The Hexagram of Strife

比。吉。原筮，元永貞，無咎。不寧方來，後夫凶。比，親也，輔也。坎坤同舍於子，故曰比。唐以前先天象失傳，故卦名不得解。清毛大可、黃宗義等知之而之認，後學不察，相率以言先天為戒，而自命為漢易。豈知康成注月令，於季夏云：未屬巽辰，又在巽位。巽若不在西南，未能在巽位乎？是先天方位，鄭且明言之。九家注同人云：乾舍於離，與日同居。荀爽注同人云：乾舍於離，相與同居。注陰陽之義配日月云：乾舍於離，配日而居；坤舍於坎，配月而居。已一再言之乎？比之義即以坎坤同居也。

The Hexagram "Comparison" (Bi) says: Auspicious. If divination is done in the outskirts, it indicates great good fortune, longevity, uprightness, and no mistakes. The restless people from all four directions come together in harmony, but the man who lags behind meets misfortune. "Comparison" means to be close and to assist. According to the Earlier Heaven arrangement, the trigrams Kan (Water) and Kun (Earth) share the position of the Zi (Rat) branch, hence the name "Comparison." The Earlier Heaven arrangement was lost before the Tang dynasty, so the meaning of the hexagram is unclear. In the Qing dynasty, scholars like Mao Qilin and Huang Zongxi knew about the Earlier Heaven concept but refused to acknowledge it. Later scholars followed without investigation, treating the Earlier Heaven as a taboo, and claimed to follow the Han dynasty interpretation of the Book of Changes. They did not realize that Zheng Xuan, in his commentary on the "Monthly Orders," mentioned that in the season of late summer, "the Wei branch belongs to Xun, and is located in the Xun position." If Xun is not in the Southwest, how can the Wei branch be in the Xun position? This shows that Zheng Xuan had already clearly stated the Earlier Heaven arrangement. The commentary in the "Nine Schools of the Book of Changes" on the hexagram "Harmony with Others" says, "The trigram Qian (Heaven) resides in Li (Fire), sharing the same position as the sun." Xun Shuang's commentary on the same hexagram says, "The trigram Qian resides in Li, sharing the same position with others." In his commentary on "the meaning of yin and yang matches the sun and moon," he says, "The trigram Qian resides in Li, matching the sun's position; the trigram Kun resides in Kan, matching the moon's position." Isn't this already stated twice? The meaning of the hexagram "Comparison" lies precisely in the fact that the trigrams Kan and Kun share the same position.

原者田也。左傳僖二十八年：原田每每。注高平曰原。周禮太卜原兆注：原，原田也。按古皆井田，每每者，井與井相間之形。坤為拆，象原田，故曰原筮。坎為筮，坤為原，原筮猶言野筮也。曲禮云：外事以剛日。鄭注：外事，郊外之事。儀禮士喪禮筮於兆域，兆域在郊外，即原筮也。而干寶因周禮三卜，一曰原兆，即訓原為卜，可謂大謬。

"The 'original' refers to the fields. The 'Zuo Zhuan' (Commentary of Zuo) from the 28th year of Duke Xi says 'yuan tian meimei,' and the annotation explains that a high and level place is called 'yuan.' The 'Rites of Zhou' (Zhou Li) mentions 'yuan zhao' in the section on the Grand Diviner, and the annotation says 'yuan' is the same as 'yuan tian.' In ancient times, the well-field system was practiced, and 'meimei' describes the shape of one well field following another. 'Kun' has the image of 'che lie' (cracking), resembling the boundary lines between fields, so it is said 'yuan shi' (original divination). 'Kan' represents divination, and 'Kun' represents the original field, so 'yuan shi' means divination in the open fields. The 'Rites of Ceremonial' (Liji) says 'external affairs are conducted on odd days,' and Zheng Xuan's annotation explains 'external affairs' as matters outside the city; the 'Rites of the Gentleman' (Yili) mentions divination at the burial ground, which is located outside the city, hence 'yuan shi.' However, Gan Bao mistakenly interpreted 'yuan' as divination because the 'Rites of Zhou' mentions a type of divination called 'yuan zhao,' which is a significant error."

按周禮太卜掌三兆之法：一曰玉兆，二曰瓦兆，三日原兆。注：言龜兆似玉瓦原之璺鏬。然則原者原田，田必有璺鏬，象龜兆之形，故曰原兆，豈以原為卜乎？故原指坤，於訓卜固非。孔穎達謂原為原究，朱子謂原為再，王夫之謂原為本，俞樾謂原為始、為本，益浮泛不切。故夫說易而不求象，未有能當者也。

According to the "Zhou Li," the Grand Diviner was in charge of three methods of divination through turtle shells: one called Yu Zhaoguang, another Wazhaoguang, and the third Yuan Zhaoguang; the commentary explains that the cracks on the turtle shell resembled jade, tiles, and cracks in a field. Therefore, "Yuan" refers to the field, and since there must be cracks in the field, the shape resembles the cracks on the turtle shell, so it is called "Yuan Zhaoguang." So "Yuan" is not referring to divination. Therefore, "Yuan" refers to Kun. The idea that "Yuan" means divination is originally incorrect. Kong Yingda said "Yuan" means investigation, Zhu Xi said "Yuan" means repeating, Wang Fuzhi said "Yuan" means origin, Yu Yue said "Yuan" means beginning or origin. These interpretations are even more vague and not accurate. It is evident that interpreting the Yi Jing without seeking the meaning of the hexagrams cannot be done accurately.

元謂九五。永貞者永定也。坤為亂，故曰不寧。方，詩小雅方舟為梁，漢書韓信傳云今井陘之道，車不得方軌，注皆訓方為並。方來，謂下四陰並來歸五也。舊解不求卦象，訓方為將、為四方，皆失之。艮為夫，上六獨居艮後，故曰後夫。下四陰皆承陽，獨上六乘陽不順，故凶。此卦因原象、筮象、夫象失傳，故自漢迄今無得解者。

"The 'original' refers to the Nine in the Fifth. 'Eternal sincerity' means enduring stability. 'Kun' has the image of 'confusion,' so it is said 'not peaceful.' The character 'fang' is explained in the 'Book of Songs, Xiao Ya' as 'fang zhou wei liang' and in the 'Book of Han, Han Xin's Biography' as 'jin jing xing zhi dao, che bu de fang gui,' where commentators interpret 'fang' as 'side by side.' 'Fang lai' means the four yin lines below all come together to submit to the Nine in the Fifth. Old interpretations did not seek the hexagram's image, interpreting 'fang' as 'about to' or 'four directions,' which are all incorrect. 'Gen' has the image of 'husband,' and the Sixth at the Top is alone at the back of the Gen structure, so it is said 'the husband who comes later.' The four yin lines below all support the yang lines, but the Sixth at the Top oversteps the yang line and does not follow, hence it is凶 (unfavorable). This hexagram, because the images of 'original,' 'divination,' and 'husband' have all been lost, has not been understood from the Han dynasty to the present."

彖曰：比，吉也；比，輔也，下順從也。原筮元永貞無咎，以剛中也。不寧方來，上下應也。後夫凶，其道窮也。上謂五，下謂四陰。上六居卦之極，故曰道窮。象曰：地上有水，比。先王以建萬國，親諸侯。先王謂五。坤為萬國，國必建侯，坤多故曰諸侯。五南面稱尊，撫臨天下，故王者取以為法。親即比也。

The Commentary on the Judgment says: "Comparison" is auspicious; "comparison" means assistance, with the four yin lines below obeying the nine five. "Original divination, original length, original sincerity, no fault" because the nine five is a strong yang line in the center; "those who are not at peace will come" because there is mutual resonance between upper and lower. "Those who come late will be凶" because its path has reached its end. Here, "upper" refers to the nine five, and "lower" refers to the four yin lines; the upper six is at the extreme position of the entire hexagram, so it is said "the way is exhausted." The Great Image says: water on the earth, this is the image of "comparison." Former kings established myriad states and drew near the feudal lords based on this. "Former kings" refers to the nine five. "Kun" has the image of "myriad states," establishing states necessarily involves granting fiefs to feudal lords; "kun" governs multitude, so it is said "feudal lords." The nine five faces south and rules, overseeing the world, so it is taken as a model by the king. "Drawing near" is "comparison."

初六：有孚比之，無咎。有孚盈缶，終來有它，吉。坎為孚。五為卦主，故亦孚於初而比之。初失位，本有咎，比五故無咎。坤為缶，初居缶之最下，去五雖遠，然坎雨下注，始於四，以次及初，至初而缶盈矣，故曰有孚盈缶。陽性上升，五升上剝，剝窮上反下，則初陽復矣，故曰來；以其有待，故曰終來。有它謂有應於他方也。大過九四曰有它吝，謂應初也；中孚初九曰有它不燕，謂應四也。此兩卦皆有應而皆不吉者，以得敵為害也，故不安，故吝。此曰有它吉者，以陽來反初，當位有應，故吉。

The line statement for the initial line (initial six): Going to attach oneself with sincerity, there is no blame; sincerity fills the jar, finally the yang returns and corresponds with something else, which is auspicious. The trigram "Kan" (Water) has the image of "fu" (sincerity). The nine in the fifth position is the main element of the entire hexagram, so it also extends sincerity to the initial six and relates to it. The initial six, being yin in a yang position, is out of place and should have blame, but because it attaches itself to the nine in the fifth, there is no blame. The trigram "Kun" (Earth) has the image of a jar, and the initial six is at the bottom of the jar. Although it is far from the nine in the fifth, the water of "Kan" flows down like rain, starting from the six in the fourth, then successively to the initial six, filling the jar, hence "there is sincerity filling the jar." The nature of yang is to ascend; when the nine in the fifth ascends to the top, it becomes the hexagram "Bo" (Breaking). "Bo" reaches the top and then returns to the bottom, so the initial position receives yang and becomes "Fu" (Return). Hence, "coming." Because it requires some waiting, it is said "finally coming." "Having something else" means corresponding with something else. The hexagram "Da Guo" (Great Excess) nine in the fourth says "having something else is a worry," referring to the initial six; the hexagram "Zhong Fu" (Sincerity) nine in the first says "having something else is not a feast," referring to the six in the fourth. These two hexagrams have corresponding lines but are not auspicious, because same elements become enemies and thus cause harm, hence unease and worry. Here, it is said "having something else is auspicious," because yang returns to the initial position, is in the proper place and has a correspondence, hence auspicious.

荀爽以非應釋有它，清易家多從之。豈知大過、中孚皆有應而亦曰有它，則夫有它之不指非應甚明。虞翻謂初動成屯得正故吉，豈知此謂之變，不謂之來，更不得謂之終來。曰終來，固確有所指。且果如虞說，初動之正，乃初爻自變，益不得謂之有它，理甚明矣。虞亦知其說之有鏬，復申曰在內稱來。夫爻在外曰往，在內曰來，如需訟之往來得中、否泰之大小往來皆是；茲曰終來，若僅在內稱來，復何有始終之可言乎？失經旨矣。

Xun Shuang explained "you ta" as meaning there is no corresponding line, and most Qing dynasty commentators followed this interpretation. But they did not realize that both the Great Excess and the Middle Trust hexagrams have corresponding lines, yet they still said "you ta", showing that "you ta" does not mean the absence of a corresponding line. Yu Fan said that the first line changing to the Zun hexagram would result in correctness, hence good fortune; but this is called "change", not "coming", still less "final coming". If it is called "final coming", there must be a specific reference. Moreover, according to Yu Fan's view, the first line changing to achieve correctness is the first line itself changing, so there is no question of "you ta" at all. The reasoning is clear. Yu Fan also realized that his explanation had a flaw, and added that if a line is in the inner trigram, it is called "coming". However, if a line is in the outer trigram, it is called "going"; if it is in the inner trigram, it is called "coming". For example, in the Need and Strife hexagrams, "coming and going achieve the center", and in the Oppression and Great Crossing hexagrams, "great going and small coming" are all such cases. Now, if "final coming" is only referring to lines in the inner trigram being called "coming", how can there be a beginning and end? This would lose the original meaning of the text.

它古蛇字。易林以坤為它，損之比云：大它當路，使季畏懼。以比下坤為它，不讀為誰他之他。繫辭云：龍它之蟄，以存身也。龍為乾，它為坤，言蟄於戍亥也，林所本也。而巽亦為蛇，故大過九四、中孚初九亦曰有它，後儒頗有用焦說者，又一義也。象曰：比之初六，有它吉也。

"It" is an ancient character for "snake." The "Jiao's Forest of Changes" takes the hexagram Kun to represent "it." In "The Loss and the Ratio," it says, "A great snake is on the road, causing the younger one to fear," which uses the lower trigram of the "Ratio" hexagram, Kun, to represent a snake, not the "who" or "he" meaning of "he." The "Great Treatise" says, "The dragon and snake hibernate to preserve themselves," where "dragon" refers to Qian and "snake" refers to Kun, describing hibernation in the positions of Xu and Hai. The "Forest of Changes" is based on this. The trigram Xun also has the image of a snake, so in "Great Excess" nine four and "Sincerity in the Center" initial six, it says "there is it." Later scholars have adopted Jiao Yanshou's interpretation, which is another explanation. The "Small Image Commentary" says that the initial six of the "Ratio" hexagram is auspicious because it has another corresponding element.

六二：比之自內，貞吉。二應五，故曰自內，言自內比五也。二當位中正，故曰貞吉。象曰：比之自內，不自失也。言自內比五，不敢安逸也。失通佚，諸家作得失詁，非。六三：比之匪人。虞氏逸象乾為人。六三不當位無應，承乘皆陰，行失類，故曰比之匪人，言不得陽也。象曰：比之匪人，不亦傷乎。三獨失實，故可傷。

The line statement for the second line says: From within, it is close and attached, and with firmness and correctness it brings good fortune. The second line corresponds with the fifth line, so it is said 'from within,' referring to the inner trigram approaching the fifth line. The second line, being a yin line in a yin position, is in the correct place and in the center, thus it is said 'firmness brings good fortune.' The Small Image Commentary says 'approaching from within, not losing oneself,' meaning approaching the fifth line from the inner trigram, not seeking comfort for oneself—'loss' and 'ease' are related; different schools take 'loss' as 'gain and loss,' which is incorrect. The line statement for the third line says: The one it is close to is not a suitable person. Yu Fan's transmitted image takes 'Heaven' as 'person.' The third line, being a yin line in a yang position, is not in the correct position, and there is no corresponding line above. The line it follows, the fourth line, and the line it is on top of, the second line, are both yin lines, so its actions are not in harmony with the same kind, thus it is said 'approaching an unsuitable person,' meaning it does not obtain yang. The Small Image Commentary says 'approaching an unsuitable person, is it not sad?' The third line alone does not obtain the filling of a yang line, hence it is pitiful.

六四：外比之，貞吉。四承五，外比即從上。貞吉者，卜問則吉也。象曰：外比於賢，以從上也。陽為賢，指五。九五：顯比，王用三驅，失前禽，邑人不誡，吉。九五伏離，當陽得位，嚮明而治，故曰顯比。王謂五。三驅，獵禮也。漢書五行志：田狩有三驅之制。注：三驅之禮，一為乾豆，二為賓客，三為君庖。又晉書五行志：登車有三驅之制。又劉聰傳：校獵上林，將軍負戟前導，行三驅之禮。艮數三，故曰三驅。前禽謂下四陰，上為後，故知前為下。失逸古通，逸前禽者，喻人皆來比，無所誅殺，任其逸也。坤為邑。不誡謂王師寬大，所至之邑，百姓仍安居樂業，人人親附，不驚誡也。說文誡，敕也；廣韻言警也。左傳桓十一年：鄖人軍其郊，必不誡。言無備虞也。

The line statement for the fourth line says: To be close to the fifth line externally, if one asks a question, it will be auspicious. The fourth line is above the fifth line, so 'external alignment' means to be obedient to the superior. 'Auspiciousness through inquiry' means that if one consults the oracle, it will be favorable. The Small Image Commentary says, 'To align with the virtuous externally, following the superior,' where the yang line represents the virtuous, referring to the fifth line. The line statement for the fifth line says: To be closely aligned in a bright and upright manner, the king hunts with the three driving rituals, releasing the animals in front, and the people in the city do not need to be on guard, which is auspicious. Below the fifth line lies the trigram Li (Fire), and since the fifth line is a yang line in a yang position, holding the central position and facing the light, it is said 'manifest alignment.' 'King' refers to the fifth line. 'Three driving' refers to the hunting ritual: The Han Shu, Five Elements Chapter, says that hunting has the three driving ritual, with the note stating that the animals caught in the three drives are used for one as sacrificial meat, two for entertaining guests, and three for the king's kitchen; the Jin Shu, Five Elements Chapter, also mentions the three driving ritual when ascending the carriage; the Liu Cong Biography says that in the Xinyu Garden, when hunting, the general led with a spear, and the three driving ritual was performed. The trigram Gen (Mountain) has the number three, so it is called 'three driving.' 'Front animals' refer to the four yin lines below; the sixth line is at the top, so 'front' refers to the lower ones. 'Loss' and 'escape' were anciently synonymous, so 'escaping the front animals' is a metaphor for all people coming to align, without needing to be killed, allowing them to escape freely. The trigram Kun (Earth) has the image of a city. 'Not being on guard' means the king's army is lenient, and the people in the cities remain peaceful and prosperous, all aligning with the king, without fear or alarm. The Shuowen Jiezi says '诫' means to command, and the Guangyun says it refers to verbal warning; the Zuo Zhuan, Year 11 of Huan Gong, says 'Yun people stationed at the outskirts, certainly not on guard,' meaning without being on guard.

象曰：顯比之吉，位正中也；舍逆取順，失前禽也；邑人不誡，上使中也。九五中正，故顯。逆，迎也，下四陰皆逆我者也，逆而來歸，理應舍之，故曰逸前禽，如紂師之倒戈歸周是也。王注禽順行背我而走者，則射而取之。按順行與我同向，同向即背我，上六是也，故取之。此四字只王注得解。虞翻謂舍逆指上六，前禽指初，豈知後夫如得舍，尚何云凶？初有孚盈缶，即孚於五，又安得獨不及初？而後儒皆從之，異已。上使中者，言五所遣師徒合乎中道，故無過舉，得不誡也。

The Small Image Commentary says: "The reason 'visible comparison' is auspicious is because nine five is in the central and upright position; 'abandoning the opposite and taking the harmonious' is why the animals in front are let go; 'the people of the city do not need to be warned' is because those sent by the superior are in the middle way. Nine five being central and upright is why it is 'visible.' 'Opposite' refers to coming face to face. The four yin lines below are all coming towards me, they approach and submit, and by reason should be let go, so it is said 'the animals in front are escaped,' just like the army of King Zhou turning against him and joining the Zhou. Wang Bi's commentary says that those who run away from me should be shot and taken; those who go in the same direction as me are actually facing away from me, and upper six is exactly like that, so it should be taken. The phrase 'abandoning the opposite and taking the harmonious' is only explained properly by Wang Bi's commentary. Yu Fan says 'abandoning the opposite' refers to upper six, and 'the animals in front' refers to initial six; but if 'the later person' can be abandoned, then what is the point of 'misfortune'? Initial six 'has sincerity filling the jar' and is already sincere to nine five, how could it be the only one left out? Later scholars all follow Yu Fan, which is really strange. 'The superior sends people in the middle way' means that the army sent by nine five is in the middle way, so there are no excessive actions, and thus the people do not need to be on guard."

唐郭京舉正，稱得輔嗣真本，以舍逆取順在失前禽下。朱芹引李清植曰：考象傳，屢以禽與東部字韻，屯三爻禽與窮韻，恆四爻禽與容韻，此又與中韻，郭京所改，顯失易韻。今按詩小雅呦呦鹿鳴，食野之芩，韻與此同。焦氏易林用韻如此者尤多，而履之夬以禽與功韻，與象傳尤符，蓋古音原如此。今晉人讀禽為輕，正與古音合。郭京所稱輔嗣本，無論真偽，不可從也。

Tang dynasty scholar Guo Jing wrote "Corrections to the Zhou Changes," claiming to have obtained the authentic version of Wang Bi's text. He moved the phrase "shě nì qǔ shùn" (abandoning the reverse and taking the smooth) beneath "shī qián qín" (losing the preceding bird). Zhu Qin cited Li Qingzhi's words stating that examining the Image Commentary, the word "qín" (bird) is often rhymed with eastern characters. In the "Zun" hexagram's sixth line three, "qín" rhymes with "qiong" (poverty), in the "Heng" hexagram's ninth line four, "qín" rhymes with "rong" (tolerance), and here it rhymes with "zhong" (middle). Guo Jing's alteration clearly disrupted the rhyme scheme of the Yi Jing. Now, according to the "Book of Songs, Xiao Ya" ("Ode to the Small Ya"), "you you lu ming, shi ye zhi qin" (the deer call out, feeding on wild qin), the rhyme is the same. The "Jiao Shi Yi Lin" (Jiao's Forest of Changes) uses such rhymes more frequently, for instance, in "Lv zhi Guai" (Step on the Guai), where "qín" rhymes with "gong" (achievement), which is especially consistent with the Image Commentary. This shows that the ancient pronunciation was originally like this. Today, people from Shanxi pronounce "qín" as "qing" (light), which matches the ancient pronunciation. Whether or not Guo Jing's claim about Wang Bi's version is true, it should not be followed.

上六：比之無首，凶。坎為首，首謂五也，而五為坎主。上六乘陽，首為所蔽，故曰無首。大過上六曰滅頂凶，既濟上六曰濡其首，與此義同也。而復於此爻更曰反君道，無首即反君道，反君故凶。荀虞皆不知首指五，故說皆不切。清惠士奇更實指曰首指上，謂木一在下為本，一在上為末，末即首，意謂上六為末爻，故為首也，說尤穿鑿。象曰：比之無首，無所終也。道窮故無所終。

The line statement for the sixth line at the top says: being close but without a leader, it is凶. The trigram Kan (Water) has the image of a head, and the head refers to the fifth line, which is the main line of the trigram Kan. The sixth line at the top is above the yang line, covering the head, hence it is said to have no head. The sixth line at the top of the Great Excess says "drowning at the top is凶," and the sixth line at the top of the Already Completed says "wetting the head," which have the same meaning. However, in this line, it goes further to say that it is against the way of being a ruler: having no head is against the way of a ruler, hence it is凶. Xu Shuang and Yu Fan did not understand that the head refers to the fifth line, so their interpretations are not accurate. Qing dynasty scholar Hui Shiqi even claimed that the head refers to the sixth line at the top, arguing that a tree has its root at the bottom and its tip at the top, and the tip is the head, meaning that the sixth line at the top, being at the end, is the head. This interpretation is especially forced. The Small Image Commentary says, "being close without a head, there is no end." The path has reached its end, hence there is no destination.

小畜。亨。密雲不雨，自我西郊。卦上下皆陽，一陰止於內，故曰小畜。畜，止也。太玄擬之曰斂，雲陽氣大滿於外，微陰小斂於內，是其義也。旁通豫坤為雲，上下皆坤爻，故曰密雲。兌為雨，乃兌雨前遇巽風，為風吹散，雲過日出，故不雨也。兌為西，伏坤為我，乾為郊，故曰自我西郊，言密雲起自西郊，過而不留也。舊解多從虞翻，以半坎為雲，既曰半坎，於密義似不合也。人知坎為雲，不知坤亦為雲，易林困之泰云：陰雲四方，日在中央。以泰上坤為雲也。人知坎為雨，不知兌亦為雨，上繫雲潤之以風雨，風謂巽，雨謂兌也。睽上九往遇雨，亦以兌為雨。

The Hexagram of Xiao Xu states: It is smooth and unimpeded; thick clouds gather but do not rain, the clouds coming from my western suburb. This hexagram has yang lines above and below, with only the sixth line in the fourth position being yin, which blocks internally, hence it is called "Xiao Xu," where "xu" means to block. Yang Xiong's "Tai Xuan" interprets this hexagram as "Lian," meaning that yang energy is fully matured externally while a slight yin energy is slightly gathered internally, which is exactly this meaning. The hexagram of Xiao Xu is in mutual communication with the hexagram of Yu. The hexagram of Yu has the trigram of Kūn, which represents clouds, and since both trigrams are Kūn, it is said "thick clouds." The trigram of Dui represents rain, but rain is preceded by the trigram of Xun, which represents wind, and the wind disperses the clouds, so the clouds pass and the sky clears, hence no rain. Dui represents the west, and the hidden trigram Kūn represents "I," while Qian represents "suburb," so it is said "from my western suburb," meaning thick clouds rise from the western suburb and pass by without stopping. Old interpretations mostly follow Yu Fan, taking "half Kan" as clouds; since it is only half Kan, it seems inconsistent with the meaning of "thick." People only know that Kan represents clouds, but do not know that Kūn also represents clouds: In the "Yi Lin" of the hexagram "Kun" to "Tai," it says "dark clouds in all directions, the sun in the center," which uses the upper trigram Kūn of the hexagram Tai as clouds. People only know that Kan represents rain, but do not know that Dui also represents rain: In the "Great Treatise" of the upper part, it says "moistened by wind and rain," where "wind" refers to Xun and "rain" refers to Dui; in the upper ninth line of the hexagram "Kui," it says "meeting rain on the way," which also uses Dui as rain.

彖曰：小畜，柔得位而上下應之，曰小畜。健而巽，剛中而志行，乃亨。密雲不雨，尚往也；自我西郊，施未行也。雲下降方為雨，尚往者，言雲氣為風所吹，散而往上，故不能雨。又離火上炎，將密雲沖散，不能下落為雨，故膏澤未施也。上往純對下施言。象曰：風行天上，小畜。君子以懿文德。懿，美也。乾為德，離明，故曰文德。離明照天下，巽風散佈四方，故曰懿文德。

The Commentary on the Judgment says: The hexagram "Small Accumulation" is called so because one yin line is in the correct position and the five yang lines above and below all respond to it. The lower trigram is Qian (Heaven), which is strong and vigorous, and the upper trigram is Xun (Wind), which is gentle and enters. The lines Nine in the Second and Nine in the Fifth, which are yang and in the center, have their aspirations realized, hence the hexagram is harmonious. "Dense clouds without rain" indicates that the clouds are still rising; "from my western suburbs" means the grace has not yet been bestowed. Clouds must descend to become rain. The phrase "still going upward" refers to the clouds being blown by the wind and moving upward, so they do not fall as rain. Moreover, the lines Two to Four form the trigram Li (Fire), which rises upward and disperses the thick clouds, preventing the clouds from falling and becoming rain, hence the grace is not distributed. "Going upward" is contrasted with "bestowing below." The Great Image Commentary says: Wind moving across the sky is the image of "Small Accumulation." A gentleman learns from this to cultivate his literary achievements and virtue. "Yi" means beauty. Qian (Heaven) has the image of virtue, and Li (Fire) represents civilization, so it is said "literary virtue." Li's brightness illuminates the world, and Xun's wind spreads throughout the four directions, hence "beautiful literary virtue."

初九：復自道，何其咎，吉。復，來也。初為陽本位，陽來初，故曰復；來初當位，故曰復自道，乾為道也。初前臨重陽，行難，宜有咎，然當位有應，遁世無悶，故無咎也。象曰：復自道，其義吉也。義者宜也，言行誼如此，宜其吉也。

The line statement for the first line (Initial Nine): Returning along one's own path, what fault could there be? It is auspicious. "Returning" means coming. The first position is the proper place for a yang line, so when a yang line comes to the first position, it is called "returning." Coming to the first position and being in the proper place, it is said "returning along one's own path" — the "Qian" hexagram has the image of "the way." Initially, there are two yang lines, nine two and nine three, following it, which are of the same nature and thus difficult to proceed, which should lead to misfortune. However, it is in the proper place and corresponds with line four, which is yin. Thus, it can retreat from the world without distress, like the first line of the "Qian" hexagram, and therefore has no fault. The "Small Image Commentary" says, "returning along one's own path, its meaning is auspicious." "Meaning" refers to appropriateness, meaning the way of action is thus, and it should be auspicious.

九二：牽復吉。復，來也。伏艮手，故曰牽復。玉篇云：牽，速也。禮學記君子之教喻也，道而不牽；姤九三象云其行次且，行未牽也：皆訓奉為速。牽復者，速來也，言來居二得中也。若作陽復解，則九二失位，何復之有？又按九二失位無應，承乘皆陽，本不吉，茲曰吉者，徒以得中也。象曰：牽復在中，亦不自失也。二雖不當位而在中，故吉。清儒多從虞翻，以五牽二，令二變陰應五為說。若然，則各卦非先變既濟不能說也，惑亂後學，莫此為甚。失佚古通，速復故曰不自佚，言不自安逸也。

The line statement for the second line says: "Draw back and return, it is auspicious." "Return" means coming back. The lower trigram is Qian (Heaven) hidden beneath Gen (Mountain), "Gen" represents the hand, and the hand can draw back, hence "draw back and return." The "Zuoyuan" says "draw back" means quick movement. The "Book of Rites: The Record of Learning" says that a gentleman is good at guiding, saying "guide without pulling"; the "Gou" hexagram's third line "Small Image" says "his movement is hesitant, his movement is not pulled,"—these instances of "draw back" are all interpreted as quick movement. "Draw back and return" means quick return, referring to the yang line coming to the second position and occupying the center. If interpreted as the return of yang energy, then the second line, being yang in a yin position, is already out of place, so what is there to return to? Moreover, the second line is out of place and has no corresponding line; it is both above and below supported by yang lines, which is originally not auspicious; yet here it is said to be auspicious, only because it occupies the center. The "Small Image Commentary" says "draw back and return in the center, also not losing oneself." The second line, although not in the correct position, is in the center, hence it is auspicious. Many Qing dynasty scholars followed Yu Fan, saying that the fifth line draws the second line, transforming the second line into a yin line to correspond with the fifth line; if interpreted this way, then each hexagram must first become "Ji Ji" before it can be explained, which confuses and misleads later learners, nothing is worse than this. "Lose" and "escape" were anciently interchangeable; quick return is thus said to be "not losing oneself," meaning not allowing oneself to indulge in ease.

九三：輿說輹，夫妻反目。輹正義作輻，而馬融以為車下縛，鄭玄訓為伏兔，則皆作輹，茲從馬鄭。伏坤為輿，伏震為輹。輹者輿所恃以行，乃輿在內而輹在外，則輿脫輹矣。乾為夫，坤為妻，巽得坤之初爻，故亦為妻。巽為白眼，卦二至上正反巽，白眼與白眼相反，是反目也。三上無應，下乘重陽，故有是象。震輹象失傳。左傳僖十五年筮遇歸妹之睽，曰車脫其輹。夫歸妹之睽，即震變離，震變離則震象毀，故曰車脫其輹。輹，伏兔，上承車箱，下軛車軸，子夏傳、釋名皆以輹為車屐，因在箱下有若履然，故左傳以震為輹。屐，震象也。虞氏改作腹，非也。象曰：夫妻反目，不能正室也。坎為室，坎伏不見，故曰不能正室，言夫無如妻何也。

The line statement for the third line: The carriage's wheel hub has fallen off, and the husband and wife turn against each other. The character 「輹」 in the The Correct Meaning of the Zhou Changes is written as 「辐」, but Ma Rong interprets it as the binding part at the bottom of the carriage, and Zheng Xuan explains it as 「伏兔」. Both interpretations take 「輹」, so we follow Ma and Zheng. The lower trigram Qian is hidden beneath Kun, and 「Kun」 has the image of a carriage. The trigram Zhen, which is hidden, has the image of 「輹」. 「輹」 is the component on which the carriage relies for movement. Now the carriage is inside and the 「輹」 is outside, which is like the carriage losing its 「輹」. 「Qian」 represents the husband, and 「Kun」 represents the wife. Xun is derived from the first line of Kun, so Xun also represents the wife. 「Xun」 has the image of 「white eye」. In this hexagram, the second line to the top line viewed normally is Xun, and viewed upside down it is also Xun, so two 「white eyes」 facing each other, which is 「turning against each other」. The third line and the top line are both yang lines and do not correspond, and below them are two yang lines, the first and second, so this image arises. The image of 「Zhen as 輹」 has been lost. In the Chronicle of the Spring and Autumn Period, in the fifteenth year of Duke Xi's reign, there is a record of a divination encountering the hexagram Guimei changing to Kui. The divination statement says 「the carriage loses its 輹」. Guimei changing to Kui is when the lower trigram Zhen changes to Li, so Zhen is transformed, and the image of Zhen is destroyed, hence 「the carriage loses its 輹」. 「輹」 is 「伏兔」, which supports the carriage above and fastens the axle below. Both Zixia's Commentary on the Changes and the Shiming compare 「輹」 to the wooden shoes of a carriage, because it is located beneath the carriage and looks like a shoe, so the Chronicle of the Spring and Autumn Period uses Zhen as 輹 — wooden shoes are naturally the image of Zhen. Yu Fan changed 「輹」 to 「腹」, which is incorrect. The Small Image Commentary says 「the husband and wife turn against each other, they cannot maintain the household」. 「Kan」 has the image of a room, and in this hexagram, Kan is hidden and not visible, hence 「they cannot maintain the household」, meaning the husband cannot control the wife.

六四：有孚，血去惕出，無咎。四卦主，五陽孚之，故曰有孚。釋文血馬云當作恤，憂也，是馬以血為恤之省文，而荀爽、王弼等直讀為血，非也。坎為恤為惕，乃坎伏不見，故曰恤去惕出，言不憂懼也。四當位有應，上承重陽，故無咎。象日：有孚惕出，上合志也。上謂五上，五上皆陽，四承之，陰遇陽得類，故曰合志，此與升初六之上合志義同也。巽為志，易林姤之小過心志不親，小過中爻正反巽，故心志不親；又蒙之升成子得志，亦以升下巽為志。蓋心志在內，而巽為伏，故巽為志。

The line statement for the fourth line says: There is sincerity, the worries disappear, fear recedes, and there is no fault. The fourth line is the main line of the entire hexagram, and the five yang lines all follow it, so it is said 'there is sincerity.' The Classic Interpretation says that Ma Rong thought the character 'blood' should be read as 'care,' meaning worry, showing that Ma Rong regarded 'blood' as a simplified form of 'care.' Xu Shuang, Wang Bi, and others read it directly as 'blood,' which is incorrect. 'Kan' has the images of 'care' and 'caution,' but in this hexagram, 'Kan' is hidden and not visible, so it is said 'care disappears and caution emerges,' meaning no more worry or fear. The fourth line is a yin line in a yin position and is in the correct place. It is in correspondence with the first line and supports the fifth and top lines, both yang lines, so there is no fault. The Small Image Commentary (originally the word 'says' was mistakenly written as 'day') says 'there is sincerity and caution emerges, harmonizing with the will above.' 'Above' refers to the fifth and top lines, both yang lines. The fourth line supports them, and a yin line meets a yang line, thus obtaining its kindred, so it is said 'harmonizing with the will.' This is similar to the use of 'harmonizing with the will' in the first line of the hexagram 'Ascending.' 'Xun' has the image of 'will.' The 'Forest of Changes' under 'Gou' to 'Small Overstep' says 'the heart will is not close,' because the middle lines of 'Small Overstep' are both Xun, so the heart will is not close. The 'Meng' to 'Ascending' says 'the son achieves his will,' also using the lower trigram Xun of 'Ascending' as the will. Approximately, the heart will is hidden inside, and Xun governs concealment, so Xun represents the will.

九五：有孚攣如，富以其鄰。孚謂孚於四。四卦主，陽喜陰，故下三陽亦孚於四。攣，引也，牽也，言陽皆孚四，有若牽引連接也。九家謂五孚下三爻，虞翻強命二變謂五孚二，並非，陽於陽不孚也。五天子位，巽為利，五乘之，故富。伏震為鄰，富以其鄰，言五之所以富，以鄰於四也。九家謂五以四陰作財，與下三陽共之，故曰不獨富，深得經旨。象曰：有孚攣如，不獨富也。不獨義見前。

The line statement for the fifth line (nine in the fifth) says: There is sincerity and mutual connection, sharing wealth with adjacent lines. Here, "fu" refers to the belief in the fourth line (six in the fourth). The fourth line is the main line of the entire hexagram. Yang loves yin, so the three yang lines below also believe in the fourth line. "Luan" means to pull or connect, indicating that all the yang lines believe in the fourth line, as if they are connected together. The "Nine Schools Commentary" says that the fifth line gains trust from the three lines below, but Yu Fan incorrectly claims that the second line (nine in the second) changes to become the fifth line trusting the second line. Yang and yang do not trust each other. The fifth line represents the position of the Son of Heaven. The upper trigram is Xun, which has the image of "favorable." The fifth line is on top of Xun, so it is rich. The hidden trigram is Zhen, which has the image of "neighbors." "Rich with its neighbor" means that the fifth line is rich because it is closely connected to the fourth line. The "Nine Schools Commentary" says that the fifth line treats the fourth line, a yin line, as wealth, and shares it with the three yang lines below, so it is called "not alone rich," which deeply captures the meaning of the text. The "Small Image Commentary" says, "With sincerity and mutual connection, it is not alone rich," and the meaning of "not alone" is explained in the previous text.

上九：既雨既處，尚德載，婦貞厲，月幾望，君子征凶。雲上往，至上九而極。兌為雨，兌覆向下，是雨已下施也，故曰既雨。既，已也。詩召南江有汜，其後也處，毛傳：處，止也。既處者，言雨已止也。德者雨澤也，尚德載，言雨澤下降，乾旋坤受，地得載其德澤也。巽為婦，柔之為道不利遠，高處在上，非婦德所宜，故婦貞得此爻者厲也。兌為月，互離為日，月西日東相望。幾，孟荀作既，孟云即望十六日也。納甲法，十五日夜乾象，月盈甲；十六日平明巽象，月退辛。上九處巽之終，正既望也。既望則陽將消，又三無應，故征凶。

The line statement for the top nine: rain has already fallen and has already stopped, the virtue of the rain has been carried; a woman who follows this is in danger, the moon is about to be full, and a gentleman going out is in danger. The clouds move upward along the way, reaching the top nine and reaching the extreme. "Dui" represents "rain," and when "Dui" is inverted with its mouth downward, it indicates that the rain has already descended and spread, so it is said "rain has already fallen" — "ji" means already. The Book of Songs, Zhao Nan, Jiang You Si says "qi hou ye chu," and the Mao transmission explains "chu" as stopping, so "ji chu" means that the rain has already stopped. "De" refers to the rain's virtue; "shang de zai" means the rain's virtue has descended, the Heaven rotates, the Earth receives it, and the earth is able to carry this virtue. "Xun" represents "woman"; the way of softness is not suitable for going far, and the top nine is high above, which is not suitable for the virtue of a woman, so a woman who asks about this line is in danger. "Dui" represents the moon, and the second, third, and fourth lines together form "Li" which represents the sun, the moon is in the west and the sun is in the east, facing each other. The character "ji" is written as "ji" by Meng Xi and Xun Shuang. Meng Xi says it refers to the sixteenth day's "ji wang." According to the method of "Najia," the fifteenth night corresponds to the Heaven's image, and the moon is full and receives the stem; the sixteenth day at dawn corresponds to the Xun image, and the moon wanes and receives the stem Xin. The top nine is at the end of the Xun structure, which is exactly the time of "ji wang"; after "ji wang," the yang energy will decline, and since the top nine shares the same nature with the third nine and there is no response, going out is dangerous.

自兌月象失傳，小畜、歸妹、中孚之月幾望，舊解皆以坎為月。豈知易之言月，十九皆謂兌，說卦象與經所用象不盡同也。易林復之臨云：月出平地。以臨上坤為地，下兌為月也。又家人之小畜云：杲杲白日，為月所食。以小畜互離為日，兌為月，兌月侵入離體之半，故曰為月所食。兌月象，後惟邵子知之，而清易家皆不信，豈知邵子所用，與易林合，與易合哉。象曰：既雨既處，德積載也；君子征凶，有所疑也。吳先生曰：古得德同字，德積載，即雨澤得為大地所載也。巽為疑，下無應，陽遇陽，故疑。

Since the image of "兑 as the moon" has been lost, the old interpretations of "月几望" in the hexagrams "小畜", "归妹", and "中孚" all took Kan as the moon. They did not realize that in the Zhou Yi, when talking about the moon, it is mostly referring to兑. The images recorded in the Shuo Gua do not exactly match the images actually used in the text. The Yi Lin, Fu Zhi Lin says "the moon rises on level ground," using the hexagram Lin with its upper trigram Kun as earth and lower trigram兑 as the moon. The Yi Lin, Jia Ren Zhi Xiao Xu says "the bright sun is eclipsed by the moon," using the hexagram Xiao Xu with its mutual trigrams Li as the sun and兑 as the moon, with the moon entering half of the sun's trigram, hence the eclipse. The image of "兑 as the moon" was known only by Shao Yong in later generations, but Qing dynasty commentators did not believe it. They did not realize that what Shao Yong used was consistent with the Yi Lin and also with the Zhou Yi. The Xiao Xiang Zhuan says: "After the rain, it has settled," meaning that the virtue and grace have accumulated and can be carried; "the gentleman's expedition brings danger," meaning that there is doubt in the heart. Wu先生 said that in ancient times, "得" and "德" were the same character, so "德积载" means that the rain and dew can be carried by the earth. "Xun" has the image of doubt; the upper nine has no line corresponding below, and the nine three it meets is of the same yang, hence the doubt.

履虎尾，不咥人，亨。爾雅釋言：履者禮也。故太玄即擬為禮。禮莫大於辯上下、定尊卑，卦上天下澤，尊卑判然，人之行履莫大於是，故曰履。乾為虎，四虎尾，兌在乾後，故曰履虎尾。履，躡也，言三躡乾後也。乾為人，兌口為咥，人在外故不受咥。彖傳曰柔履剛，言三步乾剛之後也。荀爽謂三履二，祇以下卦為說。豈知卦名皆合上下卦取義，無取一卦者。且三履二是柔乘剛，與卦義正相背，非也。

The Hexagram of "Footsteps" states: To tread on a tiger's tail, yet the tiger does not bite, which is favorable. The "Er Ya · Shi Yan" says that "lu" means "ritual," so the "Tai Xuan" interprets this hexagram as "Ritual." There is no ritual more important than distinguishing between superior and inferior, and establishing hierarchy; this hexagram has Heaven above and Marsh below, clearly distinguishing hierarchy, and there is no more important aspect of human conduct than this, hence it is called "Footsteps." "Qian" has the image of a tiger, and the fourth line is the tiger's tail. The lower trigram is Dui, following Qian, so it is said "to tread on a tiger's tail." "Lu" means to tread, referring to line six in the third position treading after Qian. "Qian" also has the image of a person, and "Dui" is the mouth, which can bite. Since the person is in the outer trigram, they are not bitten. The "Tu Zhuan" says "flexible treads on the strong," referring to line six in the third position walking after Qian's strength. Xun Shuang said that line six in the third position treads on line nine in the second, which is only considering the lower trigram. How could he not know that the hexagram's meaning is derived from both upper and lower trigrams, not just one? Moreover, line six in the third position treading on line nine in the second is a flexible line riding on a strong line, which is contrary to the hexagram's meaning and does not make sense.

彖曰：履，柔履剛也。說而應乎乾，是以履虎尾，不咥人，亨。剛中正，履帝位而不疚，光明也。說而應乎乾，謂三應上也。五下履巽，男為病宜有疚，疚即病也，然而不疚者，以五履帝位而中正也。互離為日故光明。人知坎為病，不知巽亦為病，故說疚象無有合者。豈知巽為隕落，當然亦為病。易林巽之鼎云：病傷不治。以鼎下巽為病。兌之蠱云：瘡痍多病。以蠱上艮為瘡痍，下巽為病也。由易林推之易，遁九三云有疾厲，豐六二云往得疑疾，易原以巽為疾病，故易林本之也。（集解荀注多利貞二字，兌秋乾冬正合，然他本皆無。）

The Commentary on the Judgment says: The hexagram "Foot" represents a soft element stepping on a hard one. The lower trigram is Dui (Lake), symbolizing joy, and it corresponds with Qian (Heaven) above, so stepping on a tiger's tail without being bitten, thus achieving success. Nine in the Fifth is a strong and upright yang line, occupying the imperial position without illness, hence brightness. "Speaking and responding to Qian" refers to Six in the Third responding to Nine at the Top. Nine in the Fifth steps on the interacting trigram Xun (Wind), which has the image of illness, and thus should be "suffering" -- "suffering" is illness; however, there is no illness because Nine in the Fifth is in the imperial position and is upright and central. The trigrams from Three to Five form Li (Fire), which is the sun, hence saying "brightness." People only know that Kan (Water) represents illness, but do not know that Xun (Wind) also represents illness, so the explanation of the image "suffering" is not accurate. How could they know that Xun has the image of "falling," which naturally leads to illness? The "Forest of Changes" under the trigram Xun and the trigram Ding (Abundance) says "illness and injury without treatment," hence the trigram Ding has Xun at its lower trigram representing illness. The "Forest of Changes" under the trigram Dui and the trigram Gu (Restlessness) says "wounds and injuries with many illnesses," hence the trigram Gu has the upper trigram Gen (Mountain) representing wounds and the lower trigram Xun representing illness. By examining the "Forest of Changes," we can trace back to the "Zhou Changes." The trigram Duan (Retreat) at Nine in the Third says "having an illness," and the trigram Feng (Brightness) at Six in the Second says "going and encountering a doubtful illness," thus showing that the "Zhou Changes" originally used Xun to represent illness, and the "Forest of Changes" inherited this. (The "Collected Explanations of the Zhou Changes" cites Xun Shuang's commentary which adds the words "favorable to uprightness," since Dui belongs to autumn and Qian belongs to winter, which correspond with "uprightness," but other versions do not include these words.)

象曰：上天下澤，履。君子以辨上下，定民志。謙坤為民為志，艮止為定。民志之所以不定者，以不知上下也。上天下澤，尊卑顯然，故君子法之以定民志，周公制禮是其事也。初九：素履，往無咎。四無應，二陽，陽遇陽得敵，宜有咎，然而無咎者，以能素位而行也，故曰素履，言屏去浮華，安常蹈素，循分自守也。能如此，故往無咎。象曰：素履之往，獨行願也。得敵無應，故曰獨行；甘於獨行，故無咎也。先儒於同性相違之義知者鮮，故獨行之故無有詳者。

The Great Image Commentary says: Above is Heaven, below is Marsh, which is the image of the hexagram of Footsteps. The gentleman uses this to distinguish the positions of superior and inferior, and to stabilize the people's minds. The hexagram of Footsteps is in mutual communication with the hexagram of Humility. The hexagram of Humility has the image of "people" and "will" from the earth, and the mountain represents stillness, thus representing "stability." The reason the people's will is unstable is precisely because they do not know the distinctions between superior and inferior. Heaven above and Marsh below clearly show the hierarchy of respect and subordination, so the gentleman emulates this to stabilize the people's will—this is exactly what Duke Zhou established the rites. The line statement of the first nine: To act with a simple and unadorned way in walking, going forward without blame. The first nine and the fourth nine are both yang lines and do not correspond, and above them is the second nine, which is also yang. Yang meeting yang creates conflict, which should bring blame; yet there is no blame, because it remains content in its position and acts accordingly. Therefore, it is said "simple walking," meaning to eliminate superficiality, remain in the ordinary way, practice simplicity, and keep to one's proper role. Being able to do this, therefore, going forward brings no blame. The Small Image Commentary says, "Simple walking forward, fulfilling one's own will." Being in conflict yet having no correspondence, it is said "walking alone"; being content to walk alone, therefore there is no blame. Previously, few scholars understood the meaning of "like repelling like," so the reason for "walking alone" has never been clearly explained.

九二：履道坦坦，幽人貞吉。伏艮為道路，比陰得中，故坦坦。坦坦者寬平也。兌為昧無應，故曰幽人。居中故貞吉。象曰：幽人貞吉，中不自亂也。象多釋貞為正，此以不亂釋貞，明貞有正定二義也。

The line statement for line two: The path is smooth and wide, the secluded person remains steadfast and attains good fortune. The lower trigram is Dui (Lake) concealed by Gen (Mountain), and Gen symbolizes the path. Nine two is adjacent to six three's yin and occupies the center of the lower trigram, hence it is said to be 'smooth and wide,' meaning broad and level. Dui symbolizes darkness, and nine two has no corresponding line above it, so it is called 'the secluded person.' Because it is in the center, it is said to be 'steadfast and auspicious.' The Small Image Commentary says, 'the secluded person is steadfast and auspicious, because he remains undisturbed in the center.' The Image Commentary usually interprets 'zheng' as 'correct,' but here it is interpreted as 'undisturbed,' showing that 'zheng' has two meanings: 'correct' and 'undisturbed.'

六三：眇能視，跛能履，履虎尾，咥人凶，武人為于大君。說文：眇，一目小也。兌為小，離目，故曰眇能視。震為履，二三半震，故曰跛能履。眇而視，跛而履，皆力不足而不止之象，故象曰不足以有明、不足以與行也。三正在乾虎後故曰履虎尾。彖言不咥，此言咥者，蓋以上下卦言，乾虎在外，兌在後，故不咥；而以爻言，四虎尾，上虎首，三應在上，上必來三，虎首回噬，故三獨受咥而凶也。

The third line statement says: Although one eye is blind, one still looks; although one foot is lame, one still walks; stepping on a tiger's tail, getting bitten by the tiger, it is dangerous; a warrior serves the great lord. The "Shuo Wen" says "miao" means one eye is small. "Dui" represents smallness, and the interaction of trigrams three to five forms "Li" which represents the eye, so it is said "miao can see." "Zhen" has the image of "stepping," and the second and third lines only form half of the "Zhen" trigram, which is half of the trigram, so it is said "lame can walk." Although one eye is half blind and one foot is lame, yet one still looks and walks, which are images of insufficient strength but unwilling to stop. Therefore, the "Xiao Xiang Zhuan" says "not enough to have clarity" and "not enough to be able to walk." The third line is behind the tiger in "Qian," so it is said "stepping on the tiger's tail." The "Tuan Zhuan" says the tiger does not bite, but here it says the tiger does bite. This is because the "Tuan" considers the whole hexagram, with "Qian" as the outer trigram and "Dui" behind it, so the tiger does not bite. However, the line statement considers the position of the line: the fourth line is the tiger's tail, the top line is the tiger's head, and the third line corresponds to the top line. The top line must approach the third line, so the tiger's head turns back to bite, hence the third line is bitten and it is dangerous.

伏震為武人，乾為大君，三承乾，故曰武人為于大君，言武人忠於大君。陰順陽，代終事，與訟三之從王事同。象釋曰志剛，剛即謂大君，志剛即釋為義也。虞翻謂三失位，變得正成乾，直以武人變為大君，失之。近師俞蔭甫謂此與坤、訟六三之或從王事同義，略露曙光，特又以三升乾上釋為字仍誤也。震武之象，國語重耳筮遇貞屯悔豫，皆有震，曰車有震武。武，足跡也。震健，故震為武，易林本之，遇震即言武，於是履及巽之武人，象始大明。

The lower trigram Dui contains the hidden trigram Zhen, which has the image of "military men," and Qian has the image of "great sovereign." The sixth line in the third position (six in the third) is above the body of Qian, so it says "military men serve the great sovereign," referring to military men being loyal to the great sovereign. Yin follows Yang, taking the place of Yang to accomplish tasks, which is the same meaning as the sixth line in the third position of the卦 of Zhong (Gong) "perhaps following the sovereign's affairs." The Small Image Commentary explains this with "will is strong," where "strong" refers to the great sovereign, and "will is strong" explains the word "for." Yu Fan said that the sixth line in the third position is out of place, and when it changes to become correct it becomes Qian, which is equivalent to directly transforming the military man into the great sovereign, which is wrong. A modern scholar, Yu Yue, said that this sentence is similar in meaning to the sixth line in the third position of the卦 of Kun and Zhong (Gong), which is "perhaps following the sovereign's affairs," which slightly reveals some insight, but he still made a mistake by explaining the word "for" as the sixth line rising to Qian. The image of "Zhen as military" is found in the Guoyu: when Prince Chong'er of Jin consulted a divination, he got "Zhen Tun, Hui Yu," both containing Zhen. The divination statement said "chariots have Zhen military," where "military" refers to footprints, and since Zhen is strong and vigorous, it is called "military." The Jiao's Forest of Changes follows this example, and whenever Zhen appears, it is called "military." Thus, the image of "military men" in the卦 of Li and Xun became clear. The original text after this section continues with the fourth volume, the卦 of Tai: the three lines of the ninth line in the fourth position, the ninth line in the fifth position, and the top line of the卦 of Li, namely "walking on a tiger's tail, cautious and eventually auspicious," "decisive walking, firm and dangerous," and "reviewing the steps and examining the auspicious signs, turning around and achieving great auspiciousness," along with the Small Image Commentary and Shang's annotations, are all missing. I have followed the original text and included them as they are, without substituting with the commonly used version.

泰。小往大來，吉，亨。陽性上升，陰性下降，乃陰在上，陽在下，故其氣相接相交而為泰。泰，通也。陽大陰小，爻在外曰往，在內曰來，故曰小往大來。泰寅月卦，陽長故亨。彖曰：泰，小往大來吉亨，則是天地交而萬物通也，上下交而其志同也。內陽而外陰，內健而外順，內君子而外小人，君子道長，小人道消也。陽上升，陰下降，故氣交。坤為萬物，為心志，交則萬物氣通，心志和合，故曰同。坤志象失傳，易林屯之益云：心勞且憂。益互坤，以坤為心。又需之否云：毛羽憔悴，志如死灰。以否下坤為志為死。（詳焦氏易詁易象補遺）內陽外陰，內健外順，內君子外小人，將老氏宗旨括盡無餘。乾為君子，坤為小人。泰本候卦，陽長故陰消。

The hexagram Tai (Peace) says: the small goes away, the great comes in, it is auspicious and smooth. The nature of yang is to ascend, the nature of yin is to descend; this hexagram is peculiar in that yin is above and yang is below, so the two energies meet and combine to form Tai, meaning 'peace' or 'smoothness'. Yang is great, yin is small; a line in the outer trigram is called 'going away', and a line in the inner trigram is called 'coming in', so it is said 'the small goes away, the great comes in'. Tai corresponds to the month of Yin, when yang energy is increasing, hence the smoothness. The Commentary on the Judgment says: 'Tai, the small goes away, the great comes in, it is auspicious and smooth', meaning that heaven and earth interact and all things are smooth, and above and below interact and hearts are in harmony. The inner trigram is yang, the outer trigram is yin, the inner is strong and vigorous, the outer is gentle and yielding, the inner is the gentleman, the outer is the petty person. The way of the gentleman increases, the way of the petty person declines. Yang ascends, yin descends, so the two energies interact. The trigram Kun has the image of 'all things' and 'hearts'; when they interact, the energy of all things is connected and the hearts are harmonious, so it is said 'same'. The image of Kun as 'hearts' has been lost: in the Forest of Divination (Yi Lin) under the hexagram Zun to Yi, it says 'heart labor and worry'; the hexagram Yi has a mutual trigram of Kun, which uses Kun to represent the heart. In the hexagram Xu to Po, it says 'feathers withered and憔悴, heart like dead ashes', using the lower trigram of Po, which is Kun, to represent the heart and death (see details in Jiao's Glosses on the Changes and The Supplement to the Images of the Changes). The phrases 'inner yang and outer yin', 'inner strength and outer gentleness', 'inner gentleman and outer petty person' summarize Laozi's teachings completely. The trigram Qian has the image of the gentleman, and the trigram Kun has the image of the petty person. Tai is one of the twelve hexagrams of the changing months, with yang increasing and yin decreasing.

按上經始乾坤，終水火，而以否泰為樞紐，明否泰剝復皆天地自然之法象、循環之原理，君子所宜居而安也，靜之象也。下經始咸恆，終既未濟，而以損益為樞紐，明吉凶失得、進退變化全在人為，君子所以自強不息也，動之象也。而否泰損益皆序於第十卦後者，數至十則盈，盈則變也。

According to the Zhou Changes, the upper section begins with the trigrams Qian (Heaven) and Kun (Earth), and ends with Kan (Water) and Li (Fire), taking Pu (Obstruction) and Tai (Peace) as its central trigrams. This indicates that Pu, Tai, Bo (Decrease), and Fu (Return) all represent the natural phenomena and the principle of cyclical change in heaven and earth. Therefore, the gentleman should calmly accept these changes — this is the aspect of 'stillness'. The lower section begins with Xian (Salting) and Heng (Permanence), and ends with Ji Ji (Completion) and Wei Ji (Non-Completion), taking Shen (Loss) and Yi (Gain) as its central trigrams. This shows that fortune and misfortune, gain and loss, advancement and retreat all depend on human action. Therefore, the gentleman should strive ceaselessly — this is the aspect of 'movement'. The trigrams Pu, Tai, Shen, and Yi are all placed after the tenth trigram because the number ten is full, and when full, change is required.

象曰：天地交，泰。后以財成天地之道，輔相天地之宜，以左右民。財裁同，釋文荀作裁，釋言疏財裁音義並同。漢時臣工上疏，裁察每作財察，是其證。財成即裁成也。互震為左，互兌為右，坤為民。以左右民者，孔疏左右助也，以助養其民也。虞翻謂坤富稱財，非。

The Great Image Commentary says: When heaven and earth interact, this is the image of the hexagram Tai. The ruler thus regulates and completes the way of heaven and earth, assisting in what is appropriate for heaven and earth, to help the people. "Cai" and "Cai" are the same: The Classic Interpretation says that Xun Shuang's version reads "Cai." The Commentary on the Shangshu explains that "Cai" and "Cai" have the same sound and meaning. In the Han dynasty, officials' memorials often wrote "Cai Cha" instead of "Cai Cha," which is clear evidence. "Cai Cheng" is the same as "Cai Cheng." The combination of lines two and four forms Zhen, which has the image of "left"; the combination of lines three and five forms Dui, which has the image of "right"; and Kun has the image of "people." So the phrase "using left and right to assist the people" is explained by Kong Yingda as "left and right" meaning assistance, used to support and nurture the people. Yu Fan said that Kun is rich and thus called "Cai," which is incorrect.

初九：拔茅茹，以其匯，征吉。初應在四，四坤為茅茹，此象失傳。易林剝之坤云：荻芝俱死。以坤為荻芝。又同人之屯云：蓬蒿代柱，大屋顛倒。屯互艮為屋為柱，互坤為蓬蒿，故坤亦為茅茹。茹，菜屬也，詩鄭風茹藘在阪，前漢食貨志菜茹有畦。茅，說文菅也。茹與茅為二物。以其匯者，言茅與茹同拔，連類以及也。四有應，故征吉。象曰：拔茅征吉，志在外也。初應在四，故曰志在外，外坤為心志。

The line statement for the first yang line says: Pulling up wild hemp along with wild vegetables, because they are connected by their kind; traveling is auspicious. The first yang line corresponds with the fourth yin line, and the fourth line belongs to the outer trigram坤 (Earth). The trigram坤 has the image of wild hemp and wild vegetables, but this image has been lost. The "Forest of Divination" in the "Book of Changes" says "Dai zhi die si" (Dai and zhi both die), taking坤 as Dai and zhi; the "Harmony of the People" in the "Book of Changes" says "Peng hao dai zhu, da wu dian dao" (Peng and hao replace the pillars, the big house is overturned), where the trigram屯 has the structure of mountain (Geng) as the house and pillars, and the trigram坤 as the wild plants (Peng and hao). This shows that坤 also represents wild hemp and wild vegetables. "Ru" refers to vegetables, as mentioned in the "Book of Songs, Zheng Wind" which says "Ru lu zai ban" (Ru lu grows on the slope), and in the "Food and Goods Annals of the Former Han" which says "Cai ru you qi" (Vegetables and herbs are planted in rows); "Mao" is explained in the "Shuo Wen" as a type of grass called canegrass. Thus, "Ru" and "Mao" are two different things. "Yi qi hui" means that both Mao and Ru are pulled up together, connected by their kind. Since the fourth line corresponds with the first line, traveling is auspicious. The "Small Image Commentary" says "Pulling up Mao is auspicious for traveling, because the mind is outside." The first line corresponds with the fourth line, so the mind is directed outward; the outer trigram坤 has the image of the mind being outside.

九二：苞荒，用馮河，不遐遺，朋亡，得尚于中行。釋文云：荒本亦作巟，說文引同，許雲水廣，虞云大川也。晁氏云：漢易皆作巟，彖辭巟河是一事，象數無田穢之荒，作荒始於王弼。按晁說是也，巟河為對文。王弼蓋以坤為亂，改作荒，豈知坤為水，巟與河皆坤象也。苞今本作包，唐石經增改作苞，釋文亦作苞。二應在五，五坤為大川、為河，言二必上升，有苞括大川、馮涉長河之勢，斷不以其遼遠而不及也。陰以陽為朋，亡，往也，去也。朋往者，言二必往五，得尚居中正之位也。舊詁因坤水象及朋義失傳，故無有得解者。（禮記少儀有亡而無疾，晉語請從此亡，注皆訓為去。）象曰：苞荒，得尚于中行，以光大也。五位尊，故曰光大。

The line statement for the second line says: A vast body of water encompasses everything, crossing the great river on foot, not abandoning the distant, companions coming to join, able to be paired with the noble position of being in the center and acting rightly. The "Classic Interpretation" says: "Huang" originally also was written as "Xing," and the "Shuo Wen" cites the same. Xu Shen explains "Xing" as a wide surface of water, and Yu Fan explains it as a great river. Zhao Shuo Zhi says: Han dynasty versions of the "Book of Changes" all used "Xing," and the "Tuan" statement's "Xing" and "He" were originally the same thing, and in terms of imagery and numbers, there was no meaning of a desolate field as in "Huang." The form "Huang" began from Wang Bi. According to Zhao's view, "Xing" and "He" are indeed parallel terms. Wang Bi probably changed it to "Huang" because the "Kun" hexagram has the image of "luan" (confusion), but he didn't realize that "Kun" is water, and both "Xing" and "He" are images of "Kun." The character "bao" in the present text is written as "bao," and the Tang dynasty stone inscription changed it to "bao," and the "Shi Wen" also uses "bao." The second line corresponds with the fifth line, and the fifth line belongs to "Kun," which has the image of a great river and the image of a river. This indicates that the second line must certainly rise, possessing the momentum of embracing the great river and crossing the long river, certainly not neglecting because the journey is far. Yin takes Yang as its companions, and "wang" means to go or to depart; "peng wang" means that the second line must go to the fifth line, thus being able to be paired with the noble position of being in the center and maintaining correctness. Old annotations failed to explain because the image of "Kun" as water and the meaning of the character "peng" were lost. Therefore, no one could explain it properly. The "Small Image Commentary" says: "Bao Huang, obtaining the noble position of being in the center and acting rightly, to achieve great brightness." The fifth line is a noble position, so it is said to be "great brightness."

九三：無平不陂，無往不復，艱貞無咎，勿恤其孚，于食有福。陂，傾也；復，返也。陽息至三天地分，故曰平。然三居卦終，乾三雲終日乾乾，反復道也，言陽至三而盈，將反初成巽也，故曰無平不陂，無往不復。（巽隕落故傾）平陂往復雖相循環，然三本當位，能艱貞自守，必無咎也。坤為憂恤。（臨六三云既憂之無咎，以坤為憂。易林大壯之損雲使母憂嘆，以損互坤為憂也。詳焦氏易詁。）三臨之孚於群陰，故無恤。兌口為食，坤多故曰于食有福，乾為福也。

The line statement for the third line (Nine in the Third): There is no level ground that remains flat without slope, and no journey that goes without returning. To remain upright in hardship brings no fault. There is no need to worry about one's sincerity, for there will be blessings in food. "Bai" means slope, and "fu" means return. Yang energy grows to the third line, with heaven and earth each occupying half, so it is said "level." However, the third line is at the end of the lower trigram. The third line of the Qian hexagram says "all day long diligent and striving," and its small commentary says "returning and reversing the path," meaning that yang has reached the third line and is full, about to return to the initial position and transform into Xun. Therefore, it is said "without level there is slope, without going there is return" (Xun represents falling, hence slope). Although level and slope, going and returning are interdependent, the third line is originally in the correct position. It can maintain uprightness amidst hardship, thus certainly having no fault. The Kun hexagram has the image of worry (in the line six three of the Lin hexagram, "having already worried, there is no fault," uses Kun to represent worry; in the "Forest of Changes" under the Dazhuang hexagram transforming into the Shen hexagram, "making the mother sigh," uses the Shen hexagram's interacting structure of Kun to represent worry, see Jiao's Glosses on the Changes). The third line is close to the many yin above and gains trust from them, so there is no need to worry. The interacting structure of Dui represents mouth, which governs food; Kun represents multitude, so it is said "there will be blessings in food" — "Qian" also has the image of blessings.

象曰：無往不復，天地際也。廣韻際，邊也，畔也。三應在上，三上居天地之極，極則返始，釋平必陂、往必復之故也。宋衷曰：三位在乾極，應在坤極。以極詁際字，最為明晰。乃惠棟、李道平等解釋宋注，竟從小爾雅謂際者接也，天地際即天地交接也。豈知乾極坤極正釋際義，際若為交接，與無往不復之義何與哉？失宋義矣。其它更無有能得解者。易理之失傳，更甚於易象矣。

The Small Image Commentary says, "Without going there, one must return; this is the boundary between heaven and earth." The Guangyun explains that "ji" means edge or boundary. Nine in the Third corresponds to Six at the Top. Nine in the Third and Six at the Top are located at the extreme ends of Heaven and Earth respectively. When reaching the extreme, one must return to the starting point—this is precisely the explanation for why straightness must turn into curvature and movement must turn into return. Song Zhong said: Nine in the Third is at the extreme of Heaven, and the corresponding line is at the extreme of Earth. He used "ji" to mean "extreme," which is the clearest interpretation. However, Hui Dong and Li Daoping and others, when explaining Song Zhong's commentary, relied on the explanation from the Xiao Erya that "ji" means meeting, and interpreted "heaven and earth's boundary" as the meeting of heaven and earth. They did not realize that the extreme of Heaven and the extreme of Earth are precisely the explanation of "ji." If "ji" is interpreted as meeting, how is it related to the meaning of "without going there, one must return"? This has lost the original meaning of Song Zhong. Other scholars have even less coherent explanations. The loss of the principles of the Book of Changes is more serious than the loss of its images.

六四：翩翩，不富，以其鄰不戒以孚。震為飛，故曰翩翩。坤虛，故曰不富。以，與也。震為鄰。以其鄰不戒以孚者，言四及五上皆有應予，下孚於陽也。陰得陽應必吉，故曰不戒以孚。戒，告誡也。震飛之象，易林屢用之，同人之坎云：出於幽谷，飛上喬木。以坎互震為飛也。證之易明夷初九云明夷于飛，易即以震為飛。舊解以離為飛，若泰無離象也。象曰：翩翩不富，皆失實也；不戒以孚，中心願也。坤為心志。（按益九五云有孚惠心，以互坤為心也。否初象云志在君也，以坤為志也。易林以坤為心志，證尤多。舊解皆以坎為心志，自得此象，凡易言心志者，始皆得解。）中心願者，言陰喜應陽也。陽為實，失實，言無陽。

The line statement for the fourth line says: it flies lightly and swiftly, but is not rich, and together with its neighboring lines, it does not need to be warned and is sincere in heart. 'Zhen' (Thunder) has the image of 'flying', so it is said 'pian pian' (light and swift). 'Kun' (Earth) is empty and hollow, so it is said 'not rich'. 'Yi' (with, together with) indicates connection, and 'Zhen' also has the image of 'neighbors'. 'With its neighbor, without warning, it is sincere', means that the sixth line at the fourth position, together with the ninth line at the fifth position and the sixth line at the top, each has corresponding lines, and they connect downward with yang lines. When yin connects with yang, it is certainly auspicious, so it is said 'without warning, it is sincere'; 'warning' means to admonish. The image of 'Zhen as flying' is frequently used in the 'Jiao's Forest of Changes'. In 'Tongren' (Union) changing into 'Can' (Obstruction), it says 'emerging from the deep valley, flying up to the tall tree', using the 'Zhen' trigram in the mutual trigrams of 'Can' as the image of flying. Taking the 'Zhou Yi' (I Ching) as evidence, in 'Mingyi' (Darkness) line one it says 'darkness in flying', showing that the 'Zhou Yi' itself uses 'Zhen' as flying. Old interpretations took 'Li' (Fire) as flying, but the 'Tai' (Great Passage) hexagram does not have the image of 'Li'. The 'Small Image Commentary' says: 'pian pian, not rich', meaning that all three yin lines have lost the充实 (fullness) of yang; 'without warning, it is sincere', meaning that it comes from the inner wish. 'Kun' has the image of 'heart and will' (according to line five of 'Yi' (Increase), 'there is sincerity and kindness in the heart', using the 'Kun' trigram in the mutual trigrams as the heart; line one of 'Po' (Obstruction) 'Small Image Commentary' says 'the will is in the ruler', using 'Kun' as the will; the 'Jiao's Forest of Changes' has many examples of using 'Kun' as heart and will. Old interpretations took 'Kan' (Water) as heart and will, but since this image was rediscovered, all passages in the 'Zhou Yi' concerning heart and will can now be understood. 'Centered wish' means that yin likes to correspond with yang. Yang is 'real', 'losing real' means lacking yang.

六五：帝乙歸妹，以祉元吉。震為帝，坤貞乙，故曰帝乙。兌為妹，震為歸，婦人謂嫁曰歸，歸妹謂嫁妹也，正中爻震兌象也。祉，福也。以祉元吉者，言二升五，五來二（來二即歸），各當其位，永為儷耦，故元吉也。象釋曰中以行願，即謂五願歸居二也。帝乙或謂為成湯，或謂為紂父。象曰：以祉元吉，中以行願也。五位尊，故曰元吉。中以行願，即謂五願歸二也。

The line statement for the fifth line says: "The Emperor Yi marries his daughter, thus obtaining blessings, which is a great auspicious omen." "Zhen" (Thunder) has the image of "Emperor," and in the method of Najia, "Kun" is paired with "Yi," so they are collectively called "Emperor Yi." "Dui" (Lake) has the image of "younger sister," and "Zhen" has the image of "returning." A woman's marriage is called "returning," so "returning sister" refers to the marriage of a younger sister. This is precisely taking the images of the interacting trigrams Zhen and Dui in the middle lines. "Zhi" means blessing. "With blessings, great auspiciousness" means that Nine in the Second ascends to the fifth position and Six in the Fifth moves to the second position ("coming to two" means marriage), each occupying their proper positions, thus forming a lasting union, hence great auspiciousness. The Small Image Commentary explains this with "being in the center to fulfill the wish," meaning that Six in the Fifth wishes to marry and occupies the second position. "Emperor Yi" is said by some to be Tang of Shang, and by others to be the father of King Zhou. The Small Image Commentary says, "With blessings, great auspiciousness, being in the center to fulfill the wish." The fifth position is noble, hence "great auspiciousness"; "being in the center to fulfill the wish" means that Six in the Fifth wishes to marry Nine in the Second.

上六：城復于隍，勿用師，自邑告命，貞吝。復覆通，詩陶復陶穴，說文引作覆，是其證。艮為城，兌為隍，城池也。三至上艮覆，正當兌澤，故曰城覆於隍。九家云：城覆於隍，國政崩也。崩即謂艮覆。京房於復卦朋來無咎，朋作崩，與此義同也。又易林歸妹之泰云：傾奪我城，使家不寧。城傾即謂泰三至上艮覆，釋此爻也。坤為師，震為言、為告命，坤陰下降主退，故曰勿用。吳先生曰：邑，挹之省文，挹，損也，言自挹損其告命，如復世之下詔罪己也。貞吝，言卜問不吉，泰極將返否故也。象曰：城復于隍，其命亂也。坤為亂。其命亂者，言泰極返否，為天地自然之命運，無可避免。此命字與告命異，諸家混同之，非。

The line statement for the top line says: The city falls into the moat; do not use the army; issue orders from the city; divination shows difficulty. "Fu" and "Fu" are the same character; the "Fu" in the "Book of Songs" "Tao Fu Tao Xue" is cited in the "Shuo Wen" as "Fu," which is clear evidence. "Gen" has the image of a city, and "Dui" has the image of a moat, which is the dry moat surrounding a city. The third line to the top line forms an inverted "Gen," facing the "Dui" marsh below, so it is said "the city falls into the moat." The "Jiu Jia Yi" says: when the city falls into the moat, it indicates the collapse of state affairs; "collapse" refers to the overturning of "Gen." Jing Fang wrote "Bing" for "Peng" in the line statement of the "Fu" hexagram, taking the same meaning. Also, the "Yi Lin" in the "Gui Mei" to "Tai" says "the city is overturned, causing family unrest," "city overturned" refers to the inverted "Gen" from the third to the top line in the "Tai" hexagram, which explains this line. "Kun" has the image of an army, and "Zhen" has the image of speech and issuing orders; "Kun" is yin and has a downward nature, thus it says "do not use." Wu said: "Yi" is a simplified form of "Yi," which means reduction; "Yi" means self-reduction of orders, like later emperors issuing self-criticizing edicts. "Zhen Lin" means divination shows difficulty, because the "Tai" hexagram reaches its extreme and will return to "Pou." The "Xiao Xiang Chuan" says "the city falls into the moat, its destiny is chaotic." "Kun" has the image of chaos. So "its destiny is chaotic" means that the "Tai" hexagram reaches its extreme and returns to "Pou," which is the natural destiny of heaven and earth, unavoidable. This "ming" is different from the previous "gao ming," and various schools confused the two, which is wrong.

否之匪人，不利君子貞，大往小來。陽上升，陰下降，乃陽即在上，陰即在下，愈去愈遠，故天地不交而為否。否，閉也。《泰》上六《象傳》云「其命亂也」，言泰極反否，乃天地自然之命運，必至之理，非人力所能為。此曰否之匪人，仍其義也。陽往外而詘，陰來內而信，故不利君子貞。貞，卜問。其以正為說者，無論若何斡旋，皆不能通。

The Hexagram of "Obstruction" states: "Obstruction is not caused by people; it is not favorable for the gentleman to ask questions, great things go out and small things come in." Yang energy naturally rises, while Yin energy naturally descends. In the Hexagram of "Obstruction," Heaven is above and Earth is below. Yang originally resides above, and Yin originally resides below, each following its natural tendency, thus moving further apart. Therefore, the energies of Heaven and Earth cannot meet, resulting in "Obstruction." "Obstruction" means blockage. The Image Commentary of the top line of the Hexagram of "Prosperity" says, "Its fate is confused," referring to the fact that when "Prosperity" reaches its peak, it naturally turns into "Obstruction." This is the inherent movement of Heaven and Earth, an inevitable truth, not something humans can create. Here, the phrase "Obstruction is not caused by people" expresses the same meaning: obstruction is not due to human actions. Yang lines move outward and contract, while Yin lines move inward and expand, hence it is unfavorable for the gentleman's divination. "Zhen" here refers to divination; the old interpretation that "Zhen" means upholding righteousness does not make sense regardless of how one explains it.

彖曰：否之匪人，不利君子貞，大往小來。則是天地不交，而萬物不通也；上下不交，而天下無邦也。內陰而外陽，內柔而外剛，內小人而外君子，小人道長，君子道消也。天氣本上騰而在外，地氣本下降而在內，愈去愈遠，故氣不交。氣不交故萬物不通而死矣。坤為萬物，為邦國。乾上坤下，君民不親，上下閉塞，而邦必亂，故曰無邦。否七月卦，陰長陽消，故曰小人道長，君子道消。

The Commentary on the Judgment says: "When the hexagram of 'Obstruction' is present, it is not favorable for the gentleman to maintain his constancy. Great things go away and small things come in. This is because the heavens and earth do not interact, and thus all things are not in communication. The superior and inferior do not interact, and thus the world has no order. The inner trigram is yin and the outer trigram is yang; the inner is soft and the outer is strong; the inner is the small person and the outer is the gentleman. The path of the small person grows longer, and the path of the gentleman diminishes." The qi of heaven naturally rises, but the trigram Qian is in the outer trigram; the qi of earth naturally descends, but the trigram Kun is in the inner trigram. The two qi move further apart, so they cannot interact. When the two qi do not interact, all things cannot be nurtured and thus wither. Shang氏 uses the image of the hexagram to explain: the trigram Kun has the image of "all things" and also the image of "state and country." This hexagram has Qian above and Kun below, with the ruler above and the people below, but they do not relate closely. The superior and inferior are blocked, so the state and country must be in disorder. Therefore, the Commentary on the Judgment says "no state." The hexagram of 'Obstruction' is the seventh month hexagram in the twelve hexagrams of change. At this time, the yin qi gradually increases and the yang qi gradually decreases, so it is said "the path of the small person grows longer, and the path of the gentleman diminishes."

象曰：天地不交，否。君子以儉德辟難，不可榮以祿。乾為德，儉，約也。坤閉故曰儉德，言斂抑自守也。互巽為伏，故曰辟難。坤為患，為難，言遁世不出，以避世難。乾為祿，艮為榮，巽伏故不可榮以祿位，言當否之時，遁人山林，高隱不出也。初六：拔茅茹以其匯，征吉，亨。陰皆有應，故辭與泰同。泰茅茹象，指應爻；此則用本象也。象曰：拔茅征吉，志在君也。坤為志，乾為君。志在君，言上應四也。

The Great Image says: "Heaven and Earth do not interact, hence the situation of 'Obstruction.' The superior person uses frugality in virtue to avoid calamity, and cannot be honored with official rank." The Qian trigram has the image of "virtue," and "frugality" refers to restraint and containment. The Kun trigram is characterized by closure, and when combined with the virtue of Qian, it forms "frugal virtue," which refers to self-restraint and self-preservation. The "Obstruction" hexagram, with its second to fourth lines forming the Xun trigram, has the image of concealment, hence the saying "avoiding calamity." The Kun trigram also has the images of "anxiety" and "calamity," so together they indicate that the superior person should retreat from the world and avoid the difficulties of the age. Qian represents official rank, Gen represents honor, and Xun signifies concealment, hence "one cannot be honored with official rank." The whole sentence means: in this age of obstruction, the superior person should retreat into the mountains, leading a reclusive life and not entering official service. The line statement for the first line: "Pulling up the wild hemp by its roots, following its kind, the journey is auspicious and harmonious." The "Obstruction" hexagram has three yin lines, each corresponding to a yang line, so the wording is the same as the first line of the "Prosperity" hexagram. However, in the "Prosperity" hexagram, the image of "wild hemp" comes from the corresponding line, whereas here it comes from the trigram of the line itself, which is Kun. The Small Image says: "Pulling up the wild hemp and journeying is auspicious, because the mind is set on the sovereign." The Kun trigram has the image of "will," and the Qian trigram has the image of "sovereign." What is meant by "the mind is set on the sovereign" is that the first line is in correspondence with the fourth line above, and its mind is attached to the superior yang above.

六二：苞承，小人吉，大人否亨。苞今本作包，依唐石經及《釋文》，下同。包、苞古通用。《禹貢》「草木漸包」，注：包，叢生。《釋文》：字亦作苞。是包、苞古不分。《爾雅·釋言》云：苞，稹也。疏：孫炎曰，物叢生曰苞。《詩·唐風》「集於苞栩」，亦以苞為叢。是苞有多意、眾義。坤為眾。苞承者，言下三爻皆承陽有應也。小人謂二，二得中有應，故小人吉。凡陰得陽應必吉，陽得陰應不皆吉；而否卦陽氣上騰，不能下降，故大人否亨。大人謂五。否，不，言五雖得二應而不亨也。朱升釋承為脀，卦既無此象；荀爽謂二為四所包，朱震謂二為五所包。夫四五若能下施包二，則大人不否亨矣，非也。

The line statement for the second line says: "Bao cheng, Xiao Ren Ji, Da Ren Pi Heng." The character "Bao" in the common editions is written as "Bao," but here we follow the Tang stone classics and Lu Deming's "Classic Interpretation" which use "Bao." The same applies to the following text. The characters "Bao" and "Bao" were commonly used interchangeably in ancient times. The "Book of Documents: Yu Gong" mentions "cao mu jian bao," with a note explaining that "bao" refers to dense growth. The "Classic Interpretation" also says this character can be written as "Bao," showing that these two characters were not distinguished in ancient times. The "Er Ya: Shi Yan" says "Bao, zhen also," and the commentary cites Sun Yan's explanation that dense growth is called "Bao." The "Book of Songs: Tang Feng" mentions "ji yu bao xu," also using "Bao" to mean gathering together. This shows that "Bao" has meanings of multiplicity and multitude. The trigram Kun has the image of multitude, and the lower trigram here is precisely Kun. The phrase "Bao cheng" refers to the three lower yao being all receptive to the yang yao and each having a corresponding relationship. "Xiao Ren" refers to the sixth line two, which is in the center and corresponds with the ninth line five, so it is favorable for the small person. Generally, when a yin yao corresponds with a yang yao, it is favorable, but when a yang yao corresponds with a yin yao, it is not necessarily favorable. The "Pu" hexagram represents yang energy rising upward and unwilling to descend, hence the statement "Da Ren Pi Heng." "Da Ren" refers to the ninth line five, and "Pi" here is read as "not," meaning that although the ninth line five corresponds with the sixth line two, it is still not favorable. Zhu Sheng interpreted "cheng" as the sacrificial meat "tang," but there is no such image in the hexagram. Xun Shuang said that the sixth line two was enclosed by the ninth line four, and Zhu Zhen said that the sixth line two was enclosed by the ninth line five. If the fourth and fifth lines truly descended and embraced the sixth line two, then the great person would not be "Pi Heng," so these interpretations are incorrect.

象曰：大人否亨，不亂群也。坤眾放曰群。坤為亂，亂，雜也。不亂群，言五不能下施應二，俾天地相雜也，故否亨。虞翻謂坤三陰亂弒君，大人不從，故不亂群。豈知不亂群，即仍天地不交之義，言五不能交二也。群義即釋苞義也。

The Small Image Commentary says: "The great man remains unimpeded in the situation of non-communication, because he does not disorder the group." The Earth (Kun) represents the multitude, hence the term "group." The Earth also has the image of "disorder," which here means confusion or mingling. "Not disordering the group" means that the Nine in the Fifth (nine five) cannot descend and give, and thus does not truly respond with the Six in the Second, causing the mingling and confusion of the energies of heaven and earth. Therefore, it is "non-communication" — unable to be harmonious. Yu Fan interpreted it as the three yin lines of the Earth (Kun) causing disorder and assassinating the sovereign, and the great man refusing to follow. But he did not realize that "not disordering the group" still refers to the old meaning of heaven and earth not interacting, meaning that the Nine in the Fifth is unable to unite with the Six in the Second. The meaning of the character "group" is precisely used to explain the character "bao" (enfold) in the line statement, where "bao" means gathering together or multitude.

六三：苞羞。此苞字與上同義，仍坤眾、坤群象也。羞，《說文》：進獻也。《左傳》隱三年「潤溪沼沚之毛，可薦於鬼神，可羞於王公」，杜注：羞，進也。《國語·楚語下》「於是乎每朝設脯一束，以羞子文」，注亦作進。苞羞者，眾進也。否本陰長之卦，故群進而消陽也。

The Line Statement of the Third Line says: "Bao xiu." The character "bao" here has the same meaning as the "bao" in the Second Line. It still takes the image of Kun representing the multitude and the group. The character "xiu" is explained in the Shuowen Jiezi as meaning to present or offer. In the Zuo Zhuan, Year 3 of Yin Gong, it says, "The grasses in gullies, streams, marshes, and pools may be offered to ghosts and spirits, and may be presented to princes and ministers," and Du Yu's commentary says that "xiu" means to present. In the Guoyu, Chu Yu Xia, it says, "Therefore, every morning they set a bundle of dried meat to present to Ziwen," and the commentary also explains "xiu" as presenting. Therefore, "bao xiu" means the multitude of yin forces advancing together. The hexagram of "Pu" is originally one of gradual increase of yin, and the Third Line is located above the lower Kun, which is exactly the time when the multitude of yin forces gather and advance upward to weaken the yang energy.

象曰：苞羞，位不當也。六三不當位，進至於四，或與上相上下，則當位矣。言所以進者，以不當位也，釋苞羞之故也。自荀爽釋為羞恥，朱升釋為膳羞，位不當之義，皆莫知所指矣。

The Small Image Commentary says: "Bao Xiu, position is not appropriate." The sixth line in the third position holds a yao of yin in a yang position, thus being inappropriate. If it advances to the fourth position, or exchanges places with the ninth at the top, then it would be appropriate. This sentence explains that the reason why the group of yin lines advance is because they are in improper positions—this is the reason for "Bao Xiu" (the gathering of yin lines advancing). Since Xun Shuang interpreted "Xiu" as shame and Zhu Sheng interpreted it as the shame of food, it has become unclear what exactly "position is not appropriate" refers to.

九四：有命，無咎，疇離祉。命，《說文》：使也；《廣韻》：召也。有命，言有所使命也。巽為命。《周語》：襄王錫晉文公命。蓋四履群陰之上，萬民（坤為民）順承，故有所錫命。四不當位，宜有咎，得群陰使命，故無咎。頤上九云「利涉大川」，與此義同也。疇、儔同。《荀子·勸學篇》云「草木疇生」，注：疇同儔。《前漢·韓信傳》「其疇十三人」，義亦同儔。儔，眾也。下坤為眾，離，附著；祉，福。疇離祉者，言眾陰同附陽，得主而受福也。孔疏訓疇為匹，匹謂初，言初得陽應而受福。然象釋曰志行，荀爽謂志行於群陰，固統三陰言，不專指初也。象曰：有命無咎，志行也。四履重陰，得行其志，故曰志行。

The line statement for the fourth line (九四) says: "There is a command, no blame, the multitude receives blessings." The character "命" is explained in the "Shuo Wen" as meaning to give orders and in the "Guang Yun" as meaning to summon. "There is a command" means being assigned a task or receiving an official appointment. The trigram Xun (巽) has the image of "command" (《Pu》 trigram two to four lines contain Xun). The "Guoyu · Zhouyu" records that King Xiao Wang of Zhou bestowed a ceremonial robe on Duke Wen of Jin, which is exactly this meaning. The fourth line is situated above the three lower yin lines, and all the people (Kun represents people) are obedient and serve, so it can receive an official appointment. The fourth line is a yang line in a yin position, which is not appropriate, so by nature it should have blame; but it is supported and accepted by the group of yin lines, so there is no blame. The upper line of the "Yi" hexagram says "favorable for crossing a great river," which is the same reasoning here. "Chou" is the same as "chou" (a group). In the "Xunzi · Qun Xue," there is "grass and trees grow together," and the commentary says "chou" is the same as "chou." In the "Hanshu · Han Xin Zhuan," "its chou were thirteen people," which also means a group. "Chou" means a group, and the lower trigram Kun is exactly about the multitude. "Li" means to attach, and "zhi" means blessing. Therefore, "chou li zhi" means the multitude of yin lines all attach to the yang line and receive the ruler's blessing. Kong Yingda's commentary interprets "chou" as matching, referring to the first line (初六), saying that the first line receives blessings because it corresponds with the fourth line. However, the "Xiao Xiang Chuan" interprets it as "will being carried out," and Xun Shuang says the will is carried out among the group of yin lines, indicating that it refers to all three yin lines, not specifically the first line. The "Xiao Xiang Chuan" says: "There is a command, no blame, the will is carried out." The fourth line is situated above the overlapping yin lines and can carry out its will, so it is said "the will is carried out."

九五：體否，大人吉，其亡其亡，繫于苞桑。《說文》：人依木則休。休者，憩息也。休否者，言當否之時而休息以俟也。蓋初四、三上相上下，則既濟成，五當位居中，宜靜俟也。舊解釋為休美，與其亡義背，似非也。九五為大人，故曰大人吉。九五巽體，巽為桑，坤為多，故曰苞桑。陸績《京氏易傳》注云：苞桑則叢桑也。巽為繩，為繫，故曰繫于苞桑。

The line statement of the fifth line says: "Rest in the state of obstruction, the great man is auspicious, beware of loss, beware of loss, tied to the bundle of mulberry trees." (The original text "body of obstruction" should be "rest in obstruction.") The "Shuowen" explains that resting by a tree is called "xiu," meaning rest. "Rest in obstruction" means being in a time of obstruction, temporarily resting to wait for the right opportunity. Because if the first and fourth lines, and the third and top lines, are exchanged, the entire hexagram becomes "Ji Ji." The fifth line is both in the proper position and in the center, so it should remain quiet and wait. Old interpretations took "xiu" as good, which contradicts the sense of danger in the following text "beware of loss, beware of loss." This seems incorrect. The fifth line is the position of the "great man," so it says "the great man is auspicious." The fifth line is in the middle of the interacting trigram Xun, which has the image of "mulberry trees," and the trigram坤 has the image of "many," meaning many and gathered together, so it says "bundle of mulberry trees." Lu Ji's commentary on "Jing's Tradition of the Changes" says that "bundle of mulberry trees" refers to a cluster of mulberry trees. Xun also represents a rope and binding, so it says "tied to the bundle of mulberry trees."

乃巽為隕落。五雖居中得正，而風隕在下，故有其亡之懼。蓋繫在大木，方能鞏固；桑而叢生，其柔可知；繫於柔木，其危可知。其亡其亡、繫于苞桑者，言時時慮亡，如係于苞桑之不足恃也。王陶廬云：唐石經初刻作包，後增改作苞。按《禹貢》草木漸包，傳釋為叢生，仍與苞同。自風隕象失傳，後儒不知危亡之故在五履巽，於是舊解皆以堅固為說，遂與易象不協矣。

But the trigram Xun also has the image of "falling from the sky"—this is a Han dynasty image unearthed by Shang's commentary from the Jiao's Forest of Changes, not found in the Shuogua. Although the Nine in the Fifth is in the center and upright, it is standing on the Xun trigram, which represents falling, thus giving rise to the anxiety expressed as "its loss, its loss." One must understand that being tied to a tree is secure, but a mulberry tree is bushy and its weakness is evident. Being tied to such a weak tree, the danger is clear. "Its loss, its loss, tied to a bundle of mulberry trees" means constant fear of collapse, just like being tied to a bundle of mulberry trees which is unreliable. Wang TaoLu said: the original stone edition of the Tang dynasty had "bao," but later it was changed to "bao." According to the Shangshu · Yugu, "grass and trees gradually grow together," and Kong's commentary explains it as growing in clusters, which still has the same meaning as "bao." Since the image of Xun representing falling has been lost, later scholars did not understand the reason for the danger of the Nine in the Fifth standing on Xun. Therefore, old commentaries all interpreted "tied to a bundle of mulberry trees" as something secure and reliable, which is inconsistent with the Yi's imagery.

象曰：大人之吉，位正當也。五位尊而中正，故曰位當。上九：傾否，先否後喜。侯果曰：傾，覆也。上應在三，三巽為隕落，故曰傾否，言傾否而出之盡也。然當未覆之先，則仍否也，故曰先否。上反下則成震，震為樂，為後，故曰後喜。

The Small Image Commentary says: "The good fortune of a great person is due to being in the proper position." The position of Nine in the Fifth is noble and upright, so it is said to be "properly positioned." The line statement of Upper Nine says: "Overturning the condition of blockage, first blockage then joy." Hou Guo says: "Overturning" means overturning. Upper Nine corresponds with Six in the Third below, and Six in the Third is in the mutual trigram Xun. Xun has the image of falling, so it is said "overturning the condition of blockage" — overturning the entire condition of blockage. However, before overturning, it is still a condition of blockage, so it is said "first blockage." If Upper Nine were to descend and take the position of Three, the lower trigram would become Zhen. Zhen has the image of joy and also the image of "after," both of which are Han dynasty lost images preserved in the Forest of Changes by Jiao. Therefore, it is said "after joy."

象曰：否終則傾，何可長也。否終則傾，言否終則泰復，不能長否。按否泰云「大小往來」「無平不陂，無往不復」，終則曰「城復于隍，其命亂也」；否則曰「否之匪人」，皆言天地否泰之運，循環往來，自然如此，不假人為，為上經天地水火之樞紐，明天道本如斯，不可易也。至下經第十卦之損益，則曰「損益盈虛，與時偕行」，曰「損剛益柔」，曰「損下益上，損上益下」，曰「見善則遷，有過則改」，所言皆履世之大經，修治之極軌，無絲毫委心任運之意，以為咸恆既未濟之樞紐，明人事宜如斯也。盡人事，聽天命，斯學易之功也。

The Small Image Commentary says: "When the state of '否' reaches its end, it will collapse, how can it last long?" This means that when the state of '否' is at its extreme, it will give way to '泰', indicating that the state of '否' cannot last forever. According to the hexagrams of '否' and '泰', they discuss "great things going away and small things coming in" and "small things going away and great things coming in", they talk about "there is no level ground without slope, no going without return", and finally say "the city returns to the moat, its destiny is confused". The hexagram of '否' says "the state of '否' is not for people". These statements all explain the cyclical nature of the changes between '否' and '泰' in heaven and earth, which is natural and does not require human intervention. The hexagrams of '否' and '泰' are the key points in the upper section of the sequence starting with Heaven, Earth, Water, and Fire, showing that the way of heaven is naturally so and cannot be changed. When we reach the tenth hexagram in the lower section, the hexagrams of '损' and '益', they say "loss and gain, fullness and emptiness, all follow the time", they talk about "losing the strong and benefiting the weak", they talk about "losing from below to benefit above, and losing from above to benefit below", they talk about "when seeing good, one should move towards it, and when having faults, one should correct them". All of these discuss the main principles of living and dealing with the world, the standards for self-cultivation and governance, with no trace of passively waiting for fate. The hexagrams of '损' and '益' are the key points in the sequence starting with '咸', '恒', '既济', and '未济', showing how human affairs should be. To do one's best and then accept the will of heaven is the effort gained from studying the Book of Changes.