The Hexagram of the Bite (Zhen below, Li above)

震下離上。噬嗑：亨，利用獄。君臣相遇，非道同徳合則不能大有為於天下，然自古迄今毎多不合者，有物間於其間也。欲除去其間，非威明剛斷不能也。離震二卦合而成噬嗑，九四為頤中有物之象，蓋君側之強臣，阨群賢之進而間隔之者。噬者，齧也；嗑者，合也。頤中有物，非齧去之則終不能合；能齧去之，則上下內外亨通而無礙矣。

The lower trigram of the噬嗑 hexagram is Zhen (Thunder), and the upper trigram is Li (Fire). The hexagram statement says: "It is smooth, and suitable for using punishment." A ruler and his minister meet, but if their paths are not the same and their virtues do not harmonize, they cannot achieve great success in the world. However, from ancient times to the present, rulers and ministers often do not get along, because there is something in between that blocks them. To remove this obstruction, there must be authority, clear insight, and resolute determination. The combination of the trigrams Li (Fire) and Zhen (Thunder) forms the噬嗑 hexagram. The fourth line, nine four, represents the image of something foreign in the mouth, referring to a powerful minister close to the ruler who blocks the appointment of virtuous men and separates the ruler from his ministers. "Shi" means to bite, and "he" means to join. If something is stuck in the mouth, the upper and lower teeth will never close unless it is bitten out. If it is bitten out, then inside and outside are unobstructed and smooth.

噬嗑非止用獄，但既明且威，則於用獄為利。又小人強梗，非加以刑辟斧鉞之誅不能除去之，故云利用獄也。周之管蔡、漢之上官桀，此二間也，非成王昭帝明斷而卒除去之，則周公霍光豈能成輔翼之功哉？

The Hexagram of噬嗑 does not merely discuss the use of legal punishment, but it emphasizes both clear discernment and authority, which are especially beneficial in judicial matters. Moreover, wicked and rebellious people cannot be eliminated without the punishment of legal retribution, hence the Hexagram states "favorable for litigation." In the early Zhou dynasty, the Duke of Shang and the Duke of Tsai, and in the Western Han dynasty, Shangguang Jie, were such obstacles between the ruler and his ministers. Had it not been for the wise and decisive actions of King Cheng of Zhou and Emperor Zhao of Han, who ultimately removed them, how could Duke Zhou and Huo Guang have achieved their meritorious service to the royal house?

彖曰：頤中有物曰噬嗑，噬嗑而亨。剛柔分，動而明，雷電合而章。柔得中而上行，雖不當位，利用獄也。人所以養其氣體，必資於飲食，故頤者，養也。頤中有物，妨於飲食語言，必齧去之，然後乃得亨通。卦體上下二剛，剛主決斷，與柔異體而相湏。噬嗑自否卦而來，九五之剛分而之初，初六之柔分而之五，剛柔分而成離震，震動而離明也。雷必有電，雷動電耀，異體相合而章著也。

The Commentary on the Judgment says: "To have something in the mouth is called Shihhe, and only after biting it open does one achieve smoothness. The strong and the weak are separated into upper and lower positions, shaking and shining, thunder and lightning combining to reveal clearly. The yao of the soft line is in the middle and moves upward, although its position is not appropriate, it is suitable for judging cases and applying punishment." People must rely on food and drink to sustain their vital energy and physical form, so "Yi" means to nourish. Having a foreign object in the mouth hinders eating and speaking, so it must be bitten off to achieve smoothness. In terms of the structure of the hexagram, the two strong lines, initial nine and upper nine, are separated into upper and lower positions. The strong is decisive, differing in nature from the middle soft line yet mutually needed. The Shihhe hexagram comes from the Bo hexagram: the strong line nine in the fifth position moves down to the initial position, and the soft line initial six moves up to the fifth position. The strong and the soft are separated to form lower Zhen and upper Li. Zhen is movement, Li is brightness. There must be lightning with thunder; thunder moves and lightning illuminates, two different things combining to make everything clear and distinct.

六五以柔而履尊位，得中而上行，不失離明之照，雖九九五為不當位，而有剛明之賢上為之贊助，強梗者卒伏其辜，故利用獄也。象曰：雷電，噬嗑，先王以明罰勅法。雷以震驚之，電以照耀之，則其威明之行，無能遁其情者，噬嗑之象也。聖人觀此象以明其刑罰、謹其法令，使天下曉然易避而難犯也。

The Six in the Fifth, though of a soft and gentle nature, ascends to the supreme position, resides in the center and moves upward, without losing the virtue of the bright illumination of the fire trigram. Although it is improper for a yin element to occupy the Nine in the Fifth position, there are virtuous ministers of strength and clarity above to assist it, and the arrogant eventually submit. Therefore, it is said, 'Suitable for the use of prison.' The Great Image Commentary says: 'Thunder and lightning, this is the trigram of噬嗑; the former kings thus understood the need to clarify punishment and regulate laws.' Thunder is used to intimidate, lightning to illuminate, so when authority and clarity are applied, no one can conceal the truth. This is the image of the trigram噬嗑. The sage observed this image and thus clarified punishment and strictly enforced laws, making the people clearly understand, easy to avoid and difficult to violate.

初九：屨校滅趾，無咎。象曰：屨校滅趾，不行也。初上以卦材言之，則為二剛，利於斷獄者也；以六爻言之，則初上二爻無位，為受刑之人。易之取義廣大隨時言，豈一端哉？初最處下，用刑之初，為惡未大，故屨校滅趾無咎。屨，履也；校，桎梏也；趾有止之義。屨校滅趾，校之使沒其趾，但拘囚之刑之至輕者也。

The line statement for the first nine (initial yao) says: "He is bound with foot restraints, covering his toes, resulting in no blame." The Small Image Commentary explains: "Binding his feet and covering his toes is to prevent him from moving forward." The first nine and the top nine, when considered in terms of the hexagram's material composition, represent the two upper and lower strong lines, which are suitable for making judgments. However, when viewed in terms of the six yao's positions, both the first and the top yao lack proper positions, and thus they are considered as those who have been subjected to punishment. The Zhou Changes take a broad meaning, speaking according to the circumstances, and are not limited to one interpretation. The first nine is at the very bottom, representing the beginning of punishment. The wrongdoing is not yet serious, so he is given foot restraints, covering his toes, resulting in no blame. "屦" means to wear, "校" refers to foot or hand restraints, and "趾" has the meaning of stopping. "屦校灭趾" means binding him with wooden restraints to cover his toes, which is merely a temporary confinement, the lightest form of punishment.

孔子於此二爻特發明其義曰：小人不恥不仁，不畏不義，不見利不勸，不威不懲，小懲而大戒，此小人之福也，故屨校滅趾無咎。上九亦小人之居尊位者也，故以小善為無益而不為，以小惡為無傷而弗去，至惡積而不可掩，罪太而不可解，故何校滅耳凶。此二者皆為受刑之人，自二至五皆取噬為義，則用刑之人也。

Confucius specially explained the meaning of these two lines in the "Great Treatise" section of the "Commentary of the Later Han": small people do not feel ashamed about being unkind, do not fear doing unjust things, will not strive for advancement if they do not see benefits, and will not be punished without authority; a slight punishment can serve as a great warning, which is actually the good fortune of small people, so "shoes and chains cut off the toes" has no fault. The line "Nine at the Top" is also a small person in a high position who regards small good deeds as having no benefit and refuses to do them, and regards small evil deeds as having no harm and refuses to change, leading to accumulated sins that cannot be concealed and crimes so great that they cannot be escaped, hence "chains cut off the ears" and resulting in misfortune. These two lines both refer to people who are punished; from line "Six in the Second" to "Six in the Fifth" all take the meaning of "bite," referring to those who carry out punishment.

六二：噬膚滅鼻，無咎。象曰：噬膚滅鼻，乘剛也。六二雖處人臣中正之位，而材實柔弱，動而乘剛強之小人，非深文峻法以治之未易勝也，故噬膚不足，以之滅鼻，蓋不如是不足以服強梗也。古之斷獄者當以矜恤為先，六二雖失先王欽慎明恕之意，以治小人未為過也，故無咎。象噬膚滅鼻乘剛者，下乘初九，其勢不得不齧去之。用刑者小必傷人之肌膚，故皆以噬為言。

The line statement for line six-two says: "To bite through flesh and destroy the nose, there is no blame." The Small Image Commentary says: "To bite through flesh and destroy the nose is because it is overstepping a strong line." Although line six-two is in the proper position of a minister, its nature is indeed weak. When it moves, it oversteps a strong person. Without strict and severe laws, it is difficult to control. Therefore, merely biting through the skin is not enough; one must bite so deeply that the nose is entirely destroyed—only in this way can one subdue the stubborn. In ancient times, judgments were supposed to be based on compassion and mercy. Although line six-two deviates from the original intent of the sage kings to be respectful, cautious, clear-sighted, and forgiving, it is not excessive when dealing with petty people, so it is said "there is no blame." The Small Image Commentary says "to bite through flesh and destroy the nose, because it is overstepping strength," meaning that line six-two is overstepping line one. In terms of situation, it must bite it off. Those who apply punishment inevitably injure people's flesh, so all lines use the character "bite."

六三：噬臘肉，遇毒，小吝，無咎。象曰：遇毒，位不當也。臘肉，全體之物，至難齧者也，以喻強梗小人為間之大，未易遽去之。去之不以漸，必遭其怨毒而反受其害。然奉法以制小人，有司之事，雖失威斷之大，何咎之有？但小有悔吝耳。三陽位而陰柔據之，其遭怨毒蓋處不當其位故也。使明足以照奸慝，威足以服強梗，片言可以折其辭，則小人必聴矣。

The third line statement says: "Biting dried meat, encountering poison, slight regret, no blame." The Small Image Commentary says: "Encountering poison is because of an improper position." Dried meat is whole and dried, the hardest to bite, used to symbolize strong and powerful petty persons who are in between the ruler and ministers, difficult to remove all at once. If one does not proceed step by step in removing them, it will certainly provoke their hatred and harm, leading to self-injury. However, enforcing laws to punish petty persons is the duty of officials. Although it is not a grand and decisive act, it is not a fault. At most, there is some regret and regret. The third line is a yang position occupied by a yin line, so it encounters resentment and harm precisely because of its improper position. If one is clear-sighted enough to see wickedness, strong enough to subdue the powerful, and able to judge right and wrong with a single word, petty persons would naturally have no choice but to obey.

九四：噬乾胏，得金矢，利艱貞，吉。象曰：利艱貞吉，未光也。九四用剛直之道而處柔順之位，位尊而任重，人君恃以擊強梗、除間隙也。脯有骨曰胏，最難齧者，非剛直之材、知難而守正者未易勝之也。暴戾凶愎，小人之剛也。君子欲驅除小人，必操公心，由直道，挾利器，待時而動，動不括，乘間而發，發必中矣。若行不以艱難，守不以正固，恃其剛直，輕易妄動，則反為所齧矣，故利艱貞乃獲吉也。象曰利艱貞吉未光者，去小人之術，當使之退聴，潛消於之中；今道徳之威不足以勝，至於用刑獄以除去，雖免凶咎，未足為光大也。

The fourth line statement says: "It bites the tender part of the dry flesh, obtains a bronze arrow, is advantageous to endure hardship and maintain uprightness, and is auspicious." The Small Image Commentary says: "It is advantageous to endure hardship and maintain uprightness, and is auspicious, indicating that its achievements are not yet great." The ninth line in the fourth position uses a strong and upright approach while being in a yielding position, holding a high status and great responsibility. The sovereign relies on him to strike against the strong and eliminate obstacles between the sovereign and ministers. The tender part of dry flesh with bone is called "胏," which is the hardest to bite. Those who are not strong and upright, yet know hardship and maintain uprightness, find it difficult to bite through. Being fierce, rebellious, and stubborn is the kind of "strength" found in petty persons. A gentleman must remove petty persons by holding public interest, following the right path, possessing sharp means, and waiting for the right opportunity to act. Once he acts, he is not hindered, and he strikes through the gap, ensuring a decisive success. If one does not endure hardship and does not maintain firm uprightness, relying only on his own strength and acting rashly, he will be bitten by petty persons. Therefore, it is advantageous to endure hardship and maintain uprightness to achieve auspiciousness. The Small Image Commentary says, "It is advantageous to endure hardship and maintain uprightness, and is auspicious, but it is not yet bright," meaning the best way to remove petty persons is to let them retreat quietly without their awareness. Now, with insufficient moral authority to prevail, one resorts to legal punishment to eliminate them. Although this avoids danger, it is not yet bright and grand.

六五：噬乾肉，得黃金，貞厲，無咎。象曰：貞厲無咎，得當也。六五體雖柔弱，而居得政之位，操生殺之權，其去小人若無甚難者，然猶有乾肉之象，以見小人難去如此。五為去間之主，而四以剛正輔贊而彌縫之，用力小而見功多矣。

The Line Statement of the Fifth Line: "It chews on dry meat, obtaining golden metal, with firmness and caution, there is no blame." The Small Image Commentary says: "Firmness and caution without blame is because it handles matters appropriately." Although the nature of the Fifth Line is soft, it occupies the position of the sovereign, holding great power of life and death. Removing small people seems not difficult. Yet the Line Statement still uses "dry meat" as an image, clearly showing that removing small people is not so easy. The Fifth Line is the main line for eliminating obstacles, while the Fourth Line, with its strong and upright nature, supports it and compensates for its efforts. Therefore, little effort is needed and much is achieved.

得黃金者，得剛中之賢，足以勝小人。人君駕御大臣，得其道則為腹心股肱之用，不得其道則既任而疑之，扈難制，反為害者多矣。五既以柔弱而乘九四之剛，固賴以濟難，然亦不可不怵惕，常以危懼自處也。如此固可免咎。象言貞厲無咎得當者，能貞且厲而免咎，以見處之當其理也。

The phrase "getting gold" refers to obtaining a virtuous minister who is strong and upright, sufficient to overcome small men. A ruler who governs his ministers with the right method will have them as close allies and trusted companions; but if he uses the wrong method, he will employ them yet remain suspicious, leading to rebellious behavior that is hard to control, and such cases are numerous. Although the line six in the fifth position, with its soft and weak nature, is riding over the strong line nine in the fourth, it naturally relies on him to overcome difficulties, yet it must also remain cautious and maintain a state of constant vigilance. If it can do so, it will naturally avoid mistakes. The "Small Image Commentary" says, "Remaining steadfast and cautious brings no blame, because it is appropriate," meaning that by maintaining correctness and always being cautious, it avoids mistakes, showing that the handling of affairs is in accordance with reason.

上九：何校滅耳，凶。象曰：何校滅耳，聰不明也。先王用刑無貴賤之間。上九，強臣也，強臣而無位，雖嘗為大臣而積稔罪惡，至於不可掩覆解免，固可以刑戮加之。驩兠誣人功罪，唐堯戮之；管蔡挾武庚以叛，周公誅之，豈以位尊職重而不敢加以刑辟哉？初九屨校滅趾，趾，止也，欲使為惡者不復行，戒之使入於善也；上九何校滅耳凶，以聦不明故，以校滅耳而懲之，惡積罪大，無自新之理矣。

The line statement for the top nine (上九) says: "He has a wooden yoke on his head and his ears are cut off, which is ominous." The Small Image Commentary explains: "He has a wooden yoke on his head and his ears are cut off because his ears and eyes are not clear." The ancients applied punishment without distinction between the noble and the common. The top nine represents a powerful minister who, although powerful, has no actual position. Even though he may have once held a high position, his accumulated sins have reached a point that cannot be concealed or excused, so it is appropriate to apply punishment to him. Hun Dou falsely accused others of merits and faults, and Yao executed him. Guan Shu and Cai Shu conspired with Wu Geng to rebel, and Duke Zhou executed them. How could one hesitate to use punishment just because of high status and important duties? The line for the first nine (初九) says: "He has a wooden yoke on his foot and his toes are cut off." "Toe" means to stop. This is to prevent the wicked from moving forward and to warn him to return to the virtuous path. The line for the top nine says: "He has a wooden yoke on his head and his ears are cut off, which is ominous," because he is blind to right and wrong and cannot hear sincere advice, so he is punished by having a wooden yoke on his head to stop him. His accumulated sins are too great, leaving no room for repentance.

離下艮上。賁：亨，小利有攸往。賁飾之事，固非聖賢之所尚也，然質勝文則野，交物之際，文亦不可已。有其質而加賁飾焉，所以能亨通也。譬之車服器械，適用而已，加以雕鏤文采，徒為觀美，雖不可巳，亦不可過也，故小利而已。若涉險難，非文飾所能濟也。

The lower trigram of the Fu hexagram is Li (Fire), and the upper trigram is Gen (Mountain). The hexagram statement says: "It is smooth, and there is slight advantage in going somewhere." Decorations and adornments are not what the sages value highly. However, if one is too simple and lacks refinement, it appears crude; when interacting with others, one cannot entirely abandon refinement. With both inner quality and external decoration, one can achieve smoothness. For example, vehicles, clothes, and utensils are made for use, and adding carvings and painted decorations is merely for appearance. These embellishments should not be entirely absent, but they should not be excessive either, hence the statement says "slight advantage." As for facing difficulties and dangers, decoration cannot help.

彖曰：賁亨，柔來而文剛，故亨；分剛上而文柔，故小利有攸往，天文也；文明以止，人文也。觀乎天文以察時變，觀乎人文以化成天下。乾坤純陰純陽之卦，有父母之象。乾施一陽於坤而成震坎艮，故謂之男；坤施一陰於乾而成巽離兌，故謂之女。六十四卦皆因乾坤而成，非獨六子而巳。

The Commentary on the Judgment says: "The hexagram of Zhen is smooth because the yao of flexibility comes down to adorn the yao of strength, thus achieving smoothness; also, the yao of strength goes up to adorn the yao of flexibility, thus resulting in slight advantage for going forward. This is the cultural splendor of heaven. Cultural splendor is bright yet restrained, which is the cultural splendor of mankind. Observing the celestial phenomena allows one to examine the changes of the four seasons; observing human culture allows one to educate the world and establish customs." The hexagrams Qian and Kun are the hexagrams of pure yang and pure yin, symbolizing parents. When Qian gives a yang line to Kun, it becomes Zhen, Kan, and Gen, thus called the three sons; when Kun gives a yin line to Qian, it becomes Xun, Li, and Dui, thus called the three daughters. All sixty-four hexagrams are generated from Qian and Kun, not only these six subsidiary hexagrams.

離下艮上為賁。離體本乾坤，以一柔來居其中以文二剛，故剛不至於暴而物無不通也；艮體本坤乾，以一剛分處於上以文二柔，剛柔相雜而相濟，陰陽異位而相成，此卦所以為賁也。二在下卦之中，故言來，來者，來居於內也；來居於內，變而為離則文明矣。九處上卦之極，故言分，分處於外也；分處於外，變而為艮則止靜矣。陰柔無迕，柔來居中而文剛，則可以通物矣，故亨；陽剛至健，剛上而文柔，則可以涉難矣，故小利有攸往也。

The lower trigram is Li (Fire) and the upper trigram is Gen (Mountain), forming the hexagram Zhen. The body of Li originally comes from Qian (Heaven), and Kun (Earth) sends a flexible line to occupy the central position, thus adorning the two strong lines above and below. Therefore, strength does not become excessive and violent, and all things become unimpeded. The body of Gen originally comes from Kun (Earth), and Qian (Heaven) sends a strong line to the top position, thus adorning the two flexible lines below. The interaction of strong and flexible lines, and the mutual complementation of yin and yang, is why this hexagram is called Zhen. The second line is in the central position of the lower trigram, so it is said 'coming', 'coming' means coming to occupy the inner trigram; coming to occupy the inner trigram and transforming into Li, thus achieving civilization. The upper yang line is at the top of the upper trigram, so it is said 'dividing', meaning dividing to occupy the outer trigram; dividing to occupy the outer trigram and transforming into Gen, thus achieving stillness. Yin and flexibility do not oppose, and a flexible line coming to occupy the central position to adorn a strong line can lead to the smooth passage of all things, hence 'smooth'. Yang and strength are extremely vigorous, and a strong line going up to adorn a flexible line can overcome difficulties, hence 'small benefit in going forward'.

日月之往來，星辰之佈列，剛柔錯綜，陰陽相交，自然而成理者，天文也。陰麗於下而文明其上，陽止乎上而節制其下，禮樂政刑必假於人為者，人文也。觀乎天文，則四時之代謝可察矣；觀乎人文，則天下之風俗可變矣。聖人推廣賁飾之意，豈徒為觀美而已！仰觀天文，俯察人理，必歸於有用，所以成孝敬而厚人倫、美教化而移風俗者，用此道也，此賁飾之大者也。

The movement of the sun and moon, the arrangement of stars, the intermingling of strength and softness, and the interaction of yin and yang naturally form an orderly pattern, which is called astronomy. Yin lines are attached below, giving brightness above, while yang lines are still above, controlling below. Rituals, music, punishments, and government affairs, which must be done by human effort, are called humanity. Observing astronomy makes the changes of the four seasons clear; observing humanity allows the customs of the world to be transformed. The sage promotes the meaning of ornamentation, not merely for appearance. Looking up to observe celestial phenomena, looking down to examine human affairs, ultimately it must be applied in practice. It is by achieving filial piety and respect, thus making human relationships more harmonious, and by beautifying education and transforming customs that the great significance of ornamentation is realized. This is the true essence of ornamentation.

象曰：山下有火，賁，君子以明庶政，無敢折獄。山者，鳥獸草木之所由出也，山下有火，則火景所燭，物無不照，故有賁之象。君子體此以明庶政，則凡見於政事者無不加賁焉；獨獄訟之間，當用其誠實，而以法令為師。學未及於古人，其敢以片言折之乎？獄者性命所繫，聖人於此有畏懼之心焉，故曰無敢折獄也。

The Great Image Commentary says: "Fire below the mountain, this is the image of贲; the gentleman understands this and thus endeavors to clarify all state affairs, yet dares not decide legal cases based on a single opinion." The mountain is the place where birds, beasts, and plants grow; fire burning beneath it illuminates all things, hence the image of adornment. The gentleman observes this image and applies it to the governance of state affairs, thus ensuring that all matters concerning governance are adorned with propriety. However, legal cases should be judged with sincerity, using the law as the standard. Since one's own learning is still not equal to that of the ancients, how dare one decide the right and wrong based on a few words? Legal cases involve the lives of people, and the sage holds a reverent attitude toward them, hence the saying 'dare not decide legal cases.'

初九：賁其趾，舍車而徒。象曰：舍車而徒，義弗乘也。九居於初，此陽剛君子隱而未見者也，發跡之初尤當自重。原憲之貧，捉襟肘見，納屨踵決，及歌商頌之詩，聲若出金石，髙車駟馬者蓋有愧焉。車固君子之器，小人而乘君子之器，盜斯奪之。君子於辭受進退之際，惟義之從耳。顏斶緩行以當車，君子不以為辱；所治癒下、得車愈多者，君子不以為榮。

The line statement for the first line (Initial Nine) says: "He adorns his foot, and abandons the carriage to walk on foot." The Small Image Commentary says: "Abandoning the carriage to walk on foot is because according to righteousness he should not ride." A yang line in the initial position represents a yang strong gentleman who is in retirement and has not yet achieved prominence. At the beginning of his journey, he especially should be cautious and self-respectful. Yan Xian was so poor that pulling his sleeve revealed his elbow, and his foot broke through the sole of his shoe, yet when he sang the Shang Odes, his voice was as resounding as bronze and stone. Those who rode in high carriages and four horses felt ashamed before him (as recorded in the "Zhuangzi: Letting the King Rule"). A carriage is an instrument that a gentleman should use, but a petty person uses it, and robbers will come to seize it (as stated in the "Great Treatise of the Upper Commentary"). A gentleman in matters of yielding and receiving, advancing and retreating, follows only the principle of righteousness. Yan Chu preferred to walk slowly, treating walking as if it were riding, and a gentleman did not consider it a disgrace (as recorded in the "Zuo Zhuan: Qi Strategies"). Those with worse governance receive more carriages and horses, but a gentleman does not consider it honorable (as recorded in the "Zhuangzi: Lie Yu Kuou").

賁之初九能自貴重，寧徒行而舍軒車之盛，其為光華賁飾之道莫大焉。初比於二而正應在四，不比於近而逺從正應，故有舍車徒行之象。伊尹耕有莘之野，非其義也，非其道也，祿之以天下弗顧也，繫馬千駟弗視也。君子居窮隱約能自重如此，豈以徒行為辱、乘軒車為榮哉？

The first line of the Gen hexagram, Initial Nine, can maintain its own dignity and value, preferring to walk on foot rather than abandon the splendid adornments of a carriage. This represents the way of refined ornamentation, and there is nothing greater than this. Initial Nine is closely adjacent to line two, but its proper corresponding line is line four; it does not closely associate with the nearby line two, but instead goes far to follow the proper corresponding line four. Therefore, it has the image of abandoning carriages and horses, and walking on foot. I Yin was plowing fields in the outskirts of You Shen, and if something was not in accordance with righteousness or the Way, even if given the entire world's salary, he would not look back, and even if a thousand fine horses were tied before him, he would not glance at them (based on "Mencius · Wan Zhang Shang"). A gentleman in poverty and obscurity can still maintain such self-respect; how could he regard walking as a disgrace and riding in a carriage as an honor?

六二：賁其須。象曰：賁其須，與上興也。須附於頤頰，一身之中為最顯，此賁飾之出於自然者。二比於三，同體者賁，雖不能自立，隨質而動，得所麗則相待而成。蓋文質之相湏，非能有所加損也，其動作皆因其所附之質耳，故象曰賁其湏與上興也。

The line statement for line six two says: "The beard is adorned." The Small Image Commentary says: "The beard is adorned, following the movement above." The beard is attached to the chin and cheeks, and is the most prominent part of the whole body, which is a natural form of adornment. Line six two is adjacent to line nine three, and the two lines that are in the same body mutually adorn each other. The beard itself cannot exist independently and can only move along with the form it is attached to. It can only find a suitable object to attach to and thus form a mutual complement. The relationship between culture and substance is inherently dependent on each other; neither can add or subtract from the other. Every movement of the beard depends entirely on the form it is attached to, so the Small Image Commentary says, "The beard is adorned, following the movement above."

九三：賁如濡如，永貞吉。象曰：永貞之吉，終莫之陵也。賁飾之道常失之華侈而無其實，若有徳以潤其身，而飾以粲然之文，如玉之蘊於石、珠之媚於川，其潤澤光彩有不可掩者，故曰賁如濡如也。永貞吉者，九三以陽剛而居陽位，處離分之極，賁之極者，賁飾之盛則流而為奢淫，故戒以永貞則吉也。永貞者，長守正道，不為群陰之所誘，則小人終莫陵之也。

The line statement for the third line says: "Beneath the ornamentation, there is a moistening; if one remains constant and upright, it is auspicious." The Small Image Commentary explains: "The reason for the auspiciousness of remaining constant and upright is that ultimately no one can bully him." The common flaw in the art of ornamentation is that it is luxurious and lacks substance; if one has virtue that nourishes oneself and adds brilliant ornamentation, it is like a jade stone hidden in a rock or pearls that illuminate a river. Such a luminous radiance cannot be concealed, hence "Beneath the ornamentation, there is a moistening." As for "remaining constant and upright is auspicious," it is because the third line is a yang line in a yang position, located at the top of the Li trigram, which is the line where ornamentation reaches its peak. Excessive ornamentation may lead to extravagance and licentiousness, so it is advised to remain constant and upright for long-term auspiciousness. "Remaining constant and upright" means to maintain the right path for a long time, not to be lured by the surrounding petty and flexible persons. Thus, these petty persons will ultimately not be able to bully him.

六四：賁如皤如，白馬翰如，匪宼婚媾。象曰：六四當位疑也；匪宼婚媾，終無尤也。四與初為正應，初以陽剛在下，守節義而輕富貴者也，四欲往從，亦當以潔白之操應之，故賁如皤如也。皤，潔白也。白馬翰如者，聘賢必以車馬，馬取其色白者，詩人以皎皎白駒，在彼空谷，生芻一束，其人如玉，亦取潔白之義。

The line statement for the fourth line says: "Benevolent appearance, white appearance, white horse flying swiftly, not a robber but a marriage partner." The Small Image Commentary says: "The position of the fourth line is appropriate, yet there is still doubt; 'not a robber but a marriage partner,' ultimately there is no fault." The fourth line and the first line are in a correct correspondence. The first line has a strong yang line in a lower position, representing a person who upholds virtue and values righteousness more than wealth. The fourth line wishes to follow him, and should therefore respond with purity and integrity, hence the statement "Benevolent appearance, white appearance." "White" refers to purity. As for "white horse flying swiftly," this is because employing a virtuous person requires carriages and horses, and horses should be white. The poem "White Horse" from the Book of Songs says, "Bright white horse, in the empty valley, a bundle of fresh grass, the person is like jade," also expressing the meaning of purity.

翰如，飛翔而往也。聘既以其道，則幡然而來矣。匪宼婚媾者，古之聘賢猶嫁娶之用媒聘，故以婚媾為喻。四之應初，初之從四，乃正應也，而九三以陽剛間乎其間，四又乘之，故與三為仇，所以遲疑而不敢遽進也。非三為難，則四與初合久矣。夫陰陽之相求，剛柔之相賁，乃理之常。六四下應初九，位固當矣，又乘九三之剛，此當位適所以致疑也。初與四既以正道相應，小人為間者終莫能害之，故終無尤也。

"Han Ru" means moving like a bird flying swiftly. Since the invitation is in accordance with propriety, the virtuous person will come promptly. The phrase "Fei Ke Hun Gou" refers to the fact that in ancient times, when inviting talented people, it was like the marriage process which required the mediation of a matchmaker. Therefore, the analogy of marriage is used. The sixth line at the fourth position corresponds to the first line at the beginning, and the first line follows the sixth line, which is a proper correspondence. However, the ninth line at the third position, being a strong yang line, blocks them, and the sixth line, being a yin line, oversteps the ninth line, thus forming enmity with the ninth line and causing hesitation, making it hesitant to go immediately. If it were not for the obstruction by the ninth line at the third position, the sixth line at the fourth position would have already joined the first line at the beginning. The mutual seeking between yin and yang, and the mutual refinement between strength and softness, are natural principles. The sixth line at the fourth position corresponds to the first line at the beginning, which is a proper position, yet it oversteps the ninth line at the third position, and this "being in the proper position" becomes the source of doubt. Since the first line at the beginning and the sixth line at the fourth position correspond properly, the small person in between will ultimately not be able to harm them, hence it is said "finally without blame."

六五：賁于丘園，束帛戔戔，吝，終吉。象曰：六五之吉，有喜也。六五當全盛之時，為賁之主，固可以崇臺榭、廣苑囿之觀；六五居中正之位，雖賁于丘園而束帛戔戔，不為侈也，故雖吝而終獲其吉。象言六五之吉有喜者，吝道宜有憂虞，當賁之時能以儉約自處，後必獲福，故有喜也。

The line statement of the fifth line says: "Adorning a hillside garden, with few bundles of silk, there is hardship, but ultimately good fortune." The Small Image Commentary says: "The good fortune of the fifth line is due to joy." The fifth line is at the peak of its strength and is the main line of the Qian hexagram. It could have built high platforms and expanded gardens for enjoyment. However, the fifth line is in the proper central and upright position. Though it adorns the hillside garden, it uses only a few bundles of silk, which is not extravagant. Therefore, although it appears frugal, it ultimately attains good fortune. The Small Image Commentary says, "The good fortune of the fifth line is due to joy," because following the path of frugality should bring worry, but in an era that values adornment, it maintains frugality, and thus will surely receive a reward, hence "there is joy."

又丘園者所寓，如初九之賢，舍車而徒，守其節義而安於貧約者，人君所當聘用也。三二纁謂之束帛，物薄而禮厚。當賁飾全盛之世，菲薄乃如此，以禮為主而非吝也，故終獲其吉。以卦體言之，六五一爻聖人示奢淫之戒，其意深矣；然以丘園為隱者所寓，其從來亦逺矣，姑存二說，不敢決也。

There is another view: "Quyuan" refers to the dwelling place of a recluse, just like the virtuous person represented by Nine at the Beginning, who renounces carriages and horses, walks on foot, and remains steadfast in virtue and righteousness, content with poverty. Such a person is precisely the one the ruler should appoint and employ. Three black threads and two red threads are combined into a bundle of silk, the gift is modest but the sentiment is deep. In an era of great refinement in etiquette, the offering is so meager, yet this is due to the emphasis on sincerity rather than stinginess, thus resulting in a favorable outcome. Considering the structure of the hexagram, the sage, through the fifth line, conveys the meaning of rejecting extravagance and excess, with profound intent. However, interpreting "Quyuan" as the dwelling of a recluse is a view that has long existed; therefore, both interpretations are presented here, and I dare not decide definitively.

上九：白賁，無咎。象曰：白賁無咎，上得志也。賁之道雖尚乎賁飾，然舜用漆器，群臣諫焉，蓋漆器不已必用犀象，犀象不已必用金玉。觀賁之六爻，雖本於賁飾而常以質素為先。上九賢人處尊位而眾所視效者，故以質素為飾，則其所自奉者無華侈之過、奢靡之失也，故曰白賁無咎。象曰白賁無咎上得志也，所志在於儉約，今已處顯位而能行其所願，則平昔之志遂矣，故曰上得志也。

The line statement for the topmost line says: "White贲, no blame." The Small Image Commentary says: "White贲 without blame means that the person in the highest position has realized his wish." Although the art of ornamentation values decoration, when Shun first used painted vessels, his ministers advised him against it, because using painted vessels would inevitably lead to the use of rhinoceros horns and elephant tusks, and using rhinoceros horns and elephant tusks would inevitably lead to the use of gold and jade (as recorded in Han Feizi's 'Ten Errors'). Looking at all six lines of the贲卦, although the intention is ornamentation, it often places simplicity and purity first. The topmost line represents a virtuous person in a high position, who is emulated by others. Therefore, he uses simplicity and purity as his ornamentation, so he does not have the fault of extravagant living or wastefulness. Hence, it is said, "White贲 without blame." The Small Image Commentary says, "White贲 without blame, the superior person has attained his wish," meaning his original aspiration was to be frugal. Now that he is in a prominent position and can carry out his wish, his lifelong aspiration has been fulfilled, hence it is said, "the superior person has attained his wish."

坤下艮上。剝：不利有攸往。剝復否泰之循環，固出於君子小人之用舍，然陰陽消長若非偶然者。當否剝之時，能用君子則扶持安全，不至於亡耳，故否卦繇辭言否之匪人，蓋有非人力所能為者，聖人蓋難言之，要當歸之人事，使人主常兢業以圖之。遇災而懼，側身修行，宣王所以致中興也；曰我生不有命在天，此紂之所以亡也。小人道長，君子道消，故曰剝。聖賢君子遐舉逺引，不可榮以祿之時，故利於退遁，不利有攸往也。

The hexagram Bao has the lower trigram Kun (Earth) and the upper trigram Gen (Mountain). The hexagram statement says, "It is not advantageous to go forward." The cycle of Bao, Fu, Pǐ, and Tai depends on the appointment and dismissal of gentlemen and petty men. However, the decline and growth of yin and yang seem not entirely accidental. In times of Pǐ and Bao, if gentlemen are appointed, the state can be upheld and preserved, avoiding national ruin. Therefore, the hexagram Pǐ states, "Pǐ is not for people," indicating that there are elements beyond human control. This aspect is not clearly stated by the sage, but ultimately it comes down to human affairs, urging the ruler to remain vigilant and diligent in his governance. When faced with calamities, one should feel reverence, examine oneself, and cultivate virtue. This is why King Xuan of Zhou was able to revive the state. Conversely, saying, "Is there not a heavenly mandate in my life?" (from the Book of Documents, "The Western Duke Conquered Li") is precisely why King Zhou of Shang fell. As the path of petty men gains more power and the path of gentlemen gradually declines, this is called "Bao." This is precisely the time when sages and virtuous men should retreat and withdraw, unable to be honored with titles and positions. Therefore, it is suitable to retreat and hide, and not advantageous to go forward.

彖曰：剝，剝也，柔變剛也。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。剝，如剝之剝，剝落必至於盡也。小人之害君子，非至於盡，則必有所忌憚而不得恣其所為，故剝勢必至於盡也。柔變剛者，剛方者君子也，柔佞者小人也。

The Commentary on the Judgment says: "Peeling away means the process of decline, which is when Yin softness replaces Yang strength. 'It is not advantageous to go on a journey' because the petty people are growing stronger. To stop this trend by following the trend is an observation from the hexagram. The gentleman values the principles of decline, growth, fullness, and emptiness, because these are the workings of the heavenly way." 'Peeling away' refers to the character 'peeling away' itself, which means to decline and eventually reach the point of complete depletion. Petty people harm the gentlemen, and they will not stop until they have completely removed the gentlemen, for they will always have some apprehension and be unable to act freely. Therefore, the process of peeling away must necessarily reach its extreme. What is meant by 'softness replacing strength' is that the upright and strong are the gentlemen, while the soft and cunning are the petty people."

小人得志，則能竊人主威柄，盡去君子而呼吸群小聚之朝廷，則據要路者皆小人矣。小人道長，則知幾之士當引身而去，不然必遭傾，故不利有攸往也。然君子之事無可為，則順適吾意，全身而去。卦有順止之意，順適吾意，小人之凶熖或可止也。坤順而艮止，聖人於剝之時能黙觀此象，以為進退行藏之決，豈復有禍悔哉？

A petty person, once successful, can seize the authority of the sovereign and completely remove the virtuous ones. With a single call and breath, he can gather a group of petty persons to the court, thus filling all the important positions with petty people. The momentum of petty persons is growing, and those who have insight and foresight should withdraw from the scene, otherwise they will certainly suffer ruin. Therefore, it is said, "It is not advantageous to go forward." However, since the virtuous have already done nothing, they should follow their own will, preserve their body and family, and withdraw. The hexagram of "Breaking Up" originally has the meaning of "following the path and stopping it." By following one's own will to retreat, the fierce aggression of petty persons may be restrained. The lower trigram is坤, meaning following, and the upper trigram is艮, meaning stopping. The sage, when things are breaking down, can quietly observe this hexagram and decide whether to advance or retreat, to serve or to retreat in seclusion. How could there be any calamity or regret then?

消息盈虛，天道運行之常理，陽既消則有息，陰既盈則有虛。君子能尚此，則危行言遜，靜觀其復可也。若強亢激拂，如李膺袁安之流，身膺刑戮，不失忠義之節，而非聖人之所尚也。雖然，事固有可以死而不敢茍免者。孟子曰：可以無死，死傷勇。若王子比干，雖知紂不可諫，寧諌而就死；顏真卿知盧杞之得君、李希烈之強暴，然卒以此而蹈大禍，則義重於死故也。使世之學易者専以明哲保身之術求無咎悔以全其身，亦非聖人之所貴也。

Decline, growth, fullness, and deficiency are the constant principles of the operation of heaven's way: when yang energy has declined, it will again grow; when yin energy has become full, it will eventually become deficient. A gentleman who values this principle should act uprightly and speak humbly, quietly waiting for yang energy to return. If one acts like Li Ying and Yuan An, being overly strong and straightforward, and fiercely opposing, although they may suffer punishment without losing their loyalty and righteousness, this is not what the sages value. However, there are indeed situations where one should fight to the death and not be afraid to suffer misfortune. The "Mencius · Li Lou Xia" says: "If one could avoid death but dies, it harms courage." For example, Prince Bi Gan, knowing that King Zhou of Shang was not to be advised, chose to advise him and died; Yan Zhenqing, knowing that Lu Qi was favored by the emperor and Li Xiheliang was fierce and brutal, ultimately suffered great misfortune because of it — this is because righteousness is more important than life. If those who study the "Yi Jing" today only use the means of preserving oneself to avoid blame, that is not what the sages value.

象曰：山附於地，剝，上以厚下安宅。山當峻極於天，今反附地，有剝之象；君子宜處大位以制群小，今反伏而在下，為小人所制，則其時可知矣。人君觀此象，雖未能有所進退，且當培其根本，使基業堅固有不之勢，小人一旦退聴，則易於興復也。

The Great Image Commentary says: "Mountains rely upon the earth, which is the image of Pei; thus, a superior person understands that he should treat those below with kindness to secure his position." Mountains should be lofty and reach the clouds, but now they lie down and rely upon the earth, which is the image of decline; a gentleman should be in a high position to control the petty people, but now he kneels down below and is controlled by the petty people, so the situation is clear. When a ruler observes this image, even if he cannot yet decide to advance or retreat, he should first cultivate the foundation and make his cause firm and unshakable. When the petty people eventually retreat, it will be easy to restore and revive again.

上能厚下安宅，則敦本務農，不失其時，雖當亂世而百姓免離散失業之患。古之聖王毎於此加意焉，七月之詩是也。百姓不失本業，各安其田裡，養生送死而無憾，雖驅之使為亂不可也。秦之苛暴，一夫作難而社稷傾隕矣。剝之六爻皆有剝下之象，聖人垂戒後世之意，豈不深逺哉！

Those in positions of authority who treat the people generously and secure their dwellings will take agriculture as the foundation, not disrupt farming seasons. Even in times of chaos, the people can avoid being displaced or losing their means of livelihood. Ancient sage kings always paid attention to this, as evidenced by the "July" poem in the Book of Songs, Wind of Bin. When the people do not lose their livelihoods and live peacefully in their fields and villages, they can support the living and properly bury the dead without regret. In such a situation, even if they were forced to rebel, they would be unable to do so. In contrast, the Qin dynasty was harsh and cruel; a single commoner raising his arm in revolt could bring about the collapse of the state. The six lines of the Hexagram of Breaking Up all contain the image of exploiting the people. The sage's warning to future generations is profound, is it not?

初六：剝床以足，蔑貞，凶。象曰：剝床以足，以滅下也。自昔媒櫱禍亂，未有不自人主致之。蓋上有奢淫之主，則下必有刻剝之臣，其致禍亂之術如循一軌。剝者，剝下以媚上也；剝下媚上，其勢必至於大亂。床者人所安處，小人竭民之力、斂民之財以奉其上，使斯民離散泮渙，失其所常處而莫之也。如剝床以足，正道將傾，又輕視而不也。蔑，無也，視正道若無有也。蓋小人得路則蔑視君子，其蹈凶禍必矣。

The line statement for the first line (Initial Line) says: "To peel the bed from the feet, to disregard the correct path, resulting in misfortune." The Small Image Commentary says: "To peel the bed from the feet means to destroy the foundation below." Since ancient times, all calamities have resulted from the actions of the sovereign himself. If there is a luxurious and licentious sovereign above, there must be corrupt officials below who exploit the people. The way they bring about disorder is like following the same track. What is called "peeling" is to exploit the common people to please those above. Peeling the people to please the sovereign inevitably leads to great chaos. A bed is where a person rests. The wicked exhaust the people's strength and plunder their wealth to flatter the sovereign, causing the people to be scattered and homeless, with no one to care for them. It is like peeling the bed starting from the feet, the upright path is about to collapse, yet they still look down upon it with contempt. "Mie" means nothing, regarding the correct path as if it does not exist. Once the wicked gain power, they despise the virtuous, and their path to misfortune is inevitable.

象曰剝床以足以滅下者，滅，盡也。小人於正道則蔑視而不，於細民則竭其膏血至盡而不顧，知固寵保位而已，卒至天下土崩，首領莫保，雖悔何及哉？故易以損上益下謂之益，損下益上謂之損，然則滅下者，乃所以自滅也。

The Small Image Commentary says, "To strip the bed from the feet, to eliminate the lower part." "Eliminate" means to exhaust completely. The petty people regard the right path with contempt and do not care about it; they squeeze the common people until not a single drop of their sweat remains, without any concern. Their hearts are only focused on maintaining their position and favor. Eventually, they cause the whole world to collapse and break apart, and even their own heads are not safe. At that point, regret is of no use. Therefore, the Zhou Changes refer to reducing the upper part to benefit the lower part as the Hexagram of Gain, and reducing the lower part to benefit the upper part as the Hexagram of Loss. From this perspective, destroying the people below is precisely destroying oneself.

六二：剝床以辨，蔑貞，凶。象曰：剝床以辨，未有與也。先儒以辨當第足之間，近於床身，故曰辨。剝道漸進，蔑視正道若無足畏者，而卒蹈凶禍，如裴延齡、皇甫鎛之流是已。象曰剝床以辨未有與者，六二上無應援，天下莫與之象。梁襄王問孟子曰：天下烏乎定？曰：定於一。曰：孰能一之？曰：不嗜殺人者能一之。曰：孰能與之？曰：天下莫不與也。刻剝之臣，其殺人也甚於宼盜，豈有與之者哉？小人得路，雖不為天下公論所與，然方操生殺利害之權，好爵重祿足以誘之，豈能使其類盡不與之哉？特不為君子所與耳。

The line statement for line six two says: "The bed is being stripped from the foot, despising the correct course, resulting in misfortune." The Small Image Commentary says: "The bed is being stripped from the foot because there is no one to support it." Previous Confucian scholars believed that "bian" refers to the area between the bed and its foot, close to the body, hence called "bian." The trend of stripping away gradually moves upward, and the petty person looks down upon the correct path, as if it is not worth fearing, but eventually steps into misfortune. People like Pei Yanning and Huangfu Bo of the Tang dynasty were like this. The Small Image Commentary says, "The bed is being stripped from the foot, for there is no one to support it," meaning that line six two has no support above, which is the image of the whole world not being attached to him. Liang Xiangwang asked Mencius: How can the world be at peace? Mencius replied: Only through unification can there be peace. Then he asked: Who can unify? Mencius answered: One who does not take pleasure in killing. Then he asked: Who would follow him? Mencius answered: There is no one in the world who would not follow him (see Mencius, Liang Huibing Shang). Those officials who exploit and oppress the people are even more ruthless than bandits; where would anyone follow them? However, once petty persons gain power, although they do not gain the approval of the world, they still hold the power of life and death in their hands. High positions and generous rewards can attract people, so how could none of their kind not follow them? They just do not gain the approval of the virtuous.

六三：剝之，無咎。象曰：剝之無咎，失上下也。剝之時，群陰用事，獨一陽在上，又處無位之地，三亦處陽位而正應在上，此小人陰交乎君子者，故得無咎。處剝之時，居群陰之間，不能遐舉逺引，但能陰通乎在上陽剛之君子，特免乎凶禍而已。

The line statement for the third line says: "It is peeled away, without blame." The Small Image Commentary explains: "It is peeled away without blame because it has separated from its counterparts above and below." At the time of peeling away, many yin lines are in power, while only one yang line is at the top and in an unoccupied position. The sixth line in the third position is also in a yang position, and its corresponding line is exactly the ninth line at the top. This represents the secret alliance between the small person and the noble person, so it is without blame. In an era of decline, being surrounded by many yin lines, one cannot retreat far away or escape, so one can only secretly connect with the yang strength above. This is merely avoiding misfortune.

孔子曰：中人以上可與語上，中人以下不可以語上。蓋正道勝則小人亦有悔過從善之心；正道不勝，介乎陰邪之間能知君子而失其黨類之心，聖人亦恕之，免誅殛之禍。此待小人之術，容其悔過不為己甚者也。處群陰之間，上下皆陰，故曰失上下也。

Confucius said: "Those with average ability or above can be taught profound principles; those with below average ability cannot be taught profound principles." (See The Analects, Yong Ye.) Generally speaking, when the righteous path is dominant, petty people will also feel regret and wish to become virtuous; when the righteous path is not dominant, a person caught between sinister influences yet still recognizes the virtuous and refuses to align with his faction, the sage will forgive him and spare him from punishment. This is the way to deal with petty people, allowing them to repent without making things too extreme. The sixth line in the third position is situated among a group of yin lines, with both above and below being yin lines, hence it is said 'losing the upper and lower.'

六四：剝床以膚，凶。象曰：剝床以膚，切近災也。剝床以足、剝床以辨，此皆身外之物失其本業之象；至於剝床以膚，則鬻妻賣子，身填溝壑矣，正道剝盡，直凶而已。六四近君之大臣，小人之處乎顯位者，勢足以有行，故剝之為甚。象曰剝床以膚切近災也，禍切於身，不可避免。蓋民為邦本，剝民及膚，則君臣皆受滅身之禍，故曰切近災也。

The line statement for the fourth line says: "Peeling the bed to the skin, calamity." The Small Image Commentary says: "Peeling the bed to the skin, calamity has already approached oneself." "Peeling the bed to the foot" and "peeling the bed to the waist" still represent external matters and the people losing their livelihood. When it reaches "peeling the bed to the skin," it means selling one's wife and children, and oneself being consumed, the righteous path has been completely eroded, leaving only calamity. The fourth line represents a minister close to the sovereign, a petty person in a prominent position, with power sufficient to act freely, thus the exploitation is especially severe. The Small Image Commentary says, "Peeling the bed to the skin, calamity is very close," meaning the disaster has already reached oneself and cannot be avoided. The people are the foundation of the state; when exploitation reaches the skin and flesh, both the sovereign and the minister will suffer destruction, hence it is said "calamity is very close."

六五：貫魚以宮人寵，無不利。象曰：以宮人寵，終無尤也。六五陰柔為剝之主，小人恣為奸欺以剝正道而致亂亡者，皆五為之。剝道至此，雖處尊位，勢已不能制；若一旦悔悟欲盡去之，則反受其禍矣。為六五之計者，莫若姑順適其意而稍奪其大權，如此則於人主無不利。

The line statement for the fifth line says: "To follow the fish through the palace attendants' favor, there is no disadvantage." The Small Image Commentary says: "By following the palace attendants' favor, there is ultimately no mistake." The fifth line, being the main line of the hexagram of breaking up, represents a situation where the inferior person acts deceitfully and corrupts the righteous path, leading to chaos and the downfall of the state, all due to the fifth line. The trend of decline has reached this point, and although the fifth line holds a high position, it can no longer control the situation. If it suddenly realizes its mistake and tries to completely remove these inferior persons, it will instead invite their revenge. Therefore, for the fifth line, it is better to temporarily follow their desires and gradually strip them of their power. This approach will not be disadvantageous to the ruler.

宮人者，婢妾宦寺之象也。小人既久用事，不無憂危之心，人主不能以道消息，顯排而亟治之，則計生無聊，禍有不可勝言者。能以婢妾宦寺待之，使之駢頭而進，不見嫌惡之跡，則可終無尤悔，以俟君子之進、正道之復也。聖人為後世之慮如此。漢之獻帝蓋粗知此者，至魏髙貴鄉公、唐昭宗欲於剝盡之時稍立權綱，遂不免於禍，此足以為後世鑑矣。

The term "gongren" refers to symbols of concubines, servants, and eunuchs. Since the petty people have been in power for a long time, they naturally feel anxious and fearful of impending danger; if the ruler cannot gradually alleviate their concerns with appropriate measures, but instead openly excludes and hastily removes them, they will have no way out and may resort to desperate actions, leading to great calamities that are hard to enumerate. If they are treated as concubines and eunuchs, allowing them to appear one after another in succession without showing any signs of aversion, then there will be no mistakes or regrets, and one can wait for the virtuous to be appointed and the righteous path to be restored. The sage has considered the future generations so thoroughly. Emperor Xian of Han probably somewhat understood this principle; as for Cao Mao of the Cao Wei dynasty and Emperor Zhaozong of Tang, who tried to reestablish authority at the time when things were already in decline, they inevitably suffered misfortune—this serves as a warning for future generations.

上九：碩果不食，君子得輿，小人剝廬。象曰：君子得輿，民所載也；小人剝廬，終不可用也。陰陽二氣不能頓進，猶君子小人不能頓長。陰之剝陽，自足至膚，為害加甚，則小人道長亦極矣。上九處群陰之上，雖不任事，然卒消小人，變剝為復也。果至於碩大不食，則能反於土而為生出之漸，此一陽之在下者也。

The line statement for the topmost yao, Upper Nine, says: "A large fruit is not eaten, the gentleman receives a cart, the petty person loses his dwelling." The Small Image Commentary says: "The gentleman receiving a cart means he is supported by the people; the petty person losing his dwelling means that the petty person is ultimately not to be trusted." The yin and yang energies do not advance all at once, just as the gentleman and petty person do not grow all at once. The yin yao erodes the yang yao, starting from the foot of the bed up to the flesh, the harm becoming deeper and deeper, so the trend of the petty person has reached its peak. Upper Nine is at the top of the group of yin lines, although not holding an actual position, yet ultimately it can eliminate the petty person and transform the hexagram of Peeling into the hexagram of Returning. When a large fruit is not eaten, it falls back into the earth to become the beginning of renewed growth, which is the yang line at the very bottom of the hexagram of Returning.

君子能以百姓為心，故民所愛戴。卦以五陰而乘一陽，君子得眾而民戴之，有車輿之象；小人但知刻剝百姓以為進身之計耳，故象言君子得輿民所載也，小人剝廬終不可用也。聖人之意，蓋謂剝之極，君子之道幾絶而僅存，賴有一君子以扶持之耳。若於斯時尚或參用小人，小人浸長復消君子，則斯民受弊，必致流散失業之禍，故云終不可用，以為萬世之大戒也。

A gentleman who keeps the people in his heart is loved by the people. In this hexagram, five yin lines support one yang line, which symbolizes the gentleman being supported and elevated by the people, like a carriage carrying a person. In contrast, a petty person only knows how to exploit the people as a means to advance himself. Therefore, the Small Image Commentary says, "The gentleman receives a carriage, for the people carry him; the petty person strips away the foundation, and ultimately is not usable." The intention of the sage is probably to indicate that when reduction has reached its extreme, the way of the gentleman is nearly cut off, surviving only by a thin thread. Relying on this one gentleman to uphold it, if at this critical moment petty persons are still involved, they will gradually grow stronger and once again wear down the gentleman. The people will suffer, inevitably leading to great calamity, such as being displaced and losing their livelihood. Hence, it is said, "ultimately not usable," serving as a great warning for all generations.