The Great Excess Hexagram

大過.兌上.巽下程傳 《大過序卦》曰：“頤者，養也。不養則不可動，故受之以大過。”凡物養而後能成，成則能動，動則有過，《大過》所以次《頤》也。為卦上兌下巽，澤在木上， 大過，棟橈，利有攸往，亨。本義 “大”，陽也。四陽居中過盛，故為《大過》。上下二陰不勝其重，故有“棟橈”之象。又以四陽雖過，而二五得中，內巽外說，有可行之道，故利有所往而得“亨”也。

The hexagram is labeled as "Great Excess." The upper trigram is "Dui" (Lake), and the lower trigram is "Xun" (Wind). Cheng Yi in his commentary "Yichuan's Commentary on the Changes" says: The "Sequence of Hexagrams" explains, "Yi means nourishment. Without nourishment, there is no movement, hence it is followed by Great Excess." All things must be well nourished before they can grow, and once grown, they can move. Once they move, they may exceed their limits, hence the hexagram "Great Excess" comes after "Yi." In this hexagram, "Dui" is above and "Xun" is below, representing a lake above a tree—there is a missing character in the original text. The hexagram statement says: "Great Excess," the beam is bent, it is favorable to go forward, and there is success. Zhu Xi's "Benyi" says: "Great" refers to the yang. Four yang lines are concentrated in the middle, becoming overly strong, hence it is called "Great Excess." The two yin lines above and below cannot support this weight, hence the image of "the beam is bent." However, although the four yang lines are excessive, the lines nine two and nine five are in the center. The inner trigram "Xun" is compliant and enters, while the outer trigram "Dui" is harmonious and joyful, indicating a path that can be advanced, hence it is favorable to go forward and achieve success.

程傳 《小過》，陰過於上下。《大過》，陽過於中。陽過於中而上下弱矣，故為“棟橈”之象。棟取其勝重，四陽聚於中，可謂重矣。九三九四皆取棟象，謂任重也。橈，取其本末弱，中強而本末弱，是以橈也。陰弱而陽強，君子盛而小人衰，故利有攸往而亨也。棟，今人謂之檁。

Cheng Yi in Yichuan's Commentary on the Changes says: The hexagram Xiao Guo represents Yin excess prevailing at the upper and lower extremes, while Da Guo represents Yang excess prevailing in the middle. When Yang is excessive in the middle, the upper and lower parts become weak, hence the image of 'a beam bending'. 'Beam' refers to its ability to bear weight: four Yang lines gathering in the middle can be considered as heavy; the lines Nine in the Third and Nine in the Fourth both take the image of a beam, referring to a heavy burden. 'Bending' refers to the weakness at the two ends: the middle is strong while the ends are weak, hence the bending. With Yin being weak and Yang strong, the gentleman is flourishing while the petty person is declining, hence it is favorable to move forward and achieve success. 'Beam' is now called 'lintel'.

集說 王氏宗傳曰：天下之事，固有正理，豈可過耶？然古今固有所謂非常之事者，以理而論，亦無非君子之時中，特其事大勢重，不常見爾。《朱子語類》：問：《大過》、《小過》，先生與伊川之說不同。曰：然。伊川此論，正如以反經合道為非相似，殊不知《大過》自有《大過》時節，《小過》自有《小過》時節。處《大過》之時，則當為《大過》之事。處《小過》之時，則當為《小過》之事。

"The Collection of Sayings" cites Wang Zongcheng's words: the affairs of the world originally each have their proper principles; how can they exceed these? However, from ancient times to the present, there have indeed been so-called extraordinary events. According to reason, these are nothing but gentlemen adjusting themselves to the situation to seek the appropriate measure. The matter is important and the situation is serious, and such things are not commonly seen. "The Collection of Sayings" also cites from the "Zhu Zi Yu Lian": someone asked about the two hexagrams, "Da Guo" and "Xiao Guo," and the Master Zhu's view differs from Cheng Yi's. Zhu Xi said: yes. Cheng Yi's argument is like judging all cases of violating the usual rules as wrong, but he did not realize that "Da Guo" has its own appropriate time, and "Xiao Guo" has its own appropriate time. When in the time of "Da Guo," one should do the affairs of "Da Guo"; when in the time of "Xiao Guo," one should do the affairs of "Xiao Guo."

在事雖是過，然適當其時合當如此作，便是合義。胡氏一桂曰：或疑《頤》與《大過》對者也，何不名為《小過》？《中孚過》與《小過》對者也，何不名為《大過》？蓋《大過》以四陽在中言，《小過》以四陰在外言，此是聖人內陽外陰之意。

Zhu Xi continued to say: Although the matter itself is considered an excess, if it happens to be the right time and the proper thing to do, then it conforms to righteousness. The "Ji Shuo" also cites Hu Yigu's view: Some people are puzzled why the hexagram "Yi" is not called "Xiao Guo" since "Yi" and "Da Guo" are a pair of opposite hexagrams. Similarly, why is "Zhong Fu" not called "Da Guo" since "Zhong Fu" and "Xiao Guo" are also a pair of opposite hexagrams? In fact, "Da Guo" refers to the situation where four yang lines are in the middle, while "Xiao Guo" refers to the situation where four yin lines are on the outside. This reflects the intention of the sage to have yang within and yin outside.

胡氏炳文曰：既曰“棟橈”，又曰“利有攸往亨”，何也？曰：“棟橈”，以卦象言也，利往而後亨。是不可無大有為之才，而天下亦無不可為之事，以占言也。

"The Collected Interpretations" also cites Hu Bingwen's explanation: since it says "the beam is bent" and also says "it is advantageous to go somewhere and achieve success," what is the meaning? The answer is: "The beam is bent" refers to the image of the hexagram; "it is advantageous to go somewhere and achieve success" means that one should not lack great ability, and the world has no task that cannot be accomplished. This refers to the meaning of the divination text.

何氏楷曰：“棟”，《說文》謂之極，《爾雅》謂之桴，其義皆訓中也，即屋之脊檁。唯《大過》是以“棟橈”，是以“利有攸往”，唯有攸往，是以“亨”，《翼傳》乃字當玩。卦辭言棟，概指二三四五言也。爻辭專及三四者，舉中樞也。

"The Collection of Sayings" also cites He Kai's statement: "Dong," which is called "ji" in the "Shuo Wen Jie Zi" and "fu" in the "E Ya," both meanings referring to "zhong," meaning the central beam on the roof ridge. Because it is the "Da Guo" (Great Excess), therefore "Dong Rao" (the beam bends); because "Dong Rao," therefore "Li You Xiu Wang" (it is advantageous to go somewhere); because there is movement forward, therefore "Heng" (communication). The "nai" character in Confucius' "Tuan Ci" (彖辞) is worth careful consideration. The hexagram statement refers to "Dong," generally pointing to the lines nine two, nine three, nine four, and nine five; the line statements only mention nine three and nine four, which are examples of the central pivot."

初六，藉用白茅，無咎。本義 當《大過》之時，以陰柔居巽下，過於畏慎而“無咎”者也，故其象占如此。“白茅”，物之潔者。程傳 初以陰柔巽體而處下，過於畏慎者也。以柔在下，用，茅藉物之象，不錯諸地而藉以茅，過於慎也，是以“無咎”。茅之為物雖薄，而用可重者，以用之能成敬慎

The line statement for the first line (Initial Six) says: Using white reed grass as a mat beneath, there is no blame. Zhu Xi's "Benyi" says: At the time of the Great Excess, the Initial Six, being a yin and flexible line, occupies the lowest position in the "Xun" trigram, is someone who is overly cautious and fearful, thus resulting in "no blame." Therefore, the image of the line and the statement of the divination are as such. "White reed grass" is a clean object. Cheng Yi's "Yichuan Commentary on the Changes" says: The Initial Six, with its yin and flexible nature and the nature of the trigram that is yielding, is in the lowest position, indicating someone who is overly cautious. Being yin and in a lower position corresponds to using reed grass as a mat to support things; not placing something directly on the ground but using reed grass as a mat represents being overly cautious, hence "no blame." Although reed grass is light and thin, its use can be very significant, as it can achieve respect and caution. There is a missing character in the original text.

集說 胡氏瑗曰：為事之始，不可輕易，必須恭慎，然後可以免咎。況居《大過》之時，是其事至重，功業至大，尤不易於有為，必當過分而慎重，然後可也，：苟於事始慎之如此，則可以立天下之大功，興天下之大利，又何咎之有哉？

"The Collection of Sayings" cites Hu Yuan's view: the beginning of doing things must not be taken lightly; one must be respectful and cautious, and only then can mistakes be avoided. Moreover, when one is in the context of the hexagram Great Excess, the matters to be handled are extremely heavy, and the achievements to be made are exceedingly great. Since they are inherently very difficult to accomplish, one must be cautious beyond ordinary measures, and only then can things proceed smoothly. The use of white reed grass as a base by the line Six at the Beginning is precisely this extraordinary prudence. If one is already cautious to this extent at the beginning of a matter, then one can establish great achievements for the world and promote great benefits for the world, where could there be any mistake at all?"

朱氏震曰：茅之為物薄而用重，過慎也。過慎者，慎之至也。《大過》君子，將有事焉，以任至大之事，過而“無咎”者，其唯過於慎乎！過非正也，初六執柔處下，不犯乎剛，於此而過，其誰咎之？

"The Collection of Sayings" cites Zhu Zhen's explanation: grass is light and thin but its use is valuable; this is being overly cautious. Being overly cautious is actually being cautious to the extreme. When the "Great Excess" hexagram is in effect, the gentleman is about to take action to shoulder a great responsibility. The only way to achieve "no blame" is by being overly cautious. Excess is not the proper path, but since the initial line maintains flexibility and remains in a low position, not offending the yang, it goes beyond a little in this aspect; who would blame it?

趙氏玉泉曰：當過時而陰居巽下，是以過慎之心任事，遵始慮終，無所不至。如物措諸地，又藉之以白茅焉，如是則視天下無可忽之事者，舉天下無不可為之事，身無過動，行無敗謀，何咎之有？

"The Collected Commentaries" cite Zhao Yuquan's saying: being in the period of crossing over and having a yin line in the position below the "Xun" trigram indicates using an overly cautious heart to undertake affairs. From the beginning, one considers the end result, being meticulous in every detail. It is like having an object already placed on the ground and then using white reed grass to pad it underneath. In this way, one sees nothing in the world as something to be neglected, and thus nothing in the world is impossible to accomplish. One's own actions are not excessive, and one's plans for action have no failure. What fault could there be then?

案 胡氏、朱氏、趙氏說，極於卦義相關。蓋《大過》者，大事之卦也。自古任大事者，必以小心為基，故聖人於初爻發義。任重大者，棟也；基細微者，茅也。棟支於上，茅藉於下。故《繫傳》云：“茅之為物薄，而用可重也”，正對棟為重物、重任而言。

Li Guangdi remarked: The views of Hu Yuan, Zhu Zhen, and Zhao Yququan are closely related to the meaning of the entire hexagram. The hexagram Da Guo concerns undertaking great affairs. Since ancient times, those who shoulder major responsibilities must necessarily have caution as their foundation. Therefore, the sage explained this meaning in the first line. Those who bear heavy responsibilities are the beams, while those who lay down the subtle foundations are the grasses. The beams support above, while the grasses lay the groundwork below. Thus, the Great Treatise says, "The grass is a thin thing, yet its use is weighty," which is precisely addressing the beams, which are heavy and bear great responsibilities.

九二，枯楊生稊，老夫得其女妻，無不利。本義 陽過之始，而比初陰，故其象占如此。“稊”，根也，榮於下者也。榮於下則生於上矣。夫雖老而得女妻，猶能成生育之功也。

The Line Statement for the Second Line (Nine in the Second): A withered poplar tree root produces new sprouts, an old man marries a young wife, there is no disadvantage. Zhu Xi's "Original Meaning" says: Nine in the Second is located at the beginning of excessive yang energy, and is adjacent to the Yin line of the first line, so the line image and the divination statement are like this. "Tí" refers to the tree root, sprouting new green from below; once it sprouts from below, naturally the upper part revives. Although the husband is old and marries a young wife, he can still achieve the function of producing offspring.

程傳 陽之大過，比陰則合，故二與五，皆有生象。九二當《大過》之初，得中而居柔，與初密比而相與。初既切比於二，二復無應於上，其相與可知。是剛過之人，而能以中自處，用柔相濟者也。過剛則不能有所為，九三是也。得中用柔，則能成大過之功，九二是也。

Cheng Yi in Yichuan's Commentary on the Changes says that when yang is excessively strong, it harmonizes with yin, hence both nine two and nine five have the image of 'birth'. Nine two is located at the beginning of the Great Excess, occupies the central position but is in a yin and flexible position, and is closely adjacent to initial six, mutually attached to each other. Since initial six is closely attached to nine two, and nine two above has no corresponding line, the mutual attachment between them is evident. This is the appearance of a strongly yang person who can maintain the middle path and use flexibility to regulate. Excessive yang leads to failure, as seen in nine three; occupying the central position and using flexibility, one can achieve the success of the Great Excess, as seen in nine two.

楊者，陽氣易感之物，陽過則枯矣。楊枯槁而復生稊，陽過而未至於極也。九二陽過而與初，老夫得女妻之象。老夫而得女妻，則能成生育之功。二得中居柔而與初，故能復生稊，而無過極之失，無所不利也。在《大過》陽爻居陰則善，二與四是也。二不言吉，方言無所不利，未遽至吉也。“稊”，根也，劉琨《勸進表》云：生繁華於枯黃，謂枯根也。鄭康成《易》亦作荑字，與稊同。

Cheng Yi continued to say: The poplar tree is a tree that easily responds to the yang energy when it comes, but when the yang becomes excessive, it withers. The poplar tree has already withered but new sprouts emerge from the root, indicating that although the yang is excessive, it has not yet reached the extreme. Nine Two, which is excessive yang, is paired with Six at the Beginning, which is like an old man marrying a young wife. An old man marrying a young wife can still achieve the function of producing offspring. Nine Two is in the middle and in a yin position, and is closely related to Six at the Beginning, so it can regenerate new sprouts and has not reached the extreme, thus there is nothing that is not beneficial. In the卦 of Great Excess, it is good for a yang line to be in a yin position. Nine Two and Nine Four are examples of this. Nine Two does not say 'auspicious', but only says there is nothing that is not beneficial, because it has not yet reached the point of being auspicious. 'Tí' is the root of a plant. Liu Kun's 'Encouragement of Advancement' says 'growing prosperity from withered yellow', which refers to the withered root. Zheng Xuan's version of the Zhou Changes also writes it as 'tí', which is the same as 'tī'.

集說 司馬氏光曰：《大過》剛已過矣，止可濟之以柔，不可濟之以剛也。故《大過》之時，皆以居陰為吉，不以得位為美。楊氏時曰：聞之蜀僧云，四爻之剛，雖同為木，然或為楊，或為棟。棟負眾榱，則木之強者也。楊為早凋，則木之弱者也。此卦本末皆弱，二近於本，五近於末，故均為木之弱也。

"The Collection of Sayings" cites Sima Guang's view: The strength in the hexagram "Great Excess" has already become excessive, so it can only be balanced by softness, not by adding more strength; therefore, in the hexagram "Great Excess," each line is considered auspicious when it occupies a yin position, not when it is "in the proper position." "The Collection of Sayings" also cites Yang Shi's words: According to what a Buddhist monk from Sichuan said, the four yang lines are all considered wood, but some are taken as symbolizing the elm tree and others as symbolizing the beam. A beam supports many planks, representing the strong part of wood; the elm tree withers early, representing the weak part of wood. This hexagram has weak beginnings and endings, with the line nine two close to the root and nine five close to the tip, so they are all considered to belong to the weak category of wood.

項氏安世曰：二五皆濱於澤，楊，澤木也。當《大過》之時，故稱枯焉。過則木枯也。胡氏炳文曰：巽為木，兌為澤，楊近澤之木，故以取象。枯楊，大過象；稊，初在下象；老夫，九象；女妻，初柔在下象。九二陽雖過而下比於陰，如枯陽雖過於老，稊榮於下，則復生於上矣。老夫而得女妻，雖過以相與，終能成生育之功。無他，以陽從陰，過而不過，生道也。

"Ji Shuo" cites Xiang Anshi's view: Nine in the Second and Nine in the Fifth are both close to the marsh and water. Yang is a tree growing by the marsh and water; during the time of "Da Guo" (Great Excess), it is said that it withers—because of excessive strength, the wood withers. "Ji Shuo" also cites Hu Bingwen's view: "Xun" represents wood, "Dui" represents marsh, and Yang is a tree by the marsh and water, so it is used as a symbol. Withered Yang is the image of "Da Guo," "Ti" is the image of Six at the Beginning at the bottom, "Lao Fu" is the image of the yang line marked Nine, and "Nu Qi" is the image of the yin line marked Six at the bottom. Although Nine in the Second is overly strong, it approaches the yin line below; just as withered Yang, though old beyond measure, has new sprouts emerging below, and thus revives above. An old man marrying a young wife, although the match is excessive, ultimately achieves the function of producing offspring. There is no other reason; it is only because the yang follows the yin, the excess is not excessive, and this is the way of continuous generation.

九三，棟橈，凶。本義 三四二爻，居卦之中，棟之象也。九三以剛居剛，不勝其重，故象橈而占“凶”。程傳 夫居大過之時，興大過之功，立大過之事，非剛柔得中，取於人以自輔，則不能也。既過於剛強，則不能與人同。常常之功。尚不能獨立，況大過之事乎！以聖人之才，雖小事必取於人，當天下之大任，則可知矣。

The third line statement says: The beam bends, which is ominous. Zhu Xi's "Benyi" explains that the third and fourth lines are located in the center of the entire hexagram, symbolizing the beam; the third line, being a yang line in a yang position, cannot bear the weight, hence the image of bending and the statement of ominousness. Cheng Yi's "Yichuan Commentary on the Changes" says: When in the situation of "Great Excess," one should promote the achievements of "Great Excess" and establish matters of "Great Excess." It is not possible to accomplish this by merely achieving balance between yang and yin or relying on others for assistance. Since one is overly strong, one cannot harmonize with others; ordinary achievements are already difficult to accomplish alone, let alone such a great matter as "Great Excess." Even with the ability of a sage, one must rely on others for even small matters. Therefore, what is needed to shoulder the great responsibility of the world is self-evident.

九三以大過之陽，復以剛自居而不得中，剛過之甚者也。以過甚之剛，動則遠於中和，而拂於眾心，安能當大過之任乎？故不勝其任。如棟之橈，傾敗其室，是以凶也。取棟為象者，以其無輔而不能勝重任也。

Cheng Yi continued to say: The Nine in the Third, with a Yang line in the Great Excess hexagram, takes pride in being strong but fails to be in the central position. This is an extreme form of strength. With such an overly strong nature, any movement leads to deviation from harmony and violates the hearts of others. How can one bear the heavy responsibility of the Great Excess? Therefore, being unable to fulfill one's duty is like a beam bending and collapsing the whole house, hence the凶. The image of the beam is taken because it cannot support the heavy responsibility without support.

或曰：三巽體而應於上，豈無用柔之象乎？曰：言《易》者貴乎識勢之重輕，時之變易。三居過而用剛，巽既終而且變，豈復有用柔之義？應者謂志相從也，三方過剛，上能繫其志乎？集說 俞氏琰曰：卦有四剛爻，而九三過剛特甚，故以卦之棟橈屬之。

Someone asked Cheng Yi: The line Nine in the Third belongs to the trigram Xun (Wind) and corresponds with the line Six at the Top. Is there not a use of the soft image? Cheng Yi replied: Those who study The Zhou Changes value the understanding of the weight of situations and the changes of timing. Nine in the Third is in a position of crossing over and uses strength. Since Xun has already reached its end and is about to change, how can there still be a use of softness? The term 'correspondence' refers to mutual following of intentions; Nine in the Third is excessively strong, how can Six at the Top hold its intention? The 'Collected Sayings' cites Yu Yan as saying: This hexagram has four strong lines, and Nine in the Third is particularly strong, so the image of 'the beam bending' is attributed to it.

吳氏曰慎曰：九三“棟橈”，自橈也，所謂太剛則折，故《彖》有取於“剛過而中，巽而說行”也。九四，棟隆吉，有它吝。本義 以陽居陰，過而不過，故其象隆而占“吉”。然下應初六，以柔濟之，則過於柔矣，故又戒以有它則吝也。

"The 'Collected Sayings' also cites Wu Yashen's explanation: the 'bending of the beam' in the third line, 'Nine Three,' refers to bending oneself under one's own weight, which is what is meant by the saying that excessive firmness leads to breaking. Therefore, Confucius' 'Tao Ci' takes 'excessive firmness but in the center, yielding and joyful in action' as its basis. The fourth line's statement: the beam rises upward, which is auspicious; but if there is another pursuit, there will be regret. Zhu Xi's 'Basic Meaning' says: the fourth line, being a yang line in a yin position, exceeds yet does not exceed, so it is taken as rising and the divination statement is 'auspicious.' However, it connects downward with the first line, using yin flexibility to balance, which becomes overly flexible, so it also warns that if there is another pursuit, there will be regret."

程傳 四居近君之位，當《大過》之任者也。居柔為能用柔相濟，既不過剛，則能勝其任，加棟之隆起，是以吉也。隆起，取不下橈之義。《大過》之時，非陽剛不能濟，以剛處柔為得宜矣。若又與初六之陰相應，則過也。既剛柔得宜，而志復應陰，是有它也。有它則有累於剛，雖未至於大害，亦可吝也。蓋《大過》之時，動則過也。有它，謂更有他志。吝為不足之義，謂可少也。

Cheng Yi in Yichuan's Commentary on the Changes says: Nine in the Fourth is located near the position of the ruler, and is the person who bears the responsibility of the Great Excess. It is located in a yin and flexible position, indicating that it can use softness to balance; since it is not overly strong, it can fulfill its role, like a beam that arches upward, thus resulting in good fortune. "Arching upward" refers to not bending downward. In the time of Great Excess, something cannot be accomplished without yang strength. Therefore, having yang strength in a yin and flexible position is considered appropriate. If it also corresponds with the initial line, which is a yin line, then it becomes excessive. Since the balance between yang and yin is appropriate, yet the mind is inclined to correspond with the yin line, this is called "having something else." Having something else will burden its yang strength. Although it does not yet lead to great harm, it is still regrettable. Because in the time of Great Excess, any movement is considered excessive. "Having something else" refers to having other thoughts; "want" means lacking, indicating that it is still lacking a little.

或曰：二比初則無不利，四若應初則為吝，何也？曰：二得中而比於初，為以柔相濟之義；四與初為正應，志相繫者也。九既居四，剛柔得宜矣，復牽繫於陰以害其剛，則可吝也。集說 劉氏牧曰：《大過》之時，陽爻皆以居陰為美，有應則有“它吝”。

Someone asked Cheng Yi: Why does Nine in the Second (nine two) have 'no disadvantage' when it is close to Six at the Beginning (chou liu), but Nine in the Fourth (nine four) becomes 'a regret' when it corresponds with Six at the Beginning? Cheng Yi answered: Nine in the Second is in the center and adjacent to Six at the Beginning, which means using a soft element to balance. Nine in the Fourth corresponds with Six at the Beginning, which is a mutual connection of will. Since Nine is in the fourth position, the yin and yang are already in harmony. If it then becomes entangled with the yin line and hinders its own yang, that would be a pity. The 'collected interpretations' cite Liu Mu saying: During the time of 'Great Excess', yang lines are considered good when they are in yin positions. Once there is a 'corresponding connection', there will be 'another regret'.

李氏過曰：下卦上實而下弱，下弱則上傾。故三居下卦之上，而曰棟橈凶，言下弱而無助也。上卦上弱而下實，下實則可載。故四居上卦之下，而曰“棟隆吉”，言下實而不橈也。此二爻當分上下體看。吳氏曰慎曰：三四居卦之中，皆有棟象。三橈而四隆者，三以剛居剛，四以剛居柔，一也；三在下，四在上，二也；三於下卦為上實下虛，四於上卦為下實上虛，三也。

"The 'Collected Sayings' cites Li Guo's explanation: the lower trigram represents the upper part being strong and the lower part weak, so when the lower part is weak, the upper part will collapse. Therefore, the line 'Nine in the Third' is located above the lower trigram, and the line statement says 'the beam bends, which is凶 (unfavorable)', referring to the lower part being weak and lacking support. The upper trigram represents the upper part being weak and the lower part strong, so the lower part can support it. Therefore, the line 'Nine in the Fourth' is located below the upper trigram, and the line statement says 'the beam is raised, which is吉 (favorable)', referring to the lower part being solid and not bending. These two lines should be viewed in terms of the upper and lower parts. 'Collected Sayings' also cites Wu Yashen's explanation: 'Nine in the Third' and 'Nine in the Fourth' are located in the middle of the entire trigram, both having the image of a beam. 'Nine in the Third' bends while 'Nine in the Fourth' rises, and the reason for this is threefold: first, 'Nine in the Third' is a yang line in a yang position, while 'Nine in the Fourth' is a yang line in a yin position; second, 'Nine in the Third' is below while 'Nine in the Fourth' is above; third, 'Nine in the Third' in the lower trigram has the upper part solid and the lower part empty, while 'Nine in the Fourth' in the upper trigram has the lower part solid and the upper part empty."

九五，枯楊生華，老婦得其士夫，無咎無譽。本義 九五陽過之極，又比過極之陰，故其象占皆與二反。程傳 九五當《大過》之時，本以中正居尊位，然下無應助，固不能成《大過》之功。而上比過極之陰，其所相濟者，如枯楊之生華。枯楊下生根稊，則能復生，如《大過》之陽，興成事功也。上生華秀，雖有所發，無益於枯也。上六過極之陰，老婦也。

The line statement of the fifth line (九五) says: A withered willow tree's tip bears flowers, an old woman marries a young man, there is no blame nor praise. Zhu Xi's "Original Meaning" says: The fifth line is at the extreme point of excessive yang, and is adjacent to the extreme point of excessive yin, so the image and the statement of the line are opposite to that of the second line (九二). Cheng Yi's "Commentary on the Changes" says: When the fifth line is in the hexagram of Great Excess, it originally holds the position of honor with the virtue of being upright and just, but it has no corresponding line below to assist it, so it cannot achieve the merit of Great Excess. Moreover, it is close to the extreme yin above, and the result of mutual adjustment is like a withered willow bearing flowers. The withered willow has roots and sprouts below, which can revive again, similar to the yang energy of Great Excess initiating achievements. The flowers on top, although they express something, do no good to the withered tree. The sixth line at the top is the extreme yin, which is like the old woman.

五雖非少，比老婦則為壯矣，於五無所賴也，故反稱婦得。過極之陰，得陽之相濟，不為無益也。以士夫而得老婦，雖無罪咎，殊非美也，故云“無咎”“無譽”，《象》復言其可醜也。集說 沈氏該曰：九二比於初，近本也，“生稊”之象也。九五承於上，近末也，“生華”之象也。

Cheng Yi continued to say: Nine in the Fifth, although not young, is still younger than an old woman, and thus does not rely on Nine in the Fifth. Therefore, it is said that an old woman marries a husband. Excessive Yin receives Yang to balance it, which cannot be said to have no benefit; however, a strong young man marrying an old woman, although not a wrongdoing, is indeed not a good thing, hence it is said "no blame" and "no praise." The small explanation further says it is something shameful. The collected interpretations cite Shen Cai, who says: Nine in the Second is close to Six at the Beginning, near the root, symbolizing "the sprouting of a sprout"; Nine in the Fifth receives Six at the Top, near the tip, symbolizing "the blooming of flowers."

何氏楷曰：“生稊”則生機方長，“生華”則洩且竭矣。二所與者初，初，本也，又巽之主爻，為木、為長、為高；木已過而復芽，又長且高，故有往亨之理。五所與者上，上末也，又兌之主爻，為毀折，為附決，皆非木之所宜；木已過而生華，又毀且折，理無久生已。

The "Ji Shuo" cites He Kai's explanation: "Sheng Ti" refers to the initial sprouting of vitality, while "Sheng Hua" indicates the outward discharge of vital energy and the imminent exhaustion. Nine in the Second is paired with Six at the Beginning, which is the root and the main line of the "Xun" hexagram. "Xun" represents wood, growth, and elevation; since the wood has aged and begun to sprout again, it can still grow higher, hence there is reason for smooth progress. Nine in the Fifth is paired with Six at the Top, which is the tip and the main line of the "Dui" hexagram. "Dui" signifies destruction and attachment followed by shedding, neither of which is suitable for wood. Since the wood has aged and begun to bloom, it will soon be destroyed, and by nature, it cannot sustain long-term existence.

上六，過涉滅頂，凶，無咎。本義 處過圾之地，才弱不足以濟，然於義為“無咎”矣。蓋殺身成仁之事，故其象占如此。程傳 上六以陰柔處過極，是小人過常之極者也。小人之所謂大過，非能為大過人之事也。直過常越理，不恤危亡，履險蹈禍而已，如過涉於水，至滅沒其頂，其“凶”可知。小人狂躁以自禍，蓋其宜也。復將何尤？故曰“無咎”，言自為之，無所怨咎也。因澤之象而取涉義。

The line statement for the sixth line at the top says: crossing a river by wading, but the water rises to the head, resulting in misfortune, yet there is no one to blame. Zhu Xi's "Benyi" states: the sixth line at the top is in the extreme position of crossing over, and its strength is weak and insufficient to accomplish anything. However, in terms of righteousness, it is "without blame," because this is an act of sacrificing one's life for the sake of benevolence. Therefore, the line image and the divination statement are like this. Cheng Yi's "Yichuan Commentary on the Changes" says: the sixth line at the top, being a yin and soft element, is in the extreme position of crossing over, which resembles a petty person crossing over beyond the usual limits. The "great excess" of a petty person is not about achieving great deeds beyond ordinary people, but rather about exceeding the normal course, violating reason, disregarding danger and death, and taking risks to cause trouble. It is like wading across a river until the water reaches the head, so the "misfortune" is evident. Petty persons are impetuous and invite their own misfortunes; they deserve their fate, so who can blame them? Therefore, saying "without blame" means that it is their own doing, and they cannot blame others. This is based on the image of "Dui" as a marsh, taking the meaning of wading through water.

集說 錢氏志立曰：澤之滅木，上之所以滅頂也。雖至滅頂，然有不容不涉，即不得不過者，孔子所以觀卦象，而有獨立不懼之思也。案 此爻，《程傳》以為履險蹈禍之小人，《本義》以為殺身成仁之君子。《本義》之說，固比《程傳》為長。然又有一說，以為《大過》之極，事無可為者。上六柔為說主，則是能從容隨順，而不為剛激以益重其勢，故雖處過涉滅頂之凶，而無咎也。如東京之季，範李之徒，適足以推波助瀾，非救時之道。況上六居無位之地，委蛇和順，如申屠蟠、郭泰者，君子弗非也，此說亦可並存。

"The Collected Sayings" cites Qian Zhili's view: the water covering the trees represents the reason why the sixth line at the top is submerged up to the head. Although it has reached the point of being submerged up to the head, there are some waters that cannot be avoided and some matters that cannot be bypassed. Confucius had the idea of standing firm without fear because he saw this hexagram. Li Guangdi comments: regarding this line, the Yichuan Commentary on the Changes sees it as the act of a petty person taking risks and causing trouble, while The Original Meaning of the Zhou Changes sees it as a gentleman sacrificing his life for righteousness. The interpretation in The Original Meaning is inherently more refined than that in the Yichuan Commentary. However, there is another interpretation which holds that when The Great Excess reaches its extreme, there is nothing more that can be done; the sixth line, being a yin and flexible line, serves as the main line of the Dui hexagram (Joy), thus being able to respond calmly and adapt, without using forceful and intense actions to worsen the dangerous situation. Therefore, even though it is in the dangerous situation of "excessive crossing leading to drowning," it results in "no blame." For example, during the late Eastern Han dynasty, people like Fan Pang and Li Ying actually played a role in exacerbating the situation, which was not a timely solution. Moreover, the sixth line is in a position without official status, being flexible and yielding, like Shen Tu Pan and Guo Tai, and gentlemen do not criticize them. This interpretation can also be accepted alongside the others."

總論 馮氏椅曰：《易》大抵上下畫停者，從中分反對為象，非他卦相應之例也，《頤》、《中孚》、《小過》皆然，而此卦尤明。三與四對，皆為棟象，上隆下橈也；二與五對，皆為“枯楊”之象，上華下稊也；初與上對，初為“藉用白茅”之慎，上為“過涉滅頂” 龔氏煥曰：《大過》本為陽過，若復以陽居陽，則愈過矣。故諸爻以陽居陰者皆“吉”，以陽居陽者皆“凶”，與大壯諸爻取義略同。

"The General Discussion" cites Feng Yi's statement: In the "Zhou Yi," generally, for hexagrams where the upper and lower trigrams are balanced, the hexagram is divided in the middle, and the imagery is derived from the contrast between positive and negative aspects, not from the corresponding yao positions as in other hexagrams; the hexagrams "Yi," "Zhongfu," and "Xiaoguo" are like this, and this hexagram is especially clear. The yao at nine three and nine four are opposite, both taking the image of a beam or a pillar, with the upper part rising and the lower part bending; the yao at nine two and nine five are opposite, both taking the image of a withered elm tree, with the upper part blooming and the lower part taking root; the yao at initial six and upper six are opposite, initial six is cautious as "using white reed mats," while upper six is "crossing a river and drowning the head"—there is a missing text in the original manuscript. "The General Discussion" also cites Gong Huan's statement: The hexagram "Daguo" is originally about excessive yang. If yang lines are placed in yang positions, it becomes even more excessive. Therefore, among the yao, those with yang lines in yin positions are "auspicious," while those with yang lines in yang positions are "inauspicious," which is roughly similar to the meaning of the yao in the hexagram "Dazhuang."

坎.坎上.坎下程傳 《習坎序卦》：“物不可以終過，故受之以坎。坎者，陷也。”理無過而不已，過極則必陷，《坎》所以次《大過》也。習，謂重習。他卦雖重，不加其名，獨坎加習者，見其重險，險中復有險，其義大也。卦中一陽，上下二陰，陽實陰虛，上下無據，一陽陷於二陰之中，故為坎陷之義。

The hexagram is labeled as "Kan." The upper trigram is "Kan," and the lower trigram is also "Kan." Cheng Yi in his commentary "Yichuan's Commentary on the Changes" says: The "Sequence of Hexagrams" explains, "Things cannot continue to exceed; hence it is followed by Kan." By nature, there is no continuous excess; when excess reaches its extreme, it must fall into a pit. Therefore, the hexagram Kan comes after Da Guo. "Xi" means repetition. Although other hexagrams are also formed by stacking two identical trigrams, they do not add a character to their names, but Kan adds the character "Xi" to emphasize its danger compounded by danger, and danger within danger, which carries significant meaning. Within the hexagram, there is one yang line, with yin lines above and below. Yang is substantial, yin is empty, and there is no support above or below. A single yang line is trapped between two yin lines, hence the meaning of "Kan" is taken as "trapping in a pit."

陽居陰中則為陷，陰居陽中則為麗。凡陽在上者止之象。在中陷之象，在下動之象。陰在上說之象，在中麗之象，在下巽之象。陷則為險。習，重也。如學習溫習，皆重複之義也。坎陷也，卦之所言，處險難之道。坎，水也，一始於中，有生之最先者也，故為水。陷，水之體也。

Cheng Yi continued to say: When a yang line is in the yin position, it is called "xiàn," meaning to fall into a pit. When a yin line is in the yang position, it is called "lì," meaning to adhere. If a yang line is on top, it represents the image of stopping; in the middle, it represents the image of falling into a pit; and at the bottom, it represents the image of movement. If a yin line is on top, it represents the image of joy; in the middle, it represents the image of adherence; and at the bottom, it represents the image of smooth entry. Falling into a pit becomes danger. "Xi" means repetition, like learning or reviewing, which both mean repetition. Kan represents a pit, and this hexagram discusses the principles of being in a dangerous situation. Kan is also water, which begins in the middle, being the first thing to show vitality among all things, so it is water. Falling into a pit is exactly the nature of water.

習坎，有孚，維心亨，行有尚。本義 習，重習也。坎。險陷也。其象為水，陽陷陰中，外虛而中實也。此卦上下皆坎，是為重險。中實為有孚心亨之象，以是而行，必有功矣，故其占如此。

The Hexagram Statement says: "To practice perseverance, with sincerity in the heart, only the heart is smooth and unimpeded; thus, such action is commendable." Zhu Xi's "Ben Yi" explains: "Xí" means repetition, and "Kǎn" means peril; its image is water, with a yang line submerged among yin lines, the outside being empty and the middle full. Since both upper and lower parts of this hexagram are "Kǎn," it is called double peril. The middle being full represents the image of having sincerity in the heart and the heart being smooth and unimpeded; acting in this way will surely achieve success, hence its "divination statement" is thus.

程傳 陽實在中，為中有孚信。“維心享”，維其心誠一，故能亨通。至誠可以通金石，蹈水火，何險難之不可亨也？行有尚，謂以誠一而行，則能出險，有可嘉尚，謂有功也。不行則常在險中矣。

Cheng Yi in Yichuan's Commentary on the Changes says: A yang line that is fully present in the center indicates that the heart is sincere. "Maintaining sincerity leads to success" means that because his heart is sincere and unified, he can achieve success. Ultimate sincerity can penetrate metal and stone, tread upon water and fire; what difficulty cannot be overcome? "Action is commendable" means that by acting with sincerity and unity, one can escape from danger and achieve something worthy of praise, which is an accomplishment. Without action, one would remain forever in danger.

集說 孔氏穎達曰：坎是險陷之名，習者便習之義。險難之事，非經便習，不可以行。故須便習於坎，事乃得用，故云“習坎”也。案諸卦之名，皆於卦上不加其字。此坎卦之名特加習者，以坎為險難，故特加習名。

"The Collection of Commentaries" cites Kong Yingda's explanation: "Kan" refers to a dangerous situation, and "xi" means to become familiar. Dangerous matters cannot be handled without becoming familiar, so one must become familiar with the dangers in Kan, in order to accomplish things, hence it is called "Xi Kan." Kong Yingda further explains: the names of the hexagrams do not usually have additional characters added to the hexagram character, but the Kan hexagram specially adds the character "xi." This is because Kan represents danger, so the name "xi" is specially added to emphasize this meaning.

胡氏瑗曰：此卦在八純之數，其七卦皆一字名，獨此加習字者，何也？蓋乾主於健，坤主於順，若是之類，率皆一寧可以盡其義。而此卦上下皆險，以是為險難重疊之際。君子之人，必當預積習之，然後可以濟其險阻，故聖人特加習字者此也。

"The Collection of Commentaries" cites Hu Yuan's explanation: this hexagram belongs to the eight pure hexagrams. The other seven hexagrams have names consisting of a single character, but this one has the character "xi" (practice) added. Why? Because "Qian" (Heaven) is characterized by strength, and "Kun" (Earth) is characterized by compliance; such hexagrams can be fully explained by a single character. However, this hexagram has both its upper and lower trigrams as "Xian" (danger), which represents a time of overlapping dangers. A gentleman must first accumulate and become familiar with the proper methods before he can overcome such difficulties. Therefore, the sage specially added the character "xi" (practice) for this reason.

蘇氏軾曰：坎，險也。水之所行，而非水也，唯水為能習行於險，其不直曰坎而曰“習坎”，取於水也。呂氏大臨曰：“習坎”，更試乎至難也。八卦乾健坤順，震動艮止，離明坎險，巽入兌說。唯險非吉德，君子所不取，故於坎也，獨以習坎為名。更試重險，乃君子所有事也。

"The Collected Commentaries" cite Su Shi saying: "Kan" represents danger, which is a place where water flows, but itself is not water; only water can skillfully move through danger. The hexagram is not named directly "Kan" but "Xí Kǎn," which takes the meaning of water. "The Collected Commentaries" also cite Lü Daolin saying: "Xí Kǎn" means repeatedly experiencing the most difficult situations. Among the Eight Trigrams, "Qian" represents strength, "Kun" represents compliance, "Zhen" represents movement, "Gen" represents stillness, "Li" represents brightness, "Kan" represents danger, "Xun" represents entering, and "Dui" represents joy. Only "danger" is not a virtue, and it is something a gentleman does not pursue; therefore, the hexagram "Kan" is named "Xí Kǎn" specifically—repeatedly enduring multiple dangers, which is precisely what a gentleman should do.

薛氏溫其曰：坎非用物，以習為用，故名異它卦，蓋言用坎之人也。張氏浚曰：習，安行不息之稱。習坎險可出矣。夫陽陷於陰，非出險則功無自興。曰習坎，求以出險也。鄧氏汝諧曰：複習溫習，皆有重義。水雖至險，而習乎水者，雖出入乎水而不能溺，

"The Collected Sayings" cites Xue Wenqi's view: The trigram Kan is not something that can be used directly; it uses "practice" as its function, so its name differs from other trigrams. What it actually refers to is the person who is good at utilizing the dangers of Kan. "The Collected Sayings" also cites Zhang Jun's statement: "Practice" is a term meaning to move forward safely and without stopping; once one is familiar with Kan, danger arises. Yang is trapped within Yin, and without emerging from the danger, one cannot achieve success; saying "Practice Kan" is precisely seeking to escape from the perilous situation. "The Collected Sayings" also cites Zheng Ruoxie's view: Reviewing and rehearsing both contain the meaning of repetition; although water is extremely dangerous, those who are skilled in swimming can enter and exit the water without drowning. — There is a missing text in the original manuscript here.

李氏舜臣曰：坎之中實是為誠，離之中虛是為明。中實者坎之用，中虛者離之用也。作《易》者，因坎離之中，而寓誠明之用，古聖人之心學也。胡氏炳文曰：他卦亨字，《本義》例以為占，唯此則曰中實為有孚心亨之象，蓋他卦事之亨也，此心之亨也。陽實，“有孚”之象。陽明，心亨之象。

"The Collected Sayings" cites Li Shunshen's statement: "The center of Kan is solid, which represents sincerity; the center of Li is empty, which represents clarity. The solid center is the function of Kan, and the empty center is the function of Li. The author of The Zhou Changes used the emptiness and fullness of the middle line in Kan and Li to symbolize the functions of sincerity and clarity. This reflects the heart learning of ancient sages." "The Collected Sayings" also cites Hu Bingwen's statement: In other hexagrams, the character "hen" in The Original Meaning of the Zhou Changes is generally interpreted as a divinatory phrase. However, in this hexagram, it is said to represent the image of "having faith and the heart is harmonious" because other hexagrams discuss the smoothness of affairs, while this hexagram discusses the harmony of the heart. A solid yang line represents the image of "having faith"; a bright yang line represents the image of the heart being harmonious.

章氏潢曰：六十四卦，獨於坎卦指出心以示人，可見心在身中，真如一陽陷於二陰之內，所謂道心惟微者此也。吳氏曰慎曰：陽陷陰中，所以為坎。中實“有孚”，所以處險。有孚則誠立，心亨則明通。心之體，靜而常明，如一陽藏於二陰中也。心之用動而不息，如二陰中一陽之流行也。一陽者流行之本體，二陰者所在之分限。流而不踰限，動而靜也。限之而安流，靜而動也。有孚心亨之義，發於習坎，至矣哉！

"The Collected Interpretations" cites Zhang Huang's saying: Among the sixty-four hexagrams, only the Hexagram of Water (Kan) explicitly shows the character "heart" to people, indicating that the heart is within the body, just like a yang line submerged between two yin lines. The "Book of Documents · Great Yu's Virtue" says, "The way of the heart is subtle," referring precisely to this. "The Collected Interpretations" also cites Wu Yashen's saying: When a yang line is submerged within yin, it becomes Kan; the middle is full and "trustworthy," thus enabling it to cope with dangers. With sincerity, truth is established; with a clear and open heart, understanding is achieved. The nature of the heart is quiet and ever-clear, like a yang line hidden between two yin lines; the function of the heart is active and unceasing, like the flow of the yang line between the two yin lines. A single yang line is the essence of flow, while the two yin lines are the boundaries of flow: flowing without exceeding the limits is stillness within movement; having boundaries yet flowing calmly is movement within stillness. The meaning of "having sincerity, the heart is open" arises from "repeatedly encountering water," truly profound indeed!

初六，習坎，入于坎窞，凶。本義 以陰柔居重險之下，其陷益深，故其象占如此。程傳 初以陰柔居坎險之下，柔弱無援，而處不得當，非能出乎險也，唯益陷於深險耳。“窞”，坎中之陷處。已在“習坎”中，更入坎窞，其“凶”可知。

The line statement for the first line (Initial Six): being caught in a deep pit within a double danger, it is dangerous. Zhu Xi's "Benyi" says: the first line, being a yin and flexible line, is located at the very bottom of a double danger, thus falling into an even deeper pit, so the line image and the divination statement are as such. Cheng Yi's "Yichuan Commentary on the Changes" says: the first line, being a yin and flexible line, is located below the danger of Kan, weak and without support, and its position is inappropriate, so it is not able to escape the danger, but will only sink deeper. "Kan" refers to a deeper pit within the danger of Kan; when a person is already in a double danger, and then falls into an even deeper pit, the danger is self-evident.

集說 張氏浚曰：陰居重坎下，迷不知復，以習於惡，故“凶”，失正道也。《傳》曰：小人行險以僥倖，初六之謂。案 如張氏說，習坎兩字，才不虛設，時俗所謂機深禍轉深者。

"The Collection of Sayings" cites Zhang Jun's view: a yao of yin is located below the double Kan, being confused and not knowing to turn back, thus accustomed to evil, hence "dangerous," which is losing the right path. The "Book of Rites · Doctrine of the Mean" says "the petty person takes risks in order to seekby chance," which refers to the line Six at the Beginning. Li Guangdi comments: according to Zhang Jun's view, the phrase "practice Kan" is not in vain, that is, as the saying goes, the deeper the scheming, the deeper the calamity.

九二，坎有險，求小得。本義 處重險之中，未能自出，故為“有險”之象。然剛而得中。故其占可以“求小得”也。程傳 二當坎險之時，陷上下二陰之中，乃至險之地，是“有險”也，然其剛中之才，雖未能出乎險中，亦可小自濟，不至如初益陷入於深險，是所“求小得”也。君子處險難而能自保者，剛中而已。剛則才足自衛，中則動不失宜。

The line statement for the second line (nine two) says: There is danger within the坎 (Kan), and what is sought can result in a small gain. Zhu Xi's "Benyi" states: Nine two is located in the midst of double danger and still cannot escape on its own, hence the image of "there is danger"; however, because it is yang and occupies the central position, the divination statement allows for "a small gain." Cheng Yi's "Yichuan Commentary on the Changes" says: Nine two is precisely in the dangerous situation of Kan, trapped between the two yin lines above and below, which is the most dangerous place, hence the statement "there is danger." However, relying on its virtue of being yang and in the center, although it still cannot escape the dangerous situation, it can slightly save itself, without falling into deeper trouble like the initial line six. This is the "small gain" sought. A gentleman who is in a dangerous situation yet can protect himself relies only on being yang and in the center: being yang means his ability is sufficient to defend himself; being in the center means his actions do not lose proper measure.

集說 楊氏時曰：求者，自求也。外雖有險而心常亨，故曰“求小得。”陳氏仁錫曰：求其小，不求其大，原不在大也。涓涓不已，流為江河，如掘地得泉，不待溢出外，然後為流水也。案 楊氏、陳氏之說極是，凡人為學作事，必自求小得始，如水雖涓涓面有源，為行險之本也。

"The 'Collection of Sayings' cites Yang Shi saying: the term 'seeking' refers to seeking oneself; although there may be external dangers, the inner self is often smooth and unobstructed, hence it is said 'seeking small gains.' The 'Collection of Sayings' also cites Chen Renxi saying: seeking the small rather than the great, one does not care about the great. Just as a tiny stream continues flowing, it eventually forms a river; similarly, digging a well and finding spring water, one does not have to wait until it overflows before it is considered flowing water. Li Guangdi comments: Yang Shi and Chen Renxi's views are entirely correct. Indeed, all people in their studies and affairs must begin with self-seeking of small gains, just as water though small has its source, which is the fundamental nature of proceeding through difficulties."

六三，來之坎坎。險且枕，入于坎客。勿用。本義 以陰柔不中正，而履重險之間，來往皆險，前險而後枕，其陷益深，不可用也，故其象占如此。枕，倚著未安之意。程傳 六三在坎險之時，以陰柔而居不中正，其處不善，進退與居皆不可者也。來下則入於險之中，之上則重險也，退來與進之皆險，故云“來之坎坎”。既進退皆險，

The line statement for the third line (Six in the Third) says: coming is a danger, going is also a danger; it is dangerous, and one can only barely rely on something, falling into a deep pit of danger, so there should be no action. Zhu Xi's "Benyi" says: the sixth line in the third position is yin and soft, and not "zhongzheng," standing between layers of danger, both coming and going are dangerous, the front is dangerous and the back can only barely rely on something, sinking deeper into the danger, so there should be no action. "Zhen" means to lean on but not yet stable. Cheng Yi's "Yichuan Commentary on the Changes" says: the sixth line in the third position is exactly in the dangerous situation of Kan, being yin and soft in an unzhong and unzheng position, in an unfavorable position, advancing, retreating, or staying put are all impossible. Going down leads into the middle of the danger, going up leads into more danger; retreating and advancing are both dangerous, so it says "coming with danger." Since advancing and retreating are both dangerous—there is a missing character in the original text.

集說 《朱子語類》云：“險且枕”，只是前後皆險。來之自是兩字，謂下來亦坎。上往亦坎，之，往也，進退皆險也。王氏申子曰：下卦之險已終，上卦之險又至，進退皆險，則寧於可止之地而暫息焉。

"The 'Collected Sayings' cites Zhu Xi's words from the 'Words of Master Zhu' saying: 'Danger and rest' merely means that both before and after are dangerous. 'Coming' is originally two characters: going down is Kan, going up is also Kan; 'zhi' means going, so advancing or retreating is dangerous. 'The Collected Sayings' also quotes Wang Shenzi saying: the danger of the lower trigram has just been passed, but the danger of the upper trigram is coming, and since advancing or retreating is dangerous, it would be better to rest temporarily at a place where one can stop."

且者聊爾之辭，枕者息而來安之義。能如此，雖未離乎險，亦不至深入于坎窞之中也。其進而入，則陷益深，為不可用。勿者，止之之辭也。案 “險且枕”，《傳》義與王氏分為三說，王氏以為戒處險者順聽之意，似與《需》之六四，義足相發。

Wang Shenzi continued to say: "Qie" is an expression of provisional action, and "zhen" means to rest and gain a momentary sense of security. If one can do this, although they have not yet escaped the peril, they will not be deeply trapped in the abyss; if they proceed forward recklessly, they will be plunged deeper, hence it is said "it is not advisable." "Wu" is an expression of prohibition. Li Guangdi remarked: Regarding "xian qie zhen," the Yichuan Commentary on the Changes, The Original Meaning of the Zhou Changes, and Wang Shenzi offer three different interpretations; Wang Shenzi regarded it as a warning to those in peril to follow the timing and submit to fate, which seems to correspond well with the meaning of the sixth line in the Need hexagram.

六四，樽酒簋，貳用缶，納約自牖，終無咎。本義 晁氏云：先儒讀“樽酒簋”為一句，“貳用缶”為一句，今從之。貳，益之也。《周禮》，大祭三貳，弟子職，左執虛豆，右執挾匕，周旋而貳，是也。九五尊位，六四近之，在險之時，剛柔相際，故有但用薄禮，益以誠心，進結“自牖”之象。牖非所由之正，而室之所以受明也。始雖艱阻，終得“無咎”，故其占如此。

The statement for the fourth line says: One cup of wine, one bowl of food, and then adding something in a jar, sending the simple gesture through the window, ultimately resulting in no fault. Zhu Xi's "Ben Yi" states that Chao Shuo Zhi explained that earlier scholars read "zun wine gui food" as one phrase and "er yong fǒu" as another, and now we follow this reading. "Er" means to add: The "Zhou Li" mentions "three er" in great sacrifices, and the "Guan Zi · Di Zi Zhi" describes holding an empty bean dish in the left hand and a ladle in the right hand, moving around to add food, which is this "er." The ninth line is in a position of honor, and the fourth line is adjacent to it. In times of danger, the interaction between firmness and softness occurs, hence the image of offering only a modest gift and adding sincerity through the window to connect. A window is not a normal place for entry, but it is where light enters the house. Although the beginning is difficult and blocked, it ultimately leads to "no fault," so the statement is like this.

程傳 六四陰柔而下無助，非能濟天下之險者，以其在高位，故言為臣處險之道。大臣當險難之時，唯至誠見信於君，其交固而不可間，又能開明君心，則可保“無咎”矣。夫欲上之篤信，唯當盡其質實而已。多儀而尚飾，莫如燕享之禮，故以燕享喻之。

Cheng Yi in Yichuan's Commentary on the Changes says: The sixth line in the fourth position is a yin and flexible line, and it has no support below, so it is not a person who can save the world from danger; rather, it refers to the principle of ministers facing difficulties. When ministers are in danger, they can only gain the trust of the sovereign by being sincere to the utmost, thus ensuring a firm and unbreakable relationship. Moreover, they must illuminate the sovereign's mind, thereby preserving 'no blame'. To gain the sovereign's firm trust, one must simply be sincere and honest. Ceremonies are elaborate and adorned with many embellishments, none more so than the rites of feasting and entertainment, hence the use of feasting as an analogy.

言當不尚浮飾，唯以質實，所用一樽之酒，二簋之食，復以瓦缶為器，質之至也。其質實如此，又須納約自牖。“納約”謂進結於君之道。牖開通之義。室之暗也，故設牖所以通明。“自牖”，言自通明之處，以況君心所明處。《詩》云：天之牖民，如誦如篪。

Cheng Yi continued to say: This refers to the idea of not valuing superficial ornamentation, but instead to treat others with simplicity and sincerity. One would use only a single cup of wine and two bowls of food, and use earthenware vessels, reaching the extreme of simplicity. When simplicity and sincerity have reached this level, one must also 'take in the sincere and enter through the window.' 'Taking in the sincere' refers to advising and associating with the ruler through the proper channels; 'window' means to open up, as a room is dark and a window is opened to let in light. 'Entering through the window' means to enter from the bright place, symbolizing the ruler's clear and enlightened side. The Book of Poetry has the line, 'Heaven opens the minds of the people, like the sound of a reed pipe and a bamboo flute.'

毛公訓牖為道，亦開通之謂。人臣以忠信善道結於君心，必自其所明處乃能入也。人心有所蔽，有所通。所蔽者，暗處也；所通者，明處也。當就其明處而告之，求信則易也。故云“納約自牖”。能如是，則雖艱險之時，終得無咎也。且如君心蔽於荒樂，唯其蔽也故爾，雖力詆其荒樂之非，如其不省何？必於所不蔽之事，推而及之，則能悟其心矣。

Cheng Yi continued to say: Mao Gong interpreted "yǒu" as "dao," which also means to open up. A minister who uses loyalty, trustworthiness, and good principles to approach the mind of the ruler must do so from where the ruler understands. The human mind has both obscured and clear parts; the obscured is the dark place, and the clear is the bright place. One should approach the ruler from his clear parts, so that gaining trust will be easier. Therefore, it is said, "nà yuē zì yǒu." If one can do this, then even in difficult times, there will be no mistakes. Just as a ruler's mind is obscured by indulgence and pleasure, precisely because it is obscured, even if one strongly criticizes the ruler's indulgence and pleasure, he will not understand. One must therefore infer from the things that are not obscured, in order to awaken his mind.

自古能諫其君者，未有不因其所明也。故訐直強勁者，率多取忤，而溫厚明辯者，其說多行。且如漢祖愛戚姬，將易太子，是其所蔽也。群臣爭之者多矣，嫡庶之義，長幼之序，非不明也，如其蔽而不察何？四老者，高祖素知其賢而重之，此其不蔽之明心也，故因其所明而及其事，則悟之如反乎。

Cheng Yi continued to say: Since ancient times, those who could advise and correct the ruler have never done so except by taking advantage of the ruler's moment of clarity. Therefore, those who spoke directly and strongly often met resistance, while those who were gentle and clear in their reasoning usually succeeded. For example, Han Gaozu favored Qi Ji and wanted to change the crown prince, which was the point where he was blinded. Many ministers argued against it, but the distinctions of legitimacy and seniority were not unclear. However, since he was blinded and did not reflect, what could be done? The four elders of Shangshan were people that Gaozu had always known to be virtuous and respected. This was exactly the point where he was not blinded, so by seizing upon this moment of clarity, they guided him to the matter, awakening him as easily as turning over a palm.

且四老人之力，孰與張良群公卿及天下之士？其言之切，孰與周昌、叔孫通？然而不從彼而從此者，由攻其蔽與就其明之異耳。又如趙王太后愛其少於長安君，不肯使質於齊，此其蔽於私愛也。大臣諫之雖強，既曰蔽矣，其能聽乎？愛其子而欲使之長久富貴者，其心之昕明也。故左師觸龍因其明而導之以長久之計，故其聽也如響。非唯告於君者如此，為教者亦然。夫教必就人之所長，所長者，心之所明也。從其心之所明而入，然後推及其餘，孟子所謂成德達才是也。

Cheng Yi continued to say: Moreover, the weight of these four elders is comparable to Zhang Liang, the ministers of the court, and all the scholars of the world? Their words are sincere, comparable to Zhou Chang and Su Sun Tong? Yet, the First Emperor did not listen to one side but to the other, which is precisely the difference between attacking his being blinded and taking advantage of his clarity. Again, like the case of the Queen Mother of Zhao who loved her younger son Chang'an Jun and refused to send him as a hostage to the State of Qi, this was due to her being blinded by private affection; although the ministers advised her strongly, since it was said that she was blinded, how could she listen? However, her love for her son and her desire for his long-term wealth and honor are the clear aspects within her heart. Therefore, the Left Tutor Chu Tong took advantage of her clarity to guide her toward a long-term plan, and she responded as if echoing his words. Not only is this the case when advising a ruler, but also in education: teaching people must be based on their strengths, for strengths are the clear aspects within their hearts. Entering from these clear aspects, then gradually extending to other areas, this is the meaning of what Mencius said about achieving virtue and attaining ability.

集說 王氏弼曰：處重險而履正，以柔居柔，履得其位。以承於五，五亦得位。剛柔各得其所，皆無餘應，以相承比，明信顯著，不存外飾，處坎以斯，雖復一樽之酒， 崔氏憬曰：於重險之時，居多懼之地。比五而承陽，修其潔誠，進其忠信，則終“無咎”也。

"The Collection of Sayings" cites Wang Bi's explanation: Six in the Fourth is in a position of double danger but is "appropriately positioned," with a yin and soft quality in a yin and soft position, standing firmly in place. It looks upward to receive Nine in the Fifth, which is also "appropriately positioned." The strong and the weak each occupy their proper places, and there is no excess correspondence between them. They only relate by mutual support and closeness, with sincerity clearly evident, without relying on external embellishment. Facing the danger of Kan, using this approach, even if it is as simple as a single cup of wine—there is a missing character in the original text—"The Collection of Sayings" also cites Cui Jing's explanation: In a situation of double danger, residing in a position full of anxiety and fear, being close to and supporting Nine in the Fifth, the yang strength, and cultivating one's pure sincerity, offering one's loyalty and trust, will ultimately result in "no blame."

郭氏雍曰：有孚者坎之德，君子行險而不失其信，所以法其德也。一樽之酒，二簋之食，瓦缶之器，至微物也。苟能虛中盡誠，以通交際之道，君子不以為失禮，所謂能用有孚之道者也。《傳》曰：苟有明信，蘋蘩薀藻之菜，筐莒錡釜之器，可薦於鬼神，可羞於王公者，無他焉，以誠為主故也。

"The Collection of Sayings" cites Guo Yong's view: sincerity is the virtue of the Trigram Kan. A gentleman acts in perilous situations without losing his sincerity, which is precisely emulating the virtue of Kan. A single cup of wine, two bowls of food, and vessels made of earthenware are all extremely humble things; if one can approach them with an open heart and full sincerity, using them to cultivate relationships, a gentleman does not consider this a breach of etiquette. This is what is meant by being able to employ the principle of "sincerity." The "Zuo Zhuan" says: as long as there is clear sincerity, wild vegetables such as apple, fern, and water caltrop, and coarse utensils such as baskets, containers, tripods, and cauldrons, can be offered to spirits and presented to princes and dukes. There is no other reason for this, but because sincerity is the main principle.

潘氏夢旂曰：“樽酒簋貳用缶”，與《損》之“二簋可用享”同意，皆言不事多儀而尚誠實也。“納約自牖”，與《睽》之“遇主于巷”同意，皆言自間道而通於君也。六四居大臣之位，當坎險之時，盡其誠實，雖“自牖”而“納約”，而終“無咎”，唯《睽》、《坎》之時為然。

"Ji Shuo" cites Pan Mengqi's statement: "Zun jiu gui er yong foun" is the same as the "Shen" hexagram's "Er gui ke yong xiang," both meaning not being concerned with elaborate rituals but valuing sincerity; "Na yue zi you" is the same as the "Gui" hexagram's "Yu zhu yu xiang," both meaning not taking the main gate but approaching the ruler through a side path. The sixth line in the fourth position holds the position of a minister, at a time of danger in the Kan trigram, relying solely on sincerity. Though the simple rites are sent in through a window, it ultimately results in "wu jiao" (no blame). This unconventional approach is only justifiable in situations of estrangement and danger as depicted in the "Gui" and "Kan" hexagrams.

何氏楷曰：“貳”，副也，謂樽酒而副以簋也。"L》天子大臣出會諸侯，主國樽股簋副是也。案 簋貳之說，何氏得之。九五，坎不盈，祗既平，無咎。本義 九五雖在坎中，然以陽剛中正居尊位，而時亦將出矣，故其象占如此。

"The Collection of Commentaries" cites He Kai's statement: "Er" means secondary, meaning that a vessel of wine is the main item and the gui is the secondary one. (The original text here is incomplete.) The Book of Rites explains that when a minister of the Son of Heaven meets with a prince of a state outside the capital, the host country uses the vessel of wine as the main item and the gui as the secondary one. This is what is meant. Li Guangdi comments: Regarding the explanation of "gui er," He Kai's interpretation is correct. The fifth line statement: The water in Kan is not overflowing, but has reached a level of balance, thus there is no fault. Zhu Xi's "Original Meaning" says: Although the nine in the fifth is still within Kan, it is a yang yang force that is in the middle and upright, occupying the honorable position. The situation is also about to escape danger, so the line image and the divination statement are like this.

程傳 九五在坎之中，是“不盈”也，盈則平而出矣。“祗”，宜音柢，抵也。《復》卦云：“無祗悔”，必抵於已平則“無咎”。既曰“不盈”，則是未平而尚在險中，未得“無咎”也。以九五剛中之才居尊位，宜可以濟於險，然下無助也。二陷於險中未能出，餘皆陰柔無濟險之才。人君雖才，安能獨濟天下之險？居君位而不能致天下出於險，則為有咎，必“祗既平”乃得“無咎”。

Cheng Yi's Commentary on the Changes says: Nine in the Fifth is in the middle of Kan, which is called 'not full'; when full, it will fill up and flow away. 'Zhi' should be read as 'Di', meaning to reach; the hexagram Fu says 'without regret of reaching', which means it must reach the point of being filled up before 'no blame' can be achieved. Since it is said 'not full', it means it has not yet filled up and is still in danger, thus not yet achieving 'no blame'. Since Nine in the Fifth has the virtue of being strong and upright, and holds a high position, it should be able to overcome danger. However, there is no support below: Nine in the Second is trapped in danger and cannot escape, and the other lines are all yin and weak, lacking the ability to overcome danger. Even if a ruler is talented, how can he alone save the world from danger? If a ruler is in a position of authority but cannot save the world from danger, then there must be blame, and only when 'the danger is fully overcome' can 'no blame' be achieved.

集說 《朱子語類》云：“坎不盈，祗既平”，祗字他無說處，看來只得作抵字解，《復》卦亦然。俞氏琰曰：“坎不盈”，以其流也。《彖傳》云“水流而不盈”是也，“不盈”則適至於“既平”，故“無咎”。何氏楷曰：“祗”，適也，猶言適足也。言適於平而已，即《彖傳》所謂“水流而不盈”也。

"The Collection of Sayings" cites from the "Words of Master Zhu" that Master Zhu Xi said: "The water in the Kan trigram is not full, it just reaches level." The character "祗" in this sentence has no other explanation that makes sense elsewhere, so it must be interpreted as "抵" (meet or reach). The "祗" in the "Fu" hexagram is also interpreted the same way. "The Collection of Sayings" also cites Yu Yan, who says: "The water in the Kan trigram is not full" because water is flowing, and Confucius' "Commentary on the Hexagrams" says "water flows but does not overflow," which means exactly this. Since it is not full, it just reaches the level of "already level," hence "no blame." "The Collection of Sayings" also cites He Kai, who says: "祗" means exactly, equivalent to "just enough." The meaning is that it just reaches the level of being flat, which is exactly what the "Commentary on the Hexagrams" says: "water flows but does not overflow."

案 如《程傳》說，則“不盈”為未能盈科出險之義，與《彖傳》異指矣，須以俞氏、何氏之說為是。蓋“不盈”，水德也。有源之水，雖涓微而不舍晝夜，雖盛大而不至盈溢，唯二五剛中之德似之。此所以始於小得，而終於不盈也。

Li Guangdi remarked: According to Yichuan's Commentary on the Changes, "not full" is interpreted as not yet filling the ditches and not yet escaping from danger, which differs from the intent of Confucius's "tuan ci." Therefore, the interpretation by Yu Yan and He Kai should be followed. "Not full" accurately represents the virtue of water: water, though originating from a small source, flows ceaselessly day and night; though great, it does not overflow. Only the virtue of the yang lines nine two and nine five, which are strong yet moderate, resembles this. This is why the Kan hexagram begins with nine two's "small gain" and concludes with nine five's "not full."

上六，係用徽纆，寘于叢棘，三歲不得，凶。本義 以陰柔居險極，故其象占如此。程傳 上六以陰柔而居險之極，其陷之深者也。以其陷之深，取牢獄為喻，如繫縛 不得免也，其“凶”可知。

The line statement for the sixth line at the top says: bound with ropes, imprisoned in a cage made of thorns, unable to escape for three years, calamity. Zhu Xi's "Benyi" states: the sixth line at the top, being a yin and flexible line, is at the extreme of danger, hence the line statement and divination statement are as such. Cheng Yi's "Yichuan Commentary on the Changes" says: the sixth line at the top, being a yin and flexible line at the extreme of danger, is trapped most deeply; because it is trapped most deeply, it is compared to a prison, like being bound — the original text here is missing a part — unable to escape, so the "calamity" is self-evident.