The Hexagram of Gradual Progress

艮下巽上。漸：女歸吉，利貞。漸者，漸進之卦也。“止而巽”，以斯適進，漸進者也。以止巽為進，故“女歸吉”也。進而用正，故“利貞”也。[疏]正義曰：“漸”者，不速之名也。凡物有變移，徐而不速，謂之漸也。“女歸吉”者，歸嫁也。女人生有外成之義，以夫為家，故謂嫁曰“歸”也。婦人之嫁，備禮乃動，故漸之所施，吉在女嫁，故曰“女歸吉”也。“利貞”者，女歸有漸，得禮之正，故曰“利貞”也。

The hexagram Zhan consists of Gen at the bottom and Xun at the top. The hexagram statement says: "A woman going to her husband's home is auspicious, and it is favorable to maintain uprightness." Wang Bi explains that Zhan refers to a hexagram about gradual progress. The lower trigram Gen represents stillness, and the upper trigram Xun represents compliance. "Stillness and compliance" used in advancing indicates gradual progress. By advancing with stillness and humility, it is called "a woman going to her husband's home is auspicious." Advancing along the correct path is called "favorable to maintain uprightness." Kong Yingda elaborates that "gradual" means not hasty. Any movement or change that proceeds slowly and not hastily is called gradual. "A woman going to her husband's home" refers to "going," which means marriage. A woman is by nature destined to go to her husband's family to establish a home, and thus going to her husband's home is called "going." A woman should depart only after proper rites and ceremonies, so the principle of gradualness is most auspicious in the case of a woman's marriage, hence "a woman going to her husband's home is auspicious." "Favorable to maintain uprightness" means that a woman's marriage should proceed step by step in accordance with proper rites and norms, hence "favorable to maintain uprightness."

《彖》曰：漸，之進也。之於進也。[疏]正義曰：釋卦名也。漸是徐動之名，不當進退，但卦所名“漸”，是“之於進”也。

The Commentary on the Judgment says: "Jian means gradual progress." Wang Bi's annotation explains: "Zhi jin" means moving toward advancement. Kong Yingda's commentary elaborates: this is explaining the name of the hexagram. "Jian" originally refers to a slow movement and does not specifically mean advancing or retreating; however, since this hexagram is named "Jian," it takes the meaning of "zhi yu jin," which refers to moving toward advancement.

“女歸吉”也。進得位，往有功也。進以正，可以正邦也。其位，剛得中也。以漸進得位也。[疏]“女歸吉也”至“得中也”。○正義曰：“女歸吉也”者，漸漸而進之，施於人事，是女歸之吉也。“進得位，往有功也，進以正，可以正邦也”者，此就九五得位剛中釋“利貞”也。言進而得於貴位，是“往而有功”也。以六二適九五，是進而以正。身既得正，“可以正邦”也。“其位剛得中”者，此卦爻皆得位，上言進得位，嫌是兼二、三、四等，故特言“剛得中”，以明得位言，言唯是九五也。

The Commentary on the Judgment continues: "The reason why 'a woman going out is auspicious' is because advancing to a proper position and proceeding with effectiveness. Advancing in accordance with the right way can correct the state. The phrase 'its position' refers to the yang line attaining the central position." Wang Bi's commentary explains that this refers to gradually advancing to attain the proper position. Kong Yingda's exposition from "A woman going out is auspicious" to "the position is yang and in the center" states: "The meaning of 'a woman going out is auspicious' is that advancing step by step leads to the proper position, which corresponds to the auspiciousness of a woman's marriage. The phrase 'advancing to a proper position and proceeding with effectiveness, advancing in accordance with the right way can correct the state' explains the 'favorable to be firm' in the Hexagram Statement by referring to the nine five yang line which is both in the proper position and in the central position. Advancing to attain a noble position is 'proceeding with effectiveness'; the six two proceeding to correspond with the nine five is advancing in accordance with the right way; since the self is already upright, it can 'correct the state.' The phrase 'its position is yang and in the center' refers to the fact that all lines in this hexagram are in proper positions. The previous statement 'advancing to a proper position' might be misunderstood as referring to the six two, nine three, and six four lines, so it specifically says 'yang and in the center' to clarify that 'attaining a proper position' refers only to the nine five line."

止而巽，動不窮也。[疏]正義曰：此就二體廣明漸進之美也。止不為暴，巽能用謙，以斯適進，物無違拒，故能漸而動，進不有困窮也。

The Commentary on the Judgment also says: "Stopping while being yielding, movement is not exhausted." Being still and humble allows action to proceed without being at a loss. Kong Yingda elaborates that this refers to the overall explanation of the beauty of gradual progress by considering the two trigrams above and below: stillness prevents rashness, and humility maintains retreat; with such a posture, external things do not resist, so action can proceed step by step, advancing without falling into hardship or destitution.

《象》曰：山上有木，漸，君子以居賢德善俗。賢德以止巽則居，風俗以止巽乃善。

The Image Commentary says: "A mountain with trees on top, gradual progress; the superior person takes this as a model to cultivate virtue and improve customs." A mountain with trees growing on it gradually grows higher, which represents gradual progress. The superior person learns from this, nurturing virtue and improving the customs. Wang Bi's commentary explains that virtue is accumulated and maintained through stillness and humility, and customs become refined through stillness and humility.

[疏]正義曰：“山上有木，漸”者，木生山上，因山而高，非是從下忽高，故是漸義也。“君子以居賢德善俗”者，夫止而巽者，漸之美也。君子求賢得使居位，化風俗使清善，皆須文德謙下，漸以進之。若以卒暴威刑，物不從矣。

Kong Yingda explains in his commentary on the Image Commentary that the phrase "A mountain with a tree on top, Gradual" refers to trees growing on a mountain, appearing lofty because of the mountain's terrain, not suddenly rising from flat ground. Therefore, "gradual" signifies proceeding step by step. The phrase "the gentleman follows the virtue of the wise and improves the customs" refers to the lower trigram "Geng" (Mountain) representing stillness and the upper trigram "Xun" (Wind) representing smoothness. Being able to stop and also to proceed smoothly is the valuable aspect of the gradual approach. The gentleman seeks virtuous talents, places them in appropriate positions, and cultivates the customs to make them clear and pure. All of this must be accomplished through cultural virtue and a humble, yielding attitude, advancing step by step. If forceful and abrupt authority or punishment is used, people and things will not comply.

初六：鴻漸于干，小子厲，有言，無咎。鴻，水鳥也。適進之義，始於下而升者也，故以鴻為喻之。又皆以進而履之為義焉，始進而位乎窮下，又無其應。若履於乾，危不可以安也。始進而未得其位，則困於小子，窮於謗言，故曰“小子厲有言”也。困於小子讒諛之言，未傷君子之義，故曰“無咎”也。

The text says: "Initial Six, the wild geese gradually approach the high bank by the water, the young man encounters danger, incurs criticism, but does not commit fault." Wang Bi's commentary explains: "Wild geese" are water birds; the hexagram of Gradualness discusses the meaning of advancing and striving forward, starting from the lowest position and gradually ascending, so the wild geese are used as a metaphor. Each line is defined by the idea of "gradually advancing and then settling down." Initial Six begins to advance but is in the most inferior and difficult position, and there is no corresponding line above it. This is like the wild geese being able to only rest on the bank by the water, which is dangerous and unstable. Just starting out without having reached the proper position, one is trapped by the young man and embarrassed by slanderous words, so the line statement says "the young man is in danger and there are words." However, being trapped by the slanderous words of the young man does not harm the virtue of the gentleman, so it says "no blame."

[疏]“初六鴻漸”至“無咎”。正義曰：“鴻漸于干”者，鴻，水鳥也。乾，水涯也。漸進之道，自下升高，故取譬。鴻飛，自下而上也。初之始進，未得祿位，上無應援，體又窮下，若鴻之進於河之幹，不得安寧也，故曰“鴻漸于干”也。“小子厲有言，無咎”者，始進末得顯位，易致陵辱，則是危於小子，而被毀於謗言，故曰“小子厲有言”。小人之言，“未傷君子之義”，故曰“無咎”也。

Kong Yingda explains from "Initial Six, the Goose progresses" to "No blame" as follows: The phrase "the goose progresses to the dry land" refers to "geese" as water birds and "dry land" as the high bank by the water. The way of gradual progress is from lower to higher, so the goose is used as an analogy—geese also fly from lower places to higher ones. Initial Six is just beginning to advance, has not yet obtained official position or salary, there is no supporting line above, and it is in the lowest position of the hexagram, which is a state of hardship. This is like the goose only reaching the river bank and not being able to rest, hence "the goose progresses to the dry land." The phrase "the young man is in danger, but there is no blame" means that at the beginning, one has not yet attained a prominent position, thus easily suffering from bullying and insult, that is, being threatened by the young and slandered by words, hence "the young man is in danger." However, the words of the small person do not harm the righteousness of the superior person, hence "no blame," meaning there is no fault.

《象》曰：“小子”之厲，義無咎也。[疏]正義曰：“義無咎”者，備如《經》釋。

The Image Commentary says: The difficulties encountered by the young person are, in terms of righteousness, without fault. Kong Yingda's commentary explains that the phrase "without fault due to righteousness" has already been fully explained in the previous commentary on the Line Statement of the Classic, and there is no need to repeat it here.

六二：鴻漸于磐，飲食衎衎，吉。磐，山石之安者少。進而得位，居中而應，本無祿養，進而得之，其為歡樂，願莫先焉。[疏]“六二鴻漸”至“衎衎吉”。○正義曰：磐，山石之安者也。衎衎，樂也。六二“進而得位，居中而應”，得河安之地，故曰“鴻漸于磐”。既得可安之地，所以“飲食衎衎”然，樂而獲吉福也，故曰“鴻漸于磐，飲食衎衎吉”也。

The text says: "Six in the Second, the wild geese gradually approach the solid rock, with joy in eating and drinking, resulting in good fortune." Wang Bi's commentary explains: "Pán" refers to the stable part of a mountain stone (the original text says "zhě shǎo," which should be a mistake for "zhě yě"). Six in the Second advances and attains the proper position, residing in the center of the lower trigram and corresponding with Nine in the Fifth. Originally without salary or support, after advancing, it gains such support, and the joy is nothing more fulfilling. Kong Yingda's commentary on the section from "Six in the Second, the wild geese gradually approach the solid rock" to "joyful and auspicious" says: "Pán" refers to a stable place within a mountain stone, and "kàn kàn" describes the appearance of harmony and joy. Six in the Second "advances to attain a position, resides in the center and corresponds," thus gaining a secure place to rest, hence "the wild geese gradually approach the solid rock." Having already secured a place of safety, it then "enjoys food and drink with joy," thus obtaining good fortune, hence "the wild geese gradually approach the solid rock, enjoying food and drink with joy, resulting in good fortune."

○注“磐，山石之安者也”。○正義曰：馬季良云：“山中石磐紆，故稱磐也”。鴻是水鳥，非是集於山石陵陸之禽，而爻辭以此言“鴻漸”者，蓋漸之為義，漸漸之於高，故取山石陵陸，以應漸高之義，不復繫水鳥也。《象》曰：“飲食衎衎”，不素飽也。[疏]正義曰：“不素飽”者，素，故也，故無祿養，今日得之，故“願莫先焉”。

Kong Yingda further explained Wang Bi's comment on the phrase "Pán, which refers to a stone that is stable" by saying that Ma Jiliang (who was actually Ma Rong of the Eastern Han dynasty, with the courtesy name Jichang) said, "Stones in the mountains twist and turn, hence they are called Pán." The crane is originally a water bird and is not a bird that nests on high mountain rocks. However, the Line Statement uses it to illustrate "gradual progress," because the meaning of "gradual" lies in ascending step by step. Therefore, it takes the image of high mountain rocks to match the meaning of gradual ascent, without being bound by the fact that it is a water bird. The Image Commentary says, "Feasting joyfully," which does not mean eating without purpose. Kong Yingda's commentary explains that "not being filled in vain" means "not being satisfied with past conditions." "Sù" refers to "past or former times." In the past, there was no salary to support him, but now he has obtained it, so it is said, "there is nothing more desirable than this."

九三：鴻漸于陸。夫征不復，婦孕不育，凶。利禦寇。陸，高之頂也。進而之陸，與四相得，不能復反者也。“夫征不復”，樂於邪配，則婦亦不能執貞矣。非夫而孕，故不育也。三本艮體而棄乎？？丑，與四相得，遂乃不反，至使婦孕不育，見利忘義，貪進忘舊，凶之道也。異體合好，順而相保，物莫能間，故“利禦寇”也。

The text says: Nine in the Third, the wild geese gradually approach the high and level land. The husband travels far and does not return, the wife becomes pregnant but cannot give birth, which is ominous; however, it is advantageous for defending against foreign invaders. Wang Bi's commentary explains: "Land" refers to the top of the high ground. Nine in the Third advances and ascends to the high land, and connects with Six in the Fourth in affection, and thus will not turn back. "The husband goes on a journey and does not return" means the husband is attracted to an improper partner, so the wife cannot remain chaste. The child is not of the husband's blood, so she becomes pregnant but does not give birth. Nine in the Third originally belongs to the lower trigram "Geng" (Mountain), but abandons its own kind (the text here is missing, marked as "??"), and connects with Six in the Fourth in affection, and thus goes away forever, leading to the wife's pregnancy without giving birth. This is a path of seeking advantage at the expense of righteousness, and pursuing new gains while abandoning old attachments, which invites misfortune. However, Three and Four belong to the upper and lower trigrams respectively and form a harmonious connection, being in harmony and mutually protecting each other, so external forces cannot interfere, hence it is advantageous for defending against invaders.

[疏]“九三鴻漸于陸”至“利禦寇”。○正義曰：“鴻漸于陸，夫征不復，婦孕不育，凶”者，陸，高之頂也。九三居下體之上，是進而得高之象，故曰“鴻漸于陸”也。進而之陸，無應於上，與四相比，四亦無應，近而相得。三本是艮體，與初二相同一家，棄其群類，而與四合，好即是夫征而不反覆也。夫既樂於邪配，妻亦不能保其貞。非夫而孕，故“不育”也。“見利忘義，貪進忘舊，凶之道也”，故曰“夫征不復，婦孕不育，凶”也。“利禦寇”者，異體合好，恐有寇難離間之者，然和比相順，其相保安，物莫能間，故曰“利用禦寇”也。○注“陸，高之頂也”。○正義曰：“陸，高之頂也”者，《爾雅》云“高平曰陸”，故曰“高之頂”也。

Kong Yingda explains the section from "Nine in the Third, the Goose progresses to the high land" to "favorable for defending against invaders" as follows: The phrase "the Goose progresses to the high land, the husband departs and does not return, the wife becomes pregnant but does not give birth, misfortune" refers to "high land" meaning the top of a high place. Nine in the Third is located at the top of the lower trigram, which symbolizes advancing and ascending, hence "the Goose progresses to the high land." After advancing to the high land, there is no corresponding line above it, only adjacent to Six in the Fourth. Six in the Fourth also has no proper correspondence. The two lines are close and have mutual affection. Nine in the Third originally belongs to the trigram Gen (Mountain), and shares the same family with Six at the Beginning and Six in the Second. Now it abandons its own kind to connect with Six in the Fourth, which is like the husband going away and not returning. If the husband is attached to an improper partner, the wife cannot maintain chastity; if the child is not of the husband's lineage, she cannot give birth, hence "does not give birth." As Wang Bi said, "seeing profit and forgetting righteousness, greedy for advancement and forgetting the past, this is the way of misfortune," hence the line statement says "the husband departs and does not return, the wife becomes pregnant but does not give birth, misfortune." As for "favorable for defending against invaders," it refers to the third and fourth lines belonging to the upper and lower trigrams respectively and forming a connection. Originally, there was a fear of external troubles coming to disrupt them, but since they are harmonious and affectionate, and obedient and peaceful, external things cannot intrude, hence "favorable for defending against invaders." Kong Yingda also explains Wang Bi's comment "Land, the top of high ground" by saying that the Er Ya explains "high and level ground is called land," so Wang Bi refers to it as "the top of high ground."

《象》曰：“夫征不復”，離群醜也。“婦孕不育”，失其道也。“利用禦寇”，順相保也。[疏]正義曰：“離群醜”者，丑，類也。言三與初二，雖有陰陽之殊，同體《艮卦》，故謂之“群丑”也。“失其道也”者，非夫而孕，孕而不育，失道故也。“順相保也”者，謂四以陰乘陽，嫌其非順，然好合相得，和比相安，故曰“順相保也”。

The Image Commentary says: "A journey does not return," meaning to abandon one's own kind; "a woman is pregnant but does not give birth," meaning to lose the right path; "it is advantageous to guard against bandits," meaning to be harmonious and mutually protect each other. Kong Yingda's commentary explains: "To leave the group of kindred," where "丑" means "kindred" — meaning that the nine in the third position (nine three) and the six at the beginning (six one), the six in the second (six two), although differing in yin and yang, are still part of the same mountain (Geng) trigram, so they are called "group of kindred." "To lose the right path" is because it is not the husband's own flesh and blood that is pregnant, and although pregnant, it does not give birth, which is losing the right path. "To be harmonious and mutually protect" is because the six in the fourth position (six four) with a yin line is above the nine in the third position (nine three) with a yang line. Normally, this would be considered not in line with the principle of obedience, but the two lines are harmonious and mutually supportive, and each finds peace, so it is said "to be harmonious and mutually protect."

六四：鴻漸于木。或得其桷，無咎。鳥而之木，得其宜也。“或得其桷”，遇安棲也。雖乘於剛，志相得也。[疏]正義曰：“鴻漸于木”者，“鳥而之木，得其宜也”。六四進而得位，故曰“鴻漸于木”也。“或得其桷無咎”者，桷，榱也。之木而遇堪為桷之枝，取其易直可安也。六四與二相得，順而相保，故曰“或得其桷”。既與相得，無乘剛之咎，故曰“無咎”。《象》曰：“或得其桷”，順以巽也。[疏]正義曰：“順以巽也”者，言四雖乘三體，巽而附下，三雖被乘，上順而相保，所以六四得其安棲，猶“順以巽也”。

The text says: Six in the Fourth, the wild geese gradually move to the tree, perhaps they can find a beam-like branch, and there will be no fault. Wang Bi's commentary explains: birds flying to the tree is to find a suitable place; "perhaps they can find a beam" means encountering a place where they can rest securely; although Six in the Fourth, with its yin softness, is above Nine in the Third, the yang strong, the two are in harmony. Kong Yingda's commentary explains: "the wild geese gradually moving to the tree" is as Wang Bi said, "birds moving to the tree, finding their proper place"; Six in the Fourth advances and attains the correct position, hence "the wild geese gradually moving to the tree." As for "perhaps they can find a beam without fault," "beam" is "cui," which is a square wooden beam; flying to the tree and encountering a branch suitable for a beam, indicating its straightness and ease of resting. Six in the Fourth and "two" (which refers to Nine in the Third according to the meaning) are in harmony, harmonious and mutually preserving, hence "perhaps they can find a beam"; since they are in harmony, there is no fault of softness overpowering strength. The Image Commentary says: "perhaps they can find a beam," because of its flexibility and humility. Kong Yingda's commentary explains: "flexible and yielding," refers to Six in the Fourth, although it is above Nine in the Third, still humbly relies on the lower; Nine in the Third, although being above, is flexible and yielding, thus mutually preserving, so Six in the Fourth can find a secure resting place, which is like "flexible and yielding."

九五：鴻漸于陵。婦三歲不孕，終莫之勝，吉。陵，次陸者也。進得中位，而膈乎三四，不得與其應合，故“婦三歲不孕”也。各履正而居中，三四不能久塞其塗者也。不過三歲，必得所願矣。進以正邦，三年有成，成則道濟，故不過三歲也。

The text says: Nine in the Fifth, the wild geese gradually approach the hill. A woman is unable to conceive for three years, but ultimately no one can surpass them, resulting in auspiciousness. Wang Bi's commentary explains: "Ling" refers to a hill that is second only to a high land. Nine in the Fifth advances and attains the central position of the upper trigram, yet is blocked by Six in the Third and Nine in the Fourth, preventing it from uniting with its corresponding Six in the Second. Therefore, it is said, "a woman is unable to conceive for three years." Two and Five each occupy the correct position and the center, while Three and Four cannot block their path for long, not exceeding three years, and the wish will surely be fulfilled. Nine in the Fifth governs the state with the right path, achieving success within three years. When success is attained, the great way is smoothly realized, hence not exceeding three years.

[疏]“九五鴻漸于陵”至“終莫之勝吉”。○正義曰：“鴻漸于陵”者，陵，次陸者也。九五進於中位，處於尊高，故曰“鴻漸于陵”。“婦三歲不孕”者，有應在二而隔乎三、四，不得與其應合，是二、五情意，徒相感說，而隔礙不交，故曰“婦三歲不孕”也。“終莫之勝，吉”者，然二與五合，各履正而居中，三、四不能久塞其路，終得遂其所懷，故曰“終莫之勝，吉”也。○注“進以正邦”至“不過三歲”。○正義曰：“進以正邦，三年有成”者，九五居尊得位，故曰“進以正邦”也。三年有成，則三、四不敢塞其路，故曰“不過三歲”也。

Kong Yingda explains from "Nine Five, the wild goose gradually reaches the hill" to "in the end, there is no one who can overcome it, and it is auspicious" as follows: what is meant by "the wild goose gradually reaches the hill" is that "hill" refers to a low hill, second only to high land; Nine Five advances to the central position of the upper trigram, occupying a noble and exalted position, hence it is said "the wild goose gradually reaches the hill." What is meant by "the wife is unable to bear children for three years" is that Nine Five has a proper response from Six Two, but is blocked by Six Three and Nine Four, unable to connect with its proper match—Two and Five share mutual affection and mutual attraction, but are obstructed and cannot unite, hence it is said "the wife is unable to bear children for three years." What is meant by "in the end, there is no one who can overcome it, and it is auspicious" is that Six Two and Nine Five should unite, each occupying the proper position and the central position; Three and Four cannot block their path for long, eventually achieving their wishes, hence it is said "in the end, there is no one who can overcome it, and it is auspicious." Kong Yingda also explains Wang Bi's commentary from "advancing with correctness to govern the state" to "not exceeding three years" as follows: what is meant by "advancing with correctness to govern the state, achieving success in three years" is that Nine Five occupies the noble position and is in the proper place, hence it is said "advancing with correctness to govern the state"; after three years, the government and teachings have achieved success, so Three and Four dare not block the path any longer, hence it is said "not exceeding three years."

《象》曰：“終莫之勝，吉”，得所願也。[疏]正義曰：“得所願也”者，所願在於與三合好，既各履中正，無能勝之，故終得其所願也。

The Image Commentary says: "In the end, there is no one who can overcome it, which is auspicious," because the wish in one's heart has been fulfilled. Kong Yingda's commentary explains that "it refers to obtaining what one desires." The heart's wish of Nine in the Fifth is to form a harmonious relationship with its proper counterpart (the original text says "with the Triple Harmony," but according to the meaning, it refers to Six in the Second). Since both Two and Five are in the center and upholding correctness, there is no one who can surpass them, so in the end, their wishes are fulfilled.

上九：鴻漸于陸。其羽可用為儀，吉。進處高絜，不累於位，無物可以屈其心而亂其志。峨峨清遠，儀可貴也，故曰“其羽可用為儀，吉”。

The text says: "Upper Nine, the wild geese gradually approach the high land. Their feathers can be used as a model for ceremonial adornment, which is auspicious." Wang Bi's commentary explains: "Upper Nine advances to a lofty and pure place, not burdened by rank, and nothing external can bend its heart or disturb its aspirations. It stands tall and lofty, clear and detached, with a demeanor that is precious. Therefore, it says 'its feathers can be used as a model, which is auspicious.'"

[疏]正義曰：“鴻漸于陸”者，上九與三皆處卦上，故並稱“陸”。上九最居上極，是“進處高潔”，故曰“鴻漸于陸”也。“其羽可用為儀，吉”者，然居無位之地，是“不累於位”者也。處高而能不以位自累，則其羽可用為物之儀表，可貴可法也，故曰“其羽可用為儀，吉也”。必言“羽”者，既以鴻明漸，故用羽表儀也。《象》曰：“其羽可用為儀，吉”，不可亂也。[疏]正義曰：“不可亂也”者，“進處高潔，不累於位”，無物可以亂其志也。

Kong Yingda's commentary explains: the phrase "the wild goose gradually progresses on the land" refers to the upper nine and the ninth in the third line both being at the top of their respective hexagrams, hence both are called "land." The upper nine is at the highest point of the entire hexagram, which is exactly what Wang Bi said "advancing to a lofty and pure position." Therefore, it is said "the wild goose gradually progresses on the land." The phrase "its feathers can be used as a standard, which is auspicious" means that the upper nine is in a position without a title, that is, "not burdened by position." Being in a lofty and prominent position yet not being burdened by rank, its feathers can be used as a standard for all things, which is precious and worthy of emulation. Therefore, it is specifically said "feathers" because the entire hexagram uses the wild goose to illustrate the meaning of gradual progress, and thus it naturally uses the feathers of the wild goose to symbolize the standard. The Image Commentary says, "its feathers can be used as a standard, which is auspicious," because its aspirations cannot be disturbed. Kong Yingda's commentary explains: "its aspirations cannot be disturbed" means "advancing to a lofty and pure position, not burdened by position," so nothing external can disturb its aspirations.

兌下震上。歸妹：征凶，無攸利。妹者，少女之稱也。兌為少陰，震為長陽，少陰而乘長陽，說以動，嫁妹之象也。[疏]正義曰：歸妹者，卦名也。婦人謂嫁曰歸，“歸妹”猶言嫁妹也。然《易》論歸妹得名不同，《泰卦》六五云：“帝乙歸妹。”彼據兄嫁妹謂之“歸妹”。此卦名歸妹，以妹從娣而嫁，謂之“歸妹”。故初九爻辭云“歸妹以娣是”也。上咸卦明二少相感，恆卦明二長相承，今此卦以少承長，非是匹敵，明是妹從娣嫁，故謂之歸妹焉。

The hexagram consists of the lower trigram Dui (Lake) and the upper trigram Zhen (Thunder). The hexagram statement says: "Return of the Young Sister," which indicates danger in going forward and no benefit. Wang Bi's commentary explains: "Mai" refers to a young girl. Dui represents a young yin, while Zhen represents a strong yang. A young yin dominating a strong yang, acting with joy, symbolizes the marriage of a young girl. Kong Yingda's commentary explains: "Return of the Young Sister" is the name of the hexagram. For a woman, going out refers to marriage, so "return of the young sister" means sending away a younger sister. However, the origin of the name "Return of the Young Sister" in the Zhou Changes is different. In the line statement of the sixth line of the Tai hexagram, it says "The Emperor Yi returned his younger sister," referring to a brother marrying his sister. The name "Return of the Young Sister" for this hexagram refers to the younger sister, called "Di," accompanying the bride. Therefore, the line statement of the first nine says "Return of the Young Sister as Di." Previously, the Xian hexagram discussed the mutual attraction between a young man and a young woman, and the Heng hexagram discussed the mutual succession between an old man and an old woman. Now, this hexagram shows a young woman serving an old man, which is not a matching relationship. Therefore, it is called "Return of the Young Sister," meaning the younger sister accompanies as "Di."

古者諸侯一取九女，嫡夫人及左右媵皆以侄娣從，故以此卦當之矣。不言歸侄者，女娣是兄弟之行，亦舉尊以包之也。“征凶，無攸利”者，歸妹之戒也。徵謂進有所往也。妹從娣嫁，本非正匹，唯須自守卑退以事元妃。若妾進求寵，則有並後凶咎之敗，故曰“征凶，無攸利”。

Kong Yingda continued to say: In ancient times, the feudal princes married nine women at once, including the principal wife and the secondary wives who accompanied her as concubines. These secondary wives brought along their sisters and their nieces, so this hexagram was used to represent this marriage system. It does not say "returning the niece" but instead says "returning the younger sister," because "娣" refers to the sister of the same generation as the principal wife. By citing the superior one, the inferior one is included as well. The phrase "seeking advancement brings danger; there is no benefit" serves as a warning regarding "returning the younger sister." "征" means advancing or moving forward. The younger sister, as a concubine, was not in a formal marital relationship, and she should only remain in her humble and yielding position to serve the principal wife. If she, as a concubine, advances to compete with the principal wife for favor, she will bring about the danger of being on equal footing with the principal wife, hence the warning "seeking advancement brings danger; there is no benefit."

《彖》曰：歸妹，天地之大義也。天地不交，而萬物不興。歸妹，人之終始也。陰陽既合，長少又交，“天地之大義”，人倫之終始。[疏]正義曰：“歸妹，天地之大義也。天地不交，而萬物不興”者，此舉天地交合，然後萬物蕃興，證美歸妹之義。所以未及釋卦名，先引證者，以歸妹之義，非人情所欲，且違於匹對之理。蓋以聖人制禮，令侄娣從其姑娣而充妾媵者，所以廣其繼嗣，以象天地以少陰少陽、長陰長陽之氣共相交接，所以蕃興萬物也。“歸妹，人之終始也”者，上既引天地交合為證，此又舉人事“歸妹”結合其義也。天地以陰陽相合而得生物不已，人倫以長少相交而得繼嗣不絕，歸妹豈非“天地之大義，人倫之終始”也？

The Commentary on the Judgment says: "Returning to the sister" represents the great principle in the universe. If the energies of heaven and earth do not interact, all things cannot flourish. "Returning to the sister" relates to the beginning and end of human relationships. Wang Bi's commentary explains: once yin and yang have interacted, the old and the young also connect with each other, which is exactly "the great principle of heaven and earth," and also the beginning and end of human relationships. Kong Yingda's commentary explains: "Returning to the sister is the great principle of heaven and earth. If heaven and earth do not interact, all things cannot flourish," this is using the interaction of heaven and earth leading to the flourishing of all things to illustrate and praise the meaning of "returning to the sister." The reason for not explaining the name of the hexagram first but citing it beforehand is that the matter of "returning to the sister" is not something people usually desire, and it goes against the normal principle of equal matching. Perhaps the sage established rites and regulations, allowing the niece and the younger sister to follow the aunt and the older sister to serve as concubines, in order to expand the continuation of descendants, symbolizing the interaction of the lesser yin and lesser yang energies with the greater yin and greater yang energies in heaven and earth, thus giving rise to all things. So "returning to the sister is the beginning and end of human relationships." The previous passage has already used the interaction of heaven and earth as proof, and here it concludes the meaning by citing the human affair of "returning to the sister": heaven and earth continuously give birth to all things through the interaction of yin and yang, and human relationships continuously continue through the interaction of the old and the young. Is "returning to the sister" not exactly "the great principle of heaven and earth and the beginning and end of human relationships"?

說以動，所歸妹也。少女而與長男交，少女所不樂也。而今“說以動”，所歸必妹也。雖與長男交，嫁而繫娣，是以“說”也。[疏]正義曰：此就二體釋歸妹之義。少女而與長男交，少女所不樂也。而今“說以動”所歸必妹也，雖與長男交，嫁而繫於娣，是以說也。繫娣所以說者，既繫娣為媵，不得別適，若其不以備數，更有動望之憂，故繫娣而行合禮，“說以動”也。

The Commentary on the Judgment continues to say: acting with joy, the marriage is to a young maiden. Wang Bi's commentary explains: a young maiden being matched with an elder son is something she would not willingly accept; yet now she is able to "act with joy," indicating that the one being married must be her younger sister, accompanying as a "娣" (a secondary wife). Although she is matched with the elder son, at the time of marriage she is subordinate to the main wife as a "娣," hence the joy. Kong Yingda's commentary explains: this is interpreting the meaning of "returning to the maiden" by considering the two trigrams. A young maiden being matched with an elder son is not something she would willingly accept; yet now she is able to "act with joy," meaning that she is being married as a younger sister, though matched with the elder son, her marriage is as a subordinate "娣." Thus she is joyful. The reason for the joy in being a "娣" is that once she becomes a secondary wife, she does not need to marry again. If she were not to be included among the nine women, she would instead have worries about improper desires. Therefore, marrying as a "娣" is in accordance with propriety, which is why it is called "acting with joy."

“征凶”，位不當也。履於，皆不當位，釋“征凶”之義。位既不當，明非正嫡，因說動而更求進，妖邪之道也，所戒其“征凶”也。“無攸利”，柔乘剛也。以征則有不正之凶，以處則有乘剛之逆。

The Commentary on the Judgment says: "Going forward brings calamity," because the yao positions are inappropriate. Wang Bi's commentary explains that all the yao are not in proper positions, which explains the meaning of "going forward brings calamity." Since the yao positions are improper, it is evident that it is not the rightful wife but one who is eager and restless, seeking further favor, which is a way of the evil spirits, hence the warning "going forward brings calamity." The Commentary on the Judgment also says: "No advantage is gained," because the yin yao are above the yang yao. Wang Bi's commentary explains that if one goes forward to seek advancement, there is the danger of an improper position; if one remains still, there is the wrong of a yin yao overpowering a yang yao.

[疏]“無攸利，柔乘剛也”。○正義曰：此因六三、六五乘剛，釋“無攸利”之義。夫陽貴而陰賤，以妾媵之賤，進求殊寵，即是以賤陵貴，故無施而利也。○注“以征則”至“有乘剛之逆也”。○正義曰：《彖》以失位釋“征凶”，乘剛釋“無攸利”，而《注》連引言之者，《略例》云：“去初、上而論位分，則三、五各在一卦之上，何得不謂之陽？三、四各在一卦之下，何得不謂之陰？然則二、四陰位也，三、五陽位也。”陽應在上，陰應在下，今二、三、四、五，並皆失位，其勢自然柔皆乘剛，其猶妾媵求寵，其勢自然以賤陵貴，以明柔之乘剛，緣於失正而進也。

Kong Yingda explains the phrase "wu you li, rou chen gang ye" by saying: this is explaining the meaning of "wu you li" by referring to the sixth line in the third position and the sixth line in the fifth position overpowering the yang lines. Yang is noble and yin is humble; if a concubine, who is of low status, tries to compete for special favor, it is the humble overpowering the noble, so no matter what one does, there will be no benefit. Kong Yingda also explains Wang Bi's commentary from "yi zhe" to "you cheng gang zhi ni ye" by saying: the Commentary on the Judgment originally explained "zheng xiong" by "shi wei" and "wu you li" by "cheng gang," but Wang Bi connected the two sentences together. This is because in his Outline of the Zhou Changes, Wang Bi said: "If we exclude the first line and the top line when discussing positions, then the third and fifth lines are each in the upper part of a hexagram, so how can they not be considered yang positions? The third and fourth lines are each in the lower part of a hexagram, so how can they not be considered yin positions? Thus, the second and fourth lines are yin positions, and the third and fifth lines are yang positions." Yang lines should be in the upper position, and yin lines should be in the lower position. Now, the second, third, fourth, and fifth lines all occupy incorrect positions. Thus, the yin lines naturally overpower the yang lines, just like concubines competing for the favor of the husband, which naturally means the humble overpowering the noble. This shows that the yin overpowering the yang is due to losing the proper position and acting recklessly.

《象》曰：澤上有雷，歸妹。君子以求終知敝。歸妹，相終始之道也，故以“永終知敝”。[疏]正義曰：“澤上有雷”，“說以動”也。故曰“歸妹君子以永終知敝”者，“歸妹相終始之道也”，故君子象此以永長其終，知應有不終之敝故也。

The Image Commentary says: Thunder resounds over a marsh, which is the image of the hexagram Guī Mèi; the gentleman thus maintains his final state forever and anticipates potential flaws. (The original text of the Image reads 'the gentleman seeks to know the flaws at the end,' but Wang Bi's commentary and Kong Yingda's annotations both state 'eternally knowing the flaws,' and 'yǒng' (forever) is the correct reading.) Wang Bi's commentary explains that Guī Mèi represents a continuous cycle of beginning and end, hence 'eternally knowing the flaws.' Kong Yingda's annotation explains that 'Thunder over a marsh' is the image of 'movement through joy,' so 'Guī Mèi, the gentleman thus eternally knows the flaws' is because Guī Mèi signifies a mutual cycle of beginning and end. Therefore, the gentleman takes this image as a model, striving to preserve its final state forever while understanding that there is inherently a flaw that may prevent a good ending.

初九：歸妹以娣，跛能履，征吉。少女而與長男為耦，非敵之謂，是娣從之義也。妹，少女之稱也。少女之行，善莫若娣。夫承嗣以君之子，雖幼而不妄行，少女以娣，雖“跛能履”，斯乃恆久之義，吉而相承之道也。以斯而進，吉其宜也。

The text says: "Initial Nine, a young sister is sent to accompany the bride as a younger sister, and she travels like a lame person who can still walk, thus leading to auspiciousness." Wang Bi's commentary explains: A young girl marrying a mature man does not constitute an equal match, which is precisely the meaning of accompanying as a younger sister. "Sister" refers to a young girl, and there is no better way for a young girl to be sent on a marriage journey than as a younger sister. To continue the family lineage, the king's eldest son is used, even if he is young, and this is not considered an improper choice. Similarly, a young girl marrying as a younger sister, although not fully adequate, embodies the meaning of constancy and is the way of mutual continuation and auspiciousness. To travel in such a manner, obtaining auspiciousness is natural.

[疏]“初九”至“貞吉”。○正義曰：“歸妹以娣”者，少女謂之妹，從娣而行謂之歸。初九以兌適震，非夫婦匹敵，是從娣之義也，故曰“歸妹以娣”也。“跛能履”者，妹而繼姊為娣，雖非正配，不失常道，譬猶跛人之足然。雖不正，不廢能履，故曰“跛能履”也。“征吉”者，少長非偶，為妻而行則凶焉，為娣而行則吉，故曰“征吉”也。○注“夫承嗣以君之子”至“吉其宜也”。○正義曰：“夫承嗣以君之子，雖幼而不妄行”者，此為少女作此例也。言君之子宜為嗣承，以類妃之妹應為娣也。立嗣宜取長，然君之子雖幼而立之，不為妄也。以言行嫁宜匹敵。然妃之妹雖至少，而為娣則可行也。

Kong Yingda explains from "Initial Nine" to "Zhen Ji" that the phrase "Gui Mei Yi Di" refers to a young woman being called "Mei" and following the main wife as "Di" when going out in marriage, which is called "Gui." Initially Nine uses the upper trigram "Dui" to pair with the lower trigram "Zhen," which is not an equal match between husband and wife, but rather corresponds to the meaning of "Di," hence "Gui Mei Yi Di." The phrase "Bo Neng Lu" refers to the younger sister following the older sister as "Di," even though she is not an official spouse, yet she does not lose the way of propriety, just as a lame leg—though not straight—does not prevent walking, hence "Bo Neng Lu." The phrase "Zheng Ji" means that a young man and an old woman are not a good match. If the young man marries as the main wife, it is dangerous, but if he marries as the "Di," it is auspicious, hence "Zheng Ji." Kong Yingda also explains Wang Bi's commentary from "Fu Cheng Si Yi Jun Zhi Zi" to "Ji Qi Yi Ye" as follows: the phrase "Fu Cheng Si Yi Jun Zhi Zi, Su You Er Bu Wang Xing" is a metaphor for the matter of a young woman. It means that the son of the king should inherit the lineage, just as the younger sister of the main wife should be the "Di." Normally, the heir should be the older one, but even if the king's son is young, it is not considered a wrong choice. Similarly, although marriage should be between equal families, the younger sister of the main wife, even if very young, can still be the "Di" and marry, which is acceptable.

《象》曰：“歸妹以娣”，以恆也。“跛能履”，吉相承也。[疏]正義曰：“以恆也”者，妹而為娣，恆久之道也。“吉相承也”者，行得其宜，是相承之道也。

The Image Commentary says: "The hexagram of Return of the Younger Sister is about the younger sister," which refers to its constancy; "the lame one can walk" is considered auspicious because of mutual support. Kong Yingda's commentary explains: "This refers to constancy." The younger sister, as "娣," represents the way of maintaining constancy. "This refers to auspicious mutual support," meaning that actions are appropriate, which is the way of mutual assistance.

九二：眇能視，利幽人之貞。雖失其位，而居內處中，眇猶能視，足以保常也。在內履中，而能守其常，故“利幽人之貞”也。[疏]正義曰：九二不云歸妹者，既在歸妹之卦，歸妹可知，故無不言也。然九二雖失其位，不廢居內處中。以言歸妹，雖非正配，不失交合之道，猶如眇目之人，視雖不正，不廢能視耳，故曰“眇能視”也。“利幽人之貞”者，居內處中，能守其常，施之於人，是處幽而不失其貞正也。故曰“利幽人之貞也”。《象》曰“利幽人之貞”，未變常也。[疏]正義曰：“未變常也”者，貞正者人之常也，九三失位，嫌其變常不貞也，能以履中不偏，故云“未變常”也。

The text says: Nine in the Second, although one eye is blind, the other can still see, it is advantageous for those who live in seclusion and maintain stillness to hold firm to the correct path. Wang Bi's commentary explains: Nine in the Second, although it is a yang line in a yin position and thus not in the proper place, is located within the inner trigram and in the central position, just like a person who is blind in one eye but can still see, which is sufficient to maintain the constant way; being within the inner trigram and practicing the middle path, it can also maintain the constant way, so it is said, "it is advantageous for the secluded person to hold firm to the correct path." Kong Yingda's commentary explains: Nine in the Second does not mention the term "returning to marriage," because it is already within the hexagram of returning to marriage, and the matter of returning to marriage can be imagined, so there is no need to mention each line separately. Although Nine in the Second is not in the proper place, it does not prevent it from being within the inner trigram and in the central position; when used to explain returning to marriage, it means that although she is not the official spouse, she does not lose the way of union, just as a person who is blind in one eye, although his vision is not perfect, does not prevent him from seeing, so it is said, "the blind eye can see." The phrase "it is advantageous for the secluded person to hold firm to the correct path" refers to being within the inner trigram and in the central position, being able to maintain the constant way, and when applied to human affairs, it means being in seclusion without losing one's uprightness, so it is said, "it is advantageous for the secluded person to hold firm to the correct path." The Image Commentary says: "it is advantageous for the secluded person to hold firm to the correct path," because it has not changed the constant way. Kong Yingda's commentary explains: the phrase "has not changed the constant way" refers to uprightness and correctness being the constant way that people should maintain; Nine in the Third (the original text says Nine in the Third, but according to the meaning it should be Nine in the Second) is not in the proper place, which originally raises doubts that it has changed the constant way and is not upright, but it can practice the middle path and remain balanced, so it is said, "has not changed the constant way."

六三：歸妹以須，反歸以娣。室主猶存，而求進焉。進未值時，故有須也。不可以進，故“反歸”待時，“以娣”乃行也。[疏]正義曰：“歸妹以須”者，六三在“歸妹”之時，處下體之上，有欲求為室主之象，而居不當位，則是室主獨存，室主既存，而欲求進，為末值其時也。未當其時，則宜有待，故曰“歸妹以須也”。“反歸以娣”者，既而有須，不可以進，宜反歸待時，以娣乃行，故曰“反歸以娣”。《象》曰：“歸妹以須”，未當也。[疏]正義曰：“未當也”者，未當其時，故宜有待也。

The text says: Six in the Third, when marrying off a younger sister, one must wait, and after returning, one may go out as a younger wife. Wang Bi's commentary explains: The main wife is still in place, yet she wishes to advance; the time for advancement has not yet arrived, so one must wait. Since one cannot advance, one should return to wait for the right time, and only then can one go out as a younger wife. Kong Yingda's commentary explains: The phrase 'marry off a sister and wait' refers to the situation of the Sixth in the Third, which is in the time of 'marriage', occupying the uppermost position of the lower trigram. There is an indication of wanting to become the main wife, but since its position is inappropriate, the main wife remains in place. The main wife is already there, yet she wishes to advance, which is not the right time. Since the time is not right, one should wait, hence 'marry off a sister and wait'. The phrase 'return to be a younger wife' means that since one must wait, one should not advance, but return to wait for the right time, and only then can one go out as a younger wife, hence 'return to be a younger wife'. The Image Commentary says: 'Marry off a sister and wait' because the time is not appropriate. Kong Yingda's commentary explains: The phrase 'not appropriate' means that the time has not yet come, so one should wait.

九四：歸妹愆期，遲歸有時。夫以不正無應而適人也，必須彼道窮盡，無所與交，然後乃可以往，故“愆期遲歸”，以待時也。[疏]正義曰：九四居下得位，又無其應，以斯適人，“必待彼道窮盡，無所與交，然後乃可以往”，故曰“愆期遲歸有時”也。《象》曰：“愆期”之志，有待而行也。[疏]正義曰：嫁宜及時。今乃過期而遲歸者，此嫁者之志，正欲有所待而後乃行也。

The text says: Nine in the Fourth, the sister is married but missed the wedding date, and she will eventually marry at the right time. Wang Bi's commentary explains: Being in an improper position and lacking a proper corresponding line, one must wait until the other party has reached the end of their path and there is no one to marry, then one can go forth, hence "delaying the wedding date and returning late" is to wait for the right time. Kong Yingda's commentary explains: Nine in the Fourth is in a position (the original text says "residing in a lower position with proper status") but lacks a corresponding line, so marrying under such circumstances is like Wang Bi said, "one must wait until the other's path is exhausted and there is no one to marry, then one can go forth," hence "delaying the wedding date and returning late at the right time." The Image Commentary says: The intention of delaying the wedding date is to wait and then proceed. Kong Yingda's commentary explains: Marriage should be timely, but now the date has passed and the marriage is delayed, this is the intention of the one getting married, which is to wait and then proceed.

六五：帝乙歸妹，其君之袂，不如其娣之袂良。月幾望，吉。歸妹之中，獨處貴位，故謂之“帝乙歸妹”也。袂，衣袖，所以為禮容者也。“其君之袂”，為帝乙所寵也，即五也。為帝乙所崇飾，故謂之“其君之袂”也。配在九二，兌少震長，以長從少，不若以少從長之為美也，故曰“不若其娣之袂良”也。位在乎中，以貴而行，極陰之盛，以斯適配，雖不若少，往亦必合，故曰“月幾望，吉”也。

The text says: Six in the Fifth, Emperor Yi marries his younger sister. The sleeve of the royal daughter is not as beautiful as that of her accompanying younger sister, the '娣'. The moon is nearly full, which is auspicious. Wang Bi's commentary explains: Six in the Fifth occupies a noble position in the卦 of归妹, hence it is called 'Emperor Yi marries his younger sister'. '袂' refers to the sleeve, which is used to display proper conduct and etiquette. The 'sleeve of the royal daughter' refers to the one favored by Emperor Yi, that is, Six in the Fifth. Because she is lavishly adorned by Emperor Yi, her sleeve is called 'the sleeve of the royal daughter'. Her spouse is Nine in the Second. '兑' represents the younger, while '震' represents the elder. It is not as good for the elder to obey the younger, but for the younger to obey the elder. Therefore, it is said 'not as good as the sleeve of her younger sister'. However, she is in the middle of the upper trigram, traveling with noble status, at a time when yin energy is at its peak. With such status, she goes to marry, even though it is not as suitable as the younger sister, she will surely meet her spouse. Therefore, it is said 'the moon is nearly full, auspicious'.

[疏]“六五帝乙”至“幾望吉”。○正義曰：“帝乙歸妹”者，六五居歸妹之中，“獨處貴位”，是帝王之所嫁妹也，故曰“帝乙歸妹”。“其君之袂，不如其娣之袂良”者，六五雖處貴位，卦是長陽之卦，若以爻為人，即是婦人之道，故為帝乙之妹。既居長卦，乃是長女之象，其君即五也。袂，衣袖也，所舉斂以為禮容，帝王嫁妹，為之崇飾，故曰“其君之袂”也。“配在九二，兌少震長，以長從少”者，可以從少，雖有其君崇飾之袂，猶不若以少從長之為美，故曰“不如其娣之袂良”也。“月幾望吉”者，陰而貴盛，如月之近望，以斯適配，雖不如以少從長，然以貴而行，往必合志，故得吉也，故曰“月幾望，吉”也。

Kong Yingda explains in his commentary on the section from "Six in the Fifth, King Yi" to "Almost Full, Auspicious" that the phrase "King Yi marries his younger sister" refers to the line "Six in the Fifth" being in the hexagram "Marriage." "Six in the Fifth" is in a noble position, which corresponds to the sister of a king, hence the phrase "King Yi marries his younger sister." The phrase "The queen's sleeve is not as good as her younger sister's sleeve" means that although "Six in the Fifth" is in a noble position, the upper trigram "Zhen" represents the long yang trigram. If the line is compared to a person, it represents the way of a woman, so it refers to her as the younger sister of King Yi. Since she is in the trigram of the elder son, it represents the image of the elder daughter. "The queen" refers to the line "Six in the Fifth." "Sleeve" is the part of the robe used to display grace and propriety when raising hands and bowing. When the king marries his sister, he specially decorates her with elaborate attire, hence "the queen's sleeve." The phrase "paired with Nine in the Second, Dui is young and Zhen is old, following the young with the old" means that she could follow the younger Nine in the Second, but even with the elaborate sleeves provided by the king, it is not as good as following the old with the young, hence "the queen's sleeve is not as good as her younger sister's sleeve." The phrase "the moon is almost full, auspicious" refers to "wan" as the fifteenth day of the lunar month when the moon is full. "Almost full" means it is about to be full but not yet completely full. This refers to her being a noble and powerful yin, like the moon approaching fullness. With such a status, although she is not following the young with the old, she can still achieve harmony through her noble status, hence it is auspicious, so it is said "the moon is almost full, auspicious."

《象》曰：“帝乙歸妹，不如其娣之袂良”也。其位在中，以貴行也。[疏]“象曰”至“以貴行也”。○正義曰：“帝乙歸妹，不如其娣之袂良”者，釋其六五雖所居貴位，言長不如少也，言不必少女，而從於長男也。“其位在中，以貴行也”者，釋“月幾望，吉”也。既以長適少，非歸妹之美而得吉者，其位在五之中，以貴盛而行，所往必得合，而獲吉也。

The Image Commentary says: "The King Yi married his younger sister, but her younger sister's sleeve was better." This is because the line in the fifth position is in the center, and with its noble status, it acts. Kong Yingda explains from "the Image says" to "because it acts with nobility" as follows: the phrase "the King Yi married his younger sister, but her younger sister's sleeve was better" is used to explain that although the fifth line is in a noble position, in terms of pairing, it is less youthful than the younger one; that is, it is not the young girl who submits to the older man, quite the opposite. The phrase "its position is in the center, and it acts with nobility" is used to explain "the moon is almost full, auspicious." Since it is the older one marrying the younger one, which is not a favorable image for marriage, yet it still attains auspiciousness, the reason is that it is in the central position of the fifth line, acting with noble status, so its journey will surely meet, thus obtaining auspiciousness.

上六：女承筐，無實，士刲羊，無血，無攸利。羊謂三也。處卦之窮，仰無所承，下又無應，為女而承命，則筐虛而莫之與。為士而下命，則“刲羊”而“無血”。“刲血”而“無血”，不應所命也。進退莫與，故曰“無攸利”也。[疏]“上六”至“無攸利”。○正義曰：女之為行，以上有承順為美；士之為功，以下有應命為貴，上六處卦之窮，仰則無所承受，故為女承筐，則虛而無實。又下無其應，下命則無應之者，故為“士刲羊”則乾而“無和”，故曰“女承筐，無實，士刲羊無血。”則進退莫與，故無所利。

The text says: "Upper Six, a woman holds a bamboo basket, but it is empty; a man slaughters a sheep, but no blood flows; there is no benefit." Wang Bi's commentary explains: "The sheep" refers to the Sixth in the Third. Upper Six is at the extreme position of the entire hexagram, with nothing above it to receive, and nothing below it that corresponds. As a woman receiving orders from above, the bamboo basket is empty because no one puts anything into it; as a man issuing orders below, it is like slaughtering a sheep but seeing no blood, because no one responds to his command. Being unable to move forward or backward with any support, it is said "there is no benefit." Kong Yingda's commentary on the section from "Upper Six" to "no benefit" says: A woman's actions are good when there is someone above her to follow; a man's achievements are valuable when there are people below him who respond to his commands. Upper Six is at the extreme position of the entire hexagram, with nothing above it to receive, so the woman holding the basket is empty and has nothing in it; and with nothing below it that corresponds, issuing orders but no one responding, so "the man slaughters the sheep but sees no blood" (the original text says "no harmony"), thus saying "the woman holds the basket, but it is empty, the man slaughters the sheep but sees no blood." In this way, there is no one to support either moving forward or backward, so there is no benefit at all.

《象》曰：上六“無實”，承虛筐也。[疏]正義曰：“承虛筐”者，筐本盛幣，以幣為實。今之“無實”，正是承捧虛筐，空無所有也。

The Image Commentary says: The "no substance" of the sixth line at the top refers to holding an empty basket. Kong Yingda's commentary explains: The phrase "bearing an empty basket" refers to a bamboo basket which is usually used to hold currency and silk. Now, when it says "no substance," it means holding an empty basket, with nothing inside.

離下震上。豐：亨，王假之。大而亨者，王之所至。[疏]正義曰：“豐，亨”者，“豐”，卦名也，《彖》及《序卦》皆以“大”訓“豐”也，然則豐者，多大之名，盈足之義，財多德大，故謂之為豐。德大則無所不容，財多則無所不齊。無所擁礙謂之為“亨”，故曰“豐，亨”。“王假之”者，假，至也，豐亨之道，王之所尚，非有王者之德，不能至之，故曰“王假之”也。

The hexagram consists of the trigram "Li" (Fire) below and "Zhen" (Thunder) above. The hexagram statement says: "Feng, smooth and prosperous, the king can reach this state." Wang Bi's commentary explains: "Great and prosperous, this is the state that the king can reach." Kong Yingda's commentary explains: "So-called 'Feng, smooth' — 'Feng' is the name of the hexagram. Both the 'Commentary on the Judgment' and the 'Sequence of Hexagrams' explain 'Feng' with the meaning of 'great.' Therefore, 'Feng' refers to abundance and grandeur, meaning fullness and richness — wealth is abundant, virtue is great, hence it is called 'Feng.' When virtue is great, it can encompass everything; when wealth is abundant, it can be complete in all things. Without obstruction or hindrance is called 'smooth,' hence it is said 'Feng, smooth.' So-called 'the king reaches it,' 'ji' means 'to reach' or 'to arrive at': the way of great prosperity is esteemed by the king, and without the virtue of a king, one cannot reach it, hence it is said 'the king reaches it.'"

勿憂，宜日中。豐之為義，闡弘微細，通夫隱滯者也，為天下之主，而令微隱者不亨，憂未巳也，故至“豐亨”，乃得勿憂也。用夫豐亨不憂之德，宜處天中，以偏照者也，故曰“宜日中”也。[疏]正義曰：勿，無也。王能至於豐亨，乃得無復憂慮，故曰“勿憂也”。用夫豐亨無憂之德，然後可以君臨萬國，遍照四方，如日中之時，遍照天下，故曰“宜日中”也。

The Hexagram Statement continues: Do not worry, it is appropriate for the sun at noon. Wang Bi's commentary explains: The meaning of "Feng" (Abundance) lies in promoting and expanding the subtle things, and unblocking the hidden and stagnant emotions. As the sovereign of the world, if the subtle and hidden things cannot achieve smoothness, worry will not cease; therefore, only when reaching the state of "Feng Heng" (Abundance and smoothness) can one no longer worry. With this virtue of abundant and smooth peace, one should be like the sun at noon, illuminating all directions, hence it says "Suitable for the sun at noon." Kong Yingda's commentary explains: "Wu" means "not" or "do not." When the sovereign achieves abundant and smooth success, he can no longer have worries, hence it says "Do not worry." With this virtue of abundant and smooth peace, one can then rule the world and illuminate all directions, like the sun at noon shining over the world, hence it says "Suitable for the sun at noon."

《彖》曰：豐，大也。音闡大之大也。[疏]“彖曰：豐，大也”。○正義曰：“豐，大也”者，釋卦名，正是弘大之義也。○注“音闡大之大也”。○正義曰：闡者，弘廣之言，凡物之大，其有二種，一者自然之大，一者由人之闡弘使大。“豐”之為義，既闡弘微細，則豐之稱大，乃闡大之大，非自然之大，故音之也。

The Commentary on the Judgment says: "Fullness" means "great." Wang Bi's annotation explains that the character "大" here is read as "阐大" (great in the sense of being elaborated and expanded). Kong Yingda's commentary on the phrase "The Judgment says: Fullness is great" explains that "Fullness is great" is an explanation of the hexagram's name, meaning the meaning of being expansive and grand. Kong Yingda further explains Wang Bi's annotation "the sound is that of '阐大' (great)" by saying that "阐" means to promote and expand. Any thing called "great" can be of two kinds: one is naturally great, and the other is made great by human promotion and expansion. Since the meaning of "Fullness" lies in promoting and expanding small things, the term "Fullness" being called "great" refers to "阐大" (great through promotion), not naturally great. Therefore, Wang Bi specially annotated the pronunciation to distinguish it.

明以動，故豐。王假之，尚大也。大者王之所尚，故至之也。[疏]正義曰：“動故豐”者，此就二體，釋卦得名，為豐之意，動而不明，未能光大，資明以動，乃能致豐，故曰“明以動故豐”也。“王假之，尚大也”者，豐大之道，王所崇尚，所以王能至之，以能尚大故也。

The Commentary on the Judgment says: By first attaining brightness and then taking action, one can achieve abundance; "The king comes to it" indicates the veneration of grandeur. Wang Bi's commentary explains: Grandeur is what the king esteems, so he can reach this state. Kong Yingda's commentary explains: The phrase "movement thus brings abundance" is an explanation of the meaning of the hexagram being named "Abundance" by considering the upper and lower trigrams. The lower trigram is "Li" (Fire), representing brightness, and the upper trigram is "Zhen" (Thunder), representing movement. If there is movement without clarity, one cannot achieve greatness; only by acting with clarity can one attain abundance, hence the saying "brightness and movement thus bring abundance." The phrase "the king comes to it, esteeming grandeur" means that the way of abundance is what the king esteems, so the king can reach it because he esteems grandeur.

“勿憂，宜日中”，宜照天下也。以勿憂之德，故宜照天下也。[疏]正義曰：日中之時，遍照天下，王無憂慮，德乃光被，同於日中之盈，故曰“勿憂，宜日中，宜照天下也”。

The Commentary on the Judgment says: "Do not worry, it is appropriate for the sun to be at its zenith." This means that the light should illuminate the whole world. Wang Bi's annotation explains that because of this virtue that does not require worry, it is appropriate for the light to illuminate the whole world. Kong Yingda's commentary explains that at noon, the sunlight shines over the entire world; the king has no worries, and his virtue and grace extend to all directions, just as the fullness of the noonday sun. Therefore, it is said, "Do not worry, it is appropriate for the sun to be at its zenith, and it is appropriate for the light to illuminate the whole world."

日中則昃，月盈則食，天地盈虛，與時消息，而況於人乎？況於鬼神乎？豐之為用，困於昃食者也。施於未足則尚豐，施於巳盈則方溢，不可以為常，故具陳消息之道者也。[疏]正義曰：此孔子因豐設戒，以上言王者以豐大之德，照臨天下，同於日中。然盛必有衰，自然常理。日中至盛，過中則昃；月滿則盈，過盈則食。天之寒暑往來，地之陵谷遷貿，盈則與時而息，虛則與時而消。天地日月，尚不能久，況於人與鬼神，而能長保其盈盛乎？勉令及時脩德，仍戒居存慮亡也。

The Commentary on the Judgment says: When the sun reaches noon, it begins to set; when the moon is full, it starts to wane; the fullness and emptiness of heaven and earth follow the order of time, alternating between decline and growth; how much more so for human beings and ghosts and spirits? Wang Bi's commentary explains: The function of "Feng" (Abundance) is constrained by the pattern of the sun setting and the moon waning. When applied to places that are not yet full, it can still be called abundance; but when applied to places that are already full, it will overflow and cannot be considered a constant state. Therefore, the Commentary on the Judgment thoroughly explains the principle of increase and decrease. Kong Yingda's commentary explains: This is Confucius using the "Feng" hexagram to issue a warning. The previous text said that a ruler governs the world with abundant virtue, like the sun at noon. However, prosperity is inevitably followed by decline, which is a natural law. The sun reaches its peak at noon and then begins to set; the moon is fullest on the fifteenth day and then starts to wane. In heaven, the seasons alternate between cold and heat; on earth, mountains and valleys change over time. When things are full, they follow the order of time to grow; when they are empty, they follow the order of time to decline. Heaven, earth, sun, and moon cannot remain full forever; how much less can human beings and ghosts and spirits maintain their prosperity and abundance? This is a reminder to people to cultivate virtue in a timely manner and to be mindful of danger even when they are in a secure and prosperous situation.

此辭先陳天地，後言人、鬼、神者，欲以輕譬重，亦先尊後卑也。而日月先天地者，承上“宜日中”之下，遂言其昃食，因舉日月以對之，然後並陳天地，作文之體也。《象》曰：雷電皆至，豐。君子以折獄致刑。文明以動，不失情理也。

Kong Yingda continued to say: This passage first mentions heaven and earth, then discusses humans and ghosts and spirits, intending to use something light to illustrate something heavy, and also follows the order of beginning with the higher and then the lower. First mentioning the sun and moon and then heaven and earth is because it follows the previous statement "Suitable at noon," and then naturally proceeds to talk about the sun setting and the moon being eclipsed, thus taking the sun and moon as two opposing forces, and then together stating heaven and earth—this is the style of writing. The Image Commentary says: Thunder and lightning coming together, this is the situation of abundance; the gentleman thus decides lawsuits and applies punishments. Wang Bi's annotation explains: When there is bright virtue and then action, there will be no deviation from the case and the principles.

[疏]正義曰：“雷電皆至，豐”者，雷者，天之威動，電者，天之光耀。雷電俱至，則威明備，足以為豐也。“君子以折獄致刑”者，君子法象天威而用刑罰，亦當文明以動，折獄斷決也。斷決獄訟，須得虛實之情；致用刑罰，必得輕重之中。若動而不明，則淫濫斯及，故君子象於此卦而折獄致刑。

Kong Yingda's commentary explains: the phrase "Thunder and lightning arrive, abundance" refers to thunder being the shaking of heaven's authority, and lightning being the illumination of heaven's brightness. When thunder and lightning both arrive, the authority and clarity are both complete, sufficient to form the meaning of "abundance." The phrase "the gentleman uses this to decide cases and apply punishment" means that the gentleman takes the authority of heaven as a model in applying punishment, and should act with brightness and clarity. In deciding cases, one must ascertain the actual facts; in applying punishment, one must ensure the severity is appropriate. If there is only action without clarity, wrongful punishment will follow. Therefore, the gentleman takes the image of this hexagram to decide cases and apply punishment.

初九：遇其配主，雖旬無咎，往有尚。處豐之初，其配在四，以陽適陽，以明之動，能相光大者也。旬，均也。雖均無咎，往有尚也。初、四俱陽爻，故曰“均”也。[疏]正義曰：“遇其配主”者，豐者，文明必動，尚乎光大者也。初配在四，俱是陽爻，以陽適陽，以明之動，能相光大者也。故曰“遇其配主”也。“雖旬無咎，往有尚”者，旬，均也，俱是陽爻，謂之為均，非是陰陽相應，嫌其有咎，以其能相光大，故雖均，可以無咎，而往有嘉尚也，故曰“雖均無咎，往有尚”也。

The text says: "Initial Nine, encountering the matching main line, although both are equal there is no fault, going forward will be praised." Wang Bi's commentary explains: "Initial Nine is at the beginning of the Fulfillment hexagram, and its matching line is Nine in the Fourth. A yang line approaching another yang line, acting with brightness, both can mutually enhance each other. 'Xun' means 'equal': although equal there is no fault, going forward will still be praised—Initial Nine and Nine in the Fourth are both yang lines, so it is called 'equal.' Kong Yingda's commentary explains: 'Meeting the matching main line' refers to the Fulfillment hexagram, which speaks of splendid brightness and necessary action, valuing mutual enhancement. Initial Nine's matching line is Nine in the Fourth, both being yang lines, a yang line approaching another yang line, acting with brightness, they can mutually enhance each other, so it is called 'meeting the matching main line.' As for 'although equal there is no fault, going forward will be praised,' 'xun' means 'equal'; both are yang lines, hence called 'equal,' not yin and yang responding to each other, which might cause suspicion of fault; but because they can mutually enhance each other, even though equal, there can be no fault, and going forward will still be praised, hence it is said 'although equal there is no fault, going forward will be praised.'"

《象》曰：“雖旬無咎”，過旬災也。過均則爭，交斯叛也。[疏]“象曰”至“災也”。○正義曰：“過旬災光”者，言勢若不均，則相傾奪。既相傾奪，則爭競乃興，而相違背，災咎至焉，故曰“過旬災也”。○注“過均”至“叛也”。○正義曰：初，四應配，謂之為交，勢若不均，則初、四之相交，於斯乖叛矣。

The Image Commentary says: "Although for a period there is no blame," once the balance is exceeded, disaster will follow. Wang Bi's annotation explains that exceeding the balance leads to contention, and the two parties thus become estranged. Kong Yingda's commentary on the section from "The Image says" to "disaster" states: the phrase "overstepping the period brings disaster" (the original text reads "disaster light," which should be "disaster"), refers to the fact that if the forces of the two sides are unequal, they will compete and vie with each other; once they compete and vie, contention arises, and mutual estrangement follows, leading to disaster and blame, hence it is said "overstepping the period brings disaster." Kong Yingda also comments on Wang Bi's annotation from "exceeding the balance" to "estrangement," explaining that initially, the first nine and the fourth nine were originally in harmony and matched, called "interaction"; if the forces of the two sides are unequal, then the harmonious relationship between the first and the fourth will thus become estranged and rebellious.

六二：豐其蔀，日中見斗。往得疑疾，有孚發若，吉。蔀，覆曖，鄣光明之物也。處明動之時，不能自豐以光大之德，既處乎內，而又以陰居陰，所豐在蔀，幽而無睹者也，故曰“豐其蔀，日中見斗”也。日中者，明之盛也；斗見者，闇之極也。處盛明而豐其蔀，故曰“日中見斗”。不能自發，故往得疑疾。然履中當位，處闇不邪，有孚者也。若，辭也。有孚可以發其志，不困於闇，故獲吉也。

The text says: Six in the Second, adding the covering and blocking things to an extreme degree, so that even at noon one can see the Big Dipper; going forward will bring suspicion, but if one has sincerity to inspire the mind, it will be auspicious. Wang Bi's commentary explains: "Pu" refers to the covering and blocking, the thing that obstructs light. Six in the Second is in a position of brightness and action, yet it cannot rely on the great brightness of virtue to become prominent; it is in the inner trigram and has a yin line in a yin position, so what it enriches is precisely the covering and blocking, dark and nothing can be seen, hence "making the covering thick, seeing the Big Dipper at noon." Noon is the time of greatest brightness, seeing the Big Dipper indicates extreme darkness; being in the most brilliant light yet adding more covering, hence "seeing the Big Dipper at noon." It cannot rise up by itself, so going forward will bring suspicion. However, it practices the middle way and holds a proper position, though in darkness it does not go astray, thus having sincerity. "Ru" is a particle. Having sincerity can inspire the mind, not be trapped by darkness, thus obtaining auspiciousness.

[疏]“六二豐其蔀”至“有孚發若吉”。○正義曰：“豐其蔀”者，二以陰居遙又處於內，幽闇無所睹見，所豐在於覆蔽，故曰“豐其蔀”也。蔀者，覆曖，障光明之物也。“日中見斗”者，二居離卦之中，如日正中，則至極盛者也。處日中盛明之時，而斗星顯見，是二之至闇，使斗星見明者也。處光大之世，而為極闇之行，譬日中而斗星見，故曰“日中見斗”也。二、五俱陰，二巳見斗之闇，不能自發，以自求於五，往則得見疑之疾，故曰“往得疑疾”也。然居中履正，處闇不邪，是有信者也。有信以自發其志，不困於闇，故獲吉也。故曰“有孚發若，吉”也。《象》曰：“有孚發若”，信以發志也。[疏]正義曰：信以發志者，雖處幽闇而不為邪，是有信以發其豐大之志，故得吉也。

Kong Yingda explains the passage from "Six in the Second, enriching its covering" to "With sincerity, it is awakened and auspicious" as follows: "Enriching its covering" refers to the fact that the Second line, being a yin line in a yin position (the original text says "residing in remote," which should be "residing in yin"), is located in the inner trigram and is in darkness, unable to see anything. What is enriched is precisely the covering and obstruction that blocks light, hence "enriching its covering." "Covering" refers to something that blocks and obscures light. "Seeing the star Dou at noon" refers to the fact that the Second line is in the trigram Li, which represents the sun. Just as the sun is at its zenith, light is at its peak. However, during the height of daylight, the star Dou is visible, which indicates that the Second line is so dark that even the star Dou becomes visible. Being in a time of great brightness yet acting in great darkness, like seeing the star Dou at noon, is what is meant by "seeing the star Dou at noon." The Second and Fifth lines are both yin lines. Since the Second line has already fallen into such darkness as seeing the star Dou, it cannot rise up on its own to seek help from the Fifth line. Going to seek help would bring suspicion, hence "going leads to suspicion." However, the Second line is in the center and upholds righteousness. Though in darkness, it does not go astray, thus it is sincere. By sincerity, it awakens its heart, not being trapped by darkness, thus it attains auspiciousness, hence "with sincerity, it is awakened and auspicious." The Image Commentary says: "With sincerity, it is awakened," meaning using sincerity to awaken the heart. Kong Yingda explains: "Sincerity awakens the will," meaning that the Second line, though in darkness, does not engage in wrongdoings. This is using sincerity to awaken its great will, thus attaining auspiciousness.

九三：豐其沛，日中見沬。折其右肱，無咎。沛，幡幔，所以御盛光也。沬，微昧之明也。應在上六，志在乎陰，雖愈乎以陰處陰，亦未足以免於闇也。所豐在沛，日中則見沬之謂也。施明，則見沬而巳，施用，則折其右肱，故可以自守而巳，未足用也。[疏]正義曰：“豐其沛，日中見沬”者，沛，幡幔，所以御盛光也。沬，微昧之明也，以九三應在上六，志在乎陰，雖愈於六二以陰處陰，亦未見免於闇也，是所以“豐在沛，日中見沬”。夫處光大之時，而豐沛見沬，雖愈於豐蔀見斗，然施於大事，終不可用。假如折其右肱，自守而巳，乃得無咎，故曰“折其右肱，無咎”。

The text says: Nine in the Third, spreads the heavy curtain so thick that even at noon only faint starlight is visible; breaks its right arm, yet incurs no blame. Wang Bi's commentary explains: "Pai" refers to banners or curtains used to block strong sunlight; "mei" refers to dim and faint light. Nine in the Third corresponds to Six at the Top, with its mind attached to the soft and yielding. Although this is better than the case of Six in the Second, where a yin line occupies a yin position, it still cannot escape darkness. What it enriches is the curtain, which is why at noon only faint light is seen. If applied to illumination, only faint light is visible; if applied to action, it is like breaking the right arm, so it can only remain self-contained, and thus incurs no blame. Kong Yingda's commentary explains: "Feng qi pai, ri zhong jian mei" refers to spreading the curtain thickly, so that even at noon only faint light is visible. "Pai" is the curtain used to block strong sunlight; "mei" is dim and faint light. Because Nine in the Third corresponds to Six at the Top, with its mind attached to the soft and yielding, although this is better than the case of Six in the Second, where a yin line occupies a yin position, it still cannot escape darkness. This is why "feng qi pai, ri zhong jian mei." In a time of brightness, the curtain is thick and only faint light is visible. Although it is slightly better than "feng bu jian dou" in the case of Six in the Second, it is still not capable of handling great affairs, just like breaking one's right arm, so it can only remain self-contained, thus incurring no blame, hence "zhe qi you gong, wu jiu."

《象》曰：豐其沛，不可大事也。明不足也。[疏]正義曰：“不可大事”者，當光大之時，可為大事，明不足，故不可為大事也。折其右肱，終不可用也。雖有左在，不足用也。[疏]正義曰：“終不可用”者，凡用事在右肱，右肱既折，雖有左在，終不可用也。

The Image Commentary says: "Full and abundant," meaning one cannot undertake great affairs. Wang Bi's annotation explains that this is because there is insufficient discernment. Kong Yingda's commentary explains that "not being able to undertake great affairs" refers to the fact that when one is in a time of flourishing, one should be capable of great undertakings, but due to insufficient discernment, one cannot undertake great affairs. The Image Commentary also says: "Breaking the right arm," meaning ultimately one is not fit for use. Wang Bi's annotation explains that although the left arm remains, it is still insufficient for use. Kong Yingda's commentary explains that "ultimately not being fit for use" refers to the fact that all actions depend on the right arm; since the right arm has been broken, even though the left arm remains, one is ultimately not fit for use.

九四：豐其蔀，日中見斗。遇其夷主，吉。以陽居陰，豐其蔀也。得初以發，夷主吉也。[疏]正義曰：“豐其蔀”者，九四以陽居陰，闇同於六二，故曰“豐其蔀”也。“日中見斗，遇其夷主，吉”者，夷，平也。四應在初，而同是陽爻，能相顯發，而得其吉，故曰“遇其夷主，吉”也。言四之與初交相為主者，若賓主之義也。若據初適四，則以四為主，故曰“遇其配主”。自四之初，則以初為主，故曰“遇其夷主”也。二陽體敵，兩主均平，故初謂四為“旬”，而四謂初為“夷”也。

The text says: Nine in the Fourth Line, thickening the covering to such an extent that the Big Dipper is visible at noon; encountering a main line that is equal to oneself brings good fortune. Wang Bi's commentary explains: Nine in the Fourth Line, with a yang line in a yin position, thus is "thickening the covering"; receiving the initial Nine to stimulate oneself, this is "meeting an equal main line, which is good." Kong Yingda's commentary explains: "Thickening the covering" refers to Nine in the Fourth Line, with a yang line in a yin position, so darkness is the same as Six in the Second, thus "thickening the covering." "Seeing the Big Dipper at noon, meeting an equal main line, which is good," "夷" means "equal"; Nine in the Fourth Line's corresponding line is the initial Nine, and both are yang lines, able to illuminate and stimulate each other, thus obtaining good fortune, so it is said "meeting an equal main line, which is good." It says that Nine in the Fourth Line and the initial Nine alternate as main lines, like the relationship between guest and host: if looking from the initial Nine to Nine in the Fourth Line, then Nine in the Fourth Line is the main line, so the line statement of the initial Nine says "meeting its paired main line"; if looking from Nine in the Fourth Line back to the initial Nine, then the initial Nine is the main line, so the line statement of Nine in the Fourth Line says "meeting its equal main line." The two yang lines have similar strength, and the two main lines are equal to each other, so the initial Nine calls Nine in the Fourth Line "旬," and Nine in the Fourth Line calls the initial Nine "夷."

《象》曰：“豐其蔀”，位不當也。“日中見斗”，幽不明也。“遇其夷主”，吉行也。[疏]正義曰：“位不當”者，止謂以陽居陰，而位不當，所以豐蔀而闇者也。“幽不明也”者，日中盛則反而見斗，以譬當光大而居陰，是應明而幽闇不明也。“吉行也”者，處於陰位，為闇巳甚，更應於陰，無由獲吉，猶與陽相遇，故得吉行也。

The Image Commentary says: "The covering is abundant," because the line is in an inappropriate position; "the handle of the ladle appears at noon," indicates darkness and lack of clarity; "meeting the夷主," signifies a fortunate action. Kong Yingda's commentary explains: "Inappropriate position" refers to the fact that the nine in the fourth position holds a yang line in a yin position, thus being in an improper place, leading to an excessive covering and falling into darkness. "Darkness and lack of clarity" refers to the fact that noon is the time of greatest brightness, yet the handle of the ladle is seen, symbolizing that one should be bright but is instead in a yin position, hence should be clear but is instead dark and unclear. "Fortunate action" refers to the fact that the nine in the fourth position is in a yin position, and darkness has already become deep; if it were to correspond with another yin line, it would be impossible to achieve fortune. Fortunately, it corresponds with the yang line, the initial nine, thus enabling a fortunate action.

六五：來章有慶譽，吉。以陰之質，來適尊陽之位，能自光大，章顯其德，獲慶譽也。[疏]正義曰：六五處豐大之世，以陰柔之質，來適尊陽之位，能自光大，章顯其德，而獲慶善也。故曰“來章有慶譽，吉”也。《象》曰：六五之吉，有慶也。[疏]正義曰：“有慶也”者，言六五以柔處尊，履得其中，故致慶譽也。

The text says: Six in the Fifth, brings forth literary brilliance and radiance, brings blessings, praise, and auspiciousness. Wang Bi's commentary explains: Six in the Fifth, with its gentle and yielding nature, comes to occupy the noble Yang position, thus being able to magnify itself and display its virtue, thereby obtaining blessings, praise, and commendation. Kong Yingda's commentary explains: Six in the Fifth is in a time of abundance, with its gentle and yielding nature coming to occupy the noble Yang position, thus being able to magnify itself and display its virtue, thereby obtaining blessings and commendation, hence it is said, "Coming forth with brilliance, there is celebration and praise, auspicious." The Image Commentary says: The auspiciousness of Six in the Fifth is because of the celebration. Kong Yingda's commentary explains: The phrase "there is celebration" refers to Six in the Fifth, with its gentle and yielding nature occupying the noble position, practicing the middle way, thus attracting blessings and commendation.

上六：豐其屋，蔀其家，闚其戶，闃其無人。三歲不覿，凶。屋，藏蔭之物，以陰處極而最在外，不履於位，深自幽隱，絕跡深藏者也。既豐其屋，又蔀其家，屋厚家覆，闇之甚也。雖闚其戶，闃其無人，棄其所處，而自深藏也。處於明動尚大之，時而深自幽隱，以高其行；大道既濟，而猶不見，隱不為賢，更為反道，凶其宜也。三年，豐道之成。治道未濟，隱猶可也；既濟而隱，是以治為亂者也。

The text says: "Upper Sixth, building a high house and concealing the dwelling; peering through the door crack, it is quiet and empty; for three years one does not see him, which is ominous." Wang Bi's commentary explains: "A house" is something used for concealment and shelter. Upper Sixth, with a yao of yin at the very top and in the outermost position, does not hold an office, deeply hiding himself in a secluded place, completely withdrawing. Although he builds a high house and conceals the dwelling, the house is thick and the dwelling is hidden, darkness reaching its peak; even though he peers through the door crack, it is quiet and empty, because he has abandoned his proper position and chosen to hide himself. In a time of brightness and great activity, he chooses to remain in seclusion, thereby elevating his virtue; when the great way is already established, he still refuses to appear—this kind of seclusion is no longer considered virtuous, but rather a violation of the natural order, hence the ominous outcome. "Three years" refers to the period when the great path is fully accomplished: when the way of governance has not yet been established, seclusion is acceptable; but once it has been established and he still remains hidden, he treats the established world as if it were chaos.

[疏]“上六豐其屋”至“不覿”。○正義曰：屋者，藏蔭隱蔽之物也。上六，以陰處陰，極以處外，不履於位，是深自幽隱，絕跡深藏也。事同豐厚於屋者也。既豐厚其屋，而又覆鄣其家，屋厚家闇，蔽鄣之甚也。雖闚視其戶，而闃寂無人，棄其所處，而自深藏也。處於豐大之世，隱不為賢。治道未濟，隱猶可也；三年豐道巳成，而猶不見，所以為凶，故曰“豐其屋，蔀其家，闚其戶，闃其無人，三歲不覿，凶”。

Kong Yingda explains in his commentary on the section from "Shang Liu Feng Qi Wu" to "Bu Di" saying: "Wu" refers to something used for shelter and protection. Shang Liu, with a yao of yin in a yin position, is located at the very top and outermost position, not holding an official post. This represents deep concealment and complete withdrawal, just as building a house high and thick. Having built a house high and thick, and covered the dwelling, the house is thick and the home is dark, the concealment reaches its peak; although one looks through the door crack, it is silent and empty, indicating he has abandoned his proper position and withdrawn on his own. In a time of abundance, withdrawal is not considered virtuous: when the way of governance has not yet been established, withdrawal may be acceptable; but now, after three years, the way of abundance has already been achieved, yet he still does not appear, thus it is considered ominous, hence the statement "Feng Qi Wu, Bu Qi Jia, Kui Qi Hu, Qu Qi Wu Ren, San Nian Bu Di, Xiong."

《象》曰：“豐其屋”，天際翔也。翳光最甚者也。[疏]正義曰：“天祭翔也”者，如鳥之飛翔於天際，言隱翳之深也。“闚其戶，闃其無人”，自藏也。可以出而不出，自藏之謂也，非有為而藏。不出戶庭，失時致凶，況自藏乎？凶其宜也。[疏]正義曰：“自藏也”者，言非有為而當自藏，可以出而不出，無事自為隱藏也。

The Image Commentary says: "His house is full," which is like flying at the edge of the sky. Wang Bi's annotation explains: this is the most severe case of obscuring brightness. Kong Yingda's commentary explains: what is meant by "flying at the edge of the sky" (the original text mistakenly reads "sacrifice" instead of "edge") is like a bird flying at the edge of the sky, describing his concealment being extremely deep. The Image Commentary also says: "Peering through the door, it is quiet and empty," which is himself hiding. Wang Bi's annotation explains: one can emerge to act but does not, which is called self-concealment, not because of any action that requires concealment. Even remaining within the courtyard without going out would lead to missing opportunities and thus bring misfortune, let alone self-imposed deep concealment. Misfortune is inevitable. Kong Yingda's commentary explains: what is meant by "self-concealment" is that he does not conceal himself because of any action, but rather can emerge to act yet does not, hiding himself without reason.