The hexagram of Ascending.

【巽下坤上，中互震兌】臨。升為二陽四陰卦，自臨來。虞氏曰：臨初之三。升：元亨，用見大人，勿恤，南征吉。臨四陰居上，二陽居下，易兌為巽，陽各前進，故卦名升。升則大亨，而宜升者為大人。大人在下，君宜用而見之，使勿憂恤，南征以往，升進得位，以展才能，則吉也。

The hexagram "Sheng" (Increase) has the trigram Xun (Wind) as its lower trigram and Kun (Earth) as its upper trigram. The second to fourth lines form the trigram Zhen (Thunder) together, and the third to fifth lines form the trigram Dui (Lake) together. It is derived from the hexagram "Lin" (Approach): "Sheng" is a hexagram with two yang lines and four yin lines, which has the same number of yin and yang lines as "Lin." Yu Fan said that "Sheng" is formed by moving the first line of "Lin" to the third position. The hexagram statement says: Greatly smooth and unimpeded, suitable for employing and receiving great men, without worry, and going toward the south is auspicious. Duolong'a explained that in "Lin," four yin lines are above and two yang lines are below. By transforming Dui into Xun, the yang lines move forward, hence the name "Sheng." Rising leads to great smoothness and unimpeded progress. Those suitable for rising are great men. Great men are in a lower position, and the ruler should employ and receive them, allowing them to have no worries; moving southward, rising to an appropriate position, enabling them to display their abilities, is auspicious.

彖曰：柔以時升，巽而順，剛中而應，是以大亨。用見大人勿恤，有慶也。南征吉，志行也。升者何？陽升也。上卦為坤，下卦為巽，巽木得坤土生之，長養高大，故名曰升。夫木之升長曰升，而賢之升進亦曰升。木之升者為大木，賢之升者為大人。大人在上位，臣下見之則曰利見大人；居下位，君上見之則曰用見。用見大人，則大人不終於居下，亦如木之日長日大，慶高升也。

The Commentary on the Judgment says: Those who are gentle and compliant rise with the times. The lower trigram is gentle and compliant, and the upper trigram is compliant, with the yang line in the center having a corresponding line above it. Therefore, great success is achieved. "Seeing a great person without worry" refers to the coming of good fortune. "A prosperous journey to the south" refers to the realization of one's aspirations. Duolong'a explains: What does "rising" mean? It refers to the ascent of a yang line. The upper trigram is坤 (Earth), and the lower trigram is巽 (Wind). The wood of the lower trigram is nurtured by the earth of the upper trigram, growing tall and flourishing, hence the name "rising." The growth of a tree upward is called rising, and the promotion of a virtuous person is also called rising. A tree that rises becomes a great tree, and a virtuous person who rises becomes a great person. When a great person is in a high position, and a subject goes to see him, it is called "favorable to see a great person." When a great person is in a low position, and the ruler summons him, it is called "using to see." When the ruler employs and meets with a great person, the great person will not remain in a low position forever, just as a tree grows taller day by day, which is worth celebrating.

升則有慶，有慶則勿恤。雖卦象大坎，坎為加憂，而巽木洩之，坤土制之，巽兼坤順，又得二之剛中以應六五，元善亨嘉，可於升中得之。蓋升自臨來，臨初往三為升，臨三為柔，今升之剛已進至三，循次遞升，則柔所居之地皆剛可升之地也。木在下則因地而升，賢在下亦因時而升。五為柔中為君，引陽上升，是柔因時使陽上升以用之，故曰柔以時升也。

When things rise, there is fortune and celebration, and with fortune and celebration there is no need for worry. Although the hexagram seems like a great Ganyu (Great Gorge), which represents worry, the Xun wood can dispel the water, and the Kun earth can restrain it. Xun's flexibility combined with Kun's obedience, along with the yang line nine two in the second position responding to line six five, means great goodness and beauty can be obtained through rising. The hexagram of Sheng comes from the hexagram of Lin: the first line of Lin moves up to the third position to form Sheng. Originally, the third line of Lin was a yin line; now in Sheng, a yang line has moved into the third position. Following this sequence, each line rises step by step, so wherever the yin lines were, they are now places where yang lines can rise. Trees below rise by relying on the earth, and virtuous people below rise by relying on the right timing. Line six five, being yin and in the center, acts as a ruler, drawing up the yang lines. This is how the flexible顺应 the right timing to allow the yang lines to rise and be used. Therefore, the Commentary on the Judgment says, "Yin rises in accordance with the right time."

二至四為互兌，兌為雨澤；三至五為互震，震為行；坤位西南，木得雨滋之土，發榮暢達，南行故吉。行者征也，征行有志，則升進不已，升之義著矣。象曰：地中生木，升，君子以順德，積小以高大。荀氏曰：地為坤，木為巽，地中生木，以小至大，升之象也。坤為順，巽為高，故君子體升以成德。

The lines two to four interact to form Dui, whose image is rain and moisture; the lines three to five interact to form Zhen, whose image is movement and progress; the direction of Kun is southwest. Trees receive the nourishing moisture of the soil, thus flourishing and growing without obstruction, moving toward the south, hence being auspicious. "Movement" is equivalent to "progress," and advancing with purpose leads to continuous ascent, making the meaning of ascent clear. The Image Commentary says: trees growing out of the earth, this is the hexagram of ascent; the gentleman takes inspiration from it, cultivating his virtue gradually until it becomes great. Xun Shuang said: the earth is Kun, the wood is Xun; trees growing from the earth, growing from small to great, is the image of ascent. Kun represents flexibility and compliance, Xun represents elevation, so the gentleman observes the hexagram of ascent to cultivate his virtue.

初六：允升，大吉。初為四應，二三為陽，臨初與三對易，升之初即臨之三，其升有可信者，故曰允升。升可居信【居信：居字衍文】，故大吉。象曰：允升大吉，上合志也。九二：孚乃利用禴，無咎。二為陽實稱孚，是積孚誠以升者。二與五應，五為坤中，坤位西南，時維六月，故言禴。言二之孚即使感格鬼神亦利用之，故無咎。象曰：九二之孚，有喜也。

The first line statement says: It is indeed possible to rise up, and it is greatly auspicious. Duolong'a says: The first line corresponds with the fourth line, and the second and third lines are both yang. The first line of the hexagram of Qian (Heaven) is exchanged with the third line of the hexagram of Lin (Approach), so the first line of the hexagram of Sheng (Rise) is actually the third line of the hexagram of Lin. Its rising is based on a solid foundation, hence it is said 'allowable rise'. Rising while maintaining trust, thus great good fortune (the original text says 'rise and dwell on trust', the character 'dwell' is an addition). The 'Xiaoxiang' says 'allowable rise, great good fortune, harmonizing with the upper will', meaning it harmonizes with the will above. The second line statement says: With sincere faith, it is appropriate to perform the Yu sacrifice, without fault. Duolong'a says: The second line is a yang line, and since yang is substantial, it is called 'faith'. This refers to someone who accumulates faith and then rises. The second line corresponds with the fifth line, and the fifth line is in the center of the坤 (Earth) structure. The坤 position is in the southwest, and the time is appropriate for June, hence 'Yu' (summer sacrifice). This means the faith of the second line is suitable even for communicating with spirits, hence without fault. The 'Xiaoxiang' says: The faith of the second line is something to be joyful about.

九三：升虛邑。坤為虛為邑，三自臨之初來，變兌為巽，巽木遇坤土，木資土養，故曰升虛邑。象曰：升虛邑，無所疑也。三為巽末，漸欲出巽以升於坤，故曰升虛邑。巽為進退，為不果，象疑，出乎巽即已無此疑也。六四：王用亨于岐山，吉無咎。升至於四，升愈進矣。四為互兌，兌位西，岐山在周西，故王用之以享岐山。兌又為巫，巫主祭祀，享象。大臣升進，有此馨德以致王用，故吉無咎。象曰：王用亨于岐山，順事也。

The line statement of the third line says: "Rise to an empty city." Duolong'a says: The image of the earth (Kun) is emptiness and city; the third line comes from the initial line of the hexagram of approaching (Lin), transforming the trigram of joy (Dui) into the trigram of following (Xun). The wood of Xun meets the earth of Kun, and the wood relies on the earth for nourishment, hence it is said "rise to an empty city." The small commentary says: "Rise to an empty city, without doubt." The third line is at the end of the trigram of following (Xun), about to leave Xun and rise into Kun, hence it is said to rise into an empty city. Xun governs movement and hesitation, and its image is doubt; once it leaves the body of Xun, there is no more hesitation. The line statement of the fourth line says: "The king holds a sacrifice at Mount Qi, which is auspicious and without fault." Duolong'a says: Rising to the fourth line, the ascent proceeds further. The fourth line belongs to the interacting trigram of joy (Dui), which is located in the west, and Mount Qi is located to the west of the Zhou origin, hence the king uses it for sacrifice at Mount Qi. Dui also takes the image of a shaman, who is in charge of worship, which matches the image of "sacrifice." The ministers continue to rise, possessing such fragrant virtue that they attract the king's appointment, hence it is auspicious and without fault. The small commentary says: The king holds a sacrifice at Mount Qi, which is a humble service to heaven and ancestors.

六五：貞吉，升階。五為天位稱階，臣升至此，則是位極人臣，左右厥闢，惟貞正以升乃吉。象曰：貞吉升階，大得志也。上六：冥升，利于不息之貞。荀氏曰：坤性闇昧，今升在上，故曰冥升也。升至於上，升道已窮，貞固自守，不少間斷，此所謂不息之貞也。語曰：知足不辱，知止不殆。上之所利在此耳。象曰：冥升在上，消不富也。上富已極，宜消其富。坤為吝嗇，陰象亦虛象，故曰不富。升至能消其富，處升之道得矣。

The Line Statement of the fifth line says: To maintain correctness brings good fortune, ascending step by step. Duolong'a says: The fifth line represents the position of the Son of Heaven, hence it is called 'stair'; when a minister ascends to this position, he reaches the highest rank and assists the sovereign. Only by ascending in accordance with the correct path does good fortune arise. The Small Commentary says: Maintaining correctness and ascending step by step greatly realizes one's aspirations. The Line Statement of the top line says: Ascending blindly and without clarity is favorable when one maintains unwavering correctness. Xun Shuang says: The nature of the Earth is dark, and now it ascends to the highest position, hence it is called 'dark ascent'. When ascending to the top line, the path of ascent has reached its limit, and only by maintaining firm and unbroken correctness can one be called 'uninterrupted correctness'. An old saying says: Knowing contentment avoids disgrace, knowing when to stop avoids danger (from the 44th chapter of the Dao De Jing). This is the advantage of the top line. The Small Commentary says 'dark ascent at the top, decline and not richness': the richness at the top has reached its peak, and it should be reduced. The Earth is naturally stingy, and the yao is both dark and empty, hence it is said 'not rich'. When ascending to the extreme and reducing one's own richness, one has grasped the principle of 'ascending' at this position.

慧珠閣原本。岫巖多隆阿雯溪。周易下經（四）：困、井、革、鼎、震、艮。

This volume is based on the original edition from Huizhu Geyue, written by Duolong'a, a native of Xiuyan, who used the pen name Wenxi. This section explains the fourth part of the lower section of the Zhou Changes, covering the six hexagrams: "Kun," "Jing," "Ge," "Ding," "Zhen," and "Gen" in order.

【坎下兌上，中互巽離】否。困為三陰三陽卦，自否來。荀氏曰：此本否卦，陽降為險，陰升為說也。虞氏曰：否二之上。困：亨，貞，大人吉，無咎，有言不信。坎下兌上，卦名曰困。人當困境，不宜苟安而貴能自振，故曰亨；困又不宜苟免而貴能履正，故曰貞。既亨且貞，惟大人能之，人以大人為法，雖處困亦吉無咎。若夫惟事喋喋，徒尚言語，則人不信，困愈甚矣。

The hexagram "Kun" has the trigram Kan (Water) below and Dui (Lake) above. The second to fourth lines form the trigram Li (Fire), and the third to fifth lines form the trigram Xun (Wind). It comes from the hexagram "Pu" by changing its lines: "Kun" is a hexagram with three yin and three yang lines, which has the same yin and yang count as "Pu." Xun Shuang said: This hexagram originally comes from "Pu." The yang lines descend to form the dangerous and trapped trigram Kan, while the yin lines ascend to form the harmonious and joyful trigram Dui. Yu Fan said that the second line of "Pu" moves up to the upper position. The hexagram statement says: It is smooth, to maintain correctness, great men are auspicious, without fault, empty talk will not be believed. Duolong'a explained: With Kan below and Dui above, the hexagram is called "Kun." When a person is in a difficult situation, he should not be lazy or seek easy escape, but should strive to rise by himself, hence "smooth." In困境, one should not seek escape by improper means, but should follow the correct path, hence "correctness." Only great men can achieve both smoothness and correctness; people take great men as role models, so even inpredicament they are auspicious and without fault. As for those who only talk endlessly and rely on empty words, others will not believe them, and theirpredicament will only deepen.

彖曰：困，剛揜也。險以說，困而不失其所亨，其惟君子乎。貞大人吉，以剛中也。有言不信，尚口乃窮也。卦之所以名困者，以困古文作止□木，木為所止，是窮極而至於盡曰困。此卦上兌下坎，水洩澤下，澤水漸涸，是水窮極而至於盡也。困又從木在口中，有止而不過之義，此卦內陽外陰，陽為陰揜，是陽剛以有所止而不過也。

The Commentary on the Judgment says: "Confusion" is when the yang is obscured by yin. Being in a dangerous situation yet remaining harmonious, though in a difficult situation, one still maintains the way of success. This is probably something only a gentleman can achieve. "The upright person is auspicious" because the yang is in the center. "There is no trust in words" refers to relying solely on verbal skill, which leads to the end of the path. Duolong'a explains that this hexagram is called "Confusion" because the ancient character for "confusion" is composed of "stop" and "wood" (the character is blurred in the original text). The wood is stopped, meaning that when something is exhausted to the extreme, it is called confusion. This hexagram has the upper trigram of Dui (Lake) and the lower trigram of Kan (Water), with water leaking out from the lake, and the water in the lake gradually drying up, which is exactly when water is exhausted to the extreme. The character "confusion" also contains "wood" within a circle, implying being stopped and unable to escape. This hexagram has the inner trigram as yang and the outer trigram as yin, with yang being obscured by yin, which is precisely when yang is blocked and cannot escape.

夫困則多阻，似不可以有為，不知為困所窮者小人然也，非君子也。蓋君子即大人，二五剛中，足以濟困，雖險猶說，是所謂亨通貞正無咎而吉者。但不宜如彼小人，徒恃兌口，專事辯給，人不之信，自取困窮耳。象曰：澤無水，困，君子以致命遂志。澤以滀水，至於無水，困之象也。君子體之，宜舍其命而遂素志。卦自否來，否為上乾下坤，乾為天命，變乾為兌，兌上折乾，是致命矣；變坤為坎，坎為心志，是遂志矣。

When in a state of difficulty, obstacles abound and it seems impossible to achieve anything. However, it is not the virtuous person who is forced into a dead end, but the petty person. The virtuous person, also called the great person, is represented by the lines Nine in the Second and Nine in the Fifth, which are yang and centered, thus capable of overcoming difficulties. Even in peril, they remain harmonious, which is the meaning of the Hexagram Statement that says it is smooth, to maintain the correct path, without blame, and thus auspicious. However, one should not act like the petty person, who merely uses words to show off their eloquence, and ends up being disbelieved by others, leading to their own difficulties. The Image Commentary says: A marsh without water, this is the Hexagram of困; the virtuous person takes this as a model, and would rather sacrifice his life to fulfill his aspirations. Duolong'a said: A marsh is originally for holding water, but now it is dry and has no water, which is the image of困. The virtuous person understands this and should be willing to sacrifice his life to fulfill his usual aspirations. The Hexagram comes from the Hexagram of否: the Hexagram of否 has Heaven above and Earth below. The image of Heaven represents the mandate of heaven. Heaven becomes兑, which represents destruction, and breaks the body of Heaven, which is called 'fatal' (sacrificing one's life). Earth becomes坎, which represents the mind and will, which is called 'fulfilling one's aspirations'.

初六：臀困于株木，入于幽谷，三歲不覿。困以柔揜陽剛為義，而自各爻分觀，陰陽俱各受困，陰柔無才，其困尤甚。初居下位，又為陰柔，是困而不能出者。坎為臀，坎木為堅多心，故曰臀困于株木；坎為陷為隱伏，象幽谷，困者入之。歷盡坎爻，得遇正應，已為三歲，三歲不覿，初之受困亦久矣。象曰：入于幽谷，幽不明也。坎反離明。

The Line Statement of the first line says: The buttocks are sore from being struck by a dry tree stump, and fall into a deep valley, not seeing anyone for three years. Duolong'a says: The困卦 is defined by the soft covering the yang. However, when looking at each line separately, both yin and yang are actually trapped. Yin lines lack ability, and thus are more trapped. The first line is at the very bottom and is of a yin nature, which is the person who is trapped and cannot get out. The image of Kan is the buttocks, and the nature of wood in Kan is hard with a lot of heartwood, hence it says 'the buttocks are trapped by the dry tree stump.' Kan also represents sinking and concealment, and the image is a deep valley, so the trapped person falls into it. One must go through the entire Kan trigram to meet one's proper matching line, which happens after three years, hence 'three years without seeing.' The Small Explanation says 'entering the deep valley, the deep is not bright': Kan is the opposite of Li, which represents brightness, so Kan represents darkness and obscurity.

九二：困于酒食，朱紱方來，利用亨祀，征凶，無咎。陽剛受困則與陰異。二為坎中，坎為酒，是困于酒食也。夫酒何自來哉？二自否之上來，否下為坤，坤為裳象紱，紱，祭服也；否以乾上來居坤中，乾為大赤，是為朱紱，朱紱外來加之於身。坎為宮室，又為鬼神，二衣朱紱以入坎宮，祀此坎神，祭畢分胙以饗餕餘，故有此困也。困則近凶，似不可往，不知雖有醉飽之凶，實有享祀之利，征凶亦無咎也。象曰：困于酒食，中有慶也。得中故有慶。

The line statement of the second line says: Confined between wine and food, the red ceremonial robe is being brought in, it is appropriate to hold a sacrifice; proceeding forward brings danger, but there is no fault. Duolong'a says: Yang is confined, and the situation is different from that of Yin. The second line is in the middle of the Kan trigram, and Kan is symbolized by wine, so it says confined between wine and food. Where does this wine come from? The second line comes from the top line of the Qie卦. The Qie卦 has the坤 trigram as its lower trigram, and坤 is symbolized by the lower garment, which is called 'fu' — 'fu' is the ceremonial robe used in worship. The Qie卦 has the upper trigram of Qian, which is symbolized by the color red, so together it is called 'zhuhu' — 'zhuhu' is the red ceremonial robe. The 'zhuhu' is brought from outside and worn. Kan is also symbolized by palace and spirits, so the second line is wearing the 'zhuhu' and entering the Kan palace to worship the Kan spirit. After the sacrifice, the meat is divided and the remaining wine and food are consumed, hence the statement 'confined between wine and food'. Being confined is close to danger, so it seems not advisable to proceed. But one does not realize that although there is danger from being drunk and full, there is also the benefit of the sacrifice, so although proceeding forward brings danger, there is still no fault. The 'Xiao Xiang' says 'confined between wine and food, there is celebration in the middle': the second line is in the central position, so there is a blessing.

六三：困于石，據于蒺藜，入于其宮，不見其妻，凶。三亦陰柔而居上下二陽之間。前為正兌，兌於地為剛滷，象石，是前進已困于石；今居坎上，九家易曰坎為蒺藜，是退守所據者又為蒺藜。坎又為宮，坎位已盡，互巽為入，是為入于其宮。坎以離為妻，而坎與離反，互離之目與互離之妻俱非真象，故曰不見其妻。此困之至極者。象曰：據于蒺藜，乘剛也；入于其宮，不見其妻，不祥也。名辱身危，死期將至，故不祥也。

The Line Statement of the Third Line says: Blocked by a large stone, retreating to sit on thorns, returning to one's own house, yet not seeing one's wife, it is ominous. Duolong'a says: The Third Line is also of a yin and flexible nature, and is sandwiched between the two yang lines above and below. In front of it is the trigram Dui, which in the earth symbolizes hard salt-alkali land, taking the image of a stone, indicating that moving forward is blocked by a large stone. Now it is located above the trigram Kan, and the Nine Families' Commentary on the Yi says that Kan takes the image of thorns, indicating that retreating and taking refuge is again upon thorns. Kan also takes the image of a house, and since Kan's position has now reached its limit, the interacting trigram Xun has the meaning of 'entering,' thus combining to form 'entering one's house.' Kan takes the trigram Li as its wife, but Kan and Li are opposite to each other; the wife and the eye of the interacting trigram Li are not real images, so it is said 'not seeing one's wife.' This is the extreme state of being trapped. The Small Commentary says 'sitting on thorns, riding on a strong line; entering one's house, not seeing one's wife, which is ominous': reputation is disgraced, in a dangerous situation, death is imminent, hence it is ominous.

九四：來徐徐，困于金車，吝，有終。四應於初，下求正應而來。曰徐徐者，以困故也。馬氏曰：徐徐，安行貌。巽為進退，象徐徐。四為兌金，初為坎輿，四降來初，為坎所困，故曰困于金車。困則有吝，而陽剛有為，不長受因，故有終也。象曰：來徐徐，志在下也；雖不當位，有與也。下謂初，有與，有應也。

The Line Statement of the Fourth Line says: Coming down slowly, being trapped by a golden carriage, there is difficulty and hardship, but ultimately there is a result. Duolong'a says: The Fourth Line is in correspondence with the Sixth at the Beginning, which is why it comes down to seek its proper correspondence. The term 'coming down slowly' is because it is trapped. Ma Rong says: 'Coming down slowly' refers to a manner of proceeding calmly and gradually. Xun represents indecisiveness in movement, which matches the image of 'coming down slowly'. The Fourth Line belongs to Dui, which represents metal; the Sixth at the Beginning belongs to Kan, which represents a carriage. The Fourth Line descends to the first position and is trapped by Kan, hence 'trapped by a golden carriage'. Being trapped leads to difficulty and hardship, but the yang strength is capable of action and will not be trapped for long, so ultimately there is a result (the original text mistakenly wrote 'because' instead of 'trapped'). The 'Small Image' says: 'Coming down slowly, the intention is downward; although not in the proper position, there is correspondence': 'downward' refers to the Sixth at the Beginning; 'there is correspondence' means there is a corresponding element.

九五：劓刖，困于赤紱，乃徐有說，利用祭祀。五為兌中，兌下伏艮為鼻；五又為互巽為股。兌刑艮鼻為劓，兌刑巽股為刖。虞氏曰：兌為刑。既劓且刖，困非輕矣。然小人之困乃窮，而君子之困終亨。五以陽居陽位，當在否卦則五為乾，乾為衣為大赤，是為赤紱，故曰困于赤紱。變乾為兌，兌為說，是為徐用說；兌又為巫，巫主禱祝，是為祭祀。人至於困，猶能衣此赤紱，容止和說，以祀神祇，是世途雖困其身，而鬼神實歆其德，人不克知而天知之，君子豈長困哉。象曰：劓刖，志未得也；乃徐有說，以中直也；利用祭祀，受福也。志未得者，二陽不應，未得九二之坎志也。中直者，陽剛得位中直，自能濟困，乾為直也。祭祀受福，是鬼神佑之，困而亨也。

The Line Statement of the Fifth Line says: Suffering the punishments of having the nose cut off and the feet amputated, being trapped by red ceremonial robes, gradually attaining release, suitable for worship. Duolong'a says: The Fifth Line is in the middle of the trigram Dui, and beneath Dui lies Gen, which symbolizes the nose. The Fifth Line is also in the trigram Xun, which symbolizes the thigh. Dui governs punishment, and punishment applied to the nose of Gen is 'yi' (cutting off the nose). Dui governs punishment, and punishment applied to the thigh of Xun is 'yu' (amputating the feet). Yu Fan says: Dui symbolizes punishment. Having both the nose cut off and the feet amputated, the confinement is not light. However, the small person, when confined, really reaches a dead end, while the gentleman, when confined, ultimately attains success. The Fifth Line, with a Yang line in a Yang position, if in the original Pu hexagram, the Fifth Line belongs to Qian, which symbolizes clothing and the color red, thus combining to form 'red ceremonial robes,' hence saying 'trapped by red ceremonial robes.' Qian transforms into Dui, which governs joy, thus gradually attaining release; Dui also symbolizes the shaman, who oversees worship, hence 'suitable for worship.' When a person reaches a困境, yet still wearing this red ceremonial robe, acting calmly and joyfully to worship the spirits, it shows that although the world has confined his body, the spirits genuinely enjoy his virtue. People may not understand him, but Heaven does. How could the gentleman be confined for long? The 'Small Commentary' says: 'Cutting off the nose and amputating the feet, the will has not yet been attained; yet gradually there is relief, because of being upright and sincere; suitable for worship, receiving blessings.' The 'will has not yet been attained' is because the two Yang lines do not correspond, and the Fifth Line does not receive the assistance of the heart of the second line, which is Kan. The 'upright and sincere' refers to Yang strength being in the right position, being in the center and upright, naturally able to overcome difficulties. Qian symbolizes straightness. Worshiping and receiving blessings is because the spirits protect him, so even though confined, he ultimately attains success.

上六：困于葛藟，于臲卼，曰動悔，有悔，征吉。上六陰柔亦受困者，而吉不與初三同占，以卦爻已盡，困將解也。上應三，三為互巽，虞氏曰巽為葛藟，故曰困于葛藟也。既已受困，便不能安，臲卼固宜。臲卼，不安貌。夫人惟安於困中斯已耳，倘動生悔心，則悔已有於己，悔既有矣，則思前徵，不坐守則出乎困而得吉矣。象曰：困于葛藟，未當也；動悔有悔，吉行也。行，征也，行則不為葛藟所困矣。

The line statement of the sixth line at the top says: being entangled by vines, in a state of instability and anxiety; when the mind moves, regret follows, but if there is already regret, then moving forward brings good fortune. Duolong'a says: the sixth line at the top is yin and flexible, similarly trapped, but its favorable outcome differs from that of the first line and the third line, because the position of the line has reached the end, and the困境 is about to be resolved. The sixth line at the top corresponds with the third line, and the third line belongs to the trigram Xun. Yu Fan says that the trigram Xun represents vines, so it is said 'trapped by vines.' Once trapped, stability is impossible, and instability and anxiety are natural. 'Nianwu' refers to a state of unease. If a person remains content in困境, they will be doomed; but if they take action and feel regret, then regret has already taken root within them. Once there is regret, they will think of moving forward; not staying still and waiting for death, they can escape the困境 and gain good fortune. The 'Small Image' says 'trapped by vines, not appropriate; moving with regret, good fortune through movement': 'movement' refers to 'going forward,' and if one is willing to move forward, they will not be trapped by the vines.

【巽下坎上，中互離兌】泰。井為三陽三陰卦，自泰來。荀氏曰：此本泰卦，陽往居五，陰來在下。虞氏曰：泰初之五也。井：改邑不改井，無喪無得，往來井井，汔至亦未繘井，羸其瓶，凶。巽下坎上，卦名曰井。邑為居井之地，邑改而井不改。卦自泰來，泰初易五，原無所喪；泰五易初，亦無所得。無所得喪而猶上下往來者，往為井，來亦為井也。汲水之具為繘，繘，綆也；汲水之器為瓶，瓶，雝□缶也。倘於汲水之時，繘尚未盡而瓶忽羸敗，則失井水養人之義，故曰凶。

The hexagram "Well" has the trigram Xun (Wind) below and Kan (Water) above. The second to fourth lines form the trigram Dui (Lake), and the third to fifth lines form the trigram Li (Fire). It comes from the hexagram "Prosperity": the hexagram "Well" consists of three yang lines and three yin lines, the same as the hexagram "Prosperity." Xun Shuang said: this hexagram originally was "Prosperity," with a yang line moving up to the fifth position and a yin line moving down to the first position. Yu Fan said that it was the first line of "Prosperity" moving up to the fifth position. The hexagram statement says: a city can be changed, but a well cannot be changed; the well water neither decreases nor increases, and people coming and going all use this well; the water is about to be drawn up, but the rope has not yet reached the well mouth, and the jar breaks, which is ominous. Duolong'a explained: with Xun below and Kan above, the hexagram is called "Well." A city is the place where a well is located; the city can be changed, but the well cannot. The hexagram comes from "Prosperity": the first line of "Prosperity" moves to the fifth position, which brings no loss; the fifth line of "Prosperity" moves to the first position, which brings no gain. There is neither gain nor loss, yet people still go up and down because going up is the well and going down is still the well. The rope used for drawing water is called "ju," which is the well rope; the container used for drawing water is called "ping," which is a type of earthenware vessel. If the rope has not yet reached the well mouth but the jar suddenly breaks, the well water that sustains people is lost, hence the ominous outcome.

彖曰：巽乎水而上水，井，井養而不窮也。改邑不改井，乃以剛中也。汔至亦未繘井，未有功也。羸其瓶，是以凶也。卦之所以名井者，坎為水，巽為木，巽木取坎水，鄭氏所云桔槔是也，故象井。蓋井自泰來，以乾之初易坤之五，坤為邑，是為改邑；坤為地，坎為水，坤地成坎，坎中有水，乾初之剛往居坎中，水得坎中，是為不改井。

The Commentary on the Judgment says: A wooden bucket is lowered into water and then water is drawn up, this is called a well; the well nourishes people without end. "Changing the city but not the well" is because the yang line is in the center. "Almost reaching but not yet drawing water from the well" means the effort is not yet completed. "Breaking the vessel" leads to danger. Duolong'a explains: This hexagram is called "Well" because the image of Kan is water and the image of Xun is wood, using Xun wood to draw Kan water, which is what Zheng Xuan called the桔槔, a lever for drawing water, hence the image of a well. The Well hexagram comes from the hexagram Tai: replacing the first line of Qian with the fifth line of Kun, Kun representing the city, hence "changing the city"; Kun representing earth, Kan representing water, the earth becomes water, with water in the center, the yang line from Qian rises to the middle of Kan, thus water gains the yang in the center, hence "not changing the well."

初為陽位，五亦陽位，泰初居五，仍是以陽居陽，陽原無喪；泰坤之五下降來初，陰在五為失位，陰在初亦為失位，陰亦無得。無喪無得而往來如此者，初陽往五，往始變坤為坎，往原為井；五陰來初，陰來成巽，坎中之水惟巽木能出之，來亦為井也。

The first line is a yang position, and the fifth line is also a yang position. In the Tai hexagram, the first line moves up to the fifth position, still occupying a yang position, so yang has not been lost. In the Tai hexagram, the fifth line of the K'un trigram moves down to the first position. A yin line in the fifth position is considered to be in an improper position, and a yin line in the first position is also considered to be in an improper position, so yin has not gained anything. There is neither loss nor gain, yet there is such movement up and down. This is because the yang line of the first position moving up to the fifth position is the movement that transforms K'un into Kan. Therefore, "going" itself is the well. The yin line of the fifth position moving down to the first position is the movement that forms Xun. The water in Kan can only be drawn out by Xun wood, so "coming" is also the well.

然井水之出，必需於瓶；而瓶之取水，又需於繘。巽為繩，互離為瓶，離為大腹中虛，故象瓶。用繩繫瓶以取井水，幾至井口而繩未盡，上逢互兌，兌為毀折，繩弱失瓶，瓶失則失井水養人之義，故凶。汔，幾也。繩弱不勝瓶，故幾至井口，繩弱瓶羸而失水也。象曰：木上有水，井，君子以勞民勸相。木上取水，井之象也。井水有利，宜鑿之浚之；如民與相有功，宜勞之勸之。泰坤變坎，坤為民，坎為勞，故曰勞民；泰乾變巽，乾為君稱相，巽為令稱勸，故曰勸相。

However, in order to bring up well water, one must use a jar; and in order to get the jar to the water, one must use a rope. The trigram Xun represents the rope, and the interacting trigram Li represents the jar—since Li has a large belly and is hollow, it resembles a jar. Using the rope to lift the jar to draw water from the well, one sees that it is almost at the well's mouth, but the rope has not yet been fully pulled up, and above it encounters the interacting trigram Dui, which signifies destruction. The rope is weak and the jar falls, losing the well water's benefit to people, hence it is ominous. "Qi" means almost or nearly. The rope is not strong enough to hold the jar, so when nearly reaching the well's mouth, the rope breaks and the jar shatters, losing the water. The Image Commentary says: water on top of a wooden vessel, this is the Well hexagram; the gentleman takes inspiration from it, to comfort the people and encourage mutual assistance. Duolong'a says: drawing water up from a wooden vessel represents the image of the well. Well water is beneficial to people, so one should dig it and clear it. Just as those who have merited the people and assistants should be comforted and encouraged. In the Prosperous hexagram, the earth trigram K'un transforms into the water trigram Kan, K'un represents the people, and Kan represents labor, hence it is said "laboring the people." In the Prosperous hexagram, the heaven trigram Qian transforms into Xun, Qian represents the sovereign and is called "xiang," while Xun represents orders and is called "quan," hence it is said "encouraging the minister."

初六：井泥不食，舊井無禽。初為井下，井下惟泥，泥豈可食？初自泰之五來，泰之初陽上往居五，故卦名井，是五坎為新井，而初為坎舊居之所，乃舊井也。新井在上為水，舊井在下為泥，如此井泥，非惟人不之食，即飛鳥亦無至者，水禽亦無，是無水也。虞氏曰：離為飛鳥。四為互離，初四兩陰不應，故曰無禽。此井之不能養人者。象曰：井泥不食，下也；舊井無禽，時舍也。

The first line statement says: The bottom of the well is mud, which cannot be eaten; an abandoned well not even birds or beasts come to. Duolong'a says: The first line is at the very bottom of the well, and the bottom of the well has only mud, how can mud be eaten? The first line comes from the fifth line of the Tai hexagram. The Tai hexagram's first line moves up to the fifth position, so the hexagram is named Well. Thus, the fifth line, which is Kan, represents a new well, while the first position is where Kan originally was, making it an old well. The new well has water above, while the old well has only mud below. This well of mud not only cannot be used by people, but even birds do not come, and there are no waterfowl, because there is no water at all. Yu Fan says: The image of Li is flying birds. The fourth line belongs to the mutual hexagram Li. The first and fourth lines, both yin lines, do not correspond, so it says 'no birds'. This describes the situation where the well cannot sustain people. The 'Small Image' says 'muddy well, not edible, because it is at the bottom; old well, no birds, because it is abandoned by the time'. It is because it is at the very bottom, and has been abandoned by the times.

九二：井谷射鮒，甕敝漏。初為井泥，二在初上則有水矣。然位尚卑下，如井泉之在山谷，無人汲取，僅有鮒魚往來穿射。鮒，魚名，鯽也，惟喜偎泥，山澗水中多有之。虞氏曰：巽為谷為魚，故云井谷射鮒。夫二為正巽，前應互離互兌，離為甕，甕遇兌毀則甕敝矣。甕敝水漏，人將何食？二有水不能養人，亦與初不相遠耳。象曰：井谷射鮒，無與也。

The Line Statement of the Second Line says: The well is like a spring in a valley, with only small fish darting around in it; the bucket used to draw water is broken, and the water has all leaked away. Duolong'a says: The line Six at the Beginning is the mud at the bottom of the well, and the line Nine in the Second is above it, so there is water. However, its position is still very low, like the spring in the valley, with no one to draw water from it, so only the small fish dart around in it. 'Fù' is the name of a kind of fish, which is the same as the crucian carp, and it likes to stay close to the mud. There are many of them in mountain streams. Yu Fan says: The trigram Xun takes the image of a valley and of fish, so it is said 'the well in the valley shoots the small fish'. The line Nine in the Second originally belongs to the trigram Xun. In front of it is the trigram Li and the trigram Dui, which are the interacting trigrams. The trigram Li takes the image of a bucket, and the bucket collides with the destruction of Dui, so the bucket breaks. The bucket breaks and the water leaks away; what can people use? Although the line Nine in the Second has water, it cannot sustain people, and it is not much different from the line Six at the Beginning. The 'Small Image' says: The well is like a spring in a valley, with only small fish darting around, because it has no corresponding line above it, and no one to draw water from it.

九三：井渫不食，為我心惻，可用汲，王明並受其福。三為井中。向氏曰：渫，浚治去濁泥也。井渫自足養人，而未及互兌之口，水未出井，故曰不食。渫固可食而人不之食，是有代為我惻者，我，三也。惻之不已，於是又默思曰：此井乃可用汲取者。三至五為互離，五君為王，離為明，倘得王明，則眾並受井渫之福，蓋求之甚殷矣。象曰：井渫不食，行惻也；求王明，受福也。行惻者，行人代為惻也；受福者，受井水之養也。

The Line Statement of Nine in the Third says: The well has been cleaned but no one comes to drink from it, making me feel sad; this well could be used for drawing water, and if the king is wise, all would share its blessing. Duolong'a says: Nine in the Third is located in the middle of the well. Xiang Xiu says: "Xie" means to clean and remove the mud. The well has been cleaned, and it is sufficient to nourish people, but it has not yet reached the well mouth of the trigram Dui, so the water has not come out of the well, hence "not being drunk." Although it has been cleaned and can be used, people do not come to drink, so someone feels sad for it — "I" refers to Nine in the Third. In addition to feeling sad, it also silently thinks: This well could indeed be used for drawing water. The lines from Third to Fifth form the trigram Li, and the Fifth line is the position of the king, representing the ruler. The trigram Li symbolizes brightness; if it meets a wise king, all would share the blessing of this cleaned well. This expresses a very earnest desire. The "Small Explanation" says: "The well has been cleaned but not drunk, showing compassion; seeking a wise king, receiving blessings." What is meant by "showing compassion" is that passersby feel sad for it; what is meant by "receiving blessings" is to receive the nourishment of the well water.

六四：井甃，無咎。四為互兌之口，是修治井口以待汲者。甃，井壁也。干氏曰：以磚壘井曰甃。四在泰為坤，今變為坎，坤土和坎水，居互離之間，火燒土器，故曰甃。夫井本宜修，甃以修之，如有過之能補也，故曰無咎。象曰：井甃無咎，修井也。九五：井冽寒泉食。五為坎中曰泉。五自泰乾之初來，乾為寒，冽，寒氣也，泉水多寒，寒泉水清，故曰寒泉；出於兌口之上，故曰食。井至此，蓋能濟人矣。象曰：寒泉之食，中正也。

The Line Statement of the Sixth in the Fourth says: Using bricks and stones to build the well wall, there is no fault. Duolong'a says: The Fourth Line is the mutual body of Dui, representing the well mouth. This refers to repairing the well mouth to wait for those who draw water. 'Gou' refers to the well wall. Ganbao says: Using bricks to build the well is called 'gou'. The Fourth Line in the Tai hexagram belongs to the Kun trigram, but now it has transformed into Kan. The Kun earth harmonizes with the Kan water, and it is located between the mutual body Li, so using fire to make earthenware, thus called 'gou' (bricks). A well should naturally be repaired, and using bricks and stones to build it well is like a person who has made a mistake but can correct it, so there is no fault. The Small Explanation says: Building the well wall without fault is because it is repairing the well. The Line Statement of the Ninth in the Fifth says: The well water is clear and cold, and the cold spring can be used for drinking. Duolong'a says: The Fifth Line is in the middle of the Kan trigram, so it is called 'spring'. The Fifth Line comes from the initial line of the乾 trigram in the Tai hexagram. The image of乾 is cold; 'liè' means coldness. Spring water is mostly cold and clear, and cold spring water is clear, so it is called 'cold spring'; water comes out from above the Dui well mouth, so it is called 'food'. The well reaches this stage and can truly benefit people. The Small Explanation says: Cold spring can be used for drinking because the Ninth in the Fifth is both central and upright.

上六：井收勿幕，有孚元吉。井至於上，水已出井以養人矣。巽木在下，桔槔不移，是為井收。陸氏曰：收，井乾也。泉水已出而坎缺仍在，是為勿幕。虞氏曰：幕，井蓋也。井收以待用，勿幕以待汲，此彖傳所云井養不窮者，是有坎孚，故元吉也。象曰：元吉在上，大成也。

The line statement of the top line says: The well has a fence but no cover, with sincerity in heart, great auspiciousness. Duolong'a says: When the well reaches the top line, the water has already come out of the well to nourish people. The wood of Xun is below, and the桔槔 is fixed in place, which is called 'well being harvested'. Lu Ji says: 'Harvest' refers to the well fence (well frame). The spring water has already surged out, yet the opening of Kan remains open, which is called 'not covered'. Yu Fan says: 'Cover' refers to the well cover. The well fence is for future use, while not covering it allows for easy drawing of water, which is exactly what the Commentary on the Judgment says: 'The well nourishes without end'. Because there is sincerity of Kan, great auspiciousness arises. The Small Image says: Great auspiciousness while being in a high position, signifies the great completion of the well's function.

離下兌上，中互乾巽。大壯。革為四陽二陰卦，自大壯來，大壯五來之二。虞氏謂遯上之初，而卦辭爻辭無取遯義。革：己日乃孚，元亨利貞，悔亡。革，改革也，變革也。改變舊制，人不遽信，必至己日而人乃孚。革以求通，惟有利和乃致大亨。革易有悔，惟守正貞則悔乃亡。是革原有不可輕言者。

The Hexagram of Revolution has the lower trigram Li (Fire) and the upper trigram Dui (Lake), with the intermediate trigrams Qian (Heaven) and Xun (Wind) emerging between them. It is a hexagram with four yang lines and two yin lines, derived from the Hexagram of Great Strength: when the Nine in the Fifth of Great Strength moves down to the second position, it becomes the Hexagram of Revolution. Yu Fan said that the Hexagram of Revolution is formed by moving the top line of the Hexagram of Retreat to the first position, but there is no trace of the meaning of the Hexagram of Retreat in the statement of the Hexagram of Revolution or its line statements, so this explanation does not make sense. The statement of the Hexagram of Revolution says: "Revolution, only on the day of Ji will people believe, beginning with great success, beneficial and proper, regret disappears." The term "revolution" refers to reform and change. Once an old system is changed, people will not immediately believe in it; they will only accept it when the day of Ji comes. Revolution is for the purpose of achieving success; only when it is beneficial and harmonious can great success be achieved. Revolution naturally brings regret, but by adhering to the correct path, regret will disappear. This shows that revolution is not something that can be easily spoken of.

彖曰：革，水火相息，二女同居，其志不相得，曰革。己日乃孚，革而信之。文明以說，大亨以正，革而當，其悔乃亡。天地革而四時成，湯武革命，順乎天而應乎人。革之時大矣哉！夫子釋之曰：兩物相剋曰革，兩人相病亦曰革。卦為上兌下離，離火炎上，澤水就下，則相熄以戕其生；少女僭上，中女屈下，則同居各異其志。蓋不第上火下澤僅止睽違已也。夫睽則求其終合，而革必求其至當，物理有然，人事亦有然。是以改變之事不可輕遽，必先有孚於人，濟以離明，體以兌說，然後乃大亨而正，不至有悔。

The Commentary on the Judgment says: "Revolution, water and fire extinguishing each other, two women living together, their wills not in harmony, is called revolution. On the sixth day, trust is established, revolution is carried out with sincerity. Civilized and joyful, great success through properness, revolution done at the right time, regret is eliminated. Heaven and earth undergo revolution, and the four seasons are formed. Tang and Wu brought about revolution, following the way of heaven and responding to the will of people. The time of revolution is indeed great!" Confucius explains the name of the hexagram: when two things mutually control each other, it is called "revolution," and when two people mutually harm each other, it is also called "revolution." The upper trigram is Dui (Lake), the lower trigram is Li (Fire). Fire tends to rise upward, water tends to flow downward, and when they meet, they extinguish each other, harming each other's vitality. Dui is the young woman but is above, while Li is the middle woman who is below, living together but each with their own thoughts. Therefore, the opposition in the hexagram of Revolution is not only the mutual separation found in the hexagram of Kui (Strife) — the hexagram of Kui seeks ultimate reunion, while the hexagram of Revolution seeks proper adjustment. The principle of things is like this, and human affairs are also like this. Therefore, any change to old systems must not be done hastily or recklessly. It must first gain the trust of people, then be carried out with the clarity of the trigram Li, and be based on the joy of the trigram Dui. Only then can great success be achieved in accordance with the right path, without leaving regret.

其曰己日乃孚者，己於五行屬土，土主信，信即孚也。且離兌相剋，火金濟之以土始得相和，故曰己日乃孚也。推之春改為夏，秋改為冬，亦革也；夏變為殷，殷變為周，亦革也。春夏秋冬曰四時，惟革而四時乃成。大壯上震為春，下乾為冬，易為兌離，離為夏，兌為秋，四時變革象也。

The Hexagram Statement says "on the day of Ji, trust is established" because the heavenly stem "Ji" belongs to the Earth element in the Five Phases, and Earth in the Five Constants represents "trust," which is also "fu." Moreover, fire and metal usually mutually control each other, but between fire and metal, Earth in the middle can mediate (fire generates Earth, and Earth generates metal), allowing them to harmonize, hence "on the day of Ji, trust is established." Extending this principle, changing spring to summer and autumn to winter is "change" (ge); changing Xiaoyao to Yinshang and Yinshang to Zhou is also "change." Spring, summer, autumn, and winter together are called "four seasons," precisely because of the alternation of change that the four seasons can be completed. In terms of hexagram transformation, the hexagram Da Zhuang has the upper trigram Zhen, which represents spring, and the lower trigram Qian, which represents winter. After transforming into Ge, it becomes Dui and Li, with Li representing summer and Dui representing autumn—this is exactly the hexagram symbolizing the change of the four seasons.

大壯之五為陰，自乾二易五，乾為命，是為革命；陽居尊位，是為大人，湯武之象。殷周開創之君曰湯武，必順天應人而後乃言革命。五為天位，三四人位，就三之革言孚，四之改命，順天應人象也。倘非春秋代謝之時，天地不能遽革；倘非桀紂亂極之時，湯武亦不敢輕革。革之時固大也。

The fifth line of the hexagram "Da Zhuang" was originally a yin line. The second line of the Qian trigram exchanged places with it, moving to the fifth position. The Qian trigram represents "heavenly mandate" in terms of imagery and numbers. A yang line replacing a yin line in the sovereign position signifies "revolution." A strong yang line occupying a position of honor is what the Commentary on the Judgment calls "the great man," which symbolizes the figures of Shang Tang and King Wu of Zhou. Shang Tang and King Wu were the founders of the Shang and Zhou dynasties respectively. They must first ensure harmony with heavenly will and alignment with people's hearts before they could dare to use the term "revolution." Among the six lines, the fifth line represents the heavenly position, while the third and fourth lines represent the human position. The line nine in the third position, "Revolutionary words are accepted three times, with sincerity," refers to the people's acceptance. The line nine in the fourth position, "changing the mandate," refers to the change of heavenly mandate. Together, they form the image of "following heaven and responding to people." If it is not the time of spring passing and autumn coming, with the natural change of seasons, the heavens would not suddenly change. If it is not the time when Xia Jie and Shang Zhou were extremely tyrannical, Shang Tang and King Wu would not lightly speak of revolution. This shows that the timing emphasized in "revolution" is indeed of great importance.

象曰：澤中有火，革。君子以治曆明時。澤水熄火，革之象也。君子治曆明時，亦有所變革以成之。虞氏曰：兌為書契曆象，互巽位東南，互乾位西北，在春夏秋冬之交，時象；兌決以治之，離文以明之。初九：鞏用黃牛之革。革貴得時，又貴得位。初居下位，上無正應，雖有剛德，不可妄為，堅固自守乃其分也。以韋束物曰鞏。干氏曰：離為牝牛，離爻本坤，黃牛之象也。在革之初而無應據，未可以動，故鞏用黃牛之革。物之堅韌者莫如牛革，以之束物，其固可知。聖人不輕言革，蓋如此。象曰：鞏用黃牛，不可以有為也。

The Great Image Commentary says: "Fire in the marsh, revolution. The superior man thus regulates the calendar and clarifies the seasons." The water in the marsh extinguishes the fire, which is the image of "revolution." The superior man uses this to revise the calendar and distinguish the seasons, because the calendar must be continuously revised and corrected to be completed. Yu Fan explains that the Dui hexagram represents documents, contracts, and the calculation of celestial phenomena and calendars; the mutual hexagram Xun is located in the southeast, and the mutual hexagram Qian is located in the northwest, which is the position between spring and summer and autumn and winter, thus representing the "time." Dui has the meaning of decision, using it to regulate the calendar; Li has the meaning of civilization, using it to clarify the seasons. The line statement of the initial nine says: "Fasten with a yellow ox hide." Revolution is valuable in seizing the right moment and occupying the proper position. The initial nine is at the very bottom of the hexagram, and above it there is no corresponding line, although it has the virtue of yang strength, it should not act rashly, but rather firmly hold on to its position. Using the hide of a mature ox to fasten something is called "fasten." Gan Bao says that the Li hexagram represents a cow, and the line of the Li hexagram originates from the Kun hexagram, and the color of Kun is yellow, hence the image of "yellow ox." In the initial stage of revolution, there is neither a responding line nor a basis, and thus one cannot act, so one should "fasten with a yellow ox hide" to secure oneself. Among objects, nothing is more durable than ox hide, and using it to fasten, the degree of firmness is evident. The sage does not easily speak of revolution, precisely for this reason. The Small Image Commentary says: "Fasten with a yellow ox, one cannot act."

六二：己日乃革之，征吉，無咎。二自大壯之五來，大壯之五為震，震納庚，庚更也，更即革也。蓋二較初則有為。在大壯雖為震，在革實為離，離納己，時雖宜革，日猶有待，惟至己日乃可革，是至己日乃可征吉無咎也。革至於二猶如此其慎也。象曰：己日革之，行有嘉也。行，征也；嘉，吉也，釋征吉也。

The line statement of the sixth line two says: "On the day of Ji, the change begins; going forward is auspicious, without blame." This line comes from the fifth line of the hexagram Da Zhuang. The upper trigram of the fifth line in Da Zhuang is Zhen. According to the method of Najia, Zhen corresponds to the heavenly stem "Geng," which has the meaning of change. Change signifies transformation. Thus, compared to the line nine at the beginning, line six two can already take action. However, although it belongs to Zhen in Da Zhuang, in the hexagram Ge it actually belongs to Li. Li corresponds to the heavenly stem "Ji" according to Najia. Although the situation has changed, the day must still be waited for, and one must wait until the day of Ji before taking action. Therefore, it is auspicious to go out on the day of Ji, and there will be no mistake. The process of transformation reaches the second line, yet it remains cautious. The Small Image Commentary says: "On the day of Ji, the change begins; going forward brings good fortune." "Going forward" corresponds to "going forward" in the line statement, and "good fortune" corresponds to "auspicious." This sentence explains the words "going forward is auspicious."

九三：征凶，貞厲，革言三就，有孚。三為內卦之終，可以革矣。然五為革主，三非其位，前征則凶；而時既當革，不宜失時，守貞又厲。然則宜如何也？蓋三為臣位，革之見於事業為革命，革之著於籲謨為革言。三至五為互乾，乾為言，以宜革之言歷互乾之三，就正於五，三就而後有孚。如此則無守貞之厲，亦無前征之凶矣。象曰：革言三就，又何之矣。之，往也。何之者，言何不可往也。

The line statement for the third line says: "Going forward brings danger; being firm and cautious brings peril. Three times the proposal for change is made, and there is sincerity." The third line is at the end of the lower trigram, which is the time for change. However, the one who leads the change is the fifth line, and the third line is not in that position. Therefore, rushing forward brings danger. Yet, since the time for change has come, one should not miss the opportunity; remaining still also brings danger. So what should be done? The third line represents the position of a minister. When change is implemented in action, it is called "revolution." When change is expressed through proposals and advice, it is called "proposals for change." ("Xu mo" refers to great plans, as mentioned in the Book of Poetry.) From the third line to the fifth line, the trigrams form the trigram Qian (Heaven), which represents speech. The proposal for change is carried up step by step through the three lines of the trigram Qian, and presented to the fifth line for approval. After three times presenting the proposal, trust is gained from the superior. In this way, there is no danger of remaining still, nor of rushing forward. The Small Image Commentary says: "Three times the proposal for change is made, where else can one go?" "Zhi" means to go, and "he zhi" means where else can one go?

九四：悔亡，有孚改命，吉。四為兌澤，可以熄火，有革之能；四為陽剛，可以任事，有革之才；四為外卦且近君位，有革之時。此彖傳所謂革而當者，悔亡宜矣。而四為陽，實為互乾之中，陽之孚、乾之命皆備於四，故曰有孚改命。夫當未革之前則謂之革，既革之後則謂之改。革莫大於改命，確有可信，不事游移，故吉。象曰：改命之吉，信志也。

The fourth line statement says: "Regret disappears, there is sincerity and the mandate is changed, which is auspicious." The fourth line belongs to the upper trigram Dui (Lake), which is capable of extinguishing the fire below represented by Li (Fire), thus possessing the ability for change. It is a yang line, strong and vigorous, capable of taking on responsibilities, thus possessing the talent for change. It has already entered the outer trigram and is close to the sovereign position, thus encountering the right time for change. This is what the Commentary on the Judgment refers to as "change at the right time." The disappearance of regret is natural. Moreover, the fourth line is a yang line, precisely located in the middle of the interacting trigram Qian (Heaven), so the sincerity of yang and the "heavenly mandate" of Qian are both concentrated in this line. Therefore, the line statement says "there is sincerity and the mandate is changed." Understand that before any change occurs, it is called "revolution," and after the change has taken place, it is called "change." Among all changes, the most significant is changing the heavenly mandate. At this moment, there is indeed a reliable basis, so there is no hesitation or doubt, hence it is auspicious. The Small Image Commentary says: "The auspiciousness of changing the mandate is due to sincere intention."

九五：大人虎變，未占有孚。四之改猶是改舊，五之變則已更新，革至於變，漸彌改革之跡矣。五以陽居陽位，為革之主，又自大壯之二來，以正乾變互乾，乃大人也。大人首出庶物，改正朔，易服色，修法制，移風俗，掃除積弊，煥然一新，觀其威可服人，才足治世，惟虎之變可以喻之。五居兌中，兌為白虎稱虎，兌丁秋令，鳥獸毛毨，故曰虎變。虎變有其文，大人之變亦有其孚，蓋其積誠有素，故不待占決而天下自信也。馬氏曰：虎變威德折衝萬里，望風而信，得未占有孚意矣。象曰：大人虎變，其文炳也。

The line statement of the fifth line says: "The Great Man transforms like a tiger, without needing to consult omens, and people believe in him." The change of the fourth line is merely replacing the old, but the transformation of the fifth line has already substituted with something entirely new. When a change is achieved to the point of transformation, the traces of the reform process gradually disappear. The fifth line, with a yang line in a yang position, is the main line of the entire hexagram's transformation. It is also the second line of the hexagram Da Zhuang that has ascended, changing from the original Qian trigram to the interacting Qian trigram, so it is called "the Great Man." The Great Man stands above all things, changing the calendar and the beginning of the year, altering the colors of vehicles and clothing, revising laws and regulations, and changing customs among the people, sweeping away long-standing evils, and making the world appear completely renewed. Looking at his power, it is enough to command belief; looking at his ability, it is enough to govern the world. This kind of situation can only be compared to a tiger shedding its fur. The fifth line is in the center of the hexagram Dui, and Dui in the star system is the White Tiger. Therefore, it is called "tiger." Dui also incorporates the heavenly stem "Ding," which corresponds to the autumn season. This is precisely the time mentioned in the Book of Documents, Yao Dian, when "birds and beasts shed their fur and their fur becomes neat." Therefore, it is called "tiger transformation." When a tiger sheds its fur, it has beautiful patterns, and the Great Man's transformation also has sincere credibility. Because he has accumulated trust and credibility in advance, he does not need to consult omens to resolve doubts, and people naturally believe in him. Ma Rong said: When a tiger transforms once, its power and virtue are sufficient to command respect from a thousand miles away; people merely see his appearance and believe in him. This exactly captures the meaning of "without needing to consult omens, people believe." The Small Image Commentary says: "The Great Man transforms like a tiger, his patterns are bright."

上六：君子豹變，小人革面，征凶，居貞吉。世當改革之初，天命維新，人亦滌舊。其次於大人者為君子，而君子之變如豹然。陸氏曰：兌之陽爻稱虎，兌之陰爻稱豹，豹類虎而小者也。又有順從大人者為小人，小人之賦稟既偏，小人之改變亦異，雖不能遽化其心，而已能暫革其面。蓋位為首，兌為附決，故云革面。夫時不宜革，固不可妄革；至革道已成，又不宜屢革。革命之事，原非得已，既已又安，不宜更張重擾生民，不宜征而宜居，故曰征凶居貞吉也。象曰：君子豹變，其文蔚也。小人革面，順以從君也。豹之變既異於虎，故其文亦與虎異。五應離中，其文如火之明，故曰炳，炳，火明也；上應互巽，其文如草之盛，故曰蔚，蔚，草盛貌。順以從君，陰順從五陽也。

The statement of the top line says: "The gentleman changes like a leopard, the petty person changes his appearance, going on a campaign brings calamity, but staying firm and loyal brings good fortune." At this time, the world is at the beginning of reform, the mandate of heaven is renewed and bright, and people's hearts are also cleansing themselves of old stains. The position next to "the great man" is the gentleman. The change of the gentleman is like a leopard shedding its fur. Lu Ji said that the yang line of the Dui hexagram is called the tiger, and the yin line is called the leopard, which is a fierce animal of the same kind but smaller in size. In addition, there is a group of ordinary people who only know to obey the great man, called "petty persons." The nature of petty persons is originally deficient, so their way of change is different. Although they cannot immediately change their hearts, they can temporarily change their appearance. The position of the top line corresponds to the head and face of the human body, and Dui has the image of attachment and breaking away, so it is said "changing appearance." In summary, if the time is not suitable for change, one should not rashly change; once the way of change has been completed, one should not change again. Revolution is originally out of necessity. Once it has changed and become stable, one should not change again, disturbing the people once more. It is not advisable to push forward further, but rather to stay in place and be loyal, hence "going on a campaign brings calamity, but staying firm and loyal brings good fortune." The Small Image Commentary says: "The gentleman changes like a leopard, his patterns are splendid. The petty person changes his appearance, following the great man." Since the change of the leopard is different from that of the tiger, its patterns are also different from those of the tiger. The nine in the fifth line corresponds below to the center of the Li hexagram, and Li is fire, its brilliance is like the brightness of fire, so the word "bright" is used to describe it—"bright" means the brightness of fire. The top line corresponds above to the mutual hexagram Xun, and Xun is grass and trees, its brilliance is like the flourishing of grass and trees, so the word "splendid" is used to describe it—"splendid" means the flourishing of grass and trees. As for "following the great man," it means that the yin line of the top line follows obediently the yang line of the nine in the fifth.

巽下離上，中互兌乾。遯。鼎為二陰四陽卦，自遯來，二往升五，故彖傳曰柔進上行。虞氏謂大壯上之初，不合傳義。鼎：元吉，亨。鼎，三足兩耳，和五味之寶器也。鼎為調燮萬物之始，故曰元；萬民利鼎之養，故曰吉；萬世享鼎之用，故曰亨。

The Hexagram of the Cauldron has the trigram Xun (Wind) as its lower trigram and the trigram Li (Fire) as its upper trigram. The intermediate trigrams are Dui (Lake) and Qian (Heaven). It is derived from the Hexagram of Retreat: The Hexagram of the Cauldron is a hexagram with two yin lines and four yang lines. The second line of the Hexagram of Retreat moves up to the fifth position, hence the Commentary on the Judgment says "the flexible line advances and ascends." Yu Fan says it is formed by the top line of the Hexagram of Great Strength descending to the first position, which contradicts the meaning of the Commentary on the Judgment. The Hexagram Statement says: "The Cauldron, original auspiciousness, prosperity." The cauldron is a precious vessel with three legs and two handles, used to harmonize the five flavors. The cauldron is the beginning of regulating and nurturing all things, hence "original." All people benefit from the nourishing power of the cauldron, hence "auspicious." All generations enjoy the utility of the cauldron, hence "prosperity."

彖曰：鼎，象也。以木巽火，亨飪也。聖人亨以享上帝，而大亨以養聖賢。巽而耳目聰明，柔進而上行，得中而應乎剛，是以元亨。離巽兩合之卦而名曰鼎者，象鼎也。初陰在下，象鼎趾；二三四陽，象鼎腹；五陰象鼎耳；上陽象鼎鉉，全鼎之象具焉。且下為巽木，上為離火，中有互乾之金、互兌之澤，烹飪之象又具焉。

The Commentary on the Judgment says: "The Ding (cauldron) is an image. Using wood to assist fire, it enables cooking. The sage uses it to offer sacrifices to the Supreme Deity, and great cooking is used to nourish the sages and virtuous. With flexibility, the ears and eyes become clear and sharp; with softness advancing upward, it reaches the middle and responds to the strong, thus achieving the beginning of great success." The two hexagrams, Li (Fire) and Xun (Wind), combine to form the Ding, named because the entire hexagram image resembles a cauldron: the first line is a yin line at the bottom, like the three legs of the cauldron; the second, third, and fourth lines are yang lines, like the swollen belly of the cauldron; the fifth line is a yin line, like the two handles on either side of the cauldron; and the top line is a yang line across the top, like the bar used to lift the cauldron. The entire shape of a cauldron is thus represented. Looking further at the structure of the hexagram, the lower part is Xun (Wood), the upper part is Li (Fire), and in the middle there are the mutual hexagrams of Qian (Metal) and Dui (Water), fully embodying the image of burning fire to cook food.

則此烹飪者，非泛泛利民用已也。嘗觀古人之用鼎也，首重祀鬼神，其次宴賓客。而鬼神之尊莫若上帝，賓客之尊莫若聖賢。祀之則欲其享之，宴之乃所以養之。然享上帝之禮，貴誠不貴豐，祇是以鼎烹牲，牲熟薦之已耳。若夫養聖賢，餼牽務求其備，割烹務得其宜，禮愈盛而情愈浹，較享上帝之烹尤有加焉。故享上帝祇曰烹，而養聖賢則曰大烹也。

So the term "cooking" here refers not merely to convenience for common use. Consider the occasions when ancient people used the tripod cauldron: the first was for worshiping ghosts and spirits, and the second was for entertaining guests. Among the spirits, the most honored was the Supreme Deity; among the guests, the most honored were the sages and virtuous men. Worshiping the spirits was to offer them food, while entertaining guests was to nourish the virtuous. However, the ritual of worshiping the Supreme Deity emphasized sincerity and reverence rather than abundance; it was sufficient to cook the sacrificial animals in the tripod and present them. As for nourishing the sages, both live animals and provisions had to be fully prepared, and the cutting and cooking had to be properly done. The more elaborate the ceremony, the warmer the sentiment. This was even more refined than the single act of cooking for the Supreme Deity. Therefore, the "Commentary on the Judgment" mentions only "hen" (cooking) when referring to worshiping the Supreme Deity, but says "da hen" (great cooking) when referring to nourishing the sages.

夫鼎固足以利用，而鼎又可以觀德。九家易曰：鼎，天子飾以黃金，諸侯白金，大夫銅，士鐵，三足象三臺，足上皆作鼻目為飾。則鼎不惟有耳，兼亦有目。五陰為耳，上離為目，陰虛能受，故曰聰明。耳聰目明，卦象似之。而卦又自遯來，以遯之二柔上行居五，五柔得中，下應二剛，降君上之尊，下求賢臣，爻象似之。古雖云在德不在鼎，而三代傳國必以鼎，則鼎實備乾元之德也，是以元亨。

The bronze vessel, though useful for daily life, can also be used to observe virtue. The "Nine Schools Commentary on the Changes" says that the Son of Heaven's vessel is adorned with gold, the feudal lords' with silver, the ministers' with bronze, and the commoners' with iron. Three legs symbolize the Three Stars, and the tops of the legs are shaped like noses and eyes as decorations. This shows that the vessel has not only ears but also eyes. In the hexagram, the fifth line is a yin line, symbolizing the vessel's ears; the upper trigram is Li (Fire), representing the eyes. A yin line is empty in the middle, and emptiness allows for receiving, so the "Commentary on the Judgment" says "ears and eyes are clear and sharp" — ears are sensitive and eyes are bright, which matches the hexagram's symbolism. Furthermore, this hexagram comes from the hexagram Dùn (Retreating). In Dùn, the second line, being flexible, moves upward to the fifth position; the fifth line is yin and gentle, occupying the central position, and corresponds downward to the yang of the second line. This represents the ruler lowering his status to seek out virtuous ministers, which matches the symbolic meaning of the lines. Although ancient people said that "a country is established by virtue, not by the vessel" (a saying from the "Zuo Zhuan" where Wang Sun Man answered King Chu Zhang Wang), the Xia, Shang, and Zhou dynasties passed down the state based on the nine vessels, showing that the vessel indeed possesses the great virtue of the Creative Power of Heaven. Therefore, the hexagram states "originally prosperous."

象曰：木上有火，鼎。君子以正位凝命。木上有火，烹飪之象，故曰鼎。鼎之形端，君子體之以正位；鼎之體重，君子體之以凝命。正位謂五也，五位離中，離位正南，有聖人南面聽天下、嚮明而治之象。凝命謂乾也，乾為命，命凝則重不可移矣。

The Great Image Commentary says: "Fire on wood, the Cauldron. The君子 uses this to regulate his position and consolidate his destiny." Fire burning on wood represents the image of cooking, hence the name of the hexagram is "Cauldron." The form of the cauldron is upright, so the君子 learns from this to regulate his position properly; the weight of the cauldron is heavy, so the君子 learns from this to consolidate his assigned destiny. The term "regulate position" refers to the fifth line: the fifth line is in the center of the Li hexagram, which corresponds to the southern direction. Li represents the south, symbolizing the sage facing south, governing the world, and governing with brightness. The term "consolidate destiny" refers to Qian: Qian represents the mandate of heaven. Once the mandate of heaven is consolidated and firm, it becomes heavy and unshakable.

初六：鼎顛趾，利出否，得妾以其子，無咎。卦象全鼎，初則鼎之趾也。初為巽股象趾，巽為進退象顛，趾顛，踣也。夫鼎趾似不宜顛，然在洗鼎之時，必倒趾去垢以致潔，則鼎原有時利於顛。猶之妻有惡行則宜出之，否，惡也。出妻納妾則似於顛，然否惡之妻出之則利，妾有順德，生子必賢，妾又貴得。蓋初體正巽，巽為長女為妻；初應四，四為互兌為妾，四為陽爻為子，是得妾即因以得子。得妾出妻，雖似顛倒，然因妾以得子，出否實利也，故無咎。象曰：鼎顛趾，未悖也；利出否，以從貴也。鼎顛趾不為悖，猶之出否得妾，妾雖非貴，子既貴，妾從之貴矣。

The first line statement says: "The tripod is overturned at its foot, it is advantageous to remove the bad, to take a concubine and have a son, without blame." The entire hexagram represents a tripod in its entirety, and the first line corresponds to the foot of the tripod. The first line belongs to the trigram Xun, which in the human body corresponds to the thighs, hence it is likened to the foot. Xun also signifies indecisiveness, hence it is likened to "overturned." The foot being overturned means the tripod is overturned. Normally the tripod's foot should not be overturned, but when washing the tripod, it must be turned upside down to shake out the dirt, thus making it clean. This shows that sometimes overturning the tripod is actually advantageous. This is similar to the case of divorcing a wife who has bad conduct — "否" means bad. Divorcing a bad wife and taking a concubine may seem like reversing the order, but divorcing the bad wife is actually beneficial, and the concubine has the virtue of gentleness, so the son she bears will certainly be virtuous. Therefore, taking a concubine is valuable because it brings the right person. In terms of the line's symbolism, the first line belongs to the trigram Xun, which represents the elder daughter, hence the wife; the first line corresponds to the fourth line, which belongs to the trigram Dui, representing the younger daughter, hence the concubine. The fourth line is a yang line, which also symbolizes a son — thus obtaining the concubine also means obtaining the son. Although taking a concubine and divorcing a wife may seem like an inversion, because the concubine brings forth a son, divorcing the bad wife is actually beneficial, hence there is no blame. The Small Image Commentary says: "The tripod is overturned at its foot, which is not contrary; it is advantageous to remove the bad, because it follows the noble." Overturning the tripod's foot is not contrary to reason, just as divorcing a wife and taking a concubine, although the concubine's status is not noble, the son is noble, so the concubine also becomes noble by association.

九二：鼎有實，我仇有疾，不我能即，吉。陽實陰虛，二為陽，是鼎有實也。鼎實雖有，尚宜待用。蓋二為巽中，巽為木；二應五，五為離中，離為火；二至四為互乾，三至五為互兌，乾兌為金，金為木之仇，仇讎同。前往遇仇，其何能吉？惟靜以俟之。金雖仇木，亦懼離火，我仇鄰離，仇己有疾，自顧不暇，焉能即我？言金畏火克也。二貴能自守矣。象曰：鼎有實，慎所之也；我仇有疾，終無尤也。之，往也。慎所之則巽木不遇乾兌之金克也。

The line statement for the second line says: "The tripod has food; my enemy is ill and cannot approach me, which is auspicious." A yang line is full, while a yin line is empty. Since the second line is a yang line, it is said "the tripod has food." Although the tripod already contains food, it should still wait for the right time to use it. Because the second line is in the center of the Xun hexagram, which represents wood; it corresponds to the fifth line, which is in the center of the Li hexagram, which represents fire. From the second line to the fourth line, the hexagram forms Qian, and from the third line to the fifth line, it forms Dui. Both Qian and Dui belong to metal, which can overcome wood, thus becoming the enemy of wood. "Enemy" and "rival" have the same meaning. Rushing forward would mean encountering the enemy, how could it be auspicious? Only by remaining still can one be safe. One should know that although metal is the enemy of wood, it itself fears fire. My enemy is close to fire and is suffering from illness, unable even to take care of itself, how could it approach me? This refers to metal fearing the control of fire. The second line is valuable in its ability to remain still. The Small Image Commentary says: "The tripod has food; one should be cautious about where to go; my enemy is ill, and in the end, there will be no blame." "Go" refers to moving forward; being cautious about one's direction will prevent the Xun wood from being attacked by Qian metal and Dui metal.

九三：鼎耳革，其行塞，雉膏不食，方雨虧悔，終吉。三當上下改革之位，上陽不應，上下相隔，五之鼎耳三似不得有之，故曰耳革。夫鼎之有耳，鼎賴以行，倘耳既革，則行頓塞。雖上承離雉，而尚未及互兌之口，雉膏之美，伊誰食之？以耳革之故，幾致雉膏見棄，有悔固宜。然五居文明之位，意在下賢，三有大美，五必求之。蓋三至五為互兌，兌澤稱雨，方將陰陽和合以損其悔。虧，損也。三上雖不相應，三五猶自相承，三雖耳革，承五則鼎耳猶可續得，故終吉。象曰：鼎耳革，失其義也。失其義者，言應上則失宜也。

The line statement for the third line says: "The tripod's handle is broken, its movement is blocked, the rooster's fat meat is not eaten, rain is about to come and regret is reduced, ultimately it is auspicious." The third line is located at the position where the upper and lower trigrams change, and since the top ninth line is also a yang line, they cannot correspond. The upper and lower parts are separated. The fifth line represents the tripod's handle, but the third line seems unable to reach it, hence "the handle is broken" (the tripod's handle falls off). A tripod must have a handle to be lifted and carried; once the handle is broken, carrying becomes blocked. Although the third line is above the li trigram (li represents the rooster), it still cannot reach the mutual trigram dui, which represents the mouth. The delicious wild chicken, who will eat it? Because the handle is broken, almost causing the delicious food to be discarded, regret is inevitable. However, the fifth line is in the position of civilization, eager to honor and attract talents. The third line has great ability and quality, so the fifth line will surely seek it out. From the third line to the fifth line, they form the dui trigram, which represents a marsh, which can be called "rain." The yin and yang are about to harmonize, thus reducing regret—"reduce" means decrease. Although the third and top lines do not correspond, the third and fifth lines still connect vertically. Although the third line has lost its handle, as long as it connects with the fifth line, the handle can be reattached, so it is ultimately auspicious. The Small Image Commentary says: "The tripod's handle is broken, losing its meaning." Losing its meaning refers to the third line if it only corresponds with the top line, losing its proper position.

九四：鼎折足，覆公餗，其形渥，凶。四為互兌之中，而在互乾之上，與內卦之巽分體，則已下不及足，又遇兌為毀折，故曰鼎折足。夫鼎實至四則鼎已盈，盈則必溢，溢則必覆，惟不勝其任，故折足而覆餗。鄭氏曰：鼎三足，三公象；餗，美饌，是八珍之食。覆此公餗，全體沾濡，其形若此，所以雲凶。餗與渥皆兌澤象。當其受餗，豈意折足？至餗已覆且渥其形，是德薄位尊、智小謀大、力小任重者，蓋自欺而兼誤人家國事矣。象曰：覆公餗，信如何也。信如何者，言平日所自信者果如何也。

The line statement for the fourth line says: "The tripod breaks its foot, spills the food, and the food soaks through, resulting in misfortune." The fourth line is located in the middle of the mutual trigram Dui (Lake), and also above the mutual trigram Qian (Heaven). It is separated from the inner trigram Xun (Wind), so it cannot reach the tripod's foot. Moreover, Dui has the image of destruction and breaking, so it is said "the tripod breaks its foot." The food in the tripod is filled up to the fourth line, and when it is full, it overflows, and when it overflows, it spills over, resulting in overturning. This is because it cannot bear the burden, so the foot breaks and the food spills. Zheng Xuan says that the three feet of the tripod symbolize the Three Grand Ministers; "food" refers to exquisite delicacies, that is, the eight delicacies. Spilling the Three Grand Ministers' food, and being soaked in soup, resulting in such a state, is said to be "misfortune." Both "food" and "soaked" take the image of Dui (Lake). When one first received the tripod with delicacies, who would have thought the foot would break? When the food has already spilled and one is soaked in soup, this is the case of a person with shallow virtue holding a high position, a person with limited wisdom planning great affairs, and a person with weak strength shouldering heavy responsibilities. Such a person has deceived himself and delayed the state and country's affairs. The Small Image Commentary says: "Spilling the food, how can one be trustworthy?" It is questioning exactly the little ability he relied upon and boasted about, and in the end, how much use is it actually?

六五：鼎黃耳金鉉，利貞。五偶象鼎之耳，五離得坤中氣，坤為黃，故曰黃耳。鉉，舉鼎具，貫鼎耳中以行鼎者。鼎耳虛，所以受鉉，鉉貫耳，鼎始可舉。五又自遯之二來，五在遯原為乾，乾為金，是金鉉也。但陰居陽位，利於貞正耳。象曰：鼎黃耳，中以為實也。鼎中實盈，故貫以鉉，舉而升之几筵之上，以為燕享之用。五陰雖非鼎實，而居中以求下，則在下之陽皆其實也。

The line statement of the fifth line says: "The tripod has yellow ears and a golden handle; it is advantageous to maintain uprightness." The fifth line is an even-numbered yin line, symbolizing the two ears of the tripod. The fifth line is located in the Li hexagram, which derives its energy from the middle line of the Kun hexagram. The color of Kun is yellow, hence it is called "yellow ears." The "handle" is the tool used to carry the tripod, which is inserted into the ears to lift the tripod. The middle of the ears is hollow, allowing the handle to pass through and support the tripod. The fifth line is also the second line of the Dùn hexagram rising up. In the Dùn hexagram, this line originally belongs to Qian, which represents metal, hence it is called "golden handle." However, since a yin line is in a yang position, it needs to maintain uprightness to be beneficial. The Small Image Commentary says: "The tripod has yellow ears, because the middle is filled with substance." The tripod is filled with food, so the handle is attached to lift it and place it on the table for feasting. The fifth line is a yin line, which itself is not the food in the tripod, but since it is in the center and seeks downward, all the yang lines below become its substance.

上九：鼎玉鉉，大吉，無不利。上以一陽亙鼎之上，則鼎鉉也。鼎貫於耳，故五言耳兼及於鉉；耳待受鉉，故上言鉉不再言耳。而金玉異質者，五為遯之乾，乾為金，故五鉉曰金；上亦遯乾，乾又為玉，故上鉉曰玉。鉉本金器，以玉飾之，則鉉愈貴，不惟利鼎之養，兼且美鼎之觀，故大吉無不利。象曰：玉鉉在上，剛柔節也。陽居陰位，剛濟以柔也。

The line statement for the top line says: "The tripod has a jade handle, great auspiciousness, no misfortune." The top line is a single yang line spanning across the top of the tripod, which is called the handle. The handle needs to be inserted into the ear, so when the fifth line discusses the ear, it also mentions the handle. The ear is waiting to receive the handle, so the top line only mentions the handle and does not repeat the mention of the ear. As for the same handle, one place refers to it as metal and another as jade, because the fifth line originally belongs to the body of the "Retreating" hexagram, which is the Heaven trigram, and Heaven represents metal, so the handle in the fifth line is called "metal." The top line also comes from the Heaven trigram of the "Retreating" hexagram, and Heaven can also symbolize jade, so the handle in the top line is called "jade." The handle is originally a metal object, but when decorated with jade, it becomes even more precious. Not only does it facilitate the nurturing function of the tripod, but it also enhances its appearance, hence great auspiciousness and no misfortune. The Small Image Commentary says: "Jade handle at the top, the balance between yang and yin." A yang line occupying a yin position is precisely using yin to moderate yang.