The Image Commentary of the Book of Changes, the Observing Hexagram

風行地上，觀。先王以省方觀民設教。 本義 “省方”以“觀民”，“設教”以為“觀”。 程傳 “風行地上”，周及庶物，為遊歷周覽之象。故先王體之，為省方之禮，以觀民俗而設政教也，天子巡省四方，觀視民俗，設為政教，如奢則約之以儉，儉則示之以禮是也。“省方”，觀民也，“設教”，為民觀也。

The Image Commentary says: Wind blowing across the land is the great image of the hexagram "Observing." The former kings took inspiration from it, touring the land, observing the people, and establishing education and guidance. Zhu Xi's "Basic Meaning" says: "Touring the land" is for "observing the people," and "establishing education" is to make oneself an example for the people to look up to. Cheng Yi's "Yichuan Commentary on the Changes" says: "Wind spreading across the land" reaches all things, symbolizing a thorough survey. Therefore, the former kings modeled themselves on this, establishing the ritual of touring the land to observe the customs and people, and to set up laws and education. The Son of Heaven travels throughout the land, examining the customs of different regions, and based on this, establishes government and education. For example, if the customs are extravagant, he uses frugality to restrain them; if the customs are too frugal, he uses propriety to guide them. What is meant by "touring the land" is to observe the people; what is meant by "establishing education" is to become an example for the people to look up to.

集說 《九家易》曰：“風行地上，草木必偃，故以省察四方，觀視民俗，而設其教也。”

The collected interpretations cite the "Nine Schools of the Book of Changes" which say: wind blowing over the ground causes grass and trees to necessarily bow down; therefore, the former kings took this image to examine the four directions, observe the customs and manners of different regions, and establish their teachings accordingly.

劉氏牧曰：“風行地上”，無所不至，散採萬國之聲詩，省察其俗，有不同者，教之使同。

This continues from the "Great Image" of the "Observing" hexagram. The collected interpretations cite Liu Mu's saying: "Wind moving over the earth" refers to the wind spreading across the entire land, reaching every corner. The former kings modeled themselves on this image when touring the four directions, widely collecting the songs and poems from various states, using these sounds and poems to examine the customs and sentiments of the people. If the customs did not align with the king's moral teachings and were inconsistent, they would be guided and corrected, bringing the customs and rituals of the whole world to a single standard.

初六，童觀，小人道也。 程傳 所觀不明如童稚，乃小人之分，故曰“小人道也”。 集說 王氏申子曰：卑下而無遠見，在凡民為可恕，在君子為可羞。

The Image Commentary explains the line "Six at the Beginning" saying: observing things in a shallow and naive manner is the way of a petty person. Cheng Yi in his Commentary on the Changes says: what is seen and observed is dim and unclear, like that of an infant, which is naturally limited by the nature of a petty person, hence the Image Commentary concludes "the way of a petty person." Collected Commentaries cite Wang Shenzi saying: being in a low position and lacking foresight, this situation may be excusable when it occurs in common people, but if it occurs in a gentleman, it is a most shameful thing.

窺觀女貞，亦可醜也。 本義 在丈夫則為丑也。 程傳 君子不能觀見剛陽中正之大道，而僅窺覘其彷彿，雖能順從，乃同女子之貞，亦可羞丑也。 集說 郭氏忠孝曰：男女吉凶不同，故《恆》卦曰：“婦人吉，夫子凶。”則知“利女貞”者，固為男之丑也。

The Image Commentary explains the line six in the second as: looking through a crack in the door, this is appropriate for a woman to maintain her chastity, and for a man it is shameful. Zhu Xi's 'Benyi' says: such 'looking through a crack' becomes an embarrassment for an adult man. Cheng Yi's 'Yichuan Commentary on the Changes' says: a gentleman cannot directly see the great principle of 'zhongzheng' embodied in nine in the fifth, but only sees a faint image through a crack. Although this is considered compliant, it is on the same level as a woman's compliance with chastity, hence it is shameful and disgraceful. Collected interpretations cite Guo Zhongxiao saying: the same action has different outcomes of good or bad fortune for men and women. Therefore, the line six in the fifth of the 'Heng' hexagram says 'a woman is auspicious, a man is inauspicious'; from this we can see that the line six in the second of the 'Guan' hexagram says 'favorable for a woman to maintain chastity', which in reverse indicates that this is inherently an embarrassment for a man.

觀我生進退，未失道也。 程傳 觀己之生，而進退以順乎宜，故未至於失道也。 案 “道”，即進退之道。量而後入，則不失乎進退之道矣。

The Image Commentary explains line six in the third: observe one's own actions to decide whether to advance or retreat, and has not yet lost the path of righteousness. Cheng Yi's Yichuan Commentary on the Changes says: reflect inwardly on one's lifetime of conduct, and use this to decide whether to advance or retreat, always following what is appropriate for the times, thus not losing the path of righteousness. Li Guangdi remarks: here, the term 'dao' refers to the way of advancing and retreating. First assess one's own abilities and virtues along with the times, and then decide whether to take office, thus not violating the proper measure of advancement and retreat.

程傳 君子懷負才業，志在乎兼善天下，然有卷懷自守者，蓋時無明君，莫能用其道，不得已也！豈君子之志哉。故孟子曰：中天下而立，定四海之民，君子樂之，既觀見國之盛德光華。古人所謂非常之遇也，所以志願登進王朝，以行其道，故云“觀國之光尚賓也”。尚，謂志尚，其志意願慕賓于王朝也。 集說 楊氏簡曰：言其國貴“尚”賓賢，可以進也。

The original text here omits the small image commentary of Six in the Fourth, "Observing the light of the state, it is the virtue of the guest," and directly proceeds to Cheng Yi's commentary. Cheng Yi in his Commentary on the Changes says: A gentleman possesses talent and scholarly learning, and his aspiration is originally to benefit the world. However, there are also those who conceal their ambitions and seek only personal cultivation, because the times lack a wise ruler who can employ their principles, and this is due to necessity, not the gentleman's true wish. Therefore, the Mencius, in the chapter "Complete Heart," says that to stand in the center of the world and stabilize the people of the four seas is what a gentleman delights in. Now, since he has personally witnessed the virtue of a state, it is indeed a rare opportunity as anciently described. Therefore, he is willing to enter the court to practice his principles. Hence, the Image Commentary says, "Observing the light of the state, it is the virtue of the guest." "Shang" means aspiration, referring to his longing to serve as a guest in the court. The collected interpretations cite Yang Jian, who says: This sentence refers to the state valuing and honoring virtuous men with the rites of a guest, so virtuous men can enter the court.

觀我生，觀民也。 本義 此夫子以義言之，明人君現己所行，不但一身之得失，又當觀民德之善否，以自省察也。 程傳 我生出於己者，人君欲觀己之施為善否，當觀於民，民俗善則政化善也。王弼云，觀民以察己之道是也。 集說 胡氏瑗曰：觀流則可以知源，觀影則可以知表，觀民則可以知己政之得失也。

The Image Commentary explains the Nine in the Fifth by saying: what is meant by "observing my life" is actually observing the people. Zhu Xi's "Benyi" states: this is Confucius speaking about principles, emphasizing that a ruler should reflect on his own actions, not only considering his own gains and losses, but also looking at the moral goodness or badness of the people, using this to examine himself (the original text says "present one's own actions," but "present" should be "observe"). Cheng Yi's "Yichuan Commentary on the Changes" says: "my life" refers to all the actions that arise from oneself; a ruler who wants to know if his governance is good should go to the people to observe them. If the people's customs are simple and virtuous, it shows that the influence of government and education is good. Wang Bi says that observing the people is exactly the method of examining oneself, meaning this. The collected interpretations also cite Hu Yuan's statement: by observing the flow of water, one can know the source; by observing the shadow, one can know the form; by observing the people, one can know the gains and losses of one's governance.

觀其生，志未平也。 本義 “志未平”，言雖不得位，未可忘戒懼也。 程傳 雖不在位，然以人觀其德，用為儀法，故當自慎省。觀其所生，常不失於君子，則人不失所望而化之矣。不可以不在於位，故安然放意無所事也，是其志意未得安也，故云“志未平”也。“平”，謂安寧也。 集說 陸氏希聲曰：民之善惡，由我德化，其志未平，憂民之未化也。

The Image Commentary explains the line 'Nine at the Top' as: observing his actions, his mind is still not at ease. Zhu Xi's 'Benyi' states: the phrase 'the mind is not yet at peace' means that although the line 'Nine at the Top' is in a position without official status, he should not forget to be cautious and fearful. Cheng Yi's 'Yichuan Commentary on the Changes' says: although the line 'Nine at the Top' is not in an official position, the people of the world still look upon his virtue as a standard to follow, so he must be careful and self-examine. He reviews his daily actions and often maintains the proper conduct of a gentleman, so the people's expectations will not be disappointed, and they will be influenced accordingly. He cannot let himself be careless and neglectful just because he is not in an official position. Precisely for this reason, his mind is always unsettled, which is why the Image Commentary says 'the mind is not yet at peace.' 'Peace' here means tranquility. The collected interpretations cite Lu Xisheng as saying: the goodness or wickedness of the people depends on my moral influence. The phrase 'the mind is not yet at peace' expresses concern that the people have not yet been properly educated.

雷電，噬嗑。先王以明罰敕法。 本義 “雷電”當作“電雷”。 程傳 象無倒置者，疑此文互也。“雷電”相須並見之物，亦有嗑象，電明而雷威，先王觀“雷電”之象，法其明與威，以明其刑罰，飭其法令。法者，明事理而為之防者也。

The Great Image Commentary says: Thunder and lightning interacting is the image of the Hexagram 21, Shèkè. The ancient kings took inspiration from it to clarify punishments and regulate laws. Zhu Xi's "Benyi" says: The lower trigram of Shèkè is Zhen (Thunder), and the upper trigram is Li (Lightning). According to the order of upper and lower trigrams, the words "Thunder" and "Lightning" should be "Lightning" and "Thunder". Cheng Yi's Yichuan Commentary on the Changes says: The "Great Images" of all hexagrams do not reverse the upper and lower trigrams. It is suspected that the text here has a mutual reversal. Thunder and lightning are naturally complementary phenomena, and their combination also contains the image of "kè" (bite). Lightning represents brightness, while Thunder represents power. The ancient kings observed the image of Thunder and Lightning, and imitated its brightness and power to clarify punishments and regulate laws. What is meant by "imitating" is to explain the principles clearly and establish prohibitions accordingly.

集說 侯氏行果曰：雷所以動物，電所以照物，雷電震照，則萬物不能懷邪，故先王則之，明罰敕法，以示萬物也。 項氏安世曰：陰陽相噬而有聲則為雷，有光則為電，二物因噬而嗑，故曰“雷電噬嗑”。

Collecting Sayings cites Hou Xingguo's explanation: Thunder is used to shake and move all things, while lightning is used to illuminate all things; when thunder and lightning both act together, all things dare not harbor evil intentions, so the former kings took it as a model, making their punishments clear and regulating laws, to show their likes and dislikes to all things under heaven. Collecting Sayings also cites Xiang Anshi's explanation: The interaction and struggle between yin and yang produce sound as thunder and light as lightning; these two things, because they bite and then come together, are referred to by the Image Commentary as "Thunder and Lightning Biting and Joining."

徐氏幾曰：“明罰”者，所以示民而使之知所避；“敕法”者，所以防民而使之知所畏。此先王忠厚之意也，未至折獄致刑處，故與《豐》象異。 張氏清子曰：蔡邕石經本作“電雷”。 蔡氏清曰：先王以明罰敕法，此以立法言，故曰“先王”，若《豐》折獄致刑，以用法言，則曰君子矣。

Collective commentary cites Xu Ji's explanation: "Mingfa" refers to making punishments known to the people so they know what to avoid; "Chifa" refers to using laws to prevent the people, making them aware of what to fear. These are aspects of the sincere and benevolent intentions of the former kings, not yet reaching the stage of adjudicating cases and applying punishment, hence differing from the symbolic meaning in the "Feng" hexagram's image, which says "Zheyu Zixing" (judging cases and applying punishment). Collective commentary cites Zhang Qingzi's explanation: The version of the Han dynasty Cai Yong's Xi Ping Stone Classics reads "Dian Lei" here. Collective commentary cites Cai Qing's explanation: Here, "Xianwang yi mingfa chifa" refers to establishing legal codes, hence calling it "Xianwang"; whereas the "Feng" hexagram's image discusses "Zheyu zixing," referring to the application of laws, hence changing to "junzi."

薛氏瑄曰：《噬嗑》、《賁》、《豐》、《旅》四卦論用刑，皆離火之用，以是見用法貴 屨校滅趾，不行也。

Collected Commentaries cite Xue Xuan's statement: The four hexagrams, Shexi, Ben, Feng, and Lv, all discuss the use of punishment, and these four hexagrams all contain the trigram Li, which symbolizes the function of the bright light of fire. This shows that the use of punishment should be valued in... the original text here is missing, and Xue Xuan's words are cut off. The text then directly continues with the small image of Shexi hexagram initial line, "Jù jiào miè zhǐ, bù xíng yě"—wearing wooden restraints on the feet, covering and injuring the toes, to prevent further movement.

本義 “滅趾”，又有不進於惡之象。 程傳 “屨校”而滅傷其趾，則知懲誡而不敢長其惡，故云“不行也”。古人制刑，有小罪則校其趾，蓋取禁止其行，使不進於惡也。 集說 胡氏炳文曰：下卦為震，“滅趾”使其不敢如震之動也，動則進於惡矣。

Zhu Xi's "Benyi" says: "Mie zhi" refers not only to injuring the toe but also symbolizes the prevention of further development of evil. Cheng Yi's "Yichuan Commentary on the Changes" says: wearing restraints on the feet and injuring the toe serves as a warning to those who have committed crimes, making them cautious and preventing them from nurturing further evil. Therefore, the "Image Commentary" says "no movement." In ancient times, when people committed minor offenses, they were given wooden restraints on their feet, intending to prevent them from moving, thus stopping them from going deeper into evil. The collected interpretations cite Hu Bingwen saying: the lower trigram of "Shike" is Zhen, which represents movement. "Mie zhi" is meant to prevent him from acting recklessly like Zhen, which leads to evil.

噬膚滅鼻，乘剛也。 程傳 深至滅鼻者，“乘剛”故也。“乘剛”乃用刑于剛強之人，不得不深嚴也，深嚴則得宜，乃所謂中也。 集說 孔氏穎達曰：乘剛者，釋“噬膚滅鼻”之義，以其乘剛，故用刑深也。

The Image Commentary explains the line six in the second saying: biting into soft flesh until the nose is entirely gone, is because six in the second is riding over a strong line. In his Commentary on the Changes, Cheng Yi says: using punishment to the extent of 'cutting off the nose' is precisely because six in the second 'rides over strength'.the so-called 'riding over strength' refers to a flexible line resting upon a strong line, equivalent to applying punishment to someone who is strong and difficult to control, and thus punishment must be deep and severe. When severity is applied appropriately, this is called following the middle path. The collected interpretations cite Kong Yingda saying: the term 'riding over strength' explains the reason for 'biting flesh and cutting off the nose', because it is resting upon a strong line, so punishment is applied to such an extent.

遇毒，位不當也。 程傳 六三以陰居陽，處位不當。自處不當，故所刑者難服，而反毒之也。 案 此亦借爻位之不當，以明其所處之難爾。非其所行有不當也，若所行有不當，則施之刑獄，其失大矣，安得無咎，又豈獨“小吝”而已乎。

The Image Commentary explains the sixth line in the third position, saying: eating poisonous preserved meat is because the line is in an improper position. Cheng Yi's Yichuan Commentary on the Changes says: the sixth line is a yin line in a yang position, which is considered 'improper'; since its position is improper, the person subjected to punishment will not be convinced, and will instead retaliate and harm others. Li Guangdi comments: here it is only using the 'improper position' of the line to indicate the difficult situation of the sixth line in the third position, but not implying that the action itself is improper. If the action were indeed improper, once applied to judicial punishment, the mistake would be great, how could there be 'no blame'? And how could it be merely 'a minor hardship'?

利艱貞吉，未光也。 程傳 凡言“未光”，其道未光大也。戒於“利艱貞”，蓋其所不足也，不得中正故也。 集說 方氏應樣曰：慮聽訟者之心有所末光，故以“利艱貞”為戒。

The Image Commentary explains the Nine in the Fourth saying: it is advantageous to maintain uprightness in hardship and then attain good fortune, because its way has not yet become prominent. Cheng Yi's Yichuan Commentary on the Changes says: whenever the Image Commentary mentions 'not yet bright,' it refers to the way not being broad and clear. The Line Statement uses 'advantageous to be steadfast in hardship' to warn him, precisely because he has some deficiency: the Nine in the Fourth is a strong line in a weak position, neither occupying the central position nor being in the proper place, thus failing to achieve 'central uprightness.' A collected commentary cites Fang Yingxiang saying (the original text reads 'Fang Shih Yingxiang,' and 'bottom brightness' should be 'not yet bright'): this is precisely considering the concern that those handling legal cases may still have insufficient clarity in their hearts, hence using 'advantageous to be steadfast in hardship' to warn them.

貞厲無咎，得當也。 程傳 所以能“無咎”者，以所為得其當也，所謂“當”，居中用剛，而能守正慮危也。 集說 趙氏汝楳曰：釋《彖》言“不當位”，此言“得當”者，釋《彖》以位言，此以事言。六五以柔用獄，行以正厲，其“無咎”者，得用獄之當者也。 林氏希元曰：“得當”，即是得用刑之道，不就爻位說。若果是說位得中，當以解“得黃金”，不宜以解“貞厲無咎”矣。

The Image Commentary explains the line six in the fifth: maintaining correctness and always remaining cautious and alert will not lead to mistakes, because the actions are properly handled. Cheng Yi in his commentary Yichuan's Commentary on the Changes says: the reason why the line six in the fifth can achieve 'no blame' is because all its actions are appropriate. The term 'appropriate' refers to being in the central position and being able to make decisive actions with firmness, while also adhering to the correct path and being mindful of danger. The collected commentaries cite Zhao Ru Mei's statement: the Commentary on the Judgment says the line six in the fifth of the hexagram Shike is 'not in the proper position,' but here it says 'appropriate,' because the Commentary on the Judgment discusses the position of the line, while this discussion refers to the matter itself. The line six in the fifth, being a flexible line in a noble position, oversees legal punishments, acts with correctness and always maintains a sense of danger, its 'no blame' is precisely due to the appropriate application of the principles of punishment. The collected commentaries also cite Lin Xi Yuan's statement: 'appropriate' refers to the proper application of punishment, not referring to the position of the line. If it were referring to being in the central position, it should be used to explain the line statement 'obtain gold,' not to explain 'upright and dangerous but without blame.'

何校滅耳，聰不明也。 本義 “滅耳”，蓋罪其聽之不聰也，若能審聽而早圖之，則無此凶矣。 程傳 人之聾暗不悟，積其罪惡以至於極，古人制法，罪之大者，何之以校，為其無所聞知，積成其惡，故以校而滅傷其耳，誡“聰”之“不明”也。 集說 胡氏炳文曰：上卦為離，“滅耳”，言其不能如離之明也。

The Image Commentary explains the line 'Nine at the Top' as follows: He is burdened with a heavy wooden collar, even his ears are covered, indicating that he is being blamed for failing to understand matters clearly. Zhu Xi's 'Benyi' states: The term 'muted ears' refers to blaming him for not listening attentively; if he had listened carefully and planned in advance, he would not have encountered such danger. Cheng Yi's 'Yichuan Commentary on the Changes' says: When a person is deaf and has a dark mind, and remains stubborn and unenlightened, his sins accumulate more and more until they reach their peak. In ancient times, when a crime was severe, a wooden collar was placed on the neck as a punishment ('he' is the same as 'he', meaning to bear a burden). This is because he could not hear anything, thus accumulating great evil. Therefore, a collar is placed on his shoulders to cover his ears, warning him that his hearing 'is not clear' and 'not discerning'. The collected interpretations cite Hu Bingwen saying: The upper trigram of 'Shihhe' is Li, which represents clarity. 'Muted ears' means that the line 'Nine at the Top' fails to be as discerning as Li.

山下有火，賁。君子以明庶政，無敢折獄。 本義 “山下有火”，明不及遠；“明庶政”，事之小者；“折獄”，事之大者，內離明而外艮止，故取象如此。

The Great Image Commentary says: Mountains below fire, this is the image of the卦 of Zhen. The gentleman takes it as a model to clarify various state affairs, and does not dare to hastily decide on legal cases. Zhu Xi's "Ben Yi" says: Fire below the mountain, its light is limited, and its brightness cannot reach far. Clarifying "shu zhi" (various state affairs) belongs to minor matters, while "zhe yu" (deciding legal cases) belongs to major matters. The inner trigram of Zhen is Li (Fire), taking its brightness, and the outer trigram is Gen (Mountain), taking its stillness. Therefore, the image is formed in this way: brightness is applied only to minor matters, but when encountering major matters, one knows to stop.

程傳 山者，草木百物之所聚生也，火在其下而上照：庶類皆被其光明，為賁飾之象也。君子觀山下有火，明照之象，以修明其庶政，成文明之治，而無敢果於“折獄”也。“折獄”者，人君之所致慎也，豈可恃其明而輕自用乎，乃聖人之用心也，為戒深矣。象之所取，唯以山下有火，明照庶物，以用明為戒。而《賁》亦自有“無敢折獄”之義，折獄者專用情實，有文飾則沒其情矣，故無敢用文以折獄也。

Cheng Yi in Yichuan's Commentary on the Changes says: A mountain is the place where grass, trees, and all things gather and grow. Fire is beneath the mountain and shines upward, illuminating all things, which is the image of "Bian" representing ornamentation and brilliance. The gentleman sees the image of fire beneath the mountain shining upon all things, and uses it to illuminate and clarify all government affairs, achieving the way of civilization, yet he does not act hastily in making judgments. Making judgments is the most important and cautious task for a ruler; how can one act rashly based on personal insight? This is precisely the concern of the sage, a deep warning. In terms of the image, it is simply taking the image of fire beneath the mountain shining upon all things, establishing a warning from the aspect of using brightness. However, the卦 itself also contains the principle of "not daring to judge cases"—judging should be based solely on the truth of the matter; once there is ornamentation, the truth is obscured, so one must not use ornamentation to judge cases.

集說 王氏弼曰：處賁之時，止物以文明，不可以威刑，故“君子以明庶政，而無敢折獄”。 《朱子語類》：問：“明庶政，無敢折獄”。曰：此與《旅》卦都說刑獄事，但爭艮與離之在內外，故其說相反。止在外，明在內，故明政而不敢折獄。止在內，明在外，故明謹用刑而不敢留獄。如今州縣治獄，禁勘審覆，自有許多節次，過乎此而不決，便是留獄，不及乎此而決，便是敢於折獄，《尚書》要囚至於旬時，它須有許多時日，與《周禮秋官》同意。

Collective commentary cites Wang Bi's explanation: during the hexagram of Zhen, which discusses ornamentation, controlling things should rely on virtue and clarity, not on authority and punishment. Therefore, it says, "The superior man governs by clarifying government affairs and dares not decide criminal cases." Collective commentary cites Master Zhu's "Classified Sayings": someone asked how to interpret "clarify government affairs and dare not decide criminal cases." Master Zhu answered: this passage and the one from the hexagram of Lu both deal with criminal justice, differing only in that in one case the mountain (Geng) is within and in the other it is outside. Thus, the two passages are opposite. In Zhen, the mountain is outside and the fire is inside, so only government affairs are clarified and criminal cases are not decided. In Lu, the mountain is inside and the fire is outside, so criminal punishment is used cautiously and cases are not accumulated. Just as in present-day county and prefecture courts, the process of arrest, interrogation, and re-examination involves several steps. If cases are not decided beyond these steps, it is called "leaving cases pending." If cases are decided before these steps are completed, it is called "daring to decide cases." The "Book of Documents, Kang Gao" says that prisoners awaiting trial should be detained for five to ten days or even three months, which originally allows for such a period, and this is the same intention as recorded in the "Rites of Zhou, Autumn Official."

蔡氏淵曰：有山之材，而照之以火，則光彩外著，《賁》之象也。“明庶政”，離明象，政者治之具，所當文飾也，“無敢折獄”，艮止象，折獄貴乎情實，賁則文飾而沒其情矣。 何氏楷曰：《呂刑》曰：非佞折獄，惟良折獄，苟恃其明察，而緣飾以沒其情，民且有含冤矣。故言刻核者曰深文，言鍛鍊者曰文致，法曰文綱，弄法者曰舞文，治獄之多冤，未有不起於文者，此皆敢心誤之也。

Collective commentary cites Cai Yuan's explanation: In the mountains there are originally materials of grass, trees and all things. When fire is used to illuminate them, their brilliance becomes apparent. This is precisely the image of the卦 (hexagram) Zhen. "Clarifying the affairs of the people" takes the image of Li (Fire), as government affairs are the instruments for governing the world, and they should be adorned with culture to appear brilliant and impressive. "Dare not decide cases" takes the image of Gen (Mountain), as deciding cases should be based on the true situation. Once adorned, the truth is obscured. Collective commentary also cites He Kai's explanation: The Book of Shang says that one should not let eloquent people decide cases, but only let virtuous and capable people do so. If one relies on one's own sharp observation and uses words to embellish and conceal the facts, the people will suffer injustice. Therefore, being overly meticulous and searching for faults is called "deep words," fabricating crimes is called "adorned accusation," the legal system is called "adorned framework," and playing with legal provisions is called "adorned law." The reason why judgments often result in injustice is that all of them come from this "adorned" character. These are all caused by that single-minded and reckless spirit.

舍車而徒，義弗乘也。 本義 君子之取舍，決於義而已。 程傳 “舍車而徒”行者，於義不可以乘也，初應四正也，從二非正也，近舍二之易，而從四之難，舍車而徒行也，君子之賁，守其義而已。

The Image Commentary explains the line Nine at the Beginning saying: abandoning the chariot and walking on foot is because according to righteousness one should not take that chariot. Zhu Xi's Benyi says: a gentleman, in the matter of taking and abandoning, decides solely by the principle of righteousness. Cheng Yi's Yichuan Commentary on the Changes says: abandoning the chariot and walking on foot is because according to principles one should not take it. The line Nine at the Beginning is in a correct correspondence with Six in the Fourth, but following Six in the Second is not in accordance with the right path; abandoning the nearby Six in the Second, which is an easy path, and going to the distant Six in the Fourth, which is a difficult path, is like abandoning the chariot and walking on foot. A gentleman's refinement lies only in holding fast to his righteousness.

賁其須，與上興也。 程傳 以須為象者，謂其與上同興也，隨上而動，動止唯繫所附也，猶加飾於物，因其質而賁之，善惡在其質也。

The Image Commentary explains the line Six in the Second saying: Adorning his beard, it moves in harmony with what is above. Cheng Yi's Commentary on the Changes says: Using the beard as a symbol, it indicates that the line Six in the Second moves together with the line above. The beard is attached to the cheek, and the cheek moves it, so whether it moves or stops depends entirely on what it is attached to. This is like adding decoration to an object; one can only adorn it according to its original nature, and the final goodness or evil depends on the nature of the object itself.

集說 候氏行果曰：自三至上，有《頤》之象，二在《頤》下，須之象也，上無其應，三亦無應，若能上承於三，與之同德，雖俱無應，可相與而興起也。 袁氏樞曰：陰不能以自明也，得陽而後明；柔不能以自立也，得剛而後立；下不能以自興也，得上而後興也。

Collecting sayings cites Hou Xingguo's explanation (the original text says "Hou Shi Xingguo", i.e., Hou Xingguo): The lines from nine in the third to nine at the top form the image of the hexagram "Yi" (Nourishing). Six in the second is below the mouth of "Yi", which symbolizes the mustache. Nine at the top has no corresponding line, and nine in the third also lacks a responding line; if six in the second can ascend to support nine in the third and share the same virtue, then although both lines lack "response and mutual support", they can still support each other and rise together. Collecting sayings cites Yuan Shu's explanation: Yin cannot shine by itself; it becomes bright only when it receives Yang. Softness cannot stand by itself; it can stand only when it receives strength. Those in the lower position cannot rise by themselves; they can rise only when they receive support from above.

永貞之吉，終莫之陵也。 程傳 飾而不常且非正，人所陵侮也，故戒能永正則言也，其賁既常而正，誰能陵之乎。 集說 蔡氏淵曰：“陵”，侮也。三能“永貞”，則二柔雖比己而“濡如”，然終莫之陵侮，而不至陷溺也。 沈氏一貫曰：下三爻皆取離義，至三而文明極矣，有溺質之象。唯“永貞”則濟之以艮止，故吉而莫之陵。

The Image Commentary explains the line nine in the third: only by maintaining constancy and uprightness can one achieve good fortune, and in the end, no one can oppress him. Cheng Yi's Commentary on the Changes says: if the adornment is not enduring and does not conform to uprightness, then one will be oppressed, so the line statement warns that only by maintaining constancy and uprightness can one be good. His adornment is both enduring and upright, so who could oppress him? The collected interpretations cite Cai Yuan's saying: "Ling" means oppression. If nine in the third can maintain constancy and uprightness, then the flexible line six in the second, although adjacent and showing a moist and affectionate appearance, will ultimately not be able to oppress him, and he will not be drawn into it. The collected interpretations also cite Shen Yiguang's saying: in the卦 of Zhen, the three lines below all take the meaning of Li, and by the third line, civilization has reached its peak, showing an image of being submerged in the soft and moist quality; only by maintaining constancy and uprightness can it be corrected by the stillness of Gen, thus achieving good fortune and no one being able to oppress him.

六四，當位疑也。匪寇婚媾，終無尤也。 本義 “當位疑”，謂所當之位可疑也。“終無尤”，謂若守正而不與，亦無它患也。 程傳 四與初相遠，而三介於其間，是所當之位為可疑也，雖為三寇仇所隔，未得親於婚媾，然其正應，理直義勝，終必得合，故云“終無尤也”。“尤”，怨也。終得相賁，故無怨尤也。

The Image Commentary explains the line six in the fourth: the situation faced by six in the fourth is doubtful; what comes is not a strong enemy but a suitor, and in the end there will be no resentment. Zhu Xi's "Benyi" says: the term "when in the right position there is doubt" means that the position it faces is questionable; the term "in the end there is no resentment" means that if one remains on the right path and does not engage, there will be no other misfortune. Cheng Yi's "Yichuan Commentary on the Changes" says: six in the fourth is far away from initial nine, and nine in the third is in between, so the position it faces is doubtful. Although it is blocked by nine in the third, which is like an enemy, it cannot get close to the suitor. However, six in the fourth and initial nine are originally a proper correspondence, right and reasonable, so in the end they must meet, hence "in the end there is no resentment." "You" means resentment; in the end they can adorn each other and become close, so there is no resentment.

集說 朱氏震曰：純白無偽，誰能間之，始疑而終合，故曰“終無尤也”。 郭氏雍曰：四雖自飾，亦有“皤如”之質，猶丘園之賁，虛己待物之象也。初飾其趾而來，翰如之馬也，以剛下柔而來，應匪寇也，婚媾之道也，四雖懷疑，終何尤哉。

Collected Commentaries cite Zhu Zhen's view: Both sides are pure white with no deceit, who could separate them? Although there was initial doubt at the beginning, in the end they will reunite, hence it is said "finally there is no blame." Collected Commentaries cite Guo Yong's view: Although line four adds ornamentation, it still possesses the essential purity described in the line statement, like line five "the ornate in the country estate," which symbolizes waiting for external things with an empty self. Line one adorns his toe and comes forward, exactly like the white horse described as "flying swiftly." It comes with a yang line bending beneath a yin line, coming as the proper response, not as a strong invader, following the path of marriage and union. Although line four had doubts in its heart, in the end, what blame could there be?

六五之吉，有喜也。 程傳 能從人以成賁之功，享其吉美？是“有喜”也。 集說 方氏應祥曰：於文勝之時，而為丘園之賁，豈不甚可喜乎。非自喜也，為世道喜也。

The Image Commentary explains the line Six in the Fifth saying: the reason for its good fortune is because of something pleasant. In Yichuan's Commentary on the Changes by Cheng Yi, it says: the line Six in the Fifth can follow Nine at the Top and achieve the effect of refinement and decoration, thus enjoying its good fortune, which is called 'there is joy'. Collected Commentaries cite Fang Yingshang saying: when literary embellishment is at its height, the line Six in the Fifth practices 'the refined elegance of the countryside', using the simplicity of the fields as decoration. Is this not very pleasant? It is not joyful for itself alone, but joyful for the world and the people's hearts.

案 《傳》：於五位多言“有慶”，慶大而喜小也，此爻居尊而返樸祟儉，亦可以易俗移風，而但曰有喜者，且就一身無過言爾。如《無妄》五、《損》四、《兌》四之例，皆以無疾為喜，若推其用，則化成天下，慶在其中矣。

Li Guangdi remarked: The Image Commentary mentions "there is joy" at the fifth line. "Joy" refers to something small and confined to oneself, while "celebration" is great and widespread. This line occupies a position of honor and returns to simplicity and frugality (the original text mistakenly uses "soul" instead of "revere"), which is already sufficient to transform customs. However, the Image Commentary only mentions "there is joy," which is merely referring to the absence of faults in oneself. Following the style of the fifth line of "Wu Wang," the fourth line of "Sun," and the fourth line of "Dui," they all consider the absence of illness as joy. If we extend this to its broader function, it would affect the whole world, and "celebration" would naturally be included within it.

白賁無咎，上得志也。 程傳 “白賁無咎”，以其在上而得志也。上九為得志者，在上而文柔，成賁之功，六五之君，又受其賁，故雖居無位之地，而實尸賁之功，為得志也。與它卦居極者異矣，既在上而得志，處賁之極，將有華偽失實之咎，故戒以質素則無咎，飾不可過也。

The Image Commentary explains the line 'Nine at the Top' as follows: using plain white as ornamentation without error, is because it is in a high position and its aspirations are fulfilled. Cheng Yi's Commentary on the Changes says: the phrase 'white adornment without blame' is because Nine at the Top is in a high position and thus fulfills its aspirations. Saying that Nine at the Top fulfills its aspirations is because it is at the top and applies its ornamentation to the lower yao, completing the adornment of the entire hexagram. The line Six in the Fifth, as the ruler, accepts this adornment. Therefore, although Nine at the Top is in a position without official rank, it actually oversees the adornment of the hexagram. This is called fulfilling its aspirations. This is different from other hexagrams where a line is at the highest position. Since it is at the top and fulfills its aspirations, and is at the extreme point of adornment in the hexagram of贲, there is a risk of superficiality and lack of substance. Therefore, the Image Commentary warns with plainness and simplicity: if one maintains simplicity, there will be no blame, but adornment should not be excessive.

集說 《朱子語類》：問：何謂得志。曰：居卦之上，在事之外，不假文飾，而有自然之文，便是優遊自得也。

Collected Commentaries cite Master Zhu's Sayings: Someone asked, what does "getting what one desires" mean? Master Zhu answered: To be in the highest position of a hexagram, to stand apart from affairs, not relying on artificial embellishment, yet possessing naturally refined elegance. This is being at ease and content, enjoying oneself freely.

項氏安世曰：六二柔來而文剛，主內卦之文者也，內卦以文為文，故曰：“賁其須”，須之麗於身，最為虛文也，然陽氣不盛，不足以賁其須，故曰“與上興也”，二與上交而成卦，二以上為主，猶須以陽為主也，深明文之與質，未嘗相離，故不言吉凶，吉凶繫於質也，上九分剛上而文柔，主外卦之文者也，外卦以質為文，故曰“白賁”。白本 案 項氏以“與上興”為上九，不如指九三言為當。

Collecting interpretations cite Xiang Anshi's view: Six in the second is a yao (line) of flexibility arriving at the lower trigram, and it embellishes the yang yao. It is the line that governs the inner trigram's embellishment. The inner trigram takes embellishment as its character, so the line statement says "Beren qixu" (embellishing the beard). The beard is attached to the body, being the most subtle form of embellishment. However, if yang energy is not strong enough, it is insufficient to embellish the beard, so the Image Commentary says "with the upper one to rise." Six in the second exchanges with the upper yao to form the hexagram of "Beren" (embellishment). Six in the second takes the upper yao as its main element, just as the beard takes yang energy as its main element. This deeply illustrates that embellishment and substance have never been separated, so the line statement does not mention fortune or misfortune, as fortune and misfortune are attached to "substance." Upper nine is a yang yao that separates and resides at the top, embellishing the flexible yao. It is the line that governs the outer trigram's embellishment. The outer trigram takes simplicity as its embellishment, so the line statement says "Bai Ben" (white embellishment) — the original text only has "Bai Ben" and then breaks off, and Xiang's words are incomplete. Li Guangdi comments: Xiang regarded "shang" in "yu shang xing" as referring to upper nine, but it is more appropriate to refer to nine in the third.

山附於地，剝。上以厚下安宅。 程傳 艮重於坤，“山附於地”也。山高起於地而反附著於地，圮剝之象也。上，謂人君與居人上者，觀《剝》之象，而厚固其下，以安其居也，下者上之本，未有基本固而能剝者也。故上之剝必自下，下剝則上危矣。為人上者，知理之如是，則安養人民，以厚其本，乃所以安其居也，《書》曰：民唯邦本，本固邦寧。

The Great Image Commentary says: Mountains resting on the earth represent the image of the Hexagram of Decrease. Those in superior positions should take this as a model, to treat the people generously and stabilize their own position. In Cheng Yi's Commentary on the Changes, it says: The hexagram of Earth is stacked upon the hexagram of Mountain, which represents 'mountains resting on the earth.' Mountains originally rise high above the ground, but now they are resting on the earth, symbolizing collapse and decay. 'Above' refers to sovereigns and those in superior positions; they should observe the image of the Hexagram of Decrease and strengthen the people below, to stabilize their own position. The people below are the foundation of the superior. There has never been a case where a solid foundation leads to collapse. Therefore, collapse from above must begin with decay from below. Once the foundation decays, the superior position becomes dangerous. When those in superior positions understand this, they will care for the people and strengthen the foundation, which is the proper way to stabilize their position. The Book of Documents, the Five Songs of the Five Sons, says: The people are the foundation of the state. When the foundation is solid, the state is at peace.

集說 虞氏翻曰：山高絕於地，今附地者，明被剝矣，君當厚錫於下，然後得安其居。 劉氏牧曰：山以地為基，厚具地，則山保其高；君以民為本，厚其下，則君安於上。 司馬氏光曰：基薄則牆頹，下薄則上危，故君子厚其下者，所以自安其居也。 《朱子語類》云：唯其地厚，所以山安其居而不搖，人君厚下以得民，則其位亦安而不搖，猶所謂本固邦寧也。

Collective commentary cites Yu Fan's explanation: mountains originally stand high and are distinct from the ground, but now they are attached to the earth, indicating they have been eroded; the ruler should generously reward the people, then he can remain secure in his position. Collective commentary cites Liu Mu's explanation: mountains rely on the earth as their foundation, and only by strengthening the earth can the mountain maintain its height; the ruler relies on the people as his foundation, and only by treating the people well can he remain secure in his position. Collective commentary cites Sima Guang's explanation: if the foundation is thin, the wall will collapse; if the base is weak, the upper part will be in danger, so a gentleman should treat his people well in order to secure his own position. Collective commentary cites Master Zhu's "Classified Talks": precisely because the earth is deep and solid, the mountain can stand firm without shaking; when a ruler treats the people well and gains their support, his position as ruler will be secure and stable, which is what is meant by "solid foundation brings national peace."

剝床以足，以滅下也。 程傳 取床足為象者，以陰侵沒陽於下也，“滅”，沒也，侵滅正道，自下而上也。 集說 虞氏翻曰：床所以安人，在下故稱足。先從下剝，漸及於上，故曰“以滅下也”。

The Image Commentary explains the line "Six at the Beginning" saying: peeling off the bed starts from the bed legs, meaning destruction begins from below. Cheng Yi's Commentary on the Changes says: using the bed legs as a symbol is because the yin energy starts from below to erode and overwhelm the yang. "Ming" means to overwhelm; eroding and overwhelming the correct path comes from below upwards step by step. The collected interpretations cite Yu Fan saying: a bed is used to accommodate people, and the bed legs are at the very bottom, so they are called "foot." Peeling off starts from below and gradually spreads upwards, hence it is said "to overwhelm from below."

剝床以辨，未有與也。 本義 言未大盛。 程傳 陰之侵剝於陽，得以益盛，至於剝“辨”者，以陽未有應與故也。小人侵剝君子。若君子有與，則可以勝小人，不能為害矣。唯其無與，所以被“蔑”而凶。當消剝之時，而無徒與，豈能自存也。言未有與，剝之未盛，“有與”，猶可勝也，示人之意深矣。

The Image Commentary explains the line six in the second: the peeling off reaches the part where the bed frame meets the legs, because the yang has not yet found a corresponding partner. Zhu Xi's "Basic Meaning" says: this refers to the power of yin's peeling off not yet being fully developed. Cheng Yi's "Yichuan Commentary on the Changes" says: the gradual intensification of yin's invasion and peeling off of yang is due to the lack of a corresponding partner for yang. When small people invade and oppress the virtuous, if the virtuous have companions, they can overcome the small people, and the small people cannot harm them. But because they have no companions, they are oppressed and thus face misfortune. In a time when yang energy is being peeled off, and there is no support from like-minded people, how can one protect oneself? The Image Commentary says "not yet having a partner," meaning the peeling off has not yet become dominant. As long as there is still a partner, one can still prevail. The profound intention of the sage is evident.

集說 崔氏憬曰：“辨”當在第足之間，是床梐也，“未有與”者，言至三則應，故二“未有與也”。 吳氏澄曰：若六三之剝之，唯其有與也。

Collecting Sayings cites Cui Jing's view: "辨" should be between the bed frame and the bed legs, meaning the crossbar of the bed's frame (the original text mistakenly uses "第" instead of "箦"). What is meant by "not having a corresponding" is that until the sixth line of the third trigram, there is no corresponding yang line, so the sixth line of the second trigram still "has not a corresponding." Collecting Sayings also cites Wu Cheng's view: regarding the statement of the third line about being able to avoid blame through "peeling away," it is precisely because it has a corresponding line.

龔氏渙曰：六二陰柔中正，使上有陽剛之與，則必應之助之，而不為剝矣，唯其無與，所以雜於群陰之中而為剝，若三則有與，故雖不如二之中正而得無咎。 案 崔氏、吳氏、龔氏之說，皆得文意，六三不中正而辭優於二，故聖人以“未有與”失上下明之。

Collected interpretations cite Gongs Han's view: Six in the Second is a yin and flexible line that is in the center and proper position. If there is a yang line above it that corresponds with it, it will respond and support that yang line, and thus will not participate in the decline. It is precisely because it has no corresponding line that it is mixed among the other yin lines and thus participates in the decline. As for Six in the Third, it has a corresponding line, so although it is not as proper as Six in the Second's 'center and proper position,' the line statement says it has no fault. Li Guangdi comments: The views of Cui Xing, Wu Cheng, and Gongs Han all conform to the meaning of the Image Commentary. Six in the Third is neither in the center nor in the proper position, yet the line statement about it is better than that of Six in the Second. Therefore, the sage uses the phrases 'not yet having a corresponding line' from Six in the Second and 'losing the upper and lower positions' from Six in the Third to clarify the meaning.

本義 “上下”，謂四陰。 程傳 三居剝而“無咎”者，其所處與上下諸陰不同。是與其同類相失，於處剝之道為“無咎”，如東漢之呂強是也。 集說 王氏弼曰：三上下各有二陰，而三獨應於陽，則“失上下”也。 邱氏富國曰：上謂四五，下謂初二，違去四陰而獨從剛，故曰“失上下也”。

The original text here is missing the small image of the sixth trigram "Six in the Third" which says "Peeling without blame, losing the upper and lower," and proceeds directly to the main meaning. Zhu Xi's "Benyi" states: the term "upper and lower" refers to the other four yin lines outside of the sixth trigram. Cheng Yi's "Yichuan Commentary on the Changes" says: the sixth trigram, situated in a time of peeling, can "have no blame," because its position differs from the upper and lower yin lines. It is separated from its own kind, and in the principle of peeling, it is exactly without fault, just as Liu Qiang, a eunuch of the Eastern Han dynasty, was. The collected interpretations cite Wang Bi saying: above and below the sixth trigram there are two yin lines each, and only the sixth trigram corresponds with the yang line of the ninth trigram at the top, which is why it is said "losing the upper and lower." The collected interpretations also cite Qiu Fuguo saying: "upper" refers to the sixth trigram four and five, and "lower" refers to the first trigram six and the second trigram six; the sixth trigram turns away from these four yin lines and follows the yang line alone, hence it is said "losing the upper and lower."

剝床以膚，切近災也。 程傳 五為君位，剝已及四，在人則剝其膚矣，剝及其膚，身垂於亡矣，“切近”於災禍也。

The Image Commentary explains the sixth line in the fourth position saying: The peeling away has reached the person's skin, meaning the calamity is now very close at hand. Cheng Yi's Yichuan Commentary on the Changes says: Five represents the sovereign's position, and the peeling away has reached the sixth line in the fourth position; if compared to the human body, it is as if the peeling has reached the skin. When the peeling reaches the skin, life and death are nearly determined, hence it is said to be 'very close' to calamity.

以宮人寵，終無尤也。 程傳 群陰消剝於陽，以至於極，六五若能長率群陰，駢首順序，反獲寵愛於陽，則終無過尤也，於剝之將終，復發此義，聖人勸遷善之意，深切之至也。 案 五以陰居尊，取后妃之象，而為“貫魚以宮人寵”，則豈有妒害潰亂，以剝其君之尤哉。

The Image Commentary explains the line Six in the Fifth as: like a palace attendant receiving favor, in the end there will be no resentment. Cheng Yi's Commentary on the Changes says: the many yin lines are eliminating the yang line, having reached the extreme; if the line Six in the Fifth can lead the group of yin lines, proceeding in line like fish in a school, and instead receive the favor of the yang line, in the end there will be no mistake or resentment. At the time when the process of elimination is about to end, this meaning is expressed again; the sincerity of the sage in encouraging people to improve their ways is truly profound. Li Guangdi comments: the line Six in the Fifth, with a yin line in a noble position, takes the image of a concubine; since it has achieved 'following the fish in a school to receive the favor of the palace attendants,' where could there be jealousy, harm, or disorder within the palace leading to the injury of the sovereign?

君子得輿，民所載也。小人剝廬，終不可用也。 程傳 正道消剝既極，則人復思治，故陽剛君子，為民所承載也。若小人處剝之極，則小人之窮耳。“終不可用也”，非謂九為小人，但言剝極之時，小人則是也。

The Image Commentary explains the line 'Nine at the Top' as follows: A gentleman attains a carriage and chariot, which are carried by the people; a petty person loses even his own dwelling, and in the end, he is not fit for use. Cheng Yi's Commentary on the Changes states: The righteous path is reduced to its extreme, and people once again yearn for a well-governed era, so the yang and noble gentleman is supported and carried by the people. If a petty person reaches the extreme of decline, then he has reached a dead end. The statement 'in the end, he is not fit for use' does not mean that the line 'Nine at the Top' itself is a petty person, but rather that when decline reaches its peak, the fate of a petty person is like this.

集說 《朱子語類》云：唯君子乃能覆蓋小人，小人必賴君子以保其身。今小人慾剝君子，則君子亡，而小人亦無所容其身，如自剝其廬也。且看自古小人慾害君子，到害得盡後，國破家亡，其小人曾有存活得者否？故聖人於《象》曰：“君子得輿，民所載也，小人剝廬，終不可用也”。

The collected interpretations cite Master Zhu's words from the "Classical Sayings" saying: only the virtuous can protect the petty, and the petty must rely on the virtuous to maintain their position. Now the petty are determined to undermine the virtuous. Once the virtuous are destroyed, the petty have nowhere to stand, as if they were tearing down their own house. Look at history: whenever the petty have harmed the virtuous, once they have completely destroyed them, the country falls and families perish. Have any of those petty ever survived? Therefore, the sage in the "Image Commentary" says: "The virtuous receive a carriage, for the people carry them; the petty destroy their dwelling, and ultimately cannot be used."