The Hexagram of Restraint

節.坎上.兌下程傳 《節序卦》：“渙者離也，物不可以終離，故受之以《節》。”物既離散，則當節止之，《節》所以次《渙》也，為卦澤上有水，澤之容有限，澤上置水，滿則不容，為有節之象，故為《節》。

"The hexagram 'Jie' is indicated by the diagram 'Kan above, Dui below,' meaning the upper trigram is Kan (Water) and the lower trigram is Dui (Lake). Cheng Yi in his commentary 'Yichuan's Commentary on the Changes' explains that the 'Xu Gua Zhuan' states the reason for following the hexagram 'Huan' with 'Jie' is 'Huan means dispersion; things cannot continue to be dispersed, so the hexagram 'Jie' follows it.' Once things have become dispersed, they should be regulated and restrained, hence the hexagram 'Jie' comes after 'Huan.' In terms of the structure of the hexagram, it is water above a lake: a lake has limited capacity, and adding more water to it when it is full causes it to overflow, which represents the image of regulation, hence the name 'Jie.'"

節，亨，苦節不可貞。 本義 “節”，有限而止也，為卦下兌上坎，澤上有水，其容有限，故為節，節固 程傳 事既有節，則能致亨通，故節有“亨”義。節貴適中，過則苦矣，節至於苦，豈能常也，不可固守以為常，“不可貞”也。

The Hexagram Statement says: The Hexagram of "Restraint," is smooth and unimpeded; when restraint becomes unbearable, it is not advisable to persist. Zhu Xi's The Original Meaning of the Zhou Changes says: "Restraint" refers to knowing when to stop within limits. In terms of the structure of the hexagram, it is lower Dui (Lake) and upper Kan (Water), with water above a lake, which has limited capacity, hence called "Restraint." The text from "Restraint and firmness" onwards is interrupted, with missing characters. Cheng Yi's Yichuan's Commentary on the Changes says: once there is restraint, things can lead to smoothness and success, so "Restraint" contains the meaning of "smoothness." Restraint is valuable when it is just right; if it goes too far, it becomes painful. When restraint reaches a painful state, how can it be sustained? It is not advisable to be stubborn and treat it as a constant state, which is what "not advisable to be firm" (不可贞) means.

集說 孔氏穎達曰：“節”者，制度之名，節止之義，制事有節，其道乃亨，故曰“節亨”。節須得中，為節過苦，傷於刻薄，物所不堪不可復正，故曰“苦節不可貞”也。 薛氏溫其曰：節以禮其道乃“亨”，過苦傷陋，不可以為正也。

"The 'Collected Sayings' cites Kong Yingda's explanation: 'Jie' refers to a system of regulations, implying restraint and control. Handling affairs with proper moderation allows the path to be smooth, hence 'Jie亨' (smoothness). Restriction must be moderate; if it is overly harsh, it becomes cruel and unbearable for others, thus no longer the correct path, hence '苦节不可贞' (extreme restraint is not sustainable). Xue Wenqi says: Only by using propriety to regulate can the path be '亨'; excessive hardship leads to vulgarity and cannot be regarded as the correct path."

初九，不出戶庭，無咎。 本義 “戶庭”，戶外之庭也。陽剛得正，居節之初，未可以行，能節而止者也，故其象占如此。 程傳 “戶庭”，戶外之庭。“門庭”，門內之庭。初以陽在下，上覆有應，非能節者也，又當節之初，故戒之謹守，至於“不出戶庭”，則“無咎”也。初能固守，終或渝之，不謹於初，安能有卒，故於節之初為戒甚嚴也。

The line statement says: "Initial Nine, not going out of the courtyard, will have no fault." Zhu Xi in The Original Meaning of the Zhou Changes says: "The courtyard outside the gate" refers to the courtyard outside the entrance. Initial Nine is strong and upright, located at the beginning of the section, and is not yet the time for action. It is able to restrain itself and know when to stop, hence the hexagram and its judgment are as such. Cheng Yi in Yichuan's Commentary on the Changes says: "The courtyard outside the gate" refers to the courtyard outside the entrance, while "the courtyard inside the gate" refers to the courtyard inside the main gate. Initial Nine, with a yang line in the lower position, has a corresponding line above it, and is originally not capable of restraint. Moreover, it is at the beginning of the section, so it warns it to be cautious and self-restrained, and by not going out of the courtyard, it will have no fault. If one starts by being firm, it may later change into another hexagram; if one starts without caution, how can there be a good ending? Therefore, at the beginning of the section, the warning is especially strict.

集說 王氏中子曰：陽剛在下，居得其正。當節之初，知其時未可行，故謹言謹行，至於不出產外之庭，是知節而能止者，故“無咎”。 徐氏在漢曰：坎變下一畫為兌，象止坎下流，戶以節，人之出入，澤以節水之出入。 初“不出戶庭”，以極其慎密為不出，此其所以“無咎”。

"The Collection of Sayings" cites Wang Zhongzi (who is likely the same as the Wang Shenzi mentioned earlier) saying: Initially, the ninth line is yang and strong, occupying a proper position. It is at the beginning of the principle of moderation, knowing that the time is not yet ripe for action, so it speaks cautiously and acts cautiously, not even stepping out of the courtyard. This is because it understands moderation and self-restraint, hence "no blame." Xu Zhaihan says: The Kan hexagram, when its lower line is changed, becomes Dui, symbolizing the blocking of the downward flow of Kan water. A gate is used to regulate people's entry and exit, and a marsh is used to regulate the flow of water. The initial ninth line "not stepping out of the courtyard" treats extreme caution as "not stepping out," which is why it "has no blame."

九二，不出門庭，凶。 本義 “門庭”，門內之庭也。九二當可行之時，而失剛不正。上無應與，知節而不知通，故其象占如此。 程傳 二雖剛中之質，然處陰居說而承柔。處陰，不正也。居說，失剛也。承柔，近邪也。節之道當以剛中正。二失其剛中之德，與九五剛中正異矣。“不出門庭”，不之於外也，謂不從於五也，二五非陰陽正應，故不相從。若以剛中之道相合，則可以成節之功。惟其失德失時，是以“凶”也。不合於五，乃不正之節也，以剛中正為節，如懲忿窒欲。損過益有餘，是也。不正之節，如嗇節於用，儒節於行，是也。

The Line Statement says: Nine in the Second, not going out of the courtyard within the main gate, is ominous. Zhu Xi's The Original Meaning of the Zhou Changes says: "The main gate and courtyard" refers to the courtyard within the main gate. Nine in the Second is at a time when action should be taken, yet it has lost its strong virtue, is in an improper position, and has no corresponding line above. It only knows restriction but does not know flexibility and change, hence its hexagram image and judgment are like this. Cheng Yi's Yichuan's Commentary on the Changes says: Nine in the Second, although has the quality of yang strength in the center, is in a yin position, resides in the joyful structure, and is above a yin line. Being in a yin position is improper; residing in the joyful structure is losing the quality of strong and upright; being above a yin line is approaching the perverse. The way of restriction should be based on strong, upright, and proper virtue. Nine in the Second has lost the virtue of strong and upright, thus differing from Nine in the Fifth, which is strong, upright, and proper. "Not going out of the courtyard" means not going outside, indicating that it does not follow Nine in the Fifth. Nine in the Second and Nine in the Fifth are not in a proper yin-yang correspondence, hence they do not follow each other. If they can be in harmony with each other through strong and upright virtue, they can achieve the success of restriction. But because of its deficiency in virtue and missed timing, it is "ominous." Not following Nine in the Fifth is improper restriction. Restriction with strong, upright, and proper virtue, such as restraining anger, blocking private desires, cutting excess and balancing the remaining, belongs to this category. Improper restriction, such as being overly stingy in expenditure and being rigid and timid in action, belongs to the other category.

集說 《朱子語類》云：“戶庭”是初爻之象，“門庭”是第二爻之象。 錢氏志立曰：澤所以鍾水也，水始至則增其防以瀦之，初九是也。水漸盛敗啟其竇以洩之，九二是也，二與初同道，則失其節矣。

The "Ji Shuo" cites the "Zhu Zi Yu Le" which says: "Hu Ting" is the image of the first line, and "Men Ting" is the image of the second line. Qian Zhili says: a marsh is used to gather water. When water first comes, it is contained by raising dikes, which is like the situation of initial nine; when the water gradually fills up, it is released through openings, which is like the situation of nine in the second. If nine in the second follows the same path as initial nine, then there would be a loss of control.

案 《節》卦六爻皆以澤水二體取義，澤者止，水者行。《節》雖以止為義，然必可以通行而不窮，乃為節之“亨”也。初二兩爻，一在澤底，一在澤中。在澤底者水之方瀦，不出宜也，在澤中則當有蓄洩之道，不可閉塞而不出也。兌本《坎》體，中爻其主也。有《坎》之德可以流行，而變《兌》則為下流之塞，二適當之，故六爻之失時，未有如二者也。時應塞而塞，則為慎密不出，雖足不窺戶可也。時不應塞而塞，則為絕

Li Guangdi remarked: The hexagram "Jie" (Restraint) derives its meaning from both the Lake and Water elements. The Lake represents stopping, and Water represents movement. Although "Jie" takes stopping as its main meaning, it must also allow for passage without reaching a state of hardship, which is what makes "Jie" "heng" (passage). The first and second lines, "Chu Ji" and "Jiu Er," are located at the bottom of the Lake and within the Lake, respectively. The one at the bottom has just gathered water, so it is appropriate for it to remain there; the one within the Lake should have both storage and release, and should not be blocked entirely. The trigram "Dui" (Lake) originally comes from the trigram "Kan" (Water), and the central line is its main line. With the virtue of "Kan," it can spread out and become "Dui," but when it becomes "Dui," it becomes the lower part that is blocked. The second line is exactly at this position, so among all the lines, the one that misses the timing is none more serious than "Jiu Er." When the situation calls for blocking, then blocking is appropriate, which is being cautious and not letting out, even if one stays at home is acceptable. When the situation does not call for blocking, yet one blocks, then it becomes a dead end. The original text ends here, and the following text is missing.

六三，不節若，則嗟若，無咎。 本義 陰柔而不中正，以當節時，非能節者，故其象占如此。 程傳 六三不中正，乘剛而臨險，固宜有咎。然柔順而和說，若能自節而順於義，則可以無過。不然，則凶咎必至，可傷嗟也。故“不節若則嗟若”。己所自致，無所歸“咎”也。

The Line Statement says: Six in the Third, without restraint, will lament, and there will be no fault. Zhu Xi's The Original Meaning of the Zhou Changes says: Six in the Third is阴柔 and not central or upright, and is precisely in a situation that calls for restraint. It is not someone who can practice restraint, so its image and judgment are like this. Cheng Yi's Yichuan's Commentary on the Changes says: Six in the Third is not central or upright, it oversteps the strong line and is close to danger. It should naturally have a fault. However, it is gentle and harmonious. If it can restrain itself and follow righteousness, it can avoid fault. Otherwise, calamity and blame will certainly come, which is something to be sorrowful and lament. Therefore, it says 'If not restrained, then lament.' This is something it brings upon itself, and there is nowhere to shift the blame of 'fault.'

集說 張子曰：處非其位，失節也。然能嗟其不節，則亦“無咎”矣。 又曰：王弼於此“無咎”，又別立一例，只舊例亦可推行，但能嗟其不節，有補過之心，則亦“無咎”也。 李氏彥章曰：《臨》之六三，失臨之道，而既憂之。《節》之六三，失節之道而嗟若，皆得“無咎”。《易》以補過為善者也。

The "Collected Sayings" cites Zhang Zai's view: the position of the Sixth Line in the Third is not its proper place, which is a loss of restraint. However, if one laments one's own lack of restraint, then it is "without blame." Zhang Zai also says: Wang Bi established a different standard for "without blame" in this context; in fact, the old standard can still be applied—provided one laments one's own lack of restraint and holds the mind to correct one's mistakes, then it is "without blame." Li Yanzhang says: In the "Approaching" hexagram, the Sixth Line in the Third loses the proper path of approaching and feels anxious afterwards; in the "Restraint" hexagram, the Sixth Line in the Third loses the proper path of restraint and laments, yet both can achieve "without blame." The Zhou Changes regard correcting mistakes as good.

鄭氏汝諧曰：進乘二陽，處澤之溢，過乎中而不節者三也。知其不節，而能傷嗟以自悔，其誰咎之哉！下體之極，極則當變，故發此義。 豐氏寅初曰：處兌之極，水溢澤上，說於驕侈，不知謹節，以致窮困。然其心痛悔，形於悲歡，能悔則有改過之幾，是猶可以“無咎”也。

"The Collected Commentaries" cite Zheng Ruoxie's saying: Six in the Third is superior to two yang lines, located at the position where a marsh is about to overflow. It crosses the middle path without restraint. Knowing its lack of restraint, yet being able to grieve and lament, self-reproach, who would blame it? It is at the top of the lower trigram, having reached the extreme, it should change. Therefore, the Zhou Changes expresses this meaning here. Feng Yinchu said: Six in the Third is at the top of Dui, water overflowing from the marsh, immersed in arrogance and luxury, not knowing caution and restraint, leading to hardship. However, it feels inner regret, expressing it as lamentation; being able to regret means there is a sign of reform, so it can be "without blame."

六四，安節，亨。 本義 柔順得正，上承九五，自然有節者也，故其象占如此。 程傳 四順承九五剛中正之道，是以中正為節也。以陰居陰，安於正也，當位為有節之象。下應於初，四坎體水也，水上溢為無節，就下有節也。如四之義，非強節之，安於節者也，故能致“亨”。節以安為善，強守而不安則不能常，豈能亨也。

The Line Statement says: Six in the Fourth, peaceful and restrained, is smooth and unimpeded. Zhu Xi in The Original Meaning of the Zhou Changes says: Six in the Fourth is gentle and compliant, and is in the correct position, thus naturally restrained. Therefore, its hexagram and judgment are as such. Cheng Yi in Yichuan's Commentary on the Changes says: Six in the Fourth follows and supports the strong and upright nature of Nine in the Fifth. This is using the middle and upright to regulate. A yao in a yin position is content with the right path; "being in the correct position" is the image of restraint. It is in harmony with the first nine below it. Six in the Fourth belongs to the坎 trigram, which is water. Water overflowing upward is unrestrained, but flowing downward is restrained. The meaning of Six in the Fourth is not forced restraint, but rather contentment with restraint, thus achieving "smoothness." Restraint should be peaceful; if one restrains forcefully and is anxious inside, it cannot last, how could it be smooth and unimpeded?

集說 俞氏琰曰：六三失位而處兌澤之極，是乃溢而不節，六四當位而順承九五之君，故為“安節”。 案 六四以柔正承五，故曰“安節”。安與勉對，蓋凡其制節謹度，皆循乎成法而安行，非勉強以為節者也。於象居坎之下，水之下流也，柔正為水流平地安瀾之象。

The "Ji Shuo" cites Yu Yan's explanation: Six in the Third is out of position and located at the top of Dui Lake, which is exactly like overflowing without restraint; whereas Six in the Fourth is "in the proper position" and follows and supports Nine in the Fifth, hence it is "secure in regulation." Li Guangdi comments: Six in the Fourth, with a gentle and compliant nature in the correct position, supports Nine in the Fifth, hence it is "secure in regulation." "Secure" contrasts with "exertion": whatever it decides regarding regulation and adherence to rules is carried out calmly according to established norms, not through forced restraint. In terms of the hexagram's image, it is located below Kan, representing water flowing downward; gentle and compliant, it reflects the image of water flowing over flat land, calm and undisturbed.

九五，甘節，吉，往有尚。 本義 所謂當位以節，中正以通者也，故其象占如此。 程傳 九五剛中正居尊位，為節之主。所謂當位以節，中正以通者也。在己則安行，天下則說從，節之甘美者也，其“吉”可知。以此而行，其功大矣，故“往”則有可嘉“尚”也。

The Line Statement says: Nine in the Fifth, sweet and moderate restraint, is auspicious; proceeding forward will be praised. Zhu Xi's The Original Meaning of the Zhou Changes says: This is what the Commentary on the Judgment refers to as "being in the right position to practice restraint, and being upright and moderate to achieve communication" (being in the proper position and practicing restraint, and being upright and moderate to achieve harmony). Therefore, the hexagram image and divination are as such. Cheng Yi's Commentary on the Changes says: Nine in the Fifth is yang and strong, upright and moderate, and occupies the exalted position; it is the main line of the hexagram of Restraint. This is exactly what is meant by "being in the right position to practice restraint, and being upright and moderate to achieve communication." In itself, it is peaceful and proceeding; in the world, it brings joy and compliance. This is the sweetest form of restraint, so its "auspiciousness" is evident. By proceeding in this way, great achievements will be attained, so "proceeding forward" is worthy of praise and commendation.

集說 王氏弼曰：當位居中，為節之主。不失其中，不傷財，不害民之謂也。為節而不苦，非甘而何，術斯以往，“往有尚”也。 《朱子語類》云：甘便對那苦，甘節與“禮之用，和為貴”相似。 趙氏汝楳曰：咸苫酸辛，味之偏。甘，味之中也。甘受和，和者口味之偏向而適其中。行之以甘，人不吾病，而事以成，節之“吉”也。

"Ji Shuo" cites Wang Bi's view: the fifth line (nine in the fifth) is in the proper position and occupies the central position, thus being the main line of the卦 (hexagram) of "Jie" (Moderation). Not losing the middle path means not damaging resources and not harming the people. To practice moderation without feeling the hardship, is it not sweetness? Following this path (the original text says "Shu Si Wang", but "Shu" should be a mistake for "Yu"), that is, "Wang You Shang" (going forward is favorable). "Zhu Zi Yu Le" records: "Sweet" is precisely in contrast to "bitter," and "sweet moderation" is similar in meaning to the idea in the "Analects" that "the use of rites lies in harmony, which is precious." Zhao Ru Mei says: salty, bitter, sour, and pungent are all flavors leaning toward one extreme; "sweet," however, is the middle flavor among the five tastes (the original text says "Xian Shan," but "Shan" is a mistake for "Ku"). The "Book of Rites" says, "Sweet receives harmony," meaning that sweetness can accommodate the harmonization of various flavors. What is called "harmony" is to adjust the inclination of taste to the proper and moderate degree. To implement moderation in a sweet manner, people do not feel that I am making them uncomfortable, yet the matter is accomplished. This is the "good fortune" of moderation.

上六，苦節，貞凶，悔亡。 本義 居《節》之極，故為“苦節”，既處過極，故雖得正而不免於“凶”。然禮奢寧儉，故雖有“悔”而終得“亡”之也。 程傳 上六居《節》之極，節之苦者也。居險之極，亦為苦義，固守則“凶”，“悔”則凶“亡”。“悔”，損過從中之謂也。節之“悔亡”，與他卦之悔亡，辭同而義異也。

The Line Statement says: Upper Sixth, a severe form of restraint, if maintained will bring misfortune, but regret will disappear. Zhu Xi in The Original Meaning of the Zhou Changes explains: Upper Sixth is at the top of the hexagram of "Restraint," hence it is "severe restraint." Since it is excessive, even though it is in the correct position, it cannot avoid "misfortune." However, in terms of ritual, it is better to be frugal than extravagant, so although there is "regret," it can eventually be dispelled. Cheng Yi in Yichuan's Commentary on the Changes says: Upper Sixth is at the top of the hexagram of "Restraint," indicating restraint has reached a painful level; it is also at the peak of danger, which also carries the meaning of hardship. Being stubborn and holding on will result in "misfortune," but if there is repentance, the misfortune can be eliminated. "Regret" here refers to reducing excess and returning to the middle path. The "regret disappears" in the hexagram of "Restraint" is similar in wording but different in meaning from "regret disappears" in other hexagrams.

集說 干氏寶曰：彖稱“苦節不可貞”，在此爻也，故曰“貞凶”。 孔氏穎達曰：上六處《節》之極，過《節》之中，節不能甘，以至於苦，故曰“苦節”也。若以苦節施人，則是正道之凶，若以苦節修身，則儉約無妄，可得亡悔。 呂氏大臨曰：上六居《節》之極，其節巳甚，“苦節”者也。用過乎節，物所不堪，守是不變物窮必乖，故曰“貞凶”。禮奢寧儉，未害乎義，故曰“悔亡”。

"The Collection of Sayings" cites Gan Bao's statement: The "Tong Ci" says "a harsh virtue is not proper," referring to this line, hence saying "the virtue is ominous." Kong Yingda explains: The sixth line at the top is at the peak of "Jie," having exceeded the middle path of moderation, so the practice of restraint becomes bitter, hence "bitter virtue." If one applies this bitter virtue to others, even if one follows the right path, misfortune will follow; if one uses it for self-cultivation, it would be frugal and sincere, thus eliminating regret. Lü Daling says: The sixth line at the top is at the peak of "Jie," and restraint has already gone too far, hence "bitter virtue." Exceeding the measure of restraint, people cannot bear it; clinging to it without flexibility, things will inevitably go against the way, hence "the virtue is ominous." In terms of rites, it is better to be frugal than extravagant, and this does not harm the principles, hence "regret disappears."

胡氏炳文曰：無位中，故為“甘”：上位極，故為“苦”。彖曰“節亨”，五以之，曰“苦節不可貞”，上以之。 來氏知德曰：無甘節之吉，故“貞閃”。無不節之嗟，故“悔亡”。

"The Collection of Commentaries" cites Hu Bingwen's view: Nine in the Fifth holds the position and is in the center, hence it is called 'sweet' (the original text says 'no position in the center,' where 'no' is likely a mistake for 'Five'); Six at the Top holds the position to the extreme, hence it is called 'bitter.' The "Commentary on the Image" says 'the virtue of restraint is smooth,' referring to Nine in the Fifth; it says 'bitter restraint is not proper,' referring to Six at the Top. Lai Zhide says: Six at the Top does not have the good fortune of sweet restraint, hence 'auspiciousness is凶' (the original text says 'auspiciousness is闪,' where '闪' is a mistake for '凶'); it also does not have the mistake of unrestrained lamentation, hence 'regret disappears.'

總論 邱氏富國曰：《彖傳》當位以《節》，故《節》之六爻，以當位為善，不當位為不善。若以兩爻相比者觀之，則又各相比而相反。初與二比，初“不出戶庭”則“無咎”，二“不出門庭”則“凶”，二反乎初者也。三與四比，四柔得正則為“安節”，三柔不正則為“不節”，三反乎四者也。五與上比，五得中則為節之“甘”，上過中則為節之“苦”，上反乎五者也。

"The General Discussion" cites Qiu Fuguo's statement: The "Commentary on the Judgment" says "to be in the right position and to regulate," so in the "Hexagram of Regulation," the six lines are considered good if they are in the right position and bad if they are not. When comparing adjacent lines, they are opposite in meaning. The first line and the second line are adjacent: the first line "does not go out of the courtyard" leads to "no blame," while the second line "does not go out of the courtyard" leads to "misfortune," and the second line is opposite to the first. The third line and the fourth line are adjacent: the fourth line, being a yin line in the correct position, is "to maintain regulation," while the third line, being a yin line in the incorrect position, is "not to regulate," and the third line is opposite to the fourth. The fifth line and the sixth line are adjacent: the fifth line, being in the center, is the "sweetness" of regulation, while the sixth line, having passed the center, is the "bitterness" of regulation, and the sixth line is opposite to the fifth.

陸氏振奇曰：觀下卦通塞二字，上卦甘苦二字，可以知《節》道矣，通處味甘，塞處味苦，塞極必潰，故三受焉，甘失反苦，故上受焉。 案 下卦為澤為止，故初二皆曰“不出”。三則澤之止而溢也，上卦為水為流，故四曰“安”而五曰“甘”。上則水之流而竭也，通塞甘苦，皆以澤水取義。陸氏之說得之矣。

"The General Discussion" cites Lu Zhenqi's view: by looking at the words "open" and "blocked" in the lower trigram, and "sweet" and "bitter" in the upper trigram, one can understand the meaning of the hexagram "Restraint": open places are sweet, blocked places are bitter; when blocked to the extreme, it inevitably breaks through, so line six in the third position bears this consequence; excessive sweetness turns into bitterness, so line six at the top bears this consequence. Li Guangdi comments: the lower trigram is the marsh, so lines initial nine and nine in the second position both say "not flowing out"; line six in the third position is when the marsh cannot hold back and overflows. The upper trigram is water, which flows, so line six in the fourth position says "resting" and line nine in the fifth position says "sweet"; line six at the top is when the water flows to the end and dries up. Open and blocked, sweet and bitter, all derive their meanings from the marsh and water. Lu's explanation is correct.

中孚.巽上.兌下程傳 《中孚序卦》：“節而信之，故受之以《中孚》。”節者，為之制節使不得過越也，信而後能行，上能信守之，下則信從之，節而信之也，《中孚》所以次《節》也。

"The Middle Trust" is a hexagram diagram, indicating that the upper trigram is Xun (Wind) and the lower trigram is Dui (Lake). Cheng Yi in his commentary "Yichuan's Commentary on the Changes" explains that the "Sequence of Hexagrams" explains why the hexagram "Zhongfu" follows "Jie" (Restriction). It says that after there is restriction, people will trust, hence the hexagram "Zhongfu" follows "Jie." Restriction refers to setting limits for things so they do not exceed bounds. With trust, things can proceed smoothly: those in authority who remain trustworthy will be trusted by those below. This is called "restriction and trust." Therefore, the hexagram "Zhongfu" comes after "Jie."

為卦澤上有風，風行澤上，而感於水中，為中孚之象。感，謂感而動也。內外皆實而中虛，為中孚之象。又二五皆陽中實，亦為孚義。在二體則中實，在全體則中虛，中虛信之本，中實信之質。

In terms of the structure of the hexagram, it represents wind over marsh, with the wind blowing across the surface of the marsh and affecting the water beneath, which is the image of Zhongfu. The term "gǎn" refers to being moved and following along. The entire hexagram has solid lines at both the outer and inner ends, with the middle part empty, which is the image of Zhongfu. Additionally, both the second line and the fifth line are yang lines, with the middle part filled, which also conveys the meaning of sincerity and trust. When viewed separately as the upper and lower trigrams, it is "central solidity," but when viewed as a whole hexagram, it is "central emptiness." Central emptiness is the foundation of sincerity, while central solidity is the nature of sincerity.

本義 “孚”，信也。為卦二陰在內，四陽在外，而二五之陽，皆得其中。以一卦言之為中虛，以二體言之為中實，皆孚信之象也。又下說以應上，上巽以順下，亦為孚義。“豚魚”，無知之物。又木在澤上，外實內虛，皆舟楫之象。至信可感豚魚，涉險難，而不可以失其貞。故占者能致豚魚之應則吉，而“利涉大川”，又必利於貞也。

The hexagram statement of the primary hexagram is missing in the base text (the common version reads "Zhongfu, tunyu ji, li she da chuan, li zhen"). According to the convention, it is not added. Zhu Xi's "The Original Meaning of the Zhou Changes" says: "Fu" means sincerity. In terms of the hexagram structure, there are two yin lines inside and four yang lines outside, while the two yang lines, nine in the second and nine in the fifth, both occupy the central positions. Looking at the entire hexagram, it is in the middle empty; looking at the upper and lower trigrams, it is in the middle full. These are all images of sincerity. Also, the lower trigram expresses joy in response to the upper trigram, and the upper trigram expresses humility and obedience to the lower trigram, which is also the meaning of sincerity. "Tunyu" refers to animals without sensation. Also, wood on top of a marsh, with the outside solid and the inside empty, are all images of boats. Sincere faith can move tunyu, can cross dangerous waters, but cannot lose its uprightness. Therefore, if the person consulting the oracle can attract the response of tunyu, it is auspicious, and "favorable for crossing great rivers," and at the same time, it is certainly favorable to maintain uprightness.

程傳 豚躁，魚冥，物之難感者也。孚信能感於豚魚，則無不至矣，所以“吉”也。 忠信可以蹈水火，況涉川乎。守信之道，在乎堅正，故利於貞也。 集說 孔氏穎達曰：信發於中，謂之“中孚”。“魚”者蟲之幽隱，“豚”者獸之微賤，內有誠信，則雖微隱之物信皆及矣。既有誠信，光被萬物，以斯涉難，何往不通，故曰“利涉大川”。信而不正，凶邪之道，故“利”在“貞”也。

Cheng Yi in Yichuan's Commentary on the Changes says: A young pig is impetuous in nature, and fish in water are dark and obscure; these are things that are difficult to move or impress. But sincerity and trustworthiness can move even a pig and a fish, so there is 'good fortune'. A person who is loyal and trustworthy can walk through fire and water, let alone crossing a river. The way to maintain trustworthiness is to be firm and upright, hence it is appropriate to be 'chaste'. The 'Collected Sayings' cite Kong Yingda saying: Sincerity and trustworthiness arising from the heart is called 'zhongfu' (sincerity in the center). 'Fish' are among the hidden creatures, and 'piglets' are among the lowly animals; if the heart is sincere, then even the smallest and most hidden things can be reached by trust. Since there is sincerity, its radiance covers all things. Using it to overcome difficulties, where would it not be effective? Therefore, it says 'beneficial to cross great rivers'. If there is trust but not uprightness, that is a path of evil, hence 'beneficial' lies in 'chastity'.

蘇氏軾曰：“中孚”，信也，而謂之“中孚”者，如羽蟲之孚，有諸中而後能化也。 內無陽不生，故必剛得中，然後為“中孚”也。 《朱子語類》：問：《中孚》“孚”字與“信”字恐亦有別，曰：伊川云，存於中為孚，見於事為信，說得極好。因舉字說孚字從爪從子，如鳥抱子之象。今之乳字一邊從孚，蓋中所抱者，實有物也，中間實有物，所以人自信之。

"The Collection of Sayings" cites Su Shi saying: "Zhongfu" means trust, and the reason it is called "Zhongfu" is like how birds hatch their eggs; there must be something inside first before it can take shape. Without yang energy, nothing can be born, so yang must occupy the central position to become "Zhongfu." The "Zhu Zi Yu Le" records that someone asked whether the character "fu" in "Zhongfu" and the character "xin" (trust) might have different meanings. Zhu Xi said: "I Chuan explained that what is in the heart is called fu, and what is shown in action is called xin. This explanation is very good." Then he cited the "Zi Shuo" which says the character "fu" is composed of "zhuo" (hand) and "zi" (child), resembling a bird holding its young with its claws. The modern character "ru" (to nurse) has one side from "fu," showing that there is indeed something real inside. Since there is something real in the middle, people naturally trust it.

問中虛信之本，中實信之質，如何？曰：只看虛實字，便見本質之異，中虛是無事時虛而無物，故曰中虛。自中虛中發出來皆是實理，所以曰中實。 又云，一念之間，中無私主，便謂之虛，事皆不妄，便謂之實，不是兩件事。

Someone asked: "Middle emptiness is the foundation of sincerity, and middle fullness is the nature of sincerity." How should this be understood? Zhu Xi said: just by looking at the words "empty" and "real," one can see the distinction between "foundation" and "nature." Middle emptiness refers to the state of being mentally quiet and free from attachments when there is nothing to do, hence called middle emptiness; yet from this emptiness arises all real principles, hence called middle fullness. Zhu Xi also said: when there is no private intention in a single thought, it is called emptiness; when actions are not false or deceptive, it is called reality. This is not two separate things.

胡氏炳文曰：“豚魚”至愚無知，惟信足以感之。大川至險不測，惟信足以濟之。 然信而或失其正，則如盜賊相群，男女相私，士夫死黨，小人出肺月於相示，而遂背之，其為孚也，人為之偽，非天理之正，故又戒以“利貞”。

"The Collection of Sayings" cites Hu Bingwen's statement: "A pig and a fish" are so ignorant and insensitive that they have no awareness; only sincerity can move them. A great river is so dangerous and unpredictable in depth that only sincerity can enable one to cross it. However, if sincerity is present but perhaps loses its correctness, it is like thieves forming gangs, men and women engaging in private misconduct, scholars forming deadly factions, and petty people showing their hearts and lungs to each other (the original text says "exposing the liver to show," where "month" should be "liver," meaning to bare one's heart and soul). Afterward, they turn against each other. Such sincerity is artificial hypocrisy, not the correct heavenly principle, so it is further warned with "beneficial uprightness."

蔡氏清曰：“豚魚吉”，承中孚雲也。中孚便有以孚於物矣，不然，乃為豚魚之言，而不為中孚者之占矣，“豚魚”是承中孚，故《彖傳》曰“豚魚吉，信及豚魚也”。 吳氏曰慎曰：“中孚豚魚吉”，卦辭連卦名為義，猶“同人于野”，“履虎尾”“艮其背”之例，言人中心能孚信於豚魚，則無所不感矣，故吉也。

"The Collection of Sayings" cites Cai Qing's explanation: "The pig and fish being auspicious" is explained in relation to the term "zhongfu" (sincerity in the heart). With sincerity, one can extend trust to all things; otherwise, it would be speaking on behalf of the pig and fish rather than interpreting the meaning of zhongfu. Since "pig and fish" is discussed in relation to zhongfu, the "Commentary on the Judgment" states, "The pig and fish are auspicious, because trust extends even to the pig and fish." Wu Yashen says: "Zhongfu, pig and fish, auspicious" is a way of interpreting the hexagram statement together with the hexagram name, similar to how "The Same Person" says "same person in the wild," "The Footsteps" says "treading on a tiger's tail," and "The Mountain" says "the mountain's back." It means that if a person's inner sincerity can reach even the pig and fish, there is nothing that cannot be moved, hence it is auspicious."

初九，虞吉，有它不燕。 本義 當《中孚》之初，上應六四，能度其可信而信之，則吉。復有他焉，則失其所以度之之正，而不得其所安矣，戒占者之辭也。

The Line Statement says: "Initial Nine, first consider and examine before believing, it is auspicious; if there are other concerns, one will not be at peace." Zhu Xi's The Original Meaning of the Zhou Changes states: "Initial Nine is at the beginning of The Middle Trust. It corresponds with Six in the Fourth above. If one considers and examines the other and finds them trustworthy before trusting, it is auspicious. But if there are other concerns, then he loses the proper sincerity he should maintain during consideration, and thus cannot find peace." This is a warning to the person consulting the oracle.

程傳 九當《中孚》之初，故戒在審其所信。“虞”，度也，度其可信而後從也。雖有至信，若不得其所，則有悔咎。故虞度而後信則言也。既得序脂，則當誠一，若“有它”，則不得其燕安矣。“燕”，安裕也。“有它”，志不定也。人志不定，則惑而不安，初與四為正應，四《巽》體而居正，無不善也。爻以謀始之義大，故不取相應之義，若用應則非虞也。

Cheng Yi in Yichuan's Commentary on the Changes says: The initial line, Nine at the Beginning, is at the beginning of the hexagram Zhongfū, so the emphasis of the admonition is on examining the person one trusts. "Yu" means to consider carefully; one should first consider whether the person is trustworthy before following them. Even if there is sincere trust, if the trust is placed in the wrong place, regret and blame will follow. Therefore, it is auspicious to consider carefully before trusting. Since one has found the person to trust, one should be sincere and steadfast. If there is "yi ta" (something else), one will not attain that ease. "Yan" means ease and comfort, while "yi ta" means lack of determination. When a person lacks determination, they will be confused and uneasy. The line Nine at the Beginning and the line Six in the Fourth are in a correct response. The line Six in the Fourth belongs to the trigram Xun and is in a proper position, so there is nothing wrong with it. However, this line emphasizes the meaning of "mou shi" (planning the beginning), so it does not take the meaning of correspondence. If one relies solely on correspondence, then it cannot be called "yu."

集說 荀氏爽曰：“虞”，安也。初應於四，宜自安虞，無意於四則吉，故曰“虞吉”也，有意於四則不安，故曰“有它不燕”也。 案 荀氏項氏說，於《易》例卦義皆合。蓋《易》例初九應六四，義無所取，如《屯》之“磐桓”，《賁》之“賁趾”。皆不取應四為義。《頤》之“朵頤”，則反以應四為累。

"The Collection of Explanations" cites Xun Shuang's interpretation: "Yú" means security. Initially, the Nine at the Beginning (Chu Jiú) corresponds with the Six in the Fourth (Liù Sì), and it should be secure in careful consideration. If one does not think about the Six in the Fourth, it is auspicious, hence "Yú Jí" (Security is Auspicious); if one does think about the Six in the Fourth, it is not secure, hence "Yǒu Tā Bù Yàn" (There is something else, not content). Li Guangdi comments: Xun Shuang's and Xiang Anshi's interpretations are consistent with the general principles and meanings of the Zhou Changes. The general principle of the Zhou Changes is that the Nine at the Beginning corresponds with the Six in the Fourth, but in terms of meaning, this is not particularly significant. For example, in the Zun hexagram, the Nine at the Beginning says "Pán Huán" (Hesitating), and in the Ben hexagram, the Nine at the Beginning says "Bēn Qí Zhǐ" (Adorning the toes), neither of which takes the correspondence with the Six in the Fourth as a meaning. In the Yi hexagram, the Nine at the Beginning says "Duō Yí" (Enjoying the mouth), yet it treats the correspondence with the Six in the Fourth as a burden.

惟《損》、《益》之初，則適當益上報上之卦，時義不同也。此卦之義，主於中有實德，不願乎外，故六爻無應者吉，有應者凶。初之“虞吉”者，謂其有以自守自安也。禮有虞祭，亦安之義也。“燕”，亦安也。虞則燕，不虞則不燕矣。“有它不燕”，正與《大過》九四“有它，吝”同。九四下應初六為“有它”，初九上應六四，亦為“有它”也。

Only the first line of the hexagrams "Loss" and "Gain" coincides with the meaning of "Benefit above" and "Return above," which is due to differing interpretations based on the situation. The meaning of this hexagram emphasizes having genuine virtue within oneself rather than relying on external factors. Therefore, among the six lines, if there is no "response," it is auspicious; if there is a "response," it is inauspicious. The auspiciousness of the first line "Yú jí" refers to its ability to remain self-restrained and at peace. In ancient rituals, there was a "Yú jì" (a ritual to calm the spirit after burial), which also means peace. "Yàn" also means peace. One can achieve peace through careful consideration, but not through hasty judgment. "Yǒu tā bù yàn" is similar to the "Yǒu tā, lìn" in the fourth line of "Great Exceeding": In "Great Exceeding," the fourth line responds to the first line and is considered "Yǒu tā," while here the first line responds to the fourth line, and is also considered "Yǒu tā."

九二，嗚鶴在陰，其子和之。我有好爵，吾與爾靡之。 本義 九二《中孚》之實，而九五亦以中孚之實應之，故有鶴鳴子和我爵爾靡之象。 鶴在陰，謂九居二。“好爵”，謂得中。“靡”，與縻同，言懿德人之所好。故“好爵”雖我之所獨有，而彼爾繫戀之也。

The line statement says: Nine in the Second, a crane calls in the dark, and its young respond; I have a fine cup of wine, and I share it with you. (The original text says 'wū hè', while the commonly accepted version says 'míng hè.') Zhu Xi's The Original Meaning of the Zhou Changes says: Nine in the Second possesses the real virtue of Zhongfú, and Nine in the Fifth also responds to it with the real virtue of Zhongfú, hence the image of a crane calling and its young responding, and I have a fine cup of wine which I share with you. The crane in the dark refers to a yang line in the second position; 'good cup' refers to occupying the central position; 'mí' is the same as 'mí', meaning to be attached or to be bound, indicating that beautiful virtue is loved by all, so although 'good cup' is exclusively mine, you are attached to it.

程傳 二剛實於中，孚之至者也，孚至則能感通，鶴鳴於幽隱之處，不聞也。而其乎相應和中心之願相通也。“好爵”我有，而彼亦係慕，說“好爵”之意同也。有孚於中，物無不應，誠同故也。至誠無遠近幽深之間，故《繫辭》云，“善則千里之外應之，不善則千里違之”。占誠通也，至誠感通之理，知道若為能識之。

Cheng Yi in his "Yichuan Commentary on the Changes" says: Nine in the Second is full of Yang strength within, which is the extreme of sincerity and trustworthiness. When sincerity and trustworthiness reach their extreme, they can affect and connect with things: a crane calls in a secluded place, which is normally not heard, yet its young respond in harmony, because the wish in the heart is mutually understood. "A fine cup" belongs to me, yet the other person also longs and admires it; the mind of loving "a fine cup" is the same. When the heart is sincere, external things will not fail to respond, because sincerity is the same. Ultimate sincerity is not hindered by distance or depth, so the "Great Treatise" says, "If it is good, even those a thousand miles away will respond; if it is not good, even those a thousand miles away will turn away." This speaks exactly of the principle that sincerity can connect and affect; the principle of sincerity connecting and affecting is only recognized by those who truly know it. (The original text has slight errors in the parts "占诚通也" and "知道若为能识之.")

集說 孔氏穎達曰：九二體剛，處於卦內，又在三四重陰之下，而履不失中，是不徇於外，自任其真者也。處於幽昧而行不失信，則聲聞於外，為同類之所應焉。如鶴之鳴於幽遠，則為其子所和也。“靡”，散也。不私權利，惟德是與。若“我有好爵”，願與爾賢者分散而共之。故曰“我有好爵”，“吾與爾靡之”。

"The Collection of Explanations" cites Kong Yingda's commentary: Nine in the Second is inherently yang and strong, located within the hexagram and below the two yao of yin, the Sixth in the Third and the Sixth in the Fourth. Yet it maintains the middle path in its actions, which is not yielding to external influences but holding fast to its true nature. Though situated in darkness, it acts with integrity, and its reputation will spread outward, resonating with like-minded people; just as a crane calls from a remote place, its young will respond in harmony. "Mí" means dispersion. Not appropriating power and wealth for oneself, but giving them to the virtuous. This is like saying, "I have a fine cup of wine," wishing to share it with you, the virtuous person, hence saying, "I have a fine cup of wine," "I will share it with you."

王氏安石曰：君子之言行，至誠而善，則雖在幽遠，為己類者，亦以至誠從而應之，中孚之至也。 蘇氏軾曰：《中孚》必正而一，靜而久，而初九六四，六三上九，有應而相求，皆非所謂正而一，靜而久者也。惟九二端愨無求，而物自應焉。 張氏浚曰：二處二陰下為在陰，“其子和之”謂韌。

"The Collection of Sayings" cites Wang Anshi's view: A gentleman's words and deeds, arising from the utmost sincerity and goodness, will even cause those of the same kind to respond with sincerity, even if he is in a remote place. This is the ultimate manifestation of Zhongfu. Su Shi said: Zhongfu must be upright and devoted, quiet and enduring. The initial line and the fourth line, as well as the third line and the top line, are all mutually responsive and seeking each other, but they are not upright and devoted, nor quiet and enduring. Only the second line is upright and sincere, with no ulterior motives, and external things naturally respond to it. Zhang Jun said: The second line is located below the two yin lines, so it is called 'in the yin'; 'its son harmonizes with it' refers to the initial line (the original text says 'wei ren', 'ren' is likely a mistake for 'chū' meaning 'initial').

鄭氏汝諧曰：二獨無應，若未信於人，而爻之最吉莫二若也。自耀者其實喪，自悔者其德章。無心於感物，而物無不感者，至誠之道也。二以剛履柔，其居得中，且伏於二陰之下，蓋靜晦而無求者，無求而物自應，故鶴鳴在陰，而“其子和之”者，感以天也。

"The Collection of Sayings" cites Zheng Ruoxie's explanation: Nine in the Second is the only one without a corresponding line, seeming as if it has not yet gained the trust of others. However, among the six lines, none is more auspicious than it. Those who boast end up losing; those who humble themselves gain virtue. Without intentionally moving others, others are naturally moved. This is the way of ultimate sincerity. Nine in the Second, being a strong line on a weak position, is in the center and hidden beneath two yin lines, thus being quiet and concealed with no desire. Without seeking, things naturally respond, so the crane calls in the dark, and "its offspring respond in harmony," which is the mutualsympathetic response through natural sincerity.

案 《易》例凡言“子”言“童”者，皆初之象，故張氏以“其子和之”為初者近是。“好爵”，謂旨酒也。“靡”，謂醉也。九二有剛中之實德，無應於上，而初與之同德，故有鶴鳴子和好爵爾靡之象。言父子，明不逾出戶庭也。言爾我，明不逾同類也。

Li Guangdi remarked: In The Zhou Changes, whenever it says "zi" or "tong," it refers to the image of the first line. Therefore, Zhang Jun's interpretation of "qi zi he zhi" as referring to the line nine at the beginning is close to the truth. "Hao jue" refers to fine wine, and "mi" refers to mutual intoxication. The line nine in the second position has solid virtue of yang strength in the center, and there is no corresponding line above it. Since the line nine at the beginning shares the same virtue with it, there is an image of the crane's cry leading to harmony and mutual intoxication with fine wine. Speaking of father and son indicates that this mutual influence does not go beyond the family. Speaking of you and me indicates that this mutual influence does not go beyond the category of the same kind.

《詩》云：鶴鳴於九皋，聲聞於天，則居爽塏之地，而聲及遠矣。處於陰而子和，則不求遠聞可知。又曰：我有旨酒，嘉賓式燕以衎，則同樂者眾矣。吾與爾靡，則惟二人同心而已。 君子之實德實行，不務於遠而修於邇。故《繫辭傳》兩言“況其邇者乎”！然後推廣而

The *Book of Songs*, *Xiao Ya* "Hè Míng" says, "The crane cries in the marsh, its voice heard in the heavens," meaning that when standing in a high, dry place, the voice can travel far. Here, the crane is in a dark place, with its young responding in harmony, showing that it does not seek for its voice to be widely known. The *Book of Songs*, *Xiao Ya* "Lù Míng" also says, "I have fine wine, let the honored guests feast and rejoice," indicating that many people share in the joy. But here it says, "I and you have no one else," meaning that it is just two people sharing the same heart. A gentleman's real virtue and real conduct do not seek to be widely known, but first cultivate them nearby. Therefore, the *Great Treatise* mentions twice, "What about those nearby?" Then, extending outward— the original text ends here, with missing characters below.

六三，得敵，或鼓，或罷，或泣，或歌。 本義 “敵”，謂上九信之窮者，六三陰柔不中正，以居說極，而與之為應，故不能自主，而其象如此。 程傳 “敵”，對敵也，謂所交孚者，正應上九是也。三四皆以虛中為成孚之主，然所處則異。四得位居正，故亡匹以從上，三不中失正，故“得敵”以累志，以柔說之質，既有所繫，惟聽信是從，或鼓張，或罷廢，或悲泣，或歌樂，動息憂樂皆繫乎所信也。惟繫所信，故未知吉凶，然非明達君子之所為也。

The line statement says: "Six in the Third, encountering an opponent, sometimes drums and advances, sometimes weary and rests, sometimes weeps, sometimes sings." Zhu Xi's The Original Meaning of the Zhou Changes says: "Enemy" refers to the upper ninth line, which is the line where sincerity reaches its extreme. The sixth line in the third position is yin and flexible, not in the center and not in the correct position, located at the top of the joyful structure, yet corresponding with the upper ninth line, so it cannot act independently, and its image becomes like this. Cheng Yi's Yichuan's Commentary on the Changes says: "Enemy" refers to the opposing side, meaning the object that it relates to with mutual trust, which is its proper corresponding line, the upper ninth line. Both the sixth line in the third and the sixth line in the fourth positions use the middle empty space as the main line for achieving mutual trust, but their positions differ: the sixth line in the fourth is in the correct position and resides in the center, so it breaks off its pair to follow the superior; the sixth line in the third is not in the center and has lost the correct position, so it "encounters an enemy" and its mind is burdened. With a nature of softness and joy, once there is a connection, it blindly trusts the other party, thus sometimes drums and advances, sometimes becomes weary and rests, sometimes weeps, sometimes sings, movement and stillness, sorrow and joy, all depend on the person it trusts. Just because everything depends on the person it trusts, it cannot yet see whether it is auspicious or not; yet this is not the conduct of a wise and enlightened person.

集說 劉氏牧曰：人惟信不足，故言行之間，變動不常如此。 李氏簡曰：六三之得敵，以其有私繫之心也。 案 諸爻獨三上有應，有應者，動於外也，非中孚也。人心動於外，則憂樂皆繫於物，鼓罷泣歌，喻其不能坦然自安，蓋初力虞燕之反也。

"The Collection of Sayings" cites Liu Mu's view: people are only because of insufficient sincerity that their words and actions fluctuate so greatly. Li Jian says: the reason why the line six in the third "meets an opponent" is because it holds a heart of private attachment. Li Guangdi comments: among all the lines, only the line six in the third and the line nine at the top correspond with each other; when there is correspondence, it means the heart moves outward, which is not the case of sincerity in the center. When the human heart moves outward, worries and joys are all attached to external things; beating drums, ceasing, weeping, and singing illustrate its inability to remain tranquil, which is exactly the opposite of the initial nine's "doubt" and "return" (the original text says "the initial effort of doubt and return," the character "effort" is likely a later addition).

六四，月幾望，馬匹亡，無咎。 本義 六四居陰得正，位近於君，為“月幾望”之象。“馬匹”，謂初與己為匹。四乃絕之而上以信於五，故為“馬匹亡”之象，占者如是則“無咎”也。

The line statement says: "Six in the Fourth, the moon is nearly full but not yet full, the horse pair is lost, there is no blame." Zhu Xi in The Original Meaning of the Zhou Changes says: "Six in the Fourth, with a yin line in a yin position and in the correct place, is close to the sovereign, hence the image of 'the moon nearly full.' 'Horse pair' refers to the pairing with Initial Nine; however, Six in the Fourth breaks this connection and turns upward to gain trust from Nine in the Fifth, hence the image of 'the horse pair is lost.' If the person consulting the oracle acts in this way, there will be 'no blame.'"

程傳 四為成孚之主，居近君之位，處得其正，而上信之至，當孚之任者也，如月之幾望盛之至也。己望則敵矣，臣而敵君，禍敗必至，故以幾望為至盛。“馬匹亡”，四與初為正應，匹也，古者駕車用四馬，不能備純色，則兩服兩驂各一色，又小大必相稱，故兩馬為匹，謂對也。馬者，行物也。初上應四，而四亦進從五，皆上行，故以馬為象。 孚道在一，四既從五，若復下繫於初，則不一而害於孚，為有咎矣。故“馬匹亡”則“無咎”也。上從五而不繫於切，是亡其匹也，繫初則不進，不能成孚之功也。

Cheng Yi's Commentary on the Changes says: Six in the Fourth is the main line that realizes trust and faithfulness. It is located near the ruler, holds a proper position, and is trusted to the utmost by those above. It is the one that bears the responsibility of trust and faithfulness. It is like the moon that is almost full, reaching its peak. When it is truly full, it would be in opposition to the sun; a minister opposing the sovereign would surely bring disaster and failure. Therefore, the term 'a few more' is used to indicate the state of being full to the extreme. The phrase 'loss of horses' refers to the fact that Six in the Fourth and Nine at the Beginning are in a proper mutual response, originally a pair. In ancient times, four horses were used for driving, but they could not all be of the same color. Therefore, two horses for the inner pair and two for the outer pair were each of a single color, and they had to be of similar size. Thus, two horses were counted as one 'pair,' meaning a matching pair. Horses are animals that move, so Nine at the Beginning moving upward to respond to Six in the Fourth, and Six in the Fourth also moving upward to follow Nine in the Fifth, both moving upward, hence the use of horses as a symbol. The way of trust and faithfulness values exclusivity. Since Six in the Fourth is following Nine in the Fifth, if it were to again connect with Nine at the Beginning, it would not be exclusive and would hinder trust, thus resulting in blame. Therefore, 'loss of horses' leads to 'no blame.' Moving upward to follow Nine in the Fifth and not connecting with Nine at the Beginning is like losing one's spouse (the original text says 'not connected to the initial,' where 'initial' is likely a mistake for 'first'). Connecting with Nine at the Beginning would prevent upward movement, and thus the achievement of trust and faithfulness would not be realized.

集說 郭氏雍曰：“匹”，亦敵之類也。得敵匹亡，其道相反也。《彖傳》言柔在內，而爻則其道相反，蓋卦爻取義有不得而同者也。 案 《易》中六四應初九，而義有取焉者，皆上不遇九五者也。如六四遇九五，則以從上為義，而應非所論，《易》例皆然。而此爻尤明，蓋孚不容於有二，況居大臣之位者乎。“月幾望”者，陰受陽光，承五之象也。“馬匹亡”者，無有私群，遠初之象也。 自《坤》卦牝馬以得主為義，而其下曰：“東北喪朋”。東北者，近君之位也，《中孚》之四當之矣。

"The Collected Commentaries" cite Guo Yong's view: "Pairing" belongs to the category of "opponent" (in relation to a spouse). The "getting an opponent" in line six-three and the "loss of a mate" in line six-four are exactly opposite in meaning. The "Commentary on the Judgment" says that the yao (line) with a yin (feminine) number is inside, but the line statement contradicts this, showing that the meaning of the hexagram and its lines are not always consistent. Li Guangdi comments: In The Zhou Changes, the line six-four corresponds to line nine-one and has a meaningful interpretation when there is no nine-five above it; if line six-four meets nine-five, the meaning is to follow the superior, and whether it corresponds is not considered. This is the general rule in The Zhou Changes. This line is especially clear, because trust cannot tolerate two hearts, especially when one is in a position of a minister. "The moon is almost full" refers to the yin receiving the light of yang, which is the image of serving nine-five; "loss of horses and mates" indicates no private faction, which is the image of distancing oneself from nine-one. From the hexagram of Kūn, which takes meaning from the female horse "finding its master," the following line says "loss of companions in the northeast"—the northeast is the position close to the sovereign, and line six-four of Zhōngfú is precisely in this position."

九五，有孚孿如，無咎。 本義 九五剛健中正，《中孚》之實而居尊位，為孚之主者也。下應九二，與之同德，故其象占如此。 程傳 五居君位，人君之道，當以至誠感通天下，使天下之心信之，固結如拘攣然，則為“無咎”也。人君之孚，不能使天下固結如是，則億兆之心，安能保其不離乎。

The Line Statement says: Nine in the Fifth, with sincere faith, brings the world together and does not commit fault. Zhu Xi's The Original Meaning of the Zhou Changes states: Nine in the Fifth is strong and upright, possessing the actual virtue of The Middle Trust and occupying the position of honor. It is the main line expressing trustworthiness. It corresponds with Nine in the Second below, sharing the same virtue, so the image and judgment of the hexagram are as such. Cheng Yi's Yichuan's Commentary on the Changes says: Nine in the Fifth occupies the position of the sovereign. The way of a sovereign should be to use utmost sincerity to connect with the world, making the hearts of all people trust him and bind them together tightly, thus achieving 'no fault'. If the sovereign's sincerity cannot bring such unity, how can the hearts of millions be guaranteed not to scatter?

集說 王氏弼曰：處中誠以相交之時，居尊位以為群物之主，信何可舍，故“有孚 咎”。九五君位，足以感通天下，又無私應之累，故直曰“有孚攣如”而已。 胡氏炳文曰：六爻不言“孚”，惟九五言之，九五孚之主也。

"The Collection of Sayings" cites Wang Bi's explanation: when the Nine in the Fifth is in a position of mutual sincerity, it holds the exalted position and serves as the master of all things. How could sincerity be abandoned? Therefore, it says "there is sincerity... no blame." The original text here is missing a section, along with the name of the next commentator. After the missing text, it continues to say: the Nine in the Fifth is the position of the sovereign, sufficient to connect with all under heaven, and without the burden of partial response. Therefore, it directly states "there is sincerity, tightly bound." Hu Bingwen says: among the six lines, none mention "sincerity," except the Nine in the Fifth, because the Nine in the Fifth is the main line of sincerity."

案 此爻是《彖》所謂“孚乃化邦者也”，人君之孚，與在下者不同，居下位者，中有實德，不遷於外而已，人君則以孚天下為實德。故必誠信固結於天下，然後為“無咎”也。此爻義與《小畜》之九五同，其為臣者，“月幾望”之義亦同，但彼主於君臣相畜，而此主於君臣相孚爾，要之“富以其鄰”者，即“孚乃化邦”之說，而“君子征凶”者，亦即“馬匹亡”之意也。

Li Guangdi remarked: This line refers to the statement in the Commentary on the Judgment, "Faithfulness can transform the state" (only with sincerity can one cultivate the state). The faithfulness of a sovereign differs from that of those in lower positions: those in lower positions need only have real virtue within themselves and not let it flow outward; a sovereign, however, must take faithfulness to the world as actual virtue, so he must surely establish sincerity among the people of the world before he can have no blame. The meaning of this line is the same as that of the line Nine in the Fifth of the Lesser Accumulation, and the meaning of the line "The moon is almost full" in the line of the Sovereign also corresponds; the difference is that the Lesser Accumulation mainly discusses the mutual nurturing between sovereign and subject, while here it mainly discusses mutual faithfulness between sovereign and subject. In summary, the line "Riches are shared with neighbors" in the Lesser Accumulation's Nine in the Fifth is the same as "Faithfulness can transform the state"; and the line "The gentleman's expedition brings calamity" in the Lesser Accumulation's Upper Nine is the same as the meaning of "Horses are lost" here.

上九，翰音登于天，貞凶。 本義 居信之極，而不知變，雖得其貞，亦凶道也，故其象占如比。雞曰翰音，乃巽之象。居《巽》之極，為“登於天”，雞非登天之物而欲登天，信非所信，而不知變，亦猶是也。

The line statement says: "Upper Nine, the sound of a rooster's crowing reaches up to heaven; if one remains firm, it will be ominous." Zhu Xi in The Original Meaning of the Zhou Changes says: "Upper Nine is at the peak of sincerity but does not know flexibility. Although it can maintain correctness, it is a dangerous path, hence its hexagram and divination are thus (the original text says 'like this,' where 'this' is a corruption of 'compare'). In the Book of Rites, the rooster used for sacrifice is called 'Hanyin,' which corresponds to the image of Xun. Upper Nine is at the top of Xun, hence it is said 'ascending to heaven.' A rooster is not something that can ascend to heaven yet it insists on doing so; believing in the wrong person and not knowing flexibility is exactly like this."

程傳 “翰音”者，音飛而實不從，處信之終，信終則衰，忠篤內喪，華美外揚，故云翰音登天，正亦滅矣。陽性上進，風體飛颺。九居《中孚》之時，處於最上，孚於上進而不知止者也，其極至於羽翰之音，登聞於天，貞固於此而不知變，凶可知矣。夫子曰好信不好學，其蔽也賊，固守而不通之謂也。 集說 王氏弼曰：“翰”，高飛也。飛音者，音飛而實不從之謂也。

Cheng Yi's Commentary on the Changes says: The term "hàn yīn" refers to sound flying upward while the substance fails to follow. The upper ninth line is at the end of sincerity, and when sincerity reaches its limit, it turns to decay. Inner sincerity and earnestness are lost, while external ornamentation and superficiality flourish. Therefore, it is said "hàn yīn dēng tiān," meaning the sound of wings reaches the heavens, and even the righteous path is extinguished. The nature of yang is to ascend and strive forward. Xun is wind, and its nature is to spread widely. The upper ninth line is in the time of Zhongfou and occupies the highest position, indicating sincere striving upward without ceasing. When it reaches its extreme, it becomes the sound of wings ascending to heaven. To be stubborn and unyielding at this point without knowing change leads to calamity. Confucius said, "Hao xìn bu hao xue, qi bi ye zé" (favoring sincerity over learning leads to being harmful to oneself and others), which precisely describes the danger of clinging to principles without knowing flexibility. The "Ji Shuo" cites Wang Bi, saying "hàn" means high flight.所谓 "fēi yīn" refers to sound flying upward while the substance fails to follow.

居卦之上，處信之終，信終則衰，忠篤內喪，華美外揚，故曰“翰音登于天”也。胡氏瑗曰：“翰”者，鳥羽之高飛也，上九在一卦之上，居窮極之地，是無純誠之心，篤實之道，徒務其虛聲外飾，以矯偽為尚，如鳥之飛登於天，徒聞其虛聲而已。

The previous commentary explains that the line "Nine at the Top" is located at the very top of the entire hexagram, precisely at the point where the principle of sincerity and trust in the hexagram "Zhongfu" reaches its end. When sincerity and trust reach their limit, they begin to decline. The inner substance of sincerity and earnestness has been lost, yet the outer appearance continues to display an elaborate reputation. Therefore, the line statement says, "The sound of a bird's flight reaches the sky." The collected interpretations cite Hu Yuan, who says, "Han" refers to a bird flying high with its wings. The line "Nine at the Top" is situated at the top of the hexagram, in an extreme position. Its inner thoughts no longer contain pure sincerity, and its actions lack genuine substance. It only focuses on cultivating false reputation and embellishing the outer appearance, treating artificiality as a fashion. This is like a bird flying all the way up to the sky, while people on the ground can only hear the empty sound it makes.

蘇氏軾曰：“翰音”，飛且鳴者也。處外而居上，非中孚之道，飛而求顯，鳴而求信者也，故曰“翰音登于天”，九二在陰而子和，上九飛鳴而登天，其道蓋相反也。朱氏震曰：巽為雞，剛其翰也，柔其毛也。“翰”，羽翮也。雞振其羽翮而後出於聲，“翰音”也。

Collective commentary cites Su Shi's explanation: the term "hàn yīn" refers to a bird that flies and calls at the same time. The line "Nine at the Top" is located outside the hexagram yet occupies the highest position, which contradicts the principle of "Zhongfu" (Sincerity and Trust) that relies on mutual trust and sincerity. This line represents those who seek success by flying high and gain trust by calling out, hence the line statement says "hàn yīn dēng yú tiān" (the call of a bird soars to heaven). Nine in the Second is hidden in the lower trigram's dark place, calling quietly, yet finds resonance from its kind; Nine at the Top flies and calls upward to the heavens, and the two approaches are exactly opposite. Collective commentary also cites Zhu Zhen's explanation: in the "Shu Guan Zhuan" (Commentary on the Hexagrams), the trigram "Xun" (Wind) is symbolized by a chicken. On a chicken, the stiff feathers are the翎羽, and the soft ones are the绒毛. "Hàn" refers to the stiff feathers on the wings. The chicken first shakes its stiff wings, then makes a sound, which is the origin of "hàn yīn."

鄭氏汝諧曰：“翰音”登天者，聲聞過情，君子恥之。章氏潢曰：二居兌澤，故曰“在陰”。上為巽風，故曰“於天”。孚於中也，則鳴鶴自有子和。孚於外也，則翰音徒登於天。然則中孚可以人偽為之哉！

Collected Commentaries cite Zheng Ruoxie's saying: "The sound of the crane's call goes straight up to the heavens; this is when reputation exceeds reality, which is a matter of shame for a gentleman." Collected Commentaries also cite Zhang Huang's saying: Nine in the Second is in the lower trigram "Dui," which represents a marsh, so the line statement of Nine in the Second says "in the shade"; Nine at the Top is in the upper trigram "Xun," which represents wind, so the line statement of Nine at the Top says "to the heavens." Sincerity arises from within, so like Nine in the Second, "the crane calls in the shade," naturally there will be responses from like-minded ones; sincerity that is only shown externally becomes like Nine at the Top, with a hollow call reaching the heavens. Thus, the sincerity discussed in the Zhongfu hexagram is certainly not something artificially fabricated or artificially embellished.