Volume Seven of Shang's Studies on the Zhou Changes, Upper Canon

剝。不利有攸往。剝，候卦，時當九月，陰消陽，柔變剛。《雜卦》云：剝，爛也。蓋陰消陽，柔變剛，皆以漸而及，非猝然為之，有似於樹木老皮之剝落。《歸藏》作僕，僕與撲通。《莊子·人間世》「蚤蚤（上文）僕緣」，僕緣即撲緣，撲，擊也。而《幽（內雙豕）風》「八月剝棗」，傳：剝，擊也。是僕與剝義同也。不利有攸往，謂陰不宜再長也。傳曰小人長，陰長則陽消，故往不利。

The Hexagram of Pei states: It is not advantageous to go somewhere. The Hexagram Pei is one of the twelve seasonal hexagrams (the original text refers to them as "waiting hexagrams"), corresponding to the ninth month. Five yin lines are below, gradually eliminating one yang line, which is precisely the time when yin is decreasing and yang is being transformed by yin, a time when softness is turning into firmness. The Miscellaneous Hexagram Commentary says, "Pei means to rot." The gradual decrease of yang and the gradual transformation of softness into firmness are processes that do not happen suddenly, much like the gradual peeling off of the bark of a tree. In the Book of Changes (Guizang Yi), this hexagram is named "Pu." "Pu" is synonymous with "Pu" (to strike). In the Zhuangzi, "Zao Zao Pu Yuan" refers to "Pu Yuan" as "Pu Yuan," meaning to strike. In the Book of Songs, "Bai Yue Pei Zao," the commentary by Mao says, "Pei means to strike," showing that "Pu" and "Pei" have the same meaning. "Not advantageous to go somewhere" means that the yin energy should not continue to increase. The Commentary on the Judgment says, "The small person is growing," meaning that as yin grows, yang diminishes, hence it is not advantageous to go somewhere.

象曰：剝，剝也，柔變剛也。不利有攸往，小人長也。順而止之，觀象也。君子尚消息盈虛，天行也。艮為視為觀，象失傳，詳《焦氏易詁》。觀卦即順而止，今一陽在上，下觀群陰，仍觀象也。剝本消卦，然相對者必息，一消一息，一盈一虛，天道循環本如此，不足異也。

The Commentary on the Judgment says: "Peeling" refers to the falling away of the soft lines and the departure of the strong lines. "It is not advantageous to go forward" because the way of the petty person is increasing. To follow the trend and know when to stop is what is observed from the hexagram. The gentleman values the changes of decline, cessation, fullness, and emptiness, which are the workings of the heavenly way. Shang Binghe explains the image: The mountain (Gèn) hexagram has the images of "looking" and "observation," which are not recorded in the "Explanations of the Hexagrams" and have been lost. The hexagram that contains the meaning of "observation" is precisely this hexagram of "smooth and stopping" — the lower trigram is Kūn (Earth), which is smooth, and the upper trigram is Gèn (Mountain), which is stopping; now one yang line is high above, looking down upon the group of yin lines below, which still retains the image of "observation." The hexagram of Peeling is originally one of the yin lines consuming the yang, but the opposite side must necessarily be the cessation of yang. One decline and one cessation, one fullness and one emptiness, the heavenly way cycles naturally like this, and there is nothing strange about it.

象曰：山附於地，剝。上以厚下安宅。上謂上九。坤為厚為下，艮為宅為安。初六：剝床以足（句）蔑（句）貞凶。初震位，故曰足。以，及也。《周語》「太宰以史祝」，《管子·服制》「官吏以命士」，《鹽鐵論·大論篇》「呻吟槁簡，誦死人之語，則有司不以文學」，以義皆同及。剝床以足，即剝床及足也。

The Great Image says: Mountains attached to the earth, this is the Hexagram of Splitting; the superior person takes it as a model, treating the people below with kindness to secure their dwellings. "Upper" refers to the line Upper Nine. The lower trigram is坤, meaning thickness and the lower, and the upper trigram is艮, meaning dwelling and security. Therefore, it is said "thickening below and securing the dwelling." The line statement of the first line says: Splitting the bed to the foot of the bed, splitting it completely, the divination is ominous (Shang Binghe uses the character "句" to mark the punctuation, indicating "蔑" and "贞凶" each form a separate sentence). The first line is in the position of 震 — the position where the first yang begins, and 震 represents the foot, so it is said "foot." "With" means "to reach": In the Guoyu · Zhouyu, "the grand steward with the historian and priest," in the Guanzi · Fuzhi, "officials with the hereditary nobles," in the Yantie Lun · Dalian Chapter, "crying out over dry bamboo slips, reciting the words of the dead, then the officials do not take it with literary skill," these instances of "以" are the same as "to reach." Therefore, "peeling the bed with the foot" means peeling the bed and reaching the foot of the bed.

艮為床。《易林·比之賁》云：「展轉空床，內懷憂傷。」以賁艮為床也。剝全體民象，故屢言床。虞翻不知此象，以坤消乾初，成巽為床；而惠棟又謂巽為木，坤西南卦，設木於西南奧，乾人藉之，床之象也。故夫一象之失傳，可使名家易迂曲至於如此，真可嘆也。

The trigram Gen has the rare image of a bed. In "Jiao's Forest of Changes · The卦 of Bi and Fen," it says, "turning and turning on an empty bed, inner sorrow and grief," which takes the upper trigram Fen's Gen as a bed. The卦 of Po as a whole is a magnified image of Gen (the original text's "min" is a miswriting of "Gen"). Therefore, the line statements often mention beds. Yu Fan did not know that Gen represents a bed, so he used the changing trigrams, saying that the trigram Qian's first line was consumed by Kui to form Xun, and thus Xun represents a bed. Hui Dong went further, saying that Xun represents wood, and Kui is the trigram of the southwest, placing wood in the southwest corner of a room, with Qian's person lying on top, forming the image of a bed. It is truly lamentable that the loss of a single trigram image could lead even renowned scholars of the Yi to such complicated interpretations.

蔑，《釋文》云：荀作滅。象曰滅下，蓋荀之所本。王陶廬云：蔑、滅古通。《周語》「而蔑其人民」，《文選·鄰里相送方山詩》「音塵慰寂蔑」，注皆作滅，故王注云猶消也。惟滅屬下讀，似難為句。滅，《說文》：盡也。剝床以足蔑者，言床足被剝盡也，故卜問凶。虞翻下屬為句，訓為無，謂初失位，故曰蔑貞，謂失正也。然二爻當位，亦曰蔑貞，則不合矣，而清易家多從之，非。

The character 「蔑」, according to 《Classic Interpretation》, was written as 「灭」 in Xun Shuang's version; 《Small Image》 says 「to eliminate the lower part」, which is probably based on Xun's version. Wang Tao Lu said that the characters 「蔑」 and 「灭」 were interchangeable in ancient times. In 《Zhou Yu》, it says 「and eliminate its people」, and in 《Wen Xuan·Lingli Xiangsong Zhi Fangshan Shi》, it says 「sound and dust comfort the silence,蔑」, with the annotations all using 「灭」. Therefore, Wang Bi's commentary says 「蔑」 is like 「消」 (to eliminate). However, connecting 「灭」 with the next sentence makes it difficult to form a coherent sentence. 「灭」, according to 《Shuo Wen》, means 「to exhaust」. 「Peeling the bed from the foot,蔑」 refers to the bed foot being completely stripped away, hence the divination result is ominous. Yu Fan interpreted 「蔑」 as 「无」 (none) when connected with the next character, saying that initial six is out of position, so it is called 「蔑贞」, meaning losing the proper position. However, the line statement for six two is also 「蔑贞」, which does not make sense. Most Qing dynasty commentators followed Yu's interpretation, which is incorrect.

象曰：剝床以足，以又下也。滅下即釋蔑義。六二：剝床以辦（句）蔑（句）貞凶。《釋文》云：辨，徐音辦具之辦，足上也，馬、鄭同；薛虞云，膝下也；王弼亦云足上。按馬、鄭、王等似皆以二在初上，故云足上。虞翻謂為指間，王引之讀為騙（左足），騙（左足），膝頭也；俞越（左木）謂辨通胖，胖，脅側也，似皆未安。按《周禮·天官·小宰》「六日廉辨」，注杜子春雲廉辨或作廉端，故賈疏云經本作廉端，是辨、端音近通用。端，首也。剝床以端，是剝及床頭也。剝之而盡故貞凶。象曰：剝床以辨，未有興也。未有興，言上無應。六三：剝無咎。《釋文》一本作剝之無咎，非。按之字乃從象辭而衍，無者是也。三處五陰之中，獨能從善不黨於上下二陰，故曰失上下。象曰：剝之無咎，失上下也。

The Image Commentary says: "Peeling the bed from the foot, thus eliminating the lower part." (The original text "you" is a mistake for "mie") "Eliminating the lower part" is precisely explaining the meaning of the character "mie." The Line Statement for the Second Line: Peeling the bed has reached the bed foot, and the peeling has completely worn away, resulting in a凶 (auspicious) outcome. The character "bian," according to the "Shiwen," is read by Xu Miao as "banju" (meaning "ban," which refers to the part above the bed foot), and Ma Rong and Zheng Xuan agree with this; Xue Yu says it refers to below the knee; Wang Bi also says it refers to above the foot. Shang Binghe comments: Ma, Zheng, and Wang, etc., probably said "above the foot" because the Second Line is above the First Line. Yu Fan says it refers to the space between; Wang Yinzhi reads it as "pian," saying it refers to the knee; Yu Yue says "bian" is the same as "pan," and "pan" means the side of the body; all these interpretations seem unsatisfactory. Shang says that in the "Zhou Li · Tian Gao · Xiao Zai," it says "sixth is lian bian," and the annotation by Du Zichun says "lian bian" may also be written as "lian duan." Therefore, Jia Gongyan's commentary says the original text is "lian duan," showing that "bian" and "duan" are homophones and interchangeable. "Duan" means the head. "Peeling the bed from the duan" means peeling has reached the head of the bed. Since the peeling is almost complete, the outcome is凶 (auspicious). The Image Commentary says: "Peeling the bed from the bian, there is no beginning." "No beginning" means there is no corresponding line above the Second Line—its corresponding line, the Fifth Line, is also yin. The Line Statement for the Third Line: Peeling without fault. The "Shiwen" says there is a version that reads "peeling without fault," which is incorrect; the character "zhi" comes from the wording in the "Xiao Xiang," and it should be read as "peeling without fault." The Third Line is among five yin lines, and it alone corresponds to the top line, the Ninth Line, thus being able to act rightly and not align with the yin lines above and below. Therefore, the "Xiao Xiang" says "losing the upper and lower." The Image Commentary says: "Peeling without fault, losing the upper and lower."

六四：剝床以膚，凶。四艮體，艮為膚，故曰剝床以膚。足、辨、膚皆指床言，膚猶言床面也。人臥床，身與床切，剝及於是，故言近災。自王肅以膚指人身言，豈知剝及人身則災及矣，胡得曰近。乃後儒惑之，謂床不能稱膚。王引之謂王弼云剝床之足、剝床之辨詳，下文亦可曰剝床之膚乎。夫床既可曰足、曰辨，又何不可稱膚，似皆惑於肅說，故拘泥若是。象曰：剝床以膚，切近災也。

The fourth line statement says: The bed is peeled away to the surface, which is ominous. The fourth line belongs to the upper trigram Gen, which represents skin, so it is said 'peeling the bed to the skin.' Foot, distinction, and skin are all referring to the bed, with 'skin' being like the bed surface. When a person lies on the bed, the body touches the bed surface, and the peeling reaches here, so the Small Image Commentary says 'the disaster is very close.' Since Wang Su interpreted 'skin' as the human body, he did not realize that once the peeling reaches the human body, the disaster has already arrived, so how can it be said 'close'? Later Confucian scholars were confused by his interpretation and even claimed that the bed cannot be called 'skin.' Wang Yinzhi said that Wang Bi explained 'peeling the bed's foot' and 'peeling the bed's distinction' clearly, so why can't the following text also say 'peeling the bed's skin'? In fact, since the bed can be called foot and distinction, why not skin? It seems that everyone has been confused by Wang Su's interpretation and has become stuck in this point. The Image Commentary says: Peeling the bed to the skin, the disaster is very close.

六五：貫魚以官人寵，無不利。坤為魚，象失傳，詳《焦氏易估》。除《易林》外，後唯郭璞知之。《洞林》璞筮遷徙，得《明夷》，曰：「嗟呼黔黎，時漂異類，桑梓之邦，其為魚乎。」明夷上坤為魚、為邦，震為桑梓，故曰桑梓之幫，其為魚乎。剝重坤，故曰貫魚。

The line statement for the fifth line of the sixth hexagram says: Like a string of fish, leading the palace attendants in succession to receive the sovereign's favor, there is no disadvantage. The hexagram of Kūn has the image of 'fish,' but this image has been lost. Details can be found in Jiao's Glosses on the Changes (the original text mistakenly uses '估' instead of '诂'). Apart from Jiao's Forest of Changes, only Guo Pu understood this. The Classic of the Hidden Forest records that Guo Pu used divination for a matter of migration and obtained the hexagram Mingyi, saying: 'Alas, the common people, at this time they drift among different kinds, their native land, can they be like fish?' The upper trigram of Mingyi is Kūn, representing fish and the state, while the lower trigram, through the intercalated trigrams, produces Zhen, representing mulberry and梓 trees, hence the statement 'their native land, can they be like fish?' The hexagram Bō has five yin lines, with the first to fourth lines repeating the trigram Kūn twice, hence the phrase 'string of fish'—a string of fish is precisely the image of a double Kūn.

艮為宮為寵。以宮人寵者，《周禮·九嬪》注云：女御八十一人當九夕，世婦二十七人當三夕，三夫人當一夕。是天子之宮進御，每夜九人或三人，故曰貫魚以宮人寵，言宮人之寵御，以次而進，若貫魚也，即五率群陰以承陽，魚貫而進也。《詩·邶風》「宴爾新婚，不我屑以」，箋：以，用也。以宮人寵，即用宮人寵也。《蒙》之用說桎告（左木），《益》之利用為依遷國，皆與此以字義同也。

The image of "Gèn (Gèn) as a palace and as favor" is not recorded in the "Shuogua" (Explanation of the Hexagrams), but it is an omitted image compiled by Shang氏 from the use of images in the "Jiaoshi Yilin" (Forest of Changes by Jiao). The phrase "using palace attendants for favor" is explained by Zheng Xuan's commentary on the "Zhou Li · Jiupin" (Rites of Zhou · Nine Concubines): eighty-one female attendants are divided into nine groups, each group of nine serving one night; twenty-seven secondary concubines are divided into three groups, each group of nine serving one night; and the three principal concubines serve one night. This shows that the imperial harem has a fixed order for serving the emperor, with nine or three attendants each night. Therefore, the phrase "ganshu yi gongren chong" (linking fish with palace attendants' favor) refers to palace attendants receiving favor and serving in sequence, like fish strung together. In the context of the hexagram, this is represented by the line "Six in the Fifth" leading the group of yin lines to approach "Nine at the Top," advancing in order, like fish in a line. The hexagram line "Kun (Earth) is fish" provides the image of "ganshu" (linking fish), while "Gèn (Gèn) as a palace and as favor" provides the image of "gongren chong" (palace attendants' favor). Each character in this line statement has an image to refer to. In the "Poetry · Bei Feng" (Songs of Bei), the line "Yan er xin hun, bu wo xie yi" (You are newly married, you do not care for me), Zheng Xian's commentary says "yi means to use." Therefore, "yi gongren chong" (using palace attendants' favor) means "using palace attendants' favor." In the hexagram "Meng" (Obstruction), the phrase "yong shuo zhi gu" (using speech to bind the feet) and in the hexagram "Yi" (Benefit), the phrase "li yong wei yi qian guo" (favorable for relying and moving the state), the word "yong" (use) has the same meaning as the word "yi" (use) here.

此與《豫》九四之朋盍谷簪，皆為易象之最神妙而最難於形容者。王陶廬云：易辭有非注視卦象不能解者，此等是也。而二千年來，因簪象、魚象之失傳，遂改營為音（右戈）為攝，以求與坎象合；命剝五變巽，以求與魚象合，而易理遂亡於解說矣。杜甫云「蓋簪喧櫪馬」，鮑照云「魚貫度飛樑」，皆此二句之確詁，而杜詩尤非真知易者不敢如此道也。宋蔡弼注社詩，遂誤為宴朋友。

This sentence and the "Peng He Zan" line from the fourth line of the "Yu" hexagram are among the most mysterious and difficult to describe in the Yi Jing's imagery: both depict the pattern of a group of yin lines sequentially attached to a single yang line, using everyday objects to express this in a single stroke. Wang TaoLu said: there are expressions in the Yi Jing that can only be understood by focusing on the hexagram, and these are examples of such cases. However, for two thousand years, because the imagery of "zhan" and "yu" have been lost, commentators have changed the pronunciation of "zhan" to "jian" or "cuo" so that it can correspond with the Kan image; they have also changed the changing line of the fifth line of the "Bo" hexagram to Xun so that it can match the "yu" image. In order to accommodate an imagined image, they have altered characters and hexagrams layer by layer, and thus the principles of the Yi have been lost in their interpretations. Du Fu's line "Gai Zan Xuan Li Ma" and Bao Zhao's "Yu Guan Du Fei Liang" are accurate interpretations of these two lines of the Yi; Du's poem in particular is something that someone who does not truly understand the Yi would not dare to write. Cai Bi, a Song dynasty commentator, mistakenly interpreted Du's poem as a description of a banquet with friends.

象曰：以宮人寵，終無尤也。五得承陽，故無尤悔。上九：碩果不食，君子得輿，小人剝廬。艮為果瓜，碩，大也，孤陽在上，故曰碩果。震為食，震覆故不食，震食象失傳，詳《魚氏易詁》。卦一陽未消，陝（？）餘在上，是其義也。艮為君子，坤為大輿為載，艮在坤上，乘輿之象也，故曰得輿。坤為小人，艮為廬，候卦陰終消陽，故曰剝廬。君子得輿，由上視下取象；小人剝廬，由下視上取象。象曰：君子得輿，民所戴也；小人剝廬，終不可用也。坤為民，艮為終。

The Image Commentary says: Because of the favor of the palace attendants, there is ultimately no blame. The line six in the fifth can ascend to receive the yang line, so there is no regret or fault. The line nine at the top says: A large fruit is not eaten, the gentleman obtains a carriage, while the petty person destroys the dwelling.艮 represents fruit and melons, "shuo" means large, and a single yang line is alone at the top, so it is called "large fruit."震 represents food, and this hexagram has the upper trigram艮 which is the reverse of震, forming a reversed image, so it is said "not eaten" — the image of震 as food has been lost, see Jiao's Glosses on the Changes (the original text mentions "yu" which is a mistake for "jiao"). The entire hexagram still has one yang line remaining, which is alone at the top, which is the meaning of "large fruit."艮 represents the gentleman,坤 represents a large carriage and carrying, with艮 on top of坤, it is the image of riding in a carriage, so it is said "obtains a carriage."坤 represents the petty person,艮 represents a dwelling, and "bao" is the hexagram of change, where yin ultimately consumes yang, so it is said "destroy the dwelling." "The gentleman obtains a carriage" is the image taken from above looking down, while "the petty person destroys the dwelling" is the image taken from below looking up. The Image Commentary says: The gentleman obtains a carriage, because the people support him; the petty person destroys the dwelling, ultimately cannot be used.坤 represents the people,艮 represents the end.

復。亨。出入無疾，朋來無咎。反復其道，七日來復，利有攸往。陽反故曰復。出人反覆，皆對垢（左女）言，復者垢（左女）之反，若舍股（左艮）不言，則復何所自乎。人者人巽，出者出震。坤為疾，象失傳，詳《焦氏易詁》。陽通故無疾。陰以陽為朋，剝窮上反下故曰朋來，陽遇陰故無咎。陽自始而消，消至剝上，六日，反覆則七日；自復而息，息至決（無左）上，六日，反垢（左女）仍七日，循環不已，故曰反復其道，七日來復。復陽長，故曰利有攸往。

The hexagram "Fu" (Return) states: It is favorable to proceed. Going in and coming out without illness, friends come without fault. Returning to its original path, it recovers in seven days, and it is favorable to go somewhere. One yang returns from below, hence it is called "Fu." Shang Binghe points out: "Going in" and "returning" are both relative to the hexagram "Gou" (Encounter). "Fu" is the opposite of "Gou": "Gou" begins with the emergence of one yin, while "Fu" begins with the emergence of one yang. If we disregard "Gou," how could "Fu" be discussed? "In" refers to entering the trigram Xun (Wind), which is the lower trigram of "Gou"; "out" refers to exiting the trigram Zhen (Thunder), which is the lower trigram of "Fu." The trigram Kun represents illness, but this image has been lost, as detailed in "Jiao's Glosses on the Changes." Now that yang energy is flowing smoothly, it is said "no illness." Yin regards yang as its kindred friends—Shang Binghe's general principle is that yin and yang meeting is called "class" and "friend." In the hexagram "Bo" (Breaking), one yang reaches the upper position and reverses to the lower position in "Fu," hence "friends come"; yang meeting yin, hence "no fault." Further, according to the theory of the waxing and waning trigrams: yang energy begins to wane from "Gou," wanes to the upper line of "Bo," passing through six hexagrams over six days; one reversal brings it to the seventh day. From "Fu," yang energy begins to grow, grows to the upper line of "Guai" (Opposition), also over six days; another reversal brings it back to "Gou," again the seventh day. Thus it cycles endlessly, hence "returning in the same way, recovering in seven days." "Fu" is the hexagram of growing yang energy, hence "favorable to go somewhere."

象曰：復亨，剛反，動而以順行，是以出入無疾，朋來無咎。反復其道，七日來復，天行也。利有攸往，剛長也。復其見天地之心乎。震動坤順，故日動而以順。天行，天道也，言陰陽剛柔往來消長，天道固如斯也，此天地之心也。坤為心，象失傳，詳《魚氏易詁》。

The Commentary on the Judgment says: Returning and being smooth and unimpeded, this is the return of a strong line; it can move and proceed in accordance with the trend, so there is no illness in going out or coming in, and the like come without fault. Returning to its original path, it recovers in seven days, which is the operation of the heavenly way. It is advantageous to go somewhere, because the strong line is increasing. From the hexagram of "Return," we can roughly see the heart of heaven and earth. Shang Binghe explains the image: the lower trigram is Zhen (Thunder), representing movement, and the upper trigram is Kun (Earth), representing compliance, so it is said "moving in compliance." "Heavenly way" refers to the heavenly way, meaning the coming and going, increase and decrease of yin and yang, strength and softness. The heavenly way is originally like this, which is the heart of heaven and earth. The trigram Kun has an image of "heart," which is an unusual image, but this image has been lost. Details can be found in Jiao's Glosses on the Changes (the original text says "yu shi," which is a mistake for "jiao shi").

此以爻數括天地間之公例公理。其謂卦氣起中孚，至復為七日，不推於數不合，只六日七分，且於理大謬，是皆執於自垢（左女）至復為七月，經言七日故疑也。豈知易辭皆舉一例，包括萬有。十日數至七必相反，辰數亦然。即以日言，《幽（內雙豕）詩》云「一之日」「二之日」，日皆謂月，侯果已言之矣。

This uses the number of lines (yao) to summarize the general principles of heaven and earth. Some Han dynasty scholars claimed that the trigram qi (energy) starts from Zhongfou and reaches Fu after seven days, but Shang Binghe thought that the calculation does not match (only six days and seven parts), and the reasoning is highly absurd. Such views arise from clinging to the fact that from Guo to Fu actually takes seven months, yet the classic text says "seven days," leading to confusion. But they fail to realize that the words in the Book of Changes are examples meant to include all things: when counting ten days, the seventh necessarily reverses; similarly, when counting twelve earthly branches, the seventh also reverses. Even if we consider the word "day" alone, in the poem "Bingfeng" from the Book of Songs, "yi zhi ri" and "er zhi ri," the "ri" refers to the moon, as early as Hou Guo had pointed out.

陰陽相遇為朋。自此象失傳，皆用卦變，俟陽息至二成兌，二陽為朋，虞氏之說訛誤至今。又《五行志》京房《易傳》曰「復崩來無咎」，讀朋為崩，是用覆象，謂剝艮覆在下為山崩。而《易林》遇此象，亦往往曰山崩，京所受也，其詳皆在《焦氏易詁》中。覆象久失傳，後惟惠棟用此說，實易言覆象者不止此也。

Yin and yang meeting is called "peng." Since this principle has been lost, commentators have instead used the concept of changing hexagrams. When yang energy arises and the second line becomes Dui, they take two yang lines as "peng." This interpretation by Yu Fan has been wrongly passed down to the present day. Also, the "Han Shu · Wu Xing Zhi" cites Jing Fang's "Yi Zhuan" as "Fu Bang Lai Wu Jiao," reading "peng" as "beng," using the concept of inverted images. The inverted image refers to the upper trigram Gen of the hexagram "Bo" being turned upside down and placed below, forming a mountain collapsing. When the "Jiao Shi Yi Lin" encounters this hexagram, it often says "mountain collapsing," clearly following Jing Fang's approach. Details are recorded in the "Jiao Shi Yi Gu." The concept of inverted images has long been lost, and only Hui Dong later continued this interpretation. In fact, the use of inverted images in the Yi is not limited to this single instance.

象曰：雷在地中，復。先王以至曰閉關，商旅不行，后不省方。曰至日，則兼二至言也。垢（左女）云「施命浩四方」，即誥戒商旅將閉關也。《易林·晉之解》，所謂二至之戒也。蓋古最重二至，《漢書·薛宣傳》「日至休吏，所繇來久」，《後漢·魯恭傳》「易五月用事，先王施命令止四方行者」，是夏至亦休息，與冬至同。坤為門戶，故曰關；震為商旅，坤閉故曰閉關，曰不行；坤為方，震為王。

The Great Image says: Thunder beneath the earth, this is the hexagram of Reversal; former kings took it as a model, closing the borders on the day of utmost yin or yang, and merchants did not travel, nor did the sovereign tour the land. Shang Binghe says: Since it is called the "day of utmost," it refers to both the winter solstice and the summer solstice. The Great Image of the hexagram Gou says "the sovereign issues commands to the people in all directions," which is exactly the decree to stop merchants from traveling as the borders are closed. What is discussed in Jiao's Forest of Changes under the hexagram Jin to Jie refers to the warning of the two solstices. Ancients placed great importance on the two solstices: The Han Book records "on the day of the sun's arrival, officials rest, a practice long established," and the Later Han Book mentions "in May, the Book of Changes says the former kings issue commands to stop travelers from going abroad," showing that rest on the summer solstice is also observed, just like on the winter solstice. In terms of the hexagram imagery,坤 represents gates, so it is called "closing the borders"; 震 represents merchants, and 坤 closing means "closing the borders" and "not traveling"; 坤 represents directions, and 震 represents the sovereign.

初九：不遠復，無只悔，元吉。復在內，故曰不遠復。嚴元照云：只從氏非，此當從氏。氏、是同用，故王肅作提（左衣）；坎低既平，京房亦作提。王陶廬云：唐石經即作祗，氏、是古同部，故得同用；若氏（下、）則另為一部，不同部者不相假，古之例也，然則今作祗者誤也。

The Line Statement for the first line of the Inner Trigram: One does not go far and then returns, there is no great regret, and it is very auspicious. One yang returns within the Inner Trigram, so it is said 'does not go far and returns.' The character '只' in '无只悔' is explained by Yan Yuanzhao as: the character should be written with the '是' radical, not the '氏' radical (the original text has '氏' in both instances, but the latter should be '是'). The '氏' and '是' radicals were originally interchangeable, so the Wang Tuolú version uses '禔'; in the 'Kan' Trigram, the line '坻既平' is also written as '提' by Jing Fang. Wang Taolú says: the Tang stone classics write it as '祗', and since '氏' and '是' had the same ancient phonetic group, they could be used interchangeably; however, the character '氐', which has an extra stroke, belongs to a different phonetic group and thus cannot be used interchangeably. This is an example of how ancient people used interchangeable characters. Therefore, the current version with '祗' is incorrect.

襖，鄭云病也。段玉裁云：鄭蓋借祗為氏（加　）。按祗之訓病，《詩·小雅·何人斯》「壹者之來，俾我祗也」，毛傳：祗，病也。茲訓為病，正本毛傳，段謂借襖為氏（加　），非。病猶苗（中　）也。復出人無疾，故無苗（中　）悔。乾元通，故元吉。象曰：不遠之復，以修身也。坤為身，陽微故宜修養以待。

The character "祗" (originally miswritten as "袄") is explained by Zheng Xuan as meaning "disease." DuanyuCai says: Zheng Xuan probably used "祗" as a variant of a character with the radical "氏." Shang Binghe comments: "Zhi" is interpreted as "disease," as seen in the "Poetry · Xiao Ya · He Ren Si," where "Yi Zhe Zhi Lai, Bi Wo Zhi Ye" is explained by Mao's Commentary as "Zhi means disease." Zheng Xuan's interpretation of "disease" here is based on Mao's Commentary, and DuanyuCai's claim that it is a borrowed usage is incorrect. "Disease" is similar to "cici" (the original text uses "苗（中　）" to mark this indistinct character). In the "Fu" hexagram, "coming and going without illness," thus it is said "no cici regret." The primordial virtue of Qian is unobstructed, hence "original good fortune." The "Image Commentary" says: "Returning without going far, to cultivate oneself." Kun represents the body, and at this time the yang energy is still very weak, so it is appropriate to cultivate oneself in preparation for the right time.

六二：休復，吉。休者，俟也，俟陽息至二故吉。象曰：休復之吉，以下仁也。仁者初也，陽主生故曰仁。以下仁者，言下陽即息至二，靜俟則吉也。六三：頻復，厲，無咎。虞翻曰：頻，蹙也，三失位，故頻復。按頻，古文顰字，故云頻蹙。三失位，承乘皆陰，又無應予，失類極。象曰：頻復之厲，義無咎也。

The Line Statement for the Second Line says: waiting calmly and returning, it is auspicious. Shang Binghe interprets 'xiu' as 'si' (waiting): waiting for the yang energy to grow to the Second Line, so it is auspicious. The Image Commentary says: the auspiciousness of returning calmly is because of the virtue below. 'Virtue' refers to the Initial Nine, which is yang and represents growth, so it is called 'virtue'. 'Below virtue' means the yang line below is about to reach the Second Position, waiting calmly leads to auspiciousness. The Line Statement for the Third Line says: frequently returning, there is danger, but there is no fault. Yu Fan says: 'frequency' means frowning, the Third Line is out of position, so it frequently returns. Shang's note: 'frequency' is the ancient character 'pin', so 'frequency' means 'frowning'. The Third Line is a yin line in a yang position and is out of position. It is supported above and ridden below by yin lines, and there is no corresponding line (the original text 'yingyu' refers to 'yingyu'), yin meets yin, and the loss of category is extreme. The Image Commentary says: the danger of frequent returning, the meaning is without fault.

六四：中行獨復。《文言》乾九四云「中不在人」，中謂三四，居一卦之中也。又《繫辭》云：「其初難知，其上易知。」「若夫雜物撰德，非其中爻不備。」中爻謂中四交，即下所謂二與四、三與五也。四居卦中，獨與初應，故曰中行獨復。虞翻謂四不在二五，何得稱中行，豈知三四稱中爻，易固有明例也。象曰：中行獨復，以從道也。道謂初，從道謂應初。

The Line Statement for the fourth line (six four) says: "Moving in the middle and returning alone." The "Wenyan" section of the "Qian" hexagram discusses the nine in the fourth line, stating "the middle is not in the person," indicating that "middle" refers to the third and fourth lines, as they are located in the center of the hexagram. The "Great Treatise" also says, "At the beginning it is difficult to know, but at the upper position it is easy to know," and "if one mixes various things and cultivates virtue, it is not the middle line that is complete." The "middle line" refers to the middle lines, that is, the second and fourth lines, or the third and fifth lines, as mentioned later in the "Great Treatise." The sixth line in the fourth position is located in the center of the hexagram and corresponds only with the initial nine, so it is said "moving in the middle and returning alone." Yu Fan believes that the fourth line is not in the position of the second or fifth lines, so how can it be called "moving in the middle"? He does not realize that the third and fourth lines are called "middle lines." The "Book of Changes" itself has clear examples. The "Image Commentary" says: "Moving in the middle and returning alone, following the Dao." "Dao" refers to the initial nine, and "following the Dao" means corresponding with the initial nine.

六五：敦復，無悔。敦與屯通。《詩·大雅》「鋪敦淮憤（左水）」，箋：敦當作屯。揚雄《甘泉賦》「敦萬騎於中營兮」，注：敦與屯同。又按《幽（雙豕）風》云「敦彼獨宿」，即屯彼獨宿也。屯者，止也，次也。而敦又與頓同，《爾雅·釋丘》「丘一成為敦丘」，疏：即《衛風》之頓丘，頓亦止也。《史記·王翦傳》「三日三夜不頓舍」是也。是敦有止意、待意。敦復者，言五應在二，陽即升二，五稍待即有應也。故《臨》上六亦曰敦臨，以上六亦稍待，陽即息三，有應也。舊詁皆訓為敦厚，非。象曰：敦復無悔，中以自者也。向秀曰：考，察也。五中位，應在二，亦中位，陽息即至二，五有應，故無侮。中以自考者，釋敦之故。易之道貴將來，言頓止以待中二之陽息，自考省也。與《臨》上之志在內義同。

The line statement for the fifth line says: "Stop briefly and wait, then resume, there is no regret." Shang Binghe says that "dun" and "zhun" are homophones. In the "Great Ya" section of the "Book of Poetry," it says "pu dun huai fen," and Zheng's commentary says "dun" should be read as "zhun." In Yang Xiong's "Ganquan Fu," it says "dun wan qi yu zhongying," and the commentary says "dun and zhun are the same." In the "Bingfeng" section of the "Book of Poetry," it says "dun bi du su," which is actually "zhun bi du su." "Zhun" means to stop or halt. "Dun" also is homophonous with "dun," meaning to stop. In the "Shi Yi · Xisou," it says "qu yi cheng wei dun qiu," and the commentary explains that this is the "Dunqiu" from the "Wei Feng." "Dun" also means to stop. In the "Records of the Grand Historian · Wang Jie Zhuan," it says "san ri san ye bu dun she," which also means to stop. Thus, "dun" includes the meaning of stopping and waiting. "Dunfu" refers to the fact that the responding line of the sixth line is the second line. Yang energy is about to rise to the second position, so the sixth line only needs to wait a little and will have a response. Therefore, the sixth line of the "Lin" hexagram also says "dunlin," because the sixth line also only needs to wait a little, and when yang energy reaches the third position, there will be a responding line. Old commentaries all interpreted "dun" as meaning "honesty" or "uprightness," which is incorrect. The "Image Commentary" says: "Dunfu wu hui, zhong yi zi kao ye" (the original text is missing one character "kao"). Xiang Xiu says: "kao" means to examine. The sixth line is in the central position, and its responding line is the second line, which is also in the central position. Yang energy is about to reach the second position, so the sixth line will have a response, hence there is no regret. "Zhong yi zi kao" is the explanation for the meaning of "dun." The "Book of Changes" values the future, meaning to stop briefly and wait for the yang energy to reach the central second position, while also self-examining. This is similar to the "Small Image Commentary" of the sixth line of the "Lin" hexagram, which says "zhi zai nei ye."

上六：迷復，凶，有災眚，用行師終有大敗，以其國君凶，至于十年不克征。凡上六多不吉，上窮也。坤為迷、為死喪，故有災眚。坤為眾故為師，坤為死喪，故行師終有大敗。坤為國，震為君，象失傳，詳《焦氏易詁》，故曰國君。坤為十年，震為征，不克征，言不能興起也。

The line statement for the sixth line at the top says: having lost the path to return and repeat, it is凶, with calamity; using it for military campaigns will ultimately result in great defeat, causing the king to also suffer misfortune, leading to ten years of inability to go to war. Shang Binghe says: generally, the sixth line at the top is mostly inauspicious, because the upper position has reached its extreme. The earth (Kun) represents confusion and death, hence 'there is calamity'; the earth (Kun) also represents the people, hence representing military forces; the earth (Kun) again represents death, so military campaigns will inevitably end in great defeat. The earth (Kun) represents the country, and the thunder (Zhen) represents the king (this symbolic meaning of Zhen as the king is a lost interpretation, see Jiao's Glosses on the Changes). Together, they refer to 'the king'. The earth (Kun) represents ten years, and the thunder (Zhen) represents military campaigns; 'not being able to campaign' means that there is no ability to mobilize.

《比》上六「後夫凶」，《師》上六「小人勿用」，皆以其不承陽也。他爻皆可承陽，獨上六不能。不承陽則背叛君命，而殃及國君，故曰以其為君凶。君者國之本，國君受協，根本動搖，故其凶至於十年也。象日：迷復之凶，反君道也。反君道，即謂上六不承陽。舊解皆以不順君命為反君道，然上六之何以獨反君道，其故無能明者，此與六五敦復及《臨》之敦臨義晦同也。

The upper sixth line of the "Compare" hexagram says "The one who comes late meets misfortune," and the upper sixth line of the "Army" hexagram says "The petty person should not be used." Both are because they cannot ascend to receive the yang line. All other lines can ascend to receive the yang, but the upper sixth line is at the top of the hexagram and has no yang to receive. Not receiving the yang is equivalent to betraying the sovereign's command, thus bringing misfortune upon the sovereign, hence it is said "because of the sovereign's misfortune." The sovereign is the fundamental of the state; when the sovereign is threatened, the foundation is shaken, so the misfortune lasts for ten years. The Image Commentary says: "The misfortune of returning to the same place is due to reversing the sovereign's way." What is meant by "reversing the sovereign's way" is that the upper sixth line does not receive the yang. Old interpretations all take not obeying the sovereign's command as "reversing the sovereign's way," but why the upper sixth line especially "reverses the sovereign's way" remains unexplained; this is the same kind of situation as when the sixth line of the fifth position "dun fu" and the meaning of "dun lin" in the "Approach" hexagram is obscured.

無妄。元亨利貞，其匪正有青，不利有攸往。震巽為草木為禾稼，下艮為火，故焦、京、王充皆以無望為大旱之卦。而乾為年，巽為人，年收失望，故曰無妄。元亨者，謂乾元通也，初當位，前臨重陰，五中正，故乾元以通。利貞者，利於貞定也，正亦定也。匪正謂三上，三上不當位，妄動，故有眚。眚，病也，巽為疾病。其匪正有眚者，言不能貞定而躁動，即有眚也。不利有攸往，仍以動為戒也。震為決躁，躁動於內，外與剛健遇，必無幸矣，故曰不利有攸往。

The Hexagram of Wuwang states: Greatly prosperous and smooth, favorable to maintaining correctness; those who do not maintain correctness will suffer calamity, and it is not favorable to go somewhere. The source text says "there is a calamity" (yǒu qīng), which refers to "there is a disease" (yǒu shěng). Shang Binghe explains the image: the lower trigram Zhen and the interacting trigram Xun both represent grass and crops, while the second, third, and fourth lines interacting form Gen, which represents fire. Therefore, Jiao Yanshou, Jing Fang, and Wang Chong all regarded the Hexagram of Wuwang as the hexagram of a great drought. Qian represents the year, Xun represents people, and the harvest of the year is lost, hence it is called "Wuwang" — "wang" means "expectation," referring to disappointment. "Yuanheng" means the Qian Yuan is smooth: the initial line Nine is in the correct position, facing the two yin lines of the second and third lines, and the fifth line Nine is in the center and correct, so the Qian Yuan can flow smoothly. "Lizheng" means favorable to upholding correctness, where "zheng" is also "ding" (stability). "Feizheng" refers to the third line Six and the top line Nine: these two lines are not in the correct position, and any movement is reckless movement, hence there is a disease. "Sheng" is a disease, and the third to fifth lines interacting form Xun, which represents illness. "Its feizheng has sheng" means that if one does not remain calm and self-restrained but acts rashly, one will invite illness. "Not favorable to going somewhere" is again a warning about movement. Zhen represents decisive and impetuous action, with internal movement being impetuous, and going out to meet the strong and vigorous Qian trigram in the outer trigram, which will certainly not lead to good results, hence it is said "not favorable to going somewhere."

妄，《釋文》云：馬、鄭、玉肅皆作望，謂無所希望也。按此訓最古。《史記·春申君傳》云：「世有毋望之福，又有毋望之禍，今君處毋望之世，事毋望之主。」是自戰國即讀為望，作毋亡。妄，古文妄之省。王陶廬云：妄、望同音相借，《大戴禮·文王篇》「故得望譽」，望譽即妄譽，史遷受易於楊何，固無誤也。

The character 「妄」, according to 《Classic Interpretation》, says that Ma Rong, Zheng Xuan, and Wang Su (the source text says 「Yu Su」) all read it as 「望」, meaning having no hope. Shang Binghe comments: this explanation is the most ancient. 《Records of the Grand Historian: Biography of Prince Chunshen》 says 「there are blessings without hope, and calamities without hope; now you are in an era without hope, serving a ruler without hope」, showing that since the Warring States period, it has been read as 「望」, written as 「毋亡」; 「妄」 is a simplified form of the ancient character 「妄」. Wang Taolü says: 「妄」 and 「望」 are homophones and mutually explanatory. In 《The Great Dai Rituals: The Chapter of King Wen's Officials》, 「so one gains reputation without hope」, 「望誉」 means 「妄誉」; Sima Qian's study of the 《Yi Jing》 was passed down from Yang He, so his use of characters would naturally be accurate.

又按《雜卦》云「無妄，災也」，故《太玄》擬無妄為去。《漢書·谷永傳》「遭無妄之卦運」，應劭云：「天必先雲而後雷，雷而後雨，今無雲而雷，無妄者無所望也，萬物無所望於天，災異之最大者也。」《後漢·崔篆傳》「值無妄之世」，王充《論衡》「易無妄之應，水旱之至」，蔡邕《鄧皇后溢議》「消無妄之運」，舉兩漢之人，無作虛妄及失妄解者。

Shang's further remarks: The "Zagua Zhuan" says "Wu Wang, zai ye" — this is clear evidence from the "Yi Zhuan" itself that the hexagram "Wu Wang" is designated as the calamity hexagram. Therefore, Yang Xiong's "Tai Xuan" uses "qu" as a comparison to "Wu Wang," since "qu" signifies loss and emptiness. In the "Han Shu · Gu Yong Zhuan," "zao Wu Wang zhi gua yun," Ying Shao's annotation says: "Heaven must first produce clouds before thunder, then rain follows the thunder; now, thunder occurs without clouds, 'Wu Wang' means having no hope, and all things have no hope towards heaven, which is the greatest calamity." In the "Hou Han Shu · Cui Zuan Zhuan," "zhi Wu Wang zhi shi," Wang Chong's "Lun Heng" says, "The 'Yi' hexagram 'Wu Wang' corresponds to drought and flood," and Cai Yong's "Deng Hou Hou Shi Yi" says, "Eliminate the 'Wu Wang' era." Counting through the examples used by people of the Han dynasty, none of them interpreted 'Wu Wang' as meaning illusion or loss of hope; they all used it as referring to a time of calamity when all things have no hope. This series of Han dynasty examples is exactly the evidence Shang used to overturn the later interpretation of 'Wu Wang' as illusion.

無妄猶孟子所謂不虞也，六爻爻辭皆不虞之事。又無妄，災也，以艮火象失傳之故，皆莫知災之自來。而焦、京以無妄為大旱，《易林》屢見，詳《焦氏易詁》之卦，其故自荀、虞莫明矣。卞斌云：匪正宜作匪百，經無作正者。虞翻知巽為禾稼，而不知艮火象，故不知大旱之義，斥京氏為非，詁為亡失，不亡失則卦吉矣。

"The hexagram 'Wu Wang' is like what is said in the 'Mengzi' as 'bu yu,' meaning unexpected events. The line statements of the six lines all deal with unexpected occurrences. The 'Zagua' also says 'Wu Wang, zai ye,' meaning 'disaster.' This is because the image of mountain (Gèn) and fire (Lí) has been lost, and commentators do not understand where the disaster comes from. Jiao Yanshou and Jing Fang regarded 'Wu Wang' as the hexagram of great drought. This is frequently mentioned in the 'Jiao's Forest of Changes,' as discussed in the section of 'Jiao's Glosses on the Changes.' The reason for this has not been understood since Xun Shuang and Yu Fan. Bian Bin said: 'Fei Zheng' should be read as 'Fei Bai' according to another version, and the text does not use 'Zheng.' Yu Fan knew that Xun represents grain, but did not know that Gèn represents fire, so he did not understand the meaning of great drought. Instead, he criticized Jing Fang as wrong, interpreting 'Wu Wang' as loss. According to his interpretation, if one does not lose anything, this hexagram would be auspicious."

然何以解於《雜卦》之無妄災及家傳？《象傳》曰「無妄之往何之矣，天命不右行矣哉」，無妄若為吉卦，而曰天命不右，曰無所往，有是理乎？虞翻最忌鄭學，鄭作望故駁之，其所謂俗儒殆即指鄭。後崔憬、何妥競作虛妄解，益與傳背。世豈有忠信之人，天命不右，往無所合者哉？害理亂道，莫斯為甚。

But then how can the "Zagua Commentary" say "Wuwang, disaster" be consistent with the "Commentary on the Judgment" (the original text "jiatuan" refers to "taotuan")? The "Commentary on the Judgment" says "If one goes without expectation, where shall he go? Heaven's mandate does not support him, can he go on?" If "Wuwang" is a fortunate hexagram, yet it says heaven's mandate does not support and there is nowhere to go, is this reasonable? Yu Fan most detested Zheng Xuan's learning; whenever Zheng Xuan interpreted it as "wang", Yu Fan would refute it. The "common scholars" he referred to were probably Zheng Xuan. Later, Cui Jing and He Tu argued for the interpretation of "xuwang", which became even more divergent from the "Yi Zhuan". Where in the world is there a loyal and trustworthy person who is instead not supported by heaven's mandate and has nowhere to go? To corrupt the principles and disturb the Way of the Yi, there is nothing more serious than this.

象曰：無妄，剛自外來而為主於內，動而健，剛中而應，大亨以正，天之命也。其匪正有音，不利有攸往。無妄之往，何之矣？天命不佑，行矣哉！震為主，謂初也。先儒謂遁上來初，故曰自外來。震為躁卦，躁動於內，而外遇乾剛，故所之不合。五剛中，二有應，故曰剛中而應。

The Commentary on the Judgment says: The hexagram "Without Delusion" has a strong line coming from outside and dominating the inner trigram. It is dynamic and strong, with nine in the fifth position being strong and central, and six in the second position corresponding to it. Thus, it is greatly smooth and in harmony with the right path, which is the command of heaven. Those who do not abide by the right path will suffer calamity and are not favorable for going anywhere. To go without delusion yet go recklessly, where can one go? Heaven's mandate does not support, how can one proceed? Shang Binghe explains the image: Zhen is the main trigram, referring to nine at the beginning. Earlier scholars said that the hexagram "Without Delusion" comes from the upper line of the hexagram "Retreating," moving to the first position, thus saying "from outside." Zhen is the trigram of restlessness, with restlessness in the inner trigram, and going out meets the strong and vigorous trigram Qian in the outer trigram, so the place one goes to does not match. Nine in the fifth position is strong and central, and six in the second position corresponds to it, thus saying "strong and central with correspondence."

大亨者，元亨也；以正者，利貞也。元亨利貞，循環來往，天命固如斯也。乾為天，巽為命也。《臨》傳云「大亨以正，天之道也」，天命與天道同也。故時當元亨而動，時當利貞即不宜動，不宜動而強動，違天者也。違天而行，天所不福，右，福也。何之者，言時值無望，無往而可也。蓋易之旨，陽剛不宜在外，在外則氣窮，有陽九之戶（加九？）。故卦辭以行為戒，以貞定為主。

"Da Heng" is the same as "Yuan Heng," and "yi zhen" means "li zhen." Yuan Heng and Li Zhen alternate continuously, which is the natural way of heaven's mandate. Qian represents Heaven, and the trigrams from the third to the fifth lines form Xun, which represents destiny. The "Commentary on the Judgment" of the "Lin" hexagram says, "Da Heng yi zhen, this is the way of heaven," showing that heaven's mandate and the way of heaven are the same thing. Therefore, when the time is right for Yuan Heng, one should act; when the time is right for Li Zhen, one should not act. Acting when one should not is to go against heaven's will. To act against heaven's will, heaven will not bestow blessings—"you" means blessings. "He zhi" means that at this time, there is no hope anywhere, and going anywhere is impossible. The essence of the "Book of Changes" is that yang strength should not be in the outer trigram; if it is, then its fortune will be exhausted, leading to the calamity of "Yang Jiu." Therefore, the hexagram statement warns with "xing," and emphasizes remaining steadfast and quiet.

象曰：天下雷行，物與無妄，先王以茂對時育萬物。與，舉也。天下雷行，萬物震恐，舉失其求望。茂與懋通，勉也；對，答也，言因雷而勉答大威。傅亮文云「只服住命，茂對天休」，潘岳《秋興賦》「覽花蒔時之育兮」，是茂對連文、時育連文，古讀如是，《釋文》作茂對時，非也。

The Great Image Commentary says: Thunder moves across the heavens, and all things are in a situation of unexpected circumstances with no hope; therefore, the former kings exerted themselves to respond to the heavenly mandate, following the timing to nurture and cultivate all things. Shang Binghe says: "With" means "all," that is, entirely. Thunder moves across the heavens, and all things are frightened, losing all their original hopes. "Mao" and "Mao" are interchangeable, meaning to exert oneself; "dui" means to respond, meaning that in response to the thunderous movement, one exerts oneself to thank the great mandate of heaven. Fu Liang's article says "zhi fu xiu ming, mao dui tian xiu," and Pan Yue's "Autumn Excursion" says "lan hua shi shi zhi yu xi," showing that "mao dui" and "shi yu" are read as connected phrases, and the ancients originally read them in this way; however, the "Shi Wen" marks it as "mao dui shi," which is incorrect.

艮為時，震巽皆為草莽，而震為生，故曰時育萬物，即嚴畏天命，順時育物也。象有以相反為義者，如《蠱》曰振民育德，《剝》曰上以厚下安宅，《明夷》曰用晦而明，及此皆是也。虞仲翔不知此旨，據象言時育，證萬物皆死之非。審如是也，將《蠱》曰振育亦可謂之不蠱，《剝》曰安宅亦可謂之非剝，尚可通乎？

The trigram Gen represents time, while Zhen and Xun both represent grass and weeds. However, Zhen is the main one for growth and hair, so it is said "time nurtures all things," meaning to revere heavenly mandate and follow the right time to nurture all things. The Great Image Commentary sometimes takes meaning from the opposite side. For example, the hexagram Gu says "to rouse the people and cultivate virtue," the hexagram Bo says "the superior person uses this to enrich the people and secure their dwelling," and the hexagram Mingyi says "using obscurity to achieve clarity." These, along with this case, all belong to this category. Yu Fan did not understand this principle, and instead used "time nurtures" from the Great Image to prove that the statement "all things are dying" is incorrect. If we truly follow his interpretation, then can we not also say that the hexagram Gu's "rouse the people and cultivate virtue" is not about corruption, or that the hexagram Bo's "secure their dwelling" is not about decline? Would that make sense?

初九：無妄，往吉。陽遇陰則通，故往吉。象曰：無妄之往，得志也。得志謂往遇二陰也。《大畜》九三云上合志，《渙》九二云得願，上皆無應，皆以前遇二陰。虞翻不知此為易不刊之定理，命四爻變陰，初得應釋得志，清儒從之，訛誤至今。六二：不耕穫，不苗（中　）畬，則利有攸往。獲，悅文刈谷也。《時·小雅》「於此苗（中　）畝」，蔬：苗（中　），災也，始災殺其草木也，故《說文》云不耕田也。畬，文三歲治田。《時·周頌》「如何新畬」，傳：一歲曰畜，二歲曰新田，三歲日畬，《爾雅》同。

The line statement for the first line (Initial Nine): In a situation where there is nothing to hope for, going forward is auspicious. A yang line meeting a yin line leads to smoothness, hence 'going forward is auspicious.' The Image Commentary says: Going without expectation, attains one's aspirations. What is meant by 'attaining one's aspirations' is that going forward will meet the two yin lines, the second and third lines. The Image Commentary of the third line of the Great Accumulation and the second line of the Dispersal both refer to attaining one's wishes, but in those lines there is no proper response line above, relying instead on meeting the two yin lines ahead. Yu Fan did not recognize this as an unshakable principle in the Book of Changes, instead forcing the fourth line to become a yin line so that the first line could have a responding line, thereby explaining 'attaining one's aspirations.' Later Qing scholars followed him, leading to continued errors. The line statement for the second line (Six in the Second): Not sowing yet expecting harvest, not cultivating yet expecting mature fields, this is actually favorable for going forward (the original text marks the character '苗' with '菑', indicating newly cultivated land). 'Obtaining,' as explained in the Shuo Wen, refers to cutting grain. The Shijing, Xiao Ya says 'here is the newly cultivated field,' and the commentary explains that '菑' refers to burning the grass and trees in the field, hence the Shuo Wen describes it as land that has not yet been cultivated. 'Yu,' as explained in the Shuo Wen, refers to land cultivated for three years. The Shijing, Zhou Song says 'how is the new Yu,' and Mao's commentary explains that one year is called 'Rui,' two years is called 'new field,' and three years is called 'Yu,' which is the same as the Erya.

獨鄭康成及虞翻謂田二歲曰畬，皆以在二爻。豈知詩明曰新畬，是第一年苗（中　）田，第二年便為新田，然尚未柔和也，故第三年為畬田。觀詩不曰畬新而曰新畬，鄭、虞誤也。蓋二居艮震之間，震為耕、為苗（中　），乃前遇艮，艮止，故不耕不苗。艮手為獲，艮成終，為畬。不耕而獲，不苗（中　）而畬，為必無望之事，故象以未富為釋。

Only Zheng Xuan and Yu Fan said that cultivated land becomes "ru" in the second year, which was to accommodate the position of the second line. But how could they not realize that the "Shi" clearly says "new ru"? This shows that the first year is "zui" land, the second year becomes new land, but the soil is still not soft and mature, so it is only in the third year that it becomes "ru" land. The "Shi" does not say "ru new" but "new ru," indicating that Zheng and Yu were mistaken. From the hexagram: line six in the second position is between the interacting mountain and the lower thunder trigram. Thunder represents plowing and "zui," but it meets the mountain trigram ahead, which represents stopping, so "not plowing" and "not zui." The mountain represents hands, hence harvest, and since mountain also signifies completion, it represents "ru." Not plowing yet harvesting, not clearing land yet getting mature fields, is an impossible situation, so the "Xiao Xiang" explains it as "not yet rich."

據《坊記》引則為凶字，又據《說文》引畬下多田字，段玉裁以為即凶之形訛字，然則則為凶字無疑。乃王注謂不耕而獲，不苗（中　）而畬，只代終，不造始，臣道固如是也，故利往。如王詁，是亦獲亦畬也，與象未富之義不合。按《易林·無妄之訟》云「不耕而獲，家食不給」，謂既不耕，獲必無得，故家食不給，讀雖與王同，而義則與小象不背矣。又《禮·坊記》引此，鄭彼注云「言必先耕乃得獲，先苗（中　）乃得畬，安有無事而取利者乎」，皆正詁，宜從。二有應，故利往，此自為一義，與上二句不相屬，與《困》彖同。象曰：不耕穫，未富也。

According to the citation in the "Fang Ji" section of the "Rites," the character "ze" in the text should be read as "xiu." Also, according to the "Shuo Wen," the character "yu" has an additional "tian" character, and Duan Yucai believes that is exactly the distorted form of "xiu." Thus, "ze" originally meant "xiu" without doubt. However, Wang Bi's commentary says that not plowing yet having a harvest, not clearing land yet having a fertile field, merely taking over the end of someone else's work without starting something oneself, is the way of a minister, so it is advantageous to go forward. According to Wang Bi's interpretation, there is both a harvest and a fertile field, which contradicts the meaning of the "Xiao Xiang" passage "wei fu." Shang Binghe comments: In the "Jiao Shi Yi Lin" section "Wu Wang Zhi Song," it says "not plowing yet having a harvest, the family's food supply will not be sufficient," meaning that if one does not plow, the harvest will certainly be empty, so the family's food will be insufficient. Although the reading is the same as Wang Bi's, the meaning does not contradict the "Xiao Xiang" passage. Also, when the "Fang Ji" section of the "Rites" cites this sentence, Zheng Xuan's commentary says, "One must first plow in order to have a harvest, one must first clear land in order to have a fertile field; how can one take advantage of benefits without working?" These are all correct interpretations and should be adopted. As for the phrase "ze li you you wang," it is because the second line six has the fifth line nine as its correct response, so it is advantageous to go forward; this sentence stands on its own and is not connected to the previous two sentences, similar to the sentence structure in the "Tuan Ci" of the "Kun" hexagram. The "Xiang Zhuan" says: "Not plowing yet having a harvest, indicates not yet wealthy."

六三：無妄之災，或繫之牛，行人之得，邑人之災。無妄之災，猶不虞之災也。艮為牛，象失傳，詳《焦氏易詁》補遺。糞為繫，故或繫之牛。震為行、為人，巽為盜，故行人之得。艮為邑，良火故曰災。言或繫之牛，被行人牽去，居者反有盜嫌，遭詰捕之禍也。爻辭取象，神妙已極，乃自艮牛、民火象失傳，自虞翻以來皆用卦變，致妙用全失。蓋三不當位，而巽伏為盜，象失傳，詳《焦氏易詁》補遺，故有是象。災之無妄，莫過於是。象曰：行人得個，邑人災也。

The line statement for the third line says: unexpected disaster — someone tied up a cow there, a passerby led it away, and the people of the town thus suffered disaster. "No-will disaster" refers to disaster that occurs unexpectedly. The trigram Gen represents a cow, but this image has been lost, as detailed in the supplement of Jiao's Glosses on the Changes. The trigram Xun represents a rope and binding, so it is said "a cow that is tied up." The trigram Zhen represents movement and people, and Xun represents thieves, so it is said "a traveler gets the cow." Gen represents a town, and Gen also represents fire, so it is said "disaster" (the original text's "liang" is a mistake for "Gen"). The whole sentence means: a cow that someone had tied up was led away by a passerby, and the people of the town were instead suspected of stealing the cow and suffered the disaster of being questioned and pursued. The imagery used in this line statement is extremely profound, but since the images of Gen representing a cow and Gen representing fire have been lost (the original text's "minhuo" refers to "Gen fire"), Yu Fan and those who came after him have used changes in the hexagram to explain it, thus losing the profound meaning. The third line, being a yin line in a yang position, is not in the right place, and Xun is hidden below, representing thieves (the image of Xun representing thieves has also been lost, as detailed in the supplement of Jiao's Glosses on the Changes), so there is such an image. There is no more typical example of an unexpected disaster than this. The Image Commentary says: the traveler gets the cow, and the town people suffer disaster (the original text's "de ge" refers to "de niu").

九四：可貞，無咎。陽遇陽則窒，下又無應，不宜於動，故曰可貞。貞，定也。然得重陰履之，故亦無咎。象曰：可貞無咎，固有之也。固有即謂二陰，虞翻亦用卦變說之，非。九五：無安之症，勿藥有喜。巽為疾、為草莽，故為藥。無妄之疾，言疾之愈已失望，乃勿藥而愈，其喜可知。五應在二，震為笑樂，故有喜也。勿藥者，言巽藥為艮為所焚也。

The fourth line statement says: It is appropriate to maintain stillness and achieve stability, without fault. A yang line meets another yang line, causing blockage, and there is no proper response below, so it is not suitable to act recklessly. Therefore it says "can be firm" — "firm" means stability. However, it is supported by the two yin lines below, six two and six three, so there is no fault. The Image Commentary says: "Can be firm without fault," meaning it is inherent. "Inherent" refers to the two yin lines below. Yu Fan also interprets it using changing hexagrams, but that is incorrect. The fifth line statement says: A sudden illness, which will recover without medication, bringing joy ("no stable illness" refers to "no妄 illness"). The trigram Xun represents illness and wild grass, and wild grass is also medicinal herbs, so Xun represents medicine. "No妄 illness" means that recovery from this illness was originally hopeless, yet it heals without medication, the joy is evident. The fifth line's responding line is six two, and the trigram Zhen represents laughter and joy, so "there is joy." The statement "without medicine" is because the medicine represented by Xun is burned away by the interacting trigram Gen.

象曰：無妄之藥，不可試也。不可試，言此為事之偶然，非所期望，不可嘗試。蓋五雖當位有應，然承乘皆陽，未為全吉。上九：無安，行有眚，無攸利。上應在三，巽為疾病、為眚、為利，然四五遇敵，故行有眚而無所利也。象曰：無妾之行，窮之災也。

The Image Commentary says: The medicine of no pretense cannot be tested. "Not to be tested" means that recovery without taking the medicine is merely accidental, not something intended or expected, so it cannot be regarded as a regular method to be tried. Although nine five is in the proper position and has a correct response, the ones above and below it are all yang lines. Yang meeting yang causes obstruction, so it is not entirely auspicious. The line statement of upper nine: in a situation of unexpected occurrence, proceeding forward brings calamity and misfortune, and there is nothing beneficial. (The original text "wu an" refers to "wu wang.") Upper nine has a correct response with six three. Xun represents disease, misfortune, and benefit; however, nine four and nine five are both yang lines, and they are in opposition to upper nine, so proceeding forward brings calamity and misfortune with nothing to gain. The Image Commentary says: Unjustified actions lead to calamity at the end.

大畜。利貞，不家食吉，利涉大川。乾為大，乾陽上升，為民所止，故日大畜。陽為艮畜，故利於貞定也。兌為食，艮為家，皆在外，故不家食吉。坤為大川，上居坤水之顛，下履重陰，得行其志，故曰利涉大川，與《頤》上九之利涉大川同也。

The Hexagram Statement of Great Accumulation says: It is advantageous to maintain correctness, not to eat at home but to receive salary in the court, which is auspicious, and it is advantageous to cross a great river. The trigram Qian represents Greatness, and the yang energy of Qian rises and advances, being restrained by the Upper Trigram Gen (source text "people" is a mistake for "Gen"). Therefore it is called "Great Accumulation." Yang energy is restrained by Gen, so it is advantageous to maintain correctness and stability. The lines two to four mutually form Dui, which represents food; Gen represents home, and both are in the Outer Trigram, so it says "not eating at home is auspicious." The two yin lines, sixth and fifth, are taken as Kun, which represents a great river—this is an unusual image not found in the "Discourse on the Trigrams," but one recovered by Shang's from the "Forest of Changes" by Jiao. The top line, ninth, is high above the Kun water, standing on two yin lines below, thus being able to carry out its will, so it says "advantageous to cross a great river," similar to the ninth line of the Hexagram Yi which also says "advantageous to cross a great river."

象曰：大畜剛健篤實輝光，日新其德。剛上而尚賢，能止健，大正也。不家食吉，養賢也。利涉大川，應乎天也。剛健篤實謂乾，輝光謂艮。艮為日，故曰日新；艮為君子，故曰尚賢，曰養賢。五天位，上孚於五，故曰應乎天。象曰：天在山中，大畜。君子以多識前言往行，以畜其德。識，《論語》「女以為多學而識之者欽」，注：識，記也。乾為前、為言、為行、為德，艮止於下，故多識前言往行，以畜其德。艮為君子。

The Commentary on the Judgment says: The hexagram Great Accumulation is characterized by firm strength, sincerity, and radiance, renewing its virtue daily. The strong lines are in a superior position and honor the virtuous, thus restraining the strong and achieving great correctness. "Not eating at home is auspicious" refers to supporting the virtuous; "favorable for crossing great rivers" corresponds to the heavens. Shang Binghe explains the image: "Firm strength and sincerity" refers to the lower trigram Qian, "radiance" refers to the upper trigram Gen; Gen represents the sun, so it is said "daily renewal"; Gen represents the gentleman, so it is said "honoring the virtuous" and "nurturing the virtuous." The fifth line is the heavenly position, and the line six and the line five are in mutual response, so it is said "responding to heaven." The Great Image says: Heaven in the mountain, this is the hexagram Great Accumulation; the gentleman takes it as a model, accumulating many previous words and the deeds of past sages, to cultivate his virtue. The character "识" is explained in the Analects as "female, do you think I am one who learns much and remembers it?" (the original text mistakenly ends with "qin"), and the commentary says "识 means to remember." Qian represents the front, speech, action, and virtue, while Gen stops and accumulates the lower Qian, so it is said "accumulating many previous words and deeds of the ancients to cultivate one's virtue." Gen represents the gentleman.

初九：有厲，利已。厲，危也；已，止也。初有應，似利往，然二三皆陽，遇敵，故曰有厲。初勿用，故利已，言往應四則有災也。舊解皆不知有厲之故在二三，於是虞氏命二變成坎，四在坎體，以取災象，經義之晦至於如此，真可嘆也。象曰：有厲利已，不犯災也。不犯災，釋利已之故也。災即厲，指二三。

The first line statement says: There is danger, and it is favorable to stop. "Lì" means danger, and "yǐ" means to stop. The first line, which is a yang line, corresponds with the fourth line, which is a yin line. At first sight, it seems favorable to go forward, but the second and third lines are both yang lines, and like elements are in conflict, so it says "there is danger." The first line is originally in the position of "not to use," so it is favorable to stop; meaning that going forward to correspond with the fourth line would lead to disaster. Old commentaries did not understand the reason for "there is danger" being due to the second and third lines, so Yu Fan changed the second line into Kan (Water), and placed the fourth line within the body of Kan, thereby obtaining the image of disaster. The meaning of the classic has become so obscure, which is truly regrettable. The "Image Commentary" says: There is danger, favorable to stop, meaning not to commit disaster. "Not to commit disaster" is the reason for "favorable to stop"; disaster is "danger," referring to the second and third lines.

九二：輿說復（左車）。伏坤為輿，震為復（左車），二應在五，五震體，乃輿在內，轅（右復）在外，故曰輿脫復（左車）。車之行全恃復（左車），復（左車）脫則車不能行。二承乘皆陽，陽遇陽則窒，故有是象。舊說以二應五，便謂利涉大川指二者非也。如二能利涉，焉有此象哉。然爻辭無吉凶，無咎悔，故象曰中無尤，言無尤之故，以得中也。象曰：輿說復（左車），中無尤也。

The line statement for line nine two says: The carriage's axle is detached from the hidden rabbit beneath the axle (the original text marks '复 (left carriage)' with the character '輹'). The trigram Qian below contains the trigram Kun hidden, which represents the carriage body, and Zhen represents the axle. The responding line of nine two is six five, which belongs to the upper trigram Zhen. Therefore, the carriage body is inside and the axle is outside, hence the statement 'the carriage body detaches from the axle.' The carriage can move only because of the axle, so when the axle detaches, the carriage cannot move. Nine two is above and below with yang lines, and yang meeting yang causes blockage, hence this image. Old interpretations thought that since nine two corresponds to six five, the hexagram statement 'favorable to cross great rivers' refers to nine two, but this is wrong — if nine two could really be favorable for crossing great rivers, why would there be the image of 'the carriage body detaching from the axle'? However, this line statement has neither good fortune nor misfortune, so the 'small image' says 'no blame in the center,' indicating that there is no fault because it is in the center. The 'image commentary' says: The carriage body detaches from the axle, no blame in the center.

九三：艮馬逐，利艱貞，日閒輿衛，利有攸往。乾為艮馬，震為逐，三多懼，故利艱貞。乾為日。《爾雅·釋詁》：閒，習也。《詩·秦風》「遊於北園，四馬即閒」，傳亦訓閒為習。震為輿衛，日閒輿衛者，言車馬已閒習，利於行也。三臨重陰故行利。象曰：利有攸往，上合志也。三遇重陰，陽遇陰則通，故曰上合志。上謂四五，此與《升》初六之上合志同。初六之上謂二三，陰遇陽則通，與陽遇陰同也。虞翻謂上為上爻，故易本一失，說無不誤。

The third line statement says: A good horse is chasing and running, it is advantageous to maintain uprightness in difficulty, daily practice of chariots and attendants, it is advantageous to go somewhere. (The source text 'Gan Ma' refers to 'good horse'.) The trigram Qian represents a good horse, and the trigrams from three to five form Zhen, which represents chasing. The third line often has worries and fears, hence it says 'advantageous to maintain uprightness in difficulty.' Qian represents the sun. The "Er Ya · Xigǔ" says 'xian' means practice; in the "Poetry · Qin Feng" 'you yu bei yuan, si ma ji xian,' the transmission by Mao also interprets 'xian' as practice. Zhen represents chariots and attendants, 'sun xian yu wei' means chariots and attendants have been practiced thoroughly, it is advantageous to travel. The third line is preceded by the sixth line and the fifth line, both yin lines, so traveling is advantageous. The Image Commentary says: Advantageous to go somewhere, upper harmony of will. The third line meets two yin lines, yang meets yin and thus becomes connected, hence 'upper harmony of will.' 'Upper' refers to the fourth and fifth lines; this is similar to the 'Sheng' hexagram's first line's small image 'upper harmony of will'—there, 'upper' refers to the second and third lines, yin meets yang and thus becomes connected, which is the same principle. Yu Fan, however, took 'upper' to mean the top line, showing a fundamental mistake in his interpretation, so his explanation is not correct.

六四：童牛之牿，元吉。《釋文》：童牛，無角牛也。按《太玄·更次》五云「童牛角馬，不今不古」，即謂牛無角也。牿，《釋文》云：陸作角，劉雲牿之言角也；九家作告，雲牛觸，角著橫木，所以告人。按劉、陸作角者是也，駱、牿、角音同通用。

The Line Statement of the Fourth Line (Six in the Fourth): Adding a crossbar to the horn of a young ox brings great good fortune. The Classic Interpretation says: A young ox is one without horns. Shang Binghe comments: The "More" section of the Tai Xuan says "A young ox with a horse's horn, neither modern nor ancient," which refers to an ox without horns. The character "gù" is explained by the Classic Interpretation as being written as "jiao" in Lu Ji's version, and Liu Biao says "gù" means "jiao." The Jiujia version says "gao," meaning that the ox is prone to bucking, so a crossbar is tied to its horn to warn others. Shang comments: Liu and Lu's reading of "jiao" is correct, and "gu," "gù," and "jiao" are homophones and can be used interchangeably.

艮為牛，象失傳，詳《焦氏易詁》。艮少故為童牛，而艮為角，四居艮初，有若初生之角，言小牛角初生也。四應初，故吉。象曰：六四元吉，有喜也。應在初陽故有喜。廬浙云：《說文》牿，牛馬牢，牛在牢則範而不越，故吉。於艮止義亦合。

The image of the mountain representing a cow is not recorded in the "Sayings on the Hexagrams" and has long been lost. It is detailed in "Jiao's Glosses on the Changes." The mountain hexagram represents the young male, hence it symbolizes a young calf; the mountain also represents horns, and the fourth line, which is yin, is located at the first line of the upper trigram, mountain. This is like a newly growing horn, describing the young calf's initial horns. The fourth line corresponds with the first line, hence it is auspicious. The "Image Commentary" states: "The fourth line is originally auspicious, there is joy." Its responding line is the yang of the first line, hence there is joy. Lu Zhe says: The "Shuowen" explains "gù" as the enclosure for cattle and horses. A cow in the enclosure is restrained and does not exceed its bounds, hence it is auspicious; this also aligns with the meaning of the mountain hexagram, which represents stopping.

六五：憤（左豕）豕之牙，吉。《爾雅·釋獸》「豕子橢（左豕）憤（左豕）」，注云：俗呼小憤（左豕）豬為墮（左豕）子。是憤（左豕）豕為小豕，艮少象也。二兌為牙，五應之，故曰憤（左豕）豕之牙，言小豕初生牙也。按艮為黔喙，獸之黔喙者莫過於豕，疑艮或有豕象。又垢（左女）以巽為豕，大畜三至五伏巽，或仍以巽為豕也。

Sixth line statement: A castrated pig grows teeth, which is auspicious (the original text marks the character '愤 (left豕)' as '豮'). The Shangyà says 'the young pig is called '豕子' and '豮', and the commentary says that the common term for a young pig is '䐗子'. This shows that '豮豕' refers to a young pig, and it is taken from the image of 'Gèn' meaning small. Lines two to four form the trigram Dui, which represents teeth, and line six five corresponds with it, so it is said 'the teeth of the castrated pig'. This means that the young pig has just grown teeth. Shang Binghe further notes: 'Gèn' includes black-beaked animals, and among animals, no one has a blacker mouth than a pig, so he suspects that 'Gèn' may originally have the image of '豕'. Also, the hexagram 'Gòu' uses Xun as the pig, and in the third to fifth lines of 'Dàxù', the trigram Xun is hidden, so it may still use Xun as the pig.

李鼎作深知憤（左豕）豕二字皆由象生，然求之不得，謂五應二，二坎爻為豕，非。又廬浙云：《坤雅》以代（左木）繫豕，謂之牙，牙者繫之者也，繫而不去故吉，亦與艮止義合。象日：六五之吉，有慶也。六五承陽，故有慶。《晉》六五、《睽》六五皆上承陽，皆曰往有慶，茲與之同。

Li Dingzuo knew that the two characters "feng shi" come from the hexagram image, but he failed to understand them properly, so he said that the sixth line in the second position corresponds to the sixth line in the fifth position, and the sixth line in the second position is the Kan line, and Kan represents a pig, which is wrong. Lu Zhe also said that the "Kun Ya" mentions using a wooden peg to tie up a pig, and that wooden peg is called "ya," which is the thing that ties the pig and prevents it from running away, hence it is auspicious; this also corresponds with the meaning of Gen, which means to stop. The Image Commentary says: the auspiciousness of the sixth line in the fifth position is due to celebration. The sixth line in the fifth position is above the ninth line at the top, so there is celebration. In the hexagram Jin, the sixth line in the fifth position and in the hexagram Kui, the sixth line in the fifth position also are above a yang line, and both say "going brings celebration," and this example is the same as here.

上九：何天之衢，亨。艮一陽在上為天，又為背，故曰何。艮為道路，故曰何天之衢。《左傳》昭二年「尸諸周氏之衢」，注：衢，道也。又《爾雅·釋宮》「四達謂之衢」。何天之衢者，言陽在上不為所畜，通達之甚。象曰道大行，亦釋衢為道，大行即謂其通達。

The line statement for the top yang line (上九爻辞) says: Shouldering the four-way paths of heaven, it is smooth and prosperous. The trigram Gen (艮) represents a mountain, and a single yang line occupying the upper position signifies heaven. Gen also means back, and the back can carry things, so it is said "he" (which means "to bear" or "to carry"). Gen also represents roads, hence "heaven's four-way path." The "Zuo Zhuan" (左传) from the second year of Zhao Gong mentions "the corpse is placed at the Zhou family's four-way path," with a note explaining "衢" as "road." The "E Ya · Shi Gong" (尔雅·释宫) also states "a place where four roads meet is called a衢." "Heaven's four-way path" indicates that the yang line is at the top and not restrained, reaching the peak of communication. The "Xiao Xiang" (小象) says "the way is widely practiced," also interpreting "衢" as "way," and "greatly practiced" refers to its full communication.

虞翻釋何為當，王弼竟釋何為何乃，朱子取之，益非。蓋皆以天衢如何負何為疑，豈知易辭皆攝取象之精神，而不能執其解，執則易辭無一可通。象曰：何天之衢，道大行也。艮為天，《易林·豫之旅》云「人天門」，《隨之蹇》云「戴瓶望天」，皆以艮為天。

Yu Fan interpreted "he" as "dang," while Wang Bi took "he" to mean "he nai," and Zhu Xi followed his interpretation, which was even more incorrect. They all regarded "how can the heavenly thoroughfare bear it" as a difficult question, but they did not realize that the words of the Book of Changes merely capture the spirit of the hexagram images and should not be taken literally; once taken literally, none of the statements in the Book of Changes would make sense. The Image Commentary says: "He heavenly thoroughfare, the way is widely practiced." The mountain hexagram represents heaven — in Jiao's Forest of Changes, the hexagram Yu and the hexagram Jian both refer to "entering the heavenly gate" and "wearing a bottle to look at heaven," respectively, both taking the mountain as representing heaven. This is an extraordinary image not found in the Sayings on the Hexagrams.