Image Commentary · Great Excess Hexagram

澤滅木，大過。君予以獨立不懼，遯世無悶。 本義 “澤滅於木”，大過之象也。不懼無悶，大過之行也。

The Great Image Commentary says: The marshy water has overwhelmed the trees, which is the image of the hexagram Great Excess. The gentleman takes inspiration from it, standing alone and unafraid, retreating from the world and not feeling distressed (the original text says 'junyu', which should be 'junzi'). Zhu Xi's "Benyi" says: The marshy water overflowing over the trees represents an extraordinary image of Great Excess; not being afraid and not being distressed represents an extraordinary conduct of Great Excess.

集說 劉氏牧曰：用之則“獨立不懼”，舍之則“遯世無悶”。 趙氏汝楳曰：“獨立”如巽木，“無悶”如兌說。 李氏簡曰：君子進則大有為，“獨立不懼”可也。或遲而窮居，則堅貞不移，“遯世無悶”可也，皆大過之事。

Collecting Sayings cites Liu Mu's view: When people use him, he stands alone without fear; when people discard him, he retreats into seclusion without feeling distressed. Collecting Sayings cites Zhao Ru'mei's view: "Independent" is taken as the image of the lower trigram Xun (Wind), whose wood stands upright; "No distress" is taken as the image of the upper trigram Dui (Lake), whose harmony and joy prevail. Collecting Sayings cites Li Jian's view: A gentleman, when he steps forward to take on responsibilities, achieves great accomplishments, thus attaining "independent without fear"; if the time is obstructed and he remains in the wilderness, he remains steadfast and unyielding, thus attaining "retreating from the world without distress." These two are both extraordinary deeds beyond ordinary people, called "great excess."

藉用白茅，柔在下也。 程傳 以陰柔處卑下之道，唯當過於敬慎而已。以柔在下，為以茅藉物之象，敬慎之道也。 集說 錢氏志立曰：以卦象論之，初與四應而在下，初者四之本也，本弱而藉茅，則敬慎之至以善處者，故四之棟不至於傾也。 案 高以下為基，剛以柔為本，柔在下，對剛在上。

The Image Commentary explains the line Six at the Beginning saying: Using white reeds as a mat beneath is the image of a yao of softness occupying a lower position. Cheng Yi's Yichuan Commentary on the Changes says: A yao of yin and softness situated in a low and humble position, its principle lies only in being even more respectful and cautious than usual. A soft yao in a lower position is exactly the image of using reeds to pad vessels, which is the way of respect and caution. Collected Commentaries cite Qian Zhili saying: In terms of the hexagram image, 初六 corresponds with 九四 and is located below. 初六 is the foundation of 九四. Though the foundation is weak, it knows to use white reeds as a mat, showing extreme respect and caution, and thus the pillar of 九四 does not topple. Li Guangdi comments: High places rely on low places as their foundation; strength relies on softness as its root. Saying 'softness is below' is precisely in contrast to the strength above.

老夫女妻，過以相與也。 程傳 老夫之說少女，少女之順老夫，其相與過於常分，謂九二初六陰陽相與之和，過於常也。 集說 王氏申子曰：老夫而女妻，雖過乎常，然陰陽相與，以成生育之功，則無不利也。

The Image Commentary explains the line Nine in the Second saying: An old man marries a young maiden as his wife, which is an exceeding of the usual relationship. Cheng Yi's Commentary on the Changes says: An old man loves a young maiden, and the maiden submits to the old man; their mutual interaction exceeds the ordinary boundary. This refers to the harmonious interaction between Nine in the Second and Six at the Beginning, which surpasses the usual. A collected commentary cites Wang Shenzi saying: An old man marrying a young maiden as his wife, although exceeding the usual, yet the mutual interaction between yin and yang can achieve the function of producing offspring, so there is no disadvantage.

棟橈之凶，不可以有輔也。 程傳 剛強之過，則不能取於人，人亦不能親輔之，如“棟橈”折，不可支鋪也。 棟當室之中，不可加助，是“不可以有輔也”。 集說 楊氏時曰：棟居中而眾材輔之者也，九三以剛居剛，過而不中也，剛過而不中則不可以有輔，此棟之所以橈也。

The Image Commentary explains Nine in the Third as follows: the beam bends and brings misfortune because it cannot receive assistance. In Cheng Yi's Commentary on the Changes, it says: when something is overly strong, it cannot take in the strengths of others, and others cannot approach to assist it, just like a beam that bends and can no longer support. The beam is in the center of the house, and other wooden materials cannot be added to help it, which is why it says 'it cannot receive assistance.' The collected interpretations cite Yang Shi, who says: the beam is in the center and is supported by many other wooden materials. Nine in the Third, with a strong line in a yang position, is overly strong and not in the center; being overly strong and not in the center leads to the inability to receive assistance, which is precisely why the beam bends.

項氏安世曰：全卦有“棟橈”之象，而九三乃獨有之，全卦有利往之象，而九二乃獨有之，蓋九二當剛過之時，獨能居柔而用中，在六爻之中，獨此一爻不過，故“無不利”也，卦體本以中太強而本末弱，是以為“橈”，九三以剛居剛，在六爻之中，獨此一爻為過，故棟愈橈而不可輔也。

Collected Commentaries cite Xiang Anshi's view: the entire hexagram has the image of a beam bending, and among the six lines, only line nine in the third position makes this concrete. The hexagram also has the image of being favorable for going forward, and among the six lines, only line nine in the second position makes this concrete. Line nine in the second position is precisely at the time when yang strength is excessive, yet it alone occupies a yin position and follows the middle path. Among the six lines, only this line does not go too far, so the line statement says "there is no disadvantage." The structure of the hexagram is originally too strong in the middle and weak at both ends, thus forming the bending; line nine in the third position has a yang line in a yang position, and among the six lines, only this line is excessive, so the beam bends even more severely, and no one can help it.

棟隆之吉，不橈乎下也。 程傳 “棟隆”起則吉，不橈曲以就下也，謂不下繫於初也。

The Image Commentary explains Nine in the Fourth saying: The beam rises up and attains good fortune because it does not bend downward. Cheng Yi's Yichuan Commentary on the Changes says: The beam rises up and attains good fortune, meaning it does not bend down to accommodate the lower, that is, it does not connect downward with Six at the Beginning.

枯楊生華，何可久也。老婦士夫，亦可醜也。 程傳 枯楊不生根而生華，旋復枯矣，安能久乎！老婦而得士夫，豈能成生育之功， 集說 蘇氏軾曰：“稊”者，顛而復櫱，反其始也；“華”者，盈而畢發，速其終也。

The Image Commentary explains the Nine in the Fifth: a withered poplar tree producing flowers, how can that last long? An old woman marrying a young man, that is also shameful. Cheng Yi in his Commentary on the Changes says: a withered poplar tree does not produce new roots but produces flowers, soon to wither again, how can that last long! An old woman obtaining a young man, where can there be the efficacy of bearing children—here the original text is missing, and Cheng's words are incomplete, directly followed by the collected interpretations. The collected interpretations cite Su Shi saying: the so-called 'tī' refers to a tree falling down and new sprouts emerging from its roots, returning to its beginning; the so-called 'hua' refers to the vital energy being full and bursting out together, hastening its end.

項氏安世曰：二五皆無正應，而過以與陰者也。二所與者初，初，本也，故為“稊”。 稊者，木根新生之芽也，過而復芽，故有往亨之理。五所與者上。上，末也，故為華。 木已過而生華，故無久生之理也。 王氏申子曰：木枯而華，是速其枯，老婦士夫，是過乎常，而為柔邪所惑。

The collected interpretations cite Xiang Anshi's view: Nine in the Second and Nine in the Fifth have no proper correspondence, yet they go against the norm to approach yin lines. Nine in the Second approaches Six at the Beginning, which is the root of the tree, hence called "tī." 所谓 tī, refers to a new sprout growing from the tree root; though it has already passed its prime and sprouts again, there is still a reason for it to proceed smoothly. Nine in the Fifth approaches Six at the Top, which is the tip of the tree, hence called "huá." A tree that has withered excessively yet blooms again, thus lacks the reason for long survival. The collected interpretations also cite Wang Shenzi's view: A tree that has withered and then blooms is hastening its death; an old woman marrying a young man is going against the norm, being misled by soft and improper influences.

何氏楷曰：盛極將枯而又生華以自耗竭，不能久矣。二以剛居柔，初以柔居剛，此未甚過者也，又在卦初，故過以相與，可成生育之功：五以剛居剛，上以柔居柔，皆過者也，又在卦終，故陰陽相比，只以為“丑”，其相反如此。

Collective commentary cites He Kai's explanation: when something reaches its peak it will wither, yet it blooms and consumes itself, thus it cannot last long. Nine in the Second, with a strong line in a soft position, and Six at the Beginning, with a soft line in a strong position, both are not excessively out of place, and they are at the beginning of a hexagram, so their excessive interaction can still achieve the function of generating and nurturing. Nine in the Fifth, with a strong line in a strong position, and Six at the Top, with a soft line in a soft position, both are excessively placed, and they are at the end of a hexagram, so although yin and yang are adjacent, they only result in the character 'chou' (ugliness). The situations in these two places are opposite to this extent.

過涉之凶，不可咎也。 程傳 過涉至溺，乃自為之，不可以有咎也，言無所怨咎。 集說 蘇氏軾曰：過涉至於“滅頂”，將有所救也，勢不可救，而徒犯其害，故凶。 然其義則“不可咎也”。

The Image Commentary explains the line Six at the Top saying: going into deep water leads to misfortune, but one cannot blame others. Cheng Yi in his Commentary on the Changes says: going into deep water to the point of drowning is something he willingly does; one cannot blame him for the fault, meaning he has no grievances and nothing to be blamed for. Collected Commentaries cite Su Shi saying: going into water so deep that it covers the head, originally intending to save something; but when the situation has already become hopeless, he still goes through the trouble and suffers the misfortune for nothing, hence the misfortune. However, in terms of righteousness, it is still said that 'there is nothing to blame him for.'

水洊至，習坎。君予以常德行，習教事。 本義 治己治人，皆必重習，然後熟而安之。 程傳 坎為水，水流仍洊而至。兩坎相習，水流仍洊之象也。水自涓滴，至於尋丈，至於江海，洊習而不驟者也。其因勢就下，信而有常，故君子觀坎水之象，取其有常，則常久其德行。人之德行不常，則偽也，故當如水之有常，取其洊習相受，則以習熟其教令之事。夫發政行教，必使民熟於聞聽，然後能從，故三令五申之，若驟告未喻，譴責其從，雖嚴刑以驅之，不能也，故當如水之洊習。

The Great Image Commentary says: Water flows in continuous waves, which is the image of the Hexagram of Strife. The gentleman takes this as a model, making his virtue constant and repeatedly practicing the affairs of education and guidance (the original text says 'junyu', which should be 'junzi'). Zhu Xi's 'Benyi' says: Governing oneself and others must be repeatedly practiced until it becomes skillful and stable. Cheng Yi's 'Yichuan Commentary on the Changes' says: Kan is water, which flows in continuous waves, one after another. Two Kan trigrams overlapping and connected represent the continuous flow of water. Water accumulates from a drop to several feet or even tens of feet, and eventually forms rivers and seas, all step by step, continuously formed, not suddenly appearing. It flows downward following the terrain, being trustworthy and constant, so the gentleman observes the image of Kan water, taking its constancy to make his virtue enduring. If a person's virtue cannot be sustained, it is insincere, so he should be like water, constant. Taking its continuous flow, he should repeatedly practice the affairs of education and governance. Issuing orders and promoting education must make the people familiar with them before they can obey, so three commands and five repetitions are necessary. If suddenly announced and the people do not understand, then blaming them for disobedience will not work, even with severe punishment. Therefore, one should be like water, continuously and repeatedly familiarizing oneself with the matters.

集說 司馬氏光曰；水之流也，習而不已，以成大川，人之學也，習而不止，以成大賢，故“君子以常德行，習教事”。 蘇氏軾曰：事之待教而後能者，教事也。君子平居，常其德行，故遇險而不變，習其教事，故遇險而能應。

Collected Commentaries cite Sima Guang's view: Water flows continuously, wave after wave, thus forming great rivers; similarly, a person's study must be continuous, never ceasing, thus becoming a great sage. Therefore, it is said, "The superior man cultivates constant virtue and practices the teachings and affairs." Collected Commentaries cite Su Shi's view: Those things that must be learned and practiced before they can be accomplished are called "teachings and affairs." The superior man maintains constant virtue in daily life, so he does not change when facing difficulties; he is familiar with the teachings and affairs through practice, so he can cope with difficulties when they arise.

陸氏佃曰：《離》言“明兩作”，《坎》言“水洊至”，起而上者作也，趨而下者至也。 王氏宗傳曰：坎者水之科也，故以“水洊至”為習坎之象。上坎既盈，至於下坎，此孟子所謂盈科而後進也。盈科而後進，不舍其晝夜之功也，君子德行貴其有常，而教事貴於習熟，此不舍晝夜之功也。 俞氏琰曰：“常德行”，謂德行有常而不改，“習教事”，謂教事練習而不輟。

The collected interpretations cite Lu Dian's explanation: The Great Image of the "Fire" hexagram "Li" says "lighting up two," and the Great Image of the "Water" hexagram "Kan" says "water flowing continuously." Rising is called "zu" (to act), and flowing downward is called "zhi" (to arrive). The collected interpretations cite Wang Zongping's explanation: "Kan" refers to a pit that holds water, so "water flowing continuously" is used as the image for the hexagram "Xí Kǎn" (the Persistent Water). When the upper pit is filled with water, it flows into the lower pit, which is exactly what Mencius said "filling the hollows before proceeding." Filling one pit and moving forward relies on constant effort day and night; a gentleman's virtue values consistency, and teaching requires familiarity, which is also the constant effort without ceasing. The collected interpretations cite Yu Yan's explanation: "Constant virtue" means virtue remains unchanged; "familiarizing with teaching matters" means teaching and education are practiced continuously without interruption.

習坎入坎，失道凶也。 程傳 由習坎而更入坎窞，失道也，是以凶。能出於險，乃不失道也。 集說 朱氏震曰：君子處險，當以正道，乃可出險。初六不正，不能出險，失道而凶也。

The Image Commentary explains the line "Six at the Beginning" saying: being in a deeply dangerous situation and then falling into a pit of the Kan trigram indicates losing the right path, hence resulting in misfortune. Cheng Yi in his commentary "Yichuan's Commentary on the Changes" says: one was already in a double Kan situation, yet further sinking into the bottom of the pit, which is losing the right path, thus leading to misfortune. Only those who can escape from the danger are considered to have not lost the right path. The collected commentaries cite Zhu Zhen's view: a gentleman in a dangerous situation should maintain the right path to escape from danger. The line "Six at the Beginning" is a yin line in a yang position, thus not in the correct position, and cannot escape from the danger, which is losing the right path and thus causing misfortune.

錢氏志立曰：行險而不失其信，此是出險之道，若小人行險以僥倖，則為初六上六 求小得，未出中也。

Collecting sayings cites Qian Zhili's view: to walk through dangerous situations without losing one's integrity is the true way to emerge from danger; if one takes risks like a petty person in pursuit ofby chance, then one would end up like Chushili and Shangliu. Here the original text is missing some words, and Qian's words are incomplete. The text directly continues with the small image of Jiushier, "seeking a small gain, not yet having emerged from the center": what is sought is only a slight gain, and one has not yet escaped from the midst of danger.

程傳 方為二陰所陷，在險之地，以剛中之才，不至陷於深險，是所求小得，然未能出坎中之險也。 集說 郭氏雍曰：一離乎中，則失之矣，故《象》言“未出中也”。 許氏聞至曰：君子不為險困者，非能遽出於險之外也，但能心安於險之中而已。人在險中，思旦夕出於險者，求其大得，君子第從其小者而求之，所謂“有孚”“心亨”者以此。

Cheng Yi in Yichuan's Commentary on the Changes says: Nine in the Second is trapped by the two yin lines above and below, and is in a dangerous situation; relying on his strength and being in the center, he does not fall into a deeper danger, hence he gains a little, but still cannot escape from the Kan danger. Collected Sayings cite Guo Yong saying: once leaving the center, this reliance is lost, hence the Image Commentary says 'not yet out of the center'. Collected Sayings cite Xu Wenzhi saying: a gentleman is not trapped by danger, not because he can immediately jump out of the danger, but only because he can keep his mind at ease within the danger. When a person is in danger, those who hope to escape from it day by day seek great gains; a gentleman only seeks small gains, and the meaning of the Line Statement 'having sincerity' and 'the mind is unimpeded' is exactly here.

來之坎坎，終無功也。 程傳 進退皆險，處又不安，若用此道，當益入於險，終豈能有功乎！以陰柔處不中正，雖平易之地，尚致悔咎，況處險乎！險者人之所欲出也，必得其道，乃能去之，求去而失其道，益困窮耳，故聖人戒如三所處，不可用也。

The Image Commentary explains the line Six in the Third: coming is dangerous, going is dangerous, and in the end there will be no success. Cheng Yi's Commentary on the Changes says: advancing is perilous, retreating is perilous, and staying in place is also unstable. If one follows this path, one will only fall deeper into danger, and how could there be success? With a weak and yielding nature, and being neither in the center nor in the proper position, even on flat ground one would invite regret and misfortune, let alone being in a dangerous situation. Danger is something everyone wants to escape, but one must find the right way to get out of it. If one tries to escape but takes the wrong path, one will only become more trapped. Therefore, the sage warns that a situation and approach like that of the line Six in the Third is not to be followed.

樽酒簋貳，剛柔際也。 本義 晁氏曰：陸氏《釋文》本無“貳”字，今從之。 程傳 《象》只舉首句，如此比多矣，“樽酒簋貳”，質實之至，剛柔相際接之，道能如此，則可終保無咎，君臣之交，能固而常者，在誠實而已。“剛柔”，指四與五，謂君臣之交際也。

The Image Commentary explains the Sixth Line in the Fourth: "A cup of wine, two bowls of food" refers to matters at the moment when the strong and the gentle meet. Zhu Xi's "Benyi" states: Chao Shuozhi said that Lu Deming's "Classic Interpretation" does not include the character "Er", so we follow his version. Cheng Yi's "Yichuan Commentary on the Changes" says: the Image Commentary only cites the first sentence of the Line Statement, and there are many such examples. "A cup of wine, two bowls of food" represents the extreme of simplicity and sincerity; when the strong and the gentle interact, if they can achieve this, they can maintain without error throughout. The relationship between sovereign and minister can be firm and enduring, all because of sincerity. "The strong and the gentle" refers to the Nine in the Fifth and the Six in the Fourth, discussing the interaction between sovereign and minister.

集說 王氏弼曰：剛柔相比而相親焉，“際”之謂也。 姜氏寶曰：觀禮於《小象》，以“樽酒簋貳”為句，則晁氏之說以“貳用缶”為句者非矣。

Collected Explanations cite Wang Bi's view: a strong line and a weak line being closely adjacent and mutually affectionate is called "ji". Collected Explanations cite Jiang Bao's view: according to the style of the text in Xiao Xiang, "zun jiu gui er" should be read as a single sentence; thus, Chao Shuo Zhi's claim that "er yong fou" should be read together is incorrect.

坎不盈，中未大也。 本義 有中德而未大。 程傳 九五剛中之才，而得尊位，當濟天下之險難，而坎尚不盈，乃未能平乎險難，是其剛中之道，未光大也。險難之時，非君臣協力，其能濟乎！五之道未大，以無臣也，人君之道，不能濟天下之險難，則為未大，不稱其位也。

The Image Commentary explains the Nine in the Fifth: The water in the Kan trigram has not yet filled up, indicating that the virtue of being in the center is not yet extensive. Zhu Xi's "Benyi" says: There is the virtue of being in the center, but it has not yet become extensive. Cheng Yi's "Yichuan Commentary on the Changes" says: The Nine in the Fifth has the ability of a strong and centered person, and also holds a position of honor. He should be able to overcome the dangers of the world. However, the water in the Kan trigram has not yet filled up, meaning that he is still unable to eliminate the dangers. This shows that the principle of being strong and centered has not yet become fully evident. In times of danger, if the ruler and ministers do not work together, how can the danger be overcome? The reason why the way of the Nine in the Fifth has not yet become great is because he does not have capable ministers. A ruler who is unable to overcome the dangers of the world is not worthy of his position.

集說 《朱子語類》云：水之為物，其在坎只能平，自不能盈，故曰“不盈”，盈者高之義，中未大者，平則是得中，“不盈”是“未大也”。 項氏安世曰：水流而不盈，謂不止也。坎不盈，謂不滿也，不止故有“孚，不滿故“中未大”，凡物盈則止，水盈則愈行，故坎有時而盈，水無時而盈也。

The collected interpretations cite Master Zhu's words from the "Sayings of Master Zhu": water, when falling into a pit or depression, can only level out; originally, it does not rise up, so it is said "not full" (not overflowing). "Full" refers to rising up. The phrase "middle but not great" means that leveling out is considered the middle, and "not full" is equivalent to "not great." The collected interpretations also cite Xiang Anshi's words: the "Commentary on the Judgment" says "water flows but does not overflow," referring to the continuous flow of water; the "Image Commentary" says "the depression is not full," referring to the pit or depression not being filled. Because the water flows continuously, there is "faith" or trust; because the depression is not filled, it is said "middle but not great." All things stop when they are full, but water flows more when it is full. Therefore, the depression has a time when it is filled, but water never stops flowing just because it is full.

陸氏振奇曰：知二之得小，則知五之未大矣。 陳氏仁錫曰：水流不盈，才盈便橫流泛溢，五爻曰“不盈”，《象》曰“未大”，以五有中德，故不侈然自大。“未大”，明其所以不盈。

Collective Commentary cites Lu Zhenqi's view: understanding that the second line (Nine in the Second) attains only a small position makes clear why the fifth line (Nine in the Fifth) is said to be "not great." Collective Commentary also cites Chen Renxi's view: water flows but does not overflow; once it overflows, it will spread widely and cause floods. The fifth line's statement says "not overflowing," and the Image Commentary says "not great," precisely because the fifth line possesses the virtue of being in the center, so it does not display arrogance. Saying "not great" points out the reason for "not overflowing."

程傳 以陰柔而自處極險之地，是其“失道”也，故其凶至於“三歲”也，“三歲”之久而不得免焉，終凶之辭也。言久有曰十，有曰三，隨其事也，陷於獄，至於“三歲”，久之極也，它卦以年數言者，亦各以其事也，如“三歲不興”，“十年乃字”是也。 集說 朱氏震曰：上六無出險之才，處險極之時，如人陷於狴犴之中，坐而省過，雖上罪也，不過三歲得出矣，妄動求出，則陷之愈深，雖三歲豈得出哉。

The original text here omits the small image of "Upper Six" which says "Upper Six loses the Way, calamity lasts three years," and directly continues with Cheng Yi's commentary. Cheng Yi in his "Yichuan Commentary on the Changes" says: using a yin and flexible nature to stand at the most dangerous position, this is called "losing the Way," so its calamity lasts for "three years." Being trapped for three years is the extreme of duration. Other numbers such as "ten" are also used to indicate duration, depending on the particular situation. For example, in "Tongren" Nine Three it says "three years without rising," and in "Zun" Six Two it says "ten years before a name is given," all following this pattern. The collected interpretations cite Zhu Zhen's saying: Upper Six lacks the ability to escape danger and is at the extreme of peril, like a person trapped in prison, reflecting on his own mistakes. Even for the most serious crime, one should be released within three years. If one acts recklessly to escape, he will be trapped even deeper, so how could he escape within three years?

明兩作，離。大人以繼明照于四方。 本義 作，起也。 程傳 若云兩明，則是二明，不見“繼明”之義，故云“明兩”，明而重兩，謂相繼也。作離，“明兩”而為離，“繼明”之義也。震巽之類，亦取洊隨之義，然離之義尤重也。“大人”，以德言則聖人，以位言則王者，大人觀離明相繼之象，以世繼其明德，照臨於四方，大凡以明相繼，皆繼明也，舉其大者，故以世襲繼照言之。

The Great Image Commentary says: Light rises twice, which is the image of the Li hexagram. A great person takes this as a model, using continuous light to illuminate all directions. Zhu Xi's original meaning says: "Zuo" means rising. Cheng Yi's Yichuan Commentary on the Changes says: If it is said as "two lights," it would imply two lights side by side, and the meaning of "successive light" would not be clear. Therefore, it is said "ming liang" — meaning light that repeats twice, referring to succession. "Zuo Li" indicates that light rises twice to form the Li hexagram, which exactly fits the meaning of "successive light." Hexagrams like Zhen and Xun also take the meaning of succession and following, but the meaning of succession in the Li hexagram is especially emphasized. The term "great person" refers to a sage in terms of virtue and a ruler in terms of position. A great person observes the image of successive light in the Li hexagram, and thus continues his virtue generation after generation, illuminating all directions. Generally, anything that continues light with each other is called "successive light." Here, the greatest example is given, so it is explained through the idea of continuous succession and successive light.

集說 王氏弼曰：“繼”謂不絕也，明照相繼，不絕曠也。 孔氏穎達曰：繼續其明，乃照于四方，若明不繼續，則不得久為照臨。 《朱子語類》云：“明兩作”，猶言“水洊至”，今日明，來日又明，“明”字便是指日而言，只是一個“明”，兩番作。

The collected interpretations cite Wang Bi's explanation: "Ji" means continuity without interruption; the illumination shines successively without interruption or gap. The collected interpretations cite Kong Yingda's explanation: the illumination must be continuous in order to shine to all directions; if the illumination is not continuous, it cannot last long. The collected interpretations cite Master Zhu's "Yu Le" saying: "Ming liu zuo" is like the "Shui Juan Zhi" in the "Kan" hexagram. Today the light comes once, tomorrow it comes again; the character "Ming" here refers to the sun, but it is the same sun, rising twice.

徐氏在漢曰：“繼明”者，無時不明也，照于四方者，無處不照也。唯其無時不明，所以無處不照，是之謂明，明德於天下也。

The collected interpretations cite Xu Zaihan's explanation: "Continuing brightness" means there is no moment of darkness; "Shining upon all directions" means there is no place that is not illuminated. Because there is no moment of darkness, there is no place that is not illuminated. This is called making the bright virtue evident throughout the world.

履錯之敬，以辟咎也。 程傳 “履錯”然欲動，而知敬慎不敢進，所以求闢免過咎也，居明而剛，故知而能“闢”，不剛明則妄動矣。 集說 徐氏在漢曰：“敬以直內”，坤之德也，“履錯之敬”，是體坤之德，所謂“畜牝牛吉”者也，咎不期遠而自遠，故曰“以辟咎也”。

The Image Commentary explains the initial nine: amidst disorderly steps, one still remains respectful, thus avoiding mistakes. Cheng Yi's Commentary on the Changes says: amidst disorderly steps and eagerness to move forward, one knows to be respectful and cautious, not daring to act recklessly, which is precisely how one seeks to avoid mistakes. The initial nine is in a position of clarity and strength, thus able to understand things and know how to avoid them; if not strong and clear-minded, one would act recklessly. Collected Commentaries cite Xu Zaihan's view: The "Wenyan" of the Qian hexagram speaks of "respecting inwardly to straighten the heart," which is the virtue of the Qian; "respect amidst disorderly steps" is precisely experiencing the virtue of the Qian, which is also what the Li hexagram's statement says, "raising a female ox is auspicious." Mistakes do not need to be deliberately avoided; they naturally recede, hence it is said "to avoid misfortune."

黃離元吉，得中道也。 程傳 所以“元吉”者，以其“得中道也”，不云“正”者，離以中為重，所以成文明由中也，正在其中矣。 集說 郭氏忠孝曰：離之所以“亨”，柔麗乎中正，故“亨”也，“黃離”之所以“元吉”，文明而用中，故“元吉”也，故盡一卦之美，其唯六二乎。

The Image Commentary explains the second line of the hexagram: the yellow color adhering and bringing great good fortune, because it attains the middle path. Cheng Yi in his commentary Yichuan's Commentary on the Changes says: the reason for "original good fortune" is because it attains the middle path. The term "correct" is not mentioned, because the hexagram Li emphasizes "middle," and civilization is achieved precisely through the middle; by mentioning the middle, the correct is already included. A collected commentary cites Guo Zhongxiao's view: the hexagram Li attains "smoothness" because the yao of flexibility adheres to the position of "middle and correct," hence it is smooth; the "yellow Li" attains "original good fortune" because it is both civilized and uses the middle, hence it is original good fortune. Therefore, the beauty of a hexagram is fully captured, perhaps only by the second line.

日昃之離，何可久也。 程傳 日既傾昃，明能久乎！明者知其然也，故求人以繼其事，退處以休其身，安常處順，何足以為凶也。 案 “日昃”，喻心德之昏也，心德明則常繼，昏則不能以久。

The Image Commentary explains Nine in the Third by saying: When the sun is setting, its attachment can last long? Cheng Yi's Yichuan Commentary on the Changes says: When the sun has already set westward, can its brightness last long? A person who understands things well knows that this is inevitable. Therefore, one entrusts one's affairs to someone else to continue, retires to rest and cultivate the body and mind, and remains content with one's proper role, adapting to the time. How could this be considered ominous? Li Guangdi comments: "The setting sun" is a metaphor for the dimming of one's moral virtue. When the heart's virtue is clear, brightness can be sustained; when the heart's virtue is dim, it cannot last.

本義 “無所容”，言“焚”“死”“棄”也。 程傳 上陵其君，不順所承。人惡眾棄，天下所不容也。 案 “突如其來如”，《書》所謂昏暴者是也，非人不容之，自若無所容爾。

The original text here omits the small image of Nine in the Fourth, "tū rú qǐ lái rú, wú suǒ róng yě," and goes directly to the main meaning. Zhu Xi's "Benyi" says: what is meant by "no place to be" is the "burning like," "death like," and "abandonment like" mentioned in the line statement, meaning being burned, killed, or abandoned. Cheng Yi's "Yichuan Commentary on the Changes" says: Nine in the Fourth is above, pressing upon his sovereign, not willing to obey those he should follow, thus causing everyone to hate him, the people to abandon him, and the world to have no place for him. Li Guangdi comments: what is meant by "suddenly coming like" is the kind of confusion, brutality, and tyranny described in the "Book of Documents." It is not that others do not accept him, but that he himself has made himself without a place to be.

六五之吉，離王公也。 程傳 六五之吉者，所麗得王公之正位也。據在上之勢，而明察事理，畏懼憂虞以持之，所以能言也，不然，豈能安乎。 集說 趙氏彥肅曰：明極故憂深，憂深故禍弭，義麗於尊位，故致“言”也。 蔡氏清曰：味“離王公也”之詞，則知諸卦之五，所謂尊位者，不必皆謂天王，凡諸侯之各君其國者，亦足當五也。

The Image Commentary explains the sixth line in the fifth position: the good fortune of the sixth line in the fifth position is because it is attached to the noble position of a prince or duke. Cheng Yi in his Commentary on the Changes says: the sixth line in the fifth position is good because it is attached to the proper position of a prince or duke. It occupies a high position, can clearly discern matters, and holds on with a cautious and anxious mind, thus ultimately attaining good fortune; without this, how could it be secure? (The original text here and the following passage's '言' is suspected to be a miswriting of '吉'.) Collected Commentaries cite Zhao Yansu saying: when clarity is at its peak, worry is also deep; when worry is deep, calamities are eliminated. In terms of principle, it is attached to a noble position, thus ultimately attaining good fortune. Collected Commentaries also cite Cai Qing saying: by pondering the phrase 'attached to the prince or duke', one understands that the noble position referred to by the fifth line in each hexagram does not necessarily refer to the Son of Heaven; any feudal lord who rules his own state as a sovereign is also worthy of this fifth position.

王用出征，以正邦也。 程傳 王者用此上九之德，明照而剛斷，以察除天下之惡，所以正治其邦國，剛明，居上之道也。

The Image Commentary explains the line 'Nine at the Top' as: The ruler uses this to go out and campaign, in order to correct the states. Cheng Yi's Commentary on the Changes says: The ruler employs a person with the virtue of 'upright illumination and firm decisiveness' to investigate and eliminate the wicked throughout the land, which is precisely for the purpose of properly governing his state. Being firm and enlightened is the proper way for those in high position.

象下傳山上有澤，咸，君子以虛受人。 本義 山上有澤，以虛而通也。 程傳 澤性潤下，土性受潤，澤在山上，而其漸潤通徹，是二物之氣相感通也。君子觀山澤通氣之象，而虛其中以受於人，夫人中虛則能受，實則不能入矣，虛中者無我也，中無私主，則無感不通，以量而容之，擇合而受之，非聖人有感必通之道也。

The following is from the "Lower Image Commentary." The "Great Image" says: A mountain with a marsh on top is the image of the Hexagram of "Salty." The gentleman takes this as a model, keeping his mind open to receive others. Zhu Xi's "Original Meaning" says: A mountain with a marsh on top indicates that by the central emptiness of the mountain, the breath communicates. Cheng Yi's "Yichuan Commentary on the Changes" says: The nature of a marsh is to descend and moisten, and the nature of earth is to receive the moisture. A marsh on a mountain allows its moistening to gradually permeate and connect, which is the mutual communication of the qi of two different substances. The gentleman observes the image of the mountain and marsh communicating through their qi, and thus keeps his mind open to receive others. A person's mind must be empty to be able to receive things; if it is full, nothing can enter. What is meant by "being empty in the middle" is that there is no "I" in the mind. If there is no private intention controlling it, then there is no obstruction in response. If one first measures and then accepts, taking only what is agreeable, then it is not the principle of the sage that all responses are unimpeded.

集說 崔氏憬曰：山高而降，澤下而升，山澤通氣，《咸》之象也。 呂氏大臨曰：澤居下而山居高，然山能出雲而致雨者，山內虛而澤氣通也，故君子居物之上，物情交感者，亦“以虛受”也。 郭氏雍曰：唯虛故受，受故能感，不能感者，以不能受故也，不能受者，以不能虛故也。 胡氏炳文曰：“以虛受人”，無心之感也。

Collective commentary cites Cui Jing's explanation: mountains are high but can descend, and marshes are low but can ascend, thus the energies of mountains and marshes connect, which is the image of the Hexagram Xian. Collective commentary cites Lü Daolin's explanation: marshes are naturally low, mountains are naturally high, yet mountains can summon clouds and bring rain because the interior of mountains is empty, allowing the energy of marshes to pass through. Therefore, a gentleman who is above the people can be mutually responsive with the people's feelings, which is due to the three characters "to receive with emptiness." Collective commentary cites Guo Yong's explanation: only by being empty can one receive, and only by receiving can one be responsive; those who cannot be responsive are because they cannot receive, and those who cannot receive are because they are not empty. Collective commentary cites Hu Bingwen's explanation: "to receive with emptiness" refers to a responsive interaction without private intentions.

陳氏琛曰：山上有澤，澤以潤而感乎山，山以虛而受其感，《咸》之象也。君子體之，則虛其心以受人之感焉！蓋心無私主，有感皆通，若有一豪私意自蔽，則先人者為主，而感應之機窒矣，雖有所受，未必其所當受，而所當受者，反以為不合而不之受矣。

Collected Commentaries cite Chen Chen's explanation: A mountain with a marsh on top, the marsh uses its moisture to move the mountain, and the mountain, with its hollow center, accepts this movement. This is the image of the Hexagram of "Salty." A gentleman understands this and keeps his mind open to receive others' influences. If his mind has no private intentions, whatever he feels will be fully connected. But if there is the slightest private intention that obscures him, then preconceived notions take control, and the opportunity for response is blocked. In this case, even if something is received, it may not be what should be received; while what truly should be received is rejected because it is considered inappropriate.

何氏楷曰：六爻之中，一言思，三言志。思何可廢，而至於明從則非虛；志何可無，而末而外而隨人，則非虛。極而言之，天地以虛而感物，聖人以虛而感人心，三才之道，盡於是矣。 吳氏曰慎曰：虛者《咸》之貞也，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者，虛而已。君子之學，廓然大公，物來順應，所謂“以虛受人”也。

Collective commentary cites He Kai's saying: In the hexagram Xian, among the six lines, there is one that speaks of "thinking" and three that speak of "will." Thinking cannot be abandoned, but when one expects others to clearly obey oneself, it is not empty; will cannot be absent, but when it is placed at the end, outside oneself, and merely follows others, it is not empty. In the extreme, heaven and earth move all things through emptiness, and sages move people's hearts through emptiness. The principles of heaven, earth, and humanity are fully embodied here. Collective commentary cites Wu Yashen's saying: "Empty" is the correct path of the hexagram Xian. The constant way of heaven and earth is that their hearts extend to all things while they themselves have no mind; the constant way of sages is that their feelings adapt to all affairs while they themselves have no emotion—ultimately, it is only the word "empty." A gentleman in his studies maintains a broad and impartial heart, and when things come, he responds naturally, which is precisely what is meant by "receiving others with emptiness."

咸其拇，志在外也。 程傳 初志之動，感於四也，故曰“在外”，志雖動而感未深，如拇之動，未足以進也。 集說 虞氏翻曰：志在外，謂四也。 孔氏穎達曰：與四相應，所感在外。 俞氏琰曰：初與四感應以相與，則志之所之，在於外矣。

The Image Commentary explains the line 'Initial Six' saying: The response only reaches the big toe, indicating the mind's direction is towards the outer trigram. Cheng Yi's Commentary on the Changes states: The initial stirring of the mind of the line 'Initial Six' is moved by the line 'Nine in the Fourth,' hence it is said 'outside.' Although the mind has stirred, the response is not yet deep, like the big toe moving slightly, which is not enough to take a step forward. The collected interpretations cite Yu Fan saying: The term 'mind outside' refers to the line 'Nine in the Fourth.' The collected interpretations cite Kong Yingda saying: The line 'Initial Six' corresponds with the line 'Nine in the Fourth,' and the object of its response is in the outer trigram. The collected interpretations cite Yu Yan saying: The line 'Initial Six' and the line 'Nine in the Fourth' respond to each other and are close, so the direction of the mind is outside.

雖凶居吉，順不害也。 程傳 二居中得正，所應又中正，其才本善，以其在咸之時，質柔而上應，故戒以先動求君則凶，居以自守則吉。《象》復明之云，非戒之不得相感，唯順理則不害，謂 集說 顧氏象德曰：雖凶而居則吉者，蓋能順理以為感，不為躁動害也。居非專靜、特不妄動而已。

The Image Commentary explains the line six in the second, saying: although there is misfortune, if one remains in a stable position and does not move, it will be auspicious, because following the way will not lead to harm. In Yichuan's Commentary on the Changes by Cheng Yi, it says: line six in the second is in the middle and has the correct position, and the corresponding nine in the fifth is also 'central and correct'. Its inherent quality is naturally good; however, because it is in the time of感应 in the Hexagram of咸, being soft and weak, and responding upwards to people, the line statement warns that rushing forward to seek the sovereign will result in misfortune, but remaining in a stable position and self-restraining will be auspicious. The Image Commentary then restates this meaning: it is not prohibiting感应 with others, but as long as one follows the way, it will not lead to harm. Here, the original text is missing some words, and Cheng's words are not completed. The following directly continues with the collected comments. The collected comments cite Gu Xiangde's saying: although there is misfortune, remaining in a stable position leads to auspiciousness, because it can follow the way in感应 and not be harmed by impetuousness. Here, the term 'residing' does not mean remaining completely still, but simply not acting recklessly.

咸其股，亦不處也。志在隨人，所執下也。 本義 言“亦”者，因前二爻皆欲動而云也，二爻陰躁，其動也宜，九三陽剛，居止之極，宜靜而動，可吝之甚也。

The Image Commentary explains the Nine in the Third: sensing the thigh, this is also unwilling to stay in place; the mind is only following others, and what is held onto is too lowly. Zhu Xi's "Original Meaning" says: the word "also" is used because both of the previous two lines are moving. The previous two lines are yin lines and naturally restless, so their movement is appropriate; however, the Nine in the Third is yang and is located at the top of the lower body, which is supposed to be still, yet it moves, which is regrettable and contemptible.

程傳 云“亦”者，蓋象辭本不與易相比，自作一處，故諸爻之象辭，意有相續者，此言“亦”者，承上爻辭也，上云“咸其拇志在外也”，“雖凶居吉順不害也”，“咸其股亦不處也”。前二陰爻皆有感而動，三雖陽爻亦然，故云“亦不處也”。“不處”，謂動也，有剛陽之質，而不能自主，志反在於隨人，是所操執者卑下之甚也。

Cheng Yi in Yichuan's Commentary on the Changes says: the word "also" is used because the text of the Image Commentary is originally not connected with the main text, but stands on its own, so the meanings of the image commentaries for each line often follow one another. Here the use of "also" is precisely to connect with the previous image commentary: the previous one says "the foot is touched, the mind is outside," then it says "though it is凶 to stay, it is吉利 to move, because it is not harmful to follow," and then it says "the thigh is touched, also not staying." The first two lines are about yin lines that move due to some influence, but even though line nine in the third position is a yang line, it is also influenced, hence the saying "also not staying." "Not staying" means movement. Line nine in the third position has the quality of yang strength, yet cannot act on its own, and its mind is instead placed on following others. This is because the thing it holds onto is too low.

貞吉悔亡，未感害也。憧憧往來，未光大也。 本義 “感害”，言不正而感，則有害也。 程傳 貞則吉而悔亡，未為私感所害也，繫私應則害於感矣，“憧憧往來”，以私心相感，感之道狹矣，故云“未光大也”。

The Image Commentary explains Nine in the Fourth: staying firm and upright brings good fortune, and regret disappears, indicating that one has not yet been harmed by private desires; being restless and moving about constantly shows that one's mind is not yet broad enough. Zhu Xi's "Benyi" says: the term "suffering from influence" refers to influencing others in an improper way, which causes harm. Cheng Yi's "Yichuan Commentary on the Changes" says: staying firm and upright brings good fortune and regret disappears, showing that one has not yet been harmed by private intentions in influencing others; once one is attached to private correspondences and harmonizes with them, the influence is damaged. "Chongchong wanlai" refers to influencing others with private thoughts, which narrows the path of influence, hence it is said "not broad enough."

集說 陸氏九淵曰：《咸》九四一爻，聖人以其當心之位，其言感通為尤至，曰“貞吉悔亡”，而《象》以為“未感害也”，蓋未為私感所害，則心之本然，無適而不正，無感而不通。曰“憧憧往來朋從爾思”，而《象》以為“未光大也”。蓋“憧憧往來”之私心，其所感必狹，從其思者，獨其私朋而已，聖人之洗心，其諸以滌去“憧憧往來”之私而全其本然之正也與，此所以“退藏於密”，而能同乎民，交乎物，而不墮於膠焉溺焉之一偏者也。

Collected Sayings cite Lu Jiuyuan's explanation: In the "Xian" hexagram, the line Nine in the Fourth is discussed by the sage because it corresponds to the position of the "heart" in the human body. The sage explains the concept of mutual感应 particularly clearly here. The line statement says "Zhen Ji Hui Wang," and the Image Commentary interprets it as "Wei Gan Hai Ye" — as long as one has not been harmed by private intentions of感应, the heart's original state remains upright and correct in all its movements and all itssympathetic response. The line statement says "Chongchong Wanglai, Peng Cong Er Si," and the Image Commentary interprets it as "Wei Guang Da Ye" — "Chongchong Wanglai" represents a mass of private thoughts, so the scope ofsympathetic response is necessarily limited. Those who follow this line of thought are only his private circle of friends. The sage's concept of "Xin Xin" (purifying the heart) is probably meant to eliminate this private thinking of "Chongchong Wanglai," and to preserve the heart's original correctness. Because of this, one can "Tui Cang Yu Mi" (retreat into secrecy), yet still share the people's likes and dislikes and interact with all things, without falling into the trap of being stuck to one thing or becoming overly biased.

咸其脢，志末也。 本義 “志末”謂不能感物。 程傳 戒使背其心而咸脢者，為其存心淺末，繫二而說上，感於私慾也。

The Image Commentary explains the Nine in the Fifth saying: thesympathetic response reaches only to the muscles on the back, indicating that the mind is fixed at the end. Zhu Xi's 'Benyi' says: 'Zhi mo' means he is unable to move external things. Cheng Yi's 'Yichuan Commentary on the Changes' says: the line statement requires him to turn his back on his private desires and feel only at the back, because his mind is shallow and fixed at the end: on one side connected to the Six in the Second, on the other side rejoicing in the Six at the Top, all are movements caused by private desires.

集說 李氏鼎祚曰：“末”，猶上也，五比於上，故“咸其脢，志未”者，謂五志感於上也。 朱氏震曰：卦以初為本，上為末。 王氏宗傳曰：謂五有“咸其脢”之象者，以其志意之所向，在於一卦之末，故欲“咸其脢”以背去之也。 何氏楷曰：謂五志在與仁相感也。《繫辭》曰：“其初難知，其上《易》知，本末也。 ”《大過彖傳》“本末弱”，“末”指上六可知矣。

Collective commentary cites Li Dingzuo's statement: "End" corresponds to "top," and nine in the fifth is adjacent to six at the top, so it says "the feeling reaches the back," meaning the heart of nine in the fifth feels toward six at the top (the original text says "will not," which should be "will end"). Collective commentary cites Zhu Zhen's statement: a hexagram takes the first line as its origin and the top line as its end. Collective commentary cites Wang Zongcheng's statement: the image of "the feeling reaches the back" for nine in the fifth is because his mind's direction is at the end of the hexagram, so he needs "the feeling reaches the back," facing the back and turning it aside. Collective commentary cites He Kai's statement: this refers to the heart of nine in the fifth being with six at the top (the original text says "with benevolence," the character "benevolence" is likely a mistake). The Great Treatise says: the first line is hard to understand, but the top line is easy to understand, which is the distinction between origin and end. The Commentary on the Judgment of Great Overstep says "origin and end are weak," indicating that "end" refers to six at the top.

咸其輔頰舌，滕口說也。 本義 “滕”“騰”通用。 程傳 唯至誠為能感人，乃以柔說騰揚於口舌言說，豈能感於人乎。

The Image Commentary explains the line Six at the Top saying:sympathetic response lies only in the gum, cheek, and tongue, nothing more than noisy talk from the mouth. Zhu Xi's Benyi says: the characters "滕" and "腾" are used interchangeably. Cheng Yi's Yichuan Commentary on the Changes says: only extreme sincerity can move people; now people use soft and flattering words to boast and promote through their mouths and tongues, how can they possibly move others?