Mang 尨, “The Shaggy Dog” (Strip 1)
  1.  六晶勿用取女見金夫不又躳亡卣image六四困尨吝六五僮尨吉上九image尨 / 不image為imageimage御image
Six in the Third:1 Do not herewith take a woman. Seeing the metal man, who does not have2 a body.3 There is nothing4 beneficial.
Six in the Fourth: Blocking the shaggy dog.5Distress.
Six in the Fifth: Young6 shaggy dog. Auspicious.
Top Nine: Hitting7 the shaggy dog. Not beneficial to be a robber;8 beneficial to drive off9 robbers.
____________
   1  Here and elsewhere throughout the Shanghai Museum manuscript of the Zhou Yi, and as often in the script of the Warring States state of Chu, the word san, “three,” written 三 in conventional script (as in the received text of the Zhou Yi), is written as 晶; this should not be confused with the character for jing, “crystal,” which in conventional script is written as 晶.
   2  Here and throughout the manuscript, for you 又, “right hand; to have,” the received text (hereafter R) as well as both the Mawangdui (hereafter M) and Fuyang (hereafter F) manuscripts read you 有, “to have.” Except in cases where there is the potential for another meaning (e.g., the word you, “again”), I do not note this further.
   3  For gong 躳, “body,” R reads gong 躬, “body,” whereas both M and F read image.
   4  Here and throughout the manuscript, the standard existential negative is written as wang or wu 亡, whereas in R as well as in both M and F it is written as wu 无. Also here and throughout the manuscript, the nominalizing agent you 卣 is written in both R and M as you 攸.
   5  For mang 尨, “shaggy dog,” R and all other available sources read meng 蒙, variously understood as “covered,” “dim, dark,” or “(unenlightened) youth.” Ōno, “Shū Eki Mō ka shinkai,” argues that the context of the line statements, with adjectives such as “tied” and “hit,” suggests that “shaggy dog” should indeed have been the original reading. Possible support in the Yi jing tradition for this reading is to be seen in the Nine in the Second line, missing from the manuscript, for which the Jingdian shiwen 經典釋文 quotes the text of Zheng Xuan 鄭玄 (121–194) as reading biao 彪, “stripes of a tiger,” instead of bao 包, “to wrap.” Since there has been no consensus as to the meaning of meng 蒙, even though I have no great conviction that mang 尨, “shaggy dog,” is in any way the “original” or “correct” reading of the word, it seems just as well here to interpret the manuscript literally, regarding it as one among several possible meanings.
   6  For tong 僮, “youth,” both R and M give tong 童, “youth.”
   7  For ji image, R reads ji 擊, “to hit.” Pu Maozuo provides evidence that image is in fact the archaic form for ji, “to hit.”
   8  Pu Maozuo provides evidence that in paleographic materials, image is an attested alternative writing of kou 寇, “robber,” the reading of both R and M.
   9  For yu 御, “to drive a chariot, to manage,” R reads yu 禦, “to resist,” whereas M gives the nominalizing agent suo 所.
image  Meng 蒙, “Shrouded” (Hexagram 4)
蒙亨匪我求童蒙童蒙求我 初噬告再三瀆瀆則不告利貞
初六發蒙利用刑人用說桎梏以往吝
九二包蒙吉納婦吉子克家
六三勿用取女見金夫不有躬无攸利
六四困蒙吝
六五童蒙吉
上九擊蒙不利為寇利禦寇
Shrouded: Receipt. It is not we who seek the young shroud; the young shroud seeks us. The first milfoil divination reports; a second and third is excessive; excessive then it does not report. Beneficial to determine.
First Six: Lifting the shroud. Beneficial to use a punished man, and herewith to remove the fetters in order to go. Distress.
Nine in the Second: Wrapping the shroud. Auspicious. Taking a wife: auspicious; a son can marry.
Six in the Third: Do not herewith take in marriage a woman. Seeing the metal man, who does not have a body. There is nothing beneficial.
Six in the Fourth: Blocking the shroud. Distress.
Six in the Fifth: Young shroud. Auspicious.
Top Nine: Hitting the shroud. Not beneficial to be a robber; beneficial to resist robbers.
image  Ru 乳, “Suckling” (Strips 2–3)
  2.  image孠 image又孚光鄉貞吉image涉大川初九孠于蒿image用image亡咎九 / 二孠于image少又言冬吉九晶孠于image至[image]至六四孠于血出
  3.   … 吉 image
image Suckling1 image: There is trust. Radiant receipt.2 Determining: auspicious. Beneficial to ford the great river.
First Nine: Suckling in the artemisia.3 Beneficial herewith to persevere.4 There is no trouble.
Nine in the Second:5 Suckling in the sand.6 There is a little talk, in the end auspicious.
Nine in the Third: Suckling in the mud.7 Brings8 robbers to come.
Six in the Fourth: Suckling in the blood, going out
…
auspicious.9 image
____________
   1  There has been a great deal of discussion about how this graph should be transcribed. It would seem that the most literal transcription would be 孠, understood as the archaic form of ru 乳, “to suckle,” for which see He Linyi 何琳仪, “Hu jian Zhou Yi xuanshi” 沪简周易选释, 1, http://www.jianbo.org/admin3/list.asp?id=1194 (published May 16, 2004). However, for evidence that in Warring States manuscripts a variant of the graph for ru 乳, “to suckle,” was written virtually identically, see Chen Yao 陳爻 (i.e., Chen Jian 陳劍), “Zhu shu Zhou Yi Xu gua gua ming zhi zi jie” 竹書周易需卦卦名之字解, http://www.jianbo.org/showarticle.asp?articleid=911. R reads xu 需, “to await,” whereas M reads ru 襦, “short jacket, fine net,” or ru 嬬, “weak” (in its text of the Xici 繫辭). Since ru *no? 乳 was cognate with ru *noh 孺, “suckling child” and essentially homophonous with xu *sno or non? 需, providing contact between the graph of the manuscript and R, the graph here should probably be understood as ru 乳.
   2  For xiang 鄉, both R and M read heng 亨, variously understood as “communication, receipt (tong 通)” or as “to make an offering” (usually written as xiang 享). However, whereas in other contexts (such as the Top Six line of Sui image hexagram, strip no. 17 below), R seems to confuse these two senses of the word (which are closely related in any event), the Shanghai Museum manuscript, like M, strictly differentiates them, always writing “communication, receipt” as 鄉 and “to make an offering” as 亯. For a study discussing the implications of these distinctions for Zhou Yi divination, see Xia, “Zhou Yi ‘Yuan heng li zhen’ xin jie.”
   3  For hao 蒿, “artemisia,” R reads jiao 郊, “suburbs,” while M reads jiao 茭, “fodder.”
   4  In Warring States Chu script, image is the standard way to write heng 恆, “constant; to persevere,” which is the reading of both R and M.
   5  There is a break in the strip at this point, with only a portion of the bottom stroke of er 二, “two,” visible on the second fragment.
   6  For image, both R and M read sha 沙, “sand.” Pu Maozuo provides evidence that in Warring States Chu script, image was a standard way to write sha 沙, as in the place-name Changsha 長image (i.e., 長沙); the addition of a tu 土, “earth,” component in image would seem to write the same word.
   7  For image, both R and M read ni 泥, “mud.” Pu Maozuo provides evidence that in Warring States Chu script 匚 was routinely written for 尼, and evidence from the Ji yun 集韻 that ni 泥, “mud,” was written with a tu 土, “earth,” component, such that image can be read as ni, “mud.”
   8  For zhi 至, “to arrive,” both R and M read zhi 致, “to bring, to cause to arrive.”
   9  Whereas complete bamboo strips of the Shanghai Museum Zhou Yi manuscript are generally about 45.5 cm long, only the bottom 20.8 cm of strip no. 3 survives. The twenty-six characters that R includes between xu yu xue chu 需于血出 of the Six in the Fourth line and the final ji 吉, “auspicious,” of the Top Six line would have fit exactly into the missing 24.7 cm, assuring that this strip should follow strip no. 2. In addition, the hexagram-tail symbol here, a solid red square, matches the hexagram-head symbol on strip no. 2, also suggesting that the two strips form a pair.
image  Xu 需, “Awaiting” (Hexagram 5)
需有孚光亨貞吉利涉大川
初九需于郊利用恆无咎
九二需于沙小有言終吉
九三需于泥致寇至
六四需于血出自穴
九五需于酒食貞吉
上六入于穴有不速之客三人來敬之終吉
Awaiting: There is trust. Radiant receipt. Determining: auspicious. Beneficial to ford the great river.
First Nine: Awaiting in the suburbs. Beneficial herewith to persevere. There is no trouble.
Nine in the Second: Awaiting in the sand. There is a little talk, in the end auspicious.
Nine in the Third: Awaiting in the mud. Brings robbers to come.
Six in the Fourth: Awaiting in the blood, going out from a pit.
Nine in the Fifth: Awaiting in the wine and food. Determining: auspicious.
Top Six: Entering into a pit: there are three unwelcome guests who come. Respect them. In the end auspicious.
image  Song 訟, “Lawsuit” (Strips 4–5–6)
  4.  image訟 image又孚image中吉冬凶image用見大人不image涉大川初六 / 不出御事少又言冬吉九二不克訟image肤其邑人晶
  5.  四戶亡image六晶飤舊image貞礪冬吉或從王事亡成九四不克訟image即令愈安貞吉九五訟元吉上九或賜image冬
  6.  朝晶image之 image
image Lawsuit image: There is trust. Fearful.1 In the middle auspicious, in the end ominous. Beneficial herewith2 to see the great man; not beneficial to ford the great river.
First Six: Not going out3 to manage4 service. There is a little talk, in the end auspicious.
Nine in the Second: One cannot sue. Return the raw meat offering,5 the people of their city, three or four households.6 There is no curse.
Six in the Third: Eating7 the old virtue. Determining: danger, in the end auspicious. And now following the king’s service, there is no completion.
Nine in the Fourth: One cannot sue. Returning to assume the command, it improves.8 Determining about peace: auspicious.
Nine in the Fifth: Lawsuit. Prime auspiciousness.
Top Nine: Someone awards9 a great sash,10 to the end of the morning thrice stripping it.11 image
____________
   1  For image, R reads zhiti 窒惕, “fearful,” whereas M (perhaps) reads xuning 洫寧. In early manuscripts, binomes such as this are particularly susceptible to different ways of writing, even more than usual the sound carrying the meaning.
   2  The manuscript here has an extra yong 用, “to use; herewith,” as compared with R. M agrees with the Shanghai manuscript.
   3  For chu 出, “to go out,” both R and M read yong 永, “permanent, to make permanent.”
   4  For yu 御, “to manage,” both R and M give the nominalizing particle suo 所.
   5  For gui fu 歸肤, “return the raw meat offering,” both R and M read gui er bu 歸而逋, “return and flee.”
   6  For san si hu 晶四戶, “three or four households,” both R and M read san bai hu 三百戶, “three hundred households.”
   7  In standard orthography, 飤 is used to write si, “to feed.” However, in Chu script, it is the standard way to write shi, “to eat,” conventionally written 食, which is the reading of both R and M.
   8  For yu 愈, “joyful; to improve, cure,” R reads yu 渝, “to change (for the worse); to flood,” whereas M reads yu 俞, “small boat.”
   9  After the verb ci 賜 (written xi 錫 in R and ci 賜 in M), “to award,” both R and M have the pronoun zhi 之, “it.”
  10  For image, R reads ban dai 鞶帶, “leather belt and sash,” whereas M reads ban dai 般帶. image contains two possible phonetic elements, 半, suggesting ban 絆, “fetters,” and 田, suggesting shen 紳, “sash.” Although the phonetic similarity of the received text’s ban 鞶 might argue in favor of reading ban 絆, the combination with dai image or 帶, “belt,” almost certainly favors the reading shen 紳.
  11  For image, composed of lu 鹿, “deer,” over yi 衣, “clothes,” R reads chi 褫, “to take off, to strip,” whereas M gives image. Chi 褫 is composed of hu 虎, “tiger,” han 厂, “cliff,” and yi 衣, “clothes.” Since in early orthography the components lu 鹿, “deer,” and hu 虎, “tiger,” were often interchangeable, it would seem that this graph is simply an alternative form of chi 褫.
image  Song 訟, “Lawsuit” (Hexagram 6)
訟有孚窒惕中吉終凶利見大人不利涉大川
初六不永所事小有言終吉
九二不克訟歸而逋其邑人三百戶无眚
六三食舊德貞厲終吉或從王事无成
九四不克訟復即命渝安貞吉
九五訟元吉
上九或錫之鞶帶終朝三褫之
Lawsuit: There is trust. Fearful. In the middle auspicious, in the end ominous. Beneficial to see the great man; not beneficial to ford the great river.
First Six: Not perpetuating that which he serves. There is a little talk, in the end auspicious.
Nine in the Second: One cannot sue. Returning and fleeing, the people of their city, three hundred households. There is no curse.
Six in the Third: Eating the old virtue. Determining: danger, in the end auspicious. And now following the king’s service, there is no completion.
Nine in the Fourth: One cannot sue. Returning to assume the command, it changes. Determining about peace: auspicious.
Nine in the Fifth: Lawsuit. Prime auspiciousness.
Top Nine: Someone awards him a leather belt, to the end of the morning thrice stripping it.
image  Shi 帀, “Army” (Strips 7–8)
  7.  image帀 image貞丈人吉亡咎初六帀出以聿不image凶九二才帀image吉亡咎王晶賜命六晶帀或image凶六四帀左image亡咎六
  8.  五畋有image言亡咎長子image帀弟子image貞凶上六大君子又命啟邦丞image 用
image Army1 image: Determining: for an older man auspicious. There is no trouble.
First Six: The army going out in ranks.2 It is not good.3 Ominous.
Nine in the Second: In the army’s midst.4 Auspicious. There is no trouble. The king thrice awards command.
Six in the Third: Someone in the army carting5 corpses.6 Ominous.
Six in the Fourth: The army camping7 to the left. There is no trouble.
Six in the Fifth: Hunting8 there is a catch. Beneficial to grasp words. There is no trouble. The eldest son leads the army, the younger son carts corpses. Ominous.
Top Six: The great lord-son9 has a mandate, to open the country10 and relieve11 the families. The petty man12 ought not be used.
____________
   1  Here and elsewhere throughout the manuscript, shi, “army” (written 師 in standard orthography), is written as 帀, as is common in early paleographic materials.
   2  For 聿, both R and M give lü 律, “measure, rank.”
   3  For image, both R and M read zang 臧, “good,” for which the Yu pian 玉篇 gives the archaic form 匨.
   4  For image, both R and M read zhong 中, “center, midst.” Elsewhere in the manuscript, zhong, “center, midst” is written without the “roof,” 宀, component; whether this carries semantic sense here deserves further study.
   5  For image, R reads yu 輿, “cart, to cart,” whereas M reads yu 與, “and, together with.”
   6  For image, R reads shi 尸, “corpse,” whereas M gives image.
   7  For image, both R and M read ci 次, “to overnight, to camp.” As Liao Mingchun has pointed out, Yu Xingwu 于省吾, Jiagu wenzi shilin 甲骨文字釋林 (Beijing: Zhonghua shuju, 1979), 417, has already demonstrated that image is the original form of ci 次.
   8  For tian 畋, “to hunt,” both R and M read tian 田, “fields.” However, in early texts, tian 田 had an extended meaning of “to take to the fields”; i.e., “to hunt.”
   9  For junzi 君子, “lord-son, nobleman,” R reads jun 君, “lord,” whereas M reads ren jun 人君 “lord of men.”
  10  For qi bang 啟邦, “to open the country,” R reads kai guo 開國, kai 開 replacing qi 啟 to avoid a Han-dynasty taboo on the name of Liu Qi 劉啟, Emperor Jing 景 (r. 156–141 B.C.), and guo 國, replacing bang 邦 to avoid a taboo on the name of Liu Bang 劉邦, Emperor Gaozu 高祖 (r. 202–195 B.C.). M reads qi guo 啟國, observing the taboo on the name of Liu Bang but not on that of Liu Qi, whereas F reads as does the Shanghai Museum manuscript.
  11  For zheng 丞, “to aid, to rescue, to relieve,” both R and M read cheng 承, “to receive.”
  12  Xiao ren 少人, “petty man” (written in both R and M as 小人), is here written together as a hewen 合文, or “combined character,” with a small duplication mark written beside it.
image  Shi 師, “Army” (Hexagram 7)
師貞丈人吉无咎
初六師出以律否臧凶
九二在師中吉无咎王三錫命
六三師或輿尸凶
六四師左次无咎
六五田有禽利執言无咎長子帥師弟子輿尸貞凶
上六大君有命開國承家小人勿用
Army: Determining: for an older man auspicious. There is no trouble.
First Six: The army going out in ranks. It is not good. Ominous.
Nine in the Second: In the army’s midst. Auspicious. There is no trouble. The king thrice awards command.
Six in the Third: Someone in the army carting corpses. Ominous.
Six in the Fourth: The army camping to the left. There is no trouble.
Six in the Fifth: Hunting there is a catch. Beneficial to grasp words. There is no trouble. The eldest son leads the army, the younger son carts corpses. Determining: ominous.
Top Six: The great lord has a mandate, to open the kingdom and receive the families. The petty man ought not be used.
image Bi 比, “Alliance” (Strips 9–10)
  9.  image 比 image备筮元image貞吉亡咎不image方逨image夫凶初六又孚比之亡咎又孚image缶冬逨又它吉六二比之自內吉六晶比之
10.  非人六四外image之亡不image九五顯比王晶驅image前image邑人不戒吉上六比之亡首凶 image
image Alliance image:1 The original2 milfoil divination: prime. Determining about the long-term:3 auspicious. There is no trouble. The unpeaceful land comes. For the latter one ominous.
First Six: There is trust. Allying with them. There is no trouble. There is trust. Roiling4 the pitcher. In the end there will come to be harm. Auspicious.
Six in the Second: Allying with them from within. Auspicious.5
Six in the Third: Allying with them, who are not men.
Six in the Fourth: Outside allying6 with them. There is nothing not beneficial.7
Nine in the Fifth: Manifestly allying. The king8 thrice races, losing9 the forward catch. The city people are not warned. Auspicious.
Top six: Allying with them without a head. Ominous. image
____________
   1  Both R and M include the word ji 吉, “auspicious,” after the name of the hexagram.
   2  备 should not be confused with the modern simplified form of bei 備, “complete, prepared”; instead, it is an abbreviated form of yuan 邍, “high plain; initial,” now commonly written as 原.
   3  Here and elsewhere throughout the manuscript, yong, “long-term, permanent” (written 永 in standard orthography, as in R), is written image.
   4  For image, the editors read hai 海, “sea.” I follow Huang Xiquan 黄锡全, “Du Shangbo Zhanguo Chu zhushu san zhaji shuze” 讀上博戰國楚竹書三札記數則, 1, http://www.jianbo.org/admin3/html/huangxiquan01.htm (published September 8, 2004), in reading ying 瀴, usually understood as “the appearance of water,” especially at a distance, but also with an attested usage in the sense of “turbulent or roiling water.” Both R and M read ying 盈, “full,” which is phonetically close to ying 瀴, and I suspect a case of lectio facilior (盈 being a more common character than 瀴).
   5  For ji 吉, “auspicious,” both R and M read zhen ji 貞吉, “determining: auspicious.”
   6  For image, R, M, and F all read bi 比, “to ally,” as in all other cases in this hexagram. It is not clear if or how the added 攴 signific changes the sense of the word here.
   7  Wang bu li 亡不利, “there is nothing not beneficial,” is not present in either R or M, which at this place both read instead zhen ji 貞吉, “determining: auspicious,” which in turn is not present in the manuscript. On the other hand, F has the optative negative wu 毋, “do not” (after which the fragment is broken).
   8  After wang 王, “king,” both R and M include the word yong 用, “to use; herewith.”
   9  Pu Maozuo provides conclusive evidence that in Warring States Chu script shi, “to lose” (written 失 in conventional script, as in R and M), was written as image.
image  Bi 比, “Alliance” (Hexagram 8)
比吉 原筮元永貞无咎不寧方來後夫凶
初六有孚比之无咎有孚盈缶終來有它吉
六二比之自內貞吉
六三比之匪人
六四外比之貞吉
九五顯比王用三驅失前禽邑人不誡吉
上六比之无首凶
Alliance: Auspicious. The original milfoil divination: prime. Determining about the long-term: there is no trouble. The unpeaceful land comes. For the latter one ominous.
First Six: There is trust. Allying with them. There is no trouble. There is trust. Filling the pitcher. In the end there will come to be harm. Auspicious.
Six in the Second: Allying with them from within. Determining: auspicious.
Six in the Third: Allying with them, who are not men.
Six in the Fourth: Outside allying with them. Determining: auspicious.
Nine in the Fifth: Manifestly allying. The king herewith thrice races, losing the forward catch, the city people are not warned. Auspicious.
Top Six: Allying with them without a head. Ominous.
     Da You 大有, “Great Offering”* (Strip 11)
11.  亡咎六五厥孚洨如愇如吉上九自天右之吉亡不image image
… There is no trouble.
Six in the Fifth: Their captives are linked together,1 are cowed.2 Auspicious.
Top Nine: From heaven blessing3 it. Auspicious. There is nothing not beneficial. image
____________
   1  For xiao 洨, attested only as a place-name, R reads jiao 交, “crosswise; interrelated,” whereas the Mawangdui manuscript text Er san zi wen 二三子問 reads jiao 絞, “to braid” (or xiao, “green”), and provides the gloss ri ye 日也, “the sun, sunny.”
   2  For wei 愇, attested as a variant form of wei 韙, “correct; fine government; to agree,” R reads wei 威, “awesome, awe-inspiring, awed,” whereas M reads wei 委, “impressive.”
   3  For you 右, “right-hand,” which is also the reading of M, R reads you 祐, “blessing.”
image  Da You 大有, “Great Offering” (Hexagram 14)
大有元亨
初九无交害匪咎艱則无咎
九二大車以載有攸往无咎
九三公用亨于天子小人弗克
九四匪其彭无咎
六五厥孚交如威如吉
上九自天祐之吉无不利
Great Offering: Prime receipt.
First Nine: There is no exchanging harm that is not trouble. If difficult then there is no trouble.
Nine in the Second: The great cart is used to carry. There is someplace to go. There is no trouble.
Nine in the Third: The duke herewith sacrifices to the Son of Heaven. The petty man is not capable of it.
Nine in the Fourth: Not its side-offering. There is no trouble.
Six in the Fifth: Their captives are linked together, are awed. Auspicious.
Top Nine: From heaven blessing it. Auspicious. There is nothing not beneficial.
image  Qian image, “Modesty” (Strips 12–13)
12.  imageimage image鄉君子又image初六image君子用涉大川吉六二鳴image … 四亡不imageimage六五不image以
13.  其imageimage用image伐亡不image上六鳴image可用行帀征邦 image
image Modesty1 image: Receipt. The lord-son has an end.2
First Six: A modest3 lord-son. Herewith ford the great river. Auspicious.
Six in the Second: Calling modesty. …
… in the Fourth: There is nothing not beneficial. Encouraging4 modesty.
Six in the Fifth: Not enriched by his neighbor.5 Beneficial herewith to invade and attack. There is nothing not beneficial.
Top Six: Calling modesty. Can6 be used to set in motion the army and correct the country.7 image
____________
   1  For image, R reads qian 謙, “modesty,” the difference between the graphs being essentially that the manuscript uses an “earth” 土 signific, whereas the received text uses a “language” 言 signific.
   2  The graph image, for which both R and M read zhong 終, “end,” is unattested in standard dictionaries, but in my translation I try to reflect its “heart” 心 signific.
   3  Both R and the various Mawangdui manuscript texts duplicate the word qian here; it seems likely that the manuscript copyist inadvertently neglected to add a duplication mark beside the graph.
   4  For image, R reads hui 撝, which has such various meanings as “to split open,” “to withdraw,” and “to encourage,” whereas M gives the word as 譌, and in the Xiping Stone Classics it is written hui 揮. Since huo 貨 and wei 為 were anciently near homophones, it seems that the manuscript’s character is just another way of writing the same word, probably hui, “to encourage.”
   5  In Warring States Chu script, lin, “neighbor” (written 鄰 in conventional script, as in R and M), is written image.
   6  For ke 可, “can, be able to,” R reads li 利, “benefit.” The Xiang zhuan 象傳 commentary to this line seems to quote it as ke yong xing shi 可用行師, corroborating the reading of the manuscript.
   7  For bang 邦, “country,” R reads yi guo 邑國, “city and kingdom.” This is an interesting case of textual deformation. Bang 邦 would have been changed to guo 國 in the Han dynasty to avoid a taboo on the name of Liu Bang 劉邦, Emperor Gaozu. It would seem, in addition, that the right-hand component of bang (actually the left-hand component as the graph is written in the Shanghai manuscript), 邑 (the form 阝 is a modern simplification), was preserved as the independent character yi 邑, “city.”
image  Qian 謙, “Modesty” (Hexagram 15)
謙亨君子有終
初六謙謙君子用涉大川吉
六二鳴謙貞吉
九三勞謙君子有終吉
六四无不利撝謙
六五不富以其鄰利用侵伐无不利
上六鳴謙利用行師征邑國
Modesty: Receipt. The lord-son has an end.
First Six: Double modesty. The lord-son herewith fords the great river. Auspicious.
Six in the Second: Calling modesty. Determining: auspicious.
Nine in the Third: Belabored modesty. The lord-son has an end. Auspicious.
Six in the Fourth: There is nothing not beneficial. Waving modesty.
Six in the Fifth: Not enriched by his neighbor. Beneficial herewith to invade and attack. There is nothing not beneficial.
Top Six: Calling modesty. Beneficial herewith to set in motion the army and correct the city and kingdom.
image   Yu 余, “Excess” (Strips 14–15)
14.  image余 imageimage建侯行帀初六鳴余凶六二image于石不冬日貞吉六晶可余imageimage又image九四猷余大又image毋image六五
15.  貞疾image不死上六榠余成又愈亡咎 image
image Excess1 image: Beneficial to establish a lord and set in motion the army.
First Six: Calling excess. Ominous.
Six in the Second: Strengthening2 by stone. Not to the end of the day. Determining: auspicious.
Six in the Third: Singing3 excess. Regret,4 and slowly5 again6 regret.
Nine in the Fourth: Hestitant.7 Great will be the obtaining.8 Do not doubt friends dispensing9 criticism.10
Six in the Fifth: Determining: illness will be long-term, but you will not die.
Top Six: Dark excess. Completion again improves. There is no trouble. image
image  Yu 豫, “Relaxed” (Hexagram 16)
豫利建侯行師
初六鳴豫凶
六二介于石不終日貞吉
六三盱豫悔 遲有悔
九四由豫大有得勿疑朋盍簪
六五貞疾恆不死
上六冥豫成有渝无咎
Relaxed: Beneficial to establish a lord and set in motion the army.
First Six: Calling relaxation. Ominous.
Six in the Second: Strengthening by stone. Not to the end of the day. Determining: auspicious.
Six in the Third: Open-eyed relaxation. Regret, and slowly there will be regret.
Nine in the Fourth: Hesitant. Great will be the obtaining. Do not doubt friends putting on hairpins.
Six in the Fifth: Determining: illness will be long-term, but you will not die.
Top Six: Dark relaxation. Completion will have a change. There is no trouble.
____________
   1  For 余, R reads yu 豫, usually understood to mean “relaxed, happy,” whereas M reads yu 餘, “excess.” Liao Mingchun 廖名春, in “Shanghai Bowuguan cang Chu jian Zhou Yi guankui” 上海博物馆藏楚简周易管窥, Zhou Yi yanjiu 周易研究 2000, no. 3:22–27, and “Chu jian Zhou Yi Yu gua zai shi” 楚简周易豫卦再释, http://www.confucius2000.com/qhjb/cjzyyuguazs.htm (published June 1, 2004), has argued convincingly that the manuscript points to an early meaning of this hexagram as “excess.” In this sense, it serves as the counterpoint to the preceding hexagram Qian image, understood in the sense of “modesty.”
   2  For image, R reads jie 介, which has a wide range of meanings, including “limit,” “separation,” “reliable,” “to aid,” “intermediary,” and “firm,” the last of which is usually given for this usage. M gives the word as 疥, whereas the Jingdian shiwen mentions 砎 as the archaic form of the character. This suggests that the original graph was 介, variously understood by different readers.
   3  For 可, R reads xu 盱, “to look up; expansive, relaxed,” whereas M gives 杅, and the Jingdian shiwen offers 紆, 汙, and 紆 as variants. On the other hand, F gives ge 歌, “to sing,” the archaic form of which was 訶. It seems that these two textual traditions derived from a misreading of an original graph, 可 and 于 being graphically similar. As Liao, “Chu jian Zhou Yi Yu gua zai shi,” points out, the Mawangdui manuscript Er san zi wen 二三子問 quotes Confucius as saying of this line, “This speaks of drumming music and not being warned of concern” (Ci yan gu yue er bu jie huan ye 此言鼓樂而不戒患也), which seems to speak in favor of the reading ge, “to sing” (even though the Er san zi wen line itself gives xu 盱).
   4  Here and throughout the manuscript, for hui image, “regret,” R reads hui 悔. M gives the graph in the same form as the Shanghai manuscript.
   5  In Warring States Chu script, chi, “slow” (written 遲 in conventional script, as in R and M), is routinely written image.
   6  For you 又, both R and M read you 有, “to have.” Although this is a standard transformation, and although the expression you hui 有悔, “to have regret,” is also standard in the Zhou Yi, the previous mention in this line statement of hui 悔, “regret,” followed by this one, perhaps suggests that this you 又 should be interpreted as “again.”
   7  For you 猷, R reads you 由, though the Jingdian shiwen quotes Ma Rong 馬融 (79–166) as giving you 猶 and understanding it as part of the word youyu 猶豫, “to doubt, to hesitate.” (M reads, apparently anomalously, as yun 允, “really.”) Since you 猷 and you 猶 are essentially identical, and since no good sense has ever been suggested for the received text’s reading, it would seem that youyu is the best reading here, even though it requires a different reading for yu 余 from that which I have given for the hexagram name and in the other line statements.
   8  Here and throughout the manuscript, as is common in Warring States Chu script, de, “to obtain” (written 得 in conventional script, as in R and M), is written image.
   9  For qu image, which the Han jian 汗簡 gives as an ancient form of qu 去, “to leave; to get rid of,” R reads he 盍, variously interpreted as “to join” or as a question word. M reads jia 甲, phonetically similar to he 盍 but no more obvious in meaning.
  10  For image, R reads zan 簪, usually meaning “hairpin” but in the context of this usage in the Zhou Yi traditionally understood as “pain, to pain” (ji 疾), a reading that seems to be paralleled by M, which reads chan 讒, “to criticize.” Liao, “Chu jian Zhou Yi Yu gua zai shi,” suggests that image be read as shang 謫, which the Shuo wen 說問 defines as “to punish, to criticize” (fa 罰).
image  Sui image, “Following” (Strips 16–17)
16.  image image元鄉image貞亡咎初九官又愈貞吉 出門交有工六二係少子image丈夫六晶係丈夫image少子image求有image貞九四image又
17.  巂貞工又孚才道已明可咎九五孚于嘉吉上六係而敂之從乃image之王用亯于西山 image
image Following1 image: Initial receipt. Beneficial to determine. There is no trouble.
First Nine: The office again improves.2 Determining: auspicious. Going out the gate to exchange has results.
Six in the Second: Tie the little son, lose the elder man.
Six in the Third: Tie the elder man, lose the little son. Following and seeking, one obtains. Beneficial to determine about residence.3
Nine in the Fourth: Following there is a capture.4 Determining: ominous.5 There is trust on the road, already6 showing that there can7 be trouble.
Nine in the Fifth: Trust in joy. Auspicious.
Top Six: Tying and arresting8 them, and further then trussing9 them. The king herewith makes offering10 on the western mountain. image
image  Sui 隨, “Following” (Hexagram 17)
隨元亨利貞无咎
初九官有渝貞吉出門交有功
六二係小子失丈夫
六三係丈夫失小子 隨有求得利居貞
九四隨有獲貞凶有孚在道以明何咎
九五孚于嘉吉
上六拘係之乃從維之王用亨于西山
Following: Prime receipt. Beneficial to determine. There is no trouble.
First Nine: The office will have a change. Determining: auspicious. Going out the gate to exchange has success.
Six in the Second: Tie the little son, lose the elder man.
Six in the Third: Tie the elder man, lose the little son. Following there will be seeking to obtain. Beneficial to determine about residence.
Nine in the Fourth: Following there is a capture. Determining: ominous. There is trust on the road. With brightness what trouble is there!
Nine in the Fifth: Trust in joy. Auspicious.
Top Six: Arresting and tying them, and then further trussing them. The king herewith sacrifices on the western mountain.
____________
   1  For image, R reads sui 随, “to follow,” and M reads 隋. Note that the word is written slightly differently in the Nine in the Third of Qin 欽 (Xian 咸) hexagram, strip no. 26. However, whereas this strip was copied by the first copyist, that strip was copied by the second; the different forms of the graph probably represent only their individual writing styles.
   2  For yu 愈, “to improve,” R reads yu 渝, “to change (for the worse),” whereas M reads yu 諭, “to proclaim.”
   3  For image, which is the Chu-script form of chu 處, “place; to reside,” both R and M read ju 居, “to reside.”
   4  For sui qiu you de image求又得, “in following and seeking there is getting,” both R and M read sui you qiu de 隋有求得, “in following there is seeking to get.”
   5  For xiong 凶, “ominous,” which is the reading of both R and M, the Shanghai manuscript reads gong 工, “result,” which would seem clearly to be a graphic error, the phrase zhen gong 貞工 making no ready sense.
   6  For yi 已, “to stop; already,” which is also the reading of M, R reads yi 以, “to use; for the purpose of.” These two words are often interchangeable, but since it is possible to make equally good sense of the manuscript’s reading, I translate as it is written.
   7  For ke 可, “to be able to, can,” both R and M give the question particle he 何, “what.”
   8  For kou 敂, “to hit,” both R and M read ju 拘, “to arrest; to bind.”
   9  For image, which almost certainly should be read as zui 纗, “to tie up, to truss,” R reads wei 維, the original meaning of which is “rope,” with an extended meaning of “to tie up.” M reads 蒦.
  10  For xiang 享, “to make offering,” R reads heng 亨, here also understood as “to make offering” but usually used in the Zhou Yi in the sense “receipt.” It is worthwhile noting that the Shanghai manuscript, like the Mawangdui manuscript, which reads fang 芳, strictly differentiates these two uses.
image  Gu 蛊, “Parasite” (Strip 18)
18.  image蛊 image元鄉image涉大川选甲晶日image甲晶日初六image父之蛊又子考亡咎礪冬吉九二image母之蛊不可貞九晶image父之蛊少又
image Parasite image: Prime receipt. Beneficial to ford the great river. Before1 jia three days, after jia three days.
First Six: The active father’s parasite. There is a son and deceased father. There is no trouble. Danger, in the end auspicious.
Nine in the Second: The active mother’s parasite. One cannot determine.
Nine in the Third: The active father’s parasite. There is a little …
____________
   1  选 here ought not to be read as the modern simplified form of xuan 選, “to select,” but rather as an elaborated form of xian 先, “first, prior.”
image  Gu 蠱, “Parasite” (Hexagram 18)
蠱元亨利涉大川 先甲三日後甲三日
初六幹父之蠱有子考无咎厲終吉
九二幹母之蠱不可貞
九三幹父之蠱小有悔无大咎
六四裕父之蠱往見吝
六五幹父之蠱用譽
上九不事王侯高尚其事
Parasite: Prime receipt. Beneficial to ford the great river. Before jia three days, after jia three days.
First Six: The stem father’s parasite. There is a son and deceased father. There is no trouble. Danger, in the end auspicious.
Nine in the Second: The stem mother’s parasite. One cannot determine.
Nine in the Third: The stem father’s parasite. There is a little regret; there is no great trouble.
Six in the Fourth: The prosperous father’s parasite. Going: you will see distress.
Six in the Fifth: The stem father’s parasite. Herewith praised.
Top Nine: Not serving the king and lord, elevates on high his service.
     Fu image, “Returning” (Strip 19)
19.  … image亡image上六迷
… Attacking1 return.2 There are no regrets.
Top Six: Confused …
____________
   1  For dun image, “to ram, to attack,” both R and M read dun 敦, which has come to mean “generous, pure, rich” but which originally also had a meaning of “to attack.” In fact, image is usually regarded as the archaic form of 敦. Note that the right-hand portion of this character is missing because of a vertical break in the bamboo strip.
   2  In Warring States Chu script, image routinely represents the word fu, “to return,” conventionally written as 復, as in both R and M.
image  Fu 復, “Returning” (Hexagram 24)
復亨出入无疾朋來无咎反復其道七日來復利有攸往
初九不復遠无祗悔元吉
六二休復吉
六三頻復厲无咎
六四中行獨復
六五敦復无悔
上六迷復凶有災眚用行師終有大敗以其國君凶至于十年不克征
Returning: Receipt. Exiting and entering without illness, friends coming without trouble. Again returning to its path, in seven days it comes in return. Beneficial to have someplace to go.
First Nine: Not returning in the distance. There are no blessings or regrets. Prime auspiciousness.
Six in the Second: Successful return. Auspicious.
Six in the Third: Repeated returns. Danger. There is no trouble.
Six in the Fourth: In the middle of the road returning alone.
Six in the Fifth: Generous return. There are no regrets.
Top Six: Confused return. Ominous. There are disasters and curses. Using this to set in motion the army, in the end there will be a great defeat, together with its kingdom’s ruler. Ominous. Reaching to ten years you cannot go on campaign.
image  Wang Wang 亡忘, “Forget-Me-Not” (Strips 20–21)
20.  image亡忘 image元鄉image貞其非image又image不image又卣image初九亡忘吉六二不image而穫不畜之…
21.  人之image邑人之image九四可貞亡咎九五亡忘又疾勿藥有菜上九亡忘行有image亡卣image image
image Forget-Me-Not1 image: Prime receipt. Beneficial to determine. His not returning2 has curses. Not beneficial to have someplace to go.3
First Nine: Forget-Me-Not.4 Auspicious.
Six in the Second: Not plowing and yet reaping,5 not rearing it …6
…
… person’s gain, the city person’s disaster.
Nine in the Fourth: One can determine. There is no trouble.
Nine in the Fifth: Forget-Me-Not has illness: do not medicate, there are herbs.7
Top Nine: Forget-Me-Not travels. There is a curse. There is nothing beneficial. image
____________
   1  For wang wang 亡忘, “nothing forgotten, forget-me-not,” R reads wu wang 无妄, variously understood as “nothing stupid” or as “no hope.” There are several other variants: M reads wu meng 无孟, F reads wu wang 无亡, and the Wangjiatai Gui cang manuscript, wu wang 毋亡.
   2  For qi fei fu 其非image, “his not returning,” R reads qi fei zheng 其匪正, “his not being upright,” whereas M reads fei zheng 非正, “it is not upright,” and F reads qi fei zheng 其非image, “his not going on a correction campaign.” Although the Shanghai manuscript’s fu, “to return,” is probably a scribal error, since it makes sense I retain it in the translation. Note that the Chu-script form of the “heart” component 心 is quite similar in appearance to the later clerical script form of the “female” component 女, especially as seen here in the hexagram name (as opposed to its form in the Top Nine line below).
   3  Here and throughout the manuscript, and as is common in Warring States Chu script, wang, “to go” (written conventionally as 往, as in the received text), is written image.
   4  After wang wang 亡忘 here, all other texts have wang 往, “to go.”
   5  For bu geng er huo 不image而穫, “not plowing and yet reaping,” all other texts read bu geng huo 不耕穫, which almost certainly means the same thing, though the Mawangdui manuscript text Zhao Li 昭力 also quotes the phrase with the copula er 而.
   6  For bu chu zhi 不畜之, “not rearing it,” R reads bu zi yu 不葘畬, “not breaking new ground or plowing old fields,” and M reads bu zi yu 不葘餘, “not breaking new ground in excess.”
   7  For cai 菜, “vegetation, herbs,” both R and M read xi 喜, “happiness.”
image  Wu Wang 无妄, “Nothing Foolish” (Hexagram 25)
无妄元亨利貞其匪正有眚不利有攸往
初九无妄往吉
六二不耕獲不菑畬則利有攸往
六三无妄之災或繫之牛行人之得邑人之災
九四可貞无咎
九五无妄之疾勿藥有喜
上九无妄行有眚无攸利
Nothing Foolish: Prime receipt. Beneficial to determine. His not being correct has curses. Not beneficial to have someplace to go.
First Nine: Nothing Foolish going. Auspicious.
Six in the Second: Not plowing or reaping, not fallowing or replanting, then it is beneficial to have someplace to go.
Six in the Third: Nothing Foolish’s disaster, someone ties it to an ox; the traveling person’s gain is the city person’s disaster.
Nine in the Fourth: One can determine. There is no trouble.
Nine in the Fifth: Nothing Foolish’s illness; do not medicate, there is happiness.
Top Nine: Nothing Foolish traveling. There is a curse. There is nothing beneficial.
image  Da Du 大image, “Greater Enlargement” (Strips 22–23)
22.  image大image imageimage貞不image而飤吉image涉大川初九又imageimage已九二車敓复九晶良馬由imageimage貞曰班車imageimage又卣image六四僮牛之image元
23.  吉六五芬豕之牙吉上九image天之image鄉 image
image Greater Enlargement1 image: Beneficial to determine. Not at home and eating.2 Auspicious. Beneficial to ford the great river.
First Nine: There is danger.3 Beneficial to sacrifice.4
Nine in the Second: The cart drops5 a strut.
Nine in the Third: A fine horse following.6 Beneficial to determine about difficulty.7 This is called “Circling8 the carts to defend.”9 Beneficial to have someplace to go.
Six in the Fourth: A young ox’s thwart.10 Prime auspiciousness.
Six in the Fifth: A gelded11 pig’s tooth. Auspicious.
Top Nine: Holding up12 heaven’s crossroads.13 Receipt. image
____________
   1  For du image, which probably means “to enlarge” (now written as du 篤), R reads chu 畜, “to rear, to raise,” and M reads xu 蓄, “to store; to grow.” Although these two words are phonetically similar, that the manuscript elsewhere twice gives the graph chu 畜 (at the Six in the Second line of Wang Wang 亡忘 [strip no. 20] and in Nine in the Third line of Dun image [strip no. 30]) suggests the different graph here should be understood differently.
   2  For bu jia er si 不家而飤, both R and M read bu jia shi 不家食. The variation between si 飤 and shi 食 here is similar to that elsewhere in the manuscript (noted above in the Six in the Third line of Song hexagram, strip no. 5). As for the presence of the copula er 而, “and,” it might suggest that jia 家 should be understood as a verb; Liao, “Chu jian Zhou Yi Dachu gua zai shi,” 4, points out one possible such meaning would be “to marry” (modern 嫁); i.e., “not married.”
   3  For li image, “danger,” the manuscript elsewhere gives 礪 (i.e., without the added “earth” 土 component). This might otherwise be significant, but since this strip belongs to the group copied by the second copyist, it seems best to regard this simply as one of his idiosyncrasies.
   4  The graph here is used to write both yi 已, “to stop,” and si 巳, the sixth of the earthly stems, which is also probably the protograph for si 祀, “to sacrifice.” There is support for both readings in the Yi jing tradition, such that it seems impossible to determine which may have been the reading intended here.
   5  For duo 敓, “to overtake; to lose,” both R and M read tuo 説, “to remove.”
   6  For you 由, “to derive from, to come from,” R reads zhu 逐, “to chase,” whereas both M and F read sui 遂, “to follow.”
   7  For qin 堇, “difficult,” R reads jian 艱, “difficult,” whereas M reads gen 根, “root.”
   8  For ban 班, usually “rank; to array,” but in the Zhou Yi usually understood as “to tarry; to turn around,” R reads xian 閑, and M reads lan 闌, both meaning “door divide.”
   9  For image, the meaning of which is unclear, both R and M read wei 衛, “to defend.”
  10  For 橭, R reads gu 牿, “corral; head board (for oxen),” whereas M reads ju 鞫, “to interrogate.”
  11  For fen 芬, literally, “fragrant; concordant,” but attested as a loan for fen 墳, “mound,” R reads fen 豶, “to castrate to geld,” whereas M seems to read ku 哭, “to cry” (though the bottom portion of the graph closely resembles 分).
  12  For image, the received text reads he 何, “what, how.”
  13  For image, R reads qu 衢, “highway, byway, crossroad; intertwined tree branches,” whereas M reads ju 瞿, “startled.” The meaning of the received text has never been very clear, and unfortunately the manuscript does not help to clarify the line.
image  Da Chu 大畜, “Greater Livestock” (Hexagram 26)
大畜利貞不家食吉利涉大川
初九有厲利已
九二輿說輻
九三良馬逐利艱貞曰閑輿衛利有攸往
六四童牛之牿元吉
六五豶豕之牙吉
上九何天之衢亨
Greater Livestock: Beneficial to determine. Not eating at home. Auspicious. Beneficial to ford the great river.
First Nine: There is danger. Beneficial to sacrifice.
Nine in the Second: The cart drops a strut.
Nine in the Third: A fine horse being chased. Beneficial to determine about difficulty. This is called “Arranging the carts to defend.” Beneficial to have someplace to go.
Six in the Fourth: A young ox’s thwart. Prime auspiciousness.
Six in the Fifth: A gelded pig’s tooth. Auspicious.
Top Nine: Holding up heaven’s crossroads. Receipt.
image  Yi, 頤 “Jaws” (Strips 24–25)
24.  image頤 image貞吉觀頤自求口實初九image尔霝龜觀我image頤凶六二曰image頤image經于北洍征凶六晶image頤貞凶十年勿
25.  用亡卣六四image頤吉虎視融image其猷攸image亡咎六五image經處貞吉不可涉大川上九image頤礪吉image涉大川 image
imageJaws: image Determining: auspicious. Look up at the jaws, oneself seeking the mouth’s substance.
First Nine: Giving1 you the numinous turtle, look up at our moving2 jaws. Ominous.
Six in the Second: Say3 “Overturned4 jaws.” Aiding5 the management at the northern6 stream.7 Campaigning: ominous.
Six in the Third: Aiding the jaw. Determining: ominous. For ten years do not use it. There is nothing beneficial.
Six in the Fourth: Overturning the jaws. Auspicious. A tiger watches so warmly,8 its plans9 so distant.10 There is no trouble.
Six in the Fifth: Aiding the jaw. Determining about residence: auspicious. One cannot ford the great river.
Top Nine: Chanting11 jaws. Danger. Auspicious. Beneficial to ford the great river. image
____________
   1  For image, which perhaps should be read as yu 豫, both R and M read she 舍, “to give.” I suspect that 豫 is an elaboration of yu 予 in its sense “to give.”
   2  For wei image, R reads duo 朵, “to hang down; to move,” whereas M reads duan image, F reads duan 端, and the Jingdian shiwen quotes Jing 京 (Fang 房) as writing duo 揣. All these latter words are phonetically related and share at least extended senses of “to move,” the traditional reading of the line. The phonetic component of image is very similar to that of duan 端, and may suggest a copyist’s error in one direction or the other.
   3  The word yue 曰, “to say,” is not found in R but is found in M.
   4  For zhen image, both R and M read dian 顛, “to overturn.” The same variation holds true for the Six in the Fourth line.
   5  For image, which probably has the phonetic element bi 弜, R reads fu 拂, “to cut, to scrape,” but also read bi (i.e., 弼), “to aid,” M reads 柫, and F has the simple negative fu 弗. The same variation holds true for the Six in the Third line.
   6  For bei 北, “north,” R reads qiu 丘, “mound,” whereas M reads bei 北, and F reads qiu 丘. It seems clear that one of these words is a graphic error for the other, and that the mistake entered the Yi jing tradition at an early stage. Since no one has ever made much sense of qiu, “mound,” and the manuscript’s bei, “north,” makes sense, I translate it here.
   7  For si 洍, “a branch stream,” both R and M read yi 頤, “jaw,” as elsewhere in the hexagram.
   8  For rongrong 融融, “steaming, warm; contented; bright,” R reads dandan 眈眈, usually “love-struck” but occasionally understood as “fierce,” and M reads chenchen 沈沈, “deep, profound; submerged.”
   9  For you 猷, “plans,” R reads yu 欲, “wish, desire,” whereas M reads rong 容, “appearance,” and F, image, perhaps graphically combining elements of all these readings.
  10  For youyou 攸攸, “far off,” the Yi jing gives a wide range of variants: R reads zhuzhu 逐逐, M, didi 笛笛, F, suisui 遂遂, the Zi Xia zhuan 子夏傳, youyou 攸攸, and Xun Shuang 荀爽, youyou 悠悠.
  11  For yao image, “musical chant,” R reads you 由, “from.”
image  Yi 頤, “Jaws” (Hexagram 27)
頤貞吉觀頤自求口實
初九舍爾靈龜觀我朵頤凶
六二顛頤拂經于丘頤征凶
六三拂頤貞凶十年勿用无攸利
六四顛頤吉虎視眈眈其欲逐逐无咎
六五拂經居貞吉不可涉大川
上九由頤厲吉利涉大川
Jaws: Determining: auspicious. Look up at the jaws, oneself seeking the mouth’s substance.
First Nine: Discarding your numinous turtle, look up at our drooping jaws. Ominous.
Six in the Second: Overturned jaws; scraping vertically on the mounded jaws. Campaigning: ominous.
Six in the Third: Scraping the jaw. Determining: ominous. For ten years do not use it. There is nothing beneficial.
Six in the Fourth: Overturning the jaws. Auspicious. A tiger watches fearsomely, its desires so persistent. There is no trouble.
Six in the Fifth: Not passing it through. Determining about residence: auspicious. One cannot ford the great river.
Top Nine: From the jaws. Danger. Auspicious. Beneficial to ford the great river.
image  Qin 欽, “Careful” (Strips 26–27)
26.  image欽 image鄉image貞取女吉初六欽其拇六二欽其image凶處吉九晶欽其image執其隓吝九四貞吉亡image憧 …
27.  志九五欽其拇亡image上六欽image夹image image
image Careful1 image: Receipt. Beneficial to determine. Taking a woman: auspicious.
First Six: Careful of its toe.
Six in the Second: Careful of its thigh.2 Ominous. Being located: auspicious.
Nine in the Third: Careful of its thigh, grasping its torn flesh.3 Distress.4
Nine in the Fourth: Determining: auspicious. There are no regrets.5 Pitter-6 … will.7
Nine in the Fifth: Careful of its hand. There are no regrets.
Top Six: Careful of the8 cheeks, jowls, and tongue. image
____________
   1  For qin 欽, “sound of metal; to yawn; respectful, careful, serious,” which is also the reading of M, R reads xian 咸, usually understood as “to feel, to sympathize” but sometimes as “to cut, to injure.”
   2  For image, Pu Maozuo proposes three possibilities: tun 臋, “haunches, thigh,” gu 股, “thigh,” and qi image, “the tendon in the calf,” the last of which he suggests is perhaps most likely. R reads fei 腓, “lower leg, calf,” and M reads fei image. Ji, “Shangbo San Zhou Yi jian 26, suggests another possibility for the graph in question: that the top elements image, which consist of a bow and a hand holding a stick, are used in oracle-bone inscriptions for the word fa 發, “to shoot (an arrow),” which could serve as a phonetic element for the word fei, “lower leg, calf.” The word is repeated in the Nine in the Third line, for which the received text reads gu 股, “thigh.” It seems clear that one of these occurrences represents a copyist’s error, probably this one in the Six in the Second line.
   3  For sui 隓, both R and M read sui 随, here understood as “torn flesh.” Note also the different writing style of the graph in Sui image (随) hexagram (hexagram no. 17), strip no. 16, as mentioned in n. 1 there.
   4  Before lin 吝, “distress,” R (but not M) includes the word wang 往, “to go.”
   5  For wang hui 亡image, “there are no regrets,” both R and M read hui wang image亡, “regrets gone.”
   6  Only the top portion of this character survives, the bamboo strip having broken in the middle of the character. The corresponding character in R is chong 憧, “uneasy; pitter-pat,” which the top of this character does resemble.
   7  For zhi 志, “will, ambition,” both R and M read si 思, “to think; to desire; thoughts” (as part of the phrase peng cong er si 朋從爾思, “the friend follows your thoughts” or “the friend follows you in thought”).
   8  Both R and M include here, as in other lines of this hexagram, the pronoun qi 其, “his.”
image  Xian 咸, “Feeling” (Hexagram 31)
咸亨利貞取女吉
初六咸其拇
六二咸其腓凶居吉
九三咸其股執其隨往吝
九四貞吉悔亡憧憧往來朋從爾思
九五咸其脢无悔
上六咸其輔頰舌
Feeling: Receipt. Beneficial to determine. Taking a woman: auspicious.
First Six: Feeling its toe.
Six in the Second: Feeling its calf. Ominous. Residing: auspicious.
Nine in the Third: Feeling its thigh, grasping its torn flesh. Going: distress.
Nine in the Fourth: Determining: auspicious. Regrets gone. Tremblingly going and coming, the friend follows you in thought.
Nine in the Fifth: Feeling its back. There are no regrets.
Top Six: Feeling its cheek, jowls, and tongue.
image  Heng image, “Constant” (Strips 28–29)
28.  imageimage image鄉image貞亡咎初六imageimage貞凶亡卣鄉九二image亡九晶不緪其image或丞其憂貞吝九四畋亡image六五緪其image貞婦人吉夫
29.  子凶上六imageimage貞凶 image
image Constant image Receipt. Beneficial to determine. There is no trouble.
First Six: Perceptive1 constancy. Determining: ominous. There is nothing beneficial.
Nine in the Second: Regrets gone.
Nine in the Third: Not making constant2 his virtue, someone relieves3 his concern.4 Determining: distress.
Nine in the Fourth: Hunting5 there is no catch.
Six in the Fifth: Making constant his virtue. Determining: for a wife auspicious, for a husband ominous.
Top Six: Perceptive constancy. Determining: ominous. image
____________
   1  For rui image, “perceptive, perspicacious,” R reads jun 浚, “deep, profound; open,” whereas M reads xiong 夐, “distant; deep.” The Jingdian shiwen quotes Zheng (Xuan) as reading jun 濬, “creek; open; profound.”
   2  Here and in the Six in the Fifth line, for geng 緪, “thick rope,” written with a “silk” (糹) component, both R and M read heng 恆, as in the name of the hexagram and in the First Six and Top Six lines. Perhaps the added component marks some differentiation between verbal and nominative uses of the word.
   3  For zheng 丞, “to aid, to rescue, to relieve,” both R and M read cheng 承, “to receive.”
   4  For you 憂, “worry; sadness; concern,” both R and M read xiu 羞, “sacrificial offering; to present; shame,” though the Mawangdui manuscript Ersanzi wen 二三子問 reads you 憂, like the Shanghai manuscript.
   5  For tian 畋, “to hunt,” both R and M read tian 田, “fields, to take to the fields” (i.e., “to hunt”).
image  Heng 恆, “Constant” (Hexagram 32)
恆亨无咎利貞利有攸往’
初六浚恆貞凶无攸利
九二悔亡
九三不恆其德或承之羞貞吝
九四田无禽
六五恆其德貞婦人吉夫子凶
上六振恆凶
Constant: Receipt. There is no trouble. Beneficial to have someplace to go.
First Six: Deep constancy. Determining: ominous. There is nothing beneficial.
Nine in the Second: Regrets gone.
Nine in the Third: Inconstant his virtue, someone presents him disgrace. Determining: distress.
Nine in the Fourth: In the fields there is no catch.
Six in the Fifth: Constant his virtue. Determining: for a wife auspicious, for a husband ominous.
Top Six: Shaken constancy. Ominous
image  Dun image, “Piglet” (Strips 30–31)
30.  image image image鄉少image貞初六image其尾礪勿用又卣image六二image用黃牛之革莫之image九晶係image又疾礪畜臣妾吉九四好image君
31.  子吉image 否九五嘉image吉上九肥image亡不image image
image Piglet1 image Receipt. A little beneficial to determine.
First Six: Piglet’s2 tail. Danger. Do not herewith have anywhere to go.
Six in the Second: Decorate3 using the hide of a yellow ox, nothing will succeed in taking it off.4
Nine in the Third: Tying the piglet. There is illness. Danger. Rearing servants and concubines: auspicious.
Nine in the Fourth: A good piglet. For a nobleman auspicious, for a little man not.
Nine in the Fifth: A fine piglet. Auspicious.
Top Nine: A fat piglet. There is nothing not beneficial. image
____________
   1  For image, probably to be read as tun 豚, “piglet,” R reads dun 遯, “to retreat, withdraw.” Both M and F give 椽, whereas the Wangjiatai Gui cang manuscript gives the hexagram name as image. This latter writing is also attested in the Jingdian shiwen, as well as dun 遁, “to move, to flee, to hide.”
   2  The pronoun qi 其 here is unique to this manuscript, not appearing in R, M, or F.
   3  For image, probably to be read as shi 饰, “to scrape; to decorate,” or chi, “to put in order,” R reads zhi 執, “to grasp,” whereas M reads gong 共, “public, shared; to proffer.”
   4  For image, which perhaps should be read as, or similar to, ba 拔, “to pull out,” R reads tuo 説, “to remove, to take off,” and M reads duo 奪, “to remove; to overcome.”
image  Dun 遯, “Piglet” (Hexagram 33)
遯亨小利貞
初六遯尾厲勿用有攸往
六二執之用黃牛之革莫之勝說
九三係遯有疾厲畜臣妾吉
九四好遯君子吉小人否
九五嘉遯貞吉
上九肥遯无不利
Piglet: Receipt. A little beneficial to determine.
First Six: Piglet’s tail. Danger. Do not herewith have anywhere to go.
Six in the Second: Grasp it using the hide of a yellow ox, nothing will succeed in getting it off.
Nine in the Third: Tying the piglet. There is illness. Danger. Rearing servants and concubines: auspicious.
Nine in the Fourth: A good piglet. For a noble son auspicious, for a petty man not.
Nine in the Fifth: A fine piglet. Determining: auspicious.
Top Nine: A fat piglet. There is nothing not beneficial.
image  Kui 楑, “Looking Cross-Eyed” (Strips 32–32a–33–34)
32.  image楑 image少事吉初九imageimage 馬勿由自image見image人亡咎九二遇宔于image亡咎六晶見車遏其
32a. 牛image其人天image劓亡初又冬九
33.  四楑image遇元夫交孚礪亡咎六五image亡陞宗image肤image可咎上九楑image見豕imageimage載…
34.  image昏佝image遇雨則吉 image
image Looking Cross-Eyed1 image Minor service: auspicious.
First Nine: Regrets gone. Losing2 a horse; do not follow,3 it will return of itself. Seeing an ugly man. There is no trouble.
Nine in the Second: Meeting the host in the lane. There is no trouble.
Six in the Third: Seeing the cart stopped,4 its ox5 pulling,6 its man branded on the forehead and7 with his nose cut off. There is no beginning but there is an end.
Nine in the Fourth: Looking cross-eyed at the orphan,8 meeting the prime man. Exchanging trust. Danger. There is no trouble.
Six in the Fifth: Regrets gone. Ascend9 the ancestral temple and eat10 the meat offering.1 In going what12 trouble?
Top Nine: Looking cross-eyed at the orphan. Seeing a pig with mud on its back;13 carrying … robbers in marriage relations.14 In going if you meet rain then it is auspicious. image
____________
   1  For kui 楑, R reads kui 睽, which the Shuo wen defines as “the eyes not following each other” but which in the Yi jing tradition is usually understood as “weird, strange” (guai 怪), which is in turn the reading of M.
   2  image is either an elaboration of wang 亡, “not; disappear,” or an abbreviation of sang 喪, “to lose.” In this manuscript, its three uses (strips 32, 44, and 53) are all as a transitive verb, and so the latter interpretation seems to be correct. The duplication mark after the graph indicates that the 亡 portion of the graph is to be read twice, first as the semantic component of sang 喪 and then as wang, “to lose.” The received text reads sang 喪, “to lose.”
   3  For you 由, “to derive from; to follow,” R reads zhu 逐, “to chase,” whereas M reads sui 遂, “to follow.”
   4  For e 遏, “to stop, to cover up, to repress,” R reads ye 曳, “to pull,” whereas M gives the otherwise unattested image.
   5  Strip no. 32a is in the possession of the Institute for Chinese Culture of the Chinese University of Hong Kong; it was first published in Rao, “Zai kaituo zhong de xunguxue, 1–5. It fits together with strip no. 32 to make a complete strip.
   6  For image, R reads che 掣, usually “to pull” but in this line often interpreted as the horns of an ox, one upturned and one downturned. M reads image, F, xie 絜, “to measure,” whereas the Zhou Yi jijie 周易集解 gives shi 觢, “two horns upturned,” and the Jingdian shiwen cites such variants as image, image, and ji 觭, the last of which means “one horn upturned and one downturned.” Although the phonetic component of image (i.e., jie 介) is reasonably similar to the phonetic components of the received variants, the character itself does not give any support to the “horn” interpretation.
   7  For image, R reads qie 且, “and.”
   8  Here and at the Top Nine line, for image, R reads gu 孤, “orphan,” whereas M gives gu 苽.
   9  For sheng 陞 (i.e., 升), R reads jue 厥, “his, its,” whereas M reads deng 登, “to go up.” The Shanghai manuscript finally provides an explanation for this anomalous reading of the received text, for which the tradition seems to offer no variants: the phonetic component of sheng (i.e., 升) is graphically very similar to the ancient form of the graph for jue 厥, which now should be seen as a later miscopying.
  10  For evidence that image should be read as shi 噬, “to bite, to eat,” which is the reading of R (M reads shi 筮), see Li Ling, “Du Shangbo Chu jian Zhou Yi,” 61.
  11  For fu 肤, “meat offering,” both R and M read fu 膚, “skin.”
  12  For ke 可, “can, to be able to,” both R and M read he 何, “what.”
  13  For image, both R and M read fu 負, “to carry on the back.”
  14  For hun 昏, “evening,” and gou 佝, “hunchback,” R reads hun 婚, “marriage” and gou 媾, “marital relations, sexual intercourse,” whereas M reads meng (?) [image], “dusk” (?), and hou 厚, “thick.”
image  Kui 睽, “Strange” (Hexagram 38)
睽小事吉
初九悔亡喪馬勿逐自復見惡人无咎
九二遇主于巷无咎
六三見輿曳其牛掣其人天且劓无初有終
九四睽孤遇元夫交孚厲无咎
六五悔亡厥宗噬膚往何咎
上九睽孤見豕負涂載鬼一車 先張之弧後說之弧匪寇婚媾往遇雨則吉
Strange: Minor service. Auspicious.
First Nine: Regrets gone. Losing a horse; do not follow, it will return of itself. Seeing an ugly man. There is no trouble.
Nine in the Second: Meeting the host in the lane. There is no trouble.
Six in the Third: Seeing the cart dragged, its ox with one horn upturned and one downturned, its man branded on the forehead and with his nose cut off. There is no beginning but there is an end.
Nine in the Fourth: A strange orphan, meeting the prime man. Exchanging trust. Danger. There is no trouble.
Six in the Fifth: Regrets gone. At their ancestral temple eating flesh. In going what trouble?
Top Nine: A strange orphan. Seeing a pig with mud on its back, one cart carrying ghosts. A bow first drawn, later a bow released. It is not robbers in marriage relations. In going if you meet rain then it is auspicious.