Zhen Trigram (Thunder)

震下震上，中互坎艮。重震純卦。震：亨。震來虩虩，笑言啞啞。震驚百里，不喪匕鬯。震為雷，為長子，為諸侯。震以一陽動於二陰之下，故象雷；坤索乾初為男，故象長子；乾為君，震為乾之長子，長子主器，故象諸侯。震陽自下行上，能致亨通。但震威忽來，則恐懼者眾，虩虩，恐懼貌；而中有所主者，仍安笑語之常，啞啞，笑聲。縱震驚遠及百里，而匕鬯在手，不至喪失，其誠敬有餘，心志堅定，蓋若此。

The Hexagram Zhen has the same lower and upper trigrams, both Zhen, and in the middle it produces the trigrams Kan and Gen. It is a pure hexagram with the same trigrams above and below. The Hexagram Statement says: "Zhen, smooth. Zhen comes with fear, but laughter follows. Thunder shakes a hundred miles, yet the ritual knife and wine do not fall." In symbolic terms, Zhen represents thunder, the eldest son, and the feudal lords. The Zhen hexagram has one yang line beneath two yin lines, thus resembling thunder. The earth (Kun) takes the first line from heaven (Qian) and thus becomes male, representing the eldest son. Heaven (Qian) is the king, and Zhen is the eldest son of Qian, who presides over ancestral temple rituals, thus representing the feudal lords. The yang energy of Zhen rises from below, bringing about smoothness. However, thunder suddenly arrives, frightening many people, "xu xu" meaning fear. But those with inner mastery remain calm and laugh, "ya ya" meaning laughter. Even though the thunder shakes a hundred miles away, the ritual knife and wine in the hands of the chief priest do not fall, because he has sufficient sincerity and firm will, enabling him to do so.

彖曰：震亨。震來虩虩，恐致福也。笑言啞啞，後有則也。震驚百里，驚遠而懼邇也。出可以守宗廟社稷，以為祭主也。卦之所以名震者，以震為雷也。鄭氏曰：雷者動物之氣，雷之發聲，猶人君出政以動國中之人也，故謂之震。當彼重陰冱寒，萬物閉藏，至於中春，雷聲震動，則所以啟蟄而出萌者端賴乎此，故曰亨也。

The Commentary on the Judgment says: "Zhen is prosperous. When Zhen comes, there is fear, which brings good fortune. Laughter and speech are cheerful, indicating that there is a model to follow. Zhen shakes a hundred miles, startling those far away and frightening those near. It is possible to go out and guard the ancestral temple and state granary, serving as the chief of sacrifice." This hexagram is called "Zhen" because Zhen symbolizes thunder. Zheng Xuan says that thunder is the qi that moves all things. The sound of thunder is like a ruler issuing orders to move the people in the country, hence it is called "Zhen." When the time of heavy yin, cold weather, and the concealment of all things has passed, and it reaches the middle of spring, the sound of thunder awakens the insects that have been hibernating, allowing them to emerge, and enables the sprouts of grass and trees to break through the soil. This is all due to the sound of thunder, hence the Commentary on the Judgment says it is "prosperous."

夫以雷之動物言，則震曰亨；而以雷之驚人言，則震曰恐。人心貴斂，放則多失，惟恐乃可以致福，亦惟恐而心始有主。當夫震自外來，虩虩可懼，而動有常則者，猶仍安其啞啞笑言之常。雖雷聲震驚遠及百里，而承祭者居宗廟社稷之間，匕鬯晏然，是惟心有所主，故無喪失之虞也。

From the perspective that thunder can move all things, the hexagram Zhen speaks of "smoothness"; from the perspective that thunder can alarm people, the hexagram Zhen speaks of "fear." The human heart should be restrained, for indulgence leads to many mishaps. Only by maintaining caution can one attract good fortune, and only by maintaining caution can the mind have a master. When thunder strikes from outside, everyone is frightened and uneasy, but those who have always acted in accordance with order remain calm and speak and laugh as usual. Although the thunder's sound reaches far beyond a hundred li, the person conducting worship is in the temple and state shrine, with the dagger and the wine of chang unmoved in his hands. This is because he has a master within his mind, so he has no worry of losing the ritual vessels.

震為笑，為言。匕，一曰柶，形如匙，撓鼎之器，喪事以桑為之，祭事以棘為之。卦有互坎，坎為叢棘，故象匕鬯。以矩?鬯釀鬱草，芬芳攸服，以降神也。坎為酒，故曰鬯。坎又為隱伏，艮為門闕，故象宗廟社稷。百里者，諸侯封畿之象。雷聲忽震，遠邇驚恐，乃誠敬自守，不失威儀，則是不懼者由於能懼。長子繼世而出，擔荷天下重器以為祭主，不亦克勝其任而愉快乎！

The trigram Zhen represents laughter and speech. The character 「匕」 is also called 「柶」, which resembles a spoon and is used to lift meat from a cauldron. For funerals, it is made of mulberry wood, and for sacrifices, it is made of thornwood. This hexagram contains the trigram Kan as its mutual trigram. Kan represents water and also thornwood, so it takes the image of 「匕」. The term 「鬯」 refers to a type of wine made from millet and flavored with the herb yujing, which has a fragrant aroma and is used to summon and welcome deities. Kan represents water and wine, so it is called 「鬯」. Kan also signifies concealment, and Gen represents gates and thresholds, thus combining to form the image of ancestral temples and state shrines. 「A hundred li」 represents the territory of a feudal state. Thunder suddenly roars, causing people far and near to be startled and confused, yet the chief priest remains steadfast in sincerity and does not lose his proper demeanor. This shows that his calmness in emergencies is due to his habitual mindfulness and caution. The eldest son inherits the family's legacy and bears the heavy responsibility of the ancestral temple's sacred vessels, becoming the chief priest of the state. Is he not fully capable and thus feeling at ease in his heart?

象曰：洊雷震，君子以恐懼修省。恐懼，敬天之威；修省，體震之動。初九：震來虩虩，後笑言啞啞，吉。卦為重震，初四皆陽，而震陽自下上往，故初為卦主，爻辭與卦辭同，象傳與彖傳同也。曰後者，言在上震之後，惟在後乃得吉也。象曰：震來虩虩，恐致福也。笑言啞啞，後有則也。

The Great Image Commentary says: "Recurring thunder, Zhen. The superior person uses this to be fearful and self-examine." The term "fearful" refers to reverence for the majesty of Heaven; the term "self-examine" refers to emulating the movement of the Zhen trigram and thus self-cultivate and reflect. The line statement of the initial line says: "Thunder comes, causing fear, then later laughter and joy, resulting in good fortune." This hexagram has both trigrams as Zhen, the initial line and the fourth line are both yang lines, and the yang energy of Zhen moves upward from below. Therefore, the initial line is the main line of the hexagram. Its line statement is the same as the hexagram statement, and its Small Image Commentary is the same as the Commentary on the Judgment. The line statement adds the character "after," indicating the thunder of the upper trigram. Only by being behind can good fortune be obtained. The Small Image Commentary says: "Thunder comes, causing fear, which may lead to good fortune. Laughter and joy follow, indicating a standard to follow."

六二：震來厲，億喪貝，躋于九陵，勿逐，七日得。人心方寂，震動忽來，二之下為震主，故來愈厲。二與初同體，初陽為貝，貝海介蟲，古者貨貝而寶龜，則貝即貨也。九家易曰：震為玉，有貝象。二至四為互艮，艮山象陵。一震之威，不能無失，雖喪去其貝，而亦安然，且用震足往躋九陵以避之。九，陽數；億，安也。春秋傳曰：心億則樂。夫人之所以罹患，多由為利所牽不能舍耳。若知貝可喪則喪之，陵可躋則躋之，避難以自全，前往以待時。所喪之物歷六爻已盡，再歸本爻計也，七日則得之矣，何用逐為？

The line statement for the second line says: "A thunder strike comes suddenly, losing treasures, ascending to the high mountains, do not chase, it will be regained after seven days." When the mind is calm, a sudden thunder strike occurs. The second line is below the main hexagram's Zhen (Thunder) line at the beginning, so this thunder strike comes especially strongly. The second line and the fourth line together form the hexagram Gen (Mountain), which represents "mountain" or "hill." Under one sudden thunder strike, there is inevitably some loss. Although the second line loses wealth, it remains calm and, relying on the feet represented by the Zhen (Thunder) hexagram, ascends to the high mountains to avoid danger. "Nine" represents the extreme of the yang number, indicating great height. "Yi" means peace or ease. The "Spring and Autumn Zuo Zhuan" says, "If the heart is at ease, then it is joyful." People often suffer misfortune because they are attached to wealth and cannot let go. If one understands that when wealth is lost, it should be let go, and when mountains are to be climbed, they should be ascended, avoiding danger to preserve oneself, and first leaving to wait for the right time, then the lost things, after going through all six lines, will return naturally after seven days, so there is no need to chase after them.

象曰：震來厲，乘剛也。六三：震蘇蘇，震行無眚。震自初來，震不遽至三，較二可少安矣，而又蘇蘇者，言震之餘威將及此也。鄭氏曰：蘇蘇，不安也。夫陰居陽位，不能無眚，三體互坎，坎為多眚，知其有眚而行以避之，庶克免耳。象曰：震蘇蘇，位不當也。九四：震遂泥。四亦震陽也，而居四陰之間，互坎之內，甫欲震動而即陷於坎水，故曰震遂泥。象曰：震遂泥，未光也。

The Small Image Commentary says: "Zhen comes with danger, riding on strength." (The yin line at the second position is riding on the yang strength of the first line.) The line statement for the third line says: "Zhen Su Su, Zhen moves without calamity." The thunder Zhen originates from the first line, and does not immediately reach the third line. The third line should be somewhat more secure than the second, but it is still "Su Su" unstable, indicating that the residual power of Zhen is about to affect it. Zheng Xuan says "Su Su" means mental unease. The third line, being a yin line in a yang position, cannot avoid calamity; the third line also belongs to the interacting Kan trigram, which is associated with many calamities. If one knows there is danger and leaves early, it may avoid disaster. The Small Image Commentary says: "Zhen Su Su, position is inappropriate." The line statement for the fourth line says: "Zhen then sinks." The fourth line is also a yang line of Zhen, but it is sandwiched between four yin lines and lies within the interacting Kan trigram. When it is about to move, it sinks into the water of Kan, hence "Zhen then sinks" (a single movement leads to sinking into mud). The Small Image Commentary says: "Zhen then sinks, not yet bright."

六五：震往來厲，億無喪有事。五居外卦之中，卦為重震，內震方往，外震又來，故曰震往來厲。五與二同處中位，然二之處震以有所喪而安，而五之處震以無所喪而安。蓋二之所喪為貝，貝之喪無關重輕，故可以喪而躋九陵；至於五為君位，為宗廟社稷之主，是宗廟社稷之事皆為其事，其事在位中，億安無喪，乃可以為祭主，其事大故不可喪也。虞氏曰：事，祭祀之事。無喪有事，蓋以五之位與二異耳。象曰：震往來厲，危行也。其事在中，大無喪也。

The line statement of the fifth line says: "Zhen comes and goes with danger, there is no loss but there are affairs." The fifth line is in the center of the upper trigram, and the whole hexagram is composed of Zhen. The inner trigram Zhen has a strong line that has passed, and the outer trigram Zhen brings another strong line, so it is said "Zhen comes and goes with danger." The fifth line and the second line are both in the central position, but the second line is in the trigram of Zhen, and it achieves peace by losing something; the fifth line is in the trigram of Zhen, but it achieves peace because it has nothing to lose. This is because the second line only lost money, which is of little importance, so it could be discarded and climb to a high place; but the fifth line is the position of the ruler, the master of the ancestral temple and state. All the affairs of the ancestral temple and state are his responsibility, and these affairs are within his position. Only by maintaining them without loss can he be worthy of being the one to perform the sacrifices. The affairs are too important to be lost. Yu Fan says: "affairs" refers to the affairs of sacrifice. The line statement says "no loss but there are affairs" because the position of the fifth line is different from that of the second line. The Small Image Commentary says: "Zhen comes and goes with danger, it is dangerous to walk. The affairs are in the center, great and without loss."

上六：震索索，視矍矍，征凶。震不于其躬，于其鄰，無咎，婚媾有言。上居重震之上，陰柔無主，宜其內不自安，驚懼形色，兼見於目。馬氏曰：索索，內不安也；矍矍，目遽貌。中心無主，頓失故常，冒昧前往，則凶立見，是宜早自圖維。當彼震及於鄰、未至其躬之候，聽人戒言，預知畏懼，則猶無咎。蓋初為震主，上遠於初，五為上鄰，四與上同體，陰陽配合為上婚媾，震為聲音，故云婚媾有言也。象曰：震索索，中未得也。雖凶無咎，畏鄰戒也。中未得者，中心不安未得主也；畏鄰戒者，聞鄰言預知自防也。

The line statement for the sixth line above the hexagram says: "Zhen Suo suo, Shi jue jue, Zheng xiong. Zhen bu yu qi gong, yu qi lin, wu jiu, hun gou you yan." The sixth line is at the very top of the repeated thunder (Zhen) trigram, and is yin and weak, lacking a central authority. Therefore, it is naturally anxious and fearful inside, and this fear is reflected in its expression and eyes. Ma Rong said that "suo suo" refers to inner unease, and "jue jue" refers to eyes darting around in alarm. Without a central authority, it loses its normal state quickly. If it proceeds recklessly, danger will come immediately. Therefore, it should plan ahead. While the thunder has not yet reached itself, but only reached its neighbors, it should listen to the warnings of others, foresee danger in advance, and thus avoid blame. Because the first nine is the main Zhen in the whole hexagram, and the sixth line is farthest from it. The sixth line is close to the fifth line, which is six. The fourth line and the sixth line are both in the upper trigram, with one yin and one yang, thus forming a marital relationship. Thunder in the image represents sound, so it is said "hun gou you yan" (the marital relationship has words to say). The Small Image Commentary says: "Zhen suo suo, zhong wei de ye. Su xiong wu jiu, wei lin jie ye." "Zhong wei de" means the mind is unsettled and has not yet found a central authority. "Wei lin jie" means listening to the warnings of the neighboring line and being cautious in advance.

艮下艮上，中互震坎。重艮純卦。艮其背，不獲其身，行其庭，不見其人，無咎。艮象為山，艮位在寅。艮畫似人，人之一身惟背得艮義，故曰艮其背。人背則身亦背，背不可獲，故曰不獲其身。人則有行，而行祇在庭，人為庭蔽而不之見，故曰不見其人。身則不獲，人則不見，不獲不見，艮之德也，故無咎。

The Hexagram of Gen has both its upper and lower trigrams as Gen, making it a pure hexagram with identical upper and lower parts. The Hexagram Statement says: "Keeping still at the back, one does not see his own body; walking in the courtyard, one does not see a person. There is no blame." In symbolic terms, Gen represents a mountain, and in the system of the twelve earthly branches, it corresponds to "Yin." The diagram of Gen, with two yin lines below and one yang line above, resembles the profile of a person. Among the parts of the human body, the back is most suitable to symbolize the nature of Gen, which is to stop and remain still. When a person turns his back, his whole body is turned away from others; since the back is not visible, it is said "one does not see his own body." People always move, but their movement is confined within their own courtyard, hidden by the buildings, so they are not seen. Since the body is not visible and the person is not seen, this is precisely the virtue of Gen, which is to stop and remain still, hence there is no blame.

彖曰：艮，止也。時止則止，時行則行，動靜不失其時，其道光明。艮其止，止其所也。上下敵應，不相與也。是以不獲其身，行其庭不見其人，無咎也。卦為重艮，即連山。夏易曰連山，連山首艮，取人生於寅之義。蓋以艮位在寅，艮畫又象人，故重艮之卦不取象于山而取象於人。然卦雖以人取象，而猶以山取義。山體常靜，人身主動，其止而不動者惟背，故以人之背言艮之止。

The Commentary on the Judgment says: "Geng means stopping. When the time comes to stop, one stops; when the time comes to move, one moves. Thus, movement and stillness do not miss their proper time, and the way is bright. To stop at the right place is to stop at the proper place. The upper and lower parts are in opposition and respond to each other, but they do not interact. Therefore, one does not lose oneself, walks through the courtyard without seeing a person, and thus incurs no blame." This hexagram has both upper and lower parts as Geng, which is called "Lianshan." The Book of Changes of the Xia dynasty was called "Lianshan," and "Lianshan" took the Geng hexagram as its first one, symbolizing "human beings are born in the year of Yin." This is because the Geng hexagram corresponds to the direction of Yin, and the diagram of the Geng hexagram also resembles a person. Therefore, the Geng hexagram is not taken as a symbol of mountain, but of a person. However, when taking meaning from the hexagram, it still refers back to the mountain: the form of the mountain is always still, while the body of a person is mainly active. The only part of the human body that is still is the back, so the back of a person is used to explain the "stopping" of Geng.

夫人既止於背，則人是背非向。向則見身，背則身不可見，是為不獲其身。且不惟不獲其身，而又不見其人。蓋人身必動，動則有行，而行祇在其庭，則人雖動而行自靜。宮中曰庭，艮為門闕，互坎為宮室，互震為行，故曰行其庭。行於其庭，門闕外蔽，人焉得見？況重艮之門闕，屏寧扉闔，深邃更難窺也。

A person is located on the back, so he is facing away from people rather than facing them directly. When facing each other, one can see the body, but when facing away, the body cannot be seen, which is called "not seeing his body." Moreover, not only can his body not be seen, but he himself cannot be seen. Because a person's body must move, and movement involves walking, but his walking is limited to within his own courtyard. Although he is moving, his movements remain still in appearance. The open space within a house is called "court." The trigram Gen represents gates and thresholds, and the trigram Zhen represents movement, while the trigram Kan represents the house. Therefore, it is said "walking in the court." A person moves within his own courtyard, where the gate and walls block the view from outside. How can others see him? Moreover, the trigram Gen appears twice, indicating gates and thresholds that are repeated, with screens in front and doors closed behind, making the courtyard deep and difficult to see into.

當其止為靜，而其行則動，動似非止。不知止得其時，止固為靜；動得其時，動亦為靜。動靜不失其時，艮道陽光昭明外見，動亦為靜，是行亦謂之止，故曰艮止也。然則言艮其背，言其止，可也。艮止維何？止其所也。爻有應則不能止，此卦陰陽同德，上下敵應，祇宜各止其所，不出其位。我既不能同人，人又焉能同我？是以不獲其身，行其庭不見其人，無咎也。

According to common sense, when something stops it is still, and when it moves it is active. Movement seems not to be stopping. But in reality, stopping in accordance with the proper time is stillness, and movement in accordance with the proper time is also stillness. Both movement and stillness maintain their proper timing, and thus the radiance of the principle of艮 (Stillness) becomes evident. Movement becomes stillness, so "movement" can also be called "stillness." Therefore, the Commentary on the Judgment says, "Gèn means stillness." Thus, the Hexagram Statement says "Gèn its back," referring precisely to its stillness. So where exactly is the stillness of Gèn? It is in the proper position for each. When the lines correspond with each other, they cannot stop. However, in this hexagram, the upper and lower trigrams are entirely in harmony, with the first and fourth, second and fifth, and third and top lines all being of the same nature and opposing each other without correspondence. Therefore, each should remain in its proper position without exceeding its own boundary. Since I cannot harmonize with others, how can others harmonize with me? Therefore, it says, "Not obtaining oneself, moving through the courtyard without seeing a person, there is no blame."

象曰：兼山艮，君子以思不出其位。心有思則動，思限以位，動亦靜也，故君子思不出其位，取象於兼山也。初六：艮其趾，無咎，利永貞。卦以人取象，初位最下，是趾也。夫陽動陰靜，初為陰，是能止其趾不妄動者。艮德為止，苟能止趾，合艮德矣，故無咎，但惟永貞乃利耳。象曰：艮其趾，未失正也。

The Great Image says: "Two mountains overlapping, Gen. The superior person thus thinks without going beyond his position." A single thought is "movement," but if one confines his thinking within his proper role, this movement is equivalent to stillness. Therefore, the superior person does not think beyond his position—this is taking the image of two mountains overlapping, each in its proper place. The line statement of the first line says: "Hold the foot still, no blame, advantageous to maintain constancy." This hexagram uses the human body as an image; the first line is the lowest position, which corresponds to the foot. Yang is active and Yin is still; the first line is a Yin line, which is precisely able to hold the foot still and prevent hasty action. The virtue of Gen is "stillness." If one can hold the foot still, then he conforms to the virtue of Gen, thus having no blame; however, it is only advantageous to maintain constancy over the long term. The Small Image says: "Hold the foot still, has not lost the proper position."

六二：艮其腓，不拯其隨，其心不快。趾之上則為腓，二得艮中，是為艮其腓。然一人之身，心為主，體隨之。蓋心陽主動，體陰主靜，三為陽，又為互坎之中，坎為心，二比三，三不拯二，三不愉快，二有欲靜不能者。象曰：不拯其隨，未退聽也。二為三之隨，言三為心，未退聽於二也。

The line statement for the second line says: "The foot is blocked, and the following does not come, the heart is not at ease." The foot pointing upward is the calf, and the second line is located in the middle of the lower body of the mountain hexagram, exactly where the calf is, hence it is said "the foot is blocked." However, in a person's body, the heart is the master, and the limbs and torso merely follow the heart. The heart is yang and active, while the body is yin and still. The third line is a yang line, and it is located in the middle of the interacting trigram kan, which represents the heart. The second line is adjacent to the third line, but the third line does not support the second line. The third line itself is also not at ease, so the second line is in a situation where it wants to be still but cannot. The Small Image Commentary says: "The following does not come, it has not yet listened." The second line is the part that follows the third line, meaning that since the third line is the master of the heart, it does not retreat to listen to the second line.

九三：艮其限，列其夤，厲熏心。限，要也；夤，夾脊肉。既已艮止其限，則腰不能協屈伸之宜，而夤亦相與對峙不動。坎陽中峙，四陰分列，象人脊骨，坎為脊，故曰列其夤。夫限之不動，有似於止，然限前為心，則心因夤之列而妄動不寧，如火熏灼。蓋互坎為心，心後為限，猶坎之反為離，離火炎蒸，故見危厲。此勉強求靜，則心轉以強制而動愈甚也。象曰：艮其限，危熏心也。六四：艮其身，無咎。身以藏心，心不可見而身可見，故繼心而言身。身既艮止，則身無為，故無咎。象曰：艮其身，止諸躬也。

The line statement for the third line says: "Geng qi xian, lie qi yin, li xun xin." "Xian" refers to the waist, and "yin" refers to the muscles on either side of the spine. Since the waist is forcibly stopped, it cannot adjust with the bending and stretching of the body, and the muscles on either side of the spine also become stiff. The hexagram Kan has one yang line in the center and four yin lines on both sides, resembling the human spine. Since Kan also represents the back, it is said "lie qi yin" (the muscles on either side of the spine are split apart). The waist being immobile appears as "stop," but the front of the waist is the heart. The heart becomes restless and agitated because the muscles on either side of the spine are stiff and split, like being scorched by fire. The interacting lines of Kan represent the heart, and behind the heart is the waist. When Kan is viewed upside down, it becomes Li, which represents fire. The fire spreads and causes danger, hence the statement of danger. This refers to forcing stillness, which instead causes the heart to become more restless due to being forced. The Small Image Commentary says: "Geng qi xian, wei xun xin." The line statement for the fourth line says: "Geng qi shen, wu jiu." The body is used to contain the heart. The heart is invisible, while the body is visible, so after discussing the heart, it continues with the body. Since the body has been stopped, there is no reckless action, hence no fault. The Small Image Commentary says: "Geng qi shen, zhi zhu gong ye."

六五：艮其輔，言有序，悔亡。輔，口頰也。艮卦象背，故爻皆以背取象，二腓三夤，其顯然者。五不曰口而曰輔，言從背僅見輔也。五位為輔，故云艮其輔。言從輔出，輔既曰艮，何有於言？然五體為互震，震為言，則言又似不可以永止，惟體艮德，言不妄發，循循有序，悔乃亡耳。象曰：艮其輔，以中正也。上九：敦艮，吉。三上皆為艮主，三以列於四陰之間，故艮限而危；上為一卦之終，故敦艮而吉。蓋自艮趾以至艮輔，則艮已敦矣，敦故吉。象曰：敦艮之吉，以厚終也。敦，厚也，上為卦之終，故曰厚終。

The line statement for the sixth line says: "Gentle restraint of the cheekbone, speech is orderly, regret disappears." "Cheekbone" refers to the jawbone. The *Gèn* hexagram uses the human back as its image, so each line is interpreted from the perspective of the back: the second line refers to the calf, the third line refers to the interspinal muscles, all clearly visible from the back. The fifth line does not mention "mouth" but refers to "cheekbone," because from behind one can only see the cheekbone and not the mouth. The position of the fifth line corresponds to the cheekbone, hence "Gentle restraint of the cheekbone." Speech originates from the mouth and cheek, so if the cheekbone is already "restrained," how can speech occur? However, the upper trigram of the fifth line gives rise to the *Zhèn* trigram, which governs speech, indicating that speech seems not entirely restrained. Only by understanding the virtue of *Gèn*, not speaking recklessly, and speaking in an orderly manner can regret be dispelled. The *Small Image Commentary* says: "Gentle restraint of the cheekbone, because it is upright and just." The line statement for the top line says: "Gentle restraint, auspicious." Both the third line and the top line are main lines of the *Gèn* hexagram. The third line is sandwiched between four yin lines, so it restrains the waist and incurs danger. The top line is at the end of the hexagram, so it can restrain gently and thus is auspicious. From restraining the toes up to restraining the cheekbone, the practice of restraint has become substantial, and thus it is auspicious. The *Small Image Commentary* says: "Gentle restraint is auspicious because it is thorough at the end." "Thorough" means thick, and the top line is the end of the hexagram, hence "thick end."

慧珠閣原本。岫巖多隆阿雯溪。

This volume is transcribed according to the original edition of "Hui Zhu Ge." The author is Duolong'a, from Xiuyan in Liaodong, with the style name Wenxi.

艮下巽上，中互離坎。否。漸為三陰三陽卦，自否來，虞氏曰否三之四。漸：女歸吉，利貞。艮下巽上，亦是以男下女，而長少非偶。不惟不類兌艮為咸、震巽為恆，而轉類山風蠱，有似女惑男者。艮男方少，尚宜待時；巽女已長，久宜得配。倘非行之以漸，俟六禮之備，則與淫奔無異，故卦取名曰漸。卦辭繫曰女歸吉利貞，蓋言女歸惟漸則吉，不漸則不吉；惟漸則利，不漸則不利，所宜貞守此漸矣。

The Hexagram "Gradual Progress" has the lower trigram艮 (Gèn, Mountain) and the upper trigram巽 (Xùn, Wind). In between, the interacting trigrams produce离 (Lí, Fire) and坎 (Kǎn, Water). It comes from the Hexagram "Opposition" by exchanging the third and fourth lines. The Hexagram "Gradual Progress" is a trigram with three yin lines and three yang lines. Yu Fan said it was formed by exchanging the third and fourth lines of the Hexagram "Opposition." The Hexagram Statement says: "Gradual Progress: A woman returning is auspicious, beneficial to be steadfast." Mountain below and Wind above, just like a man below a woman (in accordance with the rites of courtship), but one is the eldest daughter and the other is the youngest son, their ages are not in harmony. It is not like the Hexagram "Intimacy" with Lake above and Mountain below, or the Hexagram "Permanence" with Thunder above and Wind below, where the man and woman are of similar age. Instead, it is closer to the Hexagram "Restlessness" with Mountain below and Wind above, implying a woman misleading a man. The man symbolized by Mountain is still young and should wait for the right time; the woman symbolized by Wind is already old and should have found a husband. In such a situation, if one does not proceed step by step and wait until the six rites are complete before marriage, it is no different from elopement. Therefore, this Hexagram is called "Gradual Progress." The Hexagram Statement says "A woman returning is auspicious, beneficial to be steadfast," meaning that a woman's marriage is auspicious only if it proceeds gradually, and not auspicious if it does not. It is beneficial only if it proceeds gradually, and not beneficial if it does not. Therefore, one should adhere to the concept of "Gradual Progress."

彖曰：漸之進也，女歸吉也。進得位，往有功也。進以正，可以正邦也。其位剛得中也。止而巽，動不窮也。傳釋之曰：漸為漸次，不訓進，而乃曰進者，言進不可遽，當進以漸，故曰進也。夫卦之訓進者為晉，而漸之進則與晉異。彼晉之進為臣覲君，而漸之進為女歸男。夫男先於女，婚禮之宜，而巽女已長，則有欲不歸而不能者，求偶在女，故曰女歸。行之以漸，始可云吉。且夫惟漸乃吉，事事皆宜然也。

The Commentary on the Judgment says: "The gradual progress of the gradual advancement, the woman's marriage is auspicious. Advancing to a proper position, going forward brings merit. Advancing with correctness, one can regulate the state. Its position is strong and in the center. Stopping while being yielding, movement does not reach an end." The Commentary on the Judgment explains that "Gradual" originally means gradual progression, and is not interpreted as "advancement." Here, however, it says "advancement," to indicate that advancement should not be hasty, but should be done step by step. Therefore, it says "gradual advancement." Among the sixty-four hexagrams, the one that truly means "advancement" is the Hexagram of Progress. The "advancement" in the Hexagram of Gradual differs from that in the Hexagram of Progress: the advancement in the Hexagram of Progress refers to a subject paying homage to the sovereign, while the advancement in the Hexagram of Gradual refers to a woman marrying into another family. According to ritual, the man comes first to propose, and only then does the woman respond, which follows the proper order of marriage. However, the woman represented by the trigram Xun (Wind) is of an age where she cannot remain unmarried, so she is in a difficult situation. The one seeking a partner is now the woman, hence it is said "the woman's marriage." At this time, one must proceed step by step according to ritual to be considered auspicious. Extending this principle, only gradual progress is auspicious; there is no matter in the world that does not follow this pattern.

卦自否來，否之三四陰陽失位，而三往居四，進得其位，上承九五，是為往有功也。而陽來居三為正，陰往居四亦為正。否僅一陽得位，漸則二陽得位，陽為陰率，乾以一陽下居坤上，是所以正坤邦也。五在否卦，剛自得中，三四相易，五剛不易，剛仍得位，是為剛得中也。坤變為艮，乾變為巽，艮止而巽行，行則有動，而動必以巽，是動以漸，故不窮也。漸進之吉，不僅女歸，又如此。

This hexagram comes from the hexagram "Pu" (Obstruction). In "Pu", the third line is yin and the fourth line is yang, neither of which is in the proper position. Now the third line has moved up to the fourth position, thus advancing to the correct position, and also above the nine in the fifth position. This is what the Commentary on the Judgment refers to as "going forward brings merit." At the same time, the yang line descending to the third position is in the proper position, and the yin line ascending to the fourth position is also in the proper position. In the hexagram "Pu", there was originally only one yang line in the proper position, but in the hexagram "Jian" (Gradual Progress), there are two yang lines in the proper position. Yang can lead yin, and the pure yang of Qian (Heaven) descending to the upper part of Kun (Earth) is precisely used to correct the state represented by Kun, which is the state of a state. Therefore, it is said, "advancing in the correct way can correct the state." In the hexagram "Pu", the fifth line was already a strong yang line in the center. After the third and fourth lines have exchanged positions, the fifth line remains unchanged, and the strong yang line is still in the proper position, which is called "its position is strong and in the center." The original Kun has become Gen (Stillness), and the original Qian has become Xun (Wind). Gen represents stillness, and Xun represents following. Movement involves action, and action must follow the gentle and compliant nature of Xun. This is called "movement in a gradual manner," so the process is never exhausted and will not lead to difficulties. Thus, the reason why proceeding gradually is auspicious is not only applicable to the case of a woman marrying, but also applies to a much broader range of situations.

象曰：山上有木，漸。君子以居賢德善俗。山上之木，其高以漸；君子居德善俗，亦體漸義。德之漸進貴能居，居之如艮山之止；俗之漸進欲其善，善也如巽風之入。初六：鴻漸于干，小子厲，有言，無咎。互離為飛鳥，居互坎之間，是水鳥集於水畔之象，有似於鴻，故爻辭皆言鴻。鴻來有時，鴻飛有序，是鴻之進止為有漸。初漸何所？漸於乾也。鄭氏曰：乾，大水之旁故停水處。乾雖近水而猶未及於水，鴻漸於此，豈云得所？

The Great Image says: "A mountain with trees on top, gradual progress. The superior person thus dwells in virtue and improves customs." Trees on a mountain grow gradually, one inch at a time; similarly, a superior person cultivates virtue and improves customs gradually, understanding the concept of "gradual progress." The gradual accumulation of virtue should be stable, like the mountain represented by Gen; the gradual transformation of customs should be subtle and pervasive, like the wind represented by Xun. The line statement of the first line says: "Wild geese gradually approach the dry land, the young man is cautious, there is a word, but no blame." The trigram Li (Fire), representing flying birds, appears within the hexagram and is situated between the trigram Kan (Water), forming an image of water birds gathering by the water, which resembles wild geese. Therefore, the line statements of all six lines refer to wild geese. Wild geese have fixed times for coming and going, and they fly in order, showing that the movement of geese itself embodies "gradual progress." Where does the first line's gradual progress reach? It reaches "the dry land." Zheng Xuan says that "the dry land" refers to an old accumulation of water by the side of a large body of water. Although the dry land is near the water, it has not yet reached the water, so how can the wild geese be said to have reached their proper place?

艮山之下，前有互坎，山水之間，故曰乾。猶之艮為少男，又為小子，小子居下，巽女來歸，危厲之餘，至於有言。得否之乾初為艮，乾為言，故云有言。然初四皆陰，兩陰無應，無應則不進，乃得漸義。詩云：禮義不愆，何恤於人言。蓋無咎矣。象曰：小子之厲，義無咎也。

The first line is located beneath the mountain represented by Gen, and there is also the trigram Kan (water) in the interacting trigrams ahead. This position is between mountain and water, so it is called "Gan" (a high place by the water). Also, Gen represents the young male, which can symbolize "the young man." The young man is in the lowest position, and the long female represented by Xun is about to marry him. He is frightened and uneasy, and also brings about gossip. This hexagram is derived from the hexagram "Po" (Obstruction). In "Po," the first line of Qian (Heaven) changes to Gen. Qian symbolizes speech, so it is said "there is speech." However, both the first line and the fourth line are yin lines, and two yin lines cannot correspond. When they do not correspond, they do not act rashly, which exactly matches the principle of "Jian" (Gradual Progress). The "Book of Poetry" says: "If one does not violate propriety and righteousness, why should one worry about others' words?" (As long as one does not commit any wrongdoing in terms of propriety and righteousness, why should one be concerned about others' gossip?) Therefore, there is ultimately no fault. The "Small Image Commentary" says: "The young man's danger, but according to righteousness, there is no blame."

六二：鴻漸于盤，飲食衎衎，吉。艮為石，前鄰互坎，水畔有石曰盤。鴻來漸之，進於乾矣。二體鴻漸之義，上往應五，二為互坎之初，五為互離之末，水火相濟，飲食之和，安且樂之。衎衎，和樂也。上下相得，故吉。象曰：飲食衎衎，不素飽也。漸進得祿，無素餐之飽也。

The line statement for the second line says: "The wild goose progresses to the bank, eats in harmony, and it is auspicious." The trigram Gen (Mountain) in the image represents stone, and it is immediately adjacent to the mutual trigram Kan (Water). A large stone by the water is called "bank." The wild goose gradually moves forward, having advanced further than when it was on "Heaven." The line six in the second understands the principle of "progressing gradually," and it harmonizes with nine in the fifth. Line six is the beginning of the mutual trigram Kan, and nine in the fifth is the end of the mutual trigram Li. The water of Kan and the fire of Li interact and balance, which symbolizes harmonious eating, so it is both secure and joyful. "衎衎" means harmonious and joyful. The two lines are in harmony, so it is auspicious. The Small Image Commentary says: "Eating in harmony, not eating without merit." This means gaining salary through gradual progress, not eating without cause.

九三：鴻漸于陸，夫征不復，婦孕不育，凶，利禦寇。三在否為坤，否四來三，三變為艮。坤地之上，艮山隱起，所謂高平曰陸者，鴻又漸進於此焉。夫乾初下來變坤為艮，艮男為夫；而坤陰上升變乾為巽，巽女為婦。三為正艮，又為互坎；四為正巽，又為互離。四來之三，陽已得位，豈能歸四？且又遇艮之止，是為夫征不復也。

The line statement of nine in the third says: "The wild goose progresses onto the high plain, the husband goes out and does not return, the wife is pregnant but does not give birth, calamity, advantageous to defend against bandits." In the hexagram of "Non-Communication," the third line originally belongs to the earth element. The fourth line descends to take the position of the third, so the third line becomes mountain. On the plain represented by the earth element, the mountain represented by the third line rises, which is called "high plain" in the "Erya." The wild goose gradually progresses to this place. The initial line of heaven descends, transforming the earth into mountain, and mountain represents the young male, which is "husband." The yin line of earth ascends, transforming heaven into wind, and wind represents the elder female, which is "wife." Nine in the third is the original mountain and also the interacting water; six in the fourth is the original wind and also the interacting fire. Nine in the fourth originally descended from the fourth position to take the third, but the yang line has already obtained the correct position, how could it be willing to return to the fourth position? Moreover, there is the static mountain in front, which is "the husband goes out and does not return."

三以互坎之血入四互離之大腹，則婦已孕。而水火相剋，離為坎傷，且巽又為躁卦，勢難靜守，是為婦孕不育也。四來歸三，艮不復乾，則是夫不顧家；坤往居乾，坎轉傷離，則是婦不恤子，何凶如之！是宜居艮之上以御互坎之寇，坎寇下來，艮止以御之，體漸之義庶幾利耳。象曰：夫征不復，離群醜也。婦孕不育，失其道也。利用禦寇，順相保也。丑，類也。離群醜者，離否乾之群下來變坤為艮也。失其道者，坎離相爭，失夫婦相和之常道也。順相保者，變坤順為艮止，御止坎寇以保身家也。

Nine Three, with the mutual trigrams of Kan (water), symbolizing blood, entering Six Four, with the mutual trigrams of Li (fire), symbolizing the abdomen, indicates that a woman is pregnant. However, water and fire are in mutual control, and Li is harmed by Kan. Moreover, Xun (wind) is a trigram of restlessness, making it difficult to maintain a calm and nurturing environment for the fetus. This is referred to as "a woman's pregnancy does not result in birth" (pregnant but unable to carry to term). Nine Four moving down to the third position, and Gen (mountain) no longer returning to Qian (heaven), signifies that the husband is neglecting his family. Meanwhile, the K'un (earth) line moves up to occupy the position of Qian, and Kan turns to harm Li, indicating that the woman is also neglecting her child. Is there a more dangerous situation than this? Therefore, one should remain on the mountain of Gen to resist the thieves symbolized by the mutual trigrams of Kan. When the thieves from above descend, use the stillness of Gen to block them, and understand the principle of "gradual progress," which may be beneficial. The Small Image Commentary says: "The husband goes out and does not return, because he has left the group of Qian. The woman's pregnancy does not result in birth, because she has lost the proper way. It is advantageous to defend against the thieves, because it follows the harmonious protection." "Chou" means kindred or similar. "Leaving the group of Chou" refers to this line departing from the upper Qian of the "Pu" hexagram, coming down to transform K'un into Gen. "Losing the proper way" refers to Kan and Li fighting each other, losing the constant way of harmony between husband and wife. "Following the harmonious protection" refers to transforming the softness of K'un into the stillness of Gen, blocking the thieves to protect oneself and one's family.

六四：鴻于漸木，或得其桷，無咎。木又上於陸矣。四體巽，巽為木，鴻則漸之。夫鴻掌連趾，不能握木，而巽為陰木，其有寬平如桷者，可以棲止。桷，榱也。鴻或得桷，漸進有所，故無咎。象曰：或得其桷，順以巽也。順以巽者，否坤前往變巽也。

The line statement of the fourth line says: "The wild goose is gradually moving up the tree, perhaps finding a flat beam, without blame." The position of the tree is even higher than the land. The fourth line is of the nature of Xun, which represents wood. The wild goose gradually moves up the tree. The wild goose has webbed toes, which make it difficult to grasp the branches; fortunately, Xun represents soft and yielding wood, which has wide and flat branches like square beams that can be used for resting. "Jué" refers to a flat beam. The wild goose luckily finds such a flat branch, gradually finds a place to rest, so there is no blame. The Small Image Commentary says: "Perhaps finding a flat beam, it is in harmony with Xun." What is meant by "in harmony with Xun" is that the earth element of the hexagram Pu rises to become Xun (from yielding and gentle to entering with Xun).

九五：鴻漸于陵，婦三歲不孕，終莫之勝，吉。五以巽中下應艮中，是五已在艮山之上，如所謂大阜曰陵者，鴻漸於此，漸愈進矣。夫鴻之進猶女之歸，鴻漸至五則進愈高，婦俟至五則年愈大。五體巽稱婦，下求應，歷互坎互離之盡，已歷三歲。五至三為離，離為孕；四至二為坎，坎水克離，則孕仍虛。顧不孕至三歲，不為不久，終莫之勝，以歸艮男，成其配偶，靜以俟之，寧失其時，不失其禮，漸進之義至此極矣。象曰：終莫之勝吉，得所願也。得所願者，願守漸義，不肯失禮以歸也。

The line statement for the fifth line says: "The wild goose gradually reaches the hill, the woman remains childless for three years, in the end nothing can overcome her, it is auspicious." The fifth line, which belongs to the trigram Xun (Wind), corresponds with the middle lower part of the trigram Gen (Mountain), indicating that it has reached the top of the mountain. This is what the Er Ya says: "A large hill is called a 'ling'." The wild goose gradually moving up to this position is one level higher than before. The forward movement of the wild goose is like a woman getting married: as the wild goose reaches the fifth line, its position becomes higher; as the woman reaches the fifth line, her age becomes greater. The fifth line belongs to the trigram Xun, which can be called "the woman." It seeks a corresponding line downward, going through the intercalated trigrams Kan (Water) and Li (Fire) before reaching the end, which has taken three years. Counting from the fifth line to the third line forms the trigram Li, which governs pregnancy; counting from the fourth line to the second line forms the trigram Kan, which is water overcoming fire, so the pregnancy ultimately fails. However, remaining childless for three years is not a short time, and in the end, nothing can overcome her—she still marries the man represented by the trigram Gen. She patiently waits, preferring to miss the right time rather than lose proper conduct. The principle of "gradual progress" is thus fully realized here. The Small Image Commentary says: "In the end nothing can overcome her, it is auspicious," meaning that "achieving one's wish" refers to her holding fast to the meaning of gradual progress and not rushing into marriage without proper conduct.

上九：鴻漸于陸，其羽可用為儀，吉。漸進至上，無可進矣，窮極宜返，故仍歸於陸。蓋巽為進退，進而復退，鴻漸象之。且知進知退，不敢以盛滿自處，尤漸進之高致也。鴻漸若此，不第其德可貴，即用其羽為舞亦吉。儀，舞也。書曰：鳳凰來儀。象曰：其羽可用為儀吉，不可亂也。不可亂，言羽舞有序也。

The line statement for the topmost line says: "The wild goose progresses onto the land, its feathers can be used for dancing, which is auspicious." When the wild goose reaches the topmost line, there is no further place to go; when it reaches the end, it should return, so it comes back to the land. The trigram of Wind (Xun) originally signifies indecisiveness in movement, advancing and then retreating. The gradual progress of the wild goose takes this image. Moreover, knowing when to advance and when to retreat, not presuming completeness, this is even more the refined state of "gradual progress." The wild goose can achieve this, not only making its virtue precious, but even using its feathers for dancing is auspicious. "Dance" is what "yi" refers to, as mentioned in the Book of Documents with the phrase "the phoenix comes to dance." The Small Image Commentary says: "Its feathers can be used for dancing, which is auspicious, because they are not disorderly." What is meant by "not disorderly" is that when using the feathers for dancing, there is order and sequence.

兌下震上，中互坎離。泰。歸妹為三陽三陰卦，自泰來，虞氏曰乾天坤地，三之四，天地交。歸妹：征凶，無攸利。男娶女曰娶，女歸男曰歸。父主婚禮曰歸女，兄主婚禮曰歸妹。此卦下兌上震，有似長男主嫁少女者，故名歸妹。妹而曰歸，似女就男，則為失禮；歸者曰妹，是女無父，則為失時。時禮俱失，故征凶無攸利。

The hexagram "Gui Mei" has the lower trigram Dui (Lake) and the upper trigram Zhen (Thunder). In the middle, it produces the trigrams Kan (Water) and Li (Fire). It comes from the hexagram "Tai" by changing the third and fourth lines. "Gui Mei" is a hexagram with three yang lines and three yin lines. Yu Fan said that "Tai" has the lower trigram Kun (Earth) and the upper trigram Qian (Heaven). When the third and fourth lines are exchanged, it forms the image of heaven and earth interacting. The hexagram statement says, "Gui Mei, zhi xiong, wu you li." For a man to marry a woman is called "qu," and for a woman to go to a man's family is called "gui." If the father arranges the marriage, it is called "gui nu," but if the elder brother arranges it, it is called "gui mei." The hexagram "Gui Mei" has Dui below and Zhen above, which resembles the elder brother arranging the marriage of a younger sister. Therefore, it is named "Gui Mei." Calling it "mei" and saying "gui" suggests that the woman is taking the initiative to go to the man, which is against propriety. Calling the person who marries "mei" indicates that the woman is no longer under the care of her father, which is out of season. Both propriety and timing are lost, hence "zhi xiong, wu you li."

彖曰：歸妹，天地之大義也。天地不交而萬物不興，歸妹人之終始也。說以動，所歸妹也。征凶，位不當也。無攸利，柔乘剛也。卦之所以名歸妹者，以卦自泰來也。泰為上坤下乾，虞氏曰：乾天坤地，三之四，天地交，以離日坎月戰陰陽，則萬物興。乾主壬，坤主癸，日月會北，震東兌西，離南坎北，六十四卦此象最備，四時正卦，故天地之大義也。

The Commentary on the Judgment says: "Return of the maiden, this represents the great principle of heaven and earth. When heaven and earth do not interact, all things do not arise. Return of the maiden represents the beginning and end of human beings. Movement is prompted by explanation, which is the meaning of return of the maiden. A journey is dangerous, because the position is inappropriate. There is no benefit, because the softness overpowers the strength." This hexagram is called "Return of the maiden" because it comes from the hexagram Tai. Tai is with the earth below and the heaven above. Yu Fan says: Heaven is represented by Qian, earth by Kun. When the third line and the fourth line are exchanged, heaven and earth interact. Then from the mutual hexagram, the fire Li and the water Kan emerge, which represent the struggle of yin and yang, and thus all things arise. According to the method of Najia, Qian is assigned the stem Ren, and Kun is assigned the stem Gui. Both Ren and Gui are in the north, meaning the sun and moon meet in the north. Also, Zhen is in the east, Dui in the west, Li in the south, and Kan in the north. Among the sixty-four hexagrams, this one most completely represents the four directions, and thus it is the correct hexagram corresponding to the four seasons. Therefore, the Commentary on the Judgment calls it "the great principle of heaven and earth."

是因天地之交以成震兌，倘天地不交，震兌之象不見，則萬物即無自興。是歸妹乃以成此男女之交，有如天地之生萬物，乃人之終而復始，相生不已者也。祇是以卦德言，兌說震動，似感情慾之私而亡禮義之大；以卦體言，三五皆不當位，又皆以柔乘剛，失陰柔卑順之宜，而無陽倡陰隨之儀，此所以征凶無攸利也。

Because heaven and earth interact, the trigrams Zhen (Thunder) and Dui (Lake) come into being; if heaven and earth did not interact, the images of Zhen and Dui would not appear, and all things would have no beginning. Therefore, the hexagram Guimei (Return to Marriage) represents the union of male and female, just as heaven and earth give birth to all things. It is the fundamental principle of human generations coming to an end and beginning anew, continuing endlessly. However, looking at the hexagram's virtue, Dui represents joy and Zhen represents movement, so "speaking through movement" seems to be driven by private desires, thus neglecting the great principles of propriety and righteousness. Looking at the hexagram's structure, the third line and the fifth line are not in the right position, and both are yin lines riding on yang lines, losing the humility and gentleness that yin should have, as well as the proper order of male leading and female following. This is why the hexagram statement says, "Going on a journey brings danger; there is no benefit."

象曰：澤上有雷，歸妹。君子以永終知敝。雷伏澤中，今居澤上，是澤轉隨雷而動，有歸妹之象。虞氏曰：坤為永終，為敝；乾為知。三之四為永終，四之三兌為毀折，故以永終知敝。蓋言女歸之義，得其正者有終，失其正者必敝。泰坤之三為內卦之終，兌為附決，故終曰永；坤為敝，乾為知，泰乾之四為震，是知坤敝也，故敝曰知。

The Great Image says: "There is thunder above a marsh, indicating the return of a maiden. The gentleman thus learns to know the end of things." Thunder originally lies hidden within the marsh water, but now it rises above the marsh, causing the marsh to become turbulent in response. This is the image of a woman returning to follow a man, known as "returning to marry." Yu Fan says: the earth trigram has the meaning of enduring and completion, as well as decay; the heaven trigram has the meaning of clarity and discernment. The third line moving up to the fourth position signifies "enduring completion," while the fourth line moving down to the third position forms the trigram Dui, which signifies destruction. Thus, it is said "knowing the end and its decay." This means that the act of a woman marrying is only proper and can end well if it follows the right path; otherwise, it will surely lead to ruin. In the Qian trigram, the third line is the end of the inner trigram, and Dui has the meanings of attachment and breaking apart, so "end" is called "enduring." The earth trigram signifies decay, and the heaven trigram signifies clarity. In the Qian trigram, the fourth line becomes Zhen, which is the trigram of thunder, indicating that with the clarity of heaven, one can discern the decay of earth. Thus, the character "敝" is preceded by "知."

初九：歸妹以娣，跛能履，征吉。古者諸侯娶一國，則二國往媵之，以侄娣從。初以兌女居下位，兌為妾，則是所歸之妹乃娣也。娣為陪嫁，不求禮備，故不嫌於隨歸；娣以從姊，尚可待年，故不嫌於為妹。女子謂女弟曰妹，至妹為己媵則謂之娣，所以別於在母家之稱，以明同事一君之義也。

The line statement for the initial nine says: "Returning to marry as a younger sister, though lame, can walk, and going forward is auspicious." In ancient times, a prince would marry a woman from another state, and the two other states would send their daughters as bridal attendants. These attendants were the bride's niece and younger sister. The initial nine, representing a woman symbolized by the trigram Dui (Lake), is in the lowest position. Dui signifies a concubine, indicating that the "younger sister" mentioned here is actually the "attendant bride" or "娣." The role of娣 is that of a companion bride, and it does not require the full six rites of marriage, so accompanying the older sister to the marriage does not constitute a breach of propriety. The娣 is also allowed to wait until she is mature before entering the household, so marrying as a younger sister is not inappropriate. A woman refers to her younger sister as "妹," but once the younger sister becomes her attendant bride, she is called "娣" — this distinction is made to differentiate from the term used in the family, to indicate the shared status of the two sisters under one husband.

是姊為後，妹為娣，歸妹以娣，此亦嫁女之恆事。雖其分位卑賤，不能有為，然果克盡其道，亦可承助於君子。猶之跛足雖偏，倘使能履，亦有不可盡廢者。蓋五卦主為震中，震為足，初以兌之毀折上承震足，則象跛足之能履，故前征吉也。象曰：歸妹以娣，以恆也。跛能履吉，相承也。

Thus, the elder sister becomes the main wife, and the younger sister serves as the bride's attendant; "returning to marry as a younger sister" is merely a customary practice in marriage. Although the position of a younger sister is humble and may not achieve great accomplishments, if she truly fulfills her role, she can still serve and support her husband. This is like a leg that is lame and walks crookedly; if it can still walk, it still has some useful function and should not be entirely discarded. In terms of the hexagram lines, the line six in the fifth position is the main line of the entire hexagram, located in the center of the Zhen trigram, which represents the foot in the human body. The line nine at the beginning, with the image of the Dui trigram representing destruction, supports the Zhen foot, just like a lame leg that can still walk, so moving forward is actually auspicious. The "Small Image Commentary" says: "Returning to marry as a younger sister, it is consistent. A lame leg can still walk, it is harmonious."

九二：眇能視，利幽人之貞。二為互離，離為目，目主視；而二為正兌，兌為小，則為眇目。目既曰眇，則目已偏，而為互離，猶幸能視。猶之娣為嫡棄，退處永巷，春風秋扇，矢志靡他，此所謂幽人之貞，二之利如是已矣。象曰：利幽人之貞，未變常也。

The line statement for the second line says: "Blind in one eye, it is advantageous for the chaste person in seclusion." The second line belongs to the trigram of fire, which represents the eye, and since the eye is used for seeing, this suggests the ability to see. However, it also belongs to the trigram of joy, which represents smallness, combining to form a single eye that is blind. Although the eye is called "blind," its vision is already impaired, but since it also belongs to the trigram of fire, it can still see. This is like a younger sister who is discarded by the main wife and retires to a secluded place, like a fan left unused in autumn, yet remains steadfast and loyal without any other intentions—this is called "the chaste person in seclusion" (the virtue of one who remains chaste in seclusion). The benefits that the second line can obtain are limited to this. The Small Image Commentary says: "It is advantageous for the chaste person in seclusion, for the condition has not changed."

六三：歸妹以須，反歸以娣。虞氏曰：須，需也，猶待也。三原為泰之四，比近君位，是待時于歸者。今則反歸於三，變為兌上，兌為少女，是三之為娣，則以四反歸之故，故曰歸妹以須，反歸以娣也。象曰：歸妹以須，未當也。

The line statement of the sixth line three says: "Returning to marry, one waits, and then returns as a younger sister." Yu Fan explains that "须" is the same as "需," meaning to wait. Originally, the third line was the fourth line of the Tai hexagram, adjacent to the position of the ruler, belonging to the side waiting for the right opportunity to marry. Now it has retreated back to the third position, becoming the top line of the Dui hexagram, which represents a young maiden. This shows that the reason the sixth line three has become a "younger sister" is because it has moved from the fourth position back to the third. Therefore, the line statement says, "Returning to marry, one waits, and then returns as a younger sister." The Small Image Commentary says, "Returning to marry, one waits, which is not appropriate."

九四：歸妹愆期，遲歸有時。婦女之年宜少，而四居互離之上，是中女而年又加長者，則妹之歸也已過其期。愆，過也。離為日，故云期；離爻已盡，又居外卦，故云愆期。愆期則遲，遲宜待時，蓋有不以遲歸為嫌者。象曰：愆期之志，有待而行也。

The fourth line statement says: "The maiden's marriage is delayed, but she may return at a suitable time." A maiden should be young when she marries, but the fourth line is located above the mutual trigram Li, which represents a middle maiden. This year, her age has increased further, indicating that this "maiden" has already passed the appropriate time for marriage. "Qián" means to exceed or be late. Since Li represents the sun, it relates to the concept of a "period" or "time." The yao position of Li has reached its end, and the fourth line has entered the outer trigram, hence "qián qī" (delayed period). Once the period is missed, it is late, and one should patiently wait for the right opportunity, as there is no reason to regard late marriage as a fault. The Small Image Commentary says: "The intention of the delayed period awaits the right time to act."

六五：帝乙歸妹，其君之袂不如其娣之袂良，月幾望，吉。五為君位，又為震中，震為帝，震位甲乙，又為泰之坤，坤納乙，是為帝乙。帝乙歸妹，則妹亦帝之妹，帝妹亦尊，非他媵妾之比。帝乙，微子之父，或當日實有歸妹之事，故取此象。夫女歸求男，非禮之正，至於帝王嫁女，轉有紆尊降貴之美，則歸妹之吉，惟六五始足以當之。

The Line Statement of the fifth line says: "The Emperor Yi marries his younger sister, her sleeve is not as good as her younger sister's, the moon is almost full, auspicious." The fifth line represents the position of the ruler, and it is located in the center of the Zhen trigram, which represents the Emperor. Zhen is associated with the direction of Ji and Yi, and this line comes from the Tai trigram's Kun. According to the Najia system, Kun is assigned the stem Yi, thus forming "Emperor Yi." Since it is Emperor Yi marrying his younger sister, this "sister" is the sister of an emperor, of noble status, not a common concubine. Emperor Yi was the father of King Zhou and Prince Wei Zi, and there may have been a real event of marrying a sister at that time, so the Book of Changes uses this image. Normally, a woman initiating marriage with a man is not in accordance with proper etiquette, but when an emperor marries his daughter, it is considered a gesture of humility and a marriage to a minister, thus the auspiciousness mentioned in the "Return of the Sister" hexagram is only appropriate for this fifth line.

既為女君，雖衣袂之良不如其娣，而不嫌儉素，其不尚容飾有如此者。衣口為袂，泰乾為衣，變兌為口，復有互離之文，娣袂曰良，誠哉其袂良也。且滿則招損，謙乃有光，後德如月。月虧於既望，而盛於幾望。五以互坎之月下連互離之日，北坎南離，相對生明，雖在互坎之上，月光少偏，則將盈而尚未盈，較之已盈而恆恐其缺者，其象不同矣。妹而言歸，惟帝乃吉，不得以泛泛歸妹者疑其征凶無攸利也。象曰：帝乙歸妹，不如其娣之袂良也，是其位在中，以貴行也。位居五曰在中，天子之女，故曰貴行。

She, being a noble queen, has her sleeves less beautiful than those of her maid servant, yet she does not despise her plainness. She does not value appearance and clothing to such an extent. The sleeve of a garment is called "mei." In the hexagram Tai, Qian represents clothing, which transforms into Dui, representing mouth, and combined with the mutual trigrams Li, which symbolizes literary grace, thus the sleeve of the maid servant is described as "liang," meaning beautiful. Moreover, when something is full, it invites loss; humility brings brightness. The virtue of the queen should be like the moon. After the fifteenth day, when the moon is full, it begins to wane, and it is at its peak before the full moon. The line six in the fifth position, which corresponds to the moon represented by Kan, is connected downward to the sun represented by Li, with Kan in the north and Li in the south, generating light through contrast. Though the moon is above Kan, its light is slightly off-center, indicating it is nearly full but not yet completely so. Compared to the full moon that constantly fears being lost, this is quite different. Therefore, calling it "妹" (maid) and speaking of marriage is only auspicious in the royal family. One should not doubt it with the general meaning of "returning to marry," which is said to be ominous and unprofitable. The Small Image Commentary states: "The emperor Yi married his daughter, but it is not as good as the maid's beautiful sleeves. This is because her position is in the center, and she acts with dignity." Being in the fifth position is called "in the center." She is the daughter of the Son of Heaven, so it is said "she acts with dignity."

上六：女承筐無實，士刲羊無血，無攸利。震為士，兌為女。古者祭祀，婦供筐實，男親割牲。則此兌女上承震筐，虞氏曰：震為筐。震筐上仰，虛無一物，是為筐無實。則此震士以互離之戈下刲兌羊，刲，刺也。而互坎之血為互離灼乾，坎為血卦，離為乾卦，是為羊無血。筐實不供，是婦道虧，故變婦而稱女；割牲有乖，是男職缺，故變男以稱士。夫婦而曰女士，上下不應也，無攸利矣。象曰：上六無實，承虛筐也。

The line statement for the sixth line at the top says: "The woman carries a basket without anything in it, the man cuts the sheep without any blood, there is no benefit." The trigram Zhen represents the man, and the trigram Dui represents the woman. In ancient times, women were responsible for preparing the sacrificial offerings in the bamboo basket, while men personally slaughtered the animals. Here, the woman represented by Dui is holding up the basket represented by Zhen — Yu Fan says Zhen represents the basket — the diagram of the Zhen trigram (one yang line at the bottom and two yin lines above) looks like an open basket facing upward, empty and containing nothing, which is "the basket is empty." The man represented by Zhen uses the mutual trigram Li, which represents the halberd, to stab downward at the sheep represented by Dui — "刲" means to cut or stab. However, the blood represented by the mutual trigram Kan is dried up by the mutual trigram Li, which is the trigram of drying things. Since Kan is the trigram of blood and Li is the trigram of drying, it becomes "the sheep has no blood." The basket is empty, indicating the woman's duty is lacking, so instead of calling her "wife," she is called "woman"; the slaughtering is not in accordance with ritual, indicating the man's duty is lacking, so instead of calling him "man," he is called "scholar." They should be a husband and wife, but are now called "woman" and "scholar," clearly showing that the two lines are not in harmony, hence there is no benefit in going anywhere. The Small Image Commentary says: "The sixth line is empty, because it is carrying an empty basket."