The Hexagram of the Cauldron: The Great Image and the Line Images

木上有火，鼎。君子以正位凝命。程傳 “木上有火”，以木巽火也，烹任之象，故為鼎，君子觀《鼎》之象，以“正位凝命”。鼎者，法象之器，其形端正，其體安重，取其端正之象，則以正其位，謂正其所居之位，君子所處必正，其小至於席不正不坐，毋跛毋倚，取其安重之象，則凝其命令，安重其命令也。“凝”，聚止之義謂安重也，今世俗有凝然之語，以命令而言耳，凡動為皆當安重也。

The Great Image Commentary says: "Fire burning on wood, this is the Hexagram of the Cauldron; the gentleman thus understands that he should correct his position and stabilize the mission he has received." Cheng Yi's Commentary on the Changes says: "Fire on wood" refers to putting wood into fire, which is the image of cooking, hence the name Cauldron. The gentleman observes the image of the Hexagram of the Cauldron to "correct his position and stabilize his mission." The Cauldron is a ritual vessel modeled after the images of heaven and earth: its shape is upright, its form is stable and heavy. Taking its upright image, it is used to correct one's position, meaning to correct the position one occupies; a gentleman's conduct must always be upright, even to the point of not sitting down if the mat is not properly arranged, or not standing crookedly or leaning against something. Taking its stable and heavy image, it is used to stabilize one's command, making the decree stable and heavy. "Stabilize" means to gather and fix, that is, to be stable and heavy; nowadays, the phrase "neng ran" refers precisely to the decree. All actions and conduct should be stable and heavy.

集說 房氏喬曰：鼎者神器，至大至重，正位凝命，法其重大，不可遷移也。李氏元量曰：“木上有火”，非鼎也，鼎之用也，猶之木上有水，非井也，井之功也。鄭氏汝諧曰：革以改命，鼎以定命，知革而不知鼎，則天下之亂滋矣。項氏安世曰：存神息氣，人所以凝壽命，中心無為，以守至正，君所以凝天命。

Collective commentary cites Fang Qiao's saying: The ding is a sacred vessel, extremely large and heavy; "establishing the proper position and consolidating destiny" refers to emulating its great weight, so heavy it cannot be moved. Collective commentary cites Li Yuanliang's saying: "Fire on wood" does not refer to the ding itself, but to its function; just as "water on wood" does not refer to the well itself, but to its function. Collective commentary cites Zheng Ruxie's saying: The Gé hexagram discusses changing heavenly mandate, while the Ding hexagram discusses stabilizing heavenly mandate; if one understands only change and not stability, chaos will spread throughout the world. Collective commentary cites Xiang Anshi's saying: Cultivating spirit and regulating breath is the method for ordinary people to consolidate their lifespan; maintaining inner stillness and adhering to the ultimate correct path is the method for a ruler to stabilize heavenly mandate.

王氏申子曰：鼎，形端而正，體鎮而重，君子取其端正之象，以正其所居之位，使之愈久而愈安，取其鎮重之象，以凝其所受之命，使之愈久而愈固。胡氏炳文曰：鼎之器正，然後可凝其所受之實，君之位正，然後可凝其所受之命。

Collected Sayings cites Wang Shenzi saying: The shape of the tripod is upright and square, and its body is steady and heavy. The gentleman takes the image of its uprightness to correct his own position, making it more stable the longer it lasts; he takes the image of its weightiness to solidify the mission he bears, making it more firm the longer it lasts. Collected Sayings also cites Hu Bingwen saying: The tripod can hold things only when it is placed upright; the position of the ruler can hold the Mandate of Heaven only when he stands upright.

鼎顛趾，未悖也。利出否，以從貴也。本義 鼎而“顛趾”，悖道也。而因可“出否以從貴”，則未為悖也，“從貴”，謂應四，亦為取新之意。程傳 鼎，覆而趾顛，悖道也。然非必為悖者，蓋有傾出否惡之時也。去故而納新，瀉惡而受美，從貴之義也，應於四，上從於貴者也。

The Small Image Commentary explains the line "Initial Six" as follows: The tripod's foot is overturned, yet this is not entirely against the norm; it is beneficial to remove the filth, in order to follow the noble and superior. Zhu Xi's "Benyi" states: When the tripod is overturned, with its foot upward, this is an action against the norm; but precisely because it allows for the removal of obstruction and following of the noble, it is not considered against the norm. What is meant by "following the noble" refers to the correspondence between the Initial Six and the Ninth Four, and also implies the removal of the old to take in the new. Cheng Yi's "Yichuan Commentary on the Changes" says: When the tripod is overturned with its foot upward, this is an action against the norm. However, it is not necessarily against the norm, because there are times when it is necessary to remove the filth. Removing the old to take in the new, expelling the evil to receive the good, this is the meaning of "following the noble"; the correspondence between the Initial Six and the Ninth Four is precisely following the noble above.

集說 陸氏希聲曰：趾當承鼎，顛而覆之，悖也，於是出其惡，放雖覆未悖，猶妾至賤不當貴，以其子故得貴焉，春秋之義，母以子貴是也。鄭氏汝諧曰：初居下，乃鼎之趾，必顛趾者乃出否也，猶之妾也，其可從上，以子也。子貴則母貴也，凡取新之義，必舍惡面取善，舍賤而取貴，期合於義，初之應乎四，顛趾也，從貴也，柔而應於上，必有此義乃可。案 《傳》於“得妾”之辭不釋，但以“從貴”之意包之，聖言之簡而盡如此。

The collected interpretations cite Lu Xisheng's view: a tripod's legs should support the body of the tripod, but now it is turned upside down and inverted, which is contrary; however, this inversion actually allows the dirt inside to be removed, so even though it is inverted, it is not contrary. This is similar to a concubine, who is of very low status and should not be honored, but because she has a son, she becomes honored. This is exactly the meaning of the "Spring and Autumn Annals" principle of "a mother becomes honored through her son." The collected interpretations also cite Zheng Ruxie's view: the initial line is at the very bottom, which is the leg of the tripod; only by turning the leg upside down can the dirt be removed. It is like a concubine, who can follow above because she has a son; the son's honor brings honor to the mother. All the principles of removing the old and taking in the new must involve discarding the evil and taking the good, discarding the lowly and taking the noble, striving to conform to righteousness. The initial line corresponds with the ninth line in the fourth position, which is "upside down legs," meaning "following the noble." The soft line responding to the strong line must have this meaning to make sense. Li Guangdi comments: The "Image Commentary" does not provide a separate explanation for the line statement "acquiring a concubine," but includes it within the meaning of "following the noble." The brevity and comprehensiveness of the sage's wording is exactly like this.

鼎有實，慎所之也。我仇有疾，終無尤也。本義 有實而不謹其所往，則為仇所即而陷於惡矣。程傳 鼎之有實，乃人之有才業也。當慎所趨向，不慎所往，則亦陷於非義，二能不暱於初，而上從六五之正應，乃是慎所之也。“我仇有疾”，舉上文也，“我仇”對己者，謂初也，初比己而非正，是“有疾”也。既自守以正，則彼不能即我，所以終無過尤也。集說 張子曰：以陽居中故“有實”，實而與物競，則所喪多矣，故“所之”不可不“慎”也。

The Small Image Commentary explains the line nine in the second: the cauldron contains actual things, so one should be cautious about one's direction; the party that is in opposition has a flaw, and in the end there will be no blame. Zhu Xi's "Basic Meaning" says: if the cauldron contains things but one is not cautious about one's direction, one will be approached by the opposing party and fall into evil. Cheng Yi's "Yichuan Commentary on the Changes" says: the cauldron containing actual things symbolizes a person who has ability and achievements, and one should be cautious about one's direction. If one is not cautious about one's direction, one will also fall into injustice. Nine in the second can avoid intimacy with the adjacent six at the beginning, and instead follow the six in the fifth that corresponds with it, which is why it says "be cautious about one's direction." "My enemy has a sickness" is a restatement of the previous line statement. "My enemy" refers to the opposing party, which is the six at the beginning; the six at the beginning is adjacent but does not correspond, hence "has a sickness." Since nine in the second maintains the correct position and holds firm, the opposing side cannot approach closely, so there will be no fault or blame in the end. The collected interpretations cite Zhang Zai saying: because a yang line is in the central position, it is said "has substance"; although filled, if one competes with external things, the loss will be great, so one must not be careless about one's direction.

案 “尤”者，己之過尤也，人之怨尤也，能慎其所行，則雖“我仇有疾”害之心， 鼎而革，失其義也。程傳 始與鼎耳革異者，失其相求之義也，與五非應，失求合之道也。不中，非同志之象也，呈以其行塞而不通，然上明而下才，終必和合，故“方雨”而“吉”也。案 《象傳》凡言“義”者，謂卦義也，此失其義，非謂己之所行失義，蓋謂爻象無相應之義爾。

Li Guangdi remarked: The term "you" refers on one hand to one's own faults and on the other hand to others' resentment. If one is cautious in one's conduct, then even if "my enemy has illness" and the other party harbors hostile intentions—there is a missing text in the original. Here is the Small Image Commentary for line nine in the third: "The handle of the tripod is changed, losing its meaning." (The original text mistakenly wrote "er" instead of "er.") Cheng Yi's Commentary on the Changes states that line nine in the third initially diverged from the handle of the tripod, thus losing the meaning of mutual seeking; since it does not correspond properly with line six in the fifth, it also loses the opportunity for harmony. Line nine in the third is not in the central position and lacks the image of shared purpose, so its actions are obstructed and not smooth. However, the superior line six in the fifth is wise, and the inferior line nine in the third is talented, so ultimately they will harmonize, hence the line statement says "rain is coming" and attains "good fortune." Li Guangdi remarked: Whenever the Image Commentary discusses "yi," it refers to the meaning of the hexagram and its lines; here, saying "losing its meaning" does not mean that line nine in the third's actions are unrighteous, but rather that from the perspective of the line images, there is no corresponding meaning between them.

覆公餗，信如何也。本義 言失信也。程傳 大臣當天下之任，必能成天下之治安，則不誤君上之所倚。下民之所望，與己毀身任道之志，不失所期，乃所謂信也，不然，則失其職，誤上之委任，得為信乎，故曰“信如何也”。集說 楊氏簡曰：居大臣之位，是許國以大臣之事業也，而實則不稱，折足覆餗，失許國之信矣。

The Small Image Commentary explains the line Nine in the Fourth: pouring the royal delicacies onto the ground, how can such a person be considered trustworthy? Zhu Xi's "Benyi" says: this refers to the loss of trustworthiness. Cheng Yi's "Yichuan Commentary on the Changes" says: ministers who bear the responsibility of the state must be able to achieve the peace and order of the world, so as not to辜负 the trust of the sovereign, not to disappoint the people's expectations, and not to betray their own initial commitment to the cause. Only by fulfilling their promises can they be considered trustworthy. Otherwise, if they fail in their duties and delay the sovereign's commission, how can they still be considered trustworthy? Therefore, the Image Commentary says, "How can there be trust?" The collected interpretations cite Yang Jian's statement: holding the position of a minister is like making a promise to the country with the responsibilities of the post; but if one's ability is insufficient for the position, leading to broken tripod and spilled delicacies, it is a loss of the initial trust promised to the country.

鼎黃耳，中以為實也。程傳 六五以得中為善，足以中為實德也，五之所以聰明應剛，為鼎之主，得鼎之道，皆由得中也。集說 陸氏績曰：得中承陽，故曰“中以為實”。郭氏雍曰：“中以為實”者，六五明虛，以黃中之德為實也。猶《坤》之六五“美在其中”之道也。

The Small Image Commentary explains the line Six in the Fifth: The tripod has a yellow ear, which signifies taking up the principle of the center as its actual substance. Cheng Yi in his Commentary on the Changes says: The line Six in the Fifth is good because it can maintain the center, taking 'the center' as its actual virtue. The reason why the line Six in the Fifth is wise and able to respond to the strong lines, becoming the master of the tripod and grasping the principle of the tripod, is entirely due to its possession of the center. The collected interpretations cite Lu Ji's statement: The line Six in the Fifth occupies the center position and is above the yang line, hence it is said 'the center is taken as actual substance.' The collected interpretations also cite Guo Yong's statement: The phrase 'the center is taken as actual substance' means that the line Six in the Fifth itself is enlightened and empty, thus taking the virtue of occupying the center and maintaining yellow as its actual content. This is the same principle as the line Six in the Fifth of the Qian hexagram, which says 'beauty lies within.'

玉鉉在上，剛柔節也。程傳 剛而溫，乃有節也。上居成功緻用之地，而剛柔中節，所以“大吉無不利”也。《井》、《鼎》皆以上出為成功，而《鼎》不云“元吉”何也？曰《井》之功用皆在上出，又有博施有常之德，是以“元吉”。《鼎》以烹飪為功，居上為成，德與井異，以“剛柔節”，故得“大吉”也。集說 熊氏良輔曰：上以剛居柔，故曰“剛柔節”，而比德於玉也。

The Small Image Commentary explains the top line of the hexagram: A bronze tripod handle placed at the top indicates that the combination of strength and softness is perfectly balanced. Cheng Yi's Commentary on the Changes says: Strength combined with gentleness is called regulated and restrained. The top line is in a position where achievements have been completed and can be put into practical use. The balance between strength and softness is moderate, so the line statement says "greatly auspicious without any disadvantage." Someone asked: Both the Well and the Tripod hexagrams achieve success by bringing things to the top, so why does the Tripod hexagram's top line not say "originally auspicious"? The answer is: The Well hexagram's function lies entirely in bringing water up, and it has the virtue of widespread benefit and continuity, so it is called "originally auspicious." The Tripod hexagram's function is cooking, and being at the top signifies completion. Its virtue differs from the Well hexagram's, relying instead on "regulated strength and softness," so it only says "greatly auspicious." A collection of interpretations cites Xiong Liangfu's view: The top line, being a strong line in a soft position, is said to have "regulated strength and softness," and its virtue is compared to jade.

洊雷震，君子以恐懼修省。程傳 “洊”，重襲也，上下皆震，故為“洊雷”，雷重仍則威益盛，君子觀洊雷威震之象，以恐懼自修飭循省也。君子畏天之威，則修正其身，思省其過咎而改之，不唯雷震，凡遇驚懼之事，皆當如是。集說 項氏安世曰：恐懼修省，所謂“洊”也，人能恐懼，則既震矣，又修省焉，“洊”在其中矣。胡氏炳文曰：恐懼作於心，修省見於事。“修”，克治之功。“省”，審察之力。

The Great Image Commentary says: Thunder sounds successively and repeatedly, which is the image of the Zhen hexagram; the gentleman thus understands the need to maintain a sense of fear and to cultivate himself. Cheng Yi's Commentary on the Changes says: "Qian" means successive and overlapping; since both the upper and lower trigrams are Zhen, it is called "successive thunder." Thunder repeating itself increases its power and influence. The gentleman observes the image of thunder sounds overlapping and shaking the world, thus feeling fear and self-disciplining, repeatedly examining himself. The gentleman reveres the majesty of heaven, thus rectifying his body and mind, reflecting on his faults and correcting them. Not only in the case of thunder, but whenever encountering something alarming, one should act in this way. The collected interpretations cite Xiang Anshi saying: fear combined with self-cultivation is precisely what is meant by "successive." When a person feels fear, he has already been shaken once; then, if he proceeds to self-cultivation, the meaning of "successive" is contained within it. The collected interpretations also cite Hu Bingwen saying: fear arises in the heart, while self-cultivation is manifested in actions. "Xiu" refers to the effort of restraining and regulating, while "Xing" refers to the strength of careful examination and self-restraint.

震來虩虩，恐致福也。笑言啞啞，後有則也。程傳 震來而能恐懼周顧，則無患矣，是能因恐懼而反致福也。因恐懼而自修省，不敢違於法度，是由震而後有法則，故能保其安吉，而“笑言啞啞”也。集說 范氏仲淹曰：君子之懼於心也，思慮必慎其始，則百志弗違於道懼於身也。進退不履於危，則百行弗罹於禍，故初九震來而致福，慎於始也。

The Small Image Commentary explains the line "Nine at the Beginning" as follows: When the thunder shakes, one feels apprehensive and uneasy, precisely because of this fear that brings about good fortune; later, one can speak and laugh freely, because after that, one's actions have established proper standards. Cheng Yi in his commentary "Yichuan's Commentary on the Changes" says: When thunder strikes and one is fearful and alert, and is vigilant on all sides, there will be no calamity. This is why fear leads to good fortune. Because of fear, one self-examines and dares not violate the rules, thus after the shock, there are established standards, so one can preserve peace and auspiciousness, and "laugh and speak joyfully." The collected interpretations cite Fan Zhongyan saying: A gentleman is cautious in his mind, and his thoughts are careful at the beginning, so all his aspirations do not deviate from the right path; he is cautious in his actions, and every movement does not step into danger, so all his deeds do not encounter calamity. Therefore, the line "Nine at the Beginning" brings about good fortune when thunder strikes, because it is cautious from the beginning.

震來厲，乘剛也。程傳 當震而乘剛，是以彼厲而己危，震剛之來，其可御乎。集說 胡氏炳文曰：《屯》六二，《豫》六五，《噬嗑》六二，《困》六三，《震》六二，皆言“乘剛”，唯《困》六三乘坎之中爻，其餘皆乘震之初也。

The Small Image Commentary explains the line Six in the Second: Thunder strikes and there is danger, because it is riding over a strong line. Cheng Yi's Commentary on the Changes says: While there is a violent movement, it is also riding over a strong line, so the opponent comes with great force and one's own position is dangerous; the strong line of thunder rises directly upward, how can it be resisted? The collected interpretations cite Hu Bingwen saying: In the hexagram Zun, line Six in the Second; in the hexagram Yu, line Six in the Fifth; in the hexagram Shihe, line Six in the Second; in the hexagram Kun, line Six in the Third; and in the hexagram Zhen, line Six in the Second, all discuss 'riding over a strong line'. Among these, only line Six in the Third of the hexagram Kun rides over the middle line of the Kan trigram, while the other lines ride over the first line of the Zhen trigram.

震蘇蘇，位不當也。程傳 其恐懼自失“蘇蘇”然，由其所處不當故也，不中不正，其能安乎。案 震當“虩虩”，不當“蘇蘇”。六三當重震之間，正奮厲以有為之時也，而以陰不中正處之，至於蘇蘇緩散，故曰“位不當”。

The Small Image Commentary explains the sixth line in the third position: beneath the thunder, the spirit is confused and scattered because its position is inappropriate. Cheng Yi's Commentary on the Changes says: fear causing loss of composure and showing a state of 'susu' is due to an improper position; since it is neither in the center nor in the right place, how can it be stable? Li Guangdi comments: encountering thunder should be 'xuxu', a state of alarm and vigilance, not 'susu', which indicates confusion and looseness. The sixth line in the third position is situated between the two upper and lower zhen trigrams, which is a time for vigorous effort and great achievement. Yet it responds with a yin and weak attitude that is neither central nor proper, leading to scattered thoughts and lack of focus. Therefore, the Image Commentary says 'position is inappropriate'.

震遂泥，未光也。程傳 陽者剛物，震者動義，以剛處動，本有光亨之道，乃失其剛正而陷於重陰，以致“遂泥”，豈能光也！云“未光”，見陽剛本能震也，以失德故“泥”耳。案 四有剛德，非失德者，此言“未光”，蓋志氣未能自遂，行拂亂其所為耳！與《噬嗑》九四之“未光”同，皆謂所處者未能遂其所志，非《兌》上“未光”之比。

The Small Image Commentary explains the Nine in the Fourth: After the thunder shakes, it finally sinks into mud because it is still unable to shine. Cheng Yi's Commentary on the Changes says: Yang is a strong and vigorous thing; Zhen takes the meaning of movement. With a strong and vigorous nature in a position of movement, there should naturally be a path of brightness and smoothness. However, the Nine in the Fourth has lost its own strength and righteousness and has fallen between the two groups of yin lines above and below, leading to "sinking into mud." How can it then shine! The Image Commentary says "not yet shining," indicating that Yang is originally capable of shaking, but because it has lost its virtue, it sinks into mud. Li Guangdi comments: The Nine in the Fourth possesses the virtue of strength and vigor, and is not a person who has lost virtue. Here, "not yet shining" refers to its aspirations temporarily being unable to unfold, and its actions constantly being obstructed. This is the same as the "not yet shining" in the Nine in the Fourth of the噬嗑 hexagram, both referring to the situation preventing the realization of one's aspirations. It is different from the "not yet shining" in the Six at the Top of the兑 hexagram.

震往來厲，危行也。其事在中，大無喪也。程傳 往來皆厲，行則有危也。動皆有危，唯在無喪其事而已，“其事”，謂中也，能不失其中，則可自守也。“大無喪”，以無喪為大也。集說 張子曰：無喪有事，猶云不失其所有也。以其乘剛故“危”，以其在中故“無喪”，禍至與不至皆懼，則無喪有事。郭氏雍曰：二以“來歷”而“喪貝”，則五之“往來”皆“厲”，宜其大有喪也，六五位雖不正而用中焉，其事既不失中道，雖涉危行，可以“大無喪”矣。

The Small Image Commentary explains the line six in the fifth: beneath the thunder, going and coming both involve danger; this indicates that action itself carries danger. What it holds onto is being in the center, so there is no great loss overall. Cheng Yi's Commentary on the Changes says: going is dangerous, coming is dangerous; any movement brings danger. Since every action is dangerous, the key is to not lose what one should hold onto. The term 'its matter' refers to 'the center'; being able to retain this center allows one to hold onto what is right. Saying 'greatly without loss' treats not losing as the greatest gain. Collected Sayings cite Zhang Zai saying: not losing while holding onto something is equivalent to not losing what one originally possesses. Because it is pressing against a strong line, it is 'dangerous'; because it is in the central position, it is 'without loss'. Whether misfortune comes or not, one remains alert, thus achieving no loss while holding onto what is right. Collected Sayings also cite Guo Yong saying: six two still lost a gem because of the thunder striking, so six five encountering 'danger' in both going and coming should, by reason, have even greater loss. However, although six five is not in the correct position, it uses the center, and since what it holds onto does not depart from the middle path, even though it walks through danger all the way, it can still achieve 'greatly without loss'.

震索索，中未得也。雖凶無咎，畏鄰戒也。本義 “中”，謂中心。程傳 所以恐懼自失如此，以未得於中道也。謂過中也使之得中，則不至於“索索”矣，極而復征則凶也，若能見鄰戒而知懼，變於未極之前，則“無咎”也，上六動之極，震極則有變義也。龔氏煥曰：“中未得”者，處震之極，志氣消索，中無所主也。

The Small Image Commentary explains the Sixth at the Top: beneath the thunder, one is startled and shivers, lacking control; although there is danger, there will be no calamity, because one sees the nearby being shaken and thus becomes cautious. Zhu Xi's original meaning says: here, "middle" refers to the heart. Cheng Yi's Yichuan Commentary on the Changes says: it is so fearful that it loses its normal state, because it has not attained the middle way—that is, it has gone beyond the middle. If one can maintain the middle, one would not shiver so. When one has reached the extreme and still moves forward, it becomes dangerous; but if one sees the warning of the nearby being shaken and thus becomes afraid, changing before the matter reaches its extreme, there will be no calamity. The Sixth at the Top is at the extreme of movement; when the thunder reaches its extreme, it contains the meaning of change. Collected interpretations cite Gongsuan who says: the phrase "middle not yet attained" refers to being at the extreme of thunder, with one's will worn out and no inner control.

兼山艮，君子以思不出其位。程傳 上下皆山，故為“兼山”。此而並彼為兼，謂重複也，重艮之象也。君子觀艮止之象，而思安所止，“不出其位”也。“位”者，所處之分也，萬事各有其所，得其所，則止而安，若當行而止，當速而久，或過或不及，皆出其位也，況逾分非據乎。

The Great Image Commentary says: two mountains overlapping with each other is the Qian卦 (Geng hexagram); the gentleman thereby understands that his thoughts should not exceed his proper position. Cheng Yi's Commentary on the Changes says: both the upper and lower trigrams are mountains, so it is called "dou shan" (mountains overlapping). One mountain connected to another is called "dou," which means repetition; this is the physical image of the Geng hexagram's overlapping. The gentleman observes the image of stillness in Geng, thus reflecting on where he should rest, and achieves "not exceeding his position." The term "position" refers to one's proper role. All things have their appropriate place, and when they are in their proper place, they can rest and be secure. If one stops when one should move, or moves slowly when one should act quickly, or goes too far or does not go far enough, these are all instances of exceeding one's position; and even more so when one goes beyond one's proper role to occupy an inappropriate place.

集說 董氏曰：兩雷兩風兩火兩水兩澤，皆有相往來之理，唯兩山並立，不相往來，此止之象也。邱氏富國曰：凡人所為、所以易至於出位者，以其不能思也，思則心有所悟，知其所當止而得所止矣。

The collected interpretations cite Dong's view: when two thunder trigrams overlap, two wind trigrams overlap, two fire trigrams overlap, two water trigrams overlap, and two marsh trigrams overlap, there is still a mutual interaction and flow between them; only when two mountain trigrams are placed side by side, with no interaction or communication between them, does this represent the image of "stop." The collected interpretations also cite Qiu Fuguo's view: the reason why ordinary people often go beyond their proper position is because they are unwilling to think carefully; if they do think carefully, they will gain insight and know where they should stop, thus being able to rest in the proper place.

案 思不出位，諸家皆作思欲不出其位，“思”字不甚重，今觀《咸》卦云：“貞吉悔亡，憧憧往來，朋從爾思”。而夫子以“何思何慮”明之，則此“思”字蓋不可略，雜擾之思，動於欲者也，通微之思，浚於理者也。《大學》云“安而後能慮”，蓋“思不出位”之說也。

Li Guangdi remarked: "The phrase 'thoughts should not go beyond one's position' has been interpreted by various scholars as meaning 'to think without exceeding one's role,' with the character 'thought' not being given much importance. Now, looking at the fourth line of the Xian hexagram, which states 'Zhen Ji Hui Wang, Chongchong Wanglai, Peng Cong Er Si,' and Confucius' statement in the lower part of the Great Treatise, 'He Si He Lu,' it is clear that the character 'thought' cannot be overlooked. Disordered and confused thoughts arise from desires, while profound and penetrating thoughts emerge from moral principles. The Great Learning says 'only when one is at peace can one think,' which precisely conveys the meaning of 'thoughts should not go beyond one's position.'"

艮其趾，未失正也。程傳 當止而行，非正也，止之於初，故未至失正，事止於始則易，而未至於失也。集說 虞氏翻曰：動而得正，故“未失正也”。郭氏雍曰：“趾”，初象也，動莫先於趾。止於動之先則易，而止於既動之後則難，《傳》言“未失正”者，止於動之先，未有失正之事也。

The Small Image Commentary explains the line 'Initial Six' as: stopping at the toe, indicates that the right path has not yet been lost. Cheng Yi's Commentary on the Changes says: when one should stop, yet continues forward, it is not in accordance with the right path; now, having stopped at the very first step, it has not yet reached the point of losing the right path. Matters that are just beginning are easier to stop, thus not leading to mistakes. The collected interpretations cite Yu Fan saying: once movement begins, it is in accordance with the right path, hence 'has not lost the right path'. The collected interpretations also cite Guo Yong saying: 'toe' is the symbol for the first line; in the human body, the first part to move is the toe. It is easier to stop before action begins, and more difficult to stop after movement has started. The Image Commentary says 'has not lost the right path' because stopping occurs before action, so the loss of the right path has not yet occurred.

不拯其隨，未退聽也。本義 ，三止乎上，亦不肯退而聽乎二也。程傳 所以不拯之而唯隨者，在上者未能下從也，“退聽”，下從也。

The Small Image Commentary explains the line Six in the Second: the reason why it cannot save the person it follows is that the other party is unwilling to retreat and listen. Zhu Xi's "Benyi" says: Nine in the Third is above, stopping on its own, and is unwilling to retreat and listen to Six in the Second. Cheng Yi's "Yichuan Commentary on the Changes" says: the reason why Six in the Second cannot save Nine in the Third and can only follow it is that the superior Nine in the Third is unwilling to bend down and listen from below. What is called "retreating to listen" means retreating to listen to the opinions below.

艮其限，危薰心也。程傳 謂其固止不能進退，危懼之慮，常薰爍其中心也。集說 鄭氏汝諧曰：三雖止而不與物交，而其危則實“薰心也”。何氏楷曰：以強制，故“危薰心”，艮限者，強制之謂也。

The Small Image Commentary explains Nine in the Third: at the moment of stopping the waist, danger and fear are like smoke and fire burning the heart. Cheng Yi's Commentary on the Changes says: this refers to stopping forcefully, neither advancing nor retreating, with the thought of danger constantly burning and scorching the heart. The collected interpretations cite Zheng Ruoxie saying: although Nine in the Third stops and does not interact with external things, the danger is indeed real and 'burns the heart'. The collected interpretations also cite He Kai saying: because it is forced suppression, hence 'danger burns the heart'; the term 'Gèn Lían' refers to forced suppression.

艮其身，止諸躬也。程傳 不能為天下之止，能止於其身而已，豈足稱大臣之位也。集說 孔氏穎達曰：“止諸躬”也者，“躬”，猶身也，明能靜止其身，不為躁動也。王氏應麟曰：艮六四“艮其身”，《象》以“躬”解之，傴背為“躬” ’，見背而不見面，朱文公《詩》云：“反躬艮其背。”案 “止諸躬”，便是“艮其身”，但易其字為“諸”字爾，蓋易其字為“諸”字， 艮其輔，以中正也。

The Small Image Commentary explains the line six in the fourth: stopping oneself means applying the effort of stopping to one's own self. Cheng Yi in his Commentary on the Changes says: line six in the fourth cannot achieve stopping all under heaven, but can only stop oneself, so how can it be worthy of the position of a minister? The collected interpretations cite Kong Yingda saying: the phrase 'stop it upon oneself' means 'gong' equals 'body', indicating the ability to calm oneself and refrain from restlessness. The collected interpretations also cite Wang Yinglin saying: in the Hexagram of Stillness, line six in the fourth talks about 'stillness of the body'; the Image Commentary uses the character 'gong' to explain it; bending the back is called 'gong', so only the back is visible and the face is not. Zhu Xi has a poem saying 'reverse oneself and still the back'. Li Guangdi explains: 'stop it upon oneself' is the same as 'still the body', but the character is changed to 'zhu'; probably the original text here is missing a character. Below is the Small Image Commentary for line six in the fifth: 'still the face, because of uprightness and correctness.'

本義 “正”字羨文，叶韻可見。程傳 五之所善者，中也。“艮其輔”，謂止於中也，言以得中為正，止之於輔，使不失中，乃得正也。集說 餘氏本曰：言不妄發，發必當理，唯有中德者能之。

Zhu Xi's "Benyi" says: The character "zheng" here is an added character, which can be seen from the rhyme. Cheng Yi's "Yichuan Commentary on the Changes" says: The merit of the sixth line in the fifth position lies in its central position. "Gèn qí fǔ" means to stop at the right moment, which is to take the middle as the standard, and to apply the effort of stopping to the jaw and tongue, so that speech does not lose the middle, which is called "zheng." The collected interpretations cite Yu's version: speaking without being hasty or reckless, and when one speaks, it conforms to reason, which only those with the virtue of the middle can achieve.

敦艮之吉，以厚終也。程傳 天下之事，唯終守之為難，能敦於止有終者也，上之吉，以其能厚於終也。集說 王氏申子曰：德愈厚而止愈安，是止之善終者也，其吉可知。案 艮者，“萬物之所成終而所成始”，故於上言“厚終”，凡人之心，唯患其養之不厚，不患其發之不光。水蓄則彌盛，火宿則彌壯，厚其終，則萬事皆由此始。

The Small Image Commentary explains the top line (上九) saying: being solid and sincere in stopping leads to good fortune because it can make the conclusion substantial. Cheng Yi's Yichuan Commentary on the Changes says: worldly affairs, only the final stage is hardest to maintain; being solid and sincere in 'stopping' is the way of having a beginning and an end. The good fortune of the top line comes precisely because it can make the conclusion substantial. Collected Commentaries cite Wang Shenzi saying: the thicker the virtue, the more secure the stopping, this is a stopping that is good at concluding, its good fortune is evident. Li Guangdi remarks: in the Sayings of the Hexagram Commentary, the mountain (Geng) is the direction where 'all things are completed at the end and begin anew', so in the top line it speaks of 'thick conclusion'. The human heart fears only insufficient cultivation, not the lack of brilliance when it is expressed. Water accumulates more and becomes greater, fire is kept warm and becomes stronger; making the conclusion substantial, all things begin anew from here.

山上有木，漸。君子以居賢德善俗。本義 二者皆當以漸而進，疑“賢”字衍，或“善”下有脫字。程傳 “山上有木”，其高有因，漸之義也，君子觀《漸》之象以居賢善之德，化美於風俗，人之進於賢德，必有其漸，習而後能安，非可陵節而遽至也。在己且然，教化之於人，不以漸，其能入乎，移風移俗，非一朝一夕所能成，故善俗必以漸也。

The Great Image Commentary says: Mountains with trees represent the Hexagram of Gradual Progress; thus, the gentleman understands that he should cultivate virtuous character and improve the customs. Zhu Xi's Original Meaning says: Cultivating virtue and improving customs should both proceed gradually; he suspects that the character 'xian' (virtuous) may be an added character, or that there may be a missing character after 'shan' (good). Cheng Yi's Yichuan Commentary on the Changes says: 'A mountain with trees' grows tall because it has a foundation, which is the meaning of 'gradual progress.' The gentleman observes the image of the Hexagram of Gradual Progress and thus cultivates virtuous character, leading the customs toward goodness. A person advancing toward virtue must go through a gradual process; only when it becomes habitual can it be stable, and it is not possible to leap directly to it. Even for oneself, it is the same; when using education to influence others, without proceeding gradually, how can one enter into it? Changing customs is not something that can be accomplished in a day or two, so improving customs must rely on gradual progress.

集說 楊氏曰：地中生木，以時而升，山上有木，其進以漸。馮氏當可曰：“居”，積也。德以漸而積，俗以漸而善，內卦艮止，居德者止諸內也。外卦巽入，善俗者入於外也，體艮以居德，體巽以善俗、案 地中生木，始生之木也，山上有木，高大之木也，凡木始生，枝條驟長，旦異而夕不同，及既高大，則自拱把而合抱，自捩手而乾霄，必須逾年積歲，此開與漸之義所以異也，居德善俗，皆須以漸，以居賢德然後可以善俗，亦漸之意也。

The collected interpretations cite Yang's view: trees growing out of the earth rise gradually with the seasons, which represents the hexagram "Ascending"; trees growing on a mountain advance step by step, which represents the hexagram "Gradual Progress." The collected interpretations also cite Feng Dangke's view: "Residence" means accumulation. Virtue is gradually accumulated, and customs gradually improve. The inner trigram is "Geng" (Mountain), representing stillness; cultivating virtue means fixing one's efforts internally. The outer trigram is "Xun" (Wind), representing penetration; improving customs means permeating education externally. One should cultivate virtue by understanding the meaning of "Geng" and improve customs by understanding the meaning of "Xun." Li Guangdi comments: trees growing out of the earth are newly sprouted; trees on a mountain are already tall. When trees are newly sprouted, their branches grow rapidly, changing from morning to night. But when they are already tall, growing from a thickness of one hand to a thickness that can be embraced by two hands, and from being within reach to towering into the clouds, requires year after year of accumulation. This is exactly where the meanings of the hexagrams "Ascending" and "Gradual Progress" differ. Cultivating virtue and improving customs both require gradual progress, and one must first cultivate virtuous character before being able to improve customs, which is also the meaning of gradual progress.

小子之厲，義無咎也。程傳 雖”小子”以為危厲，在義理實“無咎也”。飲食衎衎，不素飽也。本義 “素飽”，如《詩》言“素餐”，得之以道，是不為徒飽而處之安矣。程傳 爻辭以其進之安平，故取飲食和樂為言，夫子恐後人之未喻，又釋之雲中正君子，遇中正之主，漸進於上，將行其道以及天下，所謂“飲食衎衎”，謂其得志和樂，不謂空飽飲食而已。“素”，空也。集說 龔氏煥曰：二以中正應五而得祿，非尸位素餐者比，故食之衎衎而樂也。

The Small Image Commentary explains the line "Initial Six" saying: A child feels danger, but from the standpoint of principle, there is no fault. Cheng Yi's Commentary on the Changes says: Although those "little ones" regard the situation of Initial Six as very dangerous, when measured by principle, it is indeed "without fault." Regarding line "Six in the Second," the explanation says: Eating and living in harmony and joy is not just eating for nothing. Zhu Xi's original meaning says: "Sustenance" is like "sustenance" mentioned in the Book of Poetry; the salary of line Six in the Second is obtained by following the right path, so it is not eating and drinking for nothing, thus he feels at ease. Cheng Yi's Commentary on the Changes says: The line statement of line Six in the Second uses the imagery of eating and living in harmony because the line progresses smoothly and orderly. Confucius feared that later generations might not understand, so he added an explanation: A virtuous person meets a virtuous ruler, advances step by step, and will promote his way to benefit the world. The phrase "eating and living in harmony" means his aspirations are fulfilled and he is happy, not merely referring to eating for nothing. "Sustenance" means empty. The collected interpretations cite Gongsuan who says: Line Six in the Second receives salary by corresponding with line Nine in the Fifth through virtue, which is different from those who occupy positions without doing anything, thus he eats and lives happily.

案 六爻以“鴻”取進象，自水涯以至山上，自遠而近，自下而高也。“乾”為最遠，是士之將進而不苟進者，故在《詩》曰：“置之河之幹兮，彼君子兮，不素餐兮。”夫征不復，離群醜也。婦孕不育，失其道也。利用禦寇，順相保也。

Li Guangdi commented: The "Zhan" hexagram uses the image of "wild geese" to represent the progressive movement, starting from the water's edge and proceeding to the mountain, from afar to near, from low to high. "Gan" refers to the riverbank, which is the farthest, symbolizing a scholar who is about to enter officialdom but refuses to compromise for advancement. The "Book of Songs · Wei Wind · Fa Tan" says, "Place it by the river's bank, that gentleman, does not eat without working," placing the cut tanyu wood by the riverbank, referring to that gentleman who does not eat without labor. The "Small Image Commentary" for line nine in the third position says: "The expedition does not return, because it is separated from the group; the woman is pregnant but does not give birth, losing the proper way; it is advantageous to guard against bandits, because it is in harmony with mutual protection."

程傳 “夫征不復”，則失漸之正，從欲而失正，離判其群類，為可醜也。卦之諸爻，皆無不善，若獨失正，是離其群類，“婦孕”不山其道，所以“不育”也。所利在“禦寇”，謂以順道相保。君子之與小人比也，自守以正，豈唯君子自完其己而已乎，亦使小人得不陷於非義，是以順道相保，御止其惡，故曰“禦寇”。

Cheng Yi in Yichuan's Commentary on the Changes says: "If one goes forth without returning," it is losing the proper path of gradual progress. Indulging in desires and abandoning the right path is like separating oneself from one's own kind, which is shameful (the original text refers to "qiong" as meaning "kind" in the Image Commentary, and Cheng Yi also incorporates the meaning of shame). In the hexagram of Gradual, each line is not inherently bad, but only the line Nine in the Third loses the proper position, thus separating itself from its own kind. "The wife is pregnant" is not coming along the proper path (the original text mistakenly writes "shan" instead of "you"), hence "not giving birth." The advantage of this is "guarding against bandits," meaning using the proper path to protect both sides. When a gentleman and a petty person are in close proximity, if the gentleman maintains the proper path, this is not only beneficial for himself but also prevents the petty person from falling into wrongdoing. This is using the proper path to protect both sides and to stop the evil, hence it is called "guarding against bandits."

集說 楊氏簡曰：“夫征不復”，上九不應，“離群醜也”，“婦孕不育”，九三失其所以為婦也，三不中，有失道之象，故“凶”，非正者足以害我，故曰“寇”，慮三之失道，或親於寇而不能御也，故教之“禦寇”，則我不失於正順，而夫婦可以相保矣。熊氏良輔曰：“順相保”，順慎通用，只是謹慎以相保守也。

The collection of interpretations cites Yang Jian's explanation: "The journey does not return" because the upper nine does not correspond with the ninth in the third position. "Departing from the group is disgraceful," and "the wife is unable to bear children" refer to the ninth in the third position losing its role as a wife. The ninth in the third position does not occupy the central position and carries the image of losing the right path, hence "misfortune." Any deviation from the correct path can harm me, so it is called "invader." Concerned that after losing the right path, the ninth in the third position might align with the invader and be unable to resist, it teaches it to "defend against the invader." In this way, it does not lose its correctness or its harmony, and the relationship between husband and wife can be mutually protected. The collection of interpretations also cites Xiong Liangfu's explanation: the "harmony" in "mutual protection" is equivalent to the character "caution," meaning to be cautious in mutual protection.

案 楊氏之說，爻義文意，兩得之矣。君子之仕也，上雖不交，而己必盡其道，故周公曰：恩斯勤斯，育子之閔斯，不可以不遇而遂棄其殷勤也。王仲淹曰：“美哉公旦之為周也，必使我君臣相安，而禍亂不作。”其順相保之謂乎。

Li Guangdi commented: Yang Jian's view makes sense both in terms of the meaning of the lines and the textual meaning. A gentleman who goes out to serve must fulfill the duties he is supposed to, even if those above do not interact with him. Therefore, the Duke of Zhou said in the "Poetry · Bin Feng · Chi Xiao" "En si qin si, yu zi zhi min si" (the present version of the "Poetry" reads "yu zi zhi min si"), expressing deep affection and diligence in raising his young son. One should not abandon this sincerity just because one is not recognized. Wang Tong said: "The deeds of Duke Zhou Dan in establishing the Zhou dynasty are truly beautiful; he must ensure harmony between ruler and minister so that chaos does not arise." What he meant is probably "shun xiang bao."

或得其桷，順以巽也。程傳 “桷”者平安之處，求安之道，唯順與巽，若其義順正，其處卑巽，何處而不安。如四之順正而巽，乃得“桷”也。終莫之勝吉，得所願也。程傳 君臣以中正相交，其道當行，雖有間其間者，終豈能勝哉？徐必得其所願，乃漸之吉也。

The Small Image Commentary explains the sixth line in the fourth position: Perhaps one can find a straight beam, relying on flexibility and humility. Cheng Yi's Commentary on the Changes says: "Ju" refers to a stable and comfortable place to stand; the way to achieve stability is only through flexibility and humility. If the path one follows is upright and proper, and one's attitude is humble and respectful, then one can find stability wherever one goes. Just as the sixth line in the fourth position is both upright and humble, it thus obtains that "ju." The Small Image Commentary also explains the ninth line in the fifth position: In the end, no one can surpass it and achieve good fortune, because it is fulfilled as desired. Cheng Yi's Commentary on the Changes says: The ruler and the minister interact based on the virtue of uprightness and correctness; their principles should naturally be promoted. Even if someone tries to interfere in between, where could they possibly surpass it? Gradually, one's wishes will surely be realized, which is the good fortune brought about by gradual progress.

其羽可用為儀吉，不可亂也。本義 漸進愈高，而不為無用，其志卓然，豈可得而亂哉。程傳 君子之進，自下而上，由微而著，跬步造次，莫不有序，不失其序，則無所不得其吉，故九雖窮高而不失其吉，可用為儀法者，以其有序而不可亂也。

The Small Image Commentary explains the line 'Nine at the Top' as follows: its feathers can be used for ceremonial adornment and thus bring good fortune, because this order cannot be disturbed. Zhu Xi's 'Benyi' says: geese advance step by step, flying higher and higher, yet they do not become useless; their aspirations are firm and independent, where can they be disturbed? Cheng Yi's 'Yichuan Commentary on the Changes' says: the advancement of a gentleman is from below to above, from subtle to prominent, step by step, word by word, without any disorder. Not losing order, there is no place where good fortune is not attained. Therefore, 'Nine at the Top' although has reached the highest position, does not lose good fortune. It can be used as a model for ritual, precisely because it has order and cannot be disturbed.

集說 胡氏炳文曰：二居有用之位，有益於人之國家，而非素飽者，上在無用之地，亦足為人之儀表，而非無用者，二志不在溫飽，上志卓然不可亂，士大夫之出處，於此當有取焉。張氏振淵曰：志慮高潔，而功名富貴不足以累其心，故其志可則。使志可得而亂，又安可用為儀哉！

The collected interpretations cite Hu Bingwen's saying: Six in the Second is in a position where it can achieve something, benefiting other states, and is not someone who eats salary without contributing; Nine at the Top is in a place where it cannot hold an official position, yet it is sufficient to serve as a model for the people, and is not a useless person. The mind of Six in the Second does not focus on personal comfort, while the mind of Nine at the Top is resolute and independent, not to be disturbed. The choice between taking office and retiring for a scholar-official should be inspired by this. The collected interpretations also cite Zhang Zhenyuan's saying: A mind that is lofty and pure is not disturbed by fame and wealth, so his aspirations can be taken as a standard. If such a mind could be easily disturbed, how could it be used as a model for rituals?

澤上有雷，歸妹。君子以永終知敞。本義 雷動澤隨，《歸妹》之象。君子觀其合之不正，知其終之有敝也，推之事物，莫不皆然。程傳 雷震於上，澤隨而動，陽動於上，陰說而從，女從男之象也，故為歸妹。君 集說 崔氏憬曰：歸妹人之始終也，始則’征凶”，終則“無攸利”。故“君子以永終知敝”為戒者也。

The Great Image Commentary says: Thunder resounds over a marsh, which is the hexagram of "Return of the Maiden"; thus the gentleman understands that he should focus on the long-term outcome and foresee the potential problems. The original text uses the character "敝" for "problems," though it is written as "敞" in the original, and the following citations still use "敝." Zhu Xi's "Benyi" says: When thunder moves, the marsh water follows and becomes turbulent, which is the image of the hexagram "Return of the Maiden." The gentleman sees that the union is not proper, and thus knows that this relationship will inevitably lead to problems in the end; applying this principle to other matters, it is universally true. Cheng Yi's "Yichuan Commentary on the Changes" says: Thunder above causes movement, and the marsh water follows and fluctuates; yang above initiates action, and yin below rejoices and follows, which is the image of a woman following a man, hence the name "Return of the Maiden." The text here is missing a character in the original. The "Ji Shuo" cites Cui Jing's view: The matter of marrying a daughter concerns the beginning and end of a person's life; the hexagram begins with "dangerous to proceed" and ends with "no benefit," so it warns with the phrase "the gentleman should understand the long-term outcome and foresee the problems."

吳氏曰慎曰：“永終知敝”，言遠慮其終而知有敝也，氓之詩，不思其反，所以終見棄於人與。案 澤上有雷，不當以澤從雷取象，當以澤感雷取象，蓋取於陰氣先動，為歸妹之義。

Collected Commentaries cite Wu Yashen's saying: "To consider the long-term outcome and thus foresee the drawbacks" means to think about the end result over a long period, thereby anticipating potential problems. The woman in the "Poetry · Wei Wind · Meng" did not foresee the later reversals, so she was eventually abandoned. Li Guangdi comments: "Thunder above the marsh" should not be interpreted as the marsh water following the thunder, but rather as the marsh water responding to the thunder—emphasizing the movement of the yin energy first, which aligns with the meaning of the "Return of the Wife" hexagram, where the woman initiates the pursuit of a partner.

歸妹以娣，以恆也。跛能履吉，相承也。本義 恆，謂有常久之德。程傳 歸妹之義，以說而動，非夫婦能常之道，九乃剛陽，有賢貞之德，雖娣之微，乃能以常者也，雖在下不能有所為，如跛者之能履，然征而吉者，以其能相承助也，能助其君，娣之吉也。

The Small Image Commentary explains the line Nine at the Beginning: A daughter-in-law accompanying her bride in a secondary position is relying on the virtue of constancy; a lame person can still walk and achieve good fortune because he can assist and support. Zhu Xi's "Benyi" says: Here, "constant" refers to possessing a virtue that remains unchanged over time. Cheng Yi's "Yichuan Commentary on the Changes" says: The meaning of the hexagram "Gui Mei" lies in movement caused by joy, which is not a path for a husband and wife to maintain a long-term relationship. The line Nine at the Beginning is a strong yang line, possessing the virtue of virtue and uprightness; although it is in a low position and has a humble status as a secondary bride, it can maintain constancy. It is in a lower position and cannot achieve great deeds, like a lame person who can only walk with difficulty; yet it still achieves good fortune because it can assist and support. Being able to assist the main wife is the source of its good fortune.

集說 鄭氏汝諧曰：初少女，且微而在下，以娣媵而歸，乃其常也。娣媵不能成內助之功，雖有其德，如跛者之履耳，跛者之履，雖不足以有行，然亦可以行者，以其佐小君。能相承助也。如是而征，則為安分，故吉。俞氏琰曰：“相承”者，佐其嫡以相與奉承其夫也。案 言以恆者，女而自歸非常，唯娣則從嫡而歸，乃其常也。

The collected interpretations cite Zheng Ruoxie's view: the initial line nine symbolizes a young woman of low status in a lower position, marrying as a concubine in a secondary role. This is her proper position. A concubine cannot establish herself as the main wife in managing the household, even if she has virtue, it is like a lame person walking. Although a lame person cannot walk far, they can still walk, because she assists the queen consort and can support her in the background. To take on such a role is to be content with one's position, hence it is auspicious. The collected interpretations also cite Yu Yan's view: the term 'mutual support' refers to assisting the main wife and serving the husband together. Li Guangdi comments: The Image Commentary says 'constant', because a woman taking the initiative to marry is not in line with the norm; only when she marries as a concubine accompanying the main wife is this her proper position.

利幽人之貞，未變常也。程傳 守其幽貞，來失夫婦常正之道也。世人以媒狎為常，故以貞靜為變常，不知乃常久之道也。集說 俞氏琰曰：《屯》六二曰“反常”，謂“字”乃女子之常，“不字”則非常，至“十年”之後而“乃字”，則返其常也。此曰“未變常”，謂嫁著女子之常，九二不願嫁，似乎變常，然能以幽靜自守，是亦女德之常，未為變常也。來氏知德曰：一與之齊，終身不改，此婦道之常也。守幽人之貞，則未變其常矣。

The Small Image Commentary explains the Nine in the Second: it is advantageous to behave like a person living in seclusion who maintains uprightness, because there has been no change in the constant way. Cheng Yi's Commentary on the Changes says: maintaining a quiet and chaste conduct does not mean losing the constant way of the husband and wife relationship. People regard intimacy and closeness as the norm, so they mistakenly consider chastity as an aberration. They do not realize that chastity is the way that ensures lasting harmony. Collected Commentaries cite Yu Yan saying: In the Zhun hexagram, the Six in the Second says 'returning to the norm,' because being betrothed and giving birth is the normal course for a woman. Not being betrothed is against the norm, and only after 'ten years' is she betrothed, thus returning to the norm. Here, saying 'no change in the norm' means that being betrothed is the normal course for a woman. The Nine in the Second does not wish to be betrothed, which seems to change the norm. However, her ability to remain chaste and self-restrained is also the normal course of a woman's virtue, and thus does not constitute a change from the norm. Collected Commentaries also cite Lai Zhide saying: Once a woman becomes one with her husband, she should never change again, which is the normal way of being a wife. Maintaining chastity like a person in seclusion means not changing this normal way.

歸妹以須，未當也。程傳 “未當”者，其處其德其求歸之道，皆不當，故無取之者，所以“須”也。集說 朱氏震曰：六三居不當位，德不正也，柔而上剛，行不顧也。為說之主，以說而歸，動非禮也，上無應，無受之者也，如是而賤矣，故曰“末當也”。“未當”，故無取之者，“反歸以娣”也。

The Small Image Commentary explains the line Six in the Third: A woman who marries can only wait because her circumstances are not appropriate. Cheng Yi's Commentary on the Changes says: The term 'not appropriate' refers to the position she occupies, the virtue she possesses, and the way she seeks marriage, none of which are suitable, so no one marries her, hence she must 'wait'. The collected interpretations cite Zhu Zhen's view: The position occupied by the line Six in the Third is inappropriate, her virtue is not correct; a flexible line is above a strong line, acting without consideration. It is also the main line of the lower trigram Dui, representing joy, and she acts on a momentary joy to marry, which is improper. Moreover, there is no corresponding line above her, so no one accepts her. In this way, her status becomes low, hence the Image Commentary says 'not appropriate' (the original text mistakenly writes 'end' instead of 'not'). Because of 'not appropriate', no one marries her, so she can only 'return to be a secondary wife'.

程傳 所以“愆期”者，由己而不由彼，賢女人所願取，所以“愆期”。乃其志欲有所待，待得佳配而後行也。集說 孔氏穎達曰：嫁宜及時，今乃過期而遲歸者，此嫁者之志，欲有所待而後乃行也。俞氏琰曰：爻辭言“愆期”，而爻《專》直達其志，以見愆期在我，而不苟從人。蓋“有待而行”，非為人聽棄也。“行”，謂出嫁，《詩泉水》云“女子有行”是也。

In the original text, the line statement of the fourth line, "Nine in the Fourth," has the Small Image Commentary missing the original text "The intention to delay the period, waiting for the right time to act." Instead, it directly follows with the annotation. Cheng Yi in his commentary "Yichuan's Commentary on the Changes" says: the reason for the delay in the marriage period is due to the person herself rather than the other party. A virtuous woman is someone everyone would like to marry. She delays the marriage period because she wants to wait, waiting for a good partner before marrying. The "Collected Commentary" cites Kong Yingda saying: one should marry in a timely manner; now, she has passed the deadline and is still not married, which is due to her own intention, wanting to wait before proceeding. The "Collected Commentary" also cites Yu Yan saying: the line statement mentions "delaying the period," but the Small Image Commentary directly points out her inner intention, explaining that the delay is her own choice, not a hasty decision to marry someone. The phrase "waiting for the right time to act" does not mean she was rejected by others (the original text mistakenly writes "listening" instead of "the person"). Here, "acting" refers to the act of marriage. The "Book of Songs · Bei Wind · Spring Water" says "A woman has her way," using exactly this meaning.

帝乙歸妹，不知其娣之袂良也。其位在中，以貴行也。本義 以其有中德之貴而行，故不尚飾。程傳 以“帝乙歸妹”之道言，“其袂不如其娣之袂良”，尚禮而不尚飾也。五以柔中在尊高之位，以尊貴而行中道也。柔順降屈，尚禮而不尚飾，乃中道也。集說 王氏申子曰：上二句舉爻辭，下二句釋之也，言五居尊位而用中，故能以至貴而行其勤儉謙遜之道也。

The Small Image Commentary explains the line six in the fifth as follows: When King Yi married off his sister, the sleeves of the main wife were not as beautiful as those of the accompanying secondary wife; her position was in the center, but she acted according to her noble status. Zhu Xi's "Basic Meaning" says: because she possessed the noble quality of being in the center, she did not value external adornment. Cheng Yi's "Yichuan Commentary on the Changes" says: regarding the principle of the matter of "King Yi marrying off his sister," "her sleeves were not as good as those of her secondary wife" indicates the emphasis on propriety rather than adornment. The line six in the fifth, with its gentle and compliant nature, is in a high position, thus acting according to the middle path with a noble status. Gentle, compliant, humble, and willing to submit, emphasizing propriety rather than adornment, this is the middle path. The collected interpretations cite Wang Shenzi as saying: the two sentences in the Image Commentary first lift up the line statement and then explain it; meaning that the line six in the fifth, being in a high position, can practice frugality, humility, and modesty with a very noble status.

上六無實，承虛筐也。程傳 “筐無實”，是空筐也。空筐可以祭乎，言不可以奉祭祀也，女不可以承祭祀，則離絕而已，是女歸之無終者也。集說 王氏宗傳曰：專取虛筐無實為盲者，上六女子也。

The Small Image Commentary explains the line Six at the Top: The basket in the upper six is empty, and she holds an empty basket. Cheng Yi in his Commentary on the Changes says: "A basket without contents" refers to an empty basket. Can an empty basket be used for worship? This implies that she cannot perform the rites of worship. Since a woman cannot carry out the worship, there is only the option of separation, which represents a marriage that ends in a bad outcome. The collected interpretations cite Wang Zongping's statement: The Image Commentary specifically focuses on the empty basket to illustrate the meaning, because the line Six at the Top refers to the aspect of a woman.