is repeated: dividing, hanging, and counting again, with the leftovers placed between the next finger, forming the second 'tuo.' After the second change, the stalks are gathered again and the process is repeated once more, with the leftovers placed between the third finger, forming the third 'tuo.' The term 'again' indicates a continuation; when the third 'tuo' is formed, the lines are drawn, so it is not called 'third tuo.'"

三變既畢，視每變所餘策數，少則四，多則八。如三變皆少數，則三四十二策，合掛十一策，共十三策，則正策為三十六，四數之得九，賈公彥周禮太卜疏所謂三少為重，為九，為老陽也。如三變比多數，則三八二十四策，合掛一共二十五策，則正策為二十四，四數之得六，賈公彥所謂三多為交，為六，為老陰也。

After three transformations, look at the number of remaining yarrow stalks for each transformation: the smaller number is four, and the larger number is eight. If all three transformations are small, then three fours make twelve, plus the one hanging stick, totaling thirteen. The main bundle of yarrow stalks then has thirty-six remaining, and dividing by four gives nine, which is what Jia Gongyan said in his commentary on the "Rites of Zhou · Tai Bu" regarding "three smalls" resulting in nine, which is "old yang." If all three transformations are large, then three eights make twenty-four, plus the one hanging stick, totaling twenty-five. The main bundle then has twenty-four remaining, and dividing by four gives six, which is what Jia Gongyan said regarding "three larges" resulting in six, which is "old yin."

如三變兩多一少，則為二十策，合掛一共二十一策，則正策為二十八，四數之得七，賈公彥所謂兩多一少為單，為七，為少陽也。如三變兩少一多，則十六策，合掛一共十七策，則正策為三個二，四數之得八，賈公彥所謂兩少一多為拆，為八，為少陰也。

If among the three transformations there are two instances of many and one of few, leaving a total of twenty remaining sticks, and adding the one hanging stick makes twenty-one, then the remaining main sticks are twenty-eight. Dividing by four gives seven, which is what Jia Gongyan referred to as 'two many and one few as single,' resulting in seven, which is 'Less Yang.' If among the three transformations there are two instances of few and one of many, leaving a total of sixteen remaining sticks, and adding the one hanging stick makes seventeen, then the remaining main sticks are thirty-two. Dividing by four gives eight, which is what Jia Gongyan referred to as 'two few and one many as split,' resulting in eight, which is 'Less Yin.'

求七八九六之法既得，三變後視所得而畫於版，故曰再力（左手）而後卦。卦者掛也，說文掛畫也，言畫其所得之一爻於版也。閏者一歲之餘，左傳文元年，履端於始，歸餘於終，歸餘於終，與歸奇於力（左手）同也。每月必有閏，至年終而計其餘，大率一年閏十日。每揲必有奇，至一變終而並歸於力（左手）。天時積至五歲，約盈五十餘日，閏二月以為結束。

The method for obtaining the numbers seven, eight, nine, and six has now been understood. After three changes, the obtained numbers are used to draw the lines on the wooden tablet, hence it is said, "After handling the remainder, the hexagram is formed." "Guà" means "to hang," as explained in the "Shuo Wen Jie Zi," which states that "guà" refers to making marks, meaning drawing the obtained line on the tablet. "Rùn" refers to the extra days in a year. The "Zuo Zhuan" mentions in the first year of Wen Gong that "begin with the beginning and return the excess at the end," and "returning the excess at the end" is the same principle as "returning the remainder to the handle." Each month has some excess, and by the end of the year, these excesses are totaled, approximately adding ten days to a year. Each time one divines with yarrow stalks, there is some remainder, and at the end of one change, these remainders are combined into the handle. The excess from the heavenly time accumulates over five years, approximately adding fifty days, hence two months are added as a leap month to conclude.

揲蓍力（左手）一變之餘，二變之餘，至第三變再力（左手）之，併合前力（左手），總計其數，視所得而畫出一爻，以為結束，故曰再而後卦也。虞氏云，初力（左手）掛於小指間，再力（左手）掛於次小指間，三力（左手）掛於第三指間。必掛於指間者，須知古人多立筮，又無高几憑撫，以存放蓍策，故必暫掛於指間，以待三變之終也。

When divining with yarrow stalks, the leftover stalks from the first change are held between the fingers, then the leftover stalks from the second change are also held between the fingers, and finally, after the third change, the leftover stalks are held between the fingers once more. These are combined with the previous two sets, and the total number is used to draw one line, completing one round of divination. This is why it is said, "After taking the leftover stalks again, the hexagram is formed." Yu Fan said: the first set of leftover stalks is held between the little finger, the second between the next finger, and the third between the third finger. Why must they be held between the fingers? It is because ancient people mostly divined while standing, and there were no high tables to rest the yarrow stalks on. Therefore, they had to temporarily hold the stalks between their fingers, waiting until the three changes were completed.

卦從京氏，實虞氏曰，則布掛之一爻，虞亦作卦，掛字皆後人妄改。卦掛本通，孔疏引易緯云，卦者掛也，言懸掛物象以示人也。而掛與掛尤通，惟掛為後出之字，故每以卦訛掛。求爻之法，至再力（左手）而後卦已畢。後人誤以揲左為初，揲右為再力（左手），因疑卦為二變之掛一，改卦為掛。誠如是，是求爻之法未竣也，未竣人胡能明。且揲半不能謂為一力（左手）謂為一力（左手），則一變終也。

The character 「卦」 follows Jing Fang's version. In fact, Yu Fan said 「then the one line is hung」, and the Yu edition also wrote it as 「卦」. Those places where it was written as 「挂」 were later alterations by others. 「卦」 and 「挂」 were originally interchangeable. Kong Yingda's commentary cites the "Yi Wei" saying 「卦 means to hang」, meaning to hang up the image of things for people to see. 「挂」 and 「掛」 are especially interchangeable, but since 「掛」 is a later character, 「卦」 is often mistakenly written as 「挂」. The process of seeking a yao is completed at 「again handling and then hanging」. Later people mistakenly thought that counting the pile in the left hand was the first time, and counting the pile in the right hand was the second time of handling and hanging, thus doubting that 「卦」 refers to the 「hang one」 in the second change, and changed 「卦」 to 「挂」. If this were true, the process of seeking a yao would not yet be complete. If the process is not complete, how could one determine the yao? Moreover, only counting half of it cannot be considered one 「扐」; since it is called one 「扐」, this indicates that one change has already been completed.

天數五，地數五，五位相得而各有合。天數二十有五，地數三十，凡天地之數五十有五，此所以成變化而行鬼神也。子曰，知變化之道者，其知神之所為乎。易有聖人之道四焉，以言者尚其辭，以動者尚其變，以制器者尚其象，以卜筮者尚其占。是故君子將有為也，將有行也，問焉而以言，其受命也如晌，無有遠近幽深，遂知來物。非天下之至精，孰能與於此。

Heavenly numbers consist of five, and earthly numbers also consist of five. These five sets of numbers are paired together and each has its corresponding combination. The total of heavenly numbers is twenty-five, and the total of earthly numbers is thirty. Altogether, the numbers of heaven and earth amount to fifty-five. Change is thus completed, and ghosts and spirits thus operate. Confucius said: Those who understand the principle of change probably also understand the workings of the divine. The Book of Changes contains four aspects of the sage's way: those who discuss principles value its words, those who act value its change, those who make objects value its hexagrams, and those who divinate value its judgments. Therefore, when a gentleman is about to take action or do something, he consults the Book of Changes and seeks guidance through words. It responds to inquiries swiftly, like an echo, and whether the matter is far or near, deep or shallow, it can immediately know what will happen in the future. If it is not the most subtle thing in the world, who could achieve this?

以上言易之神。釋文，晌亦作響，朱子云，晌古文響字，言易受筮者之命，如響之應聲，而告以來物之吉凶也。參伍以變，錯綜其數，通其變，遂成天地之交，極其數，遂定天下之象。非天下之至變，其孰能與於此。爻數至三，內卦終矣，故曰必變，乾四雲乾道乃革是也，此從三才而言也。若從五行言，至五而盈，故過五必變，乾上有悔，泰上城復于隍是也，故曰三五以變。

The above passage explains the mysterious nature of the Zhou Yi. The Classic Interpretations says that "shang" can also be written as "xiang," and Zhu Xi says "shang" is the ancient form of "xiang." This means that the Zhou Yi accepts questions from diviners about fate, responding like an echo to a sound, informing them of future fortune or misfortune. Through the intermingling and interaction of elements, the numbers are combined, the changes are integrated, and thus the union of heaven and earth is achieved. By exhausting the numbers, the forms of all things under heaven are determined. If it is not the most changeable thing in the world, who could achieve this? When the yao positions reach the third, the inner trigram is completed, so it must change. The line "The way of Qian is to change" in the Qian hexagram expresses this meaning, which is explained from the perspective of the three elements. If explained from the perspective of the Five Phases, when it reaches the fifth position, it is full, so after five it must change. The line "The city returns to the moat" in the Tai hexagram is an example. Therefore, it is said "three and five change."

一二三四，與六七八九同，而陰陽則異，故一與六相錯，二與七相錯，三與人相錯，四與九相錯。綜者來往上下也。數至三而終，終則復始，故三變成一爻；至五而盈，盈則返初，五加一為六，加二為七，加三為八，加四為九，故曰錯綜其數。錯則陰數與陽數相合，相得，故曰成天地之交；綜則陰陽往復，循環不窮，而四象以出。此明易用六七八九之所以然。古今說此者，人執一辭，旋無定解，姑申其本原如此。

The numbers one, two, three, and four belong to the same series as six, seven, eight, and nine, but they differ in their yin and yang attributes. Therefore, one corresponds with six, two with seven, three with eight, and four with nine. "Zong" means to go back and forth, up and down. When counting to three, it reaches the end, and at the end, it begins again, so three changes form one line. When counting to five, it becomes full, and when full, it returns to the beginning. Adding one to five gives six, adding two gives seven, adding three gives eight, and adding four gives nine. This is why it is said "to err and to zong its numbers." "Cuo" means that yin and yang numbers complement each other and harmonize with each other, thus forming the union of heaven and earth. "Zong" means the continuous alternation of yin and yang, which never ends, and from this the four images are produced. This explains why the Zhou Changes uses the numbers six, seven, eight, and nine. Throughout history, those who have explained this passage have each held their own views, and there has never been a definitive conclusion. Here, I will briefly explain its original meaning as above.