The Trigram of Dispersal: The Great Image

風行水上，渙。先王以享于帝立廟。本義 皆所以合其散。程傳 “風行水上”，有渙散之象。先王觀是象，救天下之渙散，至於享帝立廟也，收合人心，無如宗廟，祭祀之報，出於其心，故享帝立廟，人心之所歸也。

The Great Image Commentary says: Wind blowing across the surface of water, this is the Hexagram of Dispersal; the former kings thus understood the need to worship the Supreme Deity and establish ancestral temples. Zhu Xi's original meaning says: these two things are both used to gather dispersed hearts. Cheng Yi's Yichuan Commentary on the Changes says: "Wind moving on water," which carries the image of dispersal. The former kings observed this image to remedy the dispersal throughout the world, thus leading to the practice of worshipping the Supreme Deity and establishing ancestral temples. To gather and unite people's hearts, nothing is more effective than ancestral temples; the sentiment expressed in sacrifices, which is to express gratitude for one's origins, naturally arises from the human heart. Therefore, worshipping the Supreme Deity and establishing ancestral temples are precisely where the hearts of people naturally tend.

繫人心合離散之道，無大於此。集說 程子曰：《萃》、《渙》皆“享于帝立廟”，因其精神之聚而形於此，為其渙散，故立此以收之。呂氏大臨曰：“風行水上”，波瀾必作，振盪離散不寧之時，王者求以合其散，莫若反其本，享帝立廟，所以明天人之本也。

This sentence continues the previous discussion of the hexagram "Huan" (Dispersing) in the "Great Image" section, which says, "The former kings used to worship the heavenly deities and establish ancestral temples." The method of maintaining people's hearts and reconciling divisions is nothing more important than this. The "Collected Sayings" cite Cheng Yi, who says that both the hexagram "Cui" (Gathering) and "Huan" (Dispersing) refer to "worshiping the heavenly deities and establishing ancestral temples" — worshiping the heavenly deities and setting up ancestral temples. "Cui" is about gathering people's spirits when they are coming together, and displaying this in these two great rituals; "Huan," however, is about when people's hearts have already dispersed, so by establishing the worship of heaven and setting up ancestral temples, these two things are used to gather back the scattered hearts. Lü Dalin says, "The wind moves over water," and waves must surely arise; when there is turmoil and dispersion, and people's hearts are unsettled, the king who wishes to gather the dispersed hearts has no better method than returning to the fundamental principles. Worshiping the heavenly deities and establishing ancestral temples are precisely used to clarify the fundamental principles of heaven and humanity.

初六之吉，順也。程傳 初之所以“吉”者，以其能順從剛中之才也，始渙而用拯，能順乎時也。集說 郭氏雍曰：初六難之始也，方難之始而拯之，無不濟矣，天下之事，辨之於早，則順而易舉，故《傳》曰：“初六之吉，順也。”

The Image Commentary says: The reason why the line at the beginning is auspicious is because of the word "following." Cheng Yi's Commentary on the Changes says: The reason why the line at the beginning is "auspicious" is because it follows the virtue of the strong and central nine in the second line; when the dispersal is just beginning, taking action to save it is to follow the right opportunity. Collected Commentaries cite Guo Yong's view: The line at the beginning is in the beginning of a calamity, and when the calamity is just starting, taking action to save it, there is nothing that cannot be saved. In the world, if a matter is clearly understood early, it will be smooth and easy to handle, so the Image Commentary says: "The auspiciousness of the line at the beginning is because of following."

渙奔其機，得願也。程傳 渙散之時，以合為安，二居險中，急就於初，求安也，賴之如機而亡其悔，乃得所願也。集說 王氏宗傳曰：當渙之時，以陽剛來居二，二安靜之位也，故有奔其機之象。夫唯安靜，能後能一天下之動，五奠王居於上，而二“奔其機”於下，各得所安，此所以能合天下之渙也。

The Image Commentary says: "Dispersed, it runs to its support," meaning that one's wishes are fulfilled. Cheng Yi's Commentary on the Changes says that when things are dispersed, only by gathering together can stability be achieved. Nine in the Second is trapped in the peril of the Kan trigram, and hastily seeks support from Six at the Beginning in order to find stability. By relying on Six at the Beginning as a support, regret is dispelled, thus fulfilling one's wishes. The collected commentary cites Wang Zongping's saying: at the time of dispersion, a yang line comes to occupy the second position, which is a position of stillness, hence the image of running to a support. Only by first becoming still oneself can one then unify the chaos of the world. Nine in the Fifth stabilizes the ruler's position above, while Nine in the Second below "runs to its support" and finds stability. Thus both upper and lower parts are properly settled, which is the reason for reconciling the dispersion throughout the world.

渙其躬，志在外也。程傳 志應於上，在外也。與上相應，故其身得免於渙而無悔，“悔亡”者，本有而得亡，“無悔”者，本無也。集說 黃氏淳耀曰：“外”，指天下言，唯躬之渙，聽以能濟天下之渙，唯志在天下之渙，所以有躬之渙也。

The Image Commentary says: "Dispersing his body" is because his mind is outside. Cheng Yi's Commentary on the Changes says that the heart of line six in the third is in correspondence with line nine at the top, so it is said to be outside. Because it is in correspondence with line nine at the top, he himself can avoid dispersion and have no regret. "Regret disappearing" means that there was originally regret but it has now vanished, while "no regret" means that there was never any regret from the beginning. The collected interpretations cite Huang Chunyao saying: this "outside" refers to the world. Only by willing to disperse oneself can one relieve the dispersion in the world; only by attaching one's mind to the dispersion of the world can one have one's own dispersion.

渙其群元吉，光大也。集說 來氏知德曰：凡樹私黨者，皆心之闇昧狹小者也。唯無一豪之私，則光明正大，自能“渙其群”矣，故曰“，光大也”。

The Image Commentary says: "To disperse the group, original good fortune" is because the heart is bright and upright. The collected interpretations cite Lai Zhide who says: those who form private factions are people with dark and narrow hearts. As long as there is not the slightest trace of private desire, the heart naturally becomes bright and upright, and thus naturally able to disperse private factions. Therefore, the Image Commentary says "bright and expansive."

王居無咎，正位也。程傳 “王居”，謂正位，人君之尊位也。能如五之為，則居尊位為稱而“無咎”也。集說 熊氏良輔曰：天下渙散之時，須人君發號施令，正位乎上。使人心知所歸向而天下一矣，故曰“王居無咎”。而《象》曰“正位也”。此與“萃有位”之義同。《本義》以“渙王居”為“渙其居”積，然當渙散之時，必有為渙之主者，所當從《小象》“正位”之說。

The Image Commentary says: "The king resides without blame," because the king has properly occupied his position. Cheng Yi's Yichuan Commentary on the Changes says: "The king resides" refers to occupying the proper position, meaning the honorable position of the sovereign. If one acts like the Nine in the Fifth, then sitting in the honorable position is appropriate, hence "without blame." The collected interpretations cite Xiong Liangfu's statement: when the world is scattered and disunited, the sovereign must issue commands and properly occupy the upper position, so that people know where to turn, and thus the world becomes unified. Therefore, the Line Statement says "The king resides without blame," and the Small Image Commentary explains it as "occupying the proper position." This is similar to the meaning of the Nine in the Fifth in the卦 of Cui, "Cui has a position." Zhu Xi's original meaning interprets "Huan Wang Ju" as "Huan its residence" (the original text here has an extra character "ji"). However, during a time of dispersion, there must be someone to take charge of the situation, so we should follow the Small Image Commentary's explanation of "occupying the proper position."

渙其血，遠害也。程傳 若如《象》文為“渙其血”，乃與“屯其膏”同也，義則不然：蓋“血”字下脫“去”字。“血去惕出”，謂能遠害則“無咎”也。集說 項氏安世曰：上九爻辭，“血”與“出”韻葉，皆三字成句，不以“血”連“去”字也。《小畜》之“血去惕出”，與此不同，此血已散，不假更去，義“惕”與“逖”文義自殊，據《小象》言。“遠害也”，則“逖”義甚明，不容作“惕”矣，卦中唯上九一爻，去險最遠，故其辭如此。

The Image Commentary says: "To dissipate the blood" means to be away from calamity. Cheng Yi's Commentary on the Changes says: If we read the wording of the Image Commentary as "to dissipate the blood," the structure would be the same as the line statement of the Zun hexagram's Nine in the Fifth, "to retain the essence," but the meaning would not be the same. Instead, there should be a missing character "go" after the word "blood." "Blood goes and alarm is removed" means that being able to be away from calamity results in "no blame." The collected interpretations cite Xiang Anshi's statement: In the line statement of the Upper Nine, the words "blood" and "emerge" rhyme, and they are both in three-character phrases, so "blood" should not be read with "go." The line statement of the Xiaoxu hexagram, "blood goes and alarm is removed," is different from this one: in this case, the blood has already dispersed, so there is no need to mention "go" again; also, the words "tremble" and "distant" have different meanings. According to the Image Commentary's statement "to be away from harm," the meaning of "distant" is very clear, and it cannot be written as "tremble." The entire hexagram has only the line of the Upper Nine that is farthest from the danger of the Water and Earth trigrams, so the line statement is written this way.

又曰：散其汗以去滯鬱，散其血以遠傷害。陳氏友文曰：坎為血卦。“逖”，遠也，《小象》“遠害”，正是以“遠”釋“逖”字，上雖與三應，然超處渙上，故渙散其血，舍之遠去。去坎險之害而得“無咎”也。

Xiang Anshi also said: dispersing sweat from the body is to remove stagnation; dispersing blood from the body is to keep away from harm. The collected interpretations cite Chen Youwen saying: The "Say of the Trigrams" explains that Kan is the blood trigram. "Ti" means distant, and the "Small Image" says "to keep away from harm," which uses the character "far" to explain "ti." Although the Upper Nine is in correspondence with the Sixth in the Third, it remains exalted above the dispersing, thus dispersing its own blood and leaving the Sixth in the Third far behind; having left the dangers of Kan, it thus attains "no blame."

澤上有水，節。君子以制數度，議德行。程傳 澤之容水有限，過則盈溢，是有節，故為《節》也。君子觀《節》之象，以制立“數度”，凡物之大小輕重高下文質，皆有“數度”，所以為節也。“數”，多寡；“度”，法制。“議德行”者，存諸中為德，發於外為行，人之德行，當“議”則中節。“議”，謂商度求中節也。

The Great Image Commentary says: Water on a marsh, this is the hexagram of Moderation; the gentleman thereby understands, and establishes names, things, measures, and standards, and evaluates virtue. Cheng Yi's Commentary on the Changes says: The amount of water a marsh can hold is limited; when it exceeds, it overflows, which is moderation, hence the name Moderation. The gentleman observes the image of the hexagram of Moderation, and thus establishes 'number and measure'. All things have their 'number and measure' in terms of their size, weight, height, and the quality of their form and substance. This is the way of moderation. 'Number' refers to quantity, and 'measure' refers to rules and regulations. What is meant by 'evaluating virtue' is that what is in the heart is virtue, and what is expressed outwardly is action; human virtue, when carefully considered and evaluated, can conform to moderation. 'Evaluating' means to repeatedly deliberate and consider, striving to conform to moderation.

集說 侯氏行果曰：澤上有水，以提防為節。張氏浚曰：“數度”之制因乎人，“德行”之議自於己，記曰：君子議道自己，而置法以民，蓋己之所不能行，與其所不可行，而強於人，誰其從之！一言盡節之道，中而已。中必自身始也。朱氏震曰：澤之容水，固有限量，虛則納之，滿則洩之，水以澤為節也。

Collected Commentaries cite Hou Xingguo's saying: When water is on top of a marsh, it is the embankment that controls the water. Zhang Jun says: The establishment of measures and standards is for the benefit of the people, but the evaluation of virtue must start from oneself. The "Book of Rites · Bi Ji" says: A gentleman discusses principles by taking himself as a model, while establishing rules and regulations considers the capacity of the people. If one himself cannot do something or is unwilling to do it, yet forces others to do so, who would obey? One sentence fully explains the principle of regulation, which is simply the concept of "center" or moderation. However, "center" must begin with oneself. Zhu Zhen says: A marsh naturally holds water within a certain limit; when it is empty, it takes in water; when it is full, it releases it. Water is controlled by the marsh.

郭氏雍曰：澤無水則為不足。澤上有水則為有餘，不足則為《困》，有餘則當《節》，理之常也。在人之節，則“制數度”所以節於外，“議德行”所以節於內也。為國為家至於一身，其內外制節皆一也。案 “議德行”，諸儒皆謂一身之德行，獨孔氏謂在人之德行，於“議”字尤切，且得愛爵祿，慎名器之意。

The collected interpretations cite Guo Yong's view: if there is no water in a marsh, it is considered insufficient; if there is water on top of the marsh, it is considered excessive. Insufficiency leads to the hexagram "Kun" (Obstruction), while excess leads to the hexagram "Jie" (Restraint), which is a common principle. When applied to human conduct, "controlling measures and standards" refers to external restraint, while "discussing virtue and conduct" refers to internal restraint. Whether governing a country, managing a household, or cultivating oneself, restraint from both inside and outside follows the same principle. Li Guangdi comments: "Discussing virtue and conduct" is interpreted by various scholars as evaluating one's own virtue, but Kong Yingda says it refers to evaluating others' virtue. This interpretation is especially appropriate for the character "yi" (discuss), and it also aligns with the intention of valuing official rank and being cautious about titles and honors.

不出戶庭，知通塞也。程傳 爻辭於《節》之初，戒之謹守，故云“不出戶庭”則“無咎”也，《象》恐人之泥於言也，故復明之云，雖當謹守“不出戶庭”，又必知時之通塞也。通則行，塞則止。義當出則出矣，尾生之信，水至不去，不知通塞也，故君子貞而不諒。《繫辭》所解獨以“言”者，在人所節唯“言”與“行”，節於“言”則“行”可知，“言”當在先也。

The Image Commentary says: "Not going out of the gate" means understanding the times when things are open or blocked. Cheng Yi in his Commentary on the Changes says that the line statement in the first line of the Hexagram of Moderation warns one to be cautious and self-restrained, so "not going out of the gate" leads to "no blame." The Image Commentary fears people might take the words literally, so it adds another sentence to explain: although one should be cautious and stay within, one must also understand the times when things are open or blocked. When things are open, one should go out; when they are blocked, one should stay put; when it is right to go out, one should still go out. The story of Wei Sheng keeping his word by holding onto the bridge pillar until the flood came and he would not leave shows not understanding the times of openness and blockage. Therefore, Confucius said that a gentleman upholds righteousness without being rigid in small matters. The Great Treatise explains this line by focusing only on the word "speech," because what one needs to restrain is only "speech" and "action." If one can restrain speech, then how one acts can be inferred. Speech should come first.

集說 王氏申子曰：時有通塞，通則行，塞則止，當止即止，其知通塞之君子乎！《繫辭》專以慎密言語說之，兌體故也。吳氏曰慎曰《節》兼“通塞”言，猶《艮》之兼“行止”言也。初九“不出戶庭知塞也”，而兼言知“通”者，見其非一於止者也。二失時極，則但知“塞”而不知“通”矣。

Collected Commentaries cite Wang Shenzi's saying: circumstances have times of openness and blockage; when open, one moves forward; when blocked, one stops. When one should stop, one stops—this is probably what a wise person understands about openness and blockage. The Great Treatise focuses on explaining this line with careful and precise language, because the卦 of "Restraint" has the upper trigram of Dui, which governs speech and words. Wu Yashen said: the卦 of "Restraint" covers both "openness" and "blockage," just as the卦 of "Stillness" covers both "movement" and "stillness." The line "Initial Nine" originally refers to "not stepping out of the courtyard," showing only the aspect of blockage. However, the Image Commentary mentions both "openness" and "blockage" together, to show that it is not merely stationary. By the time we reach "Nine in the Second," the timing has reached its extreme, so one only knows blockage and not openness.

不出門庭凶，失時極也。程傳 不能上從九五剛中正之道，成節之功，乃繫於私暱之陰柔，是“失時”之至極，所以凶也，“失時”，失其所宜也。集說 蘇氏軾曰：水之始至，澤當塞而不當通，既至當通而不當塞，故初九以“不出戶庭”為“無咎”，言當“塞”也，九二以“不出門庭”為凶，言當“通”也，至是而不通，則“失時”而至於極。

The Image Commentary says: "Not going out of the courtyard is ominous," because the opportunity has been missed to the extreme. Cheng Yi's Commentary on the Changes says: Nine Two cannot follow up Nine Five's strong and upright path to accomplish the virtue of moderation, but instead clings to the private and intimate Yin line, which is missing the opportunity to the extreme, hence the ominous outcome. "Missing the opportunity" refers to losing the appropriate time. A collection of commentaries cites Su Shi saying: When water is about to come, the marsh should be blocked rather than let it flow through; when water has already arrived, it should be let through rather than blocked. Therefore, the initial Nine taking "not going out of the courtyard" as "no blame" refers to the time when it should be blocked; Nine Two taking "not going out of the courtyard" as ominous refers to the time when it should be let through. If at the time when it should be let through, it is not let through, then the opportunity has been missed to the extreme.

郭氏雍曰：切為不當有事之地，而二以剛中居有為之位，其道不可同也。故初以“不出產庭”為知“塞”，而二以“不出門庭”為不知“通”，知“塞”故“無咎”，不知“通”則有“失時”之凶矣。

The collected interpretations cite Gu Yong's view: the first line, "Nine at the Beginning," is in a position where it should not act, while the second line, "Nine in the Second," with a strong yang line in the center, is in a position where it should act. The principles of these two lines cannot be considered the same. Therefore, the first line uses "not leaving the courtyard" to indicate understanding the need to "block" or "seal," while the second line uses "not leaving the courtyard" to indicate not understanding the need to "connect" or "open." Understanding the need to block leads to "no blame," but not understanding the need to connect leads to danger from missing the right opportunity.

不節之嗟，又誰咎也。本義 此無咎與諸爻異，言無所歸咎也。程傳 節則可以免過，而不能自節以致可嗟，將誰咎乎。集說 沈氏一貫曰：王介甫程沙隨謂能嗟怨自治亦無咎，“嗟”與“戚嗟若”之“嗟”同，“又誰咎”與“出門同人”之象同。何氏楷曰：諸卦爻辭言，“無咎”者九十有九，多補過之辭，《解》三爻《傳》“又誰咎”，語雖與此同，然爻辭未嘗有“無咎”字。

The Image Commentary says: "A lamentation over lack of restraint," so who can be blamed? Zhu Xi's "Benyi" says: the "no blame" here is different from the other lines, meaning there is nowhere to blame or blame others. Cheng Yi's "Yichuan Commentary on the Changes" says: if one can restrain oneself, one can avoid mistakes; if one cannot restrain oneself and falls into a lamentable situation, then who can be blamed? The collected interpretations cite Shen Guanquan saying: Wang Anshi and Cheng Jing believed that if one laments and regrets and then corrects oneself, there would be no blame; this "lament" is the same as the "lament" in the "Li" hexagram's line nine three "Qijia ruo." "Again, who can be blamed" is similar in imagery to the "Go out and meet people" in the "Tongren" hexagram's line one. He Kai says: among the line statements of all hexagrams, there are ninety-nine instances of "no blame," most of which are about remedying mistakes; the "Xie" hexagram's line six three also has an Image Commentary saying "again, who can be blamed," although the wording is the same here, the line statement there does not contain the words "no blame."

妄節之亨，承上道也。程傳 四能安節之義非一，《象》獨舉其重者，上承九五剛中正之道以為節，足以 集說 錢氏一本曰：中正之通在五，四以近承，不以徒止為功，更以通行為道，故曰“承上道也”。案 節曰亨，為九五中正以通也，而亨於四言之者，五者水之源也，四者水之流也，水之通在流，承上之源而布之者也。

The Image Commentary says: "The virtue of maintaining proper conduct leads to success," because it follows the principle above. Cheng Yi's Yichuan Commentary on the Changes says that the hexagram line six in the fourth can maintain proper conduct for multiple reasons, but the Image Commentary only mentions the most important one: following the strong, upright, and correct principle of line nine in the fifth to maintain proper conduct, which is sufficient—here the original text is missing some words. The collected interpretations cite Qian Yiben's view: the line nine in the fifth is upright and correct and can pass through; line six in the fourth, being close to it, follows it. Line six in the fourth does not consider stopping as a merit, but considers unimpeded passage as the correct way, hence it says "following the principle above." Li Guangdi comments: The hexagram of "Moderation" discusses "success" because line nine in the fifth is upright and correct and can pass through; however, the character "success" is attributed to line six in the fourth, because line nine in the fifth is the source of water, and line six in the fourth is where the water flows. The smooth flow of water depends on its movement, and line six in the fourth is precisely the part that follows the source above and spreads the water out.

甘節之吉，居位中也。程傳既居尊位，又得中道，所以吉而有功。節以中為貴，得中則正矣，正不能盡中也。集說 俞氏琰曰：節貴乎中，當節而不節，則六三有“不節”之“嗟”。過於節，則上六有“苦節”之凶，唯九五“甘節”而吉者，蓋居位之中，當位以節，無過無不及也。

The Image Commentary says: "The joy of moderate restraint" is because it is in the middle position. Cheng Yi's Commentary on the Changes says: Nine in the Fifth is seated in the honorable position and has attained the middle path, so it is auspicious and effective. Restraint is valued for being moderate; attaining moderation naturally leads to correctness, but correctness does not necessarily fully express moderation. The collected interpretations cite Yu Yan's statement: restraint is valued for being moderate. Restraining when it should not be restrained, as in Six in the Third, leads to lamentation of "not restraining." Restraining beyond the proper measure, as in Six at the Top, leads to the danger of "excessive restraint." Only Nine in the Fifth "restrains with joy" and is auspicious, because it is in the middle position, and thus restrains appropriately without excess or deficiency.

苦節貞凶，其道窮也。程傳 節既苦而貞固守之，則凶。蓋節之道至於窮極矣。集說 吳氏曰慎曰：爻言“苦節貞凶”。《彖》言“苦節不可貞”，唯其“貞凶”，是以“不可貞”也，故《彖》、《象》傳，皆以“其道窮也”釋之。

The Image Commentary says: "A harshly enforced restraint leads to misfortune," because its path has reached its end. Cheng Yi's Commentary on the Changes says: when restraint has become so severe that it is unbearable, yet one still stubbornly holds on to it, misfortune will result; this is when the way of restraint has reached its extreme. The collected interpretations cite Wu Yashen's statement: the Line Statement mentions "a harshly enforced restraint leads to misfortune," while the Commentary on the Judgment states "a harshly enforced restraint is not proper." Since continuing to hold on will result in misfortune, it is said "not proper," hence both the Commentary on the Judgment and the Image Commentary explain it with "its way has reached its end."

澤上有風，中孚。君子以議獄緩死。本義 風感水受，《中孚》之象，“議獄緩死”，中孚之意。程傳 “澤上有風”，感於澤中，水體虛故風能入之，人心虛，故物能感之。風之動乎澤，猶物之感於中，故為《中孚》之象。君子觀其象以“議獄”與“緩死”，君子之於“議獄”，盡其忠而已，於決死，極於惻而已，故誠意常求於緩。“緩”，寬也，於天下之事，無所不盡其忠，而“議獄緩死”，最其大者也。

The Great Image Commentary says: Wind over a marsh, this is the image of the hexagram Zhongfū; the gentleman thus understands, and deliberates on cases, and postpones the death penalty. Zhu Xi's original meaning says: Wind moves and affects, water comes and receives, this is the physical image of Zhongfū; "deliberating on cases and postponing the death penalty" is the purpose of Zhongfū. Cheng Yi's Yichuan Commentary on the Changes says: "Wind over a marsh," the wind moves and affects the water in the marsh. Water is of a hollow nature, so the wind can enter it; the human heart is of a hollow nature, so external things can affect it. The wind moving over the marsh is like external things affecting the inner heart of a person, thus forming the image of Zhongfū. The gentleman observes this image, and thus deliberates on cases and postpones the death penalty. The gentleman in deliberating on cases merely does his duty with sincerity; in sentencing to death, he applies his compassion to its extreme. Thus, sincerity is always seeking leniency. "Postponing" means leniency. All matters in the world, the gentleman does not leave any without sincerity, and deliberating on cases and postponing the death penalty are the greatest among them.

集說 楊氏萬里曰：風無形而能鼓幽潛，誠無象而能感人物。《中孚》之感，莫大於好生不殺，“議獄”者，求其入中之出，“緩死”者，求其死中之生也。項氏安世曰：獄之將決則議之，其既決則又緩之，然後盡於人心，王聽之，司寇聽之，三公聽之，“議獄”也。旬而職聽，二旬而職聽，三月而上之，“緩死”也，故獄成而孚，輸而孚，在我者盡，故在人者無憾也。

Collecting various interpretations, Yang Wanli said: wind has no form, yet it can stir up hidden and concealed things; sincerity has no shape, yet it can move people and all things. The sense of mutual influence discussed in the Zhongfu hexagram is none greater than cherishing life and not killing lightly. "Discussing cases" means, in already convicted cases, seeking out possible grounds for acquittal; "postponing death" means, in cases of certain death, seeking out a sliver of hope. Xiang Anshi said: when a case is about to be decided, it should first be reviewed, and after the decision is made, the execution should be postponed, only then can one say that one has fully considered human feelings. The Zhou Li records that the king personally listens to cases, the judicial officers carefully listen, and the three dukes participate in listening, which is "discussing cases"; within ten days, the case is heard by the official in charge, then again after twenty days, and finally reported after three months, which is "postponing death." Therefore, when the case is decided, everyone is convinced, and when it is sent up, everyone is convinced; all that should be done on my side has been done thoroughly, so there is no regret on the other side.

徐氏幾曰：《象》言“刑獄”五卦：《噬嗑》、《豐》以其有離之明，震之威也。《賁》次《噬嗑》，《旅》次《豐》，離明不易，震皆反為良矣，蓋明貴無時不然。威則有時當止，至於《中孚》，則全體似離，互體有震艮，而又兌以議之，巽以緩之，聖人即象垂教，其忠厚惻怛之意，見於謹刑如此。

Collected Sayings cite Xu Ji's explanation: The Great Image discusses five hexagrams related to legal punishment. The hexagrams "Shi He" and "Feng" are chosen because they contain Li's clarity and Zhen's authority. "Ben" follows "Shi He", and "Lu" follows "Feng", where Li's clarity remains unchanged, but Zhen is replaced by Gen (the original text mistakenly writes "Liang" instead of "Gen")—because clarity should be present at all times, while authority should sometimes be suspended. As for "Zhong Fu", the entire hexagram resembles Li, and its mutual structure includes Zhen and Gen, plus Dui governing speech which can "discuss", and Xun's gentle nature which can "relax". The sage uses the hexagram images to impart teachings, showing clearly his sincere and compassionate intent in the matter of careful use of punishment.

案 風之人物也，不獨平地草木，為之披拂，巖谷竅穴，為之吹籲，即積水重陰之下，亦因之而凍解冰釋焉！此所以為至誠無所不入之象也。民之有獄，猶地之有重陰也，王者體察天下之情隱，至於“議獄緩死”，然後其至誠無所不入矣。

Li Guangdi remarked: The wind enters all things. It is not only the grass and trees on flat ground that are swayed by it, but also the holes and crevices in mountains and gullies that echo with its sound. Even in deep pools and beneath dense shade, the wind causes the ice to melt. This is the image of utmost sincerity that pervades everywhere. When common people litigate, it is as if the earth is covered with layers of darkness; the sovereign investigates the hidden and obscure truths of the world, proceeding all the way to reviewing cases and commuting capital punishment, only then does his utmost sincerity pervade everywhere.

程傳 當信之始，志未有所存，而虞度所信，則得其正，是以吉也。蓋其志未有變動，志有所從，則是變動，虞之不得其正矣，在初言求所信之道也。案 “志未變”，言其實心不失也，志變則有它矣。

The explanation of the first line "Initial Nine, Gu Yu Ji, Zhi Wei Bian Ye" from the Image Commentary is not included in the original text. Cheng Yi in his Yichuan Commentary on the Changes says: At the beginning when sincerity is just starting, the mind has not yet fixed on a particular person. If one first clearly discerns who to trust, one can attain the right path, hence it is auspicious. At this time, the mind has not yet changed; once the mind has already attached itself to someone, that is a change, and then even if one tries to discern, one cannot attain the right path. In the first line, it discusses the method of seeking the person one should trust. Li Guangdi comments: The phrase "zhi wei bian" refers to the fact that his sincere heart has not been lost; once the mind changes, there will be other attachments.

其子和之，中心願也。程傳 “中心願”，謂誠意所願也，故通而相應。集說 朱氏震曰：荀子所謂“同焉者合，類焉者應”也。程氏敬承曰：鶴之鳴，由中而發，子之和，亦根心而應，故曰“中心願”，願出於中，乃孚之至也。

The Image Commentary says: "It is the harmony of the heart." Cheng Yi's Yichuan Commentary on the Changes explains that "centered wish" refers to a sincere desire originating from the heart, thus enabling mutual understanding and resonance. The collective commentary cites Zhu Zhen's statement: this is what Xunzi refers to as "those of the same kind come together, those of the same nature respond to each other" — like things harmonize, and similar energies correspond. Cheng Jingcheng says: the cry of an old crane comes from the heart, and the response of a young crane also arises from the heart, hence it is called "centered wish." A wish originating from the heart is the ultimate expression of sincerity.

或鼓或罷，位不當也。程傳 居不當位，故無所主，唯所信是從，所處得正，則所信有方矣。集說 俞氏琰曰：六三居不當位，心無所主，故“或鼓或罷”而不定，若初九則不如是也。

The Image Commentary says: "Sometimes drumming, sometimes stopping" is because "the position is not appropriate." Cheng Yi's Commentary on the Changes says: the yao at the third line is in an inappropriate position, so there is no firm principle in the mind, and one merely follows the person one believes in; if the position were correct, then the person one follows would have a definite direction. Collected Commentaries cite Yu Yan's saying: the third line is in an inappropriate position, so there is no firm principle in the mind, hence sometimes drumming and sometimes stopping, wavering; whereas the first yang line would not be like this.

馬匹亡，絕類上也。程傳絕其類而上從五也。“類”，謂應也。集說 胡氏炳文曰：《坤》以“喪朋”為“有慶”，《中孚》之四，以“絕類”為“無咎”。趙氏玉泉曰：“馬匹亡”者，四有柔正之德，故能絕初之黨類，而上以信於五也。

The Image Commentary says: "The horses are lost," meaning to cut off one's own kind and follow upward. Cheng Yi's Yichuan Commentary on the Changes says: to cut off one's own kind and follow upward to nine five. Here, "class" refers to the yao that corresponds. Collected Commentaries cite Hu Bingwen saying that the Qian hexagram treats "losing companions" as "having a good outcome," and the Zhongfou hexagram's six four treats cutting off one's kind as "no blame." Zhao Yuquan says: what is meant by "the horses are lost" is that six four possesses the virtue of flexibility and uprightness, thus being able to cut off its relationship with initial nine, and instead convey sincerity upward to nine five.

案 三與四，皆卦所謂中虛者也。其居內以成中虛之象同，其得應而有匹敵者亦同。然三心繫於敵，而四志絕乎匹者，三不正而四正也，又六四承九五者多吉，六三應上九者多凶，《易》例如此。

Li Guangdi remarked: Six in the Third and Six in the Fourth are both the two lines mentioned in the Zhongfu hexagram as representing "middle emptiness." They are both located in the middle of the hexagram, forming the image of middle emptiness; they also each have a corresponding line as their counterpart. However, Six in the Third is attached to its counterpart, while Six in the Fourth has severed its connection with its spouse. The reason for this is that Six in the Third is not in the proper position, while Six in the Fourth is in the proper position. Moreover, Six in the Fourth receives the majority of good fortune from Nine in the Fifth above it, while Six in the Third corresponds to Nine at the Top, which brings about the majority of misfortune. This is the general principle in the Zhou Changes.

有孚攣如，位正當也。程傳 五居君位之尊，由中正之道，能使天下信之，如拘攣之固，乃稱其位。人君之道，當如是也。集說 孔氏穎達曰：以其正當尊位，故戒以繫信，乃得“無咎”。

The Image Commentary says: "With sincerity, he binds tightly," because the position he occupies is exactly appropriate. Cheng Yi's Commentary on the Changes states that the Nine in the Fifth occupies the sovereign's exalted position, following the principle of uprightness and correctness, enabling him to gain the trust of the people, binding firmly as if tied tightly, thus being worthy of his position. The principles of ruling as a sovereign should be like this. The collected interpretations cite Kong Yingda saying: precisely because he is properly occupying the exalted position, he is warned to firmly bind the trust of the people, thereby avoiding any mistakes.

翰音登于天，何可長也。程傳 守孚至於窮極而不知變，豈可長久也，固守而不通，如是則凶也。集說 孔氏穎達曰：虛聲無實，何可久長。侯氏行果曰：窮上失位，信不由中，有聲無實，虛華外揚，是翰音登天也，虛音登天，何可久也。胡氏瑗曰：上九徒以虛聲外飾，無純誠篤實之行，以此而往，愈久愈凶。故聖人戒之曰：“何可長”如此，蓋欲人改過反誠，以信實為本也。

The Image Commentary says: "The sound of a crane reaches the heavens," how can it last long? Cheng Yi's Commentary on the Changes says: to hold fast to sincerity until reaching the extreme without knowing when to change, how can it last? To be rigid and unyielding, thus it is dangerous. The collected interpretations cite Kong Yingda saying: having only empty reputation without real substance, how can it last long? Hou Xingguo says: the upper ninth line is at the extreme of the entire hexagram and is not in the correct position. The sincerity it speaks of does not come from the heart, having sound but no substance, empty ornamentation spreading outward, this is "the sound of a crane reaching the heavens" — the sound of a chicken calling reaching the heavens. Empty sound flying to the heavens, how can it last long? Hu Yuan says: the upper ninth line only uses empty reputation to decorate outwardly, without pure and solid actions; proceeding in this way, the longer it goes on, the more dangerous it becomes. Therefore, the sage warns "how can it last long," intending to urge people to change their ways and return to sincerity, taking sincerity as the fundamental.

山上有雷，小過。君子以行過乎恭，喪過乎哀，用過乎儉。本義 “山上有雷”，其聲小過，三者之過，皆小者之過，可過於小而不可過於大。可以小過而不可甚過，《彖》所謂“可小事而宜下”者也。程傳 雷震於山上，其聲過常，故為《小過》。天下之事，有時當過，而不可過甚，故為《小過》，君子觀《小過》之象，事之宜過者則勉之，“行過乎恭，喪過乎哀，用過乎儉”，是也，當過而過，乃其宜也，不當討而過則過矣。

The Great Image Commentary says: "Mountains with thunder, this is the hexagram of 'Small Excess'; the gentleman thus understands that in conduct, one should be slightly more respectful; in mourning, slightly more sorrowful; in expenditure, slightly more frugal." Zhu Xi's "Benyi" says: "Thunder on the mountain," the sound is slightly excessive; the excess in respect, sorrow, and frugality are all small excesses—excess can be allowed in small matters, but not in great ones. It is permissible to be slightly excessive, but not excessively so, which is what the Commentary on the Judgment calls "suitable for minor matters and appropriate for subordination." Cheng Yi's "Yichuan Commentary on the Changes" says: thunder on the mountain shaking, the sound exceeds the usual, hence called "Small Excess." The affairs of the world sometimes require a slight excess, but not an excessive one, hence called "Small Excess." The gentleman observes the image of "Small Excess," and when encountering matters that require a slight excess, he endeavors to act accordingly, "exceeding in respect, exceeding in mourning, exceeding in frugality" is precisely this. To exceed where it is appropriate is just right; but to exceed where it should not, becomes a real mistake.

集說 孔氏穎達曰：小人過差失在慢易奢侈，故君子矯之以“行過乎恭，喪過乎哀，用過乎儉”也。張子曰：過恭哀儉，皆宜下之義。晁氏說之曰：時有舉趾，高之莫敖，故正考父矯之以循牆，時有短喪之宰子，故高柴矯之以泣血，時有三歸反玷之管仲，故晏子矯之以敝裘，雖非中行，亦足以矯時厲俗。

The collected interpretations cite Kong Yingda's statement: the mistakes of small people arise from negligence and extravagance, so the gentleman uses "excessively respectful behavior, excessive mourning, and excessive frugality" to correct them. Zhang Zai says: excessive respect, excessive mourning, and excessive frugality all conform to the idea of being humble and self-restrained. Zhao Shuozi says: at that time there was a person from the state of Chu named Mo Ao who walked with his feet raised high and boasted arrogantly, so Zheng Kaofu corrected this by walking along the wall's edge. At that time there was Zi Wei, who advocated shortening the three-year mourning period, so Gao Chai corrected this by weeping blood for three years. At that time there was Guan Zhong, who had three luxurious mansions and violated ritual by having a raised platform for wine, so Yan Ying corrected this by wearing a tattered leather coat all the time. Although these were not the middle path, they were sufficient to correct the prevailing evils and refine the customs.

趙氏彥肅曰：“恭”“哀”“儉”多不及，過之而後中。楊氏啟新曰：過“恭”過“哀”過“儉”，此豈不為高世絕俗之行而過乎人，但其所過者。以收斂卑下為過，故但可言小過，而不可言大過也。案 雷出地，則聲方發達而大，及至山上，則聲漸收斂而微，故有平地風雷大作，而高山之上不覺者，此《小過》之義也。

Collecting interpretations cite Zhao Yansu's view: respect, sorrow, and frugality are three things people mostly fail to do adequately; slightly exceeding them is actually just right. Yang Qixin says: being overly respectful, overly sorrowful, or overly frugal, is this not the conduct of people who surpass the common and transcend the world? It is indeed going beyond the ordinary, but the way he goes beyond is towards restraint and humility, so it can only be called a small excess, not a great one. Li Guangdi comments: when thunder comes from the ground, its sound is spreading and loud; but when it rises to the mountain top, the sound gradually becomes restrained and weak. Therefore, there are situations where on flat land wind and thunder are intense, yet on high mountains they are not noticed. This is the meaning of the hexagram "Small Excess."

飛鳥以凶，不可如何也。程傳 其過之疾，如飛鳥之迅，豈容救止也，凶其宜矣，“不可如何”，無所用其力也。集說 何氏楷曰：以凶者自納於凶也，孽由己作，可如何哉。

The Image Commentary says: "Flying birds bring misfortune," and there is nothing that can be done about it. Cheng Yi's Commentary on the Changes says: the initial line is so excessive and rapid, like a flying bird, there is no room for a person to stop or hinder it, so misfortune is inevitable. "Not being able to do anything" means there is no place where one can exert effort. The collected interpretations cite He Kai saying: the phrase "bringing misfortune" refers to oneself bringing oneself into danger; the calamity is self-inflicted, so what can be done about it?

不及其君，臣不可過也。本義 所以不及君而還遇臣者，以“臣不可過”故也。程傳 過之時，事無不過其常，故於上進，則戒及其君，臣不可過，臣之分也。集說 胡氏炳文曰：小者有時而可過，臣之於君，不可過也。

The Image Commentary says: "Not reaching the sovereign," because a subject should not exceed the sovereign. Zhu Xi's "Benyi" explains that the reason why the Second line cannot reach the sovereign and instead meets the subject is precisely because "a subject must not exceed." Cheng Yi's "Yichuan Commentary on the Changes" states that when one should surpass, everything exceeds the ordinary, so in the matter of advancing upward, it specifically warns against exceeding the sovereign—this is the duty of a subject not to surpass. The collected interpretations cite Hu Bingwen saying that in small matters one may sometimes exceed a little, but a subject must not exceed the sovereign.

從或戕之，凶如何也。程傳 陰過之時，必害於陽，小人道盛，必害君子，當過為之防，防之不至，則為其所戕矣，故曰“凶如何也”，言其甚也。

The Image Commentary says: "From this, one may be harmed." How severe is this danger. Cheng Yi's Commentary on the Changes says: When the yin energy is excessive, it must harm the yang; when the small people become powerful, they must harm the virtuous. At such times, one should be especially vigilant. If vigilance is not sufficient, one will be harmed by them. Therefore, it is said "how凶" (how dangerous), describing its severity to the extreme.

弗過遇之，位不當也。往厲必戒，終不可長也。本義 爻義未明，此亦當闕。程傳 “位不當”，謂處柔，九四當過之時，不過剛而反居柔，乃得其宜，故曰“遇 集說 錢氏一本曰：“三”“四”皆失位，故特明其“位不當”。三“防”“四“遇”，亦皆宜下，三“從或戕”，四“往必戒”，亦皆不宜上。案 “位不當”，即所謂剛失位而不中者，唯剛失位而不中，故戒以當過遇之，不然則有危矣，豈可長執此而不知變乎。

The Image Commentary says: "Not going beyond" is because "the position is not appropriate"; "going forward brings danger and must be cautious" is because it is ultimately not sustainable. Zhu Xi's "Benyi" says: the meaning of this line is not yet clear, so it should be left blank for now. Cheng Yi's "Yichuan Commentary on the Changes" says: what is meant by "the position is not appropriate" is that the nine in the fourth line is in a yin position. The nine in the fourth line is at a time when it should go beyond, but instead it is in a yin position, thus being appropriate, hence it is called "meeting" — there is a missing character in the original text. The collected interpretations cite Qian Yiben's comment: both the nine in the third line and the nine in the fourth line are not in the right position, so the Image Commentary specifically points out that they are "not in the right position." The nine in the third line discusses "precaution," and the nine in the fourth line discusses "meeting," both being appropriate for being humble and self-effacing. The nine in the third line says "being attacked by others," and the nine in the fourth line says "going forward brings danger and must be cautious," both being inappropriate for advancing upward. Li Guangdi comments: what is meant by "the position is not appropriate" is what the Commentary on the Judgment refers to as a yang line losing its position and not being in the center. Because the yang is out of position and not in the center, it is advised that at the time of going beyond, one should use the method of "meeting," otherwise there will be danger; how could one remain fixated here without knowing flexibility?

密雲不雨，已上也。本義 “已上”，太高也。程傳 陽降陰升，合則和而成雨，陰已在上，雲雖密豈能成雨乎，陰過不能成大之義也。集說 龔氏煥曰：密雲不雨，《小畜》謂其“尚往”者，陰不足以畜陽而陽尚往也，《小過》謂其“已上”者，陰過乎陽，而陰已上也，一為陽之過，一為陰之過，皆陰陽不和之象，所以不能為雨也。

The Image Commentary says: "dense clouds without rain" is because the yin energy has already risen to the top. Zhu Xi's "Benyi" says: "already above" means too high. Cheng Yi's "Yichuan Commentary on the Changes" says that yang energy descends and yin energy ascends; only when they meet and harmonize can rain form. Now that the yin energy is already above, although the clouds are dense, how can rain form? This indicates excessive yin energy that cannot accomplish great things. The collected interpretations cite Gongsuan who says: the same "dense clouds without rain" in "Xiaoxu" says "still moving forward" because the yin is insufficient to contain the yang, and the yang is still moving forward; while in " Xiaoguo" it says "already above" because the yin has surpassed the yang, and the yin has already risen to the top. One is the excess of yang, the other the excess of yin; both are images of disharmony between yin and yang, so rain cannot form.

案 兩卦“密雲不雨”，龔氏謂皆陰陽不和之象是已，然《小畜》所謂“尚往”者，亦是陰氣上行，與此爻“已上”同，非兩義也。但《小畜》卦義喻在下者，則尚往者當積厚而自雨，此爻之義，喻在上者，則“已上”者，當下交而乃雨，意義不同爾。

Li Guangdi remarked: Both hexagrams speak of "dense clouds without rain." Gong Huan said they both represent the image of yin and yang not in harmony, which is correct; however, the "going forward" in the hexagram Xiao Xu refers to the movement of yin upwards, which is the same as this line's "already above," and not two different meanings. The difference lies in the meaning of each hexagram. The hexagram Xiao Xu is used as a metaphor for someone in a lower position who is still moving upward and should accumulate deeply so that rain will naturally come. This line, however, is used as a metaphor for someone in a higher position who has already reached above and should descend to meet others before rain can form. The intentions of the two are different.

弗遇過之，已亢也。程傳 居過之終，弗遇於理而過之，過已亢極，其凶宜也。集說 孔氏穎達曰：釋所以“弗遇過之”，以其已在亢極之地故也。趙氏汝楳曰：“已上”未為極，“已亢”則極矣。俞氏琰曰：六五曰“已上”，謂其已過也。上六又過甚，故曰“已亢”。

The Image Commentary says: "Not meeting and going beyond" is because it has reached the extreme of excess. Cheng Yi's Commentary on the Changes says: the sixth line at the top is at the end of the hexagram of going beyond, unwilling to meet with the principles and persistently going beyond, going to the extreme of excess, thus being凶 is appropriate. The collected interpretations cite Kong Yingda saying: this explains why it says "Not meeting and going beyond" — because it has already reached the position of extreme excess. Zhao Ru Mei says: "Already above" is not yet the extreme, "already excessive" is the extreme. Yu Yan says: the fifth line says "already above," meaning it has already gone beyond; the sixth line at the top goes even further, thus saying "already excessive."