The Great Excess Hexagram

集說 王氏弼曰：囚執賓于思過之地，自修三歲，乃可以求復，故曰“三歲不得凶”。吳氏澄曰：《周官司圜》收教罷民，能改者，上罪三年而舍，其不能改而出圜上者，殺。三歲不得，其罪大而不能改者與？

"The Collection of Commentaries" cites Wang Bi's explanation: imprisoning the criminal in a place where he can reflect on his mistakes, and allowing him to reform for three years, then he may be allowed to return, hence it is said 'after three years of failure, it is凶 (a凶 is a term indicating misfortune or bad omen).' "The Collection of Commentaries" also cites Wu Cheng's explanation: according to the "Rites of Zhou · Autumn Officials · Officer of the Prison," the officer is responsible for housing and educating those who have committed crimes but have not received tattoo punishment. Those who reform are released after three years of imprisonment for serious crimes. Those who do not reform and escape from the prison are executed. Therefore, the phrase 'after three years of failure' probably refers to those who commit serious crimes and refuse to reform.

案 不得者，不能得其道也。如悔罪思愆，是謂得道。則其困苦幽囚，止於三歲矣。聖人之教人動心忍性以習於險者，雖罪苦已成，而猶不忍棄絕者如此。

Li Guangdi remarked: The term "not being able to" refers to not attaining that path. For instance, repenting and reflecting on one's mistakes is called attaining the way. Once one attains the way, then the hardship and confinement would last only three years. The sages teach people to shake their hearts and strengthen their nature, using this method to become accustomed to difficulties and dangers. Even if the sins and sufferings have already been committed, they still refrain from completely abandoning the person, going to such lengths in their concern.

總論 龔氏煥曰：坎卦本以陽陷為義，至爻辭則陰陽皆陷，不以陽陷於陰為義矣。二“小得”，五“既平”，是陽之陷為可出；初與三之“入於坎宮”，上之“三歲不得”，則陰之陷反為甚。《易》卦爻取義不同多如此。

"The General Discussion" cites Gongs Huan's statement: The Qian trigram originally defined its meaning based on a yang line being submerged, but in the line statements, both yin and yang lines are submerged, no longer solely based on a yang line being submerged into a yin line. The "small gain" of nine in the second and the "already level" of nine in the fifth indicate that a yang line's submersion can still emerge. However, the "entering the bottom of the abyss" of initial six and six in the third, and the "three years without success" of upper six, show that a yin line's submersion is even more severe. The different meanings derived from the lines in the Zhou Changes are mostly like this.

離.離上.離下程傳 《離序卦》：“坎者陷也，陷必有所麗，故受之以離，離者麗也，”陷於險難之中，則必有所附麗，理自然也，《離》所以次《坎》也。離，麗也，明也。取其陰麗於上下之陽，則為附麗之義。取其中虛，則為明義。離為火，火體虛，麗於物而明者也。又為日，亦以虛明之象。

The hexagram is labeled as "Li" (Fire). The upper trigram is "Li," and the lower trigram is also "Li." Cheng Yi in his commentary "Yichuan's Commentary on the Changes" says: The "Sequence of Hexagrams" explains, "Cai means to sink; when one sinks, there must be something to attach to, hence it is followed by Li, which means to attach." When one is in a dangerous situation, there must be something to rely on, which is a natural principle. Therefore, the hexagram "Li" comes after "Kan." "Li" means to attach and also means brightness. Taking the yin line attached between the upper and lower yang lines, it signifies attachment; taking its central emptiness, it signifies brightness. "Li" represents fire, whose form is empty, and it can emit light only when attached to something else; "Li" also represents the sun, which takes the image of emptiness and brightness.

離，利貞，亨，畜牝牛，吉。本義 “離”，麗也。陰麗於陽，其象為火，體陰而用陽也。物之所麗，貴乎得正。“牝牛”，柔順之物也，故占者能正則“亨”，而“畜牝牛”則“吉”也。

Hexagram Statement: Li, it is advantageous to maintain correctness and to be harmonious. Keeping a female cow brings good fortune. Zhu Xi's "Benyi" says: "Li" means attachment. Yin attaches to Yang, and its image is fire, with its form belonging to Yin and its function belonging to Yang. Whatever is attached, it is valuable if the attachment is correct. A female cow is a gentle animal, so if the person consulting the oracle maintains correctness, it is harmonious, and if they keep a female cow, it brings good fortune.

程傳 “離”，麗也。萬物莫不皆有所麗，有形則有麗矣。在人則為所親附之人，所由之道，所主之事，皆其所麗也。人之所麗，利於貞正。得其正，則可以亨通。故曰“離利貞亨”。“畜牝牛吉”，牛之性順而又牝焉，順之至也。既附麗於正，必能順於正道，如牝牛則吉也。“畜牝牛”，謂養其順德。人之順德，由養以成，既麗於正，當養習以成其順德也。

Cheng Yi in Yichuan's Commentary on the Changes says: "Li" refers to attachment. All things have something to which they are attached; wherever there is form, there is attachment. In the case of human beings, the people they are close to, the doctrines they follow, and the affairs they manage all belong to their attachments. Human attachment benefits from uprightness; when attachment is upright, it leads to smoothness, hence the saying "Li benefits uprightness and leads to smoothness." As for "raising a female ox is auspicious," the nature of an ox is inherently gentle, and being female, it is gentle to the extreme. Once attached to uprightness, it must necessarily follow the right path, just as a female ox does, thus being auspicious. "Raising a female ox" refers to cultivating one's own virtue of gentleness. Human virtue of gentleness is cultivated through nurture; once attached to uprightness, one should nurture and become familiar with it to perfect one's virtue of gentleness.

集說 王氏弼曰：《離》之為卦，以柔為正，故必貞而後乃亨。柔外於內而履正中，牝之善也。外強而內順，牛之善也。離之為體，以柔順為主者也，故不可以畜剛猛之物，而“吉”於“畜牝牛”也。郭氏忠孝曰：乾為馬，坤為牝馬；坤為牛，離為牝牛，象之宜也。

"The Collection of Sayings" cites Wang Bi's explanation: The hexagram "Li" (Fire) takes the principle of yin and flexibility as its main quality, so it must maintain correctness before achieving success. Flexibility is shown externally but contains the principle of central correctness internally; the position is upright and the measure is moderate, which is the virtue of a cow. Being strong on the outside yet gentle within is the virtue of the bull. Since the hexagram "Li" is primarily characterized by flexibility and gentleness, it cannot be used to raise fierce animals, and the "auspiciousness" is associated with "raising a female cow." "The Collection of Sayings" also cites Guo Zhongxiao's view: "Qian" represents a horse, so "Kun" represents a female horse; "Kun" represents a cow, so "Li" represents a female cow—thus pairing one yang with one yin, one male with one female, the symbolic representation is appropriate.

《朱子語類》：問：《離》卦是陽包陰，占“利畜牝牛”，便也是宜畜柔順之物。曰：然。吳氏澄曰：牛、牝皆坤象，離中畫一陰，坤之中畫也，故象牝牛。胡氏炳文曰：坎之明在內，以剛健而行之於外。離之明在外，當柔順以養之於中。

"The Collection of Sayings" cites from "Master Zhu's Words and Categories" where someone asked: The "Li" hexagram is yang encompassing yin, and the divination text says "favorable for raising a female ox," meaning it is suitable to raise gentle livestock. Master Zhu said: Correct. "The Collection of Sayings" also cites Wu Cheng saying: Oxen and female oxen both represent the image of "Kun," and the central line of "Li" is a yin line, which is exactly the central line of "Kun," hence the image of a female ox is taken. "The Collection of Sayings" also cites Hu Bingwen saying: The brightness of "Kan" is within, so one should use strength and vigor to manifest it externally; the brightness of "Li" is outside, so one should cultivate gentleness and compliance internally.

案 “畜牝牛”，胡氏、吳氏之說為切。蓋《離》，明也，高明柔克，則用明而不傷矣。初九，履錯然。敬之無咎。本義 以剛居下而處明體，志欲上進，故有“履錯然”之象，“敬之”則“無咎”矣。戒占者宜如是也。

Li Guangdi commented: Regarding the phrase "raising a female cow," Hu Bingwen and Wu Cheng's interpretations are most appropriate. The hexagram Li represents brightness. The "Book of Documents: Hongfan" mentions "high brightness and gentle strength," so if this can be achieved, the use of brightness will not harm others or oneself. The line statement for the initial yang line: steps are crossed and confused, but if one is respectful, there will be no fault. Zhu Xi's "Benyi" states: the initial yang line, being a strong yang in the lowest position within the bright hexagram, has the aspiration to advance, hence the image of "steps crossed and confused"; if one is respectful, there will be no fault. This is a warning to those consulting the oracle to act in this manner.

程傳 陽固好動，又居下而離體。陽居下則欲進，離性炎上，志在上麗，幾於躁動。其履錯然，謂交錯也。雖未進而跡已動矣，動則失居下之分而有咎也。然其剛明之才，若知其義而敬慎之，則不至於咎矣。初在下，無位者也。明其身之進退，乃所麗之道也。其志既動，不能敬慎，則妄動，是不明所麗，乃有咎也。

Cheng Yi in Yichuan's Commentary on the Changes says: Yang is by nature active, and the initial yang line is located at the lower position and belongs to the trigram Li (Fire). Yang in a lower position tends to move forward, and the nature of Li is to rise upward. Its aspiration is to attach itself upwards, almost becoming restless. The phrase "steps are confused" means that the steps are disorderly; although it has not actually moved forward, its movement is already evident. Once it moves, it loses its proper position at the lower level and incurs a fault. However, it possesses a strong and clear quality. If it understands this principle and remains respectful and cautious, it will not incur a fault. The initial yang line is at the very bottom, representing someone without a position. Clarifying its own advancement and retreat is precisely the way it should attach itself. Once its aspiration has already begun, yet it fails to be respectful and cautious, it becomes reckless movement, which is not understanding the thing it is attaching itself to, thus incurring a fault.

集說 孔氏穎達曰：身處離初，故其所履踐，恆錯然敬慎，不敢自寧，故云“履錯然，敬之無咎”。若能如此恭敬，則得避其禍而無咎。王氏昭素曰：處萬物相見之初，履錯雜之時。

"The Collected Explanations" cites Kong Yingda's commentary: Since the initial line is at the beginning of the Li hexagram, its actions and movements are often cautious and careful, not daring to seek comfort, hence it says 'steps are crossed, but with reverence there is no blame.' If one can be thus reverent, they can avoid calamity and have no faults." The "Collected Explanations" also cites Wang Zhaozu's commentary: This is a time when all things are beginning to meet and steps are crossing and mingling.

胡氏瑗曰：“錯然”者，“敬之”之貌也。居離之初，如日之初生，於事之初，則當常錯然警懼，以進德修業，所以得免其咎。馮氏當可曰：日方出，人夙興之晨也。“履錯然”，動之始也。於其始而加敬，則終必吉。禍福幾微，每萌於初動之時，故戒其初。

"The 'Collected Explanations' cite Hu Yuan's statement: '错然' means the appearance of 'respectfulness.' Being at the beginning of the Li hexagram is like the sun just rising; being at the beginning of an affair means one should always be cautious and alert, using this to cultivate virtue and accomplish one's career, thus avoiding mistakes. The 'Collected Explanations' also cite Feng Dangke, saying that when the sun first appears, it is the early morning when people rise. 'Lǚ cuò rán' refers to the beginning of action. Adding the character 'respect' at the beginning ensures a favorable outcome. The signs of good or bad fortune are extremely subtle, often emerging at the very start of an action, hence the line statement warns at the first line."

趙氏彥肅曰：能敬，則動與物交，皆天理也。不能敬，則役於物而生咎矣。日出而作，故發此象。胡氏一桂曰：“錯然”是事物紛錯之意，能敬則心有主宰，酬應不亂，可免於咎。不能敬則反是。

Collective Commentary cites Zhao Yansu's saying: if a person can maintain "reverence," then every action he takes in dealing with external things will conform to the principles of heaven; but once he fails to maintain "reverence," he will be driven and enslaved by external things, and mistakes will follow. The "Initial Nine" in the "Li" hexagram corresponds to the time when the sun is just rising and people begin their labor, so the line statement here issues the warning "the steps are confused, be reverent." Collective Commentary also cites Hu Yigui's explanation: the term "cuoran" in the line statement refers to the state of things being complicated and intertwined; if one's mind holds "reverence," there will be a master within, enabling one to deal with myriad affairs without confusion, thus avoiding mistakes. Conversely, if one's mind does not hold "reverence," the result will be the opposite.

案 “履錯然”，王氏、馮氏、胡氏之說為是，蓋錯雜者，處應物之初也。敬者，養明德之本也。人心之德，敬則明，不敬則昏。於應物之初而知敬，其即於咎者鮮矣。

Li Guangdi remarked: In explaining the line statement "Lu cuo ran," the interpretations of Wang, Feng, and Hu are most acceptable. The term "cuo zan" refers to the initial stage when a person begins to respond to external matters, and the affairs are most confused. The term "jing" refers to the fundamental practice of cultivating the brightness of one's inner virtue. The inherent virtue in the human mind becomes bright when one maintains reverence, and becomes dim when one does not. If one understands and practices the principle of reverence at the very beginning of responding to external matters, then the chance of falling into mistakes naturally becomes rare.

六二，黃離，元吉。本義 “黃”，中色，柔離乎中而得其正，故其象占如此。

The Line Statement of the second line says: "Yellow adheres, great auspiciousness." Zhu Xi's "Ben Yi" states: "Yellow" is the central color among the five colors. The second line, with its yin and flexible nature, adheres to the central position of the lower trigram, and since it is a yin line in a yin position, it is "appropriate" and correct, so the imagery and divination statement of this line are as such.

程傳 二居中得正，麗於中正也。“黃”，中之色，文之美也。文明中正，美之盛也，故云“黃離”。以文明中正之德，上同於文明中順之君，其明如是，所麗如是，大善之“吉”也。

Cheng Yi in Yichuan's Commentary on the Changes says: Six in the Second is in the central position of the lower trigram and is a yao in a yin position, thus both 'central' and 'correct'. It adheres to the way of central correctness. 'Yellow' is the color of centrality and also symbolizes the beauty of culture. Having the virtue of civilization and maintaining central correctness, this is beauty at its peak, hence the line statement calls it 'Yellow Fire'. Six in the Second, with its virtue of civilized and correct conduct, harmonizes upward with Six in the Fifth, the sovereign who is civilized, gentle, and maintains central correctness. Its own brightness is like this, and the one it relies upon is also like this, thus attaining the greatest good and the greatest 'auspiciousness'.

集說 王氏弼曰：居中得位，以柔處柔，履文明之盛而得其中，故曰“黃離元吉”也。劉氏牧曰：《離》為火之象，焰猛而易燼，九四是也。過盛則有衰竭之凶，九三是也。唯二得中，《離》之“元吉”也。俞氏琰曰：九三言“日昃之離”，六二其日中之離乎。居下卦之中而得其中道，故比他爻為最吉。六二蓋《離》之主爻也。楊氏啟新曰：“畜牝牛”而“利貞”，六二得之，明而不失其中正，故曰“黃離”。

The collected interpretations cite Wang Bi's view: Six in the second occupies the central position of the lower trigram and is "appropriate in position." With a yao of yin flexibility in a yin position, it stands on the flourishing and civilized land and can maintain the middle path, hence the line statement says "Yellow Fire brings supreme good fortune." The collected interpretations cite Liu Mu's view: The hexagram of Li takes fire as its symbol. Although the flame is fierce, it easily turns to ashes. The line of nine in the fourth is exactly this situation; excessive fire strength brings danger of decline, and the line of nine in the third is also this situation. Only six in the second remains balanced and unbiased, thus deserving the "supreme good fortune" of the hexagram of Li. The collected interpretations cite Yu Yan's view: The line statement of nine in the third talks about "the sun declining in the sky." Then six in the second is probably the attachment of the sun at noon. It is in the central position of the lower trigram and follows the middle path, so it is more auspicious than the other lines. Six in the second can be said to be the main line of the hexagram of Li. The collected interpretations cite Yang Qixin's view: The hexagram statement talks about "keeping a female ox" and "favoring uprightness." Six in the second exactly achieves this. It is bright without losing the middle and uprightness, hence it is called "Yellow Fire."

九三，日昃之離，不鼓缶而歌，則大耋之嗟，凶。本義 重離之間，前明將盡，故有“日昃”之象。不安常以自樂，則不能自處而凶矣。戒占者宜如是也。

The line statement of the third line says: When the sun is setting, if one does not sing and enjoy oneself by striking a clay pot, one will lament the approaching end of old age and face danger. Zhu Xi's "Original Meaning" states: The third line is located at the junction where the upper and lower parts of the trigram Li meet. The previous phase of brightness is about to end, hence the image of "the sun setting" or "the sun leaning westward." If a person cannot be content with the ordinary and seek joy within oneself, they will not be able to settle their mind, thus leading to misfortune. This "divination statement" is warning the person who seeks divination to follow this principle in their conduct.

程傳 八純卦皆有二體之義，《乾》內外皆健，《坤》上下皆順，《震》威震相繼，《巽》上下順隨，《坎》重險相習，《離》二明繼照，《艮》內外皆止，《兌》彼己相說，而《離》之義在人事最大。九三居下體之終，是前明將盡，後明當繼之時。人之始終，時之革易也，故為“日昃之離”，日下昃之明也。昃則將沒矣。

Cheng Yi in Yichuan's Commentary on the Changes says that the eight pure hexagrams all contain the meaning of upper and lower trigrams overlapping. The hexagram Qian has both inner and outer trigrams as strong and vigorous, while Kun has both as soft and compliant. Zhen represents a powerful shock layer upon layer, Xun represents compliance and harmony both above and below. Kan represents successive layers of danger, Li represents two layers of brightness continuing to illuminate one after another. Gen represents stillness both inside and outside, and Dui represents mutual joy. Among these, the meaning of Li is most significant in human affairs. Nine in the Third is located at the end of the lower trigram, precisely at the time when the previous brightness is about to end and the next brightness is about to follow. This is both the beginning and the end of a person's life, as well as a change in the times. Therefore, it is called "the declining sun in Li," referring to the brightness at the time when the sun is setting. Once it has declined, it is about to set.

以理言之，盛必有衰，始必有終，常道也。達者順理為樂。“缶”，常用之器也。“鼓缶而歌”，樂其常也。不能如是，則以大耋為嗟憂，乃為“凶”也。“大耋”，傾沒也。人之終盡，達者則知其常理，樂天而已。於常皆樂，如鼓缶而歌。不達者則恐恆有將盡之悲，乃“大耋之嗟”，為其“凶”也。此處死生之道也。“耋”，與昳同。

Cheng Yi continued to say: From the point of view of reason, after prosperity there must be decline, and after the beginning there must be an end. This is the constant way of things. The wise person follows this principle and finds joy in it. "Fou" is a common earthenware vessel, and "singing while beating a fou" means being content with the ordinary and finding joy in the commonplace. If one cannot reach this level, he will regard the approach of old age and the end of life as something to be lamented and worried about, thus leading to "danger." "Da die" refers to the collapse of life. All people must eventually reach the end of their lives, and the wise person understands this as a natural law, and is content with his fate. Being content with the ordinary and finding joy in everything is like singing while beating a fou. The unwise person, however, often fears the approach of death and feels sorrow rising within him, which is called "da die zhi jie," and danger arises from this. This line is precisely about the principle of life and death. The character "die" is related to "die," meaning the sun setting.

集說 苟氏爽曰：初為日出，二為日中，三為日昃。梁氏寅曰：三居下離之終，乃“日昃”之時也。夫持滿定傾，非中正之君子不能。三處日之夕，而過剛不中，其志荒矣，故“不鼓缶而歌，則大耋之嗟”。其歌也，樂之失常也。其嗟也，裒之失常也。哀樂失常，能無“凶”乎？君子值此之時，則思患之心，與樂天之誠，並行而不悖，是固不暇於歌矣，而亦何至於嗟乎？案 梁氏之說，獨得爻義。蓋“日昃”者，喻心之昏，非喻境之變也。

The collected interpretations cite Gou Shuang (a Han dynasty expert in the Book of Changes, Xun Shuang) saying: the initial line is like the sun just rising, the second line is like the sun at noon, and the third line is like the sun setting. The collected interpretations also cite Li Yin saying: the third line is located at the end of the lower trigram Li, which is precisely the time of 'the sun waning'. One must be able to hold on during the time of fullness and remain steady at the moment of impending collapse; this is something that a virtuous person of integrity and correctness cannot fail to do. The third line is in the time of dusk, yet it is overly rigid and not in the central position, and its heart has already become weary. Therefore, there is the result of 'without drumming a drum and singing, there will be lamentations of old age'. If he sings, that is to lose the proper measure of joy; if he laments, that is to lose the proper measure of sorrow. If both joy and sorrow lose their proper measure, how can it not be 'auspicious'? A virtuous person encountering such a time has both the mind of concern and the sincerity of contentment working together without hindrance. Originally, he has no time for singing for pleasure, so how could he ever reach the point of sighing and groaning? Li Guangdi comments: Li Yin's interpretation uniquely captures the original meaning of this line. What is referred to as 'the sun waning' is a metaphor for the dimness of the human mind, not a metaphor for changes in external circumstances.

九四，突如其來如，焚如，死如，棄如。本義 後明將繼之時，而九四以剛迫之，故其象如此。

The statement of the fourth line says: suddenly rushing in, like fierce fire burning, like loss and death, like being abandoned. Zhu Xi's "Ben Yi" says: the ninth line at the fourth position is at the time when the following bright phase is about to come, yet it forcefully presses forward with a yang strength, so the imagery of this line is like this.

程傳 九四離下體而升上體，繼明之初，故言繼承之義。在上而近君，繼承之地也。以陽居離體而處四，剛躁而不中正，且重剛以不正。而剛盛之勢，“突如”而來，非善繼者也。夫善繼者，必有巽讓之誠，順承之道，若舜、啟然。今四“突如其來”，失善繼之道也。又承六五陰柔之君，其剛盛陵爍之勢，氣焰如焚然，故曰“焚如”。四之所行不善如此，必被禍害，故曰“死如”。失繼紹之義，承上之道，皆逆德也，眾所棄絕，故云“棄如”。至於死棄，禍之極矣，故不假言凶也。

Cheng Yi in Yichuan's Commentary on the Changes says: Nine in the Fourth position breaks away from the lower trigram and rises into the upper trigram, precisely at the moment when the next phase of brightness is about to begin. Therefore, this line discusses the principle of succession. Although it is located in the upper trigram and is close to the position of the ruler, it is the position that bears the responsibility of succession. It is a yang line in the fourth position of the trigram Li, which is characterized by fierce and impetuous advancement, neither occupying the central position nor being in the proper position, thus being overly strong and losing the correct position. With such a strong and aggressive momentum, it suddenly appears, which is not the way of a person who is good at succession. A person who is truly good at succession must have sincere humility and retreat, following the path of proper succession, like Yu Shun succeeding Yao Tang and Xia Qi succeeding Yu the Great. Now, Nine in the Fourth suddenly appears, having already abandoned the way of proper succession. It is also supported by Six in the Fifth, a yin line representing a weak ruler. The fierce and overwhelming momentum, like burning fire, is described as 'burning like fire'. The actions of Nine in the Fourth have deteriorated to such an extent that they must surely bring about calamity, hence 'death like fire'. Abandoning the duty of succession and violating the proper way of serving above are all rebellious virtues, which are universally despised and rejected, hence 'abandoned like fire'. Having reached the point of death and abandonment, the calamity has reached its peak, so the line statement does not need to mention 'misfortune' again.

集說 章氏潢曰：明之於人，猶火之於木。火宿於木而能焚木，明本於人而能害人，顧用之何如耳。九四不中不正，剛氣燥暴，其害若此。何氏楷曰：三處下卦之盡，似日之過中。四處上卦之始，似火之驟烈。案 離，明德也。繼明者，所謂有緝熙於光明，其明不息也。與繼世之義：至無交

Collecting sayings cites Zhang Huang's view: Light for a person is like fire for wood. Fire resides within wood yet can burn it from within; light originates from a person yet can also harm them, depending on how it is used. Nine in the Fourth is neither in the center nor in the proper position, its strong and impetuous nature causes harm in this way. Collecting sayings also cites He Kai's view: Nine in the Third is at the end of the lower trigram, like the sun having passed its zenith; Nine in the Fourth is at the beginning of the upper trigram, like fire suddenly becoming intense. Li Guangdi comments: Li, which refers to fire, represents the inner virtue of brightness in a person. What is meant by 'continuing brightness' is the state described in the "Poetry Classic·Zhou Songs·Jing Zhi" where 'learning leads to the accumulation and illumination of brightness,' indicating a continuous and unceasing brightness. It is related to the meaning of the throne being passed down through generations — the original text here has a missing passage, and the commentary is incomplete, making it impossible to read properly.

六五，出涕沱若，戚嗟若，吉。本義 以陰居尊，柔麗乎中，然不得其正而迫於上下之陽，故憂懼如此，然後得“吉”。戒占者宜如是也。

The Line Statement of the fifth line says: tears flow like rain, sorrow and lamentation, resulting in good fortune. Zhu Xi's "Benyi" states: the fifth line, being a yin line occupying a noble position, is gentle and attached to the middle position of the upper trigram. However, a yin line in a yang position is not "appropriate" (zhang wei), and both above and below are oppressed by yang lines, leading to such anxiety and fear. Only in this way can "good fortune" be attained. This is the "divination statement" warning the person consulting the oracle to act accordingly.

程傳 六五居尊位而守中，有文明之德，可謂善矣。然以柔居上，在下無助，獨附麗於剛強之間，危懼之勢也。唯其明也，故能畏懼之深，至於出涕；憂慮之深。至於“戚嗟”，所以能保其吉也。“出涕戚嗟”，極言其憂懼之深耳，時當然也。居尊位而文明，知憂畏如此，故得“吉”，若自恃其文明之德，與所麗中正，泰然不懼，則安能保其吉也？

Cheng Yi in Yichuan's Commentary on the Changes says: The line in the fifth position holds a noble position and can maintain the middle path, possessing the virtue of civilization and culture. This can be considered good. However, it is a yin and soft element in a superior position, with no supporting help below, and is alone among several strong yang lines. This is a dangerous and alarming situation. It is precisely because it is clear-sighted that it fears so deeply, to the point of shedding tears; it worries so intensely, to the point of sorrow and lamentation. It is precisely for this reason that it preserves the good fortune. "Shedding tears" and "sorrowful lamentation" are merely exaggerated expressions of its deep fear. Being in that position naturally calls for such a state. Holding a noble position and being civilized and enlightened, understanding the need to be cautious and fearful in this way, thus attains "good fortune." If one relies on its civilized virtue and assumes that its position is in the middle and correct, and thus feels secure and without fear, how could it preserve this good fortune?

集說 蔡氏淵曰：《坎》、《離》之用在中，二五皆卦之中也。坎五當位而二不當位，故五為勝。離二當位而五不當位，故二為勝。劉氏定之曰：坎者陰險之卦，惟剛足以濟之，沉潛剛克也。《離》者陽躁之卦，唯柔足以和之，高明柔克也。二五同歸於“吉”，以柔而然也。

Collective commentary cites Cai Yuan's explanation: The functions of the hexagrams Kan and Li both center on the concept of "center." The second line and the fifth line are the central positions of the upper and lower trigrams. In the hexagram Kan, the yang line nine in the fifth position is in the correct position, while the yang line nine in the second position is in the incorrect position, so the hexagram Kan is considered superior due to its fifth line. In the hexagram Li, the yin line six in the second position is in the correct position, while the yin line six in the fifth position is in the incorrect position, so the hexagram Li is considered superior due to its second line. Collective commentary also cites Liu Dingzhi's explanation: Kan is a hexagram representing darkness and peril, and only strength and perseverance can overcome such dangers, which is what the "Classic of Documents · Hongfan" refers to as "submerging and enduring with firm strength." Li is a hexagram representing excessive yang energy and restlessness, and only gentleness and compliance can harmonize it, which is what the "Hongfan" refers to as "high and bright with gentle strength." The second and fifth lines of the hexagrams Kan and Li both result in "auspiciousness," relying on the quality of gentleness.

案 唯六二為得明德之正，三之歌嗟，四之突來，則明德昏而性情蕩，忿欲仍而災患至矣。能返之者，其唯哀悔之心乎！五有中德，又適昏極將明之候，故取象如此。三之“嗟”，樂過而悲也。五之“嗟”，自怨自艾也。

Li Guangdi commented: Among the six lines of the Li hexagram, only the line six in the second is considered to have followed the correct path of virtue and brightness. The situation of line nine in the third, which is characterized by sudden singing and sighing, and line nine in the fourth, which is marked by sudden intrusion, both indicate that the inner brightness of virtue has become obscured and the nature has become unrestrained. Anger and desires arise one after another, and calamities follow closely. The only way to reverse this situation is probably through a sincere heart of sorrow and repentance. Line six in the fifth possesses the virtue of being in the center, and it is precisely at the point where darkness has reached its extreme and is about to turn into brightness. Therefore, the line statement uses images such as "tears" and "sorrowful sighs." The "sigh" in line nine in the third is due to excessive joy turning into sorrow, while the "sigh" in line six in the fifth is self-reproach and self-reform.

上九，王用出征，有嘉折首，獲匪其醜，無咎。本義 剛明及遠，威震而刑不濫，“無咎”之道也，故其象占如此。

The line statement of the Upper Ninth line says: The king therefore goes to war and establishes beautiful achievements, only cutting off the chief villain, and the captives are not the accomplices, thus there is no fault. Zhu Xi's "Ben Yi" says: The Upper Ninth is yang and discerning, its illumination reaches far and wide to all directions, its authority and power subdue and intimidate, yet punishment is not excessive. This is exactly the way of "wu jiu" or no fault, so the imagery and the divination statement of this line are like this.

程傳 九以陽居上，在離之終，剛明之極者也。明則能照，剛則能斷。能照足以察邪惡，能斷足以行威刑。故王者宜用如是剛明，以辨天下之邪惡，而行其征伐，則有嘉美之功也。征伐，用刑之大者。夫明極則無微不照，斷極則無所寬宥，不約之以中，則傷於嚴察矣。去天下之惡，若盡究其漸染詿誤，則何可勝誅？所傷殘亦甚矣。故但當折取其魁首，所執獲者，非其丑類，則無殘暴之咎也。《書》曰：殲厥渠魁，脅從罔治。

Cheng Yi's Commentary on the Changes says: The upper ninth line is a yang line occupying the highest position in the entire hexagram, located at the end of the li trigram. It is a line that has reached the extreme of strength and clarity. Clarity allows for perception, and strength allows for decisive action; perception is sufficient to detect evil, and decisive action is sufficient to carry out punishment. Therefore, a ruler should appoint such a strong and clear-minded person to distinguish evil throughout the world and then launch military campaigns, thereby achieving great merit. Warfare is the greatest of all punishments. However, when clarity reaches its extreme, it perceives everything in detail; when decisiveness reaches its extreme, it refuses to show any leniency. If not restrained by the middle path, it becomes overly harsh and meticulous. Eliminating all the evil people in the world, if even those who are indirectly involved or mistakenly drawn in are pursued one by one, how could it ever end? The number of those harmed and killed would be excessive. Therefore, only the principal offender should be executed, and those captured should not include his accomplices, thus avoiding excessive cruelty. The Book of Documents, in the section titled 'Yin Zheng,' says: 'Eliminate the principal villain, those forced to follow are not punished.' This means to eliminate the main criminal and not to pursue those who were coerced into following.

案 上九承四五之後，有重明之象。故在人心則為克己而盡其根株，在國家則為除亂而去其元惡。《詩》云：如火烈烈，則莫我敢遏，苞有三檗，莫遂莫達。此爻之義也。

Li Guangdi comments: The top nine comes after nine four and six five, possessing the image of two successive lights. Therefore, when this line falls on an individual's heart, it signifies eliminating private desires completely; when it falls on state affairs, it signifies pacifying disorders by removing the principal culprit. The Book of Songs, Shang Songs, Chang Fa says, "Like a blazing fire, none dares to hinder me," describing the momentum of King Tang's army as fierce as a blazing fire, with no one daring to block it; the same passage also says, "Branched with three bitter things, none can grow or reach," referring to the wild branches and offshoots growing on the tree roots, none of which can grow or extend. This line's meaning is exactly like this.

程傳 《咸序卦》：“有天地，然後有萬物；有萬物，然後有男女；有男女，然後有夫婦；有夫婦，然後有父子；有父子，然後有君臣；有君臣，然後有上下；有上下，然後禮義有所錯。”天地，萬物之本。夫婦，人倫之始。所以上經首《乾》、《坤》，下經首《咸》繼以《恆》也。

Cheng Yi in Yichuan's Commentary on the Changes says: The "Xu Gua Zhuan" of the "Xian" hexagram states: "After heaven and earth are formed, then there are myriad things; after myriad things are formed, then there are male and female; after male and female are formed, then there are husband and wife; after husband and wife are formed, then there are father and son; after father and son are formed, then there are ruler and subject; after ruler and subject are formed, then there is distinction between above and below; after distinction between above and below is formed, then rites and morality have a place to be practiced." Heaven and earth are the origin of myriad things, and husband and wife are the beginning of human relations. Because of this, the upper part of the Zhou Changes begins with the Qian and Kun hexagrams, and the lower part begins with the Xian hexagram, followed by the Heng hexagram.

天地二物，故二卦分為天地之道。男女交合而成夫婦，故《咸》與《恆》皆二體合為夫婦之義。咸，感也，以說為主。恆，常也，以正為本。而說之道自有正也，正之道固有說焉。巽而動，剛柔皆應，說也。《咸》之為卦，兌上艮下，少女少男也。男女相感之深，莫如少者，故二少為《咸》也。艮體篤實，止為誠愨之義。男女篤實以下交，女心說而上應，男感之先也。男先以誠感，則女說而應也。

Cheng Yi continued to say: Heaven and Earth are originally two separate entities, so the Upper Classic begins with the hexagrams of Qian and Kun, each explaining the principles of Heaven and Earth. Men and women must come together to form a married couple, so the hexagrams of Xian and Heng both combine the upper and lower trigrams to express the meaning of husband and wife. "Xian" refers to response and is characterized by joy; "Heng" refers to constancy and is based on uprightness. However, the way of joy naturally includes uprightness, and the way of uprightness inherently includes joy. The hexagram Heng has Xun below and Zhen above, which means following and then acting. All six lines are yin and yang in harmony, and there is joy within this harmony. The structure of the hexagram Xian is Dui above and Gen below, meaning a young woman above and a young man below. The depth of mutual attraction between men and women is most evident in young people, so two young people are used to form the hexagram Xian. The hexagram Gen is solid and heavy, and "stop" implies sincerity and earnestness. A man, with a sincere heart, takes a lower position to approach, while the woman feels joy and responds upward. This is when the man first moves to touch the woman, and the woman then responds with joy.

集說 邱氏富國曰：《感》，二少相交者，夫婦之始也，所以論交感之情，故以男下女為象。男下於女，婚姻之道成矣。恆二長相承者，夫婦之終也，所以論處家之道。故以男尊女卑為象，女下於男，居室之倫正矣。損雖二少，而男不下女，則咸感之義微，益雖二長，而女居男上，則恆久之義悖。此下經所以不首《損》、《益》而首《咸》、《恆》與？

Collective commentary cites Qiu Fuguo's explanation: The "Xian" hexagram represents a young man and a young woman, two young individuals interacting, discussing the beginning of the relationship between husband and wife. Therefore, it discusses the sentiment of mutual response and感应, and takes the image of the male being subordinate to the female. When the male is willing to be subordinate to the female, the way of marriage is established. The "Heng" hexagram represents an elder son and an elder daughter, two mature individuals succeeding each other, discussing the enduring conclusion of the relationship between husband and wife. Therefore, it discusses the principles of managing a household and daily life, and takes the image of male superiority and female subordination. When the female is subordinate to the male, the order of relationships within the family is properly established. The "Sun" hexagram, although also representing a young man and a young woman, has the mountain (Geng) male on top and unwilling to be subordinate to the lake (Dui) female, thus the meaning of mutual interaction becomes faint. The "Yi" hexagram, although also representing an elder son and an elder daughter, has the wind (Xun) female above the thunder (Zhen) male, thus the meaning of enduring becomes distorted. This is probably why the lower section of the Book of Changes does not start with "Sun" and "Yi," but instead with "Xian" and "Heng."

咸，亨，利貞，取女吉。本義 “咸”，交感也。兌柔在上，艮剛在下，而交相感應。又艮止則感之專，兌說則應之至。又艮以少男下於兌之少女，男先子女，得男女之正，婚姻之時，故其卦為咸，其占“亨”而“利”正，“取女”則“吉”。蓋感有必通之理，然不以正，則失其“亨”而所為皆凶矣。

The Hexagram Xian (咸) states: It is smooth, favorable to maintain the correct course, and auspicious for marriage. Zhu Xi's "Benyi" explains: "Xian" means mutual感应 (response and interaction). The yin softness of Dui (Lake) is above, and the yang strength of Gen (Mountain) is below, interacting with each other. Moreover, Gen represents stillness; stillness leads to focused感应. Dui represents joy; joy leads to sincere response. Also, Gen, representing a young man, is placed below Dui, representing a young woman. The man takes the initiative first, which conforms to the proper way of interaction between men and women, and this is the appropriate time for marriage, hence the hexagram is named Xian. Its "divination statement" is smooth and favorable to maintain the correct course, and marriage is auspicious.sympathetic response naturally has the principle of mutual connection, but if one does not follow the correct path insympathetic response, then the smoothness is lost, and actions will inevitably lead to misfortune.

程傳 “咸”，感也。不曰感者，《咸》有皆義，男女交相感也。物之相感莫如男女，而少復甚焉。凡君臣上下以至萬物，皆有相感之道。物之相感，則有亨通之理。君臣能相感，則君臣之道通。上下能相感，則上下之志通。以至父子夫婦親戚朋友，皆情意相感，則和順而亨通，事物皆然。故《咸》有“亨”之理也。

Cheng Yi in his Yichuan Commentary on the Changes says: "Xian" refers tosympathetic response, which is mutual response. The character "Xian" is not used directly because it also contains the meaning of "all" and "universal," indicating the mutualsympathetic response between men and women. Among all things, thesympathetic response between men and women is the strongest, and young people'ssympathetic response is even more intense than that of the elderly. In all cases, from sovereign and subject, superior and inferior, up to heaven and earth and all things, there is the principle of mutualsympathetic response. Once things respond to each other, there is the principle of smoothness and success within. When sovereign and subject respond to each other, the path between them is opened; when superior and inferior respond to each other, their hearts and minds are connected. Extending this to father and son, husband and wife, relatives, and friends, as long as their feelings respond to each other, they will be harmonious and smooth, and all things are like this. Therefore, the hexagram Xian contains the principle of success.

“利貞”，相感之道，“利”在於正也。不以正，則入於惡矣。如夫婦之以淫姣，君臣之以媚說，上下之以邪僻，皆相感之不以正也，“取女吉”，以卦才言也。卦有柔上剛下，“二氣感應相與，止而說，男下女”之義，以此義“取女”，則得正而“吉”也。集說 胡氏炳文曰：“咸”，感也。不曰感而曰《咸》，咸，皆也，無心之感也。無

Cheng Yi continued to say: The hexagram statement speaks of "favorable to uprightness," which refers to the way of mutualsympathetic response. The benefit lies precisely in the character "uprightness." If one does not follow the upright path insympathetic response, one will fall into evil. For example, if husband and wife relate through lustful and perverse means, if sovereign and minister relate through flattery and pleasing, if superiors and inferiors relate through deceit and crookedness, all these are forms ofsympathetic response that do not follow the upright path. As for "taking a wife is auspicious," this refers to the nature and structure of the hexagram. This hexagram has yin softness above and yang firmness below, meaning "the two energies感应 and interact, stopping and being joyful, with the male below and the female above." Following this meaning in taking a wife naturally leads to uprightness and thus obtains "auspiciousness." The collected interpretations cite Hu Bingwen saying: "Xian" meanssympathetic response. It does not say "感" but "咸" because "咸" has the meaning of being universal and pervasive. It refers to a kind ofsympathetic response that arises without private desire, naturally and spontaneously. There is a missing text in this edition, and Hu's explanation ends here.

初六，咸其拇。本義 “拇”，足大指也。咸以人身取象，《咸》於最下，“咸拇”之象也。感之尚淺，欲進未能，故不言吉凶。此卦雖主於感，然六爻皆宜靜而不宜動也。

The line statement of the first line, "Initial Six," says: The response begins at the big toe. Zhu Xi's "Original Meaning" states: "Thumb" refers to the big toe. The hexagram "Xian" (Attraction) throughout uses the human body as a symbolic model. The line "Initial Six" is at the very bottom of the hexagram, which corresponds to the image of "Xian Mu" (Attraction of the big toe). At this stage, the feeling is still shallow, and there is a desire to move forward but insufficient strength, so the line statement does not say auspicious or inauspicious. Although this hexagram is mainly about response, all six lines are suitable for stillness rather than reckless action.

程傳 初六在下卦之下，與四相感，以微處初，其感未深，豈能動於人？故加人拇之動，未足以進也。“拇”，足大指。人之相感，有淺深輕重之異。識其時勢，則所處不失其宜矣。

Cheng Yi in Yichuan's Commentary on the Changes says: Initially, the line 'Six at the Beginning' is in the lowest position of the lower trigram, and it has a 'responsive' relationship with 'Nine in the Fourth'. However, because it is a weak line in the initial position, its influence is not yet deep enough to move others. Therefore, it is like the big toe on the foot moving slightly, which is not enough to take a step forward. 'Thumb' refers to the big toe. The mutual influence between people varies in depth and intensity, being sometimes shallow and light, sometimes deep and heavy. If one can clearly understand the current situation, then regardless of the position one is in, one will not lose one's proper measure.

集說 《朱子語類》：問：《咸》內卦艮止也，何以皆說動？曰：艮雖是止，然咸有交感之義，都是要動，所以都說動。卦體雖說動，然才動便不吉。蔡氏清曰：“咸其拇”，辭意若曰，感以其拇也，諸爻皆同。又曰：《本義》云，此卦雖主於感，然六爻皆宜靜而不宜動，此即以虛受人之理。《大傳》曰：寂然不動，感而遂通天下之故。程子曰：廓然而大公，物來而順應。周子所謂主靜，朱子所謂鑑空衡平，及先儒所謂無心之感者，皆謂此也。

The collected interpretations cite Zhu Xi's "Sayings" where someone asked why the lines of the Qian hexagram all speak of motion when the inner trigram is Gen, which represents stillness. Zhu Xi answered that although Gen signifies stillness, the concept of "Xian" involves mutual感应, which requires motion everywhere, hence all lines speak of motion. Although the hexagram as a whole speaks of motion, once motion occurs, it is not auspicious. The collected interpretations also cite Cai Qing who said that the phrase "Xian its toe" implies "using the big toe to feel," and the meaning of the other lines is similar. Cai Qing further said that the "Original Meaning" explains that although the main idea of this hexagram is感应, all six lines are suitable for stillness rather than motion, which aligns with the "Great Image Commentary" of the Xian hexagram, "The gentleman receives things with an open mind." The "Great Treatise" states, "Still and unmoving, yet responsive to all things and thus comprehending the causes of the world." Cheng Hao said, "Broad and impartial, responding to things as they come." Zhou Dunyi's advocacy of "main stillness," Zhu Xi's analogy of "mirror emptiness and balance," and the statements of previous scholars about "unconscioussympathetic response" all refer to the same thing.

六二，咸其腓，凶。居吉。本義 “腓”，足肚也。欲行則先自動，躁妄而不能固守者也。二當其處，又以陰柔不能固守，故取其象。然有中正之德，能居其所，故其占動“凶”而靜“吉”也。

The Line Statement for the second line says: The response is felt in the calf, which is ominous; if one remains still and unmoving, it is auspicious. Zhu Xi's "Ben Yi" says: "Fei" refers to the calf. When a person thinks of walking, the calf moves first, which is a sign of restlessness and reckless advancement, unable to hold one's ground. The second line is situated at the position of the calf on the body, and since it is a yin line in a yin position, it is unable to hold itself, thus taking this image. However, the second line is a yin line in a yin position and is located in the middle of the lower trigram, possessing the virtue of "zhongzheng" (uprightness and correctness). Therefore, its "divination statement" is that movement brings misfortune, while stillness brings good fortune.

程傳 二以陰在下，與五為應，故設咸腓之戒。“腓”，足肚。行則先動，足乃舉之，非如腓之自動也。二若不守道待上之求，而如腓之動，則躁妄自失，所以“凶”也。安其居而不動，以待上之求，則得進退之道而吉也。二中正之人，以其在咸而應五，故為此戒。復云“居吉”，若安其分不自動，則“吉”也。集說 王氏弼曰：咸道轉進，離拇升腓，腓體動躁者也。感物以躁，“凶”之道也。由躁故凶，居則“吉”矣。處不乘剛，故可以居而獲“吉”。

Cheng Yi's Yichuan Commentary on the Changes says: Six in the Second, with a yin line in the lower trigram, forms a 'corresponding' relationship with Nine in the Fifth. Therefore, the line statement specifically warns with the phrase "the thigh is stirred." The thigh is the part of the leg below the knee. When a person walks, it is the foot that moves first, while the thigh is not the main part that initiates movement. The thigh should not move ahead on its own. If Six in the Second cannot remain on the right path and wait for the superior to approach, but instead moves ahead like the thigh, it becomes impetuous and loses its proper position, thus leading to 'misfortune.' To remain in one's proper place without unnecessary movement and to wait quietly for the superior to approach is to grasp the way of proper action and thus gain 'good fortune.' Six in the Second is originally a person of middle and upright virtue, but because it is in the Hexagram of Recognition and corresponds with Nine in the Fifth, it is specially warned. The line statement also adds "residing in a good position," meaning that if one remains in one's proper place without acting on one's own initiative, one attains 'good fortune.' The collected interpretations cite Wang Bi's view: the way of response progresses step by step upward, moving from the big toe to the thigh, and the thigh is a part prone to impatience. Using impetuousness to respond to things is the path leading to misfortune. Because of impatience, there is misfortune; remaining still brings good fortune. Six in the Second does not ride on any yang line below, so it has the condition to remain still and gain 'good fortune.'

九三，咸其股，執其隨，往吝。本義 “股”，隨足而動，不能自專者也。執者，主當持守之意。下二爻皆欲動者，三亦不能自守而隨之，“往”則“吝”矣，故其象占如此。

The line statement of the third line says: The response is felt in the thigh, and what is held onto is merely following others, so going forward will result in regret. Zhu Xi's "Ben Yi" says: "Gu" refers to the thigh, which moves along with the feet and cannot act on its own. The character "zhi" includes the meaning of holding onto something or being determined. The lines below, the first line and the second line, both desire movement, and the third line also cannot hold onto itself and follows them, so going forward will leave regret. Therefore, the imagery of this line and the "zhan ci" are like this.

程傳 九三以陽居剛，有剛陽之才，而為主於內。居下之上，是宜自得於正道以感於物，而乃應於上六，陽好上而說陰，上居感說之極，故三感而從之。“股”者，在身之下，足之上，不能自由，隨身而動者也，故以為象。言九三不能自主，隨物而動如股然。其所執守者，隨於物也。剛陽之才，感於所說而隨之，如此而往，可羞吝也。

Cheng Yi in Yichuan's Commentary on the Changes says: Nine in the Third holds a Yang line in a Yang position, possessing a strong and vigorous quality, and it is the main line of the Inner Trigram. It is located at the top of the lower trigram, which should have it stand firm on the correct path and influence others. However, it forms a 'response' with Six at the Top. A Yang line naturally tends to move upward and is fond of Yin lines. Six at the Top is located at the extreme point of response and joy, so when it is felt by Nine in the Third, it follows along. The part called 'gǔ' is located below the body and above the feet, which cannot make its own decisions and can only move with the body. Therefore, it is used as a symbol. This refers to Nine in the Third not being able to make its own decisions, like the thigh which moves with external influences. What it holds onto is merely the phrase 'following others'. With a strong and bright Yang quality, it is easily led away by the object it loves. To proceed further in this way is truly shameful and regrettable.

集說 王氏宗傳曰：九三處下體之上，所謂股也。三雖艮體，然以陽居陽，又有應在上，非能止也，故曰“咸其股”。夫股隨上體而動者也，以剛過之才，不能為主於內，而其所秉執者，在於隨上體而動焉，則躁動而失正矣，故曰“往吝”。案 “執其隨”，《本義》以為隨下二爻，《程傳》以為隨上，然隨之為義，取於雁

Collective commentary cites Wang Zongcheng's statement: Nine in the Third occupies the top position of the lower trigram, which corresponds to the thigh in the body. Although Nine in the Third belongs to the mountain trigram, it is a yang line in a yang position, and there is a corresponding line above it, so it is not truly stationary. Therefore, the line statement says "the thigh is affected." The thigh naturally moves with the upper body; Nine in the Third, with its overly strong and rigid nature, cannot be the main element of the inner trigram, and what it holds onto is merely following the upper trigram's movement, resulting in restlessness and deviation from the correct path. Therefore, the line statement says "going leads to difficulty." Li Guangdi comments: Regarding "following and moving with," the "Original Meaning" interprets it as following the lines of Six at the Beginning and Six in the Second, while the "Cheng Transmission" interprets it as following Six at the Top. However, the meaning of the word "follow" is derived from the goose, which is a bird that moves in formation. The original text here has a missing character, and the latter part of the commentary is incomplete.

九四，貞吉悔亡，憧憧往來，朋從爾思。本義 九四居股之上，脢之下，又當三陽之中，心之象，《咸》之主也。心之感物，當正而固，乃得其理。今九四乃以陽居陰，為失其正而不能固，故因占設戒，以為能正而固，則吉而“悔亡”。若“憧憧往來”，不能正固而累於私感，則但其朋類從之，不復能及遠矣。

The line statement of the fourth line says: If one maintains correctness, it will be auspicious, and regret will vanish; but if one's mind is confused and constantly wandering, then only those of the same kind will follow one's thoughts. Zhu Xi's "Ben Yi" states: The fourth line corresponds to the position above the thighs and below the back muscles, and it is exactly in the middle of the three yang lines, thus symbolizing the heart, and it is the main line of the "Xian" hexagram. The heart should respond to external things with uprightness and firmness, which is in accordance with reason. However, the fourth line is a yang line occupying a yin position, which is a loss of correctness and an inability to hold firm. Therefore, the divination sets a warning: if one can be upright and firm, it will be auspicious and "regret will vanish," and regret will naturally disappear; but if one's mind is "confused and wandering," restless and uncertain, unable to be firm and burdened by private desires, then only those of the same kind will follow, and it will no longer be able to move those far away.

程傳 感者，人之動也，故皆就人身取象。拇取在下而動之微，腓取先動，股取其隨。九四無所取，直言感之道。不言咸其心，感乃心也。四在中而居上，當心之位，故為感之主。而言感之道，貞正則吉而悔亡。感不以正則有悔也。又四說體，居陰而應初，故戒於貞。感之道無所不通，有所私繫，則害於感通，乃有悔也。聖人感天下之心，如寒暑雨暘，無不通，無不應者，亦貞而已矣。貞者，虛中無我之謂也。

Cheng Yi's Commentary on the Changes says:感应 is the movement of a person's mind, so all the lines of the Xian hexagram take their images from the human body. The big toe is chosen because it is at the very bottom and moves extremely subtly; the calf muscle is chosen because it moves first ahead; the thigh is chosen because it only follows along. When it comes to the Nine in the Fourth, there is no image taken, but instead it directly points out the way ofsympathetic response. The line statement does not say "咸其心" because the concept of "感" itself is related to the heart. The Nine in the Fourth is located at the center of the six lines and is in the upper trigram, which is exactly the position of the heart, so it is the main line ofsympathetic response. Since it directly states the way ofsympathetic response, it means that being upright and firm brings good fortune and dispels regret; if thesympathetic response is not through the right path, regret will arise. Moreover, the Nine in the Fourth belongs to the Dui trigram, which represents joy, and a yang line in a yin position corresponds with the initial six through "应与". Therefore, it specifically warns on the character "贞". The way ofsympathetic response is originally all-encompassing, but once there is a private attachment, it hinders this connection, leading to regret. The sage moves the hearts of the people throughout the world, just like the coming of winter and summer, the raining and clearing of the sky, which are never blocked or unresponsive, relying only on the character "贞".the so-called "贞" is inner stillness and the absence of any private self.

“憧憧往來，朋從爾思”，夫貞一則所感無不通。若往來憧憧然，用其私心以感物，則思之所及者有能感而動，所不及者不能感也，是其朋類則從其思也。以有繫之私心，既主於一隅一事，豈能廓然無所不通乎？《繫辭》曰：“天下何思何慮？天下同歸而殊塗，一致而百慮，天下何思何慮”，夫子因咸極論感通之道。夫以思慮之私心感物，所感狹矣。天下之理一也，塗雖殊而其歸則同，慮雖百而其致則一。雖物有萬殊，事有萬變，統之以一，則無能違也。故貞其意，則窮天下無不感通焉，故日“天下何思何慮”。用其思慮之私心，豈能無所不感也？

Cheng Yi explained "the restless coming and going, friends follow your thoughts" by saying: as long as one remains upright and devoted, there is nothing that cannot be felt. If one's mind is constantly wandering and fluctuating, using one's own selfish thoughts to move external things, then only where one's mind is focused can one move others; where one's mind is not focused, one cannot move them, so only those who are of the same kind will follow one's thoughts. Carrying with one's own attachments and entanglements, since one is only focused on one corner or one matter, how can one be broad-minded and all-encompassing? The Great Treatise says: "What does the world think or consider? The world all return to the same place but take different paths, arrive at the same goal but have many considerations, so what does the world think or consider?" Confucius used the fourth line of the Hexagram of Salt to explain the principle of mutual influence to its fullest. Using one's own restless private thoughts to influence things, the range of influence becomes narrow. The principles of the world are originally one, although the paths may differ, they all lead to the same destination; although the considerations may be many, they all point to the same thing. Even though things are myriad and events are countless, as long as one uses a single fundamental principle to unify them, nothing can deviate. Therefore, as long as one's mind is properly placed, there is nothing in the world that cannot be felt, hence it is said "what does the world think or consider?" Conversely, if one uses only one's restless private thoughts, how can one possibly feel everything?

“日往則月來，月往則日來，日月相推而明生焉。寒往則暑來，暑往則寒來，寒暑相推而歲成焉。往者屈也，來者信也，屈信相感而利生焉。”此以往來屈信明感應之理。屈則有信，信則有屈，所謂感應也。故日月相推而明生，寒暑相推而歲成，功用由是而成，故曰“屈信相感而利生焉”。感，動也。有感必有應，凡有動皆為感，感則必有應，所應復為感，感復有應，所以不已也。

Cheng Yi cites the Great Treatise saying: "When the sun goes, the moon comes; when the moon goes, the sun comes. The sun and moon thus alternate and move, and light is generated. When cold departs, heat comes; when heat departs, cold comes. Cold and heat thus alternate and move, and a year is completed. Departure is contraction, arrival is expansion. Contraction and expansion respond to each other, and benefits arise from this." This uses the concept of coming and going and contraction and expansion to explain the principle ofsympathetic response. After contraction comes expansion, and after expansion it returns to contraction. This is calledsympathetic response. Therefore, the sun and moon alternate and move to generate light, cold and heat alternate and move to complete the years, and all functions are thus achieved, hence it is said, "contraction and expansion respond to each other and benefits arise." "感" means movement. If there is a movement, there must be a response; whatever moves is considered a "感," and once there is a "感," there must be a "应." The "应" then becomes a new "感," and so on, continuing without end.

“尺蠖之屈，以求信也：龍蛇之蟄，以存身也；精義入神，以致用也；利用安身，以祟德也。過此以往，未之或知也。”前云屈信之理矣，復取物以明之。尺蠖之行，先屈而後信，蓋不屈則無信，信而後有屈，觀尺蠖則知感應之理矣。龍蛇之藏，所以存息其身，而後能奮迅也。不蟄則不能奮矣，動息相感，乃屈信也，君子潛心精微之義，入於神妙，所以致其用也，潛心精微，積也。

Cheng Yi then cited the Great Treatise saying: "The silkworm moth curls up its body in order to stretch out again; the dragon and the snake remain coiled in order to preserve their bodies. To study principles to the point of subtlety and mystery is for the purpose of applying them in practice; when application is proper and one's mind and body are at ease, it is to elevate one's virtue. Beyond this level, there is nothing that human beings can know." Previously, the idea of bending and stretching had already been discussed, and here specific examples of things are used to illustrate it. The silkworm moth moves by first curling up and then stretching out, for without curling up there can be no stretching out, and after stretching out it must curl up again. By observing the silkworm moth, one can understand the principle of response. The coiling of the dragon and the snake is to allow their bodies to rest and recover, so that they can later rise and leap. Without coiling, they cannot rise; movement and stillness respond to each other, which is precisely the principle of bending and stretching. The gentleman immerses his mind in the subtle principles, reaching the realm of mystery, in order to apply them; immersing in subtlety belongs to the aspect of accumulation.

致用，施也。積與施乃屈信也。“利用安身，以崇德也”，承上文致用而言，利其施用，安處其身，所以崇大其德業也。所為合理，則事正而身安，聖人能事，盡於此矣，故云：“過此以往，未之或知也。窮神知化德之盛也。”既云“過此以往”，“未之或知”，更以此語終之，雲窮極至神之妙，知化育之道，德之至盛也，無加於此矣。

Cheng Yi continued saying: To put it into use, this refers to the aspect of 'distribution'. Accumulation and distribution are precisely the aspects of 'bending' and 'extending'. The sentence 'Utilize and establish oneself, to promote virtue' continues from the previous discussion of 'achieving practical use': making one's actions appropriate and beneficial, and keeping one's mind and body at ease without disturbance, is used to elevate one's virtue to a lofty and vast level. If all one's actions conform to reason, things will be properly ordered, the mind and body will be secure, and what the sage can do is fully exhausted. Therefore, it says 'Beyond this, no one knows it. To exhaust the divine and understand the transformation, is the fullness of virtue'. Since it has already said 'Beyond this level, there is nothing human can know', the final sentence is used to conclude, referring to exhausting the profound mysteries of the divine and comprehending the principles of creation and transformation, which is the highest perfection of virtue, beyond which nothing else can be added.

集說 程子曰：天地之常，以其心普萬物而無心。聖人之常，以其情順萬事而無情。楊氏時曰：九四脢之下，股之上，心之位也。不言心，心無不該，不可以位言也。《朱子語類》：問：《咸》九四《傳》，說虛心貞一處全似敬。曰：蓋嘗有此語曰敬，心之貞也。

The collected interpretations cite Cheng Hao saying: Heaven and Earth remain constant because their essence pervades all things without itself holding a specific heart; the sage remains constant because his feelings adapt to all affairs without retaining any particular sentiment. The collected interpretations also cite Yang Shi saying: Nine in the Fourth is located below the spine and above the thighs, which is the position of the heart. However, the line statement does not mention "heart," because the heart encompasses everything and cannot be confined to a specific part. The collected interpretations cite The Master Zhu's "Classified Sayings": Someone asked about the section in the "Chen" hexagram's "Cheng Transmission" discussing empty heart and steadfast sincerity, which is almost entirely equivalent to the character "respect." Zhu Xi answered: There was indeed such a saying before—that "respect" is the sincerity of the heart.

問：“瞳憧往來，朋從爾思”，莫是此感彼應，憧憧是添一個心否？曰：“往來”固是感應，“憧憧”是一心方欲感他，一心又欲他來應。如正其義便欲謀其利，明其道便欲計其功。又如赤子入井之時，此心方怵惕要去救他，又欲他父母道我好，這便是憧憧之病。又云：“憧憧往來，朋從爾思”，聖人未嘗不教人思，只是不可憧憧，這便是私了。感應自有個自然底道理，何必思他？若是義理，卻不可不思。

Someone asked: "Chongchong wanglai, peng cong er si" — does this mean that when there is a feeling on one side, there is a response on the other, and "chongchong" adds another layer of thought on top of that? Zhu Xi answered: "Wanglai" is originally the movement of feeling and response. "Chongchong" refers to the situation where one's mind is already eager to move and influence others, while at the same time expecting others to respond to oneself. It is like saying verbally that one wants to uphold righteousness, but in one's heart one is already calculating benefits; or saying verbally that one wants to explain the great principles, but in one's heart one is already thinking about rewards. It is also like seeing a child about to fall into a well, where one's heart is filled with fear and compassion, wanting to rush to save the child, while at the same time hoping the child's parents will praise oneself. This is the flaw of "chongchong." Zhu Xi also said that when discussing "chongchong wanglai, peng cong er si," the sages are not against thinking, but they do not want people to think in a "chongchong" way, for that would fall into private desires. Feeling and response have their own natural principles, so why should one interfere? As for principles and meanings, they are things that must be thought about.

問：“瞳憧往來”是心中憧憧然往來，猶言往來於懷否？曰：非也。又問：是憧憧於往來之間否？曰：亦非也。只是對那“日往則月來”底說，那個是自然之往來，此“憧憧”者是加私意不好底往來，“憧憧”只是加一個忙迫底心，不能順自然之理。方往時又便要來，方來時又便要往，只是一個忙。

Someone asked: "Chongchong wanglai" refers to a state of being restless and coming and going in the mind, which is commonly called "wanglai yu huai"? Zhu Xi answered: No. Again asked: Then does it mean being uncertain between going and coming? He answered: No. This sentence is referring to the passage in the "Great Treatise" which says "when the sun goes, the moon comes." There, it speaks of the natural coming and going. Here, "chongchong" refers to a kind of coming and going that is mixed with personal intentions and is not good. What is meant by "chongchong" is simply adding a heart full of urgency and haste to the process of coming and going, thus failing to follow the natural way. When going, one is eager for it to return; when returning, one is eager for it to go away. The whole passage is just about the word "haste."

問：“憧憧往來”，如霸者以私心感人，便要人應。自然往來，如王者我感之也無心而感，其應我也無心而應，周遍公溥，無所私繫。曰：也是如此。又問：此以私而感，彼非以私而應，只是應之者有限量否？曰：也是以私而應、如我以私惠及人，少間被我之惠者，則以我為恩，不被我之惠者，則不以我為恩矣。

Someone asked: "Chongchong wailai" is like a hegemon using private feelings to move others, and once moved, he insists on getting a response. But natural interaction is like a king moving people without private feelings, and when others respond, they do so without private feelings as well. It is universal and fair, flowing widely and broadly, with no private connections at all. Zhu Xi answered: Exactly so. The person then asked: On one side, there is private feeling in the act of moving, but on the other side, the response may not necessarily come from private feelings, perhaps only because the number of people who respond is limited? Zhu Xi answered: On that side as well, the response is also driven by private feelings. For example, if I bestow private kindness upon others, after some time, those who have received my kindness will regard me as a benefactor, while those who have not received my kindness will not regard me as a benefactor.

胡氏炳文曰：“寂然不動”，心之體。“感而遂通”，心之用。“憧憧往來”已失其寂然不動之體，安能感而遂通天下之故？“貞吉悔亡”，無心之感也，何思何慮之有？“憧憧往來”，私矣。林氏希元曰：以“憧憧往來”反《觀》九四之貞，只是往來付之無心爾。蓋盡吾所感之道，而人之應與否，皆所不計也，此便是正而固。“憧憧往來”，是把個往來放在心上，切切然不能放下，故曰“何思何慮”，言其不消如此。

Collecting interpretations cite Hu Bingwen's view: The "still and unmoving" in the Great Treatise refers to the nature of the mind; "responsive and universally penetrating" refers to the function of the mind. "Tumultuously coming and going" has already lost the still and unmoving nature of the mind, so how could one respond and understand all things in the world with a single sensation? "Zhen Ji Hui Wang" refers to感应 without private thoughts, where is there room for thinking and deliberating? As for "tumultuously coming and going," this falls into private concerns. Collecting interpretations also cite Lin Xiyuan's view: Looking back at the "Zhen" in Nine in the Fourth from the perspective of "tumultuously coming and going," we can see that "Zhen" simply means surrendering all coming and going to an impartial mind. In other words, I only fulfill the principles I should respond to, without caring whether others should or should not, which is upright and firm. "Tumultuously coming and going" involves placing each coming and going on the mind, worrying and being unable to let go, so the Great Treatise says "what is there to think and deliberate about," telling people not to be like this.

又曰：“貞”者，施己之感，不必人之應也。惟不必人之應，則不私己之感，其應者亦感，其不應者亦感，無一人之不感，亦無一人之不應，故“吉”而“悔亡”。“憧懂往來”者，施己之感，必人之應也。唯必人之應，則私己之感，應者則感，不應者則不感，而其應之，亦唯其感者即應，不感者則不應矣，故“朋從爾思”。蓋“憧憧往來”，思也，朋則思之所及者，以其思之所及，故從而目之曰朋，猶云朋黨也。

Lin Xi Yuan also said: The term "Zhen" refers to me sending out my ownsympathetic response (response or resonance) without expecting a response from others. Because I do not expect a response, I do not regard mysympathetic response as private property; whether or not others respond, I continue to send out mysympathetic response, so no one is outside mysympathetic response, and thus no one fails to respond, hence "ji" (auspicious) and "hui wang" (no regret). As for "chong chong wan lai" (coming and going in confusion), this refers to me sending out mysympathetic response with the expectation that others will respond. Because I expect a response, I turn mysympathetic response into private property; I send out mysympathetic response only when others respond, and do not send it when they do not. And when others respond, they are only those whom I can feel, while those I cannot feel do not respond. Therefore, it is said "peng cong er si" (the companions come in accordance with one's thoughts). "Chong chong wan lai" is precisely about this "si" (thought), and "peng" refers to the group of people within the scope of one's thoughts; since they fall within the range of one's considerations, they are called "peng," meaning a faction or clique.

九五，咸其脢，無悔。本義 “脢”，背肉。在心上而相背，不能感物，而無私繫，九五適當其處，故取其象，而戒占者以能如是，則雖不能感物，而亦可以“無悔”也。

The Line Statement of the Fifth Line says: The response is felt in the flesh on the back, and there is no regret. Zhu Xi's "Original Meaning" states: "Mèi" refers to the flesh on the back. It is located above the heart and directly opposite to it, so it cannot be moved by external things and thus has no attachments of private desire. The Nine in the Fifth is precisely at this location, so this image is taken, and it is used to advise the person consulting the oracle: if one can reach this level, even though one cannot be moved by external things, one can still have no regret.

程傳 九居尊位，當以至誠感天下。而應二比上。若係二而說上，則偏私淺狹，非人君之道，豈能感天下乎？脢，背肉也，與心相背而所不見也。言能背其私心，感非其 集說 孔氏穎達曰：馬融云：“脢”，背也；鄭康成云：“脢”，脊肉也；王肅云：“脢”在背而夾脊。諸說不同，大體皆在心上。王氏宗傳曰：上六處《咸》之末，以口舌為容悅之道，五或以其近己也，比而說之。“脢”，背肉也，與心相背者也。戒之使背其心之所向，則無親狎之悔矣。

Cheng Yi in Yichuan's Commentary on the Changes says: A yang line in a尊位 should use sincere virtue to move the world. But if it is connected with the six in the second and is close to the six at the top, then it is partial and narrow-minded, not the way of a ruler, how could it move the world? "Mei" is the flesh on the back, opposite the heart and not visible to each other. This means being able to abandon private desires, so what is felt is not... the original text here is missing, and the Cheng transmission ends here. The collected commentary cites Kong Yingda saying: Ma Rong explains "mei" as the back; Zheng Xuan explains "mei" as the flesh on the back; Wang Su explains "mei" as the flesh on the back between the spine bones. The interpretations differ, but they all generally refer to the area above the heart. The collected commentary also cites Wang Zong's saying: The six at the top is at the end of the Xian hexagram, using words to please others; the nine in the fifth may be close to it, so it is fond of it. "Mei" is the flesh on the back, opposite the heart; the line statement is warning the nine in the fifth to turn away, not follow the desire in the heart, thus avoiding regret from intimacy and closeness.

上六，咸其輔頰舌。本義 “輔頰舌”，皆所以言者，而在身之上。上六以陰居說之終，處感之極，感人以言，而無其實，又兌為口舌，故其象如此，凶咎可知。

The line statement of the sixth line at the top says: The response and influence arise in the jaw, the cheek, and the tongue. Zhu Xi's "Benyi" states: "The cheek and tongue" are all organs used for speaking, and they are located at the uppermost part of the body. The sixth line at the top, with a yin line occupying the position of the last line of the hexagram Dui, which represents joy, is also at the extreme point of the entire process of response and influence. It uses words to move others but lacks substantial content. Moreover, Dui in the hexagram symbolizes mouth and tongue, so the imagery of this line is as such, and the danger and fault are evident.