The Great Excess Hexagram

【巽下兌上，中互重乾】大過為乾卦，乾坎也；又為乾之變體，中互重乾，是乾兼坎象。前應重乾，後乾重坎。卦辭中無上下往來之文，與頤卦同。虞氏以為大壯五之初，非也。

This hexagram has the lower trigram as Xun (Wind) and the upper trigram as Dui (Lake), with the intermediate trigrams forming two Qian (Heaven) trigrams. Duolong'a said: The Great Excess belongs to the Qian hexagram. It is said to be "overcoming" the Kan (Water) — the entire hexagram resembles an enlarged Kan. It is also a variation of the Qian hexagram, with the intermediate trigrams forming two Qian trigrams, so it combines the image of Qian with that of Kan. The front part corresponds with two Qian trigrams, while the back part is supported by two Kan trigrams. The hexagram statement of Great Excess does not mention the movement of yao positions up and down, which is the same as the hexagram of Cultivation. Yu Fan believed it was formed by the fifth line of the Dazhuang hexagram descending to the first position, but this is incorrect.

大過：棟橈，利有攸往，亨。上下二陰，中有四陽，體似大坎，而陽多於陰，是陽大過於陰小也，故巽下兌上之卦名大過。棟，極也；橈，曲也。《九家易》曰：坎為棟。是以大坎為棟。陽實陰虛，虛不勝任，故橈。而陽剛有才，陽盛於陰，可以有為，故曰利有攸往亨也。

The Hexagram Statement says: The Great Excess hexagram, the roof beam is bent downward; it is advantageous to go somewhere, and it is smooth. Duolong'a says: There is one yin line above and one yin line below, with four yang lines in the middle. The structure of the hexagram resembles an enlarged Kan. Since there are more yang lines than yin lines, this is called 'Great Excess' — yang is great and yin is small. Therefore, the hexagram with Xun below and Dui above is named 'Great Excess'. 'Dong' refers to the main beam of the roof, and 'rao' means bending. The Nine Families' Commentary on the Yi says that Kan is taken as the beam, so here the enlarged Kan is used as the beam. Yang lines are full and yin lines are empty. The empty ends cannot bear weight, so the beam bends. However, yang is strong and full of ability, and the power of yang overcomes yin, so it is possible to act, hence it says 'it is advantageous to go somewhere, and it is smooth'.

彖曰：大過，大者過也。棟橈，本末弱也。剛過而中，巽而說行，利有攸往，乃亨。大過之時大矣哉！卦之所以名大過者，大者陽也，陽過乎陰，故曰大過。卦體二陰外見象坎，巽為木，兌金克之以為材，故曰棟。陽剛陰柔，陽實於中，陰柔居外，柔則必曲，故象橈。棟橈者，由於下本上末俱羸弱也，此卦象也。

The Commentary on the Judgment says: "Great Excess" refers to an excessive degree of the great. The bending of a roof beam is because both the beginning and the end are too weak. Although the strong lines are excessive, they remain in the center, and the flexible and harmonious lines act with ease, so it is advantageous to go forward, thus leading to smoothness. The timing of Great Excess is of great significance! Duolong'a explains: This hexagram is named "Great Excess" because "great" refers to yang, which exceeds yin, hence called "Great Excess." The hexagram's structure has two yin lines on the outside, which together resemble Kan; Xun represents wood, and Dui belongs to metal, with metal cutting wood to make it into material, hence called "beam." Yang and yin, with yang充实 in the middle and yin softness at both ends, the softness inevitably bends, hence the image of "bending." The roof beam bends because both the foundation below and the tip above are too weak—this is according to the hexagram's image.

而以卦體言之，四陽二陰，剛過乎柔，二五兩剛又俱得中。再以卦德言之，內卦為巽，外卦為兌，兌為說，是巽而又以說行之。如遇時宜大過，則即為大過之行：果斷有為，強忍有守，而又履中居正，不偏不倚，或危行而言孫，或審勢以達權，亦可亨通無阻，往亦攸利，此因時制宜者也。大過之時亦大矣哉！

Duolong'a said: If we consider the structure of the hexagram, there are four yang lines and two yin lines, so the strong has already surpassed the weak. Moreover, the two strong lines, nine in the second and nine in the fifth, are both in the center. If we consider the virtue of the hexagram, the inner trigram is Xun, which represents flexibility and compliance; the outer trigram is Dui, which represents harmony and joy. Therefore, it is about acting with flexibility and compliance, and expressing it with harmony and joy. If one encounters a situation where very important actions must be taken, then one should take decisive and active action, be firm and self-restrained, while standing on the middle path and maintaining proper conduct, neither leaning one way nor the other. Alternatively, one may act with severity but speak with humility, as the Analects of Confucius, in the chapter "Xianwen," says, "When the state is in disorder, act with caution and speak with humility." Or one may examine the situation and act with flexibility and adaptability. In this way, one can achieve smooth progress and benefit from going forward. This is adapting to the appropriate time. The timing for the hexagram of Da Guo is indeed significant.

象曰：澤滅木，大過；君子以獨立不懼，遯世無悶。澤水生木，澤至滅木，則是水過於木，大過象也。君子體之，因有大過之行，獨立不懼，出則有為也；遯世無悶，處則有守也。互乾居中象獨立，陽伏陰中象遯。巽下震伏，震之恐懼不見，故曰獨立不懼。兌為說，說則鬱結俱釋，故曰無悶。

The Great Image Commentary says: The marshy water has overflowed the trees, which is the image of great excess; thus the gentleman is able to stand alone without fear, and to retreat from the world without distress. Duolong'a says: The marshy water is originally nourishing the trees; when the water rises to overflow the trees, it is water exceeding wood, which is the image of great excess. The gentleman observes this image and thus acts with extraordinary conduct: standing alone without fear refers to being bold and resolute when taking office; retreating from the world without distress refers to being steadfast when in retirement. The interacting trigrams have Qian in the center, symbolizing upright independence; the yang line is hidden within the yin lines, symbolizing retreat. The trigram Zhen is hidden beneath Xun, and Zhen signifies fear, while the Zhen image is concealed, hence it is said 'standing alone without fear'; Dui signifies joy, and once joy arises, all accumulated worries are dispelled, hence it is said 'without distress'.

初六：藉用白茅，無咎。藉，承藉，猶薦也。白茅，草名。大過之行，最易致咎，倘欲無咎，在乎能慎。初以巽體而居下位，是過於慎者。巽為白茅，茅草至柔，用以為藉，則物之大者於以不損，故無咎。象曰：藉用白茅，柔在下也。柔謂陰，白茅柔物也，在下者，茅在下為藉也。

The line statement for the first line says: Using white reed grass as a mat beneath, there is no fault. Duolong'a says: "Jie" means to support or cushion, that is, to lay a mat; "white reed grass" is the name of a type of grass. Doing extraordinary things easily leads to faults, but if one wishes to avoid faults, the key is to be cautious. The first line, being a yin line in the trigram Xun, is in the lowest position, representing someone who is overly cautious. Xun is symbolized by white reed grass, which is very soft. Using it as a mat prevents damage to the object placed upon it, hence there is no fault. The Small Image Commentary says: Using white reed grass as a mat, it is softness beneath. Duolong'a says: "Softness" refers to the yin line, and white reed grass is indeed a soft substance; "beneath" means that the grass is laid underneath as a mat.

九二：枯楊生稊，老夫得其女妻，無不利。二居巽中，巽為陰木為楊，又為互乾之初，乾為老，楊老則枯。顧楊雖枯，而二居地位，枯楊得土，猶可生稊。稊，木葉初生也。蓋初為本，是木之根，枝幹雖撥，而萌櫱潛發，故曰生稊。

The Line Statement of Nine in the Second says: A withered poplar tree sprouts new leaves, an old man marries a young wife, there is no disadvantage. Duolong'a says: Nine in the Second is located within the trigram Xun, which represents Yin wood, symbolizing the poplar tree; it is also the beginning of the trigram Qian, which symbolizes old age. The old poplar tree becomes withered. However, although the poplar tree is withered, Nine in the Second is in the position of the Second Line. The withered poplar tree still has roots in the earth and can sprout new growth. 'Ting' refers to the tender new leaves of a tree. The First Line represents the root, which is the foundation of the tree. Although the branches and trunk may be broken, the sprout from the root grows secretly, hence it is said 'sprouting ting'.

夫木枯可生稊，而人老亦可生子。二為正巽，互乾，乾巽相比，一陰一陽，配為夫妻。然二居初上，二老於初，二又為互乾，乾為老父，即老夫。以互乾之老夫，配此正巽之女妻，是巽女為乾夫得也。顧陰陽相偶，老少殊形，母乃過甚，然猶可生子，猶之枯楊能生稊，蓋無不利也。象曰：老夫女妻，過以相與也。與，予也，言女妻過以予老夫也。

Duolong'a said: A withered tree can still sprout, and an old person can still have children. Nine in the Second belongs to the correct form of Xun, and is also in the mutual Heaven, where Heaven is closely adjacent to Xun. Heaven and Xun are one yin and one yang, perfectly matching as husband and wife. Nine in the Second is above Six at the Beginning, and is older than Six at the Beginning, while Nine in the Second also belongs to the mutual Heaven, which represents an old father, that is, 'old man'. Taking the old father from the mutual Heaven to pair with the correct Xun daughter, it is as if the Xun daughter is married to the Heaven husband. However, although yin and yang are matched, the difference in age and appearance is still great, which is somewhat excessive ('mu' here is the same as 'mu'). However, it is still possible to have children, just as a withered elm can still sprout, so it is said 'there is no disadvantage'. The 'Small Image Commentary' says: an old man marrying a young wife is an excessive union. Duolong'a said: 'Yu' means giving, meaning that the young wife gives herself excessively to the old man.

九三：棟橈，凶。三為巽末，巽為木、為長、為高，故象棟。而巽之初為陰柔弱在下，木下弱則曲，故曰棟橈。傳曰：末大必折。此之謂也，故凶。象曰：棟橈之凶，不可以有輔也。輔謂二也，三以二輔，然本既弱，輔愈眾則末愈大，初愈不勝，是不可有也。

The line statement for the third line says: The roof beam bends, which is ominous. Duolong'a explains: The third line is at the end of the trigram Xun, which represents wood, growth, and height, so it is taken as a roof beam. The first line of Xun is yin and weak, and the lower part of wood is weak, so the beam bends, hence the phrase 'the roof beam bends.' The Zuo Zhuan says 'if the end is too large, it will break,' which describes exactly this situation, hence the ominous outcome. The Small Image Commentary says: The ominous nature of the roof beam bending is because there is no further support. Duolong'a explains: 'Support' refers to the second line, which supports the third line. However, the root is already weak, and the more support there is, the heavier the end becomes, and the first line is even less able to bear it, so this support is actually harmful.

九四：棟隆，吉，有它吝。棟居宮室之中，三四陽剛居中，故皆取象於棟。夫三之棟因初柔而橈，四為兌之下，與巽分體，又為陽爻，其本已堅，雖棟與三同，而棟之隆則與三異。隆，豐大也，惟隆故吉。第恐與初相應，是為有它，有它則隆柔在下，隆轉為橈，有吝疵耳。象曰：棟隆之吉，不橈乎下也。不橈乎下，不應初，故不橈也。

The fourth line statement says: The roof beam is high and prominent, which is auspicious; but if there is something else, there will be regret. Duolong'a says: The roof beam is placed in the center of the palace, and both the third line and the fourth line are yang and located in the center of the hexagram, so they are both taken as the image of the roof beam. The third line's beam bends downward because of the weakness of the initial line; the fourth line, however, is located at the lower end of the兑 (Dui) trigram, has already separated from the巽 (Xun) trigram, and itself is a yang line, with a firm foundation. Although both are beams, the appearance of 'prominence' differs from the third line. 'Prominence' means being thick and tall; because it is prominent, it is auspicious. However, fear arises from its correspondence with the initial line, which is 'having something else'—having this connection, the prominence is still supported by the weak, so the prominence turns into bending, leading to regret. The Small Image Commentary says: The auspiciousness of the prominent beam is because it does not bend downward. Duolong'a says: What is meant by not bending downward is not corresponding with the initial line, so it does not bend.

九五：枯楊生華，老婦得其士夫，無咎無譽。五為互乾，而下與巽連，巽木承乾，是巽木已老，亦枯楊也。二以在下而得生稊，五以在上而祇生華，巽木之上，兌澤潤之，故象華。二為老夫得其女妻，五為老婦得其士夫。五陽上陰，相配為偶，五為互乾，上為正兌，似女少而男老，然以卦位衡之，兌陰居上，垂暮之地，是兌女已老，謂之老婦。

The Line Statement of the Fifth Line says: A withered poplar tree blooms flowers, an old woman marries a young husband, there is no fault, nor is there praise. Duolong'a says: The Fifth Line belongs to the trigram Qian in the interacting trigrams, and below it is connected to Xun. Xun wood is supported by Qian, indicating that this Xun wood is already old, just like the withered poplar. Nine Two is below, so it can sprout new growth; Nine Five is above, so it can only bloom flowers. Above Xun wood is Dui marsh, which nourishes it, so it is taken as an image of flowers. Nine Two is an old man marrying a young wife, while Nine Five is an old woman marrying a young husband. Nine Five is yang, and Six Above is yin, the two lines form an even pair. Nine Five belongs to the interacting trigram Qian, and Six Above belongs to the main trigram Dui. It seems as if the female is young and the male is old. However, according to the position of the trigrams, the yin of Dui is at the top, which is the place where the sun sets, indicating that this female Dui has already aged, so she is called 'old woman'.

乾陽居五，位在上六之下，故曰士夫。兌陰下乘五陽，是士夫為老婦所得，故曰老婦得其士夫也。當此大過之時，為此大過之事，固無咎，然婦老夫少，終非佳配，猶之枯楊生華，終非壽徵，亦無譽也。象曰：枯楊生華，何可久也；老婦士夫，亦可醜也。老婦士夫，豈有生理？與枯楊生華不能長久正同。釋之曰可丑，與二之無不利異矣。

Duolong'a said: The Yang of Qian is in the fifth position, located below the upper sixth, so it is called "shi fu," meaning a young man. The Yin of Dui is above and dominates the Yang of nine five, which is the situation of a young man being taken by an old woman, hence it is said "the old woman obtains her young husband." In such an extraordinary time as Da Guo, doing such an extraordinary thing, there is no fault to speak of. However, an old woman and a young man are not a good match, just as a withered elm tree producing flowers is not a sign of longevity, so there is also no praise. The Small Image Commentary says: A withered elm producing flowers, how can it last long? An old woman marrying a young husband is also quite unbecoming. Duolong'a said: How could an old woman and a young husband have the rationale of producing offspring? This is the same as the withered elm producing flowers not lasting long. The Image Commentary judges it with one sentence "ke chou," which is very different from the "wu bu li" of the second line nine.

上六：過涉滅頂，凶，無咎。上為兌澤之終，又為大坎之終，出於互乾之外，乾為首，虞氏曰：乾為頂。是過涉滅頂象也。然以兌說之德而行此大過之事，是卦辭所謂攸往利且亨通者，雖凶無咎。象曰：過涉之凶，不可咎也。蓋建樹大過之事，致死守經，犯難取義，雖罹凶禍，不可以為咎也。

The line statement for the sixth line at the top says: crossing water too deeply, the water has covered the head, which is dangerous, but without fault. Duolong'a says: the sixth line at the top is at the end of the Dui marsh, and also at the end of the expanded Kan water, and is located outside the mutual body Qian. Qian takes the image of the head, and Yu Fan says Qian represents the top, thus forming the image of crossing water with the head submerged. However, it is using the harmonious virtue of Dui to accomplish this extraordinary matter, which is the approach described in the hexagram statement as 'favorable for going somewhere and smooth'. Therefore, although there is danger, there is no fault. The Small Image Commentary says: the danger of excessive crossing is not to be attributed to him. Duolong'a says: whenever an extraordinary achievement is established, one must hold a mind determined to die and remain steadfast in the constant way, facing dangers to accomplish righteousness. Even if encountering misfortune, it cannot be considered his fault.

【坎下坎上，中互艮震】重坎純卦。習坎：有孚，維心亨，行有尚。習，重也，上下皆坎，是坎重也，故曰習坎。坎體中實，故曰有孚。坎為通，又為心志，亨通也，坎之通為心，故曰維心亨。坎為水，又為陷，水陷坎內，則貴能出坎，出坎行也，故曰行有尚。

This hexagram has the lower trigram as Kan and the upper trigram also as Kan, with the intermediate trigrams being Gen and Zhen. It is a pure hexagram formed by the repetition of Kan. The hexagram statement says: In a situation of repeated dangers, one who maintains sincerity in heart will find inner smoothness, and his actions will be esteemed by others. Duolong'a says: 'Xí' means repetition. Since both upper and lower trigrams are Kan, it is the repetition of Kan, hence called 'Xí Kan'. The structure of Kan trigram has a solid center, so it is said 'yǒu fú', meaning sincerity within. Kan takes the image of water and also of a pit. Water being in the pit is valuable because it can emerge from it; to emerge from the pit requires action, hence 'xíng yǒu shàng'.

彖曰：習坎，重險也。水流而不盈，行險而不失其信，維心亨，乃以剛中也；行有尚，往有功也。天險不可升也，地險山川丘陵也，王公設險以守其國，險之時用大矣哉！坎中一陽，外有二陰，則是陽陷險中，陷則險，故坎之德曰險。習坎為重坎，是重險也。坎險如此，人倘以易心處之，一坎未竟，一坎又來，鮮有不為坎所陷者。夫坎雖能陷人，而人亦能濟險，濟險則亨。坎所以亨者，則由於心之有孚，坎為孚，孚即信也。

The Commentary on the Judgment says: "To be in a situation of difficulty" refers to being in a series of dangerous situations. Water flows continuously without overflowing, and it moves through dangerous situations without losing its sincerity. "Only the heart is smooth" is because the second line and the fifth line are strong and central; "to go is to have merit" means that going forward can lead to achievements. The danger of heaven is its high and unattainable nature, while the danger of earth is mountains, rivers, and hills. Kings and princes set up obstacles to guard their countries. The timing and function of danger are indeed great! Duolong'a explains: The middle line of Kan is a strong line, while the outer two lines are weak lines, which means a strong line is trapped in danger. Once it falls into danger, it becomes dangerous. Therefore, the virtue of Kan is called "danger." "To be in a situation of difficulty" refers to two Kan trigrams overlapping, which means a series of dangers. When danger reaches this level, if a person approaches it with a careless heart, one Kan has not yet been passed when another comes, and few are not trapped in danger. Although Kan can trap people, people can also overcome danger; overcoming danger leads to smoothness. Kan can be smooth because the heart has "trustworthiness." Kan takes the image of trustworthiness, and "trustworthiness" means sincerity.

坎又為水，水性主流，水在坎中，盈坎即流，流則不能長盈，其不盈可信也。水流是為水行，行坎是為行險，此坎方盈，又行彼坎，流行如一，不失其常，其行又可信也。人第見行者為險，而不知惟行始可以出險。剛中有出險之才，復以孚信將之。坎為心志，又為通，坎險固不易處，而處險者則心宜常亨。二五剛中，中有互震互艮，震動前往，艮止功成，蓋不可坐困坎中，安於險陷矣。

Duolong'a said: The trigram Kan is also taken as water, which by nature is flowing. When water is in a pit, it fills it up and then flows out; once it flows, it does not remain full for long, and its 'not being full' can be relied upon. When water is flowing, it is moving; passing through a pit is 'taking a dangerous path'; this pit is just filled, and the water flows to the next pit, flowing continuously without deviation, never losing its proper course, and its 'movement' is also reliable. People only see 'movement' as dangerous, but do not realize that only through action can one escape danger. The lines Nine in the Second and Nine in the Fifth are yang and in the center, possessing the ability to escape danger, and further supported by sincerity. The trigram Kan is also taken as the mind and as communication; although the danger of Kan is difficult to endure, those in danger should always maintain a state of openness and ease in their hearts. The two lines Two and Five are both strong and in the center, and the hexagram also contains the interacting trigrams Zhen and Gen: Zhen represents action and moving forward, while Gen represents stopping and achieving success, showing that one cannot remain trapped in Kan, nor can one be content with being in a pit.

顧出險固足以見功，而用險又可以守國。五為天位，是為天險；二至四為互震，震足未踰及五，是天險不可升也。二為地位，是為地險；三至五為互艮，高居二上，艮為山、為邱陵，合之正坎之川，是地險山川邱陵也。王公因天地之險以設險阻，然後可以御強敵，陷戎馬，固封疆，國始克守，是為險極乃可以無險也。用險有時，故曰險之時用大也。

Duolong'a said: To escape from danger can show achievements, but to skillfully use danger can defend the country. The fifth line is the heavenly position, which is called 'heavenly danger'; from the second line to the fourth line is the mutual trigram Zhen, which takes the image of a foot, but this foot has not crossed the fifth line, so it is said that the heavenly danger is high and difficult to ascend. The second line is the earth position, which is called 'earthly danger'; from the third line to the fifth line is the mutual trigram Gen, which takes the image of a mountain and a hill, and together with the central Kan which takes the image of rivers and streams, it forms 'earthly danger with mountains, hills, and rivers'. The princes use the natural dangers of heaven and earth to set up defenses, thus being able to resist strong enemies, trap enemy cavalry, and consolidate the borders, so the country can be defended. This is using danger to its fullest, thereby avoiding danger. The use of danger depends on the time, hence 'the use of danger at the right time is great indeed'.

象曰：水洊至，習坎；君子以常德行，習教事。陸氏曰：洊，再；重習【重習：習重】也。水再至而益通流，不舍晝夜，重習相隨以為常，有似於習，故君子象之，以常習教事，如水不息也。常，坎象。虞氏曰：坎為常行。互震象習，重坎象教者，言教澤之如水以漸深遠也。

The Great Image Commentary says: Water flows continuously, one wave after another, which is called Xí Kǎn; therefore, the gentleman makes virtue a constant practice and repeatedly exercises the affairs of government and education. Duolong'a cites Lu Ji's words: "Qián" means again, and "Xí" means repetition (the original text says "Chóng Xí," but according to the collation note, it should be corrected to "Xí Chóng"). Water repeatedly surges forward, yet flows endlessly without ceasing day and night, repeating itself to become a constant pattern, just like human repetition. Therefore, the gentleman takes it as a model, maintaining virtue constantly and repeatedly practicing education, just as water flows without end. "Cháng" is the symbolic meaning of Kǎn; Yu Fan says Kǎn represents "constant action." The mutual trigrams Zhen symbolize "repetition," and the repeated Kǎn symbolize "education," meaning the grace of education flows like water, gradually becoming deeper and farther.

初六：習坎，入于坎窞，凶。坎以二陰陷一陽為義，則陰即坎也。初居重坎之下，故曰習坎。干氏曰：江河淮濟，百川之流行乎地中，水之正也；及其為災，則氾濫平地而入于坎窞，是水失其道也。刑獄之用，必當於理，刑之正也；及其不平，則枉濫無辜，是法失其道也，故曰入于坎窞凶矣。蓋坎水就下，初在下位，下之下也。《說文》曰：坎中更有坎曰窞。故既曰坎又曰窞也。象曰：習坎入坎，失道凶也。陰柔無才，失其出坎之道也。

The line statement for the first line says: Being in a dangerous situation, falling into a small pit at the bottom of the Kan, it is dangerous. Duolong'a says: Kan represents the meaning of two yin lines trapping one yang line, so the yin lines themselves are Kan. The first line is at the very bottom of the double Kan, so it is called 'Learning to be in Kan'. Ganbao says: The Yangtze River, the Yellow River, the Huai River, and the Ji River, these myriad rivers flow across the land, this is the proper way of water; but when they become disasters, they overflow the plains and flood the pits, which is when water loses its proper course. The use of punishment and imprisonment must be reasonable, this is the proper way of punishment; but when judgments are unjust, the innocent are wrongly accused, this is when law loses its proper course, so it is said 'entering the pit at the bottom of Kan' and it is dangerous. The nature of water in Kan is to go downward, and the first line is at the very bottom, so it is below the bottom. The Shuo Wen Jie Zi says: A pit within a pit is called 'kuan'. Therefore, both 'Kan' and 'kuan' are mentioned. The Small Image Commentary says: Being in a dangerous situation and falling into Kan, this is the danger of losing the proper way. Duolong'a says: The first line is yin and weak, and has lost the way out of the pit.

九二：坎有險，求小得。二為陽中，似有出險之能，倘有所求，宜或可得。而坎德為窞，初三皆陰，未足為援，上又無應，則有欲出險而仍在險內者，故曰有險。雖陽剛居中，所求有得，然亦小矣。象曰：求小得，未出中也。居內卦之中，故有得；坎以出坎為義，未出中，故所得未大也。

The line statement for the second line says: There is still danger in the center of Kan, and what is sought can only be of small gain. Duolong'a says: The second line is a yang line in the center, seemingly possessing the ability to escape danger. If there is a pursuit, it should be able to achieve something. However, the nature of Kan is a pit, and both the first line and the third line are yin lines, insufficient to support it. Moreover, the fifth line is not in correspondence with it, so there is a situation where one wishes to escape danger but remains trapped within it, hence it is said 'there is danger'. Although it is yang and in the center, and there is some gain, it is still small. The Small Image Commentary says: Seeking small gain indicates that one has not yet emerged from Kan. Duolong'a says: It is located in the middle of the inner trigram, so it can gain something; but the main idea of Kan is to escape the pit, and since it has not yet escaped, the gain is not great.

六三：來之坎坎，險且枕，入于窞，勿用。之，往也；枕，安也。三在內卦外卦之界，前往為坎，後來亦為坎，互震為動、為行象來之，是來之坎坎也。進退皆坎，即進退皆險。陰無出險之才，安於坎，互艮為止，故曰枕。不惟安之，且又入之，入於坎且入于窞，入之漸深，不遑出矣，勿用矣。象曰：來之坎坎，終無功也。坎原以陰陷陽為義，究之陰之所陷尤甚於陽。古今小人陷害君子，幾見小人有得吉者？夫子釋之曰無功，所以深戒小人也。

The line statement of the third line says: coming is also Kan, going is also Kan, both dangerous and only able to lie still within it, falling into a small pit at the bottom, there is nothing to be done. Duolong'a says: 'Zhi' means to go forward, 'Zhen' means to lie still. The sixth line is at the boundary between the inner trigram and the outer trigram; going forward is Kan, returning is also Kan; the mutual trigram Zhen governs movement and action, which corresponds to 'coming' and 'zhi', so it says 'coming to Kan'. Advancing and retreating are both Kan, meaning both are dangerous. A yin line lacks the ability to escape danger, so it can only stay within Kan, and the mutual trigram Gen governs stillness, so it says 'lying still'. It not only stays within Kan but also sinks deeper, sinking into Kan and then into a small pit, sinking deeper and deeper, without time to get out, so it says 'not to use'. The Small Image Commentary says: coming and going are both Kan, ultimately achieving nothing. Duolong'a says: Kan originally signifies the meaning of yin sinking into yang; upon closer examination, yin itself is sunk more than yang. Throughout history, villains have陷害 virtuous people, has there ever been a case where villains thus achieved good fortune? Confucius explains this line as 'no achievement', which is a deep warning to villains.

六四：樽酒簋貳【句】，用缶，納約自牖，終無咎。四為大臣之位，近陽剛之君，前行出坎，可以有為矣。然一坎甫出，一坎又來，尚宜待時，積誠以通之，飲酒以俟之。蓋坎為酒，四在互震互艮之間，震為木、為蒼筤竹，又為仰缶，以震木之樽，副以震竹之簋，納此儉約之物於艮牖之中。虞氏曰：艮為牖。故曰納約自牖也。

The Line Statement of the Fourth Line says: One cup of wine, two bowls of food, carried in earthenware vessels, and offered through the window as a simple gift, ultimately without fault. Duolong'a says: The Fourth Line represents the position of a minister, adjacent to the yang strong ruler. Taking one step forward, it exits the Kan, thus being able to take action. However, just after exiting one Kan, another Kan comes, so one should still wait for the right time, accumulate sincerity to penetrate it, and drink in quiet anticipation. Kan is symbolized as wine; the Fourth Line is between the mutual Zhen and mutual Gen. Zhen is symbolized as wood and as young bamboo, and also as a vessel with the mouth facing up. Using a wine vessel made of Zhen wood and a food bowl made of Zhen bamboo, these simple items are offered through the window symbolized by Gen. Yu Fan says Gen is symbolized as window, hence saying 'offer the modest gift through the window'.

鄭氏曰：貳，副也，謂樽酒而副以簋也。禮，天子大臣出會諸侯，主國樽棜簋副，設元酒而用缶也，不尚繁文，惟用孚誠以結相見之歡。坎為心志，居六爻之中，陰又得位，此卦辭所云有孚心亨者，處險如此，行宜有尚，故無咎。象曰：樽酒簋貳，剛柔際也。上比五陽為坎酒，下比三陰為震樽簋，故曰剛柔際也。

Duolong'a cited Zheng Xuan's words: "Er" means to match or accompany, referring to a single vessel of wine paired with a serving dish. According to ritual, when a minister of the Son of Heaven went abroad to meet a feudal lord, the host country would set out wine vessels on a stand and pair them with a serving dish, offering "yuanjiu" which is plain water in place of wine, and using only earthenware vessels. They did not emphasize elaborate ceremonial forms, but relied on sincerity to establish friendly relations. The trigram Kan represents the mind, and the line six in the fourth is located in the middle of the six lines. A yin line in a yin position is appropriate, which is exactly what the hexagram statement says: "There is sincerity, the mind is harmonious." Being in a dangerous situation yet maintaining such conduct, one's actions naturally deserve commendation, hence there is no fault. The Small Image Commentary says: one vessel of wine and two serving dishes, indicating the meeting of yin and yang here. Duolong'a said: the line six in the fourth is closely adjacent above to the line nine in the fifth, which is yang, representing the wine of Kan; and closely adjacent below to the line six in the third, which is yin, representing the vessel and serving dish of Zhen. Therefore, it is said that yin and yang meet here.

九五：坎不盈，祇及平，無咎。祇，適也。五雖居重坎之上，而卦爻未竟，上餘一陰，又為互艮，坎水遇艮，是為止水，乃水不盈坎而適及平坎之時也。坎平漸盈，盈餘則流，此僅及平而尚未盈，是待盈以流行者。二五兩陽得中，二不如五得位，故無咎。象曰：坎不盈，中未大也。坎以出險為有功，而上六在前，尚未出坎，是得中猶未大也。

The line statement of the fifth line says: The water in the pit has not yet filled up, but it is just level with the mouth of the pit, so there is no fault. Duolong'a says: "Zhi" means just right. Although the fifth line is in the upper trigram of Kan (water), the six lines have not yet all been completed, and there is still one yin line above. It is also the mutual trigram Gen (mountain). When water meets mountain, it becomes water that stops and does not flow, which is exactly the situation when the water in the pit is just level with the mouth and has not yet filled it up. After the water is level with the mouth, it will gradually fill up, and when it overflows, it will flow away. Now it is only level and not yet full, which is a state waiting to fill up and then flow. The two yang lines, the second and the fifth, are both in the center. The second line is not as central and appropriate as the fifth line, so it says "no fault." The Small Image Commentary says: The water in Kan has not yet filled up, which is being in the center but still not able to be extensive. Duolong'a says: The trigram Kan values escaping the danger as a merit, but the sixth line is still blocking the way. The fifth line has not yet escaped from Kan, so although it is on the central path, it is still not extensive enough.

上六：繫用徽纏，寘于叢棘，三歲不得，凶。上亦陰柔無才，失濟涉之道而入于坎窞，如用徽纏繫之，寘之叢棘之中，至於三歲猶不能改過者。繫，拘也；徽纏，繩也。《九家易》曰：坎為叢棘，為法律。鄭氏曰：三五互體艮，又與震同體，艮為門闕，於木為多節，震之所有為叢棘之類，門闕之內有叢棘多節之木，是天子外朝左右九棘之象也。

The statement of the sixth line at the top says: They are bound with ropes and confined among brambles, unable to be released for three years, which is dangerous. Duolong'a says: The sixth line at the top is also a yin and weak line, lacking ability, having lost the way to cross over danger and falling into the pit of Kan. It is like being bound with ropes and left among brambles, and after three years still unable to change. "Xì" means to be confined, and "huī chán" means ropes. The "Nine Schools Commentary on the Yi" says that Kan takes the image of brambles and laws. Zheng Xuan says: From the third line to the fifth line forms the mutual body of Gen, and Gen also shares the same body as Zhen; Gen takes the image of gates and palaces, which among wooden things are trees with many knots. Zhen produces exactly brambles, and gates and palaces are surrounded by trees with many knots of brambles, which is the image of the Son of Heaven planting nine brambles on both sides of the outer court.

外朝者，所以詢事之處也。左嘉石，平罷民焉；右肺石，達窮民焉。罷民，邪惡之民也。上六乘陽，有邪惡之罪，故縛以徽纏，寘于叢棘，而使公卿以下議之。其害人者，置之圜土而施職事焉，以明刑恥之。能復者，上罪三年而赦，中罪二年而赦，下罪一年而赦。不得不自思以得正道，終不自改而出諸圜土者殺，故曰凶。象曰：上六失道，凶三歲也。

Duolong'a cited Zheng Xuan's words saying: The so-called "outer court" is where the Son of Heaven consults on state affairs. On the left, the Ji Shi is set up to educate those who behave improperly; on the right, the Fei Shi is set up for the poor and helpless to appeal. "Bamin" refers to evil people. The sixth line at the top, with a yao of yin, dominates the yang of the fifth line, committing the crime of evil, so it is bound with ropes and confined among brambles, to be handled by officials below the ministers. Those who harm others are imprisoned in the "huan tu" or prison city, assigned to labor, and subjected to clear punishments to make them ashamed. Those who repent are pardoned after three years for serious crimes, two years for medium crimes, and one year for minor crimes. The criminal cannot help but reflect and return to the right path; those who refuse to repent and are expelled from the huan tu are executed. Therefore, it is said "feng" (a bad omen). The "Small Image Commentary" says: The sixth line loses the correct path, and the dangerous situation will last for three years.

【離下離上，中互兌巽】重離純卦。離：利貞亨，畜牝牛吉。上卦下卦皆離，卦仍名離。離利於正，正則亨通。離得坤之中氣，坤為牛，故離亦為牛。《九家易》曰：離為牝牛。是牝牛離象也。牛牲柔，牛至於牝，則性愈順。蓋離象為火，其性燥，失其道則傷害萬物，惟以順行之，則能輔相天地以成生育之功，如畜牝牛則吉矣。

This hexagram has the lower trigram as Li (Fire) and the upper trigram also as Li (Fire), with the intermediate trigrams being Dui (Lake) and Xun (Wind). It is a pure hexagram formed by two overlapping Li trigrams. The hexagram statement says: The trigram Li is favorable for maintaining correctness and achieving success; it is auspicious to raise a mother cow. Duolong'a says: Since both the upper and lower trigrams are Li, the entire hexagram is still named Li. Li is favorable for following the correct path, and correctness leads to success. The trigram Li is formed by taking the middle line of the trigram Kun (Earth). Since Kun is symbolized by a cow, Li is also symbolized by a cow. The Nine Schools of the Book of Changes say that Li represents a mother cow, showing that a mother cow is indeed the symbol of Li. Cows by nature are gentle, and when they become mother cows, their nature becomes even more docile. The trigram Li is symbolized by fire, which has a fierce and intense nature. If it loses the correct path, it will harm all things. Only by using gentleness to guide it can it assist heaven and earth in nurturing all creatures—just as raising a mother cow is auspicious.

彖曰：離，麗也。日月麗乎天，百穀草木麗乎土，重明以麗乎正，乃化成天下。柔麗乎中正，故亨，是以畜牝牛吉也。離者，麗也，謂附麗也。一陰麗於二陽之中，離為火，火必有所麗而後生，故離之德曰麗。夫物之有所麗者，不獨火也，即日月麗天，百穀草木麗土，何莫非麗？五為天位，離為日，離下伏坎為月，故曰日月麗乎天。二為地位，是謂之土，二至四為互巽，巽為草木，巽下伏震，震為百穀，故曰百穀草木麗乎土。

The Commentary on the Judgment says: "Li" means attachment. The sun and moon are attached to the sky, and all grains and plants are attached to the earth; overlapping brightness is attached to the right path, thus nurturing and forming the world. Soft lines are attached to the central and upright position, so they are smooth and prosperous, hence it is auspicious to raise a cow. Duolong'a explains: "Li" is "Li", meaning attachment. A yin line is attached between two yang lines; "Li" takes the image of fire, which must be attached to something in order to burn, so the virtue of "Li" is called "attachment". All things are attached, not only fire: the sun and moon are attached to the sky, and all grains and plants are attached to the earth, which is not the case? The fifth line is the heavenly position, and "Li" takes the image of the sun; the hidden "Kan" beneath "Li" takes the image of the moon, so it says "the sun and moon are attached to the sky". The second line is the earth position, that is, the earth; from the second line to the fourth line is the mutual structure of "Xun", which takes the image of grass and trees; the hidden "Zhen" beneath "Xun" takes the image of grains, so it says "grains and grasses are attached to the earth".

離為明，二五為離主爻，俱得正位，上下皆明，故曰重明以麗乎正。人君體離之義，南面而治天下，嚮明化成可期。二五為柔，柔麗於陽，二得正，五亦得中，惟中正故亨也。離之二五為陰，得坤中氣，是謂之牛；離又陰體，是為牝牛。牛本順物，又為牝，則順而且柔。火德雖明，其性過燥，有牝牛之柔順，則得中和，可以生物而不至於傷，用離象者如畜牝牛則吉矣。坎離變對，坎中吉而外凶，蓋坎水外溢則氾濫無歸也；離中凶而外吉，蓋離火外見則光遠有耀也。

Duolong'a said: The trigram Li takes the image of brightness. The second and fifth lines are the main lines of Li, and both are in their proper positions. The upper and lower trigrams are both bright, so it is said, "The brightness is repeated and shines upon the correct path." A ruler who understands the meaning of the trigram Li faces south to govern the world, and promotes education and cultivation in the direction of brightness, and the success of cultivation can be expected. The second and fifth lines are both yin lines, and yin relies on yang. The second line is both central and correct, and the fifth line is also central, and only by being central and correct can there be smoothness. The second and fifth lines of Li are yin lines, and they receive the middle energy of Kun, so they are called "oxen." Since Li itself is a yin trigram, it is called "female ox." An ox is a creature that is gentle, and being female adds another layer of gentleness. Although the fire trigram is bright, its nature is too fierce and hot. With the gentleness of a female ox, it can attain the harmonious energy, thus being able to nurture all things without harming them. Those who use the image of Li should act like raising a female ox, which is auspicious. Kan and Li are opposite to each other: Kan is good in the middle but bad on the outside, because the water of Kan, once overflowing outside, will flood without a place to return. Li is bad in the middle but good on the outside, because the fire of Li, once appearing outside, will illuminate far away and shine brightly.

象曰：明兩作離，大人以繼明照于四方。鄭氏曰：明兩者，取君明上下以明德相承，且於天下之事無不見也。蓋離為火、為日，故曰明；卦為重離，故曰兩作；上離繼下離，故曰繼明。中互巽兌，離下伏坎，巽東兌西，離南坎北，四方也。

The Great Image Commentary says: Two lights rise up, which is the image of the Li hexagram; thus, the great person shines continuously with bright light over all directions. Duolong'a cites Zheng Xuan's words: "Two lights" refers to the meaning of the sovereign's virtue being passed down both above and below, and having a view of all matters under heaven. The Li hexagram takes the image of fire and the sun, so it is called "bright"; since this hexagram consists of two Lises, it is called "two lights"; the upper Li follows the lower Li, so it is called "continuing bright." The interacting elements within the hexagram include Xun and Dui, and Kan is hidden beneath Li. Xun is located in the east, Dui in the west, Li in the south, and Kan in the north, which is why it is called "four directions."

初九：履錯然，敬之無咎。離為日，離日初見，光采錯然。錯，紛錯也。履地之頃，則已光華發越，如人於踐履之初，禮文秩然也。離火主禮，故云履；離體中虛，故云敬。敬以行禮，則履無失，宜無咎也。象曰：履錯之敬，以辟咎也。內敬則外鮮失，敬以避咎，故無咎。闢、避同。

The line statement for the first line (Initial Nine) says: The steps are crossing and just beginning to move, but if one maintains reverence and caution, there will be no mistakes. Duolong'a explains: The trigram Li (Fire) takes the image of the sun. When the sun first appears, its light is scattered and crosses over; "错" means crossing and being disorderly. At the moment the sunlight touches the ground, its brilliance spreads out, just as when a person begins to walk, the rituals and etiquette are orderly. The trigram Li (Fire) in the five constants represents "ritual propriety," so it is said "to walk" or "to practice"; the middle of the trigram Li is empty, so it is said "reverence," for humility allows reverence. By approaching rituals with reverence, one's actions will not be mistaken, thus there is no error. The Small Image Commentary says: Walking with crossing steps but maintaining reverence is used to avoid faults. Duolong'a says: Inner reverence and caution lead to fewer external mistakes; using reverence to avoid faults, thus there is no error. "辟" and "避" are the same character.

六二：黃離，元吉。乾索坤中成離，離得坤氣，坤為黃，故曰黃離。黃為中色，離象得之，居中得正，如日方中，光被四表也，故元吉。象曰：黃離元吉，得中道也。二五俱得中，離為中女，五之陰居陽位，不若二之陰居陰位為得正也。二為卦主，故元吉也。

The line statement for the second line says: yellow adheres, great auspiciousness. Duolong'a says: Qian seeks the middle line of Kun to form Li, so Li receives the qi of Kun; since Kun's color is yellow, it is called 'yellow Li'. Yellow is the central color among the five colors, and Li receives it. Moreover, the second line is in the center and in the proper position, like the sun at noon, shining over all directions, which is what the Book of Documents, Yao's Classic says 'light spreads to the four quarters'. Therefore, it is great auspiciousness. The Small Image Commentary says: yellow Li brings great auspiciousness, for it has attained the middle way. Duolong'a says: both the second line and the fifth line are in the center, and Li is originally the middle female. However, the fifth line is a yin line in a yang position, which is less proper than the second line, a yin line in a yin position, which is more balanced and upright. The second line is the main line of the entire hexagram, so it is called 'great auspiciousness'.

九三：日昃之離，不鼓缶而歌，則大耋之嗟，凶。三居互巽互兌之間，兌位西，巽為入，日入西隅，則日昃矣。光陰易逝，時不再來，倘不及時為樂，則老耋將至，嗟無及也。耋，八十之稱，三為內卦之終，故云大耋。虞氏曰：巽為號。號呼出於兌口，故云暛。《九家易》曰：鼓缶者以目下視，離為大腹瓦缶之象，謂不取二也。

The Line Statement of the Third Line says: When the sun is westward, it is attached; if one does not sing by striking the clay pot, then one will lament with the sorrow of old age and decline, which is dangerous. Duolong'a says: The Third Line is located between the Inner Trigram of Xun and the Inner Trigram of Dui. The direction of Dui is west, and the virtue of Xun is to enter. The sun entering the western corner is when the sun has already tilted westward. Time passes quickly, and time does not return; if one does not enjoy life in time, old age will come, and then lamentation will be too late. "Diè" refers to the age of eighty, and the Third Line is at the end of the Inner Trigram, so it is called "great old age." Yu Fan says that Xun is taken as a call, and the sound of calling comes from the mouth of Dui, so it is called "lament." The Nine Schools' Commentary says: The person striking the clay pot is looking down, and Li is taken as a large belly, which is the image of the clay pot. This refers to the Third Line not approaching closely to take the Second Line.

歌者口仰向上，謂兌為口而上取五也。火性炎上，故三欲取五。樂極復悲，不能自主，始則惟知逸豫，任意蹉跎；繼則回思少壯，空負歲月。詩云：少年不努力，老大乃傷悲。此之謂矣。象曰：日昃之離，何可久也。日既西昃，不據二而上取五，歌嗟迭來，日不長昃，人不長耋也。

Duolong'a said: Singers lift their mouths upward, which means the trigram Dui, representing mouth, takes the image of upward movement, and nine in the third line seeks six in the fifth. Fire has an upward nature, so nine in the third line desires to reach six in the fifth. However, when music reaches its peak, it turns into sorrow, and one cannot control it. At first, one only knows comfort and enjoyment, letting time pass by; later, upon recalling youth, one realizes that time has been wasted in vain. The ancient poem, which is the Han Yuefu "Chang Ge Xing," says: "If young people do not strive, they will regret in old age." This describes exactly such people. The "Small Image Commentary" says: "The attachment at the time when the sun is setting, how can it last long?" Duolong'a said: When the sun has already set, nine in the third line does not rely on the nearby six in the second line but instead seeks six in the fifth, thus alternating between song and sigh. The sun cannot remain in the setting position for long, and people cannot remain in old age for long.

九四：突如其來如，焚如死如棄如。下離甫終，上離突至，以火繼火，其來突然，故曰突如其來如也。四為互巽，巽為木，木之上下皆火，是木已為火焚。夫火雖附木而生，火亦焚燼而死，至火已死，灰亦勿用，死矣棄矣。焰盛則易燼，灰死不再然，人當思所以防患之道，自處以有餘也。象曰：突如其來如，無所容也。火原附木以容身，至已焚棄，火亦自容無所也。

The fourth line statement says: suddenly rushing up, burning, then dying out, and being discarded. Duolong'a says: the lower trigram Li has just finished, and the upper trigram Li suddenly follows, with fire following fire, coming on suddenly, so it is said 'suddenly rushing up'. The fourth line belongs to the interacting trigram Xun, which takes the image of wood. This piece of wood has fire above and below, indicating that the wood has already caught fire. Although fire depends on wood to arise, fire eventually turns to ashes and dies out; when the fire has died, the remaining ashes are of no use, which is 'dead and discarded'. The stronger the flame, the quicker it burns out; dead ashes cannot be rekindled. People should think about ways to prevent disasters and leave room for themselves everywhere. The Small Image Commentary says: suddenly rushing up, with nowhere to take refuge. Duolong'a says: fire originally relies on wood to take refuge, but when the wood is burned up and discarded, the fire itself has nowhere to take refuge.

六五：出涕沱若，戚嗟若，吉。五為離中，離為目，又為互兌，兌為澤，兌澤之液出於離目，則象涕；下連互巽，巽為號，號呼之聲出於兌口，則象嗟。出涕至於沱若，憂戚至於嗟若，危懼亦云至矣。然日逸樂則德日昏，日事惕厲則德日顯，五之吉，吉以此也。象曰：六五之吉，離王公也。五為君位，安樂以處之則死，憂患以處之則生，五為離中之王公，故有此象。

The line statement of the fifth line says: tears flow like rain, sorrow and lamentation, which is auspicious. Duolong'a says: the fifth line is located in the center of the trigram Li, which symbolizes the eye; it also belongs to the interacting trigram Dui, which symbolizes a marsh. The water from the marsh flows out of the eye of Li, symbolizing tears. Further, it connects with the interacting trigram Xun, which symbolizes a call or cry, and the sound of crying comes from the mouth of Dui, symbolizing lamentation. Tears flow in abundance, sorrow is profound and continuous, indicating that the mind is in extreme danger and fear. However, if one indulges in ease day by day, virtue becomes increasingly obscured; if one remains vigilant and self-disciplined day by day, virtue becomes increasingly clear. The auspiciousness of the fifth line lies precisely here. The Small Image Commentary says: the auspiciousness of the fifth line is because it is associated with the position of a prince or duke. Duolong'a says: the fifth line represents the position of a ruler. If one treats this position with comfort and ease, it will lead to downfall; if one treats it with concern and vigilance, it will lead to survival. This is exactly what Mencius said: one is born through hardship and dies through ease. The fifth line is the ruler located in the center of Li, thus having this symbolic meaning.

上九：王用出征，有嘉【句】，折首獲匪其醜，無咎。五為王，上居五上，又為陽剛，宜為王用。離為甲冑、為戈兵，是出征象也。乾索坤中為離，乾首不見，虞氏曰：離為折首。坤為眾象丑，離僅得坤之中，故曰獲匪其醜。上以陽剛之才，居至明之位，出征有功，深可嘉美，僅戮渠魁，不欲獲其餘黨，殲盡丑類，恩威兼用，厥績懋焉，故無咎。象曰：王用出征，以正邦也。

The statement of the fifth line says: The king sent him to lead an army for military campaign, achieving a glorious merit; he beheaded the principal criminal, but did not capture his followers, thus having no fault. Duolong'a said: The fifth line is the king, and the upper nine is above the fifth line, being a man of yang strength, thus being suitable for the king's use. The trigram Li is taken as armor and weapons, which is the image of military campaign. The trigram Qian seeking the middle line of Kun forms Li. The 'head' symbolized by Qian disappears, so Yu Fan said that Li is taken as 'breaking the head,' meaning beheading. The trigram Kun is taken as the multitude, and 'chou' means the multitude. Since Li only takes the middle line of Kun and not the whole, it is said 'obtaining is not the multitude,' meaning that the captives are not the whole group. The upper nine, with his yang strength, is in a very clear position, leading an army to achieve military merit, which is very commendable. He only beheaded the principal criminal, not willing to capture all the followers or kill all the enemy troops, thus combining virtue and authority, achieving great merit, hence having no fault. The Small Image Commentary says: The king sent him to campaign, in order to correct the state.

慧珠閣原本。岫巖多隆阿雯溪。周易下經（一）。

This volume is based on the original edition from Hui Zhu Ge. The author is Duolong'a from Xiuyan, with the courtesy name Wenxi. The following explanations are of the first part of the Lower Canon of the Zhou Changes, including the six hexagrams: Xian, Heng, Duan, Da Zhuang, Jin, and Ming Yi.

【艮下兌上，中互巽乾】否：咸為三陰三陽卦，自否來。虞氏曰：坤三至上成女，乾上之三成男。蜀才曰：此本否卦，六三升上，上九降三。咸：享，利貞，取女吉。上經首乾坤者，天地也；下經首咸恆者，夫婦也。天地為物生之始，夫婦為人生之始，夫婦以咸成，故艮兌兩合之卦曰咸。天地在物生之先，故乾坤皆言元；若夫婦亦天地所生之物，在天地生物之後，故惟言亨利貞。取女者，既取者為婦，未取者為女，如體咸義，嘉會合禮，利物和義，貞固幹事，有此三德，取女以成夫婦，則亦吉矣。

This hexagram has the lower trigram Gen (Mountain) and the upper trigram Dui (Lake), with the intermediate trigrams Xun (Wind) and Qian (Heaven). It originates from the hexagram Po (Obstruction): Xian (Attraction) is a hexagram of three yin and three yang lines, formed by transformation from Po. Yu Fan said: The third line of Kūn (Earth) rises to the upper position to form Dui, which is the Young Girl; the upper line of Qian drops to the third position to form Gen, which is the Young Boy. Shu Cai said: This hexagram originally is Po, with the sixth line rising to the upper position and the upper line dropping to the third position. The hexagram statement says: Xian, it is smooth, favorable to maintain the correct path, and it is auspicious to take a wife. Duolong'a said: The upper section begins with Qian and Kūn, discussing heaven and earth; the lower section begins with Xian and Heng (Permanence), discussing husband and wife. Heaven and earth are the beginning of all things, while husband and wife are the beginning of human reproduction. Husband and wife are formed through mutual attraction, so the combination of Gen and Dui is called Xian. Heaven and earth come before all things, so both Qian and Kūn discuss "yuan"; as for husband and wife, they are things produced by heaven and earth, appearing after heaven and earth produce other things, so they only discuss "hen, li, zhen". The term "taking a wife" refers to a woman who has already entered the family as "fu" and one who has not yet entered as "nü". If one can understand the meaning of Xian and achieve what the Wenyan of Qian says: "A harmonious meeting is sufficient for propriety, benefiting things is sufficient for righteousness, firmness and steadfastness are sufficient for affairs," possessing these three virtues and then taking a wife to form a husband and wife relationship, it will be auspicious.

彖曰：咸，感也，柔上而剛下，二氣感應以相與，止而說，男下女，是以亨利貞，取女吉也。天地感而萬物化生，聖人感人心而天下和平，觀其所感，而天地萬物之情可見矣。咸者何？感也。兌為澤，艮為山，山澤以氣相通，而兌為少女，艮為少男，男女以禮相配，是山澤以氣感，男女以禮感，故曰感也。此卦自否來，以坤之三柔往上為兌，是為柔上；以乾之上剛來下為艮，是為剛下。乾坤易為艮兌，父母易為男女，艮止應兌說，是為二氣相與。鄭氏曰：與猶親也。則是感應以正也。

The Commentary on the Judgment says: "Xian" meanssympathetic response, which is mutual response. A yin line rises and a yang line descends, so the energies of yin and yang respond to each other and become close; one remains still while the other is joyful, the man is subordinate to the woman, hence it is smooth and favorable for upholding the right path, and marriage is auspicious. Heaven and earth respond to each other and thus all things are generated and nurtured; the sage moves the hearts of people and thus the world becomes peaceful. By observing what they respond to, the true nature of heaven, earth, and all things becomes visible. Duolong'a explains: "Xian" is what? It is "feeling" or "response." Dui is the marsh, Gen is the mountain, and the mountain and marsh communicate through their energies; Dui is the young woman, Gen is the young man, and the man and woman are matched according to propriety. Thus, the mountain and marsh respond through their energies, and the man and woman respond through propriety, hence it is said, "Xian, feeling." This hexagram comes from the hexagram of Po: the third line of Kūn, a yin line, is moved up to become Dui, which is "yin above"; the top line of Qián, a yang line, is moved down to become Gen, which is "yang below." The trigrams Kūn and Qián are replaced by Gen and Dui, and the parents are replaced by the young man and young woman; the stillness of Gen and the joy of Dui correspond with each other, which is the mutual interaction of the two energies. Zheng Xuan says: "Yu" means to be close. This shows that response must be based on the right path.

男居女下，是男先於女。禮曰：男子親迎，男先於女，剛柔之義也。則是感應以禮也。正而有禮，此所以亨利貞取女吉也。夫夫婦一小天地也，夫婦以有所感而人道成，猶之天地以有所感而萬物生。是以繼天地之聖人，體咸感之義以感人心，而父子君臣上下皆有禮義以相接，天下和平焉。是天地萬物之情不可見，以有所感而見，有以觀之，其意得矣。

Duolong'a said: The man is below the woman, which means the man takes the initiative first. The Book of Rites, Jiutesi, says: The man personally goes to marry the woman; the man comes before the woman, which is exactly the principle of the interaction between the strong and the gentle. Thus, the感应 must also be in accordance with propriety. Being correct and having propriety, this is the reason why the Hexagram Statement says "smooth, beneficial, and correct, taking a wife is auspicious." The husband and wife form a small universe: husband and wife, through mutual感应, establish the principles of human relationships, just as heaven and earth, through mutual感应, bring about the generation of all things. Therefore, the sages who inherit the achievements of heaven and earth, by understanding the meaning of the Xian Hexagram's mutualsympathetic response, move the hearts of people, thus enabling father and son, ruler and subject, and superiors and inferiors to relate to each other with propriety and righteousness, and the world becomes peaceful. The actual nature of heaven and earth and all things is originally invisible, but because of "感应," it becomes apparent; as long as one is good at observing this "感应," its meaning can be understood.

象曰：山上有澤，咸；君子以虛受人。澤水在下，今有于山上，是山以虛受澤也，故君子體之，亦以虛受人也。蓋卦自否來，以坤之上受乾之上。虞氏曰：坤為虛，乾為人。故曰以虛受人。初六：咸其拇。卦辭以禮感言，故曰吉；爻辭以形感言，故多凶。卦體以人取象，中三陽為身，上陰為口，下二陰則足也。初居下位，以足言之，則為足之大指，是拇也。感僅及拇，所感甚微，然既為所感，則已動而不靜，未能體艮止之義守本位矣。象曰：咸其拇，志在外也。外，四也。

The Great Image Commentary says: Mountains have a pond on top, which is the Hexagram of Xian; therefore, the gentleman thus empties his heart to receive others. Duolong'a says: Ponds should be in low places, but now they are on the mountain, which means the mountain uses its own emptiness to contain the pond, so the gentleman takes this as a model and also empties his heart to receive others. This hexagram comes from the hexagram of Po, using the top line of Kūn to receive the top line of Qián. Yu Fan says Kūn takes the image of emptiness and Qián takes the image of people, so it says "to receive others with emptiness." The line statement of the initial line says:感应 to his big toe. Duolong'a says: The hexagram statement refers to the sense of propriety, so it says "auspicious"; the line statement refers to the physical sense, so it often mentions "adverse." The hexagram is taken as the human body: the middle three yang lines are the trunk, the upper yin line is the mouth, and the lower two yin lines are the feet. The initial line is at the lowest position, which corresponds to the big toe, that is, "big toe." Thesympathetic response reaches only the big toe, which is extremely slight; however, since it has already been moved, it is no longer still, and thus cannot understand the meaning of Gen's stillness to stay in its place. The Small Image Commentary says:感应 to the big toe, is the mind already turning outward. Duolong'a says: "Outward" refers to the ninth line in the fourth position.

六二：咸其腓，凶，居吉。拇之上則為腓，腓，足膊也。感漸及上，已至於腓，腓體主動，妄動則凶。然陽動陰靜，二以陰居陰位，又在艮中，體艮止之義以居之則吉矣。象曰：雖凶居吉，順不害也。陰居陰位為順，互巽亦為順，順故不以妄動致害也。

The line statement for the second line says: It responds to the calf of the leg, which is dangerous; if one remains still and settled, it is auspicious. Duolong'a says: The big toe pointing upwards is the calf, and 'fei' refers to the muscle on the calf. The response moves gradually upward, having reached the calf; the calf is the part responsible for movement, and any reckless action leads to danger. However, yang is active and yin is still; the second line, being a yin line in a yin position, is also within the mountain trigram, which embodies stillness. Therefore, by understanding the meaning of stillness and remaining settled, it becomes auspicious. The small image commentary says: Although it is said to be dangerous, remaining still brings auspiciousness, because being gentle and compliant avoids harm. Duolong'a says: A yin line in a yin position is compliant; the interacting trigram of wind also signifies compliance. Because of compliance, there is no harm caused by reckless action.

九三：咸其股，執其隨，往吝。腓之上為股，三為互巽之中，巽又為股，是咸其股也。虞氏曰：巽為隨。三自否之上來，上為正應，本欲往上，而三與二同體，二為三隨，執其隨，三亦不能前往，庶幾無吝疵耳。象曰：咸其股，亦不處也，志在隨人，所執下也。處，止也。二以咸腓不處，三亦以咸股不處。二為三之隨，三居上下卦之間，中心無主而志在所隨之人，二在三下，是所執者在下，三亦由執二而不往也。

The third line statement says: Thesympathetic response reaches his thigh, he embraces the person he follows, and goes forward with regret. Duolong'a says: The thigh is above the calf, and the third line is in the middle of the mutual trigram Xun, and Xun takes the image of the thigh, so it says 'thesympathetic response reaches the thigh'. Yu Fan says Xun takes the image of following. The third line originally comes from the upper line of the Po hexagram, and the upper sixth line is its corresponding line. It originally wanted to go upward; but the third line is in the same trigram as the second line, and the second line is the follower of the third line. It embraces this follower and cannot move forward, thus almost avoiding regret. The Small Image Commentary says: The感应 reaches the thigh, which also indicates unwillingness to stay still; the mind is inclined to follow others, and what is held is something below. Duolong'a says: 'To be in a place' means to stop and not move. The second line, because of 'the感应 reaches the calf', is unwilling to stay still, and the third line, because of 'the感应 reaches the thigh', is also unwilling to stay still. The second line is the follower of the third line, and the third line is between the upper and lower trigrams, with no firm resolve and only thinking about the person it follows. The second line is below the third line, so what it holds is below, and the third line, because it embraces the second line, cannot move forward.

九四：貞吉，悔亡，憧憧往來，朋從爾思。四之上下皆陽，不為陰感，故貞吉悔亡。而又言思者，以四為心位故也。心有所感而後有思，心之感宜正，惟貞乃吉。倘或不然而往來憧憧，上往為九五所阻，下來為九三所隔，則是從爾思者僅有私朋，豈能遠大？憧憧，意不定貌。思以有所限而狹，何以應天下事也？非感之善者矣。象曰：貞吉悔亡，未感害也；憧憧往來，未光大也。貞吉則無所感害陰也，四之上下皆陽，故曰未感害。憧憧則不能貞矣。

The line statement for the fourth line says: If one holds to the correct path, it will be auspicious, and regret will vanish; if one's mind is uncertain and wavering, only one's own faction will follow one's thoughts. Duolong'a says: The fourth line is surrounded by yang lines above and below, not influenced by yin lines, so holding to the correct path brings auspiciousness and the disappearance of regret. The line statement also mentions 'thoughts' because the fourth line corresponds to the position of the heart. Thoughts arise from the heart's response, and the heart's response should be correct, for only correctness brings auspiciousness. If one does not do this, but instead wavers in thought, going upward it is blocked by the fifth line, going downward it is blocked by the third line, then only a small group of followers will follow one's thoughts, how can this be enduring and expansive? 'Chongchong' refers to the state of the mind being restless and uncertain. The mind, constrained by limitations, becomes narrow, and how can it deal with the affairs of the world? This is not the mark of a good response. The Small Image Commentary says: Holding to the correct path brings auspiciousness and the disappearance of regret, meaning it has not yet been harmed by response; the mind being uncertain and wavering means it is still not expansive. Duolong'a says: Holding to the correct path avoids harm from yin lines; since the fourth line is surrounded by yang lines above and below, it is said 'not yet harmed by response.' Once the mind becomes restless and uncertain, it can no longer hold to the correct path.

九五：咸其脢，無悔。脢，脊肉也，脢與心背，心有覺而脢無覺，所感在此，則無憧憧之患，故無悔。象曰：咸其脢，志末也。有感則心有所之矣，末，上也。上六：咸其輔頰舌。上為兌口，故象輔頰舌，口有所感而言出焉。上自否之三來上，原為乾，乾為言，易乾為兌，是以乾言而送諸兌口也。鄭氏曰：咸道極薄，徒送口舌言語相感而已。象曰：咸其輔頰舌，滕口說也。滕，鄭氏、虞氏作媵，注云送也，滕、騰、媵古字通，《燕禮》《大射》媵觚於賓，《楚辭·九歌》魚鱗鱗兮媵予。

The line statement of the Nine in the Fifth says: It responds to the flesh on the back, without regret. Duolong'a says: "Mei" refers to the flesh on the back, which is opposite the heart, one in front and one behind. The heart has perception while the mei does not. Since the response is here, there is no problem of wavering thoughts, hence no regret. The Small Image Commentary says: The response is to the back, and the mind is at the end. Duolong'a says: When there is a response, the mind immediately goes there; "end" refers to the upper position. The line statement of the Sixth at the Top says: It responds to the jaw, cheek, and tongue. Duolong'a says: The Sixth at the Top is the trigram of the mouth, so it takes the image of the jaw, cheek, and tongue. When the mouth has a response, speech comes out. The Sixth at the Top originally was the third line of the Not-Yet卦, which belonged to the trigram of Heaven. Heaven takes the image of speech; now Heaven has become the trigram of the mouth, so the speech of Heaven is sent out through the mouth. Zheng Xuan says: This way of mutual response is the most superficial, merely verbal communication. The Small Image Commentary says: The response is to the jaw, cheek, and tongue, which is just verbal. Duolong'a says: The character "teng" is written as "ying" by both Zheng Xuan and Yu Fan, and the explanation is "to send." The characters "teng," "teng," and "ying" were used interchangeably in ancient times. In the "Yili · Yan Li" and "Da She Li," there is "ying gu at the guest," meaning to present a wine cup to the guest. In the "Chu Ci · Jiugong," there is "yu lin lin xi yingyu," meaning fish swimming in groups to send.