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Capítulo 51 de 64
东坡易传
The Zhen hexagram symbolizes ⚡ thunderclap and movement, smooth and prosperous. When the thunderclap suddenly crashes, people first become frightened and vigilant ("Zhen lai xixi"), but afterwards they can calmly talk and laugh ("Xiao yan yaya"); even if the thunder startles an area of a hundred li, the person presiding over the sacrifice will not drop the libation spoon and ritual vessel (bi chang) in hand. This reveals that true reverence is not paralysis, but rather lets inner order become increasingly stable amid the shaking.
The Tuan Zhuan explains: The Zhen hexagram is prosperous because "fear brings blessing"—an unexpected shock impels people to be alert and introspect, thus attracting good fortune; "laughing and talking freely," because after the movement, law and order are restored. "Shocking a hundred li," indicates that its deterrent power can alarm distant places, and can also make those nearby vigilant.
Su Dongpo's core insight is: Zhen is the vanguard of yang virtue 🌱. It shakes what is yin and soft, and penetrates what is yang and firm; hence it is prosperous. "Shocking a hundred li" speaks of the breadth of its influence. "Not losing the libation spoon and vessel" speaks of its harmony in good order—if there is movement without harmony, then inevitably people will collapse and fall. The commentary especially selects the ritual vessels bi and chang to show that the Zhen hexagram symbolizes the eldest son (Zhen is the eldest son): if one is majestic without being fierce, one can preside over ancestral temple sacrifices. "Chu" (appearing) means manifesting.
The Xiang Zhuan says: Thunder follows upon thunder ("Jian lei"), and this is the image of the Zhen hexagram. The gentleman, observing this, understands to cultivate himself through fear and reflection, examining himself vigilantly.
Initial Nine: When the thunderclap first comes, people tremble with fear (xixi), but afterwards they laugh and talk freely—auspicious.
The two yang lines are the agents that cause shaking; the four yin lines are things being shaken. The Way of "Zhen" is to use awe in order to convey virtue, and thus it can only be applied "sparingly/with restraint" and not "exhaustively." Applied sparingly, it can nurture and be inexhaustible; applied exhaustively, people will become accustomed to it and lose their sense of awe. Initial Nine is precisely the model of "applying it as a test without letting it run to completion": first awe-inspiring movement, followed by relaxed laughter, indicating its awful power is not used constantly. Precisely because it is not constantly used, the two yin lines do not dare directly challenge its edge but can only avoid it to protect themselves.
Six in the Second: The thunderclap suddenly comes; there is danger. One loses valuables ("bei"/cowrie shells), flees up to a high ridge to take refuge. There is no need to pursue, and after seven days the lost thing is recovered of itself.
The power of Initial Nine cannot be provoked; when it comes, there is danger, when one flees, there is safety. Therefore, although one loses valuable things, there is no need to pursue them; merely climb the high ridge to avoid the shaking. Because Initial Nine does not exhaust its movement and follows it with laughter [ease, calm], after seven days the lost things can be recovered. "Losing the cowrie shells" indicates there is real power to Initial Nine, while "recovered in seven days" demonstrates that Initial Nine does not use its might to bring poverty and hardship to all things.
Six in the Third: The thunder then makes people anxious and uneasy ("susū"), but if owing to the shock one acts cautiously and draws back, then there will be no disaster.
Six in the Third is no longer adjacent to those substances that cause the moving/shaking [yet, it is still fearful/anxious]; what is going on is awe/fear due to necessity/natural fear. That there is no further misfortune, only then meaning that it stepped away and avoided disaster, shows that the might of Initial Nine ⅰ【shaken--sting reaches far places (#v "能 波 及 远 方"...)】.
Nine in the Fourth: The shocking movement sinks into the mud, and one cannot extricate oneself.
After the movement has taken place, the line then brings more movement, still not knowing to stop; hence the term "Sui ni" (sunk in the mud). "Mud" conveys that the **shock loses and ability to impress far-flung others . Moreover, two void texts（⧾也 that YK for the straight ahead] 以爲于 vǒ get obtain. Good also; thus at the Yin, the approach is to hew steady's r?? —those Yüz( on Both account
of bad ) That then is: … Thus has the possibility returning peaceful in the palace without dreading“ wait until they slide very entirely …
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