The Twenty Volume of Shang's Studies on the Zhou Changes · Explaining the Trigrams

昔者聖人之作易也，幽贊於神明而生蓍，參天兩地倚數。案參兩之說，先儒不同。馬融、王肅並云：天數五，地數五，五位相合，以陰從陽；天得三合，謂一三與五也；地得兩合，謂二與四也。鄭玄云：天地之數備於十，乃參之以天，兩之以地，而倚乇（左言）大衍之數五十也；必三之以天、兩之以地者，天三覆，地二載，必極於數，庶得吉凶之審。虞翻云：謂分天象為三才，以地兩之，立六畫之數。倚，馬融訓依，虞、王訓立。

The Sayings on the Trigrams says: In ancient times, the sage composed the Book of Changes, deeply supporting the functions of the divine and creating the method of divination with yarrow stalks. He derived the divination numbers by taking the heavenly numbers three and the earthly numbers two as models. Shang氏 remarks: Regarding the explanation of "three for heaven, two for earth," previous scholars had different interpretations. Ma Rong and Wang Su both said: The heavenly numbers have five, the earthly numbers have five, and the five positions are paired two by two, with yin following yang; heaven obtains the number three, referring to one, three, and five, while earth obtains the number two, referring to two and four. Zheng Xuan said: The numbers of heaven and earth are complete in ten, so he multiplied the heavenly numbers three by ten and the earthly numbers two by ten, thus deriving the fifty numbers of the Great Derivation; the reason for multiplying heaven by three and earth by two is that heaven has three layers of covering and earth has two layers of bearing, and the numbers must be pushed to their extremes in order to accurately determine fortune and misfortune. Yu Fan said: This is dividing the heavenly phenomena into the three elements, then multiplying them by the earthly number two, thus establishing the six lines of numbers. As for the character "倚," Ma Rong interpreted it as "relying on," while Yu Fan and Wang Su interpreted it as "establishing."

按參兩者乃數之本原。馬王謂一三五為參天，二四為兩地。夫一二三四五乃生數，故數止於五。五數既立，以此為本，加一為六，二為七，三為八，四為九，而蓍數乃出。然則六七八九之成數，皆原於一二三四之生數，故曰倚數，言數皆依此立也。馬王之說是也。

Shang's commentary says: "San" and "liang" are the fundamental principles of numbers. Ma Rong and Wang Su stated that the odd numbers one, three, and five are called "santian" (heavenly numbers), while the even numbers two and four are called "lidì" (earthly numbers). The numbers one, two, three, four, and five are called "shengshu" (generative numbers), so numbers stop at five. Once the number five is established, it serves as the basis: adding one gives six, adding two gives seven, adding three gives eight, adding four gives nine, and these numbers six, seven, eight, and nine used in divination are thus produced. Therefore, these "chengshu" (completed numbers) all originate from the "shengshu" (generative numbers) one, two, three, and four. Hence, the "Shuogua" says "yishu" (relying on numbers), meaning that divination numbers are established based on these. The views of Ma Rong and Wang Su are correct.

天奇地耦。大行五十，兩地也；用四十有九，參天也。分二，兩地；掛一，參天；揲四，兩地；歸奇，參天。三變得三奇，三三而九，參天也；三變得三耦，二三得六，兩地也；三變而兩奇一耦，則為人，兩地也；兩耦一奇則為七，參天也。蓋欲知來，必先極數，而極數之法，必參兩回互，以此為本也。

Heavenly numbers are odd, earthly numbers are even. The number of the Great Transformation is fifty, which represents the image of "two earths." Actually using forty-nine stalks of yarrow is the image of "heavenly trinity." Dividing the yarrow stalks into two groups represents "two earths"; taking one stalk out from the middle represents "heavenly trinity." Counting the stalks in groups of four represents "two earths"; putting the remaining stalks into the fingers represents "heavenly trinity." After three transformations, if three odd numbers are obtained, three times three equals nine, which belongs to "heavenly trinity." If three even numbers are obtained, two times three equals six, which belongs to "two earths." If two odd numbers and one even number are obtained, it is eight (the original text's "person" is likely a mistake for "eight"), which belongs to "two earths." If two even numbers and one odd number are obtained, it is seven, which belongs to "heavenly trinity." In general, if one wants to foresee the future, one must first investigate numbers to their utmost; and the method of investigating numbers must necessarily be based on the mutual use of three and two.

觀變於陰陽而立卦，發揮於剛柔而生支，和順於道德而理於義，窮理盡性以至於命。昔者聖人之作易也，將以順性命之理，是以立天之道曰陰與陽，立地之道曰柔與剛，立人之道曰仁與義。兼三才而兩之，故易六畫而成卦；分陰分陽，迭用柔剛，故易六位而成章。

The Sayings on the Trigrams state: The sages observed the changes of yin and yang and established the structure of the hexagrams. They fully expressed the movement of firmness and flexibility, thus producing the lines of the hexagrams. They made them harmonious with morality and orderly according to principles, thoroughly investigating physical phenomena and fully understanding the nature of things, thus attaining knowledge of the mandate of heaven. In the past, the sages created the Book of Changes to use it for following the principles of nature and destiny. Therefore, they established the principle of heaven as "yin" and "yang," the principle of earth as "flexibility" and "firmness," and the principle of humanity as "benevolence" and "righteousness." They included the three elements of heaven, earth, and humanity, each doubled, so the Book of Changes uses six lines to form a hexagram. These six lines are divided into yin and yang positions, alternating between flexible and firm lines, so the Book of Changes creates order and elegance through six lines.

一三五陽，二四六陰，柔交居陰位，剛爻居陽位，則當位，否則失位，以此為用。虞翻曰：和順謂坤，道德謂乾，以乾通坤謂之理義，以乾推坤謂之窮理，以坤變乾謂之盡性；性盡理窮，故至於命，巽為命也。

Shang氏 explains: the first, third, and fifth lines are yang positions, while the second, fourth, and sixth lines are yin positions; when a flexible line is in a yin position and a strong line is in a yang position, it is called "appropriate position," otherwise it is called "wrong position." The Book of Changes uses this principle. Yu Fan says: "Harmony and order" refers to the Earth (Kun), and "morality and virtue" refers to Heaven (Qian); using Qian to connect with Kun is called "reason and righteousness," using Qian to elaborate on Kun is called "exhausting reason," and using Kun to transform Qian is called "exhausting nature." When nature is fully exhausted and reason is fully understood, one can "reach destiny," and the Wind (Xun) hexagram precisely has the image of "destiny."

天地定位，山澤通氣，雷風相薄，水火不相射，八卦相錯。數往者順，知來者運，是故易逆數也。此先天卦位也。天地定位，言乾位南坤位北也。薄，人也；射，厭也；錯，妗也，交也。言八卦方位，陽錯陰，陰錯陽，無一卦不相對，無一爻不相交也。此純指先天八卦之方位形式，故特申之曰八卦相錯。太玄玄告準說卦者也，玄告云：天地相對，日月相劌，山川相流，輕重相浮。又曰：南北定位，東西通氣，萬物錯處於其中。

The "Say on the Trigrams" says: Heaven and Earth are positioned above and below, mountains and marshes exchange their energies, thunder and wind interact with each other, water and fire do not despise each other, and the eight trigrams intermingle with each other; counting in the order of the past is called following, while reversing to predict the future is called reversing, so the "Book of Changes" is about reversing numbers. Shang's note: this section discusses the positions of the Earlier Heaven Trigrams. "Heaven and Earth being positioned" refers to Heaven (Qian) being in the south and Earth (Kun) in the north. "Bao" means approaching, "she" means despising, and "cuo" means intermingling. It refers to the positions of the eight trigrams, where yin and yang intermingle, and no trigram is without its opposite, nor is any line without mutual interaction. This is purely about the positional arrangement of the Earlier Heaven Trigrams, so it specifically emphasizes that "the eight trigrams intermingle." Yang Xiong's "Tai Xuan" in its "Xuan Gao" section was modeled after "Say on the Trigrams." "Xuan Gao" says, "Heaven and Earth are opposite, sun and moon interact, mountains and rivers flow into each other, light and heavy float upon each other," and also says, "North and South are positioned, East and West exchange energies, and all things intermingle within them."

按天地相對，南北定位，即謂乾南坤北也；日日月相會，東西通氣，謂離東坎西也。天地水火，四正卦也。曰山川相流，輕重相浮，萬物鍺處於其中，即謂四隅卦也，正釋此也。又乾鑿度曰：其位也，天在上，地在下，君南臣北，父坐子伏。易若以坤西南、乾西北為定位，尚得謂天在上、地在下乎？尚得謂君南臣北乎？當然別有所指。

Shang's commentary says: The "Xuangu" states "Heaven and Earth are opposite" and "North and South are fixed," meaning Qian is in the South and Kun is in the North. It says "Sun and Moon meet" and "East and West communicate," meaning Li is in the East and Kan is in the West. Heaven, Earth, Water, and Fire are the four cardinal trigrams. It says "Mountains and rivers flow, light and heavy float, and all things are arranged within them," referring to the four corner trigrams. This is precisely explaining the chapter "Shuogua" in the "Zhouyi." The "Qianzaodu" also says: In terms of direction, Heaven is above, Earth is below, the ruler is in the South, and the subject is in the North, the father sits while the son kneels. If the "Zhouyi" truly takes Kun in the Southwest and Qian in the Northwest as the fixed directions, how could it still say Heaven is above and Earth is below? How could it still say the ruler is in the South and the subject is in the North? Clearly, the directions referred to here must be referring to the Earlier Heaven directions.

乾鑿度又云：天地之道立，山澤雷風水火之象定矣，其散佈用事也，震生物於東方，離長之於南方，兌收之於西方，坎藏之於北方。與下帝出乎震之方位同。夫曰散佈用事，則震東兌西、離南坎北，未用事之先，不在此也明矣。乾鑿度於乾南坤北變為離南坎北之故，言之可謂悉。

The "Qian Zao Du" also says: once the principles of Heaven and Earth are established, the trigrams representing mountains and marshes, thunder and wind, water and fire are also determined. When they spread out and take their respective roles, Zhen (Thunder) in the East generates all things, Li (Fire) in the South causes growth, Dui (Lake) in the West brings about convergence, and Kan (Water) in the North leads to concealment. This corresponds to the section below titled "The Emperor arises from Zhen" which discusses the directions. Since it is said "to spread and take charge," it is clear that the positions of Zhen in the East, Dui in the West, Li in the South, and Kan in the North are their positions after taking charge. Before they took charge, they were not in these directions. This is very clear. The "Qian Zao Du" explains in detail why the direction of Li (Fire) became the South and Kan (Water) became the North, changing from the original Qian (Heaven) in the South and Kun (Earth) in the North.

數往者順，謂四陽卦；知來者逆，謂四陰卦。陽性強健，其動直，自內往外，順行，放日數往者順；陰性斂嗇閉藏，自外來內，逆行，故曰知來者逆。逆，迎也。陽往陰來，自然相遇，相遇然後相交，易道乃成，故曰易逆數也。言陽逆陰，陰逆陽，故能定位、通氣、相薄、不相射也。此仍言八卦相錯之理，相錯故陰陽能相逆，不相錯則陰自陰、陽自陽，胡能相值而相交哉。

"Numbering the past is in the direction of顺," referring to the four yang trigrams: Qian, Zhen, Kan, and Gen; "Knowing the future is in the direction of逆," referring to the four yin trigrams: Kun, Xun, Li, and Dui. Yang is strong and vigorous, moving directly from within outward, which is called顺, hence "Numbering the past is in the direction of顺." Yin is convergent and concealed, moving from outside inward, which is called逆, hence "Knowing the future is in the direction of逆." Here, "逆" means to welcome. Yang moves outward while Yin comes inward, naturally meeting; after meeting, they interact, and the Way of the Book of Changes (易) is established, hence "The Book of Changes is in the direction of逆." This explains that Yang welcomes Yin and Yin welcomes Yang, so the eight trigrams can be positioned, connected, and interact without mutual rejection. This still refers to the principle of the trigrams being opposite to each other: only through opposition can Yin and Yang welcome each other; if they are not opposite, Yin would remain with Yin and Yang with Yang, how could they meet and interact?

雷以動之，風以散之，雨以潤之，日以暄之，艮以止之，兌以說之，乾以君之，坤以藏之。匹耦對舉，與前節位同，不過先六子後父母耳。帝出乎震，齊乎巽，相見乎離，致役乎坤，說言乎兌，戰乎乾，勞乎坎，成言乎又。

The Sayings on the Trigrams state: Thunder is used to move all things, wind to scatter all things, rain to nourish all things, sun to warm all things, mountain to make all things still, lake to bring joy to all things, heaven to rule over all things, and earth to store all things. Shang氏 remarks: Here, pairs are presented in contrast, with the directions the same as in the previous section, but here the six sons' trigrams are mentioned first, followed by the parents' trigrams of heaven and earth. The Sayings on the Trigrams also state: The Emperor departs from the east, arranges in the southeast, meets in the south, works in the west, rejoices in speech in the northwest, fights in the north, comforts in the northeast, and completes in the north. (The character 'again' is a mistake for 'mountain'.)

馬國翰曰：此連山易文，見干寶周禮注引。按此言後天卦位，周易用之，恐人不知，故下節即連山易文，逐字逐句而詳釋其義，並明指其方位，以見與上文所言方位絕不同也。帝，神也，即主宰萬物者也。舊解皆忽略下節乃解釋此節，致此節皆成贅文。來知德曰：此專明六子之功用，然孤陽孤陰不能生物，必依先天卦位，使六子相錯相交，然後能變化既成萬物也。

Ma Guohan said: This passage is from the "Linked Mountains Changes," cited in Gan Bao's "Commentary on the Rites." Shang's note: This passage discusses the Later Heaven卦 positions, which the "Zhou Changes" adopted. To prevent confusion, the next section immediately follows the original text of the "Linked Mountains Changes," explaining each word and sentence in detail, and clearly indicating the positions of each hexagram, thereby showing that it is entirely different from the Earlier Heaven positions mentioned earlier. "Di" refers to a deity, that is, the sovereign of all things. Previous annotations overlooked the fact that the next section is an explanation of this one, leading them to regard this section as redundant. Lai Zhide said: This passage specifically explains the functions of the six sons' hexagrams. However, isolated yang and isolated yin cannot generate all things; they must rely on the Earlier Heaven hexagram positions, allowing the six sons to interact with each other, thus enabling transformation and the generation of all things.

乾健也，坤順也，震動也，巽入也，坎陷也，離麗也，艮上也，兌說也。此言八卦之性情。乾為馬，坤為牛，震為龍，巽為雞，坎為豕，離為雞，艮為狗，兌為羊。此所謂遠取諸物。巽為難，九家云：應八風也，風應節而變，變不失時，難時至而鳴，與風相應。杭辛齊曰：雞善伏。按巽為伏，然上兩解皆未必協，則謂其義至今未明可也。兌為羊，純取其形似，舊解謂羊性狠者非也。

The "Say on the Trigrams" says: The nature of Qian is firm and strong, the nature of Kun is soft and compliant, Zhen is vigorous movement, Xun is concealment and entering, Kan is perilous entrapment, Li is attachment and adhesion, Gen is stillness (the character "上" is a mistake for "止"), and Dui is joy. This discusses the nature and disposition of the Eight Trigrams. It also says: Qian represents a horse, Kun represents an ox, Zhen represents a dragon, Xun represents a chicken, Kan represents a pig, Li represents a pheasant, Gen represents a dog, and Dui represents a sheep. This is what the "Great Treatise" refers to as "taking from distant objects." Shang's note: Xun is taken as a chicken because the "Nine Schools Commentary on the Yi" says that it corresponds to the eight directions of wind. Wind changes with the seasons, changing yet not losing its timing; the chicken crows according to the time, exactly corresponding to the wind. Hang Xinzhai says: the chicken is good at brooding. According to Xun, there is indeed an image of concealment, but both of these interpretations may not be accurate. It is perhaps that the meaning of this image remains unclear to this day. Dui is taken as a sheep purely because the shape of the trigram resembles that of a sheep. Old commentaries that say it is because the sheep is fierce and cruel are incorrect.

乾為首，坤為腹，震為足，巽為股，坎為耳，離為目，艮為手，兌為口。此近取諸身。坎窖也，故為耳；經以兌為耳，皆取其形。舊解謂坎北方屬腎，腎主耳；又謂坎北方主聰，故為耳，皆非。以上二十四象，昔人謂之本象。

The Sayings on the Trigrams states: Qian represents the head, Kun the abdomen, Zhen the feet, Xun the thighs, Kan the ears, Li the eyes, Gen the hands, and Dui the mouth. This is called "taking from the body." Shang's commentary says: Kan has the image of a cave, being concave in the middle, hence it represents the ear; the text of the Zhou Changes also uses Dui to represent the ear, both taking their shape as the basis. Old commentaries say that Kan is located in the north and corresponds to the kidney among the five internal organs, and since the kidney opens to the ear, it is associated with the ear; they also say that Kan in the north governs hearing, hence it is the ear—these are all incorrect. The above twenty-four images of the eight trigrams, including their nature, taking from distant objects and from the body, are called "the fundamental images."

乾天也，故稱乎父；坤地也，故稱乎母；震一索而得男，故謂之長男；巽一索而得女，故謂之長女；坎再索而得男，故謂之中男；離再索而得女，故謂之中女；艮三索而得男，故謂之少男；兌三索而得女，故謂之少女。

The *Say on the Trigrams* says: Qian represents Heaven, so it is called the father; Kun represents Earth, so it is called the mother. The first inquiry yielding a male is called the Eldest Son, which is Zhen; the first inquiry yielding a female is called the Eldest Daughter, which is Xun. The second inquiry yielding a male is called the Middle Son, which is Kan; the second inquiry yielding a female is called the Middle Daughter, which is Li. The third inquiry yielding a male is called the Youngest Son, which is Gen; the third inquiry yielding a female is called the Youngest Daughter, which is Dui.

索，求也。陰與陽互相求，文言曰同聲相應、同氣相求是也。陽求陰得三男，陰求陽得三女，而以初中上三爻為次序，實經之所用不與盡同。如隨以震為小子、艮為丈夫，大過以巽為女妻、以兌為老婦，與此正相反。蓋以二人言，先生者為長，次為幼；而以一人言，則初爻為幼，至上而老矣。此其理除焦氏易林外，餘無知者。易林以兌為老婦，巽為少齊，初讀之皆莫明其義，後乃恍然知其悉本於易也。

"Seeking" means to request. Yin and Yang seek each other, as the "Commentary of the Wenyan" says, "Like sounds respond to each other, and like energies seek each other," which is exactly this meaning. Yang seeks Yin and obtains the three masculine trigrams, Zhen, Kan, and Gen; Yin seeks Yang and obtains the three feminine trigrams, Xun, Li, and Dui. The order of the first line, middle line, and top line determines the order of the elder, middle, and younger. However, the actual usage in the text of the Zhou Changes differs from this. For example, in the hexagram "Following," Zhen is called "the young man" and Gen is called "the husband," while in the hexagram "Great Excess," Xun is called "the young wife" and Dui is called "the old woman," which is exactly opposite to the order of length and youth in the "Commentary on the Hexagrams." This is because, when comparing two people, the one who is born first is the elder and the one born later is the younger; when considering a person's life, the first line represents childhood and by the top line one has already aged. This principle is known only by the Jiao's Forest of Changes. The Forest of Changes takes Dui as the old woman and Xun as the young wife; at first reading, one does not understand their meaning, but later one suddenly understands that they are all based on the Zhou Changes.

朱子謂說卦之象，求之於經亦不盡合。讀哉其有不合，蓋說卦乃自古相傳之象，至周易愈演愈精，故經所用象不盡與說卦同。虞翻等必執說卦以解經，至大過創為二應上、初應五之惡例，以求其合，其誤遂不可言矣。

Zhu Xi said that the images recorded in "Shuo Gua" cannot fully correspond when applied to the texts of the "Zhou Yi". He was indeed correct. This is because the images in "Shuo Gua" are ancient traditions passed down through the ages. By the time the "Zhou Yi" was compiled, the images had become increasingly refined and precise. Therefore, the images used in the classic texts are not entirely the same as those in "Shuo Gua". Yu Fan and his followers insisted on strictly adhering to the images in "Shuo Gua" when interpreting the classics. They even fabricated absurd examples such as "the second line responding to the upper line" and "the first line responding to the fifth line" in the "Da Guo" hexagram, forcing them to fit. Their errors are beyond measure.

乾為天，為圜，為君，為父，為玉，為金，為寒，為冰，為大赤，為良馬，為老馬，為瘠馬，為駁馬，為木果，為龍，為直，為衣，為言。依九家本增，下同。金玉象其純粹。西北不同風，陰寒之地，故為寒冰。乾舍於離，南方火，故為大赤。乾健故為馬。凡物皆有初壯究，故由良馬而老而瘠而駁。木果形皆圜，無他義。其以駁為食虎豹之獸，或又本陸機詩疏謂駁為木，皆非。乾上放為衣。

The Sayings on the Hexagrams state: Qian represents Heaven, roundness, the sovereign, the father, jade, metal, coldness, ice, a bright red color, a good horse, an old horse, a thin horse, a horse of mixed color, the fruit on a tree, the dragon, straightness, clothing, and speech. (The last four symbols—dragon, straightness, clothing, and speech—are added according to the version from the Nine Schools of the Yi Jing. The same applies to the additions for the following hexagrams.) Shang's commentary: Jade and metal are chosen for their pure and refined qualities. Qian is located in the northwest, differing from the winds of other directions, and is thus associated with coldness and ice. Qian is associated with Li (Fire), which is located in the south, hence the association with a bright red color. The nature of Qian is strong and vigorous, hence its association with horses. All things have three stages: birth, maturity, and decline, hence the progression from a good horse to an old horse, to a thin horse, to a horse of mixed color. The shape of fruits on trees is generally round, hence the association with roundness, and there is no deeper meaning. Some people say that "bo" refers to a fierce beast that can eat tigers and leopards, while others, based on Lu Ji's commentary on the Mao Shi (Book of Songs), say that "bo" is a type of tree. Both interpretations are incorrect. Qian is located at the top, hence its association with clothing, as clothing is located above the human body.

坤為地，為母，為布，為釜，為吝嗇，為均，為子母牛，為大輿，為文，為眾，為柄，其於地也為黑，為牝，為迷，為方，為囊，為棠，為黃，為帛，為漿。坤德偏布萬物以致養，故為布。外府注云：布，泉也，凡錢藏者曰泉，行者曰布，取名於水泉，其流行無不偏。按本為水，故象泉布。萬物資地成熟，故為釜。坤閉故吝嗇。不擇而生故為均。坤為牛，地生生不已，今之童牛，不日又生子而為母矣，故為子母牛。萬物依之為本故為柄。坤文故為帛。坤為水，故為漿。

The "Shuo Gu" says: Kun represents earth, mother, cloth, cooking pot, stinginess, equality, a cow with a calf, large cart, ornamentation, multitude, and handle. In terms of earth, it is black; also representing female, confusion, square, bag, skirt, yellow, silk, and soup. (The following figures are added according to the "Jiu Jia Yi" version.) Shang's commentary says: The virtue of Kun spreads throughout all things, providing sustenance, hence it is called "cloth." The Zheng annotation of the "Zhou Li · Wai Fu" says: "Cloth" refers to money, which is also called "spring water." Money stored is called "spring," and when it circulates, it is called "cloth," named after spring water, because it flows everywhere. Since Kun originally has the image of water, it can be associated with spring and cloth. All things rely on earth to mature, hence it is called "cooking pot." The nature of Kun is to conceal, hence it is called stinginess; it does not discriminate and nurtures all, hence it is called equality. Originally, Kun represents a cow, and the earth continuously produces, now it is a cow with a calf, soon it will give birth again and become a mother cow, hence it is called "mother cow with a calf." All things take earth as their foundation, hence it is called "handle." Kun has ornamentation, hence it is called silk. Kun has the image of water, hence it is called soup.

震為雷，為龍，為玄黃，為敷，為大塗，為長子，為決躁，為蒼茛竹，為萑葦；其於馬也為善嗚，為弓（左下？）足，為作足，為的顙；其於稼也為反生，其究為健，為蕃鮮，為玉，為鵠，為鼓。龍馬（右龍）通，而馬（右龍）與龍通。說文龍，多毛犬也。鄭作龍，雲取日出色；虞作馬（右龍），雲蒼色。案周禮秋官犬人，掌犬牲，凡幾珥沈辜用馬（右龍），注：故書馬（右龍）作龍。疏：雜色牲，即雜色犬牲也。又春官牧人職用馬（右龍），御史職馬（右龍）車，注皆云故書馬（有龍）作龍，是馬（右龍）古作龍。清儒依虞說，多從馬（右龍），豈知龍馬（右龍）音同通用，龍即馬（右龍），非誤字也，特詁為龍或只詁為雜色，不詁為犬牲則誤耳。

The "Say on the Hexagrams" says: Zhen represents thunder, dragon, the colors green and yellow, blooming flowers, a broad road, the eldest son, decisiveness and restlessness, dark green bamboo, and reeds; regarding horses, it represents a horse that is good at making sounds, a horse with white on the left hind leg, a horse that raises its front legs, and a horse with a white spot on its forehead; regarding crops, it represents inverted growth. Its ultimate image is strength and vigor, also a fence, rarity, jade, a swan, and a drum. (The final images are added according to the version from the Nine Schools of the Yi Jing.) Shang's commentary says: "Dragon" and "Long" are interchangeable, and "Long" is also interchangeable with "Meng." The "Shuowen" says that "Meng" refers to a dog with much fur. Zheng Xuan's version uses "Dragon," saying it refers to the color at sunrise; Yu Fan's version uses "Meng," saying it refers to the color of dark blue. Examining the "Zhou Li · Autumn Official · Dog Person," who is in charge of dog sacrifices, all the rituals such as the ritual of blood sacrifice, the submerged sacrifice, and the sacrificial offering of guilt use "Meng." Zheng Xuan's commentary says that the old version wrote "Meng" as "Dragon." Jia's commentary says that it refers to a mixed color animal, that is, a mixed color dog sacrifice. Also, in the "Spring Official · Herdsman," the text uses "Meng," and in the "Inspector" text, there is "Meng carriage," and Zheng Xuan's commentary says that the old version wrote "Meng" as "Dragon." This shows that the character "Meng" was originally written as "Dragon" in ancient times. Scholars in the Qing dynasty followed Yu Fan's view and mostly wrote it as "Meng," but they did not know that the characters "Dragon" and "Meng" are pronounced the same and are interchangeable. "Dragon" is actually "Meng," not a wrong character. However, if we only interpret it as dragon or only interpret it as mixed color, but not interpret it as dog sacrifice, that is the mistake.

又易林決（左無）之屯云：龍吠有威，行者留止。巽寡髮，震多毛，震為威，為鳴，故為龍，是鄭讀與焦同。敷，干寶敷為花貌，易林亦以震為花，此象卦形，餘說皆誤。九家雲蒼茛，青也。震為周為虛，歸妹上六承虛筐也。竹與崔葦皆有節，下陽象之，上二陰象其圓而中空。馬足白為馬（？），陽在下故足白。的顙，白顛也。初陽生，故曰反生。

Shang's commentary says: In "Jiao's Forest of Changes · Gua to Tun," it says, "The dragon barks with authority, the traveler stops or stays." Here, Xun represents a sparse-haired animal, and Zhen represents a hairy one. Zhen also represents authority and sound, so it takes the image of a dog with many hairs called "mang" to explain "bark." This shows that Zheng Xuan's interpretation is the same as Jiao Yanshou's. The character "fu" is interpreted by Gan Bao as the appearance of blooming flowers. "Forest of Changes" also takes Zhen as flowers, based on the shape of the Zhen trigram. Other interpretations are incorrect. The "Nine Schools Commentary on the Changes" says "cang lang" refers to the color green. Zhen has the image of surrounding and emptiness. In "Gui Mei" upper sixth, "bearing an empty basket" takes this image. Bamboo and canes have nodes; the lower one yang represents the node, and the upper two yin represent its round and hollow shape. A white mark on the left hind hoof of a horse is called "zhu." Since Zhen has one yang at the bottom, it represents the white hoof. "De sang" refers to a white spot on the forehead. The first line has the beginning of one yang, breaking through the covering yin above, so it is said to "reverse into life."

宋衷曰：陰在上，陽在下，故為反生，謂集豆之類皆戴甲而生。按來注最為精切，格物微，取象之妙人微，而經生知之者寡。陽息至三，乾健；反覆成巽，龔為垣庸，故為蕃。蕃藩通，詩小雅營營青蠅、止於蕃是也。巽為寡，故為鮮，詩終鮮兄弟，傳：鮮，寡也。玉色白或青，故為玉。有謂為王之訛者，證以易林象非也。鵠鶴古通。為聲音故為鼓。

Song Zhong said: When a yin line is on top and a yang line is below, it is called "reverse birth," referring to seeds such as beans that grow upward from the shell. Shang said: Lai Zhide's commentary is most precise. He thoroughly examines things and his use of imagery is subtle. Unfortunately, few scholars of the classics are aware of this. The trigram Zhen (Thunder) has one yang line that generates the trigram Qian (Heaven) when it reaches the third line. Qian is characterized by strength and vigor, so it is said "its ultimate nature is strength." When Zhen is reversed, it becomes Xun (Wind), which represents walls, hence "fan." "Fan" is also synonymous with "fan," as seen in the poem "Xiao Ya" "Yingying Qingying, Zhi Yu Fan." Xun represents fewness, hence "xian." In the "Book of Songs," "Zhong Xian Xiongdi," the commentary by Mao says "xian means few." Jade is either white or green, hence it is called jade. Some say "yu" is a mistaken form of "wang," but by referring to the imagery in the "Yi Lin," we can see that this is not the case. "Hu" and "he" were once considered the same in ancient times. Zhen represents sound, hence it is associated with the drum.

巽為木，為風，為長女，為繩直，為工，為白，為長，為高，為進退，為不果，為臭；其於人也為寡髮，為廣顙，為多白眼，為近利市三倍；其究為躁卦，為楊，為鸛。陸績云：風，士氣也，巽坤之所生，故為風，故易林亦以坤為風。巽柔故為繩，巽風故直。工，說文巧飾也，象人有規 。徐楷（左金）曰：為巧必遵規 法度，然後為工。按巽為順，能順規 ，遵循法度，故為工。風可進可退，故不果，經屢以巽為疑，同此也。臭，氣也，風散則氣至，故為臭。巽隕落，故寡髮；震為髮，反巽故寡髮。廣顙取上二陽象。多白眼，按離為目，中爻陰，黑睛，上下陽目中之白；今二陽皆在上，睛伏在下，故多白眼。利市三倍，似取流通，或取人義。究為震，故曰躁卦。

The *Shuo Gua* says: Xun represents wood, wind, the elder daughter, a rope, craftsmanship, white color, length, height, movement forward and backward, indecisiveness, and smell. In terms of people, it represents sparse hair, a broad forehead, many white eyes, and profit that is three times the usual. Its ultimate image is the restless hexagram, also representing the willow tree and the stork. (The last two images are added according to the *Jiu Jia Yi* version.) Shang's commentary says: Lu Ji said that wind is the qi of earth, and Xun is born from Kun, so it is wind. Therefore, the *Yi Lin* also takes Kun as wind. Xun is flexible, so it represents a rope. Xun is wind, and wind moves straight without bending, so it represents straightness. "Craftsmanship" is explained by the *Shuo Wen* as skillful decoration, with the character's form resembling a person holding a compass and square. Xu Kai said that to make something skillful, one must first follow the rules and standards, and only then can it be called craftsmanship. According to Xun's meaning of obedience, it can follow rules and standards, so it represents craftsmanship. Wind can move forward or backward, so it is indecisive; the text repeatedly uses Xun to represent doubt, which is the same principle. "Smell" refers to the scent, and wind disperses the scent, so it represents smell. Xun has the image of falling, so it represents sparse hair; Zhen represents hair, and Zhen reversed is Xun, so Xun represents sparse hair. "Broad forehead" takes the image of the two upper yang lines. "Many white eyes": Li represents the eye, the middle line is yin, representing the black pupil, and the upper and lower yang lines represent the white part of the eye; Xun has two yang lines above, with the black pupil below, so there is more white in the eye. "Profit three times the usual" seems to take the meaning of wind's circulation, or the meaning of Xun as "entering." Xun ultimately transforms into Zhen, so it is called the restless hexagram.

坎為水，為溝瀆，為隱伏，為矯，為弓輪；其於人也為加優，為心病，為耳痛，為血卦，為赤；其於馬也為美脊，為亟心，為下首，為薄蹄，為曳；其於輿也為多青，為通，為月，為盜；其於木也為堅多心，為宮，為律，為可，為棟，為叢棘，為狐，為蒺藜，為桎梏。為隱伏，為憂，為心病，為美脊，為亟心，為通，為堅多心，皆以陽在陰中而取象。以乾闢坤，故為溝讀。曲者使直為矯，直者使曲為，水性可曲可直也，可曲故可為弓輪。水在地，猶人之有血。乾大赤，坎得乾之中爻，故亦為赤。月者水之精，故坎為月。為憂故下首，下首猶低頭也。坎隱伏，故為盜。坎為屋極，故為宮，為棟。坎陽在中，健而直，故為棘，為蒺藜。坎陽陷朋中，不能移動，如法律之固定，如桎梏之在手足，故為法律，為桎梏。

The Sayings on the Hexagrams say: Kan represents water, ditches, concealment, correction, bows and wheels; in relation to humans, it represents sorrow, heart disease, ear pain, the blood hexagram, and red color; in relation to horses, it represents a beautiful back, a quick temper, a drooping head, thin hooves, and difficulty in moving; in relation to vehicles, it represents many calamities; it also represents communication, the moon, and theft; in relation to wood, it represents hard wood with a central core; it also represents buildings, laws, approval, beams, thorny brambles, foxes, thorned weeds, and restraints. (The following interpretations are added according to the version of the Nine Schools of the Yi Jing.) Shang's commentary: Concealment, sorrow, heart disease, a beautiful back, a quick heart, communication, firmness with a central core, all these images are derived from the situation where one yang line is embedded within two yin lines. Since Qian (Heaven) yang opens up Kun (Earth) yin, it becomes ditches. Making a bend straight is called 'correcting,' making a straight line bend is called 'flexing,' and water can be both curved and straight. Since it can be curved, it can represent bows and wheels. Water in the earth is like blood in the human body. Qian represents great red, and Kan receives the middle line of Qian, so it also represents red. The moon is the essence of water, so Kan represents the moon. Sorrow causes one to lower the head, so it is 'lowering the head,' which means lowering the head. Since Kan is concealed, it represents theft. The image of Kan resembles the peak of a roof, so it represents buildings and beams. The single yang line in Kan is central, strong, and upright, so it represents brambles and thorned weeds. The yang line in Kan is trapped within the yin lines and cannot move, just like the immovability of laws and the restraints of shackles, so it represents laws and restraints.

離為火，為日，為電，為中女，為甲冑，為戈兵；其於人也為大腹，為乾卦，為鱉，為蟹，為贏，為蚌，為龜；其於木也為科上槁，為牝牛。取火之明，故為日為電。中虛故為大腹。餘象皆取外堅。離中拓故科上槁。經皆以艮為龜，變外堅故。

The Sayings on the Trigrams say: Li represents fire, the sun, lightning, the middle daughter, armor, and weapons; in relation to humans, it represents a large belly; in relation to wood, it represents something hollow in the middle with the top dry and withered, and also represents a mother cow. Shang's commentary says: Fire is taken for its brightness, hence it represents the sun and lightning. The middle line of Li is empty, hence it represents a large belly. The other images such as turtles, crabs, snails, clams, and tortoises are all taken from their hard shells. The middle of Li is split, hence it represents 'the top of the stem is withered.' However, the Classic of Changes takes Gen as the turtle, which is also because of its hard shell.

艮為山，為徑路，為小石，為門闕，為果瓜（雙瓜上草），為閣寺，為指，為狗，為鼠，為黔喙之屬；其於木也為堅多節，為養，為虎，為狐。震為大塗，反之則為徑路。為山，故為石，外堅故也。門闕閽寺皆象形。指能屈伸制物，與手同義，故為指。狗，虞翻雲上已有狗，當為拘字之誤。按構變音句（左金），禮曲禮若僕者降等則自下拘之，注拘取之也。釋文：拘，古侯反。是拘與狗音同，故通用，而其義為取，仍由手取象。狗拘亦猶龍馬（右龍）羊陽之通用，不可謂龍羊之為誤字也。凡經書字如此者，必有其故，詳細推考，自能得其故，不必遽為改字。

The *Shuo Gua* says: Gen represents mountain, narrow path, small stone, gate, fruits, the gatekeeper (hunren and sirren), finger, dog, rat, and the beak of a bird with black color. In terms of wood, it represents hardness and knots; also represents cultivation, tiger, and fox. (The last three images are added according to the *Jiujia Yi* version.) Shang氏 explains: Zhen represents a wide road, and when Zhen is inverted, it becomes Gen, hence representing a narrow path. Gen represents mountain, so it represents stone, taking its outer hardness. Gate, gatekeeper, and sirren are all derived from the shape of the hexagram. The finger can bend and stretch, and can hold objects, which is similar to the hand, hence representing finger. As for "dog," Yu Fan says that the previous text already mentions Gen as representing dog, so this should be a mistake for "jū" (to restrain). According to "jū," which is pronounced like "gōu," the *Liji* says, "If the servant is of lower rank, he should restrain the person below," and Zheng's commentary says, "jū means to take." The *Jingdian Xishu* says, "jū is pronounced as 'gou' in ancient pronunciation." Therefore, "jū" and "gou" have the same sound and are interchangeable. The meaning of "jū" is "to take," which still derives from the hand. "Dog" and "jū" are interchangeable, just as "long" and "nong," and "yang" and "yang" are interchangeable. One cannot say that "long" or "yang" are wrong characters. All such characters in the classics must have their reasons. As long as we examine them carefully, we can certainly find out the reasons, and we should not arbitrarily change the characters.

艮為穴，鼠穴居，故為鼠。黔喙，易林作黔啄。說反喙耶，啄家食也。馬卻皆謂為虎象之屬，實虎約無黔者。茗啄則專屬之鳥，鳥之剛在啄，鳥艮剛在上，故為黔喙。凡鳥之鷙者，無不黔啄，易林以艮為鷹檀（右鳥）雕隼，本此也。剛在外故堅多節。鼻者面之山，故又為鼻。乾為虎，艮得乾上爻，故亦為虎。狐穴居故亦為狐。

Shang's commentary says: Gen represents a cave, and the rat lives in holes, so it is the rat. "Qian zhuo" in the Yi Lin is "Qian zhuo." The Shuowen explains that "zhuo" is the mouth, while "zhuo" refers to a bird's feeding action. Ma Rong and Zheng Xuan both say "Qian zhuo" refers to tigers and leopards, but in fact tigers and leopards do not have black mouths. "Qian zhuo" specifically refers to birds: the hardest part of a bird's body is its beak, and the Gen hexagram's strong line is at the top, so it is "Qian zhuo." All fierce birds have black beaks, which is why the Yi Lin takes Gen as representing the hawk, the zhan, the falcon, and the shun. Since Gen's strong line is on the outside, it represents something hard and jointed. The nose is the prominent part of the face, like a mountain, so Gen also represents the nose. Qian represents the tiger, and since Gen takes the top line of Qian, it also represents the tiger. The fox lives in holes, so it is also represented by Gen.

上經始乾坤，終坎離，而以否泰為樞紐；下經始咸恆，終既未濟，而以損益為樞。其間次序，皆有深意。聖人慮後世妄人或有亂其卦序者，故為此以綰轂之，其意義可不深求也。

The upper part of the Zhou Changes begins with the trigrams Qian (Heaven) and Kun (Earth), and ends with Kan (Water) and Li (Fire), with the hexagrams Pu (Obstruction) and Tai (Peace) as its central points. The lower part begins with Xian (Salting) and Heng (Permanence), and ends with Ji Ji (Completion) and Wei Ji (Non-Completion), with the hexagrams Shen (Loss) and Yi (Gain) as its central points. The order in between contains profound meaning. The sage feared that later generations might disorder the sequence of hexagrams, so he composed the "Xu Gua Zhuan" (Sequence of Hexagrams), like a wheel hub fastening the spokes, to fix the order of the hexagrams. As for the explanations in the "Xu Gua Zhuan" regarding the meanings of the hexagrams, there is no need to seek them too deeply.

有天地然後萬物生焉。盈天地之間者唯萬物，故受之以屯。屯者盈也，屯者物之始生也。物生必蒙，故受之以蒙。蒙者蒙也，物之犀（左禾）也。物釋不可不養也，故受之以需。需者飲食之道也。飲食必有訟，故受之以訟。訟必有眾起，故受之以師。師者眾也。眾必有所比，故受之以比。比者比也。比必有所畜，故受之以小畜。物畜然後有禮，故受之以履。履而泰，然後安，故受之以泰。泰者通也。物不可以終通，故受之以否。物不可以終否，故受之以同人。與人同者，物必歸焉，故受之以大有。大者不可以盈，故受之以謙。有大而能謙必豫，故受之以豫。豫必有隨，故受之以隨。以喜隨人者必有事，故受之以蠱。蠱者事也。有事而後可大，故受之以臨。臨者大也。物大然後可觀，故受之以觀。

After Heaven and Earth were formed, all things came into being. All things are filled within Heaven and Earth, so after the hexagrams of Heaven and Earth, the hexagram of Zhun comes next. "Zhun" means fullness, and also signifies the beginning of all things. When all things first begin, they are necessarily in a state of ignorance, so the hexagram of Meng comes next. "Meng" means ignorance, and also signifies the infant stage of all things. Things in their infancy cannot be left without care, so the hexagram of Xu comes next. "Xu" means the way of food and drink. When there is food and drink, there must be contention, so the hexagram of Song comes next. Contention will inevitably lead to the gathering of people, so the hexagram of Shi comes next. "Shi" means multitude. When people gather, they must have someone to follow, so the hexagram of Bi comes next. "Bi" means to be close to. After being close to others, there must be accumulation, so the hexagram of Xiao Xu comes next. When there is accumulation, then there can be propriety, so the hexagram of Li comes next. Following propriety, and when things are smooth, there is peace, so the hexagram of Tai comes next. "Tai" means smoothness. Things cannot always be smooth, so the hexagram of Po comes next. Nor can things always be blocked, so the hexagram of Tong Ren comes next. Those who can harmonize with others will have all things coming to them, so the hexagram of Da You comes next. Greatness should not be complacent, so the hexagram of Qian comes next. When one is great and yet humble, there must be ease, so the hexagram of Yu comes next. Ease will naturally lead to following, so the hexagram of Sui comes next. Those who follow others with joy will inevitably have affairs, so the hexagram of Gu comes next. "Gu" means affairs. When there are affairs, one can achieve great things, so the hexagram of Lin comes next. "Lin" means great. When things are great, they can be observed, so the hexagram of Guan comes next.

可觀而後有所合，故受之以噬嗑。嗑者合也。物不可以苟合而已，故受之以賁。賁者飾也。致飾然後亨則盡矣，故受之以剝。剝者剝也。物不可以終盡，剝窮上反下，故受之以復。復則不妄矣，故受之以天妄。有元妄然後可畜，故受之以大畜。物畜然後可養，故受之以頤。頤者養也。不養則不可動，故受之以大過。物不可以終過，故受之以坎。坎者陷也。陷必有所麗，故受之以離。離者麗也。離麗者，言一陰麗於二陽之間。

One may observe and then come to a meeting, hence the following of the Hexagram of噬嗑—「嗑」means to join together. Things cannot be hastily joined together, hence the following of the Hexagram of贲—「贲」means ornamentation. When ornamentation reaches its extreme, the way of success is exhausted, hence the following of the Hexagram of剥—「剥」means to peel away. Things cannot ultimately be stripped away, for when peeling reaches the top line, it returns to the lower part to be reborn, hence the following of the Hexagram of复. Returning to the right path avoids delusion, hence the following of the Hexagram of无妄. Without delusion, one can accumulate, hence the following of the Hexagram of大畜. Accumulation allows for nourishment, hence the following of the Hexagram of颐—「颐」means nourishment. Without nourishment, there can be no action, hence the following of the Hexagram of大过. Things cannot always be excessive, hence the following of the Hexagram of坎—「坎」means a pit. Falling into a pit must have something to rely on, hence the following of the Hexagram of离—「离」means to rely on. Shang氏 notes: the saying 「离，丽也」means that in the Hexagram of离, one yao is attached between two yang yao.

有天地然後有萬物，有萬物然後有男女，有男女然後有夫婦，有夫婦然後有父子，有父子然後有君臣，有君臣然後有上下，有上下然後禮義有所錯。夫婦之道（指咸卦）不可以不久也，故受之以恆。恆者久也。物不以久居其所，故受之以豚（左之）。豚（左之）者退也。物不可以終豚（左之），故受之以大壯。物不可以終壯，故受之以晉。晉者進也。進必有所傷，故受之以明夷。夷者傷也。傷於外者，必反其家，故受之以家人。家道窮必乖，故受之以睽。睽者乖也。乖必有難，故受之以蹇。蹇者難也。物不可以終難，故受之以解。解者緩也。緩必有所失，故受之以損。損而不巳必益，故受之以益。益而不已必決，故受之以決（左無）。決（左無）者決也。決必有所遇，故受之以垢。垢（左女）者遇也。

After heaven and earth were formed, all things came into being; after all things came into being, there were men and women; after men and women came into being, there were husband and wife; after husband and wife came into being, there were father and son; after father and son came into being, there were ruler and subject; after ruler and subject came into being, there was a distinction between above and below; after there was a distinction between above and below, the rites and morals had a place to be established. "错" means to arrange. The way of husband and wife (referring to the Hexagram 17, "Xian") cannot be without duration, so after "Xian" comes "Heng" (Hexagram 18), meaning duration. Things cannot remain in one place for long, so after "Heng" comes "Dun" (Hexagram 19), meaning retreat. Things cannot keep retreating forever, so after "Dun" comes "Da Zhuang" (Hexagram 20); since they cannot keep retreating, nor can they keep advancing, so after "Da Zhuang" comes "Jin" (Hexagram 21), meaning progress. Progress inevitably brings injury, so after "Jin" comes "Ming Yi" (Hexagram 22), where "Yi" means injury. If one is injured outside, he must return to his home, so after "Ming Yi" comes "Jia Ren" (Hexagram 23). When the family affairs are in trouble, there will be discord, so after "Jia Ren" comes "Kui" (Hexagram 24), meaning discord. Discord inevitably leads to difficulties, so after "Kui" comes "Jian" (Hexagram 25), meaning difficulty. Things cannot remain in difficulty forever, so after "Jian" comes "Jie" (Hexagram 26), meaning relief. Relief inevitably leads to loss, so after "Jie" comes "Sun" (Hexagram 27), meaning reduction. Reduction without end inevitably turns into increase, so after "Sun" comes "Yi" (Hexagram 28), meaning increase. Increase without end inevitably leads to fullness and overflow, so after "Yi" comes "Guai" (Hexagram 29), meaning decision. After decision, there will be meeting, so after "Guai" comes "Gou" (Hexagram 30), meaning meeting.

物相遇而後聚，故受之以苯。萃者聚也。聚而上者謂之升，故受之以升。升而不已必困，故受之以困。困乎上者必反下，故受之以並。井道不可不革，故受之以革。革物者莫若鼎，故受之以鼎。主器者莫若長子，故受之以震。震者動也。物不可以終動，止之，故受之以艮。艮者止也。物不可以終止，故受之以漸。漸者進也。進必有所歸，故受之以歸妹。得其所歸者必大，故受之以豐。豐者大也。窮大者必失其居，故受之以旅。放而天所容，故受之以巽。巽者人也。入而後說之，故受之以兌。兌者說也。說而後散之，故受之以渙。渙者離也。物不可以終離，故受之以節。節而信之，故受之以中孚。有其信者必行之，故受之以小過。有過物者必濟，故受之以既濟。物不可窮也，故受之以未濟終焉。

Things meet and then gather, so the hexagram "Cui" (Gathering) follows. Gathering and moving upward is called "Sheng" (Rising), so the hexagram "Sheng" follows. Rising without end will inevitably lead to hardship, so the hexagram "Kun" (Obstruction) follows. When obstructed above, one must return to below, so the hexagram "Jing" (Well) follows. The well, over time, must not remain unchanged, so the hexagram "Ge" (Revolution) follows. The most profound change of things is the cooking in the tripod, so the hexagram "Ding" (Tripod) follows. The eldest son is most responsible for the ancestral temple and ritual vessels, so the hexagram "Zhen" (Thunder) follows. "Zhen" means movement. Things cannot continue moving endlessly; they must rest, so the hexagram "Gen" (Mountain) follows. "Gen" means stopping. It is also not possible to remain still forever, so the hexagram "Jian" (Gradual Progress) follows. "Jian" means gradual advancement. Advancing must have a destination, so the hexagram "Gui Mei" (Return of the Maiden) follows. Having a destination leads to growth, so the hexagram "Feng" (Great) follows. "Feng" means great. When greatness reaches its peak, it inevitably loses its dwelling, so the hexagram "Lv" (Traveler) follows. Being a traveler without a place to stay, so the hexagram "Xun" (Wind) follows. "Xun" means entering. Entering brings joy, so the hexagram "Dui" (Joy) follows. "Dui" means joy. Joy must be dispersed, so the hexagram "Huan" (Dispersal) follows. "Huan" means dispersal. Things cannot ultimately be dispersed, so the hexagram "Jie" (Regulation) follows. With regulation, people trust, so the hexagram "Zhong Fu" (Middle Trust) follows. With trust, one must act, so the hexagram "Xiao Guo" (Minor Excess) follows. Having something beyond the ordinary leads to success, so the hexagram "Ji Ji" (Already Achieved) follows. Since things cannot be exhausted, the hexagram "Wei Ji" (Not Yet Achieved) concludes the sequence.

伏羲未定婚禮以前，人皆知有母，不知有父，故曰有夫婦然後有父子。節者符也，以竹為之，各持其一，合之以為信，周禮地官掌節是也。物不可終離，故受之以節，節之用在合，故與離對文。合而符則信，故曰節而信之，全指符節言，舊解皆誤。

Shang's note: Before Fuxi established the rites of marriage, people only knew of mothers and not of fathers, hence the "Xu Gua" says "only after there are husband and wife can there be father and son." "Jie" refers to a symbol or token, made of bamboo, with each party holding half, which could be joined together for verification as a sign of trust. The "Book of Rites · Di Gao" mentions an official called "Zhang Jie," who was in charge of such tokens. The "Xu Gua" says "things cannot remain separated forever, hence it is followed by Jie" — the use of Jie lies in "joining together," so it is paired with "Li" in contrast; when the tokens are joined and match, it is "trust," hence saying "Jie and trust." This entire passage is discussing the token, and all previous interpretations were wrong.

十翼以雜卦終，與山六十四卦以未濟終義同也。蓋六十四卦卦序皆文王所定，其起訖皆有深義，不可動搖。然易道以不窮為義，六十四卦至既濟而六爻定，定則窮矣，故殿以未濟，使之復通。六十四卦，上經始天地，下經始夫婦，此不易者也，故雜卦仍之。而以井困居上經之末，以損益為樞紐；以未濟決（左無）居下經之末，以否泰為樞紐。損益否泰，後先互易，明文王之意先天道後人事，孔子之意先人事後天道也。

The Ten Wings conclude with the "Zagua Transmission," just as the sixty-four hexagrams end with "Wei Ji." The order of the sixty-four hexagrams was established by King Wen, and the beginning and end contain profound meanings that cannot be altered. However, the Way of the Book of Changes is based on non-exhaustion; when the sixty-four hexagrams reach "Ji Ji," all six lines are in their proper positions and stable, and stability signifies completion. Therefore, "Wei Ji" is used to conclude, allowing the energy of the hexagrams to circulate again. The Upper Canon of the sixty-four hexagrams begins with the Heaven and Earth, i.e., Qian and Kun, and the Lower Canon begins with the husband and wife, i.e., Xian and Heng, which is unchangeable, so the "Zagua" still follows this pattern. However, the "Zagua" places "Jing" and "Kun" at the end of the Upper Canon, with "Sun" and "Yi" as the central points; and places "Wei Ji" and "Gua" at the end of the Lower Canon, with "Po" and "Tai" as the central points. The order of "Sun," "Yi," "Po," and "Tai" is reversed, clearly indicating that King Wen's intention was to follow the Earlier Heaven Way first and then human affairs, while Confucius' intention was to start with human affairs first and then the Way of Heaven.

先人事，並取其不窮。困而不失其亨，故以為上經之殿。聽天道，則事之濟不濟命也，剛健果決，自強不息，終焉以赴之耳，故以未濟決（左無）終，仍窮變通久之義也。謂之為雜者，言雜柔（左未）各卦，使上下經互易，不與文王卦序同。非孔子不敢有此改作，亦非孔子無此神化之筆也，彼七十二賢固不敢創制如斯也。以上所言，雜卦殿十翼之義也。

First, it discusses human affairs, while also implying that it is not exhaustive: The hexagram "Gunn" (困) is in a difficult situation yet does not lose its success, so it is placed at the end of the classic text. As for following the heavenly way, whether things succeed or fail is determined by fate; what humans can do is to be strong and resolute, self-reliant, and proceed forward without ceasing, hence using the hexagrams "Wei Ji" (未济) and "Guai" (夬) to conclude. This still reflects the idea of "when exhausted, change occurs; when changed, communication is achieved; when communicated, longevity follows." The reason it is called "Zagua" (杂卦) is that it combines and interweaves various hexagrams, reversing the order of upper and lower sections, differing from King Wen's original sequence. Without Confucius, no one would dare make such alterations; without Confucius, no one would possess such profound and ingenious skill—those seventy-two sages would certainly not dare to create such a system. The above explanation clarifies why "Zagua" is placed at the end of the Ten Wings.

至其所言，必錯綜對舉者何也？以見卦象正則如此，反則如彼也。正象說卦舉其端，說卦所未言者，可類推也，至覆象則無言者。然如大過九五枯楊，人尚知為反巽，獨正覆象相雜，如蒙匪我求童蒙、童蒙求我、初筮告、再三讀、讀則不告，則以二至上，正反震也；如左傳以謙為敗言，則以謙下艮與震相反也；如困曰有言不信，則以三至上，正覆兌也；如震曰婚媾有言，則以二至上正覆震相背也。

As to why the "Zage" (Miscellaneous Hexagrams) necessarily presents things in pairs of opposite meanings, it is to show people that the hexagram can be viewed upright or inverted. The upright hexagram is already introduced in the "Shuogua" (Explanations of the Hexagrams), and what is not mentioned there can be inferred by analogy. However, the inverted hexagram has never been discussed before. For example, in the hexagram "Daguo" (Great Exceeding), the line "Withered elm" (九五) is understood as taking the upper trigram Dui (Lake) inverted to become Xun (Wind), since Xun represents elm. But when the upright and inverted images are mixed together, people do not understand. For instance, the "Meng" (Obstruction) hexagram statement "Not I who seek the naive youth, but the naive youth who seek me; first divination tells, repeated divination is a disgrace, and a disgraced divination does not tell" is derived from the upright Zhen (Thunder) trigram from the second line to the top line and its reverse. Again, the "Zuo Zhuan" (Commentary of Zuo) refers to "Qian" (Humility) as "Failed speech," because the lower trigram of "Qian" is Gen (Mountain), which is opposite to Zhen (Thunder), and Zhen represents speech while the reversed Zhen represents failed speech. Similarly, the "Kun" (Obstruction) hexagram says "Words are not believed," which is derived from the upright and inverted Dui (Lake) trigrams from the third line to the top line. Also, the "Zhen" (Thunder) hexagram says "Marriage and union have words," which is derived from the upright and inverted Zhen trigrams from the second line to the top line, which are opposite to each other.

如中孚曰鶴鳴子和，則以二至五正反震相對，如相應也。鳴鶴在陰者，則以二至五正反民，正則為山陽，反則為山陰也。又六三云或鼓或罷、或泣或歌，則以二至五正反艮震，震則或鼓或歌，艮則或泣或罷也。如此之類，經內甚多，除焦氏易林外，二千年說者無不誤。夫子蓋預知之，故於最後之雜卦申其義。

For example, in the hexagram Zhongfū (Middle Trust), line Nine Two says, "The crane calls in the shade, its young respond in harmony." This refers to the mutual relationship between the correct Zhen (Thunder) and the reversed Zhen in lines Two to Five, as if they are calling and responding to each other. The phrase "the crane calls in the shade" refers to the correct Gen (Mountain) and the reversed Gen in lines Two to Five: when viewed correctly, it is the southern side of the mountain, the mountain's sunny side; when viewed reversed, it is the northern side, the mountain's shady side, the backside. Another example is in Zhongfū, line Six Three, which says, "Sometimes drumming, sometimes stopping; sometimes weeping, sometimes singing." This refers to the correct and reversed Gen and Zhen in lines Two to Five: Zhen represents drumming and singing, while Gen represents weeping and stopping. There are many such examples in the texts, apart from Jiao's Forest of Changes, and for two thousand years, those who interpreted the Yi have all made mistakes. Confucius probably foresaw this, so in his final work, the Za Gua (Miscellaneous Hexagrams), he clarified this point.

乾剛坤柔，比藥師憂。比五雖坎，然當位居尊，故樂；師二人淵，故憂。臨觀之義，或與或求。臨二陽撫臨萬民，有施惠之意，震往，故曰與；反之為觀，則萬民仰五，有乞求之意，故曰求，艮為求也。

The "Zagua" says: Qian is strong and vigorous, Kun is soft and compliant; the "Bi" hexagram represents joy, while the "Shi" hexagram represents sorrow. Shang's commentary says: Although the "Bi" hexagram's Nine in the Fifth is within the Kan trigram, it is in the proper position and holds a noble position, hence it represents joy; the "Shi" hexagram's Nine in the Second is submerged beneath heavy yin, like falling into a deep abyss, hence it represents sorrow. The "Zagua" also says: The meanings of the "Lin" and "Guan" hexagrams are one of giving and one of seeking. Shang's commentary says: The "Lin" hexagram has two yang lines at the lower trigram, with the upper trigram embracing and governing the people, indicating the giving of favors; Zhen in the hexagram also has the image of movement forward, hence it is said to be "giving." When the "Lin" hexagram is reversed, it becomes the "Guan" hexagram, with the people looking up to the Nine in the Fifth, indicating a desire for something, hence it is said to be "seeking," and Gen has the image of seeking.

屯見而不失其居，蒙雜而著。屯二陽皆當位，故不失其居；蒙二陽皆失位，故曰雜，物相雜則文生，故曰著。震起也，艮止也，損益盛衰之始也。震動故起，反則止矣。泰損上一陽以益上，故損為衰之始，再三損則成否；否移上一陽以益下，故益為盛之始，再三益則成泰。

The *Zagua* says: The *Zun* hexagram represents the emergence of yang energy without losing its place, and the *Meng* hexagram represents the mingling of yin and yang, producing brilliant ornamentation. Shang's commentary: In the *Zun* hexagram, both yang lines are in the correct position, so it is said "without losing its place"; in the *Meng* hexagram, both yang lines are out of place, hence called "mingling," and when things are mingled, ornamentation arises, hence "brilliant." The *Zagua* also says: Zhen is movement, Gen is stillness; the *Sun* and *Yi* hexagrams mark the beginning of decline and growth. Shang's commentary: Zhen is active, hence movement; when Zhen is reversed to become Gen, it becomes still. The *Tai* hexagram reduces one yang line from the lower trigram to add to the upper trigram, becoming *Sun*, hence *Sun* is the beginning of decline, and further reduction leads to *Po*; the *Po* hexagram moves one yang line from the upper trigram to add to the lower trigram, becoming *Yi*, hence *Yi* is the beginning of growth, and further increase leads to *Tai*.

大畜時也，無妄災也。王引之云：古時與待通，恐天災至，畜以待飢。人本坤靈圖。無妄互艮，艮為火，故災。焦京皆以無妄為大旱卦，自艮火象失傳，虞氏即不知其義。萃聚而升不來也，謙輕而豫怠也。陽上升，故不來。廉不自滿，故輕；豫自足，故怠。怠虞作怡，按怠怡皆從心，本一字，故古常通用。史記始皇本紀視聽不怠，劉歆烈女贊言行不怠，注並作怡。怡則自足，與謙輕反。

The *Zagua* says: *Daxu* is waiting for the right time, and *Wuwang* is disaster. Wang Yinzhi says: In ancient times, "time" and "wait" were interchangeable, meaning that people feared natural disasters and thus stored grain to prepare for famine. Shang's note: This view is based on the *Kunling Tu*. The *Wuwang* hexagram has the second to fourth lines forming the *Gen* trigram, which has the image of fire, hence it is associated with disaster. Jiao Yanshou and Jing Fang both regarded *Wuwang* as a hexagram of great drought. Since the image of *Gen* as fire, an unusual interpretation, has been lost, Yu Fan no longer understood its meaning. The *Zagua* also says: *Cui* is gathering, and *Sheng* is ascending without return; *Qian* is humility, and *Yu* is laziness. Shang's note: The *Sheng* hexagram has yang energy ascending, hence "not coming back"; the *Qian* hexagram is not full, hence "lightness"; the *Yu* hexagram is self-sufficient, hence "laziness." The character "laziness" was originally written as "yi" by Yu Fan. Since "laziness" and "yi" both have the heart radical and were originally the same character, they were often used interchangeably in ancient times. For example, in *Records of the Grand Historian: The Life of Qin Shi Huang*, "hearing and seeing without laziness" and in Liu Xin's *Lieshizan*, "speech and action without laziness," both annotations use "yi." "Yi" means self-sufficiency, which is exactly opposite to the "lightness" of *Qian*.

噬嗑食也，賁無色也，兌見而巽伏也。頤中有物，故曰食；火在山下，與明夷同，故曰元色；兌陰在上故曰見，巽陰在下故曰伏，故巽亦為盜賊，為寇戎，為豕，與坎同象。隨元故也，蠱則飭也，剝爛也，復反也，晉晝也，明夷誅也。志在隨時，不執其故。廣韻：飭，整備也。蠱則飭者，亂極思治也。爛自垢（左女）始，至剝而極。復則陽反。曰在上故晝。誅，傷也，明傷則夜矣。

The "Zagua" says: "Shike" means to eat, "Ben" means without color; "Dui" means to reveal, "Xun" means to hide. Shang's commentary says: "Yi" has something inside the mouth, so it is called "food"; "Ben" has the fire trigram under the mountain trigram, similar to "Mingyi", so it is called "without color". "Dui" has a yin line on top, so it is called revealing; "Xun" has a yin line at the bottom, so it is called hiding. Therefore, "Xun" also has the image of thieves, bandits, and pigs, similar to "Kan". The "Zagua" also says: "Sui" means to follow without relying on anything, "Gu" means to rectify, "Bo" means to rot, "Fu" means to return, "Jin" means daylight, "Mingyi" means to injure. Shang's commentary says: "Sui" is to follow the right time, not clinging to old ways. The "Guangyuan" says: "Chì means to prepare in order." Saying "Gu" means to rectify is because when chaos reaches its peak, one thinks of governance. Rotting begins with the first yin line in "Gou" and reaches its peak in "Bo". "Fu" is the return of one yang. The "Jin" trigram has the sun on the ground, so it is called daylight. "Zhu" means injury, and when brightness is injured, it becomes night.

並通而因相遇也。並養而不窮故通，困剛掩，陽陷陰中，不通。自乾坤至此仍三十卦，合上經數；自咸恆至決（左無），仍三十四卦，合下經數。咸速也，恆久也，渙離也，節止也。感則無遠近，無弗屆，故事莫速於感；反之為恆，則不速而久。渙者散也，故曰離；反之為節，則合而不離，故曰止。

The "Zagua" says: The hexagram "Well" is about communication, and the hexagram "Obstruction" is about mutual encounter. Shang's commentary says: Well water nourishes people without being exhausted, hence it is called "communication"; the hexagram "Obstruction" has yang lines concealed by yin lines, with yang trapped within yin, hence it is not communicated. Counting from "Qian" and "Kun" up to here makes thirty hexagrams, exactly matching the number of hexagrams in the Upper Classic; counting from "Xian" and "Heng" to "Gua" makes thirty-four hexagrams, exactly matching the number of hexagrams in the Lower Classic. The "Zagua" also says: "Xian" is about quickness, and "Heng" is about duration; "Huan" is about dispersion, and "Jie" is about stopping. Shang's commentary says:sympathetic response does not distinguish between near and far, reaching everywhere, hence there is no action more rapid thansympathetic response. "Xian" reversed becomes "Heng," which does not seek rapidity but longevity. "Huan" means dispersion, hence it is called "separation"; "Huan" reversed becomes "Jie," which gathers and does not disperse, hence it is called "stopping."

解緩也，蹇難也，睽外也，家人內也。緩則和矣，和則易矣，反之則難。睽離女在上卦，故曰外；反之在內，故曰內也。否泰反其類也。陰陽交為類，否陰交陽，泰陽交陰，故曰反。大壯則止，豚（左之）則退也，大有眾也，同人親也。止則不退，反之則退；眾則不親，反之則親。

The Zage says: "Jie is to relieve, Jian is to be difficult; Kui is to be apart, Jiaoren is to be united." Shang's commentary says: Relief is harmonious, and harmony is easy, so when Jie is reversed into Jian, it becomes difficult. Kui has Li as the middle female in the upper trigram, so it is said to be "outside"; when reversed into Jiaoren, Li is in the lower trigram, so it is said to be "inside." The Zage also says: "Po and Tai are each other's opposites." Shang's commentary says: Yin and Yang are of the same kind only when they interact. Po is Yin going to meet Yang, Tai is Yang coming to meet Yin, so their directions are opposite, hence "reverse their kind." The Zage also says: "Da Zhuang is to stop, Duan is to retreat; Da You is to have many, Tong Ren is to be close." Shang's commentary says: To stop is not to retreat, but when reversed into Duan, it becomes retreat; to have many is hard to be close to everyone, but when reversed into Tong Ren, it becomes close.

革去故也，鼎取新也，小過過也，中孚信也。革更改舊有，故曰去故；鼎亨飪待熟，故曰取新；過失也，失刖不信，反之則信。豐多故也，親寡旅也，離上而坎下也。多與寡相反，上與下相反。豐雷電皆至故多，旅互巽為寡，艮為鰥，故親寡。火炎上，水潤下。

The *Zagua* says: *Gé* (Revolution) is removing the old, and *Dǐng* (Tripod) is taking in the new; *Xiǎo Guò* (Minor Excess) is a mistake, and *Zhōng Fú* (Sincere Faith) is trustworthiness. Shang's commentary says: Change is altering the old, so it is called "removing the old"; *Dǐng* is cooking food to make it ready, so it is called "taking in the new"; "excess" is a mistake, and with a mistake one cannot be trusted, hence the reverse becomes *Zhōng Fú*, which is trustworthiness. The *Zagua* also says: *Fēng* (Brightness) is much change, and *Lǚ* (Travel) is close to the few; *Lí* (Fire) goes upward, and *Kǎn* (Water) goes downward. Shang's commentary says: Much and few are opposites, upward and downward are opposites. *Fēng* hexagram has thunder and lightning together, so it is called "much"; *Lǚ* hexagram has the trigram *Xùn* (Wind) in its interacting trigrams, *Xùn* represents few, and *Gèn* (Mountain) represents a widower, so it is called "close to the few." Fire has an upward nature, and water has a downward nature.

小畜寡也，履不處也，需不進也，訟不親也。小畜巽為寡，履者行也，故不處；需險在前，故不進；訟天水違行，故不親。寡則獨處，反之則不處矣；不親則異行，與需之不行，亦正相反。大過顛也，垢（左女）遇也，柔遇剛也。顛隕也，下巽隕落，頂滅澤中，故顛。垢（左女）坤遇乾，乾剛坤柔。

The "Zagua" says: "Xiaoxu" means few and solitary, "Lv" means not settling; "Xu" means not advancing, "Song" means not harmonious. Shang's commentary says: "Xiaoxu" has the upper trigram Xun, which represents solitude; "Lv" refers to walking, hence not settling; "Xu" has a danger ahead, hence not advancing; "Song" has heaven and water opposing, hence not harmonious. Few and solitary means being alone, but "Xiaoxu" reversed into "Lv" no longer means being alone; not harmonious means each going their own way, which is exactly opposite to "Xu" not advancing. The "Zagua" also says: "Daguo" means falling, "Gou" means meeting, is a meeting of softness meeting hardness. Shang's commentary says: "Falling" means falling down, "Daguo" has the lower trigram Xun, which has the image of falling, with the beams collapsing and drowning in the marsh, hence "falling"; "Gou" is a single yin meeting the five yang of heaven, with heaven being strong and earth being soft, hence "soft meeting hard."

漸女歸待男行也，頤養正也，既濟定也。漸陰皆居陽後，故待男行；頤求口食，得養之正；既濟山六爻當位而止其所，故曰定。歸妹女之終也，未濟男之窮也。女終夫家，故以嫁為終。既濟三陽皆比陰，內剛外柔，與泰理同，故不窮；未濟三陽皆居陰前，內柔外剛，與否理同，故窮。程子謂三陽不當位故窮，豈知三女亦不當位，豈獨三男，然而不窮者，以三女皆承陽也。程子謂來之多年，不得其義，後得之於成都箍桶者，蓋託辭也。

The Zage says: The hexagram "Gradual" is about a woman waiting for the man to come and marry her, and the hexagram "Nourishment" is about nourishing what should be nourished. The hexagram "Already Achieved" is about stability. Shang's commentary says: In the hexagram "Gradual," the yin lines are all after the yang lines, so the woman must wait for the man to come first. In the hexagram "Nourishment," the mouth seeks food, thus obtaining the correct way of nourishment. In the hexagram "Already Achieved," all six lines are in their proper positions and are in peace, so it is called "stability." The Zage also says: The hexagram "Return of the Maiden" is about the final return of a woman, and the hexagram "Not Yet Achieved" is about the end of a man's path. Shang's commentary says: A woman ultimately returns to her husband's family, so the marriage is called "final." In the hexagram "Already Achieved," the three yang lines are all close to the yin lines, with inner strength and outer gentleness, which is the same as the hexagram "Great Communication," so it is not an end. In the hexagram "Not Yet Achieved," the three yang lines are all before the yin lines, with inner gentleness and outer strength, which is the same as the hexagram "Obstruction," so it is an end. Cheng Yi said that the hexagram "Not Yet Achieved" is an end because the three yang lines are not in proper positions, but he did not realize that the three yin lines are also not in proper positions, and not only the three yang lines. However, the hexagram "Already Achieved" is not an end because the three yin lines all support the yang lines. Cheng Yi said that he sought this meaning for a long time without success, and later he got it from a barrel-maker in Chengdu. That was probably just an excuse.

決（左無）決也，剛決柔也，君子道長，小人道憂也。沈善登雲：雜卦以乾剛坤柔始，以決（左無）剛決柔，還復為乾終，是舉全易渾成一乾。按此說最得決（左無）卦居終之義。自大過以下，不兩卦反對，宋儒頗疑為錯簡，然曰女之終、男之窮，上下對文，似非錯簡，惟義仍反對。大過死，反之則得養；垢（左女）柔遇剛，反之則剛決柔；漸女有待而行，反之則不待而嫁矣；既濟定，窮則不定。雖不對舉，而義仍反對。虞翻謂大過死，大過下垢（左女），故次以後，上夾故以決終，亦可參考。

The last part of the "Zagua" says: The hexagram "Gua" signifies decision, which is the decisive action of the strong overcoming the weak; the way of the superior man grows, while the way of the inferior man diminishes. Shen Shandeng said: The "Zagua" begins with "Qian is strong and Kun is weak," and ends with "Gua" which signifies the strong overcoming the weak, thus returning to the pure Qian. This is equivalent to presenting the entire Book of Changes as a whole composed of Qian. Shang's comment: This interpretation best captures the purpose of placing the hexagram "Gua" at the end. From "Da Guo" onwards, the hexagrams no longer appear in pairs of opposing ones. The Song scholars doubted whether these were misplaced. However, the phrase "the end of the female" and "the extreme of the male" indicate that the hexagrams are still opposites. "Da Guo" has the image of death, and when reversed it becomes "Yi," which signifies nourishment; "Gou" is the meeting of the soft with the strong, and when reversed it becomes "Gua," which signifies the strong overcoming the soft; "Jian" is the waiting of the woman before proceeding, and when reversed it becomes "Gui Mei," which signifies marriage without waiting; "Ji Ji" is completion, and when exhausted it becomes uncertain. Although these are not presented in pairs, their meanings still oppose and complement each other. Yu Fan said that "Da Guo" signifies death, and since "Da Guo" is followed by "Gou," it is arranged in sequence, with "Gua" above it, so "Gua" is used to conclude the book. His explanation can also be considered.