The Sixth Hexagram: The Ornate One

賁卦，下離上艮。山下有火。山者，草木百物所聚，火照之其上，百物皆被光彩，有賁飾之象。又卦綜剛柔交錯，卦德文明以止，皆有賁飾之義，故為賁。賁次噬嗑。按《序卦》：嗑者，合也。物不可以苟合而已，故受之以賁。人物合聚，必有次序行列、威儀上下，而文飾生焉。賁所以次噬嗑也。

The hexagram Bén is composed of the lower trigram Li (Fire) and the upper trigram Gen (Mountain). It represents fire beneath the mountain: the mountain is a place where grass, trees, and all things gather, and fire shines from below, giving all things a bright and radiant appearance, symbolizing ornamentation. Furthermore, from the perspective of the hexagram's reverse, it shows the intermingling of yang and yin, and from the perspective of its moral qualities, it indicates inner civilization and the ability to restrain externally, both of which contain the meaning of ornamentation. Therefore, the hexagram is named Bén. Bén comes after Shìkè. According to the "Xù Guà Zhuàn," "kè" means to join together; things cannot merely be loosely combined, so after Shìkè comes Bén. Since people and things have come together, there must be order, rank, and distinctions of hierarchy, thus leading to the need for ornamentation. This is why Bén follows Shìkè.

賁雖尚文，必以質為本。凡事無本不立，無文不行，故全彖以賁有可亨之道。然本大而文小，故不過小利於所往。六爻初四以相應為賁，而二與三、五與上則以相比為賁。三爻在內者離體，則以文明為賁，故賁趾、賁須、濡如皆有所設飾；三爻在外者艮體，則又以篤實為賁，故皤如、丘園、白賁皆取於質素。

The hexagram Bén values ornamentation, but it must be based on simplicity. Without a foundation, nothing can stand, and without ornamentation, nothing can be expressed. Therefore, the commentary on the hexagram says that Bén has the way to be prosperous. However, the essence is great, while ornamentation is small, so it can only bring small benefit in some direction. Among the six lines, the first line and the fourth line form Bén through mutual response, while the second line and the third line, as well as the fifth line and the top line, form Bén through mutual comparison. The third line of the inner trigram, which is the trigram Li (Fire), represents civilization and ornamentation, so "ornamenting the feet," "ornamenting the beard," and "moist and soft" each have their own embellishments. The third line of the outer trigram, which is the trigram Gen (Mountain), represents sincerity and simplicity, so "white and plain," "a quiet garden," and "white Bén" all derive from simplicity and purity.

然內三爻雖以文明為賁，二之賁須既出於自然，初之舍車則取其高隱，三之濡如即戒其永貞。於賁飾之時，皆以不賁為賁。此又聖人返樸還淳之妙用、維持世道之深意。此六爻之大略也。

However, the third line of the inner trigram, though associated with refinement and ornamentation, the 'ornamenting the beard' of line six-two originates from nature rather than being artificially added. The 'abandoning the carriage and walking on foot' of line initial-nine reflects its purity and self-restraint. The 'dampness' of line nine-three further warns against deviation, emphasizing the need for enduring uprightness. Thus, during the proper time for ornamentation, each line actually exemplifies the virtue of not adding ornamentation. This is the subtle method of the sage returning to simplicity and purity, embodying a profound intention to maintain the moral order and the hearts of people. This is the general idea of the six lines.

賁：亨，小利有所往。賁，飾也。凡事無文不行，有賁之文，文以輔質，此賁所以亨。然文勝又恐滅質，內文明而艮止於外，收斂其文，不欲盡發，故小利有攸往。蓋凡事以本為大，而文則小也。又按，小利有攸往，固所利者小之意，亦有唯小則利之意。蓋陰小陽大，小利往而大不宜往矣。故以下六爻，陰爻皆宜動而陽爻多有戒辭。此又賁而剝之漸也。

The hexagram Zhen (Brightness) signifies smoothness and slight advantage in going somewhere. "Zhen" refers to ornamentation. Nothing can proceed without ornamentation, but when ornamentation is applied to the essence, it becomes Zhen, which is why it is smooth. However, excessive ornamentation may obscure the essence. In this hexagram, the inner trigram is Li (Fire), representing civilization, while the outer trigram is Gen (Mountain), which restrains. Thus, ornamentation is restrained and not fully revealed, hence the statement "small advantage in going somewhere." Generally, essence is primary, and ornamentation is secondary. Moreover, "small advantage in going somewhere" implies not only that the benefit is small, but also that it is advantageous precisely because it is small. Yin represents smallness, Yang represents greatness. Smallness is advantageous in movement, while greatness is not. Therefore, the six lines below show that the yin lines are favorable for movement, while the yang lines often carry warnings. This is also a sign of the gradual transition from Zhen to Bo.

彖曰：賁，亨。亨字疑衍。柔來而文剛，故亨；分剛上而文柔，故小利有攸往。天文也。柔來二句以卦綜言。蓋噬嗑以初五兩爻為主爻，此二上兩爻為主爻。噬嗑五柔來為賁二，居初三兩剛之中，所謂黃離元吉、得中道者也，文在其中，是以謂之賁亨；噬嗑初上而為賁上，居四五兩爻之終，所謂敦良之吉、以厚終者也，文成其終，是以小利有攸往。

The Commentary on the Judgment says: "Bian,亨." The character "亨" is likely a later addition. The Commentary on the Judgment also says: "Because the flexible line comes and adorns the strong line, it is smooth; and because the strong line separates and ascends to adorn the flexible line, it is advantageous to go somewhere small — this is the cultural splendor of heaven." The two sentences about "flexible coming" are referring to the reversed structure of the hexagram. The hexagram Shihhe (噬嗑) takes its main lines from the first and fifth lines, while the hexagram Bian (贲) takes its main lines from the second and top lines. The sixth line of Shihhe, which is six, when reversed becomes the second line of Bian, located between the first line and the third line, both of which are strong lines. This corresponds to the position of the second line in the hexagram Li (离), "Huang Li Yuan Ji, De Zhong Dao" (Yellow Li originally brings good fortune, being in the center), where cultural splendor resides, hence it is called "Bian亨." The first line of Shihhe, which is nine, when ascending becomes the top line of Bian, located at the end of the fourth and fifth lines, both of which are flexible lines. This corresponds to the position of the top line in the hexagram Gen (艮), "Dun Gen Zhi Ji, Yi Hou Zhong" (Good fortune in firmness, due to a thick conclusion) (the original text writes "Gen" as "Liang"), where cultural splendor is completed at the end, hence it is said "small advantage in going somewhere."

柔來不言分，離反為離，中偶不動也；剛上言分者，震反為艮，下畫移居上畫也。天文也上有剛柔交錯四字。日月五星之運行，不過剛柔一往一來而已，故曰天文。文明以止，人文也。此以卦德言之。君臣父子夫婦兄弟朋友之間，燦然有禮以相接，文之明也；截然有分以相守，文之止也。

The phrase "flexible comes" is used without mentioning "division," because in the hexagram噬嗑, the line of Li remains Li when reversed, and the central line has not moved. The phrase "strong goes up" includes the word "division," because in the hexagram噬嗑, the line of Zhen becomes Gen when reversed, and the lowest line moves to the top. Originally above the words "astronomical phenomena" were the words "strong and flexible intermingle." The movement of the sun, moon, and five stars is simply the coming and going of strong and flexible elements, hence it is called "astronomical phenomena." The Commentary on the Judgment also says: "civilized yet with restraint," this refers to human elegance. This section discusses the nature of the hexagram: among ruler and subject, father and son, husband and wife, siblings, and friends, there is a brilliant display of etiquette in their mutual interactions, which is the "brightness" of culture; and a clear distinction of roles which is the "restraint" of culture.

觀乎天文，以察時變；觀乎人文，以化成天下。聖人觀日月之次、昏旦之星，以察四時寒署之變；觀於君臣父子之間，有禮有分，而導之以禮樂詩書，列之以來章服物，化舊為新而風俗成於天下。占此卦者雖小利於所往，而賁之為用又大如此。

The Commentary on the Judgment says: Observing the patterns of Heaven allows one to examine the changes of the seasons; observing the patterns of human beings allows one to cultivate and perfect the world. The sage observes the movement of the sun and moon, and the stars seen at dusk and dawn, to understand the changes of cold and heat in the four seasons. Observing the propriety and distinctions between ruler and subject, father and son, the sage uses rites, music, poetry, and books to guide them, and distinguishes them through the ranks of chariots, clothing, and utensils. Thus, the old becomes new and beautiful, and the customs of the world are established. The person who draws this hexagram may only have a small advantage in going somewhere, yet the function of the hexagram is so great.

象曰：山下有火，賁。君子以明庶政，無敢折獄。山下有火，明不及遠。明庶政，事之小者，離明在內之象；折獄，事之大者，艮止於外之象。又山在上，法有所必守；火居下，明有所不矜。君子體此，於錢穀簿書之小，必精審之，以成文明之治；至折獄則無敢。無敢非不折也，蓋獄貴詳審得情。若自恃明察，深文緣飾，沒其實，是之謂敢。敢則民命不可問矣。

The Great Image Commentary says: A mountain beneath a fire represents the hexagram of Zhen. A gentleman thus understands the need to clearly illuminate all administrative affairs, yet dares not hastily decide on legal cases. A mountain beneath a fire cannot illuminate distant places. "Clarifying various government affairs" refers to minor matters, taking the image of fire shining within; "resolving legal cases" refers to major matters, taking the image of mountain standing firm outside. Moreover, the mountain above signifies that laws and regulations must be firmly upheld; the fire below signifies that clarity must not be relied upon solely. A gentleman comprehends this principle, and for minor matters such as financial records, he must carefully examine them to achieve a refined and civilized governance. As for legal judgments, he says "dare not." "Dare not" does not mean to cease judgment, but because legal cases require careful examination to reveal the true facts. If one relies on his own cleverness, fabricates elaborate interpretations, and embellishes words, thus concealing the truth, this is called "daring." Once "daring" occurs, the lives of the people would be in peril.

初九：賁其趾，舍車而徒。初在下為趾象。二三四互為坎為車象。初雖與四應而在最下，艮止於上，故以剛德明體自賁於下，為舍非道之車而安於徒步之象。蓋君子以義為榮，不以徒行為辱故也。初四相應，四求初為貴德，初求四則為趨勢，故以徒行為賁。壯初剛居剛而健體，故壯于趾；賁初剛居剛而明體，故賁其趾。車馬幣帛主於文飾，故賁六爻取象及之。象曰：舍車而徒，義弗乘也。君子取舍決於義，每於在下之時、發足之初觀之。徒義而車非義，故弗乘，非惡寶貴而逃之也。

Initial Line Nine: He adorns his toes, abandoning the carriage and walking on foot. Initial Line Nine is at the very bottom, symbolizing the toes; Lines Two, Three, and Four form the trigram Kan, which represents a carriage. Although Initial Line Nine corresponds with Line Six in the Fourth, it is at the lowest position, and there is the trigram Gen (Mountain) above it, which stops it. Therefore, it can only adorn itself with the virtue of strength and the form of civilization at the lower level, symbolizing the abandonment of an unrighteous carriage and the choice to walk on foot. This is because a gentleman takes righteousness as his honor and does not consider walking on foot as a disgrace. The correspondence between Initial Line Nine and Line Six in the Fourth: Line Six in the Fourth seeks out Initial Line Nine, showing respect for virtue; but if Initial Line Nine seeks out Line Six in the Fourth, it becomes a pursuit of power. Therefore, it is better to adorn oneself by walking on foot. In the卦 of Zhan (Great Strength), Initial Line Nine is strong in a strong position and belongs to the trigram Qian (Heaven), so it is said "strong at the toes." In the卦 of Ben (Decoration), Initial Line Nine is strong in a strong position and belongs to the trigram Li (Fire), so it is said "decorating the toes." Carriages, horses, money, and silk are all things that are used for adornment, so the six lines of the卦 of Ben often take these things as symbols. The Image Commentary says: abandoning the carriage and walking on foot, this is in accordance with righteousness. A gentleman's taking and abandoning depend on righteousness, and this can often be seen in his initial position and first step. Walking on foot is in accordance with righteousness, while riding in a carriage is not, so he does not ride, not because he dislikes wealth and avoids it.

六二：賁其須。須鬚同。在頤曰須，在口曰髭，在頰曰髯。三至上有頤體。二在頤下，須之象。須亦人身之有文飾者，故以須言之。二以陰柔居中正，三以陽剛而得正，皆無應與。然須附頤以成其文，二爻相比以為賁者，故二附三而動，有賁須之象。蓋須生面美，非外飾者。六二柔麗乎中正，固有其美須之賁，非待於外也。然陰柔不能自動，必附麗於陽，如須雖美必附於頤。占者宜資人共濟，從上之陽剛而動，則可有為也。象曰：賁其須，與上興也。不能自興，隨上而動也。

Six Two: Adorning his beard. 'Xu' and 'Xu' are the same character. Hair growing below the chin is called 'xu', hair growing on the lips is called 'zi', and hair growing on the cheeks is called 'ran'. From the third line to the top line there is the form of the jaw (mouth and cheeks), and Six Two is below the jaw, so it is the image of the beard. The beard is also something on the human body that has a decorative quality, so it is used as an example. Six Two is a yin and flexible line in the center and is in the correct position, while Nine Three is a yang and strong line in the correct position. The two lines do not have corresponding lines. However, the beard must be attached to the jaw to have its decorative appearance, and these two lines are precisely forming the image of the decorative pattern by being adjacent to each other. Therefore, Six Two moves by relying on Nine Three, and thus there is the image of 'adorned beard'. Generally, a good beard makes the face beautiful, and this is not an external decoration. Six Two is flexible and gentle, and it is attached to the central and correct position, so it originally has the decorative appearance of a good beard, and does not need external decoration. However, yin and flexible cannot act on their own, and must rely on yang. Just as a beautiful beard must be attached to the jaw. Those who have this line should rely on others to accomplish their affairs, and follow the movement of the superior yang line, and thus can achieve something. The Image Commentary says: 'Adorned beard' is to rise together with the superior. One cannot rise by oneself, but can only move by following the superior.

九三：賁如濡如，永貞吉。三互坎一陽居二陰之間，得其賁而潤澤者也，故有濡如之象。然坎體有濡象，亦有陷溺之象。九三非不貞也，能永其貞而不溺於所安，則二陰於我有潤澤之濡，而我無陷溺之悔矣，故吉。此爻與二以相比為賁，然小利往，故二隨上而三則宜永貞也。象曰：永貞之吉，終莫之陵也。陵生於狎。以正自持，顰笑不假，誰能陵之。

Nine in the Third: Having obtained refinement and appearing moist and nourished, maintaining a steady adherence to the right path brings good fortune. Nine in the Third is located within the mutual trigram Kan, with a yang line sandwiched between two yin lines. This situation is likened to having both refinement and nourishment, hence the image of "moist and nourished." However, the trigram Kan also signifies both being moistened and being submerged. Nine in the Third is not inherently improper; as long as it maintains its correct position without becoming immersed in present comfort, the two yin lines above and below will only provide nourishment rather than cause regret, thus resulting in good fortune. This line and Six in the Second form the image of Bi through their adjacent relationship. However, since it is only "slightly advantageous to move forward," Six in the Second can follow the superior line, while Nine in the Third should maintain its steady adherence to the right path. The Image Commentary says: The reason why enduring uprightness is auspicious is that ultimately no one can bully him. Bullying arises from familiarity and intimacy. By holding firmly to the right path, not even a single expression or gesture is easily lent to others, so who could possibly bully him?

六四：賁如皤如，白馬翰如，匪寇婚媾。皤，髮之白者。四變，互二三為巽為白；不變，互為坎為馬。四與初以相應為賁，乃為三所隔，心雖合而跡暌，不得所賁，為皤如之象。然本正應，不肯他從，往求之心如飛翰之疾，有白馬翰如之象。九三剛正，非為寇者也，乃求婚媾耳。

Six in the Fourth: The decoration is as pure and white as a white horse galloping swiftly, and what comes is not a strong enemy but a suitor seeking marriage. 'Pó' refers to white hair. If Six in the Fourth changes, it forms with Two and Three the trigram Xun, which represents white; if it does not change, it forms with them the trigram Kan, which represents a horse. Six in the Fourth and Nine at the Beginning correspond to each other to form the image of a decorated object, but they are separated by Nine in the Third. Though their hearts are in harmony, their outward appearances are apart, and they do not achieve the desired decoration, hence the image of 'white hair'. However, since it is a proper correspondence, it does not yield to others, and the eagerness to seek the corresponding partner is as swift as a flying bird, hence the image of 'a white horse galloping swiftly'. Nine in the Third is yang and in the correct position, and it is not coming as a strong enemy, but merely as a suitor seeking marriage.

此與屯六二相似。屯剛柔始交，賁剛柔相襍，皆有婚媾象。然屯之乘馬班如意甚緩，賁白馬翰如意獨急者：屯二以下求上，難進易退；賁四以上求下，虛己求助也。此爻與初以相應為賁，然小利往，故初賁趾而四則翰如也。象曰：六四當位，疑也；匪寇婚媾，終無尤也。四與初遠，為三所隔，所當之位有可疑也。然位雖近三，心實在初，守正不與，理直義勝，三不得而尤之也。

This is similar to the second line of the Zun hexagram. Zun represents the initial meeting of strong and weak elements, while Ben represents the intermingling of strong and weak elements, so both have the image of marriage. However, the Zun hexagram's line "riding horses in hesitation" shows a slow attitude, while the Ben hexagram's line "white horse galloping swiftly" shows a more urgent attitude. The reason for this difference is that the second line of Zun is seeking upwards, finding it difficult to advance but easy to retreat; whereas the fourth line of Ben is seeking downwards, humbly seeking help from others. This line and the first line form a mutual support in the Ben hexagram. However, since it only brings "small benefit from movement," the first line merely holds onto its "ornate foot" while the fourth line acts urgently like "galloping." The Image Commentary says: the position of the fourth line is questionable. The one coming is not a strong enemy but a suitor, so there is no resentment. The fourth line is far from the first line and is blocked by the third line, so its position is indeed questionable. However, although it is close to the third line, its heart is truly with the first line. It maintains righteousness and does not hastily associate with the third line, thus the third line cannot resent it.

六五：賁于丘園，束帛戔戔，吝終吉。六五柔中為賁之主。離之文明至艮而有所止，漸近敦本而尚實。上九艮體有丘象。五互三四震木有園象。五比上以成賁者，人君虛己以求山林隱逸之賢，故有不賁於朝市而賁于丘園之象。陰性吝嗇，淺小薄物可以自將，故有束帛戔戔之象。如此雖可羞吝，然禮奢寧儉，禮賢貴質實，不事虛文，故得終吉。蓋賁以文飾成卦，過則流於靡矣。自五與上皆有敦本返始之象。象曰：六五之吉，有喜也。方逐末之時，人君崇儉反本，人心世道之幸也。

Six in the Fifth: Adorning reaches the hills and gardens, a bundle of silk is meager and scarce, though it seems shameful and stingy, it ultimately leads to good fortune. Six in the Fifth, being flexible and in the center, is the main line that forms the卦 of Zhen (Brightness). The civilizing influence of Li (Fire) comes to a stop at Gen (Mountain), gradually tending towards valuing the root and emphasizing simplicity. Nine at the Top belongs to the nature of Gen (Mountain), symbolizing hills and mounds; Six in the Fifth and Three and Four lines together form Zhen (Thunder), which represents wood, symbolizing gardens and orchards. Six in the Fifth and Nine at the Top are adjacent and form Zhen (Brightness), just like a ruler humbly seeking virtuous men in the mountains and forests. Therefore, there is an image of not adorning the court and marketplaces but adorning hills and gardens. The nature of Yin is stingy, only able to offer a meager and thin gift, hence the image of 'a bundle of silk is meager and scarce'. Although this seems shameful and stingy, ritual is better with frugality than extravagance, and honoring virtuous men values simplicity rather than empty formalities, so it ultimately leads to good fortune. Generally, the卦 of Zhen (Brightness) is formed by adornment, but excessive adornment leads to superficiality. From Six in the Fifth to Nine at the Top, there is an image of returning to the root. The Image Commentary says: Six in the Fifth is fortunate because there is something commendable. In a time when the world is chasing superficial things, a ruler who values frugality and returns to the root is a fortunate event for the people's hearts and the world's way.

上九：白賁，無咎。居賁之極，反本復於無色，有白賁之象。如此則善補過矣，故占為無咎。此爻與五相比以成賁。五君以束帛相加，上則遂其高隱之志。唯以樸質為本，唯小利往，故五可賁于丘園，而上但宜守其白賁也。象曰：白賁無咎，上得志也。居卦之上，在事之外。不假文飾而有自然之文，可謂優遊自得矣。以人事言，則六五以束帛聘，而上高尚自守以成其志，亦得志也。

Six at the Top: Using plain white as ornamentation, there is no fault. Six at the Top is at the extreme of the Cinnamon (B贲) hexagram, returning to the root and reverting to colorlessness, hence the image of 'White Cinnamon.' Thus it is adept at correcting excess, so the divination is without blame. This line is adjacent to Six in the Fifth to form Cinnamon: Six in the Fifth, as a ruler, uses bundles of silk to invite, while Six at the Top is able to fulfill his lofty and reclusive aspirations. Since it is based solely on simplicity and only brings small benefit from movement, Six in the Fifth can 'adorn the hillside garden,' while Six at the Top is only suitable to maintain his 'White Cinnamon.' The Image Commentary says: 'White Cinnamon without blame' means being in a high position and having one's aspirations fulfilled. Six at the Top is at the top of the hexagram, detached from affairs, not relying on ornamentation yet possessing natural elegance, which can be said to be at ease. In terms of human affairs, it refers to Six in the Fifth inviting with bundles of silk, while Six at the Top remains lofty and self-restrained to fulfill his aspirations, which is also being successful.

全卦以賁飾為義。華美外飾，世趨所必至也。然無所止，則奢而至於偽。故文明而有所止，乃可以為賁也。內卦文明漸盛，故由趾而須。至於濡如則極矣故，戒以貞。文明而知永貞，則返本之漸也。故四之皤如猶求相應以成賁也。五之丘園則返樸，上之白賁則無色矣。由文返質，所謂有所止也。

The entire hexagram establishes its meaning through ornamentation. Ornamental embellishment is naturally inclined in the world; however, if without restraint, it will lead to extravagance and falsehood. Therefore, it must be civilized and have limits, which is called "Bén" (ornamentation). The inner trigram shows the gradual increase of civilization, so it progresses from "Bén zhi" (ornamented feet) to "Bén xū" (ornamented mustache); when it reaches "Rú rú" (smooth and moist), it has reached its extreme, so it warns to maintain the correct path. Being civilized and knowing how to hold fast to the correct path is the beginning of returning to the root, so the line six four's "Pó rú" (white and smooth) is still seeking the correct response to complete the ornamentation. When it reaches line six five's "Qiū yuán" (mountain and garden), it has already returned to simplicity, and line upper nine's "Bái Bén" (white ornamentation) has entirely no color. Returning from ornamentation to substance is exactly what is meant by "having limits."

六爻以三陰三陽剛柔交錯而為賁，如錦繍藻繪，間雜成章。凡物有以相應而成賁者，則初四是也；有相比而成賁者，則二三是也；有相比而漸歸淡樸以為賁者，則五上是也。蓋文質相須者，天地自然之數，賁之所以成卦。而質為本文為末，質為主文為輔，務使返樸還淳，則聖人所以繫之辭、而維持世道之心也。至於初應四而四翰如，二比三而二與上興，五比上而五賁丘園，三陰爻多利於往。此又陰盛之漸，所以賁之後為剝也。

The six lines of the hexagram are formed by the intermingling of three yin and three yang lines, which are both strong and weak, creating the image of a decorative pattern, like embroidered silk or painted ornamentation. Those that form the hexagram through mutual correspondence are the initial line (Chu Ji) and the fourth line (Liu Si); those that form it through adjacent lines are the second line (Liu Er) and the third line (Jiu San); and those that form it through adjacent lines and gradually return to simplicity are the fifth line (Liu Wu) and the top line (Shang Ji). Generally, culture and substance depend on each other, and they are the natural numbers of heaven and earth, thus forming the hexagram of Zhen. However, substance is the essence, culture is the embellishment, substance is the main, and culture is the auxiliary. Therefore, one must return to simplicity and purity, which is the earnest intention of the sage in composing the line statements to maintain the world's order. As for the initial line corresponding to the fourth line, and the fourth line saying "like a bird in flight," the second line being adjacent to the third line, and the second line saying "rising together with the superior," the fifth line being adjacent to the top line, and the fifth line saying "decorating the hillside retreat," the three yin lines are mostly favorable for movement, which is another sign of the gradual increase of yin energy. Therefore, after Zhen comes the hexagram of Po.

剝卦，下坤上艮。山高於地而附著於地，有傾頹之象。又卦五陰自下漸長，消剝一陽，故為剝。剝卦次賁。按《序卦》：賁者，飾也。致飾然後亨則盡矣，故受之以剝。文飾之極，反而剝落，剝所以次賁也。

The hexagram of Pei (Breakdown) has the Lower Trigram as Kun (Earth) and the Upper Trigram as Gen (Mountain). Although the mountain is high above the earth, it is attached to the earth, symbolizing the image of collapse and falling apart. Moreover, this hexagram has five yin lines growing gradually from the bottom, which gradually consume the single yang line that remains. Therefore, the hexagram is named Pei (Breakdown). The hexagram of Pei comes after the hexagram of Bian (Brightness). According to the "Xu Guan Zhuan," Bian represents ornamentation; when ornamentation is pursued to the extreme, it becomes exhausted, hence Pei follows Bian. When ornamentation reaches its peak, it turns into breakdown, which is why Pei comes after Bian.

全彖取順時而止之義，故君子不可有所往。六爻以上九為主，故於上爻幸一陽之存。而下五爻，凡有與於陽者吉，無與於陽者凶。五以承陽故無不利。三以應陽故無咎。初二遠陽而剝未盡，故皆蔑貞凶。獨六四以迫於陽而剝極，故直言凶也。此全卦六爻之大略也。

The entire hexagram's "Tuan Ci" takes the meaning of stopping in accordance with the trend of the times, so a gentleman should not go forward. The six lines take the top line, upper nine, as the main focus, so they rejoice that one yang line remains in the top line. As for the five yin lines below, those connected to yang are auspicious, and those not connected to yang are inauspicious: six five is auspicious because it follows a yang line, so it says "no disadvantage." Six three is also auspicious because it corresponds with upper nine, so it says "no blame." Initial six and six two are far from yang and the destructive force has not yet reached its end, so both say "no sincerity is凶." Only six four, being close to yang, has reached the extreme of destruction, so it directly says "disadvantageous." This is the general idea of the six lines of the hexagram.

剝：不利有攸往。剝，落也。五陰盛而一陽將消，九月之卦。陰盛陽衰，小人壯而君子病。又內坤而外艮止，有順時而止之象，故占者不利於有所往也。彖曰：剝，剝也，柔變剛也。自姤而遯否而觀而剝，皆以柔而變其剛。至此則欲以五陰變上之一陽也。此以卦體釋卦之名義也。

The hexagram Pei indicates it is not favorable to go somewhere. "Pei" means to peel off or to decline. Five yin lines are flourishing while one yang line is about to be exhausted, which corresponds to the ninth month of the lunar calendar. Yin is dominant and yang is declining, indicating the rise of small people and the hardship of the virtuous. Moreover, the inner trigram is坤 (Kun, Earth), representing compliance, and the outer trigram is艮 (Gen, Mountain), representing stopping. This suggests an image of following the trend and stopping, hence it is unfavorable to go somewhere. The Commentary on the Judgment says: Pei means peeling off, which is the softness changing the firmness. Starting from the hexagram Guo where one yin line begins to arise, through Du, Pi, Guan, up to Pei, all represent the softness changing the firmness. By the time we reach the hexagram Pei, five yin lines are used to change the top yang line. This is explaining the name of the hexagram through its structure.

不利有攸往，小人長也。順而止之，觀象也。君子尚消息盈虛，天行也。五陰剝陽，小人之長也，此以卦體言也。卦有順而止之象，君子觀之。陽消陰息，陰盈陽虛。天運之行如是，君子尚之。順時而止，所以合乎天之行也。知天行之方剝，則不至不量力以取禍。知剝之必有復，亦不至怨天尤人而變其所守矣。

The Commentary on the Judgment says: It is not advantageous to go anywhere because the small people are increasing. To stop in accordance with the situation is based on observing the hexagram. The gentleman values the principle of waxing and waning, because this is how the heavens operate. The five yin lines are stripping away the yang, which is the growth of the small people, as explained by the structure of the hexagram. This hexagram has the image of following a trend and then stopping, from which the gentleman gains insight. Yang is retreating while yin is increasing; yin has become full while yang has become diminished. This is how the heavenly course proceeds, which is why the gentleman values it. To stop in accordance with the trend is precisely to align with the heavenly course. Knowing that the heavenly course is declining, one will not act beyond one's capacity and invite misfortune; knowing that extreme decline must eventually be followed by renewal, one will not blame heaven or humanity and change what one has held fast to.

象曰：山附地上，剝。上以厚下安宅。山附於地，下基不厚則上不安，高者有剝落之象。為君子者，以此制田裡，教樹畜，以厚下民，即以自安其居也。卦以下剝上取義，小人剝君子，所以成剝也。象以上厚下取義，人君厚下民，所以治剝也。不以陰陽消長為論，而以上厚薄為言。於極危之卦，得極安之道。此聖人用卦之微權也。

The Great Image Commentary says: Mountains attached to the earth represent the Hexagram of Decrease; those in high positions thus understand the need to treat the people below with kindness and ensure the stability of their own position. Mountains attached to the earth, if the foundation below is not thick, the upper part will be unstable, and there will be an image of erosion and decline. A gentleman, based on this, plans the cultivation of land and teaches the people to plant trees and raise livestock, in order to treat the people below kindly, thus ensuring the stability of his own dwelling. This hexagram derives its meaning from the act of taking from below to weaken above, where small people erode the virtues of the gentleman, hence forming the hexagram of Decrease. However, the Great Image derives its meaning from the attitude of those in high positions towards those below, emphasizing the importance of kindness and generosity. The ruler, by treating the people below with kindness, is thus able to manage the decline. It does not discuss the waxing and waning of yin and yang, but rather speaks of the thickness or thinness of the treatment given by those above to those below. Within a hexagram of extreme danger, it seeks to achieve extreme stability, which is the subtle balance skillfully applied by the sage in using the hexagrams.

初六：剝床以足，蔑貞凶。蔑，滅也。床者，人之所安其體，上實下虛。剝一陽下五陰，有床象。坤土艮山本至安，剝則危矣，故卦有剝床象。初在下有足象。剝自下起，侵蔑正道，其占凶也。方剝足而即言蔑貞，如履霜而知堅氷至也。象曰：剝床以足，以滅下也。侵滅正道，自下而上也。

Initial Line Six: The bed is stripped starting from the foot, extinguishing the correct path, which is ominous. "Mie" means to extinguish. A bed is an object used by people to rest their bodies, with the upper part solid and the lower part empty; the hexagram of Pei has one yang line at the top and five yin lines below, which exactly resembles a bed. The trigrams of Kūn (Earth) and Gèn (Mountain) are originally most stable, but once eroded, they become dangerous, hence this hexagram is called Pei (Erosion) and resembles a bed. The Initial Line is at the very bottom, symbolizing the foot of the bed. The erosion begins from below, gradually extinguishing the correct path, and the omen is ominous. Just stripping the foot of the bed is described as "Mie Zhen," just as when your foot touches frost, you know that hard ice is coming. The Image Commentary says: "Stripping the bed from the foot" indicates that the erosion begins from the bottom. Extinguishing the correct path is a process that proceeds step by step from the bottom up.

六二：剝床以辨，蔑貞凶。辨，床乾也，床身與足上下分辨之處也。二陰侵上，占與初同。象曰：剝床以辨，未有與也。二陰徒與未大盛，危之中有幸之之意。

Six in the Second: The bed is being stripped down to the junction between the bed frame and the legs, extinguishing the right path, which is ominous. '辨' refers to the bed frame, which is the dividing line between the bed frame and the legs. The second yao is again invaded by the yin, and the divination text is the same as that of the first yao. The Image Commentary says: Stripping the bed at '辨' is because there is still no support from a companion. At this time, the yin's followers are not yet very strong, so there is a mixture of danger and a slight sense of relief.

六三：剝之無咎。眾陰方剝陽而三獨與上應，去邪黨而從正者也，咎可無矣。剝之三同復之四。復四與初應而不許以吉，剝三與上應而許以無咎，何也。復，君子之事，不言其吉，明道不計功者也。剝，小人之事，許以無咎，欲人遷善改過也。剝以近陽者為善，應陽者次之，故五利而此無咎。象曰：剝之無咎，失上下也。上下，四陰也。居四陰之中而獨與陽，所失者陰，其失也乃所以為得也。

Six in the Third: It is in the state of decline but without fault. The many yin lines are removing the yang, yet the line six in the third alone corresponds with the line nine at the top. This shows that it is departing from the wrong group and following the right path, thus fault is avoided. The line six in the third of the Hexagram of Decline corresponds to the line six in the fourth of the Hexagram of Return. The line six in the fourth of the Hexagram of Return corresponds with the line nine at the beginning, but it is not said to be 'auspicious'. However, the line six in the third of the Hexagram of Decline corresponds with the line nine at the top and is said to be 'without fault'. Why is this so? The Hexagram of Return relates to the deeds of the gentleman; it is not said to be 'auspicious' to indicate that the focus is on clarifying the way rather than on the results. The Hexagram of Decline relates to the deeds of the petty person; it is said to be 'without fault' to encourage people to change their ways and correct their mistakes. The Hexagram of Decline favors those close to the yang line most, and those corresponding with the yang line next. Therefore, the line five says 'favorable', while this line only says 'without fault'. The Image Commentary says: 'The absence of fault in the Hexagram of Decline is because it has lost its kindred in the upper and lower positions.' 'Upper and lower' refers to the other four yin lines. The line six in the third is in the middle of four yin lines but alone attaches itself to the yang line, thus losing only the yin group. This loss is precisely its gain.

六四：剝床以膚，凶。四在下卦之上，猶人臥處，有剝床及肌膚之象，故不復言蔑貞，而直凶也。象曰：剝床以膚，切近災也。陰禍已迫其身也。

Six Four: The bed has been stripped down to the skin, which is ominous. Six Four is above the lower trigram, corresponding to the area where a person lies, thus resembling the image of stripping the bed to the skin. Therefore, it does not mention '蔑贞' but directly states '凶'. The Image Commentary says: Stripping the bed to the skin indicates that calamity has become close and imminent. The harmful influence of yin has already reached him.

六五：貫魚，以宮人寵，無不利。魚，陰物。宮人，陰之美，望寵於陽者也。五變巽，有魚象。巽為繩，貫之之象。以者，后妃以之也。六五柔中居尊，率群陰以從陽，故有后妃之象。卦德內順外止，猶后妃以宮人備數循序以進御於君，後德之美者也。

Six in the Fifth: It is like a string of fish leading the palace attendants to receive the king's favor, which brings no disadvantage. Fish are creatures of yin; palace attendants are the beautiful ones among yin, longing for the favor of yang. When the line six in the fifth changes, the upper trigram becomes Xun, which symbolizes fish. Xun is also a rope, symbolizing the act of stringing them together. 'With' refers to the queen consort leading her attendants. The line six in the fifth is soft and in the center, occupying a high position, leading the other yin lines to follow yang. Thus, it has the image of the queen consort. The trigram's inner aspect is smooth and the outer aspect is still, just like the queen consort leading her attendants in order, presenting herself to the king according to rank, which represents the beauty of the queen consort's virtue.

故占無不利。蓋剝至於五極矣，陰不可以再長，陽不可以終消也，故不取剝義。自初至四以陰剝陽，此則循序而以陰從陽。聖人示之戒。若曰，與其以坎剝陽而至凶，孰若以次從陽之無不利乎。故彖言不利有攸往，為君子謀也。此言無不利，為小人勉也。此聖人慾人悔過之心也。

Therefore, the divination indicates there is no disadvantage. Generally, when the hexagram reaches the fifth line, it has reached its extreme point. Yin cannot grow further, and Yang cannot be completely exhausted. Therefore, this line does not signify the concept of decline. From the first line to the fourth line, Yin is declining Yang, but here, in order, Yin follows Yang. The sage uses this to warn people. It seems to say: rather than persistently declining Yang and eventually leading to misfortune, why not follow Yang step by step and achieve no disadvantage? Thus, the "Tong Ci" says "not advantageous to go somewhere," which is for the君子 (gentleman); this line says "no disadvantage," which encourages the小人 (commoner). This precisely reflects the sage's wish for people to repent and change.

然六三應上九而寧失群陰之心，六五率群陰而上求一陽之寵，則天道之不可一日無陽、世道之不可一日無君子也。又按，遯剝皆陰長之卦。遯陰微可制，故授權於陽，於九三曰畜臣妾吉，陽制陰之道也。剝陰盛難制矣，故示教於陰，於六五曰以宮人寵，陰人陽之道也。陰陽消長出於自然，爻中自有此象，而扶陽抑陰不可無人事之功，此聖人繫辭之深心也。

However, the sixth line in the third position should be able to lose the hearts of the other yins and still maintain harmony, while the sixth line in the fifth position leads the other yins upward to seek the favor of a single yang. This shows that the way of heaven cannot go a day without yang, and the way of the world cannot go a day without a gentleman. Furthermore, the hexagram Dùn and the hexagram Bō are both hexagrams of increasing yin: in Dùn, yin is still weak and can be controlled, so the power is given to yang, and in the third line it says "keeping the servants and concubines is auspicious," which is the method of yang controlling yin; in Bō, yin has already become strong and is difficult to control, so it turns to educate the yin, and in the fifth line it says "using the palace attendants to gain favor," which is the method of bringing yin back into yang. The waxing and waning of yin and yang comes from nature, and such images are inherent in the lines; yet, supporting yang and restraining yin cannot be without human effort, which is precisely the profound intention of the Great Treatise.

象曰：以宮人寵，終無尤也。眾陰逼陽，疑有尤也。循序以從，尤終可無也。上九：碩果不食，君子得輿，小人剝廬。艮為果蓏。一陽獨存於上，如碩大之果不為人所食，獨留木末之象。

The Image Commentary says: Because of the favor of the palace attendants, there is ultimately no resentment. The many yin lines press upon the yang line, which should naturally lead to resentment; but now they follow in order and obey, so resentment can finally be dispelled. The line at the top: A large fruit is not eaten, the gentleman receives a carriage, while the petty person loses his house. Gen represents fruit and melon. A single yang line existing at the very top is like a large fruit that has not been picked, remaining alone at the tip of the branch.

果不食必爛，核墮地又復生仁。窮上反下，陽將復生也。坤為輿。五陰載上九之一陽，有君子得輿之象。上九變柔有小人象。一陽覆五陰有廬象，變偶則破敗矣，有剝廬象。一陽未盡猶可復生。君子得此，則為小人所載。小人居之，則剝極於上，自失所覆，如剝其廬。蓋君子能存陽德，能覆小人。小人陰屬，勢必欲害君子。然自古未有君子亡而小人能自容其身者。廬剝，則小人亦無所容矣。象如是，而占因君子小人而分也。

A fruit that is not eaten will inevitably rot, and the seed inside the fruit, when dropped to the ground, will grow again. This is the process of reaching the extreme at the top and returning to the bottom, with Yang about to be reborn. The trigram Kun represents a carriage, with five Yin lines supporting the single Yang line at the top, symbolizing the image of a gentleman receiving a carriage. If the top Yang line becomes a Yin line, it represents the image of a petty person. A single Yang line covering five Yin lines symbolizes a dwelling, and when it changes to an even line, forming a roof, the dwelling becomes ruined, symbolizing the image of a ruined house. Although one Yang line has not yet completely disappeared, it can still be reborn. When a gentleman is in this position, he is supported by petty persons; but when petty persons occupy it, they reach the extreme of destruction, losing their protection, like having their own house stripped away. Generally, a gentleman can preserve Yang virtue and protect petty persons; petty persons belong to Yin, and their power inevitably harms the gentleman. However, throughout history, there has never been a case where a gentleman perished and petty persons could still remain secure. Once the dwelling is ruined, petty persons have nowhere to take refuge. This is the image, and the divination depends on whether it is a gentleman or a petty person, leading to two different outcomes.

象曰：君子得輿，民所載也。小人剝廬，終不可用也。民指眾陰。剝極思治。陽剛君子，民所共載。小人至此欲剝盡諸陽，不知其終不可用也。全卦當陰盛陽衰之時，故君子不利於所往。然能以陰承陽者無所不利，而應陽者亦得無咎，唯遠陽而剝陽者凶。雖聖人之戒辭，亦陰陽消長之定理也。

The Image Commentary says: A gentleman attains a carriage, meaning he is supported by the people; a petty person strips away the house, meaning he ultimately cannot be used. "People" refers to the multitude of yin. When yin reaches its extreme, the people desire governance, and the yang noble gentleman is precisely what the people universally support; a petty person, at this point, still wants to strip away all the yang, but does not realize that he ultimately cannot be used. The entire hexagram is at the time when yin is strong and yang is weak, so a gentleman is not favorable to going anywhere. However, those who can serve yang with yin will have no difficulties, and those who correspond with yang will have no mistakes, while those who distance themselves from yang and strip away yang will meet misfortune. This is although a warning from the sage, yet it is also the definite principle of the waxing and waning of yin and yang.

復卦，下震上坤。一陽生於五陰之下，陰極而陽復。君子之道消而復長，有返於善之義，故為復。復卦次剝。按《序卦》：物不可以終盡，剝窮上反下，故受之以復。陽剝極於上，復生於下，復所以次剝也。

The hexagram Fu is composed of the lower trigram Zhen (Thunder) and the upper trigram Kun (Earth). A single yang line arises above five yin lines, indicating that yin has reached its extreme and yang returns. After the way of the superior person has declined, it re-emerges, implying a return to the virtuous path, hence the name of the hexagram is "Fu." The hexagram Fu follows the hexagram Bo. According to the "Xu Guan Zhuan," things cannot end in exhaustion; when Bo reaches its extreme, it turns back to the lower, hence Fu comes after Bo. Yang was exhausted at the top, but now it reappears at the bottom, which is why Fu follows Bo.

全彖以陽剛來反，理勢必亨。又震動坤順，所往皆利。天地以生物為心。天地之一陽初動，猶人善念之萌，聖人所最重。此全彖之大旨也。六爻以初爻為主，故凡有得於初陽者吉，無則否。二比初曰下仁，四應初曰從道，此皆得於陽者也。餘三皆無得於陽者。獨五以得中而無悔。三不中則頻失頻復而厲。上則去初最遠，居卦之窮，迷而不復，宜其凶也。此六爻之大略也。

The entire hexagram's "Tu Cí" explains that the return of yang is essential, and from the perspective of reason and momentum, it is certain to be smooth and successful. Moreover, the inner trigram Zhen (Thunder) is dynamic, and the outer trigram Kun (Earth) is compliant, so all directions are favorable. Heaven and Earth are concerned with the birth and nourishment of all things. The initial movement of yang in the universe is like the first thought of goodness in the human heart, which is the most valued by the sage. This is the main idea of the entire hexagram's "Tu Cí." The six lines focus on the line Chushiyi (Nine at the Beginning), so any line that gains something from this yang is auspicious, while those that do not gain anything are inauspicious. The line Liushier (Six in the Second) is close to Chushiyi, and the "Image Commentary" says it "shows benevolence." The line Liusu (Six in the Fourth) corresponds with Chushiyi, and the "Image Commentary" says it "follows the Dao" — these are all cases where yang is gained. The other three lines do not gain anything from yang: only the line Liuwu (Six in the Fifth), because it is in the center, gains "no regret"; the line Liusan (Six in the Third), not being in the center, repeatedly loses and regains, thus facing danger; the line Shangliu (Six at the Top), being farthest from Chushiyi and located at the extreme end of the hexagram, is confused and does not know to turn back, so its danger is appropriate. This is the general idea of the six lines.

復：亨，出入無疾，朋來無咎，反復其道，七日來復，利有攸往。復，陽復生於下也。剝盡則為純坤，十月之卦。陽氯漸生，至十一月，一陽之體始成，其卦為復。陽往而復反有亨象。內震外坤，陽動於下，順而上行。反下為入，上行為出，皆以順行，有出入無疾之象。

The hexagram Fu signifies smoothness, with no illness in going out or coming in, and no mistakes from like-minded people coming together. It follows the regular course, and after seven days, it returns. It is favorable to go forth. "Fu" indicates the return of yang at the lower position. When yin is completely exhausted, it becomes the pure hexagram Kun, which corresponds to the tenth lunar month. Yang energy gradually emerges, and by the eleventh lunar month, a single yang line is formed, which is the hexagram Fu. Yang goes away and then returns, hence the image of smoothness. The inner trigram is Zhen, and the outer trigram is Kun. Yang moves downward and then ascends smoothly. Returning to the lower position is called "entering," and moving upward is called "exiting." Both entering and exiting proceed smoothly, hence the image of "no illness in going out or coming in."

先出後入，於語順也。諸陽自此可亨，有朋類之來皆得無咎之象。又自五月姤卦一陰始生，至此七月而一陽來復，乃天運自然反覆之道。此時剛德既長，君子可以有為，故於占利有攸往也。不言月而言日，猶詩言一之日、二之日也。臨卦於陰之長則曰八月，欲陰長之緩也；此於陽之長則曰七日，欲陽之速也。又七為陽數，日為陽物，故於陽長之卦言之；八為陰數，月為陰物，故於陰長之卦言之。

First mention "coming out" and then "entering," merely for the sake of smooth expression. The numerous Yang forces can now become unimpeded, hence the image of like elements coming together without blame. Starting from the beginning of Yin in the fifth month's Guo hexagram, after seven months, one Yang returns, which is the natural cycle of heaven. At this point, the virtue of Yang has already grown, so the gentleman may take action, hence the oracle says "favorable for going somewhere." It does not say "month" but "day," just as the "July" in the "Book of Songs" says "first day" and "second day." The Lin hexagram, which discusses the growth of Yin, mentions "eighth month," hoping for slower growth of Yin; here, discussing the growth of Yang, it mentions "seventh day," hoping for faster growth of Yang. Moreover, seven is a Yang number, and day is a Yang thing, so it is used in hexagrams concerning the growth of Yang; eight is a Yin number, and month is a Yin thing, so it is used in hexagrams concerning the growth of Yin.

彖曰：復亨，剛反。剛德復反，有可亨也。動而以順行，是以出入無疾，朋來無咎。剝以順而止，復以順而行。道消之極，道長之初，未有不順而能免咎者。出入朋來，陽之動；無疾無咎，以順行故也。反復其道，七日來復，天行也。陰陽消長，天運之自然也。利有攸往，剛長也。既生則漸長，故利於往。自內出為往。動而順行以下，以卦德言；反復其道以下，以卦體言。

The Commentary on the Judgment says: Returning and being prosperous is because the yang is returning. The virtue of yang has returned, so there is the possibility of prosperity. The Commentary on the Judgment also says: Moving in accordance with the right way, so there is no illness in going out or coming in, and the like come without fault. The hexagram of Bao is to move in accordance with the right way and know when to stop, while the hexagram of Fu is to move in accordance with the right way and be able to act. When the way of darkness reaches its extreme, the way of brightness begins, and there is no way to avoid fault without following the right way. "Going out and coming in" refers to the movement of yang, while "no illness" and "no fault" are because of following the right way. The Commentary on the Judgment also says: Going and returning follow the constant way, and after seven days it returns, which is the movement of heaven. The waxing and waning of yin and yang is naturally the movement of heaven. The Commentary on the Judgment also says: It is advantageous to go forward because yang is growing. Once it has grown, it will gradually increase, so it is advantageous to go forward. "Moving in accordance with the right way" refers to the virtue of the hexagram, while "returning and following its way" refers to the structure of the hexagram.

復其見天地之心乎。天地以生物為心。積陰之下，天地生物之心幾息。一陽來復，而天地之心可見。在人，則惡極而善念萌動之時也。先儒以靜為天地之心，《程傳》以動為天地之心。然陰陽分動靜善惡，不可太拘。蓋天地之氣，純陰寂靜之中未嘗無陽。然必一陽之動，而後生物之心可見。在人，則所動之念有善有惡，必其善端之動，乃可謂見天地之心也。

The Commentary on the Judgment says: From the hexagram of Returning, one can roughly see the heart of heaven and earth in generating life. Heaven and earth take nurturing myriad things as their heart. Beneath successive layers of yin, the heart of heaven and earth in generating life is almost ceased; when one yang reappears, the heart of heaven and earth becomes visible. In terms of human beings, this is when evil has reached its extreme and a thought of goodness begins to arise. Previous Confucian scholars took 'stillness' as the heart of heaven and earth, while Cheng Yi's Yichuan Commentary on the Changes took 'movement' as the heart of heaven and earth. However, dividing yin and yang into stillness and movement, goodness and evil, should not be overly rigid: the vital energy of heaven and earth, even in pure yin and stillness, is never devoid of yang, yet it is only when one yang begins to move that the heart of heaven and earth in generating life becomes visible; in human beings, the thoughts that arise are both good and evil, but it is only when the good beginning emerges that one can say the heart of heaven and earth is seen.

象曰：雷在地中，復。先王以至日閉關，商旅不行，后不省方。閉關，休息安靜以養微陽也。在人心，則善端之萌甚微，亦必莊敬以養之，不然復亡之矣。卦辭言出入無疾，而象言閉關息事。蓋動者天地生物之心，而靜者聖人裁成之道也。

The Great Image says: Thunder beneath the earth represents the hexagram of Return. From this, the former kings understood the practice of closing the borders on the day of Winter Solstice, stopping merchants from traveling and the sovereign from touring the land. "Closing the borders" is a way of resting and being quiet in order to nurture the faint yang energy. In terms of the human mind, when the beginning of goodness first emerges, it is extremely weak, and it must be cultivated with seriousness and reverence, otherwise it will be lost again. The hexagram statement says "entering and exiting without illness," but the Great Image speaks of closing the borders and ceasing activities. This is because: movement is the heart of the heavens and earth in generating life; stillness is the way of the sage in regulating and completing things.

初九：不遠復，無只悔，元吉。一陽復生於下，復之生也。只，至也。居事之初，失之未遠，復於善而不至於悔，大善而吉之道也。人有過失，或至於微色發聲、困心衡慮。此則有不善未嘗不知，知之未嘗復行也。象曰：不遠之復，以修身也。修身之道無他，知不善而速改而已。

Initial Line Nine: Going only a short distance and then turning back, there is no regret, and it is highly auspicious. A yang line at the bottom renews the beginning, which is precisely the vital energy of the Returning Hexagram. "Only" here means "to the utmost." He is at the beginning of a matter, so his mistake is not yet far. Returning to the right path without regret is the great good and auspicious way. Usually, people have faults which only become evident through their expressions, sounds, or after much mental struggle. But this line knows wrongdoing without needing to reach that point; once he knows it, he stops doing it. The Image Commentary says: Returning from a short distance is used for self-cultivation. The way of self-cultivation is simply to recognize wrongdoing and quickly correct it.

六二：休復，吉。柔順中正，近於初九之仁人。能比而下之，取友以輔仁者。復之休美，吉之道也。象曰：休復之吉，以下仁也。克己復禮為仁。初，剛德之復仁者也。二能親而下之，故吉。

Six in the Second: Returning beautifully, it is auspicious. Six in the Second is gentle and proper, and is close to Nine at the Beginning, the benevolent person. She can be close to him and be willing to be beneath him, which is exactly what the Analects says, 'friends assist in cultivating benevolence.' This is the beauty of returning, and the way to gain auspiciousness. The Image Commentary says: The auspiciousness of returning to the original state comes from being willing to submit to the benevolent person. 'Overcoming oneself and returning to propriety' is benevolence; Nine at the Beginning is the return of the yang virtue, which is the benevolent person. Six in the Second can be close to him and be willing to be beneath him, hence it is auspicious.

六三：頻復，厲無咎。不中不正，處動之極。復而不固，有頻失而頻復之象。頻失則厲，復則無咎。蓋三爻在上下進退之間。巽以柔為主。巽九三剛而不中以比柔，故頻巽而吝。復以剛為主。復三柔而不中以比柔而位剛，故頻得，雖厲而無咎。象曰：頻復之厲，義無咎也。得補過之義。

Six in the Third: Repeatedly looking back, there is danger but no fault. Six in the Third is neither in the center nor in the correct position, and is at the extreme of movement; looking back but unable to hold on, hence the image of repeatedly losing and repeatedly regaining. Repeated loss leads to danger, but being able to regain leads to no fault. Generally, the Third line is in the middle of ascending and descending: the Wind Hexagram is characterized by softness, and the Yang line in the Third of Wind is not in the center and is below the soft, hence 'repeatedly bending' and resulting in shame and regret; the Returning Hexagram is characterized by strength, and the soft line in the Third of Returning is not in the center, though it is below the soft, yet it is in the position of Yang strength, hence repeatedly gaining, though dangerous, there is no fault. The Image Commentary says: the danger of repeated returning is, in principle, without fault, because it conforms to the meaning of correcting past mistakes.

六四：中行獨復。四在上下四陰之中，有中行之象。不比群陰而與初應，有與眾俱行、獨能從善之象。此時陽氣甚微，未足有為，故不言吉。然理所當然，吉凶非所論，吉凶非所論，所謂明其道不計其功者也。象曰：中行獨復，以從道也。以其從陽剛，君子之善道也。修身以道，修道以仁。仁與道，皆所以修身也。

Six in the Fourth: Walking among many yin lines yet turning back alone. Six in the Fourth is located in the center of the four yin lines above and below, thus embodying the image of 'acting in the middle.' It does not closely associate with the other yin lines but instead corresponds uniquely with the first nine, symbolizing the image of walking with the people yet being able to act virtuously. At this time, the yang energy is still very weak and insufficient for action, so the line statement does not say 'auspicious.' However, this is the proper way things should be, so auspiciousness and misfortune are not considered. (The original text repeats this sentence.) This is what is meant by 'clarifying the way without considering the results.' The Image Commentary says: 'Acting in the middle and turning back alone' is to follow the correct path. Because it follows yang strength, this is the virtuous path of the gentleman. Cultivating oneself should follow the way, and cultivating the way should follow benevolence; benevolence and the way are both used for self-cultivation.

六五：敦復，無悔。坤土有敦厚之象。四以應初而復。五雖與初無應，然以柔中居尊，因四之獨復而能篤其行、厚其養，以復於善者，猶臨之有敦臨也，故可無悔。按，來注謂不遠復者，善心之萌；敦復者，善行之固。無只悔者，入德之事；無悔者，成德之事。是以五勝於初也。然初曰元吉，五僅曰無悔，不得以五勝初。竊意此乃困知勉行，所謂人一己百、人十己千，百倍其功者。能如是，悔亦可無也。

Six in the Fifth: To return with sincerity, without regret. The Earth trigram represents soil, which symbolizes sincerity and steadfastness. Six in the Fourth returns because it corresponds with Nine at the Beginning; although Six in the Fifth does not correspond with Nine at the Beginning, it is in a central position, is gentle, and holds a high position. Because of the return of Six in the Fourth, it can be sincere in its actions and deep in its cultivation, thus returning to the right path. Just as the卦 of Approaching has 'sincere approach,' it can therefore have no regret. Note: Lai Zhide's commentary says, 'Not far from returning' is the sprouting of good intentions, 'sincere return' is the firmness of good deeds; 'no small regret' is the beginning of entering virtue, 'no regret' is the completion of virtue. Therefore, he thinks that Six in the Fifth surpasses Nine at the Beginning. However, Nine at the Beginning says 'original good fortune,' while Six in the Fifth only says 'no regret,' so it cannot be said that Six in the Fifth surpasses Nine at the Beginning. In my opinion, this is the way mentioned in the Zhongyong, 'to know through hardship and to act with effort,' which is 'when others do it once, I do it a hundred times; when others do it ten times, I do it a thousand times,' requiring a hundredfold effort. If one can do this, regret can be avoided.

象曰：敦復無悔，中以自考也。五居中，中即天地之心。考，成也，以中道自成也。二四待初而復，學知利行者也，故曰下仁曰從道。五與初非比非應而復，困知勉行者也，故曰自考。自即人一己百之意。蓋五本遠於陽，但以居中能順，困四自返，加厚其功，故能自成也。

The Image Commentary says: "Returning to sincerity without regret, thus achieving self-realization through the middle path." The hexagram line six in the fifth position is in the center, and "middle" refers to the heart of heaven and earth. "Kao" means accomplishment, meaning to complete oneself through the middle path. The lines six in the second and six in the fourth return due to the influence of line nine at the beginning, and they belong to the category of "learning through study and acting when it is beneficial," so the Image Commentary says they "practice benevolence" and "follow the way." Line six in the fifth position returns neither because it is adjacent nor because it corresponds with line nine at the beginning, and thus belongs to the category of "realizing through hardship and acting through effort," hence it is said "self-accomplishment." The character "self" here precisely means "others do once, I do a hundred times." Generally, line six in the fifth position was originally far from yang, but because it is in the center and follows the way, and through hardship and effort returns to itself, it doubles its effort and thus achieves self-realization.

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。上六以陰柔居復終。位高而無下仁之美，剛遠而失遷善之機，厚極而有難開之蔽，質柔而無改過之勇，無應而無從道之明，是終昏冥而不復者也。災自外來，眚自己作。坤先迷，今居其極，有迷復象。坤為土為眾，有行師象。在上近五，有以其國君象。地數十，有十年不克征之象。

The Sixth at the Top: Lost and not knowing to turn back, it is dangerous, with both natural disasters and man-made calamities; if used for military campaigns, it will ultimately result in a great defeat, causing the sovereign to also face misfortune, leading to a period of ten years during which military campaigns cannot be carried out. The Sixth at the Top, being a yin and flexible line, is located at the end of the复卦: it holds a high position but lacks the virtue of humbling oneself and being benevolent to others, is too far from yang strength and thus loses the opportunity for improvement, its thickness reaches an extreme and becomes an obstacle that is difficult to remove, its nature is weak and lacks the courage to change, it has no response and lacks clear understanding of following the Dao. This is the case of someone who finally becomes dull and does not know to turn back. "Disaster" comes from outside, while "misfortune" is self-inflicted. The坤卦 originally has the concept of "first being lost," and the Sixth at the Top is located at the extreme of坤, thus giving the image of "repeating the loss."坤 represents earth and the multitude, hence it has the image of military deployment; it is located above and close to the Nine in the Fifth, hence the image of "affecting the sovereign"; the number of earth is ten, hence the image of "ten years without being able to campaign."

象曰：迷復之凶，反君道也。陽剛在上，君之道。此剝之上九，所以為民所載也。復上反之，故以其國君凶也。全彖以氣數言。復有必亨之理。故出入可以無疾，朋來亦得無咎。所以然者，以七日赤數反覆之道，天運之自然也。六爻以人事言。

The Image Commentary says: The reason why the situation of returning to the original state is ominous is because it violates the way of a ruler. Yang strength residing at the top is the way of a ruler, and the Nine at the Top of the Guai hexagram is therefore supported by the people; whereas the Six at the Top of the Fu hexagram is exactly the opposite, hence it is said, "because of its ruler, there is calamity." The entire hexagram's Taicang is speaking about fate: Fu has the inherent principle of smoothness, so going out and returning can be without illness, and the coming of friends can be without error. The reason for this is that the constant cycle of seven days is the natural movement of heaven (the original text says "seven days red number," "red" is likely a mistake for "of"). The six lines, however, speak about human affairs.

剛德為善端之復，質柔以從剛為貴，人事之當然也。故五之自考不如四之從道，四之從道不如二之下仁，二之下仁不如初之修身。三頻復雖危，猶知復也。上迷復反道，則災眚所必至矣。聖人示人以復善改過、取友修身之功，莫切於此。

Yang strength's virtue is the beginning of goodness, and those with weak nature should value following Yang strength, which is how human affairs should be. Therefore, the "self-examination" of line six five is not as good as the "following the Dao" of line six four, the "following the Dao" of line six four is not as good as the "showing benevolence below" of line six two, and the "showing benevolence below" of line six two is not as good as the "cultivating oneself" of line initial nine. Although line six three repeatedly returns despite being in danger, it still knows to turn back; line upper six, however, is lost and does not return, violating the right path, so natural disasters and human calamities are certain to come. The sage points people back to the right path, corrects their mistakes, and cultivates themselves by choosing good friends, and there is no divination text more intimate than this one.