The Qian Trigram above and the Li Trigram below

程傳 《賁序卦》：“嗑者合也，物不可以苟合而巳，故受之以賁，賁者飾也。”物之合則必有文，文乃飾也。如人之合聚，則有威儀上下。物之合聚，則有次序行列。合則必有文也，《賁》所以次《噬嗑》也。為卦山下有火，山者草木百物之所聚也，下有火則照見其上，草木品彙，皆被其光彩，有賁飾之象，故為《賁》也。

Cheng Yi in Yichuan's Commentary on the Changes says: The "Sequence of Hexagrams" of the Hexagram Bi states: "Khe is to combine; things cannot be combined carelessly, hence it is followed by Bi, which means ornamentation." When things come together, there must be ornamentation, and ornamentation is the act of embellishment. For example, when people gather together, there must be propriety and distinctions of rank; when objects gather together, there must be order and arrangement. Whenever things come together, there must be ornamentation, hence the Hexagram Bi comes after Khe. In terms of the structure of the hexagram, it is mountain beneath fire: the mountain is the place where grass and trees and all things gather; fire beneath the mountain, the light reaches the mountain top, and all kinds of grass and trees are adorned with brilliance, which is exactly the image of ornamentation, hence the hexagram is named Bi.

賁亨，小利有攸往。本義 賁，飾也。卦自《損》來者，柔自三來而文二，剛自二上而文三。自《既濟》而來者，柔自上來而文五，剛自五上而文上。又內離而外艮，有文明而各得其分之象，故為《賁》。占者以其柔來文剛，陽得陰助。而離明於內，故為“亨”。以其剛上文柔，而艮止於外，故“小利有攸往”。

The Hexagram Statement of 《Bén》 says: Smooth, slightly favorable for going forward. Zhu Xi's 《Ben Yi》 explains: Bén means adornment. In terms of 'hexagram transformation,' this hexagram may come from 《Shen》, where a yao of yin moves from the third position down to adorn the second position, and a yao of yang moves from the second position up to adorn the third position; or it may come from 《Ji Ji》, where a yao of yin moves from the upper position down to adorn the fifth position, and a yao of yang moves from the fifth position up to adorn the upper position. Looking at the hexagram's virtue, the inner trigram is Li (Fire) and the outer trigram is Gen (Mountain), symbolizing brightness with ornamentation and each maintaining its proper place, hence the name 《Bén》. For those consulting the hexagram, because a yin yao adorns a yang yao, and yang receives the support of yin, along with the brightness of Li in the inner trigram, it is judged as 'smooth.' However, since a yang yao adorns a yin yao, and Gen (Mountain) stops at the outer trigram, it is only 'slightly favorable for going forward.'

程傳 物有飾而後能亨，故曰無本不立，無文不行，有實而加飾，則可以“亨”矣。文飾之道，可增其光彩，故能小利於進也。

Cheng Yi in Yichuan's Commentary on the Changes says: Things must be adorned before they can be smooth and unimpeded. Therefore, the old saying states: Without a foundation, one cannot stand; without ornamentation, one cannot go forward. When there is substance and it is further adorned, then "hen" is achieved. The art of adornment adds brilliance, so there is slight advantage in advancement, and that is all.

集說 王氏申子曰：徒質則不能亨，質而有文以加飾之，則可“亨”，故曰“賁亨”。然文盛則實必衰，苟專尚文以往則流，故曰“小利有攸往”。小者，謂不可太過以滅其質也。

Collective commentary cites Wang Shenzi's explanation: having only simplicity and honesty but no refinement and elegance, one cannot achieve success; having substance and adding refinement to embellish it, one can achieve 'communication' or success, so the hexagram statement says 'The Auspiciousness of Ornamentation'. However, if refinement becomes excessive, the substance will inevitably diminish. If one proceeds solely by emphasizing ornamentation, it will lead to superficiality, hence it says 'small benefit in going somewhere'. The term 'small' refers to not going to extremes, to avoid obscuring the essence.

粱氏寅曰：賁者，文飾之道也。有質而加之文，斯可“亨”矣。朝廷文之以儀制而亨焉，賓主文之以禮貌而亨焉，家人文之以倫序而亨焉，官府文之以教令而亨焉。推之事物，凡有質者，無不待於文也，文則無不亨也。然既亨矣，而曰：“小利有攸往”，何也？文飾之道，但加之文彩耳，非能變其實也。故文之過盛，非所利也。但小利於有往而已矣。世之不知本者，或忘其當務之急，而屑屑焉於文飾，雖欲其亨，亦安得而亭乎？

Collecting sayings cites Liang Yin's view: "Beren" refers to the way of ornamentation. With substance and embellishment, one can achieve success. The court uses ceremonial regulations to embellish, thus achieving success; host and guest use courtesy to embellish, thus achieving success; a family uses ethical order to embellish, thus achieving success; an official office uses political teachings and commands to embellish, thus achieving success. Extending this to all things, wherever there is substance, there is no failure to rely on embellishment, and where there is embellishment, there is no failure to achieve success. Since it has already achieved success, why does it say "small benefit in going forward"? Because the way of ornamentation is merely adding a layer of embellishment, which cannot change the essence of things. Therefore, excessive embellishment is not beneficial, and one can only say there is slight benefit in moving forward. In the world, those who do not understand the root may sometimes forget the urgent matters, being overly concerned with external embellishment. Even if they wish to achieve success, how could they ever achieve it? (The last character in the original text is mistakenly written as "ting," it should be "hen.")

張氏振淵曰：離德文明莫掩，則無徑情直行之弊，行之可通，故“亨”。艮德止而

Collected Commentaries cite Zhang Zhenyuan's view: The virtue of Li is civilizing and cannot be concealed; with it, there is no fault of reckless action, so conduct becomes smooth and unimpeded, hence the judgment 'Qing' (smooth). As for Gen, its virtue is to stop and remain still—here the original text is missing, and Zhang's discussion of the latter part of Gen's virtue is incomplete.

初九，賁其趾，舍車而徒。本義 剛德明本，自賁於下，為舍非道之車，而安於徒步之象，占者自處當如是也。

The line statement for the initial nine says: "He decorates his toes, preferring to walk rather than use a carriage." Zhu Xi's "Ben Yi" explains: The initial nine, possessing the virtue of yang strength, clearly understands the fundamental principles and remains in a lower position, focusing on self-cultivation. Therefore, there is an image of abandoning the carriage, which is not in accordance with the Way, and choosing to walk with contentment. Those who seek divination should also act in this manner in their conduct.

程傳 初九以陽剛居明體而處下，君子有剛明之德而在下者也。君子在無位之地，無所施於天下，唯自賁飾其所行而已。趾取在下而所以行也。君子修飾之道，正其所行，守節處義，其行不苟，義或不當，則舍車輿而寧徒行，眾人之所羞，而君子以為賁也。

Cheng Yi in Yichuan's Commentary on the Changes says: The initial yang line is located at the very bottom within the trigram of fire, symbolizing a gentleman with strong and upright virtue who is in a low position. A gentleman in a position without official rank cannot serve the world, so he can only cultivate his conduct. The term "toe" is used as a symbol because the foot is at the lowest part and is the basis for movement. The way of cultivating oneself for a gentleman is to maintain proper conduct, hold fast to moral principles, and abide by righteousness, never acting carelessly. If something is not in accordance with righteousness, he would rather walk on foot than ride in a carriage. To others this may seem shameful, but to the gentleman it is the finest adornment.

“舍車而徒”之義，兼於比應取之。初比二而應四，應四正也，與二非正也。九之剛明守義，不近與於二，而遠應於四，舍易而從難，如舍車而徒行也。守節義，君子之賁也。是故君子所賁，世俗所羞；世俗所貴；君子所賤。以車徒為言者，因趾與行為義也。

Cheng Yi continued to say: The meaning of "abandoning the carriage and walking on foot" also needs to be considered from the aspects of "comparison" and "correspondence." The initial yang line is closely adjacent to the second yin line but corresponds to the fourth yin line. Corresponding to the fourth line is appropriate, while being closely attached to the second line is not. The initial yang line is bright and capable of upholding righteousness, and it refuses to be closely attached to the second line, instead going far to correspond with the fourth line. This is abandoning the easy for the difficult, just like abandoning the carriage and walking on foot. Upholding virtue and righteousness is the ornamentation of the gentleman. Therefore, the ornamentation that the gentleman values is precisely what the world considers shameful; what the world values is precisely what the gentleman despises. The line statement uses the metaphor of a carriage and walking to establish its meaning based on "toes" and movement.

六二，賁其須。本義 二以陰柔居中正，三以陽剛而得正，皆無應與，故二附三而動，有賁須之象。占者宜從上之陽剛而動也。

The Line Statement of the Second Line says: "He adorns his beard." Zhu Xi's "Original Meaning" explains: The Second Line, being a Yin and flexible line, is in the center of the Lower Trigram and is in the correct position. The Third Line, being a Yang and strong line, is also in the correct position. Both lines do not have corresponding lines, so the Second Line can only move in conjunction with the Third Line, like a beard moving with the chin. This is the image of "adorned beard." Those who consult the oracle should follow the movement of the superior Yang line.

程傳 卦之為《賁》，雖由兩爻之變，而文明之義為重，二實賁之主也，故主言賁之道。飾於物者，不能大變其質也，因其質而加飾耳，故取須義。“須”，隨頤而動者也，動止唯繫於所附，猶善惡不由於賁也。二之文明，唯為賁飾，善惡則繫其質也。

Cheng Yi in Yichuan's Commentary on the Changes says: This hexagram becomes the Hexagram of Ornamentation because although it arises from the mutual exchange of yao of yin and yang, the meaning of civilization is most important. The Second line is actually the main yao in forming the hexagram, so the discussion of ornamentation mainly focuses on it. To embellish something does not greatly change its essence, but only embellishes it according to its nature. Therefore, the meaning is taken from "mustache." "Mustache" is something that moves with the chin, its movement or stillness depends entirely on where it is attached. Just as good and evil do not depend on ornamentation. The Second line has the virtue of civilization, and what it can do is only embellishment. Ultimately, good and evil still depend on the essence.

集說 王氏弼曰：得其位而無應，三亦無應，俱無應而比焉，近而相得者也。須之為物，上附者也，故曰“賁其須”。朱氏震曰：毛在頤曰“須”，在口曰“髭”，在頰曰“髯”。三至上有《頤》體，二在頤下，須之象。二三剛柔相賁，“賁其須”也。夫文不虛生，須生於頤，須所以賁其頤也。

The collected interpretations cite Wang Bi's view: Six in the Second is in the proper position but has no corresponding line, and Nine in the Third also has no corresponding line. The two lines have no corresponding lines but are adjacent to each other, indicating a relationship of closeness and mutual harmony. The beard grows upward, so it is said "Beren xu" (adorned beard). The collected interpretations also cite Zhu Zhen's view: hair growing on the lower jaw is called "xu" (beard), hair on the lips is called "zi" (mustache), and hair on the cheeks is called "ran" (sideburns). From the Third Line to the Top Line forms the structure of the Hexagram of Nourishment. Six in the Second is below the lower jaw, which corresponds to the image of the beard. The Second and Third lines, with their yin and yang, mutually adorn each other, hence "Beren xu." Ornamentation does not arise from nowhere; the beard grows on the face, and the beard is used to adorn the face.

俞氏琰曰：二無應而比三，三亦無應而比二，故與之相賁，賁以柔來文剛故亨。文當從質，非質則不能自飾。陰必從陽，非陽則不能自進。六二純柔，必待九三之動而後動，故曰“賁其須”。蔣氏悌生曰：六以二居中，故有賁須之象。須於人身，無損益於軀體，但可為儀表之飾。周旋揖讓，進退低昂，皆隨面貌而動，使人儀舉者文采容止可觀，故《象》曰“與上興也”。

The collected interpretations cite Yu Yan's view: Six in the Second has no corresponding line and is close to Nine in the Third, while Nine in the Third also has no corresponding line and is close to Six in the Second, so the two lines complement each other. This complementation is the soft line adorning the hard, thus achieving smoothness. Ornamentation should follow the nature of the material; without material, there can be no self-decoration. Yin must follow Yang; without Yang, Yin cannot advance on its own. Six in the Second is entirely a soft line, and must wait for Nine in the Third to move before it can move, hence the phrase "Bén qí xū" (adorn the mustache). The collected interpretations also cite Jiang Tisheng's view: Yin in the Second position is in the center, thus symbolizing the adornment of the mustache. The mustache grows on the body, not adding or subtracting from the body itself, but serving only as an adornment for appearance. Bowing, greeting, advancing, retreating, bowing, and raising the head all follow the expression of the face, making one's behavior and appearance refined and observable, hence the small commentary says "With the superior line, it rises."

何氏楷曰：須陰血之形，而，柔所以文剛者。然陰柔不能自動，必附麗於陽，如須雖有美，必附而於頤也。大抵剛為質，柔為文。文不附質，焉得為文？故二必“賁其須”以從三，五必“賁于丘園”以從上。聖人右質左文之意，於此可見。

Collecting interpretations cite He Kai's view: whiskers are formed from condensed yin blood, and softness is used to embellish hardness. However, yin softness cannot act on its own and must attach to yang hardness, just as whiskers, though beautiful, must be attached to the chin. In general, hardness is the substance, and softness is the ornament; how can ornament be considered ornament if it is not attached to the substance? Therefore, line six in the second position must "adorn its whiskers" to follow line nine in the third, and line six in the fifth position must "adorn the hillside garden" to follow line nine at the top. The intent of the sage to value substance over ornament is evident here.

九三，賁如濡如，永貞吉。本義 一陽居二陰之間，得其賁而潤澤者也，然不可溺於所安，故有“永貞”之戒。

The line statement of the third line says: "The appearance is brilliant and lustrous, enduring in uprightness brings good fortune." Zhu Xi's "Ben Yi" explains: The yang line at the third position is sandwiched between the yin lines at the second and fourth positions, thus appearing adorned and moist; however, one should not become addicted to this comfort, hence the line statement adds the warning "enduring uprightness."

程傳 三處文明之極，與二四二陰間處相賁，賁之盛者也。故云“賁如”。“如”，辭助也。賁飾之盛，光彩潤澤，故云“濡如”。光彩之盛，則有潤澤。《詩》云：麀鹿濯

Cheng Yi in Yichuan's Commentary on the Changes says: Nine in the Third is located at the top of the lower trigram Li, which represents brightness. It is sandwiched between the two yao Six in the Second and Six in the Fourth, which are yin lines, and thus is the yao that achieves the most elaborate ornamentation. Therefore, it is said 'Beren' meaning 'ornamentation like a fine pattern.' 'Ru' here is merely a particle for speech. When ornamentation reaches its peak, it becomes radiant and moist, hence 'Ruru' meaning 'radiant and moist.' When radiance is abundant, it naturally shows moisture. The Book of Poetry says 'Ox deer with glossy coats' — the original text here is missing some words, and Cheng's quotation from the Book of Poetry and the following remarks are incomplete.

集說 胡氏炳文曰；互坎有濡義，亦有陷義，既末濟濡首濡尾，濡而陷者也。九三非不貞也，能永其貞，則二陰於我為潤澤之濡，我於彼不為陷溺之濡矣。俞氏琰曰：九三處六二六四之間，故曰“賁如濡如”，文過則質喪，質喪則文弊，要當永久以剛正之德固守則“吉”。

The collected interpretations cite Hu Bingwen's saying: In this hexagram, the second to fourth lines mutually form the trigram Kan, which has the meaning of moistening and also the meaning of being submerged; the hexagrams Ji Ji and Wei Ji both mention "moistening the head" and "moistening the tail," meaning being wet and sinking into it. The line nine in the third position is not necessarily unable to maintain the correct position; as long as it can hold firmly to the correct path for a long time, then the two yin lines above and below will be moistening and nourishing to me, and I will not become submerged by this moistening. The collected interpretations also cite Yu Yan's saying: The line nine in the third position is between the line six in the second and the line six in the fourth, hence it is said "Beren ru er." Excessive ornamentation leads to the loss of substance, and the loss of substance leads to the decline of ornamentation, so one must maintain a long-term adherence to a strong and upright virtue in order to achieve good fortune.

潘氏士藻曰：三本剛正，特慮其為二陰所陷溺，未免有滅質之患，故有“永貞”之戒。何氏楷曰：以一剛介二柔之間，賁之盛者也。曰“濡如”者，猶《詩》言六轡如濡，謂所飾之文采鮮澤也。然受物之飾，恐為物溺，故戒之曰“永貞吉”。長守其陽剛之正，而不為陰柔所溺，則不至以文滅質矣。

The collected interpretations cite Pan Shizao's view: the third line of nine is originally strong and upright, but it is worried that it may be trapped by the two yin lines above and below, leading to the danger of being overwhelmed by ornamentation and losing its true quality. Therefore, there is the warning "permanently uphold uprightness." The collected interpretations also cite He Kai's view: a single strong line sandwiched between two weak lines is the time when ornamentation is most prominent. The term "ruru" is like the "six reins are moist" in the Book of Poetry, describing the brightness and moistness of the added ornamentation. However, receiving external embellishment is dangerous because one might be overwhelmed by external things, so it warns to "permanently uphold uprightness": by maintaining the enduring strength of yang and not being submerged by yin, one will not lose the essence due to ornamentation.

六四，賁如皤如，白馬翰如，匪寇婚媾。本義 “皤”，白也。馬，人所乘，人白則馬亦白矣。四與初相賁者，乃為九三所隔而不得遂，故“皤如”。而其往求之心，如飛翰之疾也，然九三剛正，非為寇者也，乃求婚媾耳，故其象如此。

The Line Statement of the Fourth Line says: At the time of ornamentation, there is a pure white appearance; a white horse gallops swiftly, and what comes is not a strong enemy, but a suitor. Zhu Xi's "Benyi" explains: "Pó" means white. The horse is what a person rides, so if the person is entirely white, the horse is also white. The Sixth Line at the Fourth position originally interacts with the First Nine to adorn each other, but is separated by the Nine in the Third and thus cannot achieve its purpose, hence appearing white. Its eagerness to seek union is swift, like the wings of a flying bird. However, the Nine in the Third is strong and upright, not a robber, but also seeking union, hence the image of the line is as such.

程傳 四與初為正應，相賁者也。本當“賁如”，而為三所隔，故不獲相賁而“皤如”。“皤”，白也，未獲賁也。馬，在下而動者也。未獲相賁，故云“白馬”。其從正應之志如飛，故云“翰如”。匪為九三之寇仇所隔，則婚媾遂其相親矣。己之所乘，與動於下者，馬之象也。初四正應，終必獲親，第始為其間隔耳。

Cheng Yi in Yichuan's Commentary on the Changes says: Six in the Fourth and Nine at the Beginning are a pair that correspond properly. They should mutually embellish each other. Originally it should be 'Beren' (like a decorated horse), but it is blocked by Nine in the Third, so they cannot embellish each other and thus appear as 'Poran' (like a white horse). 'Poro' means white, indicating that it has not yet been embellished. A horse is something that runs below; because it has not yet been embellished, it is called 'White Horse'. It follows the aspirations of the properly corresponding line with speed like flying, hence 'Hanren' (like flying). If it were not blocked by Nine in the Third, this marriage would have already fulfilled the mutual affection between the two. The one that is ridden and also runs below is precisely the image of a horse. Originally, Nine at the Beginning and Six in the Fourth are properly corresponding, and in the end they will surely be close to each other, but they were temporarily blocked at the beginning.

集說《朱子語類》云：六四“白馬翰如”，言此爻無所賁飾，其馬亦白也，言無飾之象如此。胡氏炳文曰：《屯》二應五，下求上也，不可以急。《賁》四應初，上求下也，不可以緩。

Collected Commentaries cite Master Zhu's Sayings: "White horse galloping" in the fourth line refers to this line having no embellishment, even the horse is white, used to describe a state of being unadorned. Collected Commentaries also cite Hu Bingwen's view: In the hexagram Zun, the second line responds to the fifth line, representing someone below seeking someone above, which should not be done too hastily; in the hexagram Ben, the fourth line responds to the first line, representing someone above seeking someone below, which should not be delayed.

俞氏琰曰：髮白為“皤”，馬白為“翰”。《禮記》云：商人尚白，戎事乘翰。鄭氏注云：翰，馬白色也。四當賁道之變，文返於質，故其象如此。梁氏寅曰：六四在離明之外，為艮止之始，乃賁之盛極，而當反質素之時也，故云“賁如皤如”。大初之舍車，為在下而無所乘故也，四在九三之上，則有所乘矣，故云“白馬翰如”。人既質素，則馬亦白也。

The collected interpretations cite Yu Yan's statement: white hair is called "pan," and white horses are called "han." The "Book of Rites" says that the Shang people revered white color, and when they went to war they rode white horses; Zheng Xuan's commentary explains that "han" refers to the white color of a horse. The line six in the fourth is at the turning point of the way of ornamentation, returning from refinement to substance, hence the line's image. The collected interpretations also cite Liang Yin's statement: line six in the fourth is already beyond the brightness of li (fire), marking the beginning of the mountain (gen) stopping, which is the time when ornamentation reaches its peak and should return to simplicity, hence the statement "Beren pan ren." The reason why initial nine "abandons the carriage" is because it is at the very bottom and has no carriage to ride; line six in the fourth is above nine in the third and thus has a carriage, hence the statement "white horse han ren." When a person is simple in appearance, the horse is also white.

蘇氏濬曰：六四一爻，當以白賁之義推之，四與初相賁者也，以實心而求於初，不為虛飾，初曰賁趾，四門“皤如”，初曰“舍車”，四日“白馬”，同一白賁之風而已。

Collected Commentaries cite Su Jun's explanation: the fourth line, "Six in the Fourth," should be interpreted using the meaning of "White Fineness" from the top line, "Nine at the Top." The fourth line and the first line complement each other in their ornamentation, seeking the first line with sincere intent rather than artificial embellishment. The first line says "ornamenting the toes," while the fourth line says "white as jade"; the first line says "abandoning the carriage," while the fourth line says "white horse"—both belong to the same style of simple white ornamentation (the text mentions "four gates" and "four days," but the original should read "four says").

案 《程傳》沿《註疏》之說，《本義》又沿《程傳》之說，皆以為初四相賁而為三所隔，故末得其賁而皤然也。然《朱子語類》以無飾言之，則已自改其說矣，故以後諸儒，皆以皤白為崇素返質之義，實於卦意為合。又案《易》中凡重言如者，皆兩端不安之辭，故“屯如邅如”者，欲進而未徑進也。

Li Guangdi remarked: The Cheng Transmission follows the interpretation of Wang Bi's annotations and Kong Yingda's commentary, and the "Ben Yi" also follows the Cheng Transmission, all asserting that the line Initial Nine and the line Six in the Fourth should have mutually adorned each other, but were blocked by the line Nine in the Third, so they could not achieve adornment and thus appeared white and unadorned. However, in the "Zhu Zi Yu Le," Zhu Xi uses the idea of being unadorned to explain it, and Zhu Xi himself had already corrected the old interpretation; therefore, later scholars all understood "po bai" as meaning to value simplicity and return to the original truth, which is more in line with the meaning of the primary hexagram. Furthermore, it is noted that in the Zhou Yi, whenever the character "ru" is used repeatedly, it indicates a situation of being unsettled at both ends and uncertain about advancing or retreating, so the Zun hexagram says "Zun ru zhan ru," indicating a desire to advance but being unable to proceed directly.

六五，賁于丘園，束帛戔戔，吝，終吉。本義 六五柔中為賁之主，敦本尚實，得賁之道，故有“丘園”之象。然陰性吝嗇，故有“束帛戔戔”之象。“束帛”，薄物；“戔戔”，淺小之意。人而如此，雖可羞吝，然禮奢寧儉，故得“終占”。

Line 65 (Six in the Fifth) says: "Applying ornamentation to hills and gardens, a bundle of silk is meager, though appearing humble, ultimately brings good fortune." Zhu Xi's "Benyi" explains: "Line 65 is a yin line that is gentle and proper in the center, being the main line for achieving ornamentation. It is earnest and grounded, valuing substance, and deeply understands the way of ornamentation, hence the image of 'hills and gardens.' However, the nature of yin is inclined toward stinginess, hence the image of 'a bundle of silk that is meager.' 'Bundle of silk' refers to something slight, and '戋戋' means shallow or small. Though such actions appear humble and unimpressive, performing rituals with frugality is better than extravagance, so ultimately it brings good fortune." (The last two characters in the original text read '终占,' which is likely a mistake for '终吉.')

程傳 六五以陰柔之質，密比於上九剛陽之賢，陰比於陽，復無所繫應，從之者也，受《賁》於上九也。自古設險守國，故城壘多依丘阪。“丘”，謂在外而近且高者。園圃之地，最近城邑，亦在外而近者。“丘園”，謂在外而近者，指上九也。六五雖居君位，而陰柔之才，不足自守，與上之剛陽相比而志從焉，獲賁於外比之賢，“賁于丘園”也。

Cheng Yi in Yichuan's Commentary on the Changes says: Six in the Fifth, with her gentle and yielding nature, is closely adjacent to Nine at the Top, a yang and strong virtuous person. Yin is close to Yang, and since she has no corresponding line to connect with, she can only follow Nine at the Top and receive refinement from him. Since ancient times, dangerous places have been set up to guard the country, and fortifications are often built on hills and slopes. Therefore, "qiu" refers to a place outside the city that is nearby and elevated. Garden and orchard lands are closest to the city, also being outside yet near. "Qiu yuan" refers to those that are outside yet near, which is precisely referring to Nine at the Top. Although Six in the Fifth holds the position of a ruler, she is of gentle and yielding nature, insufficient to guard herself. She is adjacent to the yang and strong line above and follows its aspirations, obtaining refinement from the nearby virtuous person. This is called "Beren yu qiu yuan."

若能受賁於上九，受其裁制，如“束帛”而“戔戔”，則雖其柔弱不能自為，為可吝少，然能從於人，成賁之功，終獲其吉也。“戔戔”，翦裁分裂之狀。帛未用則束之，故謂之“束帛”。及其制為衣服，必翦裁分裂戔戔然。“束帛”，喻六五本質。“戔戔”，謂受人翦制而成用也。其資於人與《蒙》同，而《蒙》不言吝者，蓋“童蒙”而賴於人，乃其宜也；非童幼而資賁於人，為可吝耳。然享其功，終為吉也。

Cheng Yi continued to say: If the sixth line in the fifth position can accept the embellishment from the top nine, and allow it to be arranged, just like a bundle of silk cloth being cut into pieces, then although it is weak and unable to stand on its own, which is somewhat regrettable, it can still follow others and achieve the function of embellishment, ultimately attaining good fortune. "Zhan zhan" refers to the state of being cut and divided. Silk cloth is tied up in a bundle when it is not yet used, hence called "shu bo"; when it is to be made into clothes, it must be cut and divided into bits and pieces. "Shu bo" symbolizes the nature of the sixth line in the fifth position, while "zhan zhan" describes the transformation into a useful object through being cut and processed by others. It relies on people, which is similar to the "Meng" hexagram. The "Meng" hexagram does not say "li" (regret), because "tong meng" (childish ignorance) relying on others is natural. However, the sixth line in the fifth position is not a child yet depends on others for embellishment, hence it appears regrettable. Nevertheless, it has achieved success and is ultimately auspicious.

集說 《朱子語類》：問：“賁于丘園”，安定作敦本說。曰：某之意正要如此。或以“戔戔”為盛多之貌，非也。“戔戔”者淺小之意，所以下文云“吝終吉”。吝者雖不好看，然終卻吉。

Collected Commentaries cite The Words of Master Zhu: Someone asked, "The phrase 'Bén in the country retreat' — Hu Yuan (Master of the Stable and Peaceful) interpreted it as cultivating sincerity and solidity at the root, is that correct?" Master Zhu replied: My view is exactly the same. Some people interpret 'jiān jiān' as meaning abundant and numerous, which is incorrect. 'Jiān jiān' means shallow and small, so the following text says 'lìn zhōng jí' — although frugality and simplicity may not look prosperous, in the end it is auspicious.

又云：“賁于丘園。束帛戔戔”，是個務農尚儉。“戔戔”，是狹小不足之意。以字義考之，從水則為淺，從貝則為賤，從金則為錢。六五居尊位，卻如此敦本尚儉，便似吝嗇。如衛文公、漢文帝雖是“吝”，卻“終吉”，此在《賁》卦有反本之意。

Zhu Xi also said: "Beren yu qiuyuan, shu bo jian jian," which refers to valuing agriculture and upholding frugality. "Jian jian" means narrow and insufficient; examining the character, when "jian" is combined with water it becomes "qian" (shallow), with shell it becomes "jian" (cheap), and with gold it becomes "qian" (money), all implying smallness and scarcity. The line "Six in the Fifth" holds a high position yet practices diligence in fundamentals and frugality, which seems like stinginess. For example, Wei Wen Gong and Han Wen Di, although known for their simple and frugal ways, ended up with good outcomes; this contains the meaning of returning to the root in the "Beren" hexagram.

問：六五是在艮體，故安止於丘園，而不復外賁之象。曰：亦是上比於九，漸漸到極處。若一向賁飾去，亦自不好，須是收斂方得。

Another person asked: Since the line six in the fifth is within the trigram Gen (Mountain), it remains settled in hills and gardens, not seeking external embellishment. Is this the meaning? Zhu Xi answered: Also because it is in harmony with the line nine at the top, the way of embellishment is gradually reaching its limit. If one continues to embellish endlessly, it would not be good, and one must instead restrain oneself.

胡氏炳文曰：不賁於市朝，而“賁于丘園”，敦本也。“束帛戔戔”，尚實也。潘氏士藻曰：五居中履尊，下無應與，而上比文柔之剛，得止之義，以成賁之道，故有“賁于丘園”之象。

Collective commentary cites Hu Bingwen's view: not applying ornamentation to the marketplace or court, but to hills and gardens, this emphasizes sincerity and the fundamental principles; "bundles of silk are meager," indicating a preference for substance. Collective commentary also cites Pan Shizao's view: the sixth line in the fifth position is in the center of the upper trigram and occupies a position of honor, but there is no corresponding line below. However, it is in harmony with the gentle yet strong yang line above, deeply embodying the meaning of the mountain trigram (Gen), thus achieving the way of ornamentation, hence the image of "ornamentation in the hills and gardens."

何氏楷曰：比於上九剛陽之賢，受賁於上九者也。“丘園”指上，上陽剛而處外，乃賢人隱丘園之象。據《彖》曰“剛上文柔”，則六五乃上所賁者，爻昕謂“賁于丘園”，猶曰受賁飾於丘園也。按《昏禮》納帛一束，束五兩，注，十端為束。“束帛戔戔”，其儀文雖薄，然終與上合志而吉。

Collecting interpretations cite He Kai's view: Six in the Fifth is closely aligned with Nine at the Top, this yang strength wise man, receiving refinement from Nine at the Top. "Quyuan" refers to Nine at the Top: Nine at the Top, being yang and located outside the hexagram, symbolizes the image of a virtuous person retreating to the hills and gardens. According to the "Tu Cí" statement "Yang above refines the yielding," Six in the Fifth is the one being refined by Nine at the Top; the line statement "Bian Yu Quyuan" is equivalent to receiving refinement from Quyuan. According to the "Yili · Shi Hun Li," the gift of dowry consists of a bundle of silk, one bundle being five liang, with the annotation explaining ten duan make up one bundle. "Shu Bo Jian Jian" indicates that although the ceremony is modest, Six in the Fifth ultimately shares the same aspirations with Nine at the Top, hence the auspicious outcome.

上九，白賁。無咎。程傳 上九《賁》之極也，賁飾之極則失於華偽，唯能質白其賁，則無過失之咎。“白”，素也。尚質素則不失其本真，所謂尚質素者，非無飾也，不使華沒實耳。

The line statement of the Upper Ninth line says: Using plain white to adorn is without fault. Cheng Yi in his commentary Yichuan's Commentary on the Changes says: The Upper Ninth line is the extreme of the卦 of Zhen (Brightness). When adornment reaches its peak, it is easy to become superficial and false. Only by using plain white as adornment can one avoid blame. "White" refers to plainness. To value plainness is to not lose one's true nature. What is meant by valuing plainness is not to entirely reject adornment, but to prevent superficiality from obscuring the essence.

集說 《朱子語類》：問：如《本義》說六五上九兩爻，卻是賁極反本之意。曰：六五已有反本之漸，故曰“賁于丘園，束帛戔戔”。至上九“白賁”，則反本而復於無飾矢。蓋皆賁極之象也。

Collected Commentaries cite Zhu Xi's Sayings: Someone asked, according to the original meaning, the lines six in the fifth and nine at the top both represent the idea of reaching the extreme of ornamentation and then returning to the fundamental. Zhu Xi answered: The line six in the fifth has already shown the beginning of returning to the root, hence it says 'B贲 in the country retreat, with few bundles of silk.' By the time we reach the line nine at the top 'White B贲,' it has completely returned to the root and gone back to the state of no ornamentation. Both lines represent the image of reaching the extreme of ornamentation (the last character in the original text is 'shǐ,' which should be a mistake for 'yǐ').

王氏申子曰：上以陽剛為成卦之主，居艮止之極，當賁道之終，止文之流於終。終則返而質矣，故賁道成而無弊，無弊故“無咎”。熊氏良輔曰：“白賁”雲者，終歸於無所飾也。《賁》之取義，始則因天下之質而飾之以文，終則反天下之文而歸之於質。

Collective commentary cites Wang Shenzi's explanation: The top line, being of yang strength, becomes the main element of the hexagram, situated at the top of Gen (Mountain), which is the peak of the art of ornamentation. It can stop the excess of ornamentation at its end. When reaching the end, it returns to simplicity, so the art of ornamentation is achieved without drawbacks, and without drawbacks there is no error. Collective commentary also cites Xiong Liangfu's explanation: The term "White Barbarian" refers to returning to a state of complete simplicity. The hexagram of Zhen (Ornamentation) begins by adding ornamentation to the nature of the world, but ends by withdrawing the ornamentation and returning to simplicity.

胡氏炳文曰：《賁》賁上卦言“白馬”，言“束帛戔戔”，終言“白賁”。《雜卦》曰：“賁五色也。”可謂一言以蔽之矣。蔣氏悌生曰：六五上九皆敦尚質素，以白為賁，素以為絢之意。上九處無位之地，“高尚其事”，不尚華飾，以質素為賁，甘受和，白受采，其賢於五採彰施遠矣。

Collecting sayings cites Hu Bingwen's explanation: The "Zhen" hexagram first mentions "white horse," then "bundles of silk," and finally "white purity." The "Za Gua Zhuan" states "Zhen means without color," which can be said to capture the entire hexagram in one sentence (the original text says "five colors," which should be a mistake for "without color"). Collecting sayings also cites Jiang Tisheng's explanation: Both the sixth line and the top line emphasize sincerity and the pursuit of simplicity, using white as decoration, which fits the meaning of the "Lun Yu" "use white as the base for ornamentation." The top line is in a position without official rank, "holding high its matter," not pursuing superficial adornment, taking simplicity as decoration; just as sweet flavors best harmonize with various tastes, and a white base best accepts colorful painting, compared to the elaborate display of five colors, this approach is far superior.

總論邱氏富國曰：陰陽二物，有應者以應而相賁，無應者以比而相賁。四與初應，求賁於初，故初賁趾而四“翰如”也。二比三而賁乎三，故二賁須而三“濡如”也。五比上而賁乎上，故五賁丘園而上“白賁”也。初與四，應而相賁者也。二與三，五與上，比而相賁者也。此賁六爻之大旨也。

In summary, quoting Qiu Fuguo, the two types of yin and yang lines have a mutual embellishment through correspondence when they correspond, and through close adjacency when they do not. Line six in the fourth position corresponds with line one in the first position, and thus seeks embellishment from line one, so line one says "Beren zhi" and line six says "Baima han ru." Line six in the second position is closely adjacent to line nine in the third position and thus embellishes it, so line six says "Beren xu" and line nine says "Ru ru." Line six in the fifth position is closely adjacent to line nine in the top position and thus embellishes it, so line six says "Beren yu qiuyuan" and line nine says "Bai ben." Lines one and four are a pair that embellish each other through correspondence, while pairs two and three, and five and top, embellish each other through close adjacency. This is the main idea of the hexagram of "Beren."

龔氏煥曰：《賁》之為言飾也，謂飾以文華也。然以六爻考之，初之“舍車而徒”，五之“丘園”，上之“白賁”，皆質實而不事文華者也。四之“皤如”賁於初，二之賁須附於三，惟三之“賁如濡如”，乃賁飾之盛，而即有“永貞”之戒者，懼其溺於文也。如是則古人之所賁者，未始事文華也。亦務其本實而巳。本實既立，文華不外焉。徒事文華，不務本實，非古人所謂賁。

Collected Commentaries cite Gongs Huan's explanation: The character "Beren" refers to ornamentation, meaning the use of elegant and beautiful adornment to embellish. However, examining the six lines: "Chujiu" says "abandoning chariots for walking," "Liuer" says "ornamentation in the country retreat," and "Shangjiu" says "white ornamentation," all indicate simplicity and sincerity without seeking superficial embellishment. "Liu si" says "white as a heap," seeking adornment from "Chujiu," while "Liuer" says "ornamenting the beard," relying on "Ji san." Only "Ji san" says "ornamentation like moisture," which represents the height of adornment, yet the line statement immediately adds the warning "Yongzhen," fearing it might become addicted to ornamentation. Thus, what the ancients called ornamentation was never about pursuing superficiality, but rather about focusing on the fundamental substance. Once the fundamental substance is established, ornamentation naturally follows without being external. Pursuing only superficial embellishment without focusing on the fundamental substance is not what the ancients meant by "Beren."

程傳 《剝序卦》：“賁者飾也，致飾然後亨則盡矣，故受之以剝。”夫物至於文飾，亨之極也。極則必反，故《賁》終則《剝》也。卦五陰而一陽，陰始自下生，漸長至於盛極，群陰消剝於陽，故為《剝》也。以二體言之，山附於地，山高起地上，而反附著於地，頹剝之象也。

Cheng Yi in Yichuan's Commentary on the Changes says: The "Sequence of Hexagrams" of the Hexagram of Splitting explains: "B贲 is ornamentation. When ornamentation is achieved, the way is fully realized, hence it is followed by Splitting." When things develop to the point of emphasizing ornamentation, the way is fully realized, and when it reaches its peak, reversal is inevitable. Therefore, the Hexagram of B贲 ends with the Hexagram of Splitting. This hexagram has five yin lines and one yang line. Yin energy begins at the very bottom and gradually grows to its peak, with the yin lines gradually eroding the yang line. Hence it is called Splitting. In terms of the upper and lower trigrams, the mountain is attached to the earth. The mountain should be high above the ground, but now it is instead lying flat on the earth, which is a clear image of collapse and decay.

剝，不利有攸往。本義 “剝”，落也。五陰在下而方生，一陽在上而將盡，陰盛長而陽消落，九月之卦也。陰盛陽衰，小人壯而君子病。又內坤外良，有順時而止之象。故占得之者，不可以有所往也。

The Hexagram Statement of 《Bao》 says: It is not advantageous to go somewhere. Zhu Xi's 《Benyi》 explains: "Bao" means to peel off. Five yin lines are below and are still growing, while one yang line is above and is about to be exhausted. Yin is increasing while yang is decreasing, and this corresponds to the twelfth message hexagram of the twelve lunar months, which is the hexagram of September. Yin energy is strong and yang energy is weak, symbolizing the rise of small people and the hardship of the virtuous. Looking at the structure of the hexagram, the inner trigram is Kun (Earth) and the outer trigram is Gen (Mountain), indicating an image of following the trend and knowing when to stop. Therefore, those who divinate this hexagram should not go anywhere (the phrase "external liang" should be "external gen").

程傳 “剝”者，群陰長盛，消剝於陽之時，眾小人剝喪於君子，故君子不利有所往。唯當巽言晦跡，隨時消息，以免小人之害也。

Cheng Yi in Yichuan's Commentary on the Changes says: The concept of "Pei" refers to the time when the group of yin forces are growing strong and are gradually eroding the yang. This is the time when many petty people are seizing power and harming the virtuous. Therefore, the gentleman should not take any action. At this time, he should speak humbly and act subtly, moving with the ebb and flow of the times, retreating when necessary, in order to avoid harm from the petty people.

初六，剝床以足，蔑貞凶。本義 剝自下起，滅正則“凶”，故其占如此。“蔑”，滅也。

The Line Statement for the first line, Six at the Beginning, says: The bed is being worn away, starting from the foot, and the correct path is destroyed, resulting in danger. Zhu Xi's "Original Meaning" explains that the wearing away begins from the very bottom; once the correct path is destroyed, there is danger, hence the judgment. "Mie" means to destroy.

程傳 陰之剝陽，自下而上。以床為象者，取身之所處也。自下而剝，漸至於身也。“剝床以足”，剝床之足也。剝始自下，故為剝足。陰自下進，漸消滅於貞正，“凶”之道也。“蔑”，無也，謂消亡於正道也。陰剝陽，柔變剛，是邪侵正，小人消君子，其“凶”可知。

Cheng Yi in Yichuan's Commentary on the Changes says that the yin gradually erodes the yang, proceeding from the bottom upwards. Using the image of a bed is appropriate because the bed is the place where a person rests; the erosion starts from the bottom and gradually reaches the person. "Peeling the bed from the feet" refers to peeling off the legs of the bed. The erosion begins at the lowest point, hence the phrase "peeling the bed legs." The yin force advances from below, progressively eliminating the virtuous path, which is a path leading to misfortune. "Mie" means nothing, indicating the destruction of the virtuous path. The erosion of yang by yin, and the transformation of firmness by softness, represent the invasion of evil over good and the elimination of the virtuous by the petty, resulting in evident danger.

集說 俞氏琰曰：陰之消陽，自下而進。初在下，故為剝床而先以床足滅於下之象。當此不利有攸往之時，唯宜順時而止耳。“貞凶”，戒占者固執而不知變則凶也。案 俞氏之說，是以蔑字屬上句讀，蓋自《象傳》“滅下”看出。亦可備一說。

The collected interpretations cite Yu Yan's view: the waning of yin is a process moving from the bottom upwards. Since the initial line is at the very bottom, it takes the image of peeling the bed starting from the foot. At this time, it is not favorable to move forward, and it is better to follow the trend and stop. As for "zheng xiong," it warns the person consulting the oracle: if one persists in one's own views without flexibility, there will be danger. Li Guangdi comments: Yu's interpretation takes the character "mie" as part of the previous sentence, reading it as "peeling the bed with the foot and the foot being destroyed," which is probably derived from the "small image" explaining "destroying the lower part." This can also be considered as an alternative interpretation.

六二，剝床以辨，蔑貞凶。本義 “辨”，床乾也，進而上矣。程傳 “辨”，分隔上下者，床之幹也。陰漸進而上，剝至於辨，愈滅於正也，“凶”益甚矣。

The line statement for the second line says: "The bed is being stripped away, the stripping reaches the bed frame, the correct path is destroyed, resulting in danger." Zhu Xi's "Benyi" explains: "Bián" refers to the main part of the bed, indicating that the stripping has advanced another layer upwards. Cheng Yi's "Yichuan Commentary on the Changes" states: "Bián" is the component that separates the upper and lower parts, that is, the bed frame. The yin force gradually advances upward, stripping the bed frame, thus destroying the correct path even more, and the danger becomes more severe.

集說 俞氏琰曰：既滅初之足於下，又滅二之辨於中，則進而上矣。得此占者，若猶固執而不知變，則其“凶”必也。

The collected interpretations cite Yu Yan's saying: After the first line, representing the bed legs, has already been destroyed at the bottom, and the second line, representing the bed frame, has also been destroyed in the middle, the decay gradually advances upward. Those who receive this line in their divination, if they remain stubborn and fail to adapt, will certainly face calamity.

六三，剝之，無咎。程傳 眾陰剝陽之時，而三獨居剛應剛，與上下之陰異矣。志從於正，在剝之時為無咎者也。三之為可謂善矣，不言吉何也？曰：方群陰剝陽，眾小人害君子，三雖從正，其勢孤弱，所應在無位之地，於斯時也，難乎免矣，安得吉也？其義為無咎耳。言其“無咎”，所以勸也。

The line statement of the third line says: Being in a state of decline, there is no fault. Cheng Yi's Commentary on the Changes says: At the time when many yin lines are eroding the yang lines, only the third line is in a yang position and corresponds with the ninth line at the top, which is a strong line. It differs from the other yin lines above and below. Its will follows the right path, and thus it can avoid fault during the time of decline. The conduct of the third line is considered good, but why is it not continuously auspicious? The answer is: When many yin lines are eroding yang lines and many small people are harming the virtuous, although the third line follows the right path, it is weak and isolated, and the line it corresponds with, the ninth line at the top, is in a position without official status. In such a situation, avoiding disaster is already good enough, how can it be considered auspicious? In terms of principle, it can only be said to avoid blame. Saying it has no fault is meant to encourage goodness.

集說 荀氏爽曰：眾皆剝陽，三獨應上，無剝害意，是以“無咎”。王氏弼曰：與上為應，群陰剝陽，我獨協焉，雖處於剝，可以“無咎”。

The collected interpretations cite Xun Shuang's view: all the yin lines are eroding the yang line, but only line six in the third position and line nine at the top correspond with each other, without any intention to harm, so there will be no error. The collected interpretations also cite Wang Bi's view: line six in the third position corresponds with line nine at the top. When all the yin lines are eroding the yang line, only I harmonize with the yang line; although in a time of decline, one can still avoid blame.

胡氏炳文曰：《剝》之三，即《復》之四。《復》六四不許以吉，《剝》六三許以“無咎”，何也？曰：《復》，君子之事，明道不計功，不以吉許之可也。《剝》，小人之事，小人中獨知有君子，不以“無咎”許之，無以開其補過之門也。案 王氏、程子，皆以剝之“無咎”連讀，言此乃剝時之無咎者也，玩《本義》，似以剝之為剝去其黨。

Collective commentary cites Hu Bingwen's explanation: The sixth line in the third position of the "Breaking Up" hexagram corresponds exactly to the sixth line in the fourth position of the "Return" hexagram. The sixth line in the fourth position of the "Return" hexagram is not allowed to be auspicious, yet the sixth line in the third position of the "Breaking Up" hexagram is allowed to avoid blame. Why is this so? The answer is: The "Return" hexagram deals with the affairs of a gentleman, who seeks only to understand the Way without considering results, so it is acceptable for it not to be auspicious. The "Breaking Up" hexagram, however, deals with the affairs of a petty person. Among a group of petty persons, there is one who respects the gentleman. If we do not allow him to avoid blame, there would be no way to open a door for him to make amends and start anew. Li Guangdi comments: Wang Bi and Master Cheng both read "peeling without blame" as a single phrase, meaning this line is one that can avoid blame during the time of peeling. However, considering the tone of the "Original Meaning," it seems to interpret "peeling" as removing his own faction.

六四，剝床以膚，凶。本義 陰禍切身，故不復言蔑貞，而直言“凶”也。程傳 始剝於床足，漸至於“膚”。“膚”，身之外也。將滅其身矣，其“凶”可知。陰長已盛，陽剝已甚，貞道以消，故更不言蔑貞，直言“凶”也。

The fourth line statement says: "The bed is being stripped away, having reached the person's skin, which is dangerous." Zhu Xi's "Benyi" explains: When the evil influence has already attached itself to the person, there is no need to mention "蔑贞" (disregard the correct principle), and it is directly judged as dangerous. Cheng Yi's "Yichuan Commentary on the Changes" states: Initially, the stripping began with the bed legs, but gradually it reached the "skin." "Skin" is the outer layer of the body; when it reaches this point, the person's body is about to be destroyed, and the danger is evident. At this time, the evil influence has become strong, and the yang lines have been stripped away heavily, so the correct principle is lost, and there is no need to mention the destruction of the correct principle; it is directly considered dangerous.

六五，貫魚，以宮人寵，無不利。本義 “魚”，陰物。“宮人”，陰之美而受制於陽者也。五為眾陰之長，當率其類，受制於陽，故有此象。而占者如是，則“無不利”也。

The Line Statement of the fifth line says: Like a string of fish arranged in order, leading the palace attendants to receive the king's favor, there is no disadvantage. Zhu Xi's "Original Meaning" explains: "Fish" belong to the category of yin; "palace attendants" are beautiful among the yin and are on the side subject to yang. The sixth line in the fifth position is the leader among the yin, and should lead its kind to accept the restraint of the yang line, hence this image. If the person consulting the oracle can act in this way, there will be no disadvantage.

程傳 剝及君位，剝之極也，其凶可知，故更不言剝，而別設義以開小人遷善之門。五，群陰之主也。“魚”，陰物，故以為象。五能使群陰順序，如貫魚然，反獲寵愛於在上之陽，如宮人，則無所不利也。“宮人”，宮中之人。妻妾，侍使也。以陰言，且取獲寵愛之義。以一陽在上，眾陰有順從之道，故發此義。

Cheng Yi in Yichuan's Commentary on the Changes says: The erosion has already reached the position of the ruler, indicating the extreme state of decline, and the danger is evident. Therefore, the line statement no longer refers to erosion but introduces a new meaning, opening a door for the petty people to correct their mistakes and become virtuous. The sixth line in the fifth position is the leader of all the yin lines. "Fish" is a yin-like creature, so it is used as a symbolic image. If the sixth line in the fifth position can make all the yin lines follow in order, like a string of fish arranged neatly, and then gain the favor from the superior yang line above, just as the palace attendants serve the king, there will be no disadvantage. "Palace attendants" refer to people in the palace, that is, the wife, concubine, and attendants; they are discussed from the perspective of yin softness, and their meaning is taken from receiving the favor. Since a single yang line is in a high position, all the yin lines naturally have the reason to obey, so this meaning is emphasized.

集說 張子曰：陰陽之際，近必相比。六五能上附於陽，反制群陰，不使進逼，方得處剝之善。下無剝之之憂，上得陽功之庇，故曰“無不利”。

The collected interpretations cite Zhang Zai's explanation: where yin and yang meet, those that are close necessarily become close to each other. The sixth line in the fifth position is able to rely upward on the yang line, and in turn restrain the multitude of yin lines, preventing them from advancing further. This is considered to be proper conduct in a time of decline: there is no worry of being eroded below, and above one receives the protection of yang strength. Therefore, it is said 'there is no disadvantage'.

熊氏良輔曰：卦本為陰剝陽而陽凶，爻則以剝陽而見凶，故五則以順上為“無不利”，三則以應上為“無咎”，而上則有“碩果”得“輿”之象焉。張氏振淵曰：《遯》陰長而猶微，可制也，則告陽以制陰之道，曰“畜臣妾”；剝陰長已極不可制矣，則教陰以從陽之道，曰“以宮人寵”。

Collected Commentaries cite Xiong Liangfu's view: Looking at the whole hexagram, it is about yin gradually eroding yang, and yang faces danger; looking at each line, the danger arises from the erosion of yang. Therefore, line six in the fifth position achieves "no disadvantage" because it follows line nine at the top, and line six in the third position avoids blame because it corresponds with line nine at the top. Line nine at the top has the image of "a large fruit not eaten" and "the gentleman attains a carriage." Collected Commentaries also cite Zhang Zhenyuan's view: The hexagram of Retreat shows that yin is growing strong but still weak, so it can be controlled, thus advising yang to control yin by "keeping retainers and concubines." The hexagram of Splitting shows that yin has grown to its peak and cannot be controlled anymore, so it advises yin to submit to yang by "favoring palace attendants."

上九，碩果不食，君子得輿，小人剝廬。本義 一陽在上，《剝》未盡而能復生。君子在上，則為眾陰所載；小人居之，則剝極於上，自失所覆，而無復“碩果”“得輿”之象矣。取象既明，而君子小人，其占不同，聖人之情，益可見矣。

The line statement of the Upper Ninth line says: A large fruit remains uneaten, the gentleman receives a carriage for transportation, while the petty person loses even his dwelling. Zhu Xi's "Original Meaning" explains: A single yang line is at the very top, indicating that the process of shedding has not yet reached its end, and the yang energy can still re-emerge. If the gentleman occupies this position, he is supported by the multitude of yin; if the petty person is in this position, the shedding has reached its peak, and he loses even his shelter, no longer having the image of 'a large fruit' or 'receiving a carriage'. The imagery is clearly established, yet the fortune for the gentleman and the petty person differs greatly, and the sage's intention to support yang and restrain yin becomes even clearer.

集說 程子曰：息訓為生者，蓋息則生矣，中無間斷。“碩果不食”，則便為復也。楊氏文煥曰：“貫魚”者，眾陰在下之象也。“碩果”者，一陽在上之象也。

The collected interpretations cite Master Cheng's saying: the character "xi" is interpreted as "birth," because after cessation comes growth, with no interruption in between. "A large fruit left uneaten" remains, thus transforming into the hexagram Fu, which represents the return of a single yang line. The collected interpretations also cite Yang Wenhuan's saying: "Guanyu" symbolizes the image of many yin lines arranged in sequence below, while "shu guo" represents the image of a single yang line suspended above.

胡氏炳文曰：乾為木果，眾陽皆變，而上獨存，有“碩果不食”象。果中有仁，天地生生之心存焉。“碩果”專以象言，“得輿”“剝廬”，兼占而言。床，上之藉下以安者也，廬，下之藉上以安者也。始而“剝床”，欲上失所安，今而“剝廬”，自失所安矣。自古小人慾害君子，亦豈小人之利哉？

Collected Commentaries cite Hu Bingwen's explanation: The "Say on the Hexagrams" takes Qian as wood fruit; in this hexagram, all the original yang lines have already turned into yin lines, leaving only the top line remaining, hence the image of "large fruit not being eaten." Within the fruit kernel there is the seed, and the heart of the universe's ceaseless generation and renewal is寄托 therein. "Large fruit" is purely based on the image, while "getting a cart" and "peeling the house" include both the imagery and the divinatory judgment. A bed is something above that relies on something below for stability, while a house is something below that relies on something above for stability; initially "peeling the bed" refers to wanting to remove the stability from those above, but now "peeling the house" means losing stability oneself. Since ancient times, small people have wanted to harm the virtuous, but in the end, where is the benefit for the small people?

蔡氏清曰：《易》固為君子謀，然其為君子謀者，亦所以為小人謀也，觀“小人剝廬”之辭可見。蓋道理自是如此，天地間豈可一日無善類哉？不然，人之類滅矣。可見聖人非姑為是抑彼以伸此也。喬氏中和曰：“碩果不食”，核也。仁也，生生之根也。自古無不朽之株，有相傳之果，此剝之所以復也。

Collective commentary cites Cai Qing's explanation: The Zhou Changes is indeed intended for the gentleman, but when it serves the gentleman, it also serves the petty person, as seen in the phrase "the petty person strips the house." The reason is natural: how could there be a single day without good people in the world? If there were none, humanity would perish. Thus, the sage does not merely suppress one side and promote the other. Collective commentary also cites Qiao Zhonghe's explanation: "The large fruit is not eaten" refers to the fruit core, the benevolence within the core, the root of continuous generation. Since ancient times, there has been no immortal trunk, yet there have been fruits passed down generation after generation. This is precisely why after the hexagram of "Breaking Up," the hexagram of "Returning" necessarily follows.