The Trigram of Dispersing

坎下巽上。渙：亨。王假有廟，利涉大川，利貞。[疏]正義曰：“渙，亨”者，“渙”，卦名也。《序卦》曰：“說而後散之，故受之以渙。”然則“渙”者，散釋之名。《雜卦》曰：“渙，離也。”此又“渙”是離散之號也。蓋“渙”之為義，小人遭難，離散奔迸而逃避也。大德之人，能於此時建功立德，散難釋險，故謂之為渙；能釋險難，所以為亨：故曰“渙，亨”。“王假有廟”者，王能渙難而亨，可以至於建立宗廟，故曰“王假有廟”也。“利涉大川”者，德洽神人，可濟大難，故曰“利涉大川”。“利貞”者，大難既散，宜以正道而柔集之，故曰“利貞”。

The hexagram consists of the lower trigram Kan (Water) and the upper trigram Xun (Wind). The hexagram statement says: "Huan, smooth and unimpeded; the king comes to the ancestral temple, advantageous for crossing a great river, advantageous for upholding the correct path." Kong Yingda's commentary explains: "Huan, smooth and unimpeded" — "Huan" is the name of the hexagram. The "Sequence of Hexagrams" says, "After joy comes dispersion, hence it is followed by Huan," thus indicating that "Huan" refers to dispersion and removal of troubles. The "Miscellaneous Discourses on Hexagrams" says, "Huan, separation," which further indicates that "Huan" is a name for separation. Generally speaking, "Huan" signifies that when small people face difficulties, they scatter and flee to avoid them; while those of great virtue can establish achievements and virtue at this time, dispelling difficulties and removing dangers, hence it is called "Huan." Being able to remove dangers, it is therefore smooth and unimpeded, hence it is said, "Huan, smooth." "The king comes to the ancestral temple" means that since the king can disperse difficulties and achieve smoothness, he can then proceed to establish an ancestral temple, hence it is said, "the king comes to the ancestral temple." "Advantageous for crossing a great river" means that the virtue and blessings extend to both spirits and people, enabling one to cross over great difficulties, hence it is said, "advantageous for crossing a great river." "Advantageous for upholding the correct path" means that after great difficulties have been dispersed, one should use the correct path and gentle means to gather people's hearts together, hence it is said, "advantageous for upholding the correct path."

《彖》曰：“渙，亨”，剛來而不窮，柔得位乎外而上同。二以剛來居內，而不窮於險。四以柔得位乎外，而與上同。內剛而無險困之難，外順而無違逆之乖，是以亨，利涉大川，利貞也。凡剛得暢而無忌回之累，柔履正而同志乎剛，則皆亨，利涉大川，利貞也。

The Commentary on the Judgment says: The Hexagram 42, "Dispersing," is "smooth and unimpeded" because the strong lines come forward without being in a difficult situation, and the weak lines in the outer trigram are in proper positions and harmonize with the ruler's position. Wang Bi explains: Nine in the Second, with the virtue of strength and vigor, comes to reside in the inner trigram, though situated in the perilous situation of Kan, does not become trapped by difficulties; Six in the Fourth, with the virtue of gentleness and compliance, is in the proper position in the outer trigram and harmonizes with Nine in the Fifth. The inner trigram has the virtue of strength, so it does not fall into perilous difficulties; the outer trigram is gentle and compliant, so there is no opposition or discord. Therefore, the Hexagram 42 is "smooth and unimpeded," "favorable for crossing great rivers," and "favorable for upholding the correct path." Wang Bi further summarizes: whenever strong lines can be expansive and unimpeded without being entangled by suspicion or wrong ways, and weak lines can be in proper positions and harmonize with strong lines, then the benefits of "smoothness," "favorable for crossing great rivers," and "favorable for upholding the correct path" can all be obtained together.

[疏]“《彖》曰渙亨”至“上同”。○正義曰：“渙，亨”者，疊《經》文，略舉名德也。“剛來而不窮，柔得位乎外而上同”者，此就九二剛德居險，六四得位從上，釋所以能散釋險難而致亨通，乃至“利涉大川、利貞”等也。二以剛德來居險中，而不窮於險，四以柔順得位於外，而上與五同。內剛無險困之難，外柔無違逆之乖，所以得散釋險難而通亨，建立宗廟而祭亨，利涉大川而克濟，利以正道而鳩民也。

Kong Yingda explains the passage from "The Commentary on the Judgment says 'Huan, Heng'" to "Shang Tong." The commentary first repeats the words "Huan, Heng," which is to restate the text of the Classic briefly, highlighting the name of the hexagram and its virtue. As for "Gang lai er bu qiong, rou de wei hu wai er shang tong," this explains why the hexagram Huan can disperse and resolve difficulties to achieve smoothness. It refers to the fact that the second line, which is a yang line, has a strong virtue and is located in the dangerous trigram Kan, yet is not overwhelmed by danger; the fourth line, which is a yin line, has a gentle virtue and is in the correct position in the outer trigram, and also aligns with the fifth line above. The inner trigram has a strong virtue, so it does not fall into danger; the outer trigram is gentle, so it does not have rebellion or discord. Therefore, it can disperse difficulties and achieve smoothness, can establish ancestral temples and worship spirits, can cross great rivers and successfully overcome dangers, and can follow the correct path to gather and settle the people.

○注“凡剛得暢”至“利貞也”。○正義曰：“凡剛得暢而無忌回之累”者，此還言九二居險不窮，是剛得暢遂，剛既得暢，無復畏忌回邪之累也。“柔履正而同志乎剛”者，此還言六四得位履正，同志乎五也。剛德不暢，柔不同剛，何由得亨通而濟難，利貞而不邪乎？故言“則皆亨，利涉大川，利貞”也。注於此言“皆”者，凡有二意，一則《彖》雖疊“渙亨”二字，即以“剛來而不窮，柔得位乎外而上同”釋之，下別言“王假有廟，王乃在中，利涉大川，乘木有功”，恐剛來之言，惟釋亨德，不通在下；二則先儒有以剛來不窮釋亨德，柔得位乎外釋利貞，故言“皆”以通之。明剛柔皆釋“亨”以下至於“利貞”也。

Kong Yingda continues to explain Wang Bi's commentary from "Fan Gang De Chang" to "Li Zhen Ye." The commentary says: Wang Bi's statement "All yang lines are unimpeded and free from the troubles of fear and suspicion" still refers to the Nine in the Second line, which is in a dangerous position but not trapped, meaning that the virtue of yang is able to be expressed freely and smoothly. Once the virtue of yang is smooth, there is no longer fear, suspicion, or perverse and twisted troubles. As for "Rou Lu Zheng and share the virtue of yang," this still refers to the Six in the Fourth line attaining the correct position, walking on the right path, and being in harmony with the Nine in the Fifth. If the virtue of yang cannot be expressed freely, and the yao of yin is not in harmony with the yao of yang, how can there be success in overcoming difficulties, maintaining correctness, and avoiding wrong paths? Therefore, Wang Bi says "then all are harmonious, beneficial for crossing great rivers, and beneficial for upholding correctness." Wang Bi deliberately uses the word "all" here with two intentions: first, although the "彖传" repeats the words "Huan Heng," it immediately explains them with "Yang comes without exhaustion, Yin attains the position outside and is in harmony above," and later says "The king has a temple, the king is in the middle, beneficial for crossing great rivers, riding on wood and achieving success," it is feared that readers might mistakenly think the phrase "Yang comes without exhaustion" only explains the virtue of "Heng," and is not connected with the following text. Second, some earlier scholars used "Yang comes without exhaustion" exclusively to explain "Heng," and "Yin attains the position outside" exclusively to explain "Li Zhen," so Wang Bi uses the word "all" to connect both interpretations, indicating that both the yang and yin aspects are explaining the entire virtue of the hexagram from "Heng" down to "Li Zhen."

“王假有廟”，王乃在中也。王乃在乎渙然之中，故至有廟也。[疏]正義曰：此重明渙時；可以有廟之義。險難未夷，方勞經略；今在渙然之中，故至於有廟也。“利涉大川”，乘木有功也。乘木即涉難也。木者專所以涉川也。涉難而常用渙道，必有功也。[疏]“利涉”至“有功也”。○正義曰：重明用渙可以濟難之事。乘木涉川，必不沈溺；以渙濟難，必有成功，故曰“乘木有功”也。○注“乘木”至“有功也”。○正義曰：先儒皆以此卦坎下巽上，以為乘木水上，涉川之象，故言乘木有功，王不用象，直取況喻之義，故言此以序之也。

The text of the Commentary on the Judgment says: "The king goes to the temple." This is because the king is in a time of dispersion. Wang Bi's annotation explains: the king is in a situation where things are dispersing and dissolving, so he goes to the ancestral temple to gather people's hearts. Kong Yingda's commentary says: this again explains the reason for establishing a temple during the time of the Hexagram of Dispersal -- difficulties have not yet been resolved, and the king is still working hard and planning; now he is in a situation of dispersion, so he can perform sacrifices at the ancestral temple. The text of the Commentary on the Judgment also says: "It is advantageous to cross a great river." This is because crossing by boat on wood is effective. Wang Bi's annotation explains: using wood to cross is crossing over difficulties, and wood is specifically used for crossing rivers; when crossing over difficulties, one always applies the principle of dispersal and overcoming obstacles, and thus will surely succeed. Kong Yingda explains "advantageous to cross" to "result in success" by saying: this again explains that using the principle of dispersal can overcome difficulties. Crossing a river by boat made of wood will certainly not sink; using the principle of dispersal to resolve difficulties will certainly be effective, so it is said "crossing by wood is effective." Kong Yingda also explains Wang Bi's annotation on "crossing by wood" to "result in success" by saying: previous scholars regarded this hexagram as one where the trigram Kan (water) is below and the trigram Xun (wind) is above, with Xun representing wood and Kan representing water, thus seeing it as a symbol of crossing a river by floating on wood, hence saying "crossing by wood is effective." Wang Bi does not adopt the symbolic interpretation, but instead directly uses the metaphorical meaning, so he explains it in his annotation in this way.

《象》曰：風行水上，“渙”，先王以享于帝，立廟。[疏]正義曰：“風行水上，渙”者，風行水上，激動波濤，散釋之象，故曰“風行水上，渙”。“先王以享于帝立廟”者，先王以渙然無難之時，享於上帝，以告太平，建立宗廟，以祭祖考，故曰“先王以享于帝，立廟”也。

The Image Commentary says: Wind blowing across the surface of water, this is the Hexagram of Dispersing; the former kings took inspiration from it, offering worship to the Supreme Deity and establishing ancestral temples. Kong Yingda's commentary explains: The phrase 'wind moving across water, dispersing' refers to the wind sweeping over the water surface, causing waves to spread out in all directions, which is the image of dispersion and resolution. Therefore, it is said 'wind moving across water, dispersing.' As for 'the former kings used it to offer worship to the Deity and establish temples,' this means that the former kings took advantage of the time when difficulties and dangers had dispersed and the world was at peace, offering sacrifices to the Supreme Deity to report the state of peace, and also established ancestral temples to worship their ancestors. Therefore, it is said 'the former kings used it to offer worship to the Deity and establish temples.'

初六：用拯馬壯，吉。渙，散也。處散之初，乖散未甚，故可以遊行，得其志而違於難也，不在危劇而後乃逃竄，故曰“用拯馬壯，吉”。[疏]正義曰：初六處散之初，乖散未甚，可用馬以自拯拔，而得壯吉也，故曰“用拯馬壯，吉”。《象》曰：“初六”之“吉”，順也。觀難而行，不與險爭，故曰“順也”。[疏]正義曰：觀難而行，不與險爭，故曰“順也”。

The line statement of the first line says: Using a strong horse to save oneself, it is auspicious. Wang Bi's commentary explains: "Huan" means dispersion. The first line is at the beginning of dispersion, and the disorder and dispersion are not yet severe, so it is still possible to move calmly and achieve one's wishes while avoiding danger. There is no need to flee in panic only when in dire straits, hence the line statement says "using a strong horse to save oneself, it is auspicious." Kong Yingda's commentary says: The first line is at the beginning of dispersion, and the disorder and dispersion are not yet serious. One can use the strength of a horse to save oneself and escape, thus obtaining the auspiciousness of a strong horse, hence it says "using a strong horse to save oneself, it is auspicious." The text of the Image Commentary says: The reason the first line is auspicious is because of its flexibility and obedience. Wang Bi's commentary explains: Understanding the situation of danger before taking action, not confronting danger directly, hence it is called "flexibility and obedience." Kong Yingda's commentary says: Observing the danger before taking action, not fighting against danger, hence the Image Commentary calls it "flexibility and obedience."

九二：渙奔其機，悔亡。機，承物者也，謂初也。二俱無應，與初相得，而初得散道，離散而奔，得其所安，故“悔亡”也。[疏]正義曰：“渙奔其機”者，機，承物者也，初承於二，謂初為機，二俱無應，與初相得，而初得遠難之道，今二散奔歸初，故曰“渙奔其機”也。“悔亡”者，初得散道而二往歸之，得其所安，故悔亡也。《象》曰：“渙奔其機”，得願也。[疏]正義曰：“得願”者，違難奔散，願得所安；奔初獲安，是得其願也。

The line statement of the second line says: In a time of dispersion, rushing toward a table for support, regret disappears. Wang Bi's commentary explains: "Ji" refers to the table, which is an object for supporting things, here referring to the sixth line at the beginning. Both the second line and the sixth line at the beginning lack a proper corresponding line, yet they complement each other. The sixth line at the beginning has already mastered the way of dispersal and seeking safety, so the second line rushes toward it in dispersion and finds a place to rest, hence saying "regret disappears." Kong Yingda's commentary states: The phrase "huan ben qi ji" means "rushing toward the table," where "ji" is the table, which the sixth line at the beginning supports below the second line, so the sixth line at the beginning is compared to the table. Both lines lack a corresponding line, yet they complement each other; the sixth line at the beginning has already found a path to avoid danger, and now the second line rushes toward it in dispersion, thus obtaining a place to rest, hence saying "regret disappears." The Image Commentary of the text says: "huan ben qi ji" means fulfilling one's wish. Kong Yingda's commentary states: The phrase "getting what one wishes for" refers to fleeing from danger and dispersing, and the original wish is to find a place to rest; rushing toward the sixth line at the beginning and obtaining rest is exactly fulfilling that wish.

六三：渙其躬，無悔。渙之為義，內險而外安者也。散躬志外，不固所守，與剛合志，故得無悔也。[疏]正義曰：“渙其躬，無悔”者，渙之為義，內險外安，六三內不比二，而外應上九，是不固所守，能散其躬，故得無悔。故曰“渙其躬，無悔”。《象》曰：“渙其躬”，志在外也。[疏]正義曰：“志在外”者，釋六三所以能渙其躬者，正為身在於內，而應在上九，是志意在外也。

The line statement for the third line says: "Dispersing one's own private attachments, there is no regret." Wang Bi's commentary explains that the meaning of the Hexagram of Dispersal is that the inner trigram is dangerous while the outer trigram is secure. The line six in the third position disperses its own private attachments and directs its mind outward, not clinging to its own side, but aligning with the strong line above, thus being able to have no regret. Kong Yingda's commentary says: the phrase "disperse one's own self, no regret" refers to the meaning of the Hexagram of Dispersal, which lies in the inner trigram being dangerous and the outer trigram being secure. The line six in the third position does not closely connect with the line nine in the second within the inner trigram, but instead connects outwardly with the line nine at the top, which is why it does not cling to itself and can disperse its own private attachments, thus being able to have no regret. Therefore, the line statement says "disperse one's own self, no regret." The Image Commentary says: "Disperse one's own self," because the mind is directed outward. Kong Yingda's commentary says: the phrase "the mind is directed outward" explains why line six in the third position can disperse its own private attachments—precisely because it is located within the inner trigram, yet its corresponding line is the line nine at the top, showing that its mind is directed outward.

六四：渙其群，元吉。渙有丘，匪夷所思。逾乎險難，得位體巽，與五合志，內掌機密，外宣化命者也，故能散群之險，以光其道。然處於卑順，不可自專，而為散之任，猶有丘虛匪夷之慮，雖得元吉，所思不可忘也。[疏]正義曰：“渙其群”者，六四出在坎上，巳逾於險，得位體巽，與五合志，內掌機密，外宣化命者也。能為群物散其險害，故曰“渙其群”也。“元吉，渙有丘，匪夷所思者，能散群險，則有大功，故曰“元吉”。然處上體之下，不可自專，而得位承尊，憂責復重，雖獲元吉，猶宜於散難之中，有丘墟未平之慮，為其所思，故曰“渙有丘，匪夷所思”也。《象》曰：“渙其群，元吉”，光大也。[疏]正義曰：“光大也”者，能散群險而獲元吉，是其道光大也。

The Line Statement of the Fourth Line says: It disperses the people from danger, bringing great good fortune; although dispersion occurs, there are still hidden dangers like hills that remain unlevelled, which are not something ordinary people can think about. Wang Bi's commentary explains: The Sixth Line at the Fourth position has already passed through the danger, is in a proper position and belongs to the trigram Xun, and is in harmony with the Ninth Line at the Fifth. It governs internal affairs and announces external policies, thus being able to remove dangers for the people and make its path bright. However, it is in a low and gentle position, so it must not act on its own; although it bears the responsibility of dispersing dangers, there are still worries about unlevelled hills and desolate places that have not been cleared. Even though it has 'original good fortune,' this concern should not be forgotten. Kong Yingda's commentary says: The phrase 'dispersing the group' refers to the Sixth Line at the Fourth having already gone beyond the danger of the Trigram Kan, having passed through the danger, being in a proper position and belonging to the trigram Xun, in harmony with the Ninth Line at the Fifth. It governs internal secrets and announces external commands, thus being able to remove dangers for the people, hence saying 'dispersing the group.' The phrase 'original good fortune, dispersing hills, not something ordinary people can think about' means that by removing dangers for the people, it achieves great merit, hence called 'original good fortune'; however, it is in the lowest position of the upper trigram, so it cannot act independently, and because it is in a proper position serving the superior, its worries and responsibilities are especially heavy. Although it has 'original good fortune,' it should still keep in mind the concern of unlevelled hills during the process of dispersing dangers, hence saying 'dispersing hills, not something ordinary people can think about.' The Image Commentary of the Classic says: 'Dispersing the group, original good fortune,' refers to its path being bright and great. Kong Yingda's commentary says: The phrase 'bright and great' refers to being able to remove dangers for the people and achieving great good fortune, showing that its path is bright and great.

九五：渙汗其大號。渙，王居無咎。處尊履正，居巽之中，散汗大號，以蕩險阨者也。為渙之主，唯王居之，乃得無咎也。[疏]正義曰：“渙汗其大號”者，人遇險阨，驚怖而勞，則汗從體出，故以汗喻險阨也；九五處尊履正，在號令之中，能行號令，以散險阨者也，故曰“渙汗其大號”也。“渙，王居無咎”者，為渙之主，名位不可假人，惟王居之，乃得無咎，故曰“渙，王居無咎”。《象》曰：“王居無咎”，正位也。正位不可以假人。[疏]正義曰：“正位”者，釋“王居無咎”之義，以九五是王之正位，若非王居之，則有咎矣。

The text of the "Nine in the Fifth" line statement says: Like sweating to dispel danger and hardship, issuing great commands; in a time of dispersion, only the king occupying this position would have no fault. Wang Bi's commentary explains: The Nine in the Fifth is in the exalted position and on the correct path, located within the body of Xun (wind), using a great command like sweating to eliminate dangers and difficulties. It is the main line governing the principle of dispersion; only the king occupying this position can have no fault. Kong Yingda's commentary says: The phrase "dispersing sweat as a great command" refers to when people encounter dangers and difficulties, they become frightened and exhausted, and sweat appears on their bodies. Therefore, using sweat as a metaphor for danger and hardship. The Nine in the Fifth is in the exalted position and on the correct path, at the place where commands should be issued, capable of promoting commands to dispel dangers and difficulties, hence the phrase "dispersing sweat as a great command." The phrase "dispersion, the king resides without fault" means that as the master of dispersion, the title and position cannot be entrusted to others; only the king residing in this position can have no fault, hence the phrase "dispersion, the king resides without fault." The text of the "Image Commentary" says: "The king resides without fault," because this is the king's proper position. Wang Bi's commentary explains: The proper position cannot be entrusted to others. Kong Yingda's commentary says: The term "proper position" explains the meaning of "the king resides without fault" — the Nine in the Fifth is the proper position of the king; if it is not occupied by the king, there will be fault.

上九：渙其血，去逖出，無咎。逖，遠也。最遠於害，不近侵害，散其憂傷，遠出者也。散患於遠害之地，誰將咎之哉！[疏]正義曰：“渙其血，去逖出”者，血，傷也。逖，遠也。上九處於卦上，最遠於險，不近侵害，是能散其憂傷，去而逖出者也。故曰“渙其血，去逖出”也。“無咎”者，散患於遠害之地，誰將咎之矣，故曰“無咎”。《象》曰：“渙其血”，遠害也。[疏]正義曰：“遠害”者，釋“渙其血”也。是居遠害之地故也。

The text says: "Disperse harm and fear, go far away, and there is no blame." Wang Bi's commentary explains: "Tidi" means far. The top line is farthest from calamity, not close to harm, thus it can dispel its sorrow and go far away. If one resolves calamity in a place far from harm, who would blame it? Kong Yingda's commentary says: "Huan qi xue, qu tidi" refers to "blood" as harm and "tidi" as far. The top line is at the top of the hexagram, farthest from danger, not connected to harm, thus it can dispel sorrow and go away. Therefore, it says "huan qi xue, qu tidi." The phrase "wu jiu" means that resolving calamity in a place far from harm, who would blame it, hence "wu jiu." The "Image Commentary" says: "Huan qi xue" means to be far from harm. Kong Yingda's commentary says: "Yuan hai" refers to explaining "huan qi xue," because the top line is in a place far from harm.

兌下坎上。節：亨，苦節不可貞。[疏]正義曰：“節”，卦名也。《彖》曰：“節以制度。”《雜卦》云：“節，止也。”然則節者制度之名。節，止之義，制事有節，其道乃亨，故曰“節，亨”。節須得中，為節過苦，傷於刻薄，物所不堪，不可復正，故曰“苦節不可貞”也。

The text says: The Hexagram of Restraint has the trigram Dui (Lake) as its lower trigram and the trigram Kan (Water) as its upper trigram. The Hexagram of Restraint: it is smooth and unimpeded; excessive and harsh restraint cannot be maintained as the constant way. Kong Yingda explains: "Restraint" is the name of the hexagram. The Commentary on the Judgment says, "Restraint is about establishing rules and measures," and the Miscellaneous Hexagram Commentary says, "Restraint means to stop." This shows that "Restraint" is both the name of a system of rules and also implies the meaning of stopping. To handle affairs with proper restraint allows the way to be smooth and unimpeded, hence it is said, "Restraint leads to smoothness." However, restraint must be moderate; if restraint is excessively harsh, it becomes cruel and people cannot bear it, so it can no longer be regarded as the correct path to be adhered to, hence it is said, "Excessive restraint is not a constant way."

《彖》曰：“節，亨”，剛柔分而剛得中。坎陽而兌陰也。陽上而陰下，剛柔分也。剛柔分而不亂，剛得中而為制主，節之義也。節之大者，莫若剛柔分，男女別也。[疏]正義曰：此就上下二體居二、五剛中，釋所以為節得亨之義也。坎剛居上，兌柔處下，是剛柔分也。剛柔分，男女別，節之大義也。二、五以剛居中，為制之主，所以得節，節不違中，所以得亨，故曰“節，亨，剛柔分而剛得中”也。

The text of the Commentary on the Judgment says: The hexagram of Moderation is able to be smooth and unimpeded because the yao (lines) of yang and yin are clearly differentiated, and the yang lines are in the central position. Wang Bi's commentary explains: Kan represents yang and Dui represents yin, with yang above and yin below, thus clearly distinguishing yang and yin. When yang and yin are clearly differentiated and the order is maintained, the yang line in the central position becomes the master of moderation, which is precisely the meaning of "Moderation." The most important aspect of moderation is that yang and yin are clearly separated and that men and women are distinct. Kong Yingda's commentary says: This explains why the hexagram of Moderation can be smooth and unimpeded by referring to the two trigrams and the positions of nine two and nine five, where the yang lines are in the central position. The yang line in Kan is above, and the yin line in Dui is below, which is the clear separation of yang and yin. The clear separation of yang and yin and the distinction between men and women are the great principles of moderation. The yang lines in nine two and nine five are in the central position, becoming the master of moderation, thus enabling moderation. Moderation without deviating from the middle path allows for smoothness, hence the Commentary on the Judgment says, "Moderation is smooth, because yang and yin are clearly separated and the yang is in the center."

“苦節不可貞”，其道窮也。為節過苦，則物所不能堪也。物不能堪，則不可復正也。[疏]正義曰：為節過苦，不可為正。若以苦節為正，則其道困窮，故曰“苦節不可貞，其道窮”也。說以行險，當位以節，中正以通。然後及亨也。無說而行險，過中而為節，則道窮也。[疏]正義曰：上言“苦節不可貞，其道窮”者，正由為節不中，則物所不說，不可復正，其道困窮，故更就二體及四、五當位，重釋行節得亨之義，以明苦節之窮也。“行險以說”，則為節得中。“當位以節”，則可以為正。良由中而能正，所以得通，故曰：“中正以通”，此其所以為亨也。

The text of the Commentary on the Judgment says: "A harshly strict way of conduct is not sustainable." This is because the path has reached its end. Wang Bi's commentary explains that if the practice of restraint becomes excessively harsh, the people will not be able to bear it; when the people cannot bear it, it cannot be regarded as the correct path. Kong Yingda's commentary says: excessive restraint cannot be regarded as the correct path; if one forcefully regards harsh restraint as the correct path, then this path becomes obstructed and unworkable, hence it is said, "A harshly strict way of conduct is not sustainable, its path is exhausted." The text of the Commentary on the Judgment also says: to act with a harmonious and joyful heart in the face of difficulties, to reside in the proper position and practice restraint, to maintain the middle and uphold correctness, thus achieving smoothness. Wang Bi's commentary explains: only when these conditions are met can one speak of smoothness; if one lacks a harmonious and joyful heart yet ventures into danger, or exceeds the middle path in practicing restraint, then the path becomes exhausted. Kong Yingda's commentary says: the previous text discussed "A harshly strict way of conduct is not sustainable, its path is exhausted," precisely because the practice of restraint does not conform to the middle path, the people do not rejoice, and thus it cannot be regarded as the correct path, leading to an exhausted path. Therefore, the Commentary on the Judgment again explains the reasons for achieving smoothness through the practice of restraint, by examining the upper and lower parts of the hexagram and the proper positions of the sixth line and the ninth line in the fifth position, in order to clarify why a harshly strict way of conduct leads to exhaustion. "To act in danger with a joyful heart" allows the practice of restraint to conform to the middle path; "to practice restraint in the proper position" can be called correct. Because it is both middle and correct, it can achieve smoothness, hence it is said, "Middle and correct to achieve smoothness," which is the reason why the hexagram of Restraint is smooth.

天地節而四時成，節以制度，不傷財，不害民。[疏]正義曰：“天地節而四時成”者，此下就天地與人廣明節義。天地以氣序為節，使寒暑往來，各以其序，則四時功成之也。王者以制度為節，使用之有道，役之有時，則不傷財，不害民也。《象》曰：澤上有水，節。君子以制數度，議德行。[疏]正義曰：“澤上有水，節”者，水在澤中，乃得其節，故曰“澤上有水，節”也。“君子以制數度，議德行”者，數度，謂尊卑禮命之多少。德行，謂人才堪任之優劣。君子象節以制其禮數等差，皆使有度，議人之德行任用，皆使得宜。

The Classic text of the Commentary on the Judgment says: Heaven and Earth have measures and limits, thus the four seasons are formed; by using regulations and systems as measures and limits, there will be no wastage of resources and no harm to the people. Kong Yingda's commentary explains: The phrase "Heaven and Earth have measures, thus the four seasons are formed" begins to elaborate extensively on the meaning of moderation from both Heaven and Earth and human beings. Heaven and Earth use the order of the seasons as their measures, making cold and heat come in their proper sequence, thus completing the functions of the four seasons; the sovereign uses regulations and systems as measures, ensuring that use is regulated and labor is scheduled, thus avoiding wastage of resources and harm to the people. The Classic text of the Image Commentary says: There is water above a lake, which is the hexagram of Moderation; the gentleman takes this as a model, establishing rituals and systems, and evaluating people's virtue. Kong Yingda's commentary explains: The phrase "There is water above a lake, Moderation" means that water is contained within the lake and thus has limits, hence "There is water above a lake, Moderation." The phrase "The gentleman takes this as a model, establishing rituals and systems, and evaluating people's virtue" refers to "rituals and systems" meaning the number and rank of rites, titles, and honors, and "virtue" meaning the ability of people to fulfill their roles. The gentleman takes the hexagram of Moderation as a model, establishing the distinctions in rituals and systems so that each has a definite limit; evaluating people's virtue to assign them appropriate roles so that each can be suited to their position.

初九：不出戶庭，無咎。為節之初，將整離散而立制度者也，故明於通塞，慮於險為，不出戶庭，慎密不失，然後事濟而無咎也。[疏]“初九”至“無咎”。○正義曰：初九處節之初，將立制度，宜其慎密，不出戶庭，若不慎而洩，則民情奸險，應之以偽，故慎密不失，然後事濟而無咎，故曰“不出戶庭，無咎”。○注“將整離散而立制度者也”。○正義曰：《序卦》云：“物不可以終離，故受之以節。”此卦承《渙》之後，初九居節之初，故曰“將整離散而立法度”也。《象》曰：“不出戶庭”，知通塞也。[疏]正義曰：“知通塞”者，識時通塞，所以不出也。

The line statement of the first line says: "Not stepping out of the inner hall, there is no fault." Wang Bi's commentary explains: The initial line is at the beginning of the卦 of Moderation, which is just the time to rectify the scattered state and establish regulations. Therefore, one must clearly understand the connection and blockage of the time, consider the difficulties and obstacles, not lightly step out of the hall, be cautious and keep secrets, then things can be accomplished without fault. Kong Yingda explains "initial line" to "no fault" by saying: The initial line is at the beginning of the卦 of Moderation, about to establish regulations, so it should be cautious and keep secrets, not stepping out of the hall; if not cautious and secrets are leaked, people will be cunning and deceitful, using falsehoods to respond, so one must be cautious and keep secrets, then things can be accomplished without fault, hence saying "not stepping out of the hall, no fault." Kong Yingda also explains Wang Bi's comment "about to rectify the scattered and establish regulations" by saying: The "Sequence of Changes" says "things cannot last in disorder, hence comes the卦 of Moderation," the卦 of Moderation follows the卦 of Dispersal, and the initial line is at the beginning of the卦 of Moderation, so Wang Bi says it "about to rectify the scattered and establish regulations." The "Image Commentary" of the text says: "Not stepping out of the hall," because one understands the connection and blockage. Kong Yingda explains that "knowing connection and blockage" means being able to recognize the通畅 and blockage of the time, hence not stepping out lightly.

九二：不出門庭，凶。初已造之，至二宜宣其制矣，而故匿之，失時之極，則遂廢矣。故不出門庭，則凶也。[疏]正義曰：初巳制法，至二宜宣。若猶匿之，則失時之極，可施之事，則遂廢矣。不出門庭，所以致凶，故曰“不出門庭，凶”。《象》曰：“不出門庭，凶”，失時極也。[疏]正義曰：“失時極”者，極，中也。應出不出，失時之中，所以為凶。

The line statement of the second line says: "Not going out of the courtyard gate, there is danger." Wang Bi's commentary explains: Initially, the first line has established the rules, and by the time of the second line, the system should be proclaimed, yet it remains concealed, thus completely missing the opportunity, and the feasible course of action is abandoned. Therefore, not going out of the courtyard gate leads to misfortune. Kong Yingda's commentary says: Initially, the first line has established the rules, and by the time of the second line, they should be proclaimed and implemented; if they are still concealed, the opportunity is completely missed, and the feasible course of action is abandoned. Not going out of the courtyard gate is the cause of misfortune, hence it is said, "Not going out of the courtyard gate, there is danger." The Image Commentary of the text says: "Not going out of the courtyard gate, there is danger," because the opportunity has been missed. Kong Yingda's commentary says: The term "losing the proper time" refers to "the middle," and "extreme" means "the middle." When one should go out but does not, they miss the proper middle point of the opportunity, hence there is danger.

六三：不節若，則嗟若，無咎。若，辭也。以陰處陽，以柔乘剛，違節之道，以至哀嗟。自巳所致，無所怨咎，故曰“無咎”也。[疏]正義曰：節者，制度之卦，處節之時，位不可失，六三以陰處陽，以柔乘剛，失位驕逆，違節之道，禍將及己，以至哀嗟，故曰“不節苦，則嗟若”也。禍自已致，無所怨咎，故曰“無咎”。《象》曰：“不節”之“嗟”，又誰“咎”也。[疏]正義曰：“又誰咎”者，由己不節，自致禍災，又欲怨咎誰乎？

The Line Statement of the Third Line says: Without restraint, one will lament; there is no one to blame. Wang Bi's commentary explains: "If" is a particle. The Third Line, being a yin line in a yang position, uses a flexible line to dominate a strong line, thus violating the principle of restraint, leading to sorrow and lamentation. This is something self-inflicted, so there is no one to blame, hence it says "no blame." Kong Yingda's commentary states: The Hexagram of Restraint is about establishing systems and regulations. During the time of restraint, the positions of the lines must not be inappropriate. The Third Line, being a yin line in a yang position, uses a flexible line to overpower a strong line, thus losing its proper position and becoming arrogant and rebellious, departing from the principle of restraint, leading to calamity that will fall upon oneself, resulting in sorrow and lamentation. Hence it says "without restraint, one will lament, if." The calamity is self-inflicted, so there is no one to blame, hence it says "no blame." The Image Commentary says: Lamentation caused by lack of restraint, to whom can the blame be attributed? Kong Yingda's commentary states: The phrase "to whom can the blame be attributed" is because one is unable to restrain oneself, bringing about calamity oneself, so who can one blame?

六四：安節，亨。得位而順，不改其節，而能亨者也。承上以斯，得其道也。[疏]正義曰：六四得位，而上順於五，是得節之道。但能安行此節而不改變，則何往不通，故曰“安節亨”，明六三以失位乘剛，則失節而招咎，六四以得位承陽，故安節而致亨。《象》曰：“安節”之“亨”，承上道也。[疏]正義曰：承上道者，以能承於上，故不失其道也。

The line statement of the fourth line says: "Maintaining one's proper conduct with peace and security, there is success." Wang Bi's commentary explains: The sixth line in the fourth position is in the correct position and has a gentle and compliant nature, not changing its proper conduct, thus achieving success; using such an attitude to serve the superior position is to follow the correct path. Kong Yingda's commentary says: The sixth line in the fourth position is in the correct position and also follows the superior nine five, thus attaining the way of restraint. As long as one can maintain this proper conduct with peace and security without change, then going anywhere will be successful, hence the saying "peaceful conduct leads to success." This also indicates: The sixth line in the third position, due to being in an improper position and dominating the strong line, thus losing its proper conduct and inviting misfortune; the sixth line in the fourth position, due to being in a proper position and serving the yang line above, thus being able to maintain proper conduct and achieving success. The Image Commentary of the text says: "Peaceful conduct" leads to "success" because it follows the way of serving the superior. Kong Yingda's commentary says: What is meant by following the superior is that because one serves the superior, one does not lose the correct path.

九五：甘節，吉。往有尚。當位居中，為節之主不失其中，不傷財，不害民之謂也。為節之不苦，非甘而何？術斯以往，往有尚也。[疏]正義曰：“甘”者，不苦之名也。九五居於尊位，得正履中，能以中正為節之主，則當《彖》曰：“節以制度，不傷財，不害民”之謂也。為節而無傷害，則是不苦而甘，所以得吉，故曰“甘節，吉”。以此而行，所往皆有嘉尚，故曰“往有尚”也。象曰：“甘節”之“吉”，居位中也。[疏]正義曰：“居位中”者，以居尊位而得中，故致甘節之吉也。

The line statement of the fifth line says: moderation in sweetness brings good fortune; going forward will be praised. Wang Bi's commentary explains: the nine in the fifth occupies a proper position and is in the central position, serving as the master of moderation without losing the middle path, which is exactly what the Commentary on the Judgment says: moderation is practiced with established rules, without wasting resources or harming the people. Such moderation is not bitter; if it is not called 'sweet,' what else would it be called? Following this path, going forward will be praised. Kong Yingda's commentary says: 'sweet' refers to not being bitter. The nine in the fifth is in a position of honor, upright and in the center, able to be the master of moderation with the virtue of uprightness and correctness, which exactly matches the Commentary on the Judgment's statement 'moderation is practiced with established rules, not harming resources, not harming the people.' Moderation without causing harm is not bitter but sweet, thus bringing good fortune, so it is said 'moderation in sweetness brings good fortune.' Following this path, wherever one goes will be praised, so it is said 'going forward will be praised.' The Image Commentary of the text says: 'moderation in sweetness' is 'good fortune' because it is in a proper position and in the center. Kong Yingda's commentary says: what is meant by 'being in the center' is that it is in a position of honor and can maintain the center, thus bringing about the good fortune of moderation in sweetness.

上六：苦節，貞凶，悔亡。過節之中，以致亢極，苦節者也。以斯施人，物所不堪，正之凶也。以斯脩身，行在無妄，故得悔亡。[疏]正義曰：上六處節之極，過節之中，節不能甘，以至於苦，故曰“苦節”也。為節過苦，物所不堪，不可復正，正之凶也，故曰“貞凶”。若以苦節施人，則是正道之凶。若以苦節脩身，則儉約無妄，可得亡悔，故曰“悔亡”也。《象》曰：“苦節，貞凶”，其道窮也。

The Line Statement of the Upper Sixth line says: "Bitter restraint, if adhered to, brings danger, but regret can be dispelled." Wang Bi's commentary explains: The Upper Sixth line has exceeded the middle path of restraint, leading to excess, which is called "bitter restraint." Applying this to others, people cannot endure it, and if it is regarded as the correct path to be followed, there will be danger. However, if used for self-cultivation, one's conduct remains sincere and not deceptive, thus regret can be dispelled. Kong Yingda's commentary states: The Upper Sixth line is at the top of the Restraint hexagram, having exceeded the middle path of restraint. Restraint becomes bitter rather than sweet, hence it is called "bitter restraint." Excessive restraint is unbearable to others, so it can no longer be regarded as the correct path. If it is held fast to as the correct path, danger arises, hence "restraint brings danger." If one applies bitter restraint to others, following the correct path leads to misfortune. If one uses bitter restraint for self-cultivation, it is frugal and sincere, thus regret is dispelled, hence "regret disappears." The Image Commentary of the text says: "Bitter restraint, restraint brings danger," because this path has reached its limit.

兌下巽上。中孚：豚魚吉。利涉大川，利貞。[疏]正義曰：“中孚，豚魚吉”者，“中孚”，卦名也。信發於中，謂之中孚。魚者，蟲之幽隱。豚者，獸之微賤。人主內有誠信，則雖微隱之物，信皆及矣。莫不得所而獲吉，故曰“豚魚吉”也。“利涉大川，利貞”者，微隱獲吉，顯者可知。既有誠信，光被萬物，萬物得宜，以斯涉難，何往不通？故曰“利涉大川”。信而不正，凶邪之道，故利在貞也。

The Classic says: The Zhongfu hexagram has the Dui trigram as its lower trigram and the Xun trigram as its upper trigram. Zhongfu: sincerity extends to pigs and fish, which is auspicious; it is beneficial to cross great rivers and to maintain uprightness. Kong Yingda's commentary says: The phrase "Zhongfu, pig and fish are auspicious" refers to Zhongfu as the name of the hexagram. Sincerity originating from the heart is called Zhongfu. Fish are creatures that dwell secretly in water, and pigs are among the lowly livestock. If a ruler holds sincere intentions within, then even the subtle and hidden creatures can be reached by sincerity, each finding their proper place and thus obtaining auspiciousness, hence the saying "pig and fish are auspicious." The phrase "beneficial to cross great rivers, beneficial to uprightness" means that if even the subtle creatures can be auspicious, then the more prominent ones naturally do not need to be mentioned. With sincerity, the radiance pervades all things, and each thing finds its proper place. With such virtue, crossing dangerous waters would lead to success wherever one goes, hence the saying "beneficial to cross great rivers." However, if sincerity is not aligned with uprightness, it would be a path of danger and wrongness. Therefore, the benefit lies in maintaining uprightness.

《彖》曰：中孚，柔在內而剛得中，說而巽，孚，有上四德，然後乃孚。[疏]正義曰：此就三、四陰柔並在兩體之內，二、五剛德各處一卦之中，及上下二體說而以巽，釋此卦名為“中孚”之義也。柔內剛中，各當其所，說而以巽，乖爭不作，所以信發於內，謂之“中孚”，故曰“柔在內而剛得中，說而巽，孚”也。

The Commentary on the Judgment says: The卦 of Zhongfu (Middle Trust) has the yao of yin (flexible) in the inner position and the yao of yang (strong) in the central position, being harmonious and humble, thus possessing sincerity. Wang Bi's commentary explains: Only after possessing these four virtues can one speak of 'trust'. Kong Yingda's commentary says: This explanation refers to the two yin yao, namely six three and six four, being located in the inner parts of the upper and lower trigrams, while the yang yao, namely nine two and nine five, are each in the central positions of their respective trigrams. Moreover, the upper and lower trigrams are harmonious and humble. These points explain the reason for naming this卦 as Zhongfu. The yin yao are in the inner position, and the yang yao are in the central position, each occupying their proper place. Being harmonious and humble, conflict and contention do not arise, so sincerity arises from the heart, hence it is called Zhongfu. Therefore, the Commentary on the Judgment says, 'the yin yao are in the inner position and the yang yao are in the central position, harmonious and compliant, thus trust'.

乃化邦也。信立而後邦乃化也。柔在內而剛得中，各當其所也。剛得中，則直而正；柔在內，則靜而順；說而以巽，則乖爭不作。如此，則物無巧競，敦實之行著，而篤信發乎其中矣。[疏]正義曰：誠信發於內，則邦國化於外，故曰“乃化邦也”。

The Commentary on the Judgment continues to say: Thus it is able to teach and transform the state. Wang Bi's commentary explains: After sincerity and trustworthiness are established, the state can then be taught and transformed. The yao of flexibility is within, and the yao of strength is in the center, each occupying its proper position: the yao of strength in the center is upright and proper; the yao of flexibility within is quiet and compliant; harmonious and humble, contention and discord will not arise. When this is achieved, people no longer engage in cunning and competition, and the virtue of sincerity and simplicity becomes prominent, and sincere trust arises from within. Kong Yingda's commentary says: Sincerity and trustworthiness arise from within, and the state is transformed from outside, hence the Commentary on the Judgment says, "Thus it transforms the state."

“豚魚吉”，信及豚魚也。魚者，蟲之隱者也。豚者，獸之微賤者也。爭競之道不興，中信之德淳著，則雖微隱之物，信皆及之。[疏]正義曰：釋所以得吉，由信及豚魚故也。“利涉大川”，乘木舟虛也。乘木於川舟之虛，則終已無溺也。用中孚以涉難，若乘木舟虛也。[疏]正義曰：釋此涉川所以得利，以中信而濟難，若乘虛舟以涉川也。

The Classic text of the Commentary on the Judgment says: "The pig and fish are auspicious," because sincerity extends to the pig and the fish. Wang Bi's commentary explains: the fish are a hidden category among aquatic creatures, and the pig is a lowly category among domestic animals; if contention does not arise and inner sincerity is thick and evident, then even the subtle and hidden creatures can be included within sincerity. Kong Yingda's commentary explains: this is to explain why auspiciousness is achieved, precisely because sincerity extends to the pig and the fish. The Classic text of the Commentary on the Judgment also says: "It is advantageous to cross a great river," because one rides on a hollow wooden boat. Wang Bi's commentary explains: riding on a hollow wooden boat to cross the river will never cause one to sink; using the virtue of sincere trust to cross dangerous situations is like riding a hollow boat across the river. Kong Yingda's commentary explains: this is to explain why crossing the river is advantageous — relying on inner sincerity to overcome difficulties is like riding a hollow boat that is not burdened.

中孚以“利貞”，乃應乎天也。盛之至也。[疏]正義曰：釋中孚所以利貞者，天德剛正而氣序不差，是正而信也。今信不失正，乃得應於天，是中孚之盛故須濟以利貞也。《象》曰：澤上有風，中孚。君子以議獄緩死。信發於中，雖過可亮。[疏]正義曰：“澤上有風，中孚”者，風行澤上，無所不周，其猶信之被物，無所不至，故曰“澤上有風，中孚”。“君子以議獄緩死”者，中信之世，必非故犯過失為辜，情在可恕，故君子以議其過失之獄，緩舍當死之刑也。

The text of the Commentary on the Judgment says: The virtue of Zhongfu combined with "li zhen" (advantageous constancy) corresponds with the way of Heaven. Wang Bi's commentary explains: This is when sincerity has reached its peak. Kong Yingda's commentary says: This explains why Zhongfu requires "li zhen" — the virtue of Heaven is strong, upright, and square, with the sequence of the seasons precise to the smallest measure, which is both upright and sincere. Now, when human sincerity does not lose its uprightness, it can correspond with the way of Heaven. Thus, the fullness of Zhongfu must be completed by uprightness. The text of the Image Commentary says: Wind above a lake, this is Zhongfu; the gentleman takes this as a model, deliberating on lawsuits and delaying executions. Wang Bi's commentary explains: Sincerity arises from the heart, so even if there is a mistake, it can be understood. Kong Yingda's commentary says: What is meant by "wind above a lake, Zhongfu" is that the wind moves over the surface of the lake, reaching everywhere, just as sincerity covers all things, reaching everywhere, hence "wind above a lake, Zhongfu." What is meant by "the gentleman takes this as a model, deliberating on lawsuits and delaying executions" is that in an age where people are sincere within, crimes are not intentional wrongdoing, but mostly due to mistakes, and in terms of reason and sentiment, they can be forgiven. Therefore, the gentleman deliberates on such cases caused by mistakes and delays the execution of those who should be put to death.

初九：虞吉，有它不燕。虞猶專也。為信之始，而應在四，得乎專吉者也，志未能變，繫心於一，故“有它不燕”也。[疏]正義曰：虞猶專也。燕，安也。初為信始，應在於四，得其專一之吉，故曰“虞吉”。既繫心於一，故更有他求，不能與之共相燕安也，故曰“有它不燕”也。《象》曰：“初九，虞吉”，志未變也。[疏]正義曰：“志未變”者，所以得專一之吉，以志未改變，不更親於他也。

The Line Statement of the first line (Initial Nine) says: If one remains devoted and trustworthy, it is auspicious; if one seeks something else, one cannot find peace. Wang Bi's commentary explains: "Yú" is like being devoted. The Initial Nine is at the beginning of trustworthiness, and the corresponding line is Six in the Fourth, so it can attain the auspiciousness of devotion. Since the mind has not changed, and the focus is concentrated on one thing, it is said "having something else does not bring peace." Kong Yingda's commentary says: "Yú" is like being devoted, and "Yàn" means peace. The Initial Nine is at the beginning of trustworthiness, and the corresponding line is Six in the Fourth, thus obtaining the auspiciousness of devotion, hence "Yú is auspicious." Since the mind is fixed on one thing, if one seeks something else, it cannot be in peace with the other, hence "having something else does not bring peace." The Image Commentary of the text says: The Initial Nine is "Yú is auspicious" because the mind has not changed. Kong Yingda's commentary says: What is meant by "the mind has not changed" is that it can attain the auspiciousness of devotion because the mind remains constant and does not go to attach to others.

九二：鶴鳴在陰，其子和之。我有好爵，吾與爾靡之。處內而居重陰之下，而履不失中，不徇於外，任其真者也。立誠篤至，雖在闇昧，物亦應焉，故曰“鳴鶴在陰，其子和之”也。不私權利，唯德是與，誠之至也，故曰我有好爵，與物散之。

The line statement of the second line says: "A white crane calls in the dark, its young respond in harmony; I have a fine cup, I wish to share it with you." Wang Bi's commentary explains: Nine Two is located within the inner trigram and is situated below two yin lines. Though it acts, it does not lose the middle path, does not seek outside, but remains true to its nature. It has reached the extreme of sincere intention. Even though it is in the dark, external things respond to it, hence it says, "A white crane calls in the dark, its young respond in harmony." It does not claim power and wealth for itself, but uses virtue as the standard for giving and receiving. This is the ultimate sincerity, hence it says, "I have a fine cup," and wishes to share it with others.

[疏]正義曰：“鳴鶴在陰，其子和之”者，九二體剛，處於卦內，又在三四重陰之下，而履不失中，是不徇於外，自任其真者也。處於幽昧，而行不失信，則聲聞於外，為同類之所應焉。如鶴之鳴於幽遠，則為其子所和，故曰“鳴鶴在陰，其子和之”也。“我有好爵，吾與爾靡之”者，靡，散也，又無偏應，是不私權利，惟德是與。若我有好爵，吾原與爾賢者分散而共之，故曰“我有好爵，吾與爾靡之。”《象》曰：“其子和之”，中心願也。[疏]正義曰：“中心願”者，誠信之人，願與同類相應，得誠信而應之，是中心願也。

Kong Yingda's commentary says: The phrase "a bellbird calls in the shade, its young respond in harmony" refers to the Nine in the Second, which is inherently strong in nature, located in the inner trigram, and situated below the two yao lines of Yin in the Third and Fourth positions. Yet it acts without losing the middle path, showing that it does not pursue external things but holds fast to its true nature. Being in a dark place yet acting with sincerity, its reputation naturally spreads outward and is responded to by its kind. It is like a bellbird calling from a secluded place, and its young respond in harmony, hence the phrase "a bellbird calls in the shade, its young respond in harmony." The phrase "I have a fine goblet, I will share it with you" means "to distribute and share together"; the Nine in the Second also has no biased response line, showing that it does not claim power and wealth for itself, but uses virtue as the standard for giving and receiving. It is as if saying, "If I have a fine goblet, I will share it with you, a virtuous person," hence the phrase "I have a fine goblet, I will share it with you." The text of the Image Commentary says: "Its young respond in harmony," which comes from the heart's sincere wish. Kong Yingda's commentary says: "Sincere heart's wish" refers to the fact that sincere people naturally wish to correspond with their kind. Now, having obtained sincerity and responding to it, this is indeed a wish from the heart.

六三：得敵，或鼓或罷，或泣或歌。三居少陰之上，四居長陰之下，對而不相比，敵之謂也。以陰居陽，欲進者也。欲進而閡敵，故或鼓也。四履正而承五，非己所克，故或罷也。不勝而退，懼見侵陵，故或泣而憂悲也。四履於順。不與物校，退而不見害，故或歌也。不量其力，進退無恆，憊可知也。

The line statement of the third line says: encountering an opponent, sometimes beating drums to attack, sometimes weary and retreating, sometimes weeping, sometimes singing. Wang Bi's commentary explains: the sixth line is above the minor yin, and the sixth line four is below the long yin, the two lines facing each other but not closely connected, which is called "opponent." The sixth line three, being a yin line in a yang position, desires to advance; wanting to advance but being blocked by the opponent, so sometimes it beats drums to attack. The sixth line four is on the correct position and supports the ninth line five, which is not something the sixth line three can overcome, so sometimes it has to give up. Unable to win and retreating, yet fearing being attacked, so sometimes it weeps and grieves. The sixth line four stands in a gentle and compliant position, not quarreling with others, and the sixth line three retreating does not suffer harm, so sometimes it sings again. Without measuring its own strength, advancing and retreating without consistency, its exhaustion and hardship are evident.

[疏]正義曰：六三與四，俱是陰爻，相與為類。然三居少陰之桑四居長陰之下，各自有應對，而不相比，敵之謂也。故曰“得敵欲進”。礙四，恐其害己，故或鼓而攻之，而四履正承尊，非己所勝，故或罷而退敗也。不勝而退，懼見侵陵，故或泣而憂悲也。四履於順，不與物校，退不見害，故或歌而歡樂也，故曰“或鼓或罷，或泣或歌”也。《象》曰：“或鼓或罷”，位不當也。[疏]正義曰：“位不當”者，所以或鼓或罷，進退無恆者，止為不當其位，妄進故也。

Kong Yingda's commentary says: Six Three and Six Four are both yin lines, and originally they could be considered as the same type; however, Six Three is located above the minor yin, and Six Four is located below the long yin, each has its corresponding line, and they are not closely adjacent to each other, which is called "getting an opponent." Therefore, the line statement says "getting an opponent." Six Three wants to advance but is blocked by Six Four, and also fears that Six Four may harm itself, so sometimes it drums and attacks; but Six Four stands on the correct position and serves the superior, which Six Three cannot overcome, so sometimes it retreats and fails. When it cannot win and retreats, it also fears being attacked, so sometimes it cries and grieves. Six Four is situated in a flexible and proper position, not quarreling with others, and Six Three retreating does not suffer any harm, so sometimes it also sings and rejoices. Therefore, the line statement says "sometimes drums, sometimes stops; sometimes cries, sometimes sings." The Classic's Image Commentary says: "Sometimes drums, sometimes stops," because the position is inappropriate. Kong Yingda's commentary says: the so-called "position is inappropriate" refers to the reason why Six Three sometimes drums and sometimes stops, and advances and retreats without consistency, only because it is in an inappropriate position and foolishly seeks advancement.

六四：月幾望，馬匹亡，無咎。居中孚之時，處巽之始，應說之初，居正履順，以承於五，內毗無首，外宣德化者也。充乎陰德之盛，故曰：“月幾望”。“馬匹亡”者，棄群類也。若夫居盛德之位，而與物校其競爭，則失其所盛矣，故曰絕類而上，履正承尊，不與三爭，乃得無咎也。

The line statement of the fourth line says: The moon is about to be full, the horse has lost its mate, there is no fault. Wang Bi's commentary explains: The sixth line at the fourth position is in the time of Zhongfu, located at the beginning of Xun body, corresponding with the first line of Dui body, occupying the correct position and acting with gentle and yielding conduct, used to support the ninth line at the fifth position; internally assisting the sovereign, externally proclaiming virtue and moral influence. It has filled the virtue of yin and flexibility to its fullest, hence saying "the moon is almost full." The phrase "the horse has lost its mate" refers to abandoning one's own kind. If one is in a position of great virtue, yet desires to compete and strive with others, then one would lose one's own excellence; hence it abandons its own kind and ascends to support above, occupying the correct position, serving the superior, not competing with the sixth line at the third position, thus being without fault.

[疏]正義曰：“月幾望”者，六四居中孚之時，處巽應說，得位履順，上承於五，內毗元首，外宣德化，充乎陰德之盛，如月之近望，故曰“月幾望”也。“馬匹亡，無咎”者，三與己敵，進來攻己，己若與三校戰，則失其所盛，故棄三之類，如馬之亡匹；上承其五，不與三爭，乃得無咎，故曰“馬匹亡，無咎”也。《象》曰：“馬匹亡”，絕類上也。類謂三，俱陰爻，故曰“類”也。[疏]正義曰：“絕類上”者，絕三之類，不與二爭，而上承於五也。

Kong Yingda explains that "the moon is nearly full" refers to the fact that the sixth line in the fourth position is in the time of Zhongfu, located in the Xun trigram and corresponding with Dui through joy, having a proper position and acting with gentle compliance. It ascends to support the ninth line in the fifth position, assisting the sovereign internally and promoting virtue externally. It fills the virtue of yin with its utmost strength, like the moon approaching fullness, hence "the moon is nearly full." As for "the loss of horses, no blame," the sixth line in the third position is in opposition to itself, attacking itself. If it were to contend with the third line, it would lose its flourishing virtue. Therefore, it abandons this kindred, like a horse losing its mate. It ascends to support the ninth line in the fifth position and does not contend with the third line, thus attaining no blame, hence "the loss of horses, no blame." The Image Commentary says, "the loss of horses" refers to cutting off kinship and ascending to support. Wang Bi's commentary explains that "class" refers to the third line, as it is a yin line like the fourth line, hence called "class." Kong Yingda explains that "cutting off class above" means severing the connection with this kindred, not contending with it, and ascending to support the ninth line in the fifth position.

九五：有孚攣如，無咎。“攣如”者，繫其信之辭也。處中誠以相交之時，居尊位以為群物之主，信何可舍？故“有孚攣如”，乃得“無咎”也。[疏]正義曰：“有孚攣如，無咎”者，攣如者，相牽繫不絕之名也。五在信時，處於尊位，為群物之主，恆須以中誠交物，孚信何可暫舍，故曰“有孚攣如”。繫信不絕，乃得無咎，故曰“有孚攣如，無咎”也。《象》曰：“有孚攣如”，位正當也。[疏]正義曰：“位正當”者，以其正當尊位，故戒以繫信，乃得無咎。若真以陽得正位，而無有繫信，則招有咎之嫌也。

The line statement of the fifth line says: "With sincerity, the connection is continuous, and there is no blame." Wang Bi's commentary explains: "Luan ru" describes the idea of firmly binding sincerity. The fifth line is in an era where people all interact with sincerity, and it holds the position of supremacy, becoming the ruler of all. How can sincerity be abandoned? Therefore, "having sincerity and binding it tightly" is necessary to "have no blame." Kong Yingda's commentary says: "Having sincerity and binding it tightly, there is no blame," "Luan ru" refers to the term for mutual connection that does not break. The fifth line is in an era of sincerity, holds a high position, and is the ruler of all. It must always use inner sincerity to interact with others. How can sincerity be momentarily abandoned? Therefore, "having sincerity and binding it tightly." Binding sincerity without interruption leads to no blame, hence "having sincerity and binding it tightly, there is no blame." The Image Commentary of the text says: "Having sincerity and binding it tightly," because the line position is proper. Kong Yingda's commentary says: "The position is proper," because the fifth line is in the supreme position, so it specially warns that binding sincerity is needed to have no blame. If a yang line merely attains the proper position but lacks binding sincerity, it would invite suspicion of being blamed.

上九：翰音登于天，貞凶。翰，高飛也。飛音者，音飛而實不從之謂也。居卦之上，處信之終，信終則衰，忠篤內喪，華美外揚，故曰“翰音登于天”也。翰音登天，正亦滅矣。[疏]正義曰：翰，高飛也。飛音者，音飛而實不從之謂也。上九處信之終信終則衰也。信衰則詐起，而忠篤內喪，華美外揚，若鳥於翰音登于天，虛聲遠聞也，故曰“翰音登于天”。虛聲無實，正之凶也，故曰“貞凶”。《象》曰：“翰音登于天”，何可長也。[疏]正義曰：“何可長也”者，虛聲無實，何可久長。

The line statement of the Upper Ninth line says: "A high-flying sound reaches the heavens; to remain steadfast is ominous." Wang Bi's commentary explains: "Han" means high flying; so-called flying sound refers to sound that rises but lacks substance. The Upper Ninth line is at the top of a hexagram, at the end of sincerity; when sincerity reaches its limit, it declines; sincerity declines and deceit arises, while sincerity and earnestness within are lost, and superficial ornamentation is displayed outwardly. Therefore, it is said, "A flying sound reaches the heavens." When sound rises to the heavens, the righteous path is thereby extinguished. Kong Yingda's commentary says: "Han" means high flying; so-called flying sound refers to sound that rises but lacks substance. The Upper Ninth line is at the end of sincerity; when sincerity reaches its limit, it declines; when sincerity declines, deceit arises, and sincerity and earnestness within are lost, while superficial ornamentation is displayed outwardly, like a bird's call that soars to the heavens, with only empty reputation spreading far. Therefore, it is said, "A flying sound reaches the heavens." Empty reputation without substance, if regarded as the righteous path and held fast to it, is ominous, hence "Zhen Xiong." The Image Commentary of the text says: "A flying sound reaches the heavens," how can it last long? Kong Yingda's commentary says: what is meant by "how can it last long" is that empty reputation lacks substance, how can it be sustained for long?

艮下震上。小過：亨，利貞。可小事，不可大事。飛鳥遺之音，不宜上，宜下，大吉。飛鳥遺其音聲，哀以求處，上愈無所適，下則得安。愈上則愈窮，莫若飛鳥也。

The text says: The hexagram Xiao Guo has the lower trigram Gen (Mountain) and the upper trigram Zhen (Thunder). Xiao Guo: It is smooth and prosperous, beneficial to maintain correctness; it is suitable for small matters, not for great ones. A flying bird leaves behind a mournful cry; it is not suitable to go upward, but suitable to go downward, which is a great blessing. Wang Bi's commentary explains: A flying bird leaves behind its call, sorrowfully seeking a place to rest; the higher it flies, the more nowhere it can go, but going downward allows it to find rest. The higher it goes, the more it becomes destitute; there is no better example than the flying bird to illustrate this principle.

[疏]“小過亨”至“大吉”。○正義曰：“小過，亨”者，“小過”，卦名也。王於《大過》卦下注云：“音相過之過”。恐人作罪過之義，故以音之。然則“小過”之義，亦與彼同也。過之小事，謂之小過，即“行過乎恭，喪過乎哀”之謂是也。褚氏云：“謂小人之行，小有過差，君子為過厚之行以矯之也，如晏子狐裘之比也。”此因小人有過差，故君子為過厚之行，非即以過差釋卦名。《彖》曰“小過，小者過而亨”，言因過得亨，明非罪過，故王於大過音之，明雖義兼罪過得名，上在君子為過行也。而周氏等不悟此理，兼以罪過釋卦名，失之遠矣。過為小事，道乃可通，故曰“小過，亨”也。“利貞”者，矯世勵俗，利在歸正，故曰“利貞”也。“可小事，不可大事”者，時也。小有過差，惟可矯以小事，不可正以大事，故曰“可小事，不可大事”也。“飛鳥遺之音，不宜上，宜下，大吉”者，借喻以明過厚之行，有吉有凶。飛鳥遺其音聲，哀以求處。過上則愈無所適，過下則不失其安，以譬君子處過差之時，為過厚之行，順而立之則吉，逆而忤鱗則凶，故曰：“飛鳥遺之音，不宜上，宜下，大吉”。順則執卑守下，逆則犯君陵上，故以臣之逆順，類鳥之上下也。

Kong Yingda explains from "Xiao Guo Xing" to "Da Ji" in this passage. The Commentary on the Judgment says: "Xiao Guo, Xing" means "Xiao Guo" is the name of the hexagram. Wang Bi notes in the hexagram "Da Guo" that "the character 'guo' should be read as 'guo' meaning to pass over," to prevent people from misunderstanding it as the "guo" meaning sin. Therefore, the meaning of "Xiao Guo" is also similar to that of "Da Guo." To have a slight excess in small matters is called "Xiao Guo," which is similar to what the Image Commentary says: "acting beyond proper respect, mourning beyond proper sorrow." Chu Shi says: this refers to the behavior of small people having slight deviations, and the gentleman corrects it with excessive propriety, as in the example of Yan Zi wearing a fox fur coat for thirty years. This is because small people have deviations, the gentleman thus acts with excessive propriety, not directly interpreting the hexagram name as "excess deviation." The Commentary on the Judgment says "Xiao Guo, Xiao zhe guo er xing," meaning that because there is an excess, it leads to smoothness, showing that "guo" is not necessarily a sin. Therefore, Wang Bi specially notes the pronunciation in the hexagram "Da Guo" to indicate that although the character "guo" may have the meaning of sin, here it refers to the gentleman's behavior beyond the ordinary. Zhou Shi and others did not understand this, and interpreted the hexagram name as sin, which is very far from the truth. To have a slight excess in small matters, the way can be carried through, hence "Xiao Guo, Xing." The meaning of "Li Zhen" is that correcting the world's customs and refining the customs, the benefit lies in returning to the right path, hence "Li Zhen." The meaning of "Ke Xiao Shi, Bu Ke Da Shi" refers to the situation: slight deviation can only be corrected by small matters, not by great matters, hence "Ke Xiao Shi, Bu Ke Da Shi." The meaning of "Fei Niao Yi Zhi Yin, Bu Yi Shang, Yi Xia, Da Ji" is using a metaphor to explain that excessive propriety can bring both good and bad. A flying bird leaves behind its call, sorrowfully seeking a place to rest; going too high makes it even more without a place to rest, going too low instead brings stability. This is used as a metaphor for the gentleman in a time when people have slight deviations, acting with excessive propriety, following the trend brings good fortune, opposing it and offending the superior brings misfortune, hence "Fei Niao Yi Zhi Yin, Bu Yi Shang, Yi Xia, Da Ji." Following means maintaining humility; opposing means offending the superior and surpassing the superior, so using the gentleman's following and opposing to compare with the flying bird's going down and up.

○注“飛鳥”至“求處”。○正義曰：“飛鳥遺其音聲，哀以求處”者，遺，失也。鳥之失聲，必是窮迫，未得安處。《論語》曰：“鳥之將死，其鳴也哀。”故知遺音即哀聲也。《彖》曰：小過，小者過而亨也。小者謂凡諸小事也，過於小事而通者也。[疏]正義曰：此釋小過之名也。並明小過有亨德之義，過行小事謂之小過，順時矯俗，雖過而通，故曰“小者過而亨”也。

Kong Yingda further explains Wang Bi's commentary on the phrase from "fly bird" to "seek place." The commentary says: what is meant by "a flying bird loses its sound, lamenting to seek a place" is that "lose" refers to losing. When a bird loses its sound and cries in sorrow, it must be in a difficult situation, not yet finding a place to rest. The Analects records Zengzi's words: "When a bird is about to die, its cry is sorrowful." From this, it is known that "lost sound" refers to a sorrowful cry. The Classic text, the Commentary on the Judgment, says: the hexagram of Xiao Guo (Small Excess) refers to exceeding in small matters and thus achieving success. Wang Bi's commentary explains: "smaller things" refers to various small matters, and exceeding in small matters leads to success. Kong Yingda's commentary says: this explains the name of the hexagram Xiao Guo, and also explains that Xiao Guo contains the virtue of success. To act beyond the usual in small matters is called "Xiao Guo"; to follow the trend and correct customs, although exceeding, yet achieving success, thus it is said "smaller things exceed and achieve success."

過以“利貞”，與時行也。過而得以利貞，應時宜也。施過於恭儉，利貞者也。[疏]正義曰：此釋利貞之德，由為過行而得利貞。然矯枉過正，應時所宜，不可常也，故曰“與時行”也。柔得中，是以“小事”吉也；剛失位而不中，是以“不可大事”也。成大事者，必在剛也。柔而浸大，剝之道也。[疏]正義曰：此就六二、六五以柔居中，九四失位不中，九三得位不中，釋“可小事，不可大事”之義。柔順之人，惟能行小事，柔而得中，是行小中時，故曰“小事吉”也。剛健之人，乃能行大事，失位不中，是行大不中時，故曰“不可大事”也。

The Commentary on the Judgment says: There is an excess but still "beneficial to uprightness," because it is in harmony with the times. Wang Bi's commentary explains: Exceeding the ordinary yet maintaining uprightness and gaining benefit, is precisely in line with the needs of the times; applying this excess in reverence and frugality is what is called "beneficial to uprightness." Kong Yingda's commentary says: This explains the virtue of "beneficial to uprightness," indicating that it is derived from actions beyond the ordinary; however, correcting an excess by going to the opposite extreme is only suitable for a temporary situation and cannot be regarded as a permanent principle, hence it is said "to act in accordance with the times." The Commentary on the Judgment also says: When a flexible line is in the central position, it is appropriate for small matters and thus auspicious; when a strong line is out of position and not in the central position, it is inappropriate for great matters. Wang Bi's commentary explains: Achieving great things necessarily requires strong virtue; if a flexible line gradually becomes dominant, that is the path of the Hexagram of Decreasing. Kong Yingda's commentary says: This explains the meaning of "appropriate for small matters, inappropriate for great matters" by referring to the lines Six Two and Six Five, which are flexible and in the central position, and the lines Nine Four, which is out of position and not in the central position, and Nine Three, which is in position but not in the central position. A flexible person can only handle small matters; when flexible and maintaining the central position, it is the right time to handle small matters, hence "auspicious for small matters." A strong person can handle great matters; now, when a strong line is out of position and not in the central position, it is the wrong time to handle great matters, hence "inappropriate for great matters."

有“飛鳥”之象焉。不宜上，宜下，即飛鳥之象。[疏]正義曰：釋不取餘物為況，惟取“飛鳥”者，以不宜上，宜下，有飛鳥之象故也。“飛鳥遺之音，不宜上，宜下，大吉”，上逆而下順也。上則乘剛，逆也；下則承陽，順也。施過於不順，凶莫大焉；施過於順，過更變而為吉也。[疏]正義曰：此就六五乘九四之剛，六二承九三之陽，釋所以“不宜上，宜下，大吉”之義也。上則乘剛而逆，下則承陽而順，故曰“不宜上，宜下，大吉”，以上逆而下順也。

The Commentary on the Judgment says: The hexagram contains the image of a flying bird. Wang Bi's annotation explains: It is not suitable to go upward, but suitable to go downward, which is the image of a flying bird. Kong Yingda's commentary says: This explains why the image of a flying bird is chosen rather than something else, because "not suitable to go upward, but suitable to go downward" precisely matches the image of a flying bird. The Commentary on the Judgment also says: "A flying bird leaves its sound; it is not suitable to go upward, but suitable to go downward, which brings great good fortune," because going upward is against the trend, while going downward is in harmony with it. Wang Bi's annotation explains: Going upward means surpassing a strong line, which is against the trend; going downward means following a yang line, which is in harmony. Applying extraordinary actions in an unharmonious direction leads to the greatest danger; applying them in a harmonious direction turns the extraordinary into good fortune. Kong Yingda's commentary says: This explains the meaning of "not suitable to go upward, but suitable to go downward, which brings great good fortune" by referring to the sixth line in the fifth position surpassing the strong line in the fourth position, and the sixth line in the second position following the yang line in the third position. Going upward means surpassing a strong line and going against the trend, while going downward means following a yang line and being gentle and harmonious. Therefore, it is said "not suitable to go upward, but suitable to go downward, which brings great good fortune," because going upward is against the trend while going downward is gentle and harmonious.

《象》曰：山上有雷，小過。君子以行過乎恭，喪過乎哀，用過乎儉。[疏]正義曰：雷之所出，不出於地。今出山上，過其本所，故曰“小過”。小人過差，失在慢易奢侈，故君子矯之，以行過乎恭，喪過乎哀，用過平儉也。

The Image Commentary says: Thunder sounds on a mountain, which is the hexagram of Small Crossing; the gentleman takes it as a model, being excessively respectful in his conduct, excessively sorrowful in mourning, and excessively frugal in his expenditure. Kong Yingda's commentary explains: Thunder originally arises from beneath the earth, but now it appears on the mountain, exceeding its proper place, hence it is called "Small Crossing." The faults of small people lie in negligence and extravagance, so the gentleman corrects them by taking the opposite extreme: being overly respectful in his behavior, overly sorrowful in mourning, and overly frugal in his spending.

初六：飛鳥以凶。小過，上逆下順，而應在上卦，進而之逆，無所錯足，飛鳥之凶也。[疏]正義曰：小過之義，上逆下順，而初應在上卦，進而之逆，同於飛鳥，無所錯足，故曰“飛鳥以凶”也。《象》曰：“飛鳥以凶”，不可如何也？[疏]正義曰：“不可如何也”者，進而之逆，孰知不可自取凶咎，欲如何乎？

The line statement of the first line says: Like a flying bird that flies upward without pause, thus encountering misfortune. Wang Bi's commentary explains: At the time of small excess, moving upward is against the way, while moving downward is in accordance with the way. The responding line of the first line is in the upper trigram, so moving forward leads to going against the way, with nowhere to rest, which is precisely the situation of the flying bird encountering misfortune. Kong Yingda's commentary says: The meaning of small excess is that moving upward is against the way and moving downward is in accordance with the way. The responding line of the first line is in the upper trigram, so moving forward leads to going against the way, just like the flying bird with nowhere to rest, hence it is said 'the flying bird meets misfortune.' The Image Commentary of the text says: 'The flying bird meets misfortune,' what can be done about it? Kong Yingda's commentary says: What is meant by 'there is nothing to be done about it' is to indicate that although one knows that moving forward leads to going against the way, yet one still incurs misfortune, so what can be done about it?

六二：過其祖，遇其妣，不及其君。遇其臣，無咎。過而得之謂之遇，在小過而當位，過而得之之謂也。祖，始也，謂初也。妣者，居內履中而正者也。過初而履二位，故曰“過其祖”而“遇其妣”，過而不至於僣，盡於臣位而已，故曰“不及其君，遇其臣，無咎”。[疏]正義曰：過而得之謂之遇，六二在小過而當位，是過而得之也。祖，始也，謂初也。妣者，母之稱。六二居內，履中而正，固謂之妣。巳過於初，故曰“過其祖”也。履得中正，故曰“遇其妣”也。過不至於僣，盡於臣位而已，故曰“不及其君，遇其臣，無咎”。《象》曰：“不及其君”，臣不可過也。[疏]正義曰：“臣不可過”者，臣不可自過其位也。

The Line Statement of the Second Line says: Going beyond the grandfather, meeting the grandmother; not reaching the sovereign, meeting the minister's position, without blame. Wang Bi's commentary explains: Going beyond by one step yet still gaining something is called 'meeting.' The Second Line, while in the state of small excess, is in a proper position, thus going beyond by one step yet still gaining something. 'Grandfather' refers to the beginning, meaning the First Line; 'mother' refers to the one in the Inner Trigram, who is in the center and in the correct position. The Second Line goes beyond the First Line and steps onto the position of the Second Line, hence saying 'going beyond its grandfather' and 'meeting its mother.' Although it goes beyond, it does not go beyond the proper limit, only fulfilling the duty of a subject, hence saying 'not reaching the sovereign, meeting the minister, without blame.' The Image Commentary of the Classic says: 'Not reaching the sovereign,' because a subject cannot go beyond his proper position. Kong Yingda's commentary says: What is meant by 'a subject cannot go beyond' is that a subject cannot go beyond his own position.

九三：弗過防之，從或戕之，凶。小過之世，大者不立，故令小者得過也。居下體之上，以陽當位，而不能先過防之，至令小者或過，而復應而從焉。其從之也，則戕之凶至矣。故曰“弗過防之，從或戕之，凶”也。

The line statement of the third line says: If one cannot go beyond the usual measures to prevent something, following the small person may lead to being killed, resulting in danger. Wang Bi's commentary explains: In an era of minor faults, great virtue cannot be established, so the small person is able to exceed the usual measures. The third line is located at the top of the lower trigram, with a yang line in the proper position, yet it cannot go beyond the usual measures to prevent something, allowing the small person to exceed the usual measures, and it also corresponds with the sixth line above, thus following it. Once it follows it, the calamity of being killed arrives, so the line statement says, "Not going beyond to prevent, following may lead to being killed, danger."

[疏]正義曰：“弗過防之”者，小過之世，大者不能立德，故令小者得過，九三居下體之上，以陽當位，不能先過為防，至令小者或過。上六小人最居高顯，而復應而從焉。其從之也，則有殘害之凶至矣，故曰“弗過防之”。“從或戕之，凶”者，《春秋傳》曰：“在內曰弒，在外曰戕。”然則戕者皆殺害之謂也。言“或”者，不必之辭也。謂為此行者，有幸而免也。《象》曰：“從或戕之”，“凶”如何也？[疏]正義曰：“凶如何”者，從於小人，果致凶禍，將如何乎？言不可如何也。

Kong Yingda's commentary says: The phrase "without exceeding the limit, one is prevented" refers to the time of a minor excess. At such a time, a person of great virtue cannot establish his virtue, thus allowing the small person to exceed the norm. Nine Three is located at the top of the lower trigram, with a yang line in the proper position, yet it fails to set up prevention beyond the norm in advance, thus allowing the small person to exceed the limit. Six at the Top is a small person occupying the highest and prominent position, while Nine Three instead corresponds with and follows it. Once it follows, calamity comes, hence the phrase "without exceeding the limit, one is prevented." The phrase "following, one may be killed, resulting in calamity" refers to the "Spring and Autumn Left Transmission" which says "within the state, it is called 'murder,' outside the state, it is called 'killing.'" Thus, "killing" refers to killing. The line statement uses the word "or" to indicate uncertainty, meaning that the person doing such a thing may also have the chance to escape calamity. The "Image Commentary" says: "following, one may be killed," indicating that this calamity is unavoidable. Kong Yingda's commentary says: The phrase "how can there be calamity" refers to following the small person, which indeed brings calamity, so what can be done? It means there is no way to avoid it.

九四：無咎，弗過遇之，往厲必戒，勿用永貞。雖體陽爻，而不居其位，不為責主，故得無咎也。失位在下不能過者也。以其不能過，故得合於免咎之宜，故曰“弗過遇之”。夫宴安酖毒，不可懷也，處於小過不寧之時，而以陽居陰，不能有所為者也。以此自守，免咎可也；以斯攸往，危之道也。不交於物，物亦弗與，無援之助，故危則必戒而已，無所告救也。沈沒怯弱，自守而已，以斯而處於群小之中，未足任者也，故曰“勿用永貞”，言不足用之於永貞。

The line statement of the fourth line says: There is no fault; not exceeding the norm yet coincidentally meeting, going forward is dangerous and must be cautious, it is not suitable to use it for a long time to maintain uprightness. Wang Bi's commentary explains: The nine in the fourth line, although its nature is a yang line, does not occupy a yang position, so it is not the one who should bear responsibility, thus there is no fault. It is out of position and located at the lower part of the upper trigram, so it cannot exceed its place; precisely because it cannot exceed, it coincidentally meets the measure that avoids blame, hence it is said 'not exceeding and meeting'. Ease and pleasure are like poison, which should not be indulged. The nine in the fourth line is in the situation of small excess, and with a yang line in a yin position, it is inactive; using this attitude to maintain itself, avoiding blame is acceptable, but using this attitude to go forward is the way to danger. It does not connect with external things, and external things do not attach to it, so there is no support, thus when encountering danger, it can only be cautious and have nowhere to seek help. It is stagnant and timid, only able to maintain itself; using such a person among a group of petty people is not sufficient to entrust with responsibility, hence it is said 'do not use it for a long time to maintain uprightness', meaning it is not suitable to use it for a long time to uphold the right path.

[疏]“九四無咎”至“永貞”。○正義曰：居小過之世，小人有過差之行，須大德之人，防使無過。今九四雖體陽爻而不居其位，不防之責，責不在己，故得無咎。所以無其咎者，以其失位在下，不能為過厚之行，故得遇於無咎之宜，故曰“無咎，弗過遇之”也。既能無為自守，則無咎，有往則危厲，故曰“往厲”。不交於物，物亦不與，無援之助，故危則必自戒慎而已，無所告救，故曰“必戒”。以斯而處於群小之中，未足委任，不可用之以長行其正也，故曰“勿用永貞”也。○注“夫宴安”至“懷也”。○正義曰：“夫宴安酖毒，不可懷也”者，此《春秋》狄伐邢，管仲勸齊侯救邢，為此辭，言宴安不救邢，即酖鳥之毒，不可懷而安之也。

Kong Yingda explains from "Nine in the Fourth has no blame" to "do not use for ever to maintain uprightness." The commentary says: in an era of minor excess, small people have actions that exceed the normal, requiring a person of great virtue to guard against them so they do not go beyond the limits. Now, although the Nine in the Fourth is originally a yang line, it is not in a yang position, so the responsibility of setting up defenses does not fall upon it, hence it has no blame. It has no blame because it is out of position and located below the upper trigram, so it cannot make overly heavy actions, and this is exactly the appropriate measure to avoid blame, hence it is said "no blame, not exceeding the measure." Since it can remain inactive and self-restrained, it has no blame; once it moves forward, it becomes dangerous, hence it is said "going brings danger." It does not connect with external things, and external things do not attach to it, so there is no support, hence when in danger, it can only be cautious and has nowhere to seek help, thus it is said "must be cautious." Using such a person among a group of small people is insufficient to entrust with important tasks, and it cannot be relied upon for long to maintain uprightness, hence it is said "do not use for ever to maintain uprightness." Kong Yingda also explains Wang Bi's commentary from "the comfort of ease" to "is a kind of affection" as follows: the saying "the comfort of ease is like poison, cannot be cherished" comes from the words of the Di people attacking the state of Xing and Guan Zhong advising Qi Huang Gong to send troops to rescue Xing as recorded in the "Spring and Autumn Zuo Zhuan." The meaning is that if one indulges in ease and does not rescue Xing, it is like the poison of a bird, which cannot be cherished.

《象》曰：“弗過遇之”，位不當也。“往厲必戒”，終不可長也。[疏]正義曰：“位不當”者，釋所以弗過而遇，得免於咎者，以其位不當故也。“終不可長”者，自身有危，無所告救，豈可任之長，以為正也。

The Image Commentary says: "Not exceeding but meeting by chance," because the line is in an improper position; "Going forward with danger, one must be cautious," because it cannot last long. Kong Yingda's commentary explains that "position being improper" refers to why the Nine in the Fourth cannot go beyond but coincidentally meets, thus avoiding blame—precisely because it is in an improper position. "Ultimately not able to last long" means that it itself is in danger and has no place to seek help; how can it be used for a long time to carry out the correct path?

六五：密雲不雨，自我西郊，公弋取彼在穴。小過，小者過於大也。六得五位，陰之盛也。故密雲不雨，至於西郊也。夫雨者，陰在於上，而陽薄之而不得通，則烝而為雨。今艮止於下而不交焉，故不雨也。是故小畜尚往而亨，則不雨也；小過陽不上交，亦不雨也。雖陰盛於上，未能行其施也。公者，臣之極也，五極陰盛，故稱公也。弋，射也。在穴者，隱伏之物也。“小過”者，過小而難未大作，猶在隱伏者也。以陰質治小過，能獲小過者也，故曰“公弋取彼在穴”也。除過之道，不在取之，是乃密雲未能雨也。

The line statement of the fifth line of the hexagram says: thick clouds gather but no rain falls, the clouds come drifting from the western suburbs; the king uses arrows with cords to shoot at the hidden prey in the cave. Wang Bi's commentary explains: "small excess" refers to the small surpassing the great. A yao (line) of yin occupies the fifth position, which is the peak of yin energy, hence the thick clouds without rain, extending all the way to the western suburbs. The principle of rain is that yin energy is above, yang energy approaches it but cannot penetrate, thus rising as rain. Now, the hexagram Gen (mountain) is at the bottom, stopping and not interacting with the upper part, so there is no rain. Therefore, the hexagram Xiao Xu (small accumulation) has yang energy still ascending and is smooth, yet also no rain; the hexagram Xiao Guo (small excess) has yang energy not interacting upward, thus also no rain. Although yin energy is at the top and reaches its peak, it is still unable to distribute its grace. "Gong" refers to the highest rank among ministers; since the sixth line is yin and reaches its extreme, it is called "gong." "Yi" means to shoot; "in the cave" refers to hidden creatures. What is called "small excess" is that the excess is still minor, the calamity has not yet erupted on a large scale, and it remains hidden. Using a gentle and flexible nature to deal with minor excesses, one can capture these minor excesses, hence it is said "gong yi takes the hidden ones in the cave." However, the proper way to eliminate excess is not to use force to hunt, so this remains thick clouds that cannot become rain.

[疏]“六五密雲”至“在穴”。○正義曰：“密雲不雨，自我西郊”者，小過者，小者過於大也。六得五位，是小過於大，陰之盛也。陰盛於上，而艮止之，九三陽止於下，是陰陽不交，雖復至盛，密雲至於西郊，而不能為雨也。施之於人，是柔得過而處尊，未能行其恩施，廣其風化也，故曰“密雲不雨，自我西郊”也。“公弋取彼在穴”者，公者臣之極，五極陰盛，故稱公也。小過之時，為過猶小，而難未大作，猶在隱伏。以小過之才，治小過之失，能獲小過在隱伏者，有如公之弋獵，取得在穴隱伏之獸也。故曰“公弋取彼在穴”也。

Kong Yingda explains from "Six in the Fifth, Dense Clouds" to "In the Hole." The commentary says: what is meant by "dense clouds do not rain, from my western suburb," is that small excess exceeds great ones; a yin line occupying the fifth position signifies small things surpassing great ones, with yin energy reaching its peak. Yin energy is at the top and reaches its height, but the mountain trigram stops it. The yang line at nine in the third also stops it at the bottom, so yin and yang cannot meet. Even though yin energy is at its peak, dense clouds extend all the way to the western suburb, but they cannot become rain. Applied to human affairs, this means the weak and gentle surpass their proper place and occupy a position of honor, yet they are still unable to extend grace or spread education and culture, hence "dense clouds do not rain, from my western suburb." What is meant by "the public shoots the one in the hole," "the public" refers to the highest level among ministers. The yin line is at its peak, so it is called "the public." At the time of small excess, the mistake is still minor, and calamity has not yet occurred on a large scale, but it remains hidden. With the ability of small excess, one can correct minor mistakes, and capture those hidden small excesses, just as a prince hunts and captures animals hidden in a hole, hence "the public shoots the one in the hole."

○注“除過”至“能雨也”。○正義曰：“除過”至“能雨也”者，雨者，以喻德之惠化也。除過差之道，在於文德，懷之，使其自服，弋而取之，是尚威武，尚威武即“密雲不雨”之義也。《象》曰：“密雲不雨”，已上也。陽巳上，故止也。[疏]正義曰：“巳上”者，釋所以“密雲不雨”也。以艮之陽爻，巳上於一卦之上而成止，故不上交而為雨也。

Kong Yingda further explained Wang Bi's commentary from "Chu guo" to "Neng yu ye." The Justification says: here "yu" (rain) is used as a metaphor for the benevolent teachings and grace of virtue. Eliminating faults and deviations through the correct path lies in cultural virtue—using virtue to pacify them, so that they naturally submit. Now, however, they use arrows with cords to hunt, which is to emphasize military strength. Emphasizing military strength is precisely what the phrase "mi yun bu yu" (dense clouds without rain) is meant to convey. The "Image Commentary" of the Classic says: "mi yun bu yu" is because the yang energy has already ascended. Wang Bi's commentary explains: the yang line has already moved upward, so it stops. Kong Yingda's commentary says: the phrase "si shang" (already ascended) explains why "mi yun bu yu" occurs—the yang line of the Gen hexagram has already risen to the upper position of the hexagram, forming a state of stillness, so it no longer ascends to combine and form rain.

上六：弗遇過之，飛鳥離之，凶，是謂災眚。小人之過，遂至上極，過而不知限，至於亢也。過至於亢，將何所遇？飛而不已，將何所託？災自己致，復何言哉！[疏]正義曰：上六處小過之極，是小人之過，遂至上極，過而不知限，至於亢者也。過至於亢，無所復遇，故曰“弗遇過之”也。以小人之身，過而弗遇，必遭羅網，其猶飛鳥，飛而無託，必離矰繳，故曰“飛鳥離之，凶”也。過亢離凶，是謂自災而致眚，復何言哉！故曰“是謂災眚”也。《象》曰：“弗遇過之”，已亢也。[疏]正義曰：“已亢”者，釋所以“弗遇過之”，以其已在亢極之地故也。

The Line Statement of the Upper Sixth line says: There is no meeting or encountering, and it goes beyond its limit, like a flying bird caught in a net, which is dangerous, this is called calamity. Wang Bi's commentary explains: The excess of the petty person develops to the very top, going beyond without knowing the limit, reaching the extreme of excess. When it goes beyond to the extreme of excess, what can it meet? It keeps flying upward without stopping, where can it rest? The calamity is self-invoked, what else can be said. Kong Yingda's commentary says: The Upper Sixth is at the peak of petty excess, which is exactly the petty person's excess developing to the very top, going beyond without knowing the limit, reaching the extreme of excess. When it goes beyond to the extreme of excess, there is nothing to meet, so it says 'not meeting beyond.' With a petty person's nature, going beyond without meeting anything, it must inevitably meet the net, just like a flying bird with nowhere to rest, certainly caught by the bowstring net, so it says 'the flying bird is caught, danger.' Going beyond to the extreme of excess and encountering danger, this is called self-invoking calamity, what else can be said, so it says 'this is called calamity.' The Image Commentary of the Classic says: 'Not meeting beyond,' because it has already reached the extreme of excess. Kong Yingda's commentary says: What is meant by 'already excessive' is to explain why 'not meeting beyond' — because it is already in the extreme of excess.