Approaching

【兌下坤上，中互坤震】臨為陽息陰消卦，為震變體，重畫震象。乾天為生物之本，為元；震位東方，於時為春，亦生物之始也，故卦辭亦曰元。臨：元亨利貞，至于八月有凶。兌下坤上，卦名臨。鄭氏曰：臨，大也。陽氣自此浸而長大，盛之極也。人極盛則奢淫，奢淫將亡，故戒以凶也。

The hexagram 《临》 has Dui below and Kun above, with the intermediate trigrams Kun and Zhen. 《临》 represents the hexagram of the growth of yang energy and the decline of yin energy, being a variation of the Zhen hexagram, equivalent to drawing the Zhen image twice. The Qian heaven is the fundamental source for nurturing all things, hence it is called "yuan"; Zhen is located in the east, corresponding to the season of spring, which is also the beginning of the growth of all things, so the hexagram statement also says "yuan". The hexagram statement says: "When approaching, there is primordial virtue, benefit, and correctness, but by the eighth month there is danger." Dui below and Kun above form the hexagram named 《临》. Zheng Xuan said: "When approaching" means great, as yang energy gradually grows and becomes strong, reaching the peak of prosperity. When people reach the peak of prosperity, they tend to become extravagant and licentious, and extravagance and licentiousness will lead to decline, hence the word "danger" is used as a warning.

彖曰：臨，剛浸而長，說而順，剛中而應，大亨以正，天之道也。至于八月有凶，消不久也。此卦何以名臨也？蓋臨觀反對，觀二陽在上，有以下觀上之象，故曰觀；臨則二陽在下，有以上臨下之象，故曰臨。二陽下息，前往漸長，兌德為說，坤德為順，兌說以應坤順，九二剛中相應，上順求下而下亦說應上，大亨以正，於此見天道焉。

The Commentary on the Judgment says: "The hexagram of Approaching is characterized by the gradual growth of strong lines, joy and order, strong lines in the center that correspond, great success through correctness, which is the way of Heaven. However, by the eighth month there is misfortune, because the decline is not long-lasting." Why is this hexagram called Approaching? Approaching and Observing are a pair of opposite hexagrams: Observing has two yang lines at the top, symbolizing the situation below looking up to the one above, hence it is called Observing; Approaching has two yang lines at the bottom, symbolizing the superior ruler approaching and governing the people below, hence it is called Approaching. The two yang lines at the bottom gradually grow and become stronger; the virtue of Dui is joy, and the virtue of Kun is order. The joy of Dui corresponds with the order of Kun. The line nine in the second is strong and in the center, and corresponds with the line six in the fifth. The superior ruler gently seeks virtue from below, and the people below joyfully respond to the superior ruler. This is called "great success through correctness," and from this we see the way of Heaven.

夫一陽下息則復，祇僅曰亨；至二陽浸長，則兼曰元曰利貞。天道以生生為德，生生至臨，天道可謂極盛矣。顧天道豈可久恃哉？自今日言之則為陽長，自異日思之則為陽消，試以臨卦反觀則凶立見。臨下二陽，乃建丑之月，十二月卦也，歷寅卯辰巳午未申酉，則為八月。丑月長至二陽，酉月亦消餘二陽，反臨為觀，今日之臨即異日之觀也，有凶矣。當此二陽生息之日，豈能遽凶？然而聖王治國，不敢恃目前之安而忘久遠之謀。書曰：制治於未亂，保邦於未危。蓋得此義矣。

A single yang line at the bottom growing represents the hexagram "Fu" (Return), and its hexagram statement only mentions the word "Heng" (smooth). When two yang lines gradually grow, it also mentions "Yuan" (origin) and "Li Zhen" (favorable and firm). The heavenly way is characterized by continuous generation and renewal, and when generation reaches "Lin" (Approach), the heavenly way can be considered at its peak. However, can the heavenly way last forever? From today's perspective, yang is growing, but from tomorrow's perspective, yang will decline. If we look at the hexagram "Lin" upside down, danger immediately becomes apparent. The two yang lines at the bottom of "Lin" correspond to the month of Chou (the twelfth lunar month), which is the hexagram of Chou. From Chou, passing through Yin, Mao, Chen, Si, Wu, Wei, Shen to You, this spans eight months. In the month of Chou, yang grows to two lines, and in the month of You, yang declines to two lines again. When "Lin" is turned upside down, it becomes "Guan" (Observation). Today's "Lin" is tomorrow's "Guan," so it is said "there is danger." On the day when two yang lines are growing, how can danger appear immediately? However, a wise ruler governing the state does not rely on the current stability and forget the long-term planning. The "Book of Documents" says: "Govern the state before it becomes chaotic, preserve the state before it becomes dangerous." This is exactly understanding this principle.

象曰：澤上有地，臨。君子以教思無窮，容保民無疆。荀氏曰：澤卑地高，高下相臨之象也。虞氏曰：震為言，兌口講習，坤為思，剛浸長，故以敦思無窮。容，寬也。坤為容為民，故保民無疆矣。初九：咸臨，貞吉。咸，皆也。二陽為卦主，諸陰咸臨之，是在下有賢人而上皆順聽之也，故貞吉。象曰：咸臨貞吉，志行正也。初雖在下，志在前行，陽剛前行，正也。

The Great Image says: "There is land over water, which is the image of approaching. The superior man thus teaches and reflects endlessly, and protects the people without limit." Xun Shuang says: since the marsh is low and the land is high, this is the image of high and low approaching each other. Yu Fan says: Zhen represents speech, Dui represents the mouth and is the master of teaching and learning, while Kun represents thinking and consideration. The yang line is gradually growing, so teaching and thinking never cease. "容" means to be broad-minded. Kun represents inclusion and the people, so protecting the people has no boundaries. The line statement of the first nine says: "Approaching with sincerity, the correct course is auspicious." "咸" means all. The two yang lines are the main elements of the hexagram, and all the yin lines come to approach and be influenced by them. This is the image of having virtuous people below and all above obeying and following, thus being auspicious when keeping to the correct course. The Small Image says: "Approaching with sincerity, the correct course is auspicious, because the will is carried out in the correct way." Although the first nine is at the very bottom, its will is advancing forward. The yang line advancing forward is following the correct path.

九二：咸臨，吉，無不利。二之咸臨與初同，初僅言吉，而二又言利者，陽再進則德愈盛，故無不利也。象曰：咸臨吉無不利，未順命也。六三：甘臨，無攸利，既憂之，無咎。虞氏曰：兌為口，坤為土，土爰稼穡作甘，兌口銜坤，故曰甘臨。夫以陰居三，固已失位，而兌為說，亦不能有為，故無攸利。倘轉容說為震動，三為互震，震動則有憂，憂則能補過，不至甘臨以終也。象曰：甘臨，位不當也；既憂之，咎不長也。

The line statement for the second line says: "The superior one approaches with sincerity, auspicious, no disadvantage." The "sincere approach" of the second line is the same as that of the first line. The first line only says "auspicious," but the second line adds "beneficial," because the yang energy advances further and virtue becomes more abundant, thus leading to no disadvantage. The Small Image Commentary says: "The superior one approaches with sincerity, auspicious, no disadvantage, because it has not yet followed the mandate." The line statement for the third line says: "Approaching with sweetness, no benefit, but if one is concerned, there is no blame." Yu Fan says: The trigram Dui represents mouth, and the trigram Kun represents earth. The Book of Documents, the Great Plan, says "earth produces crops and grains," and crops and grains are sweet; the mouth of Dui contains the earth of Kun, so it is called "sweet approach," meaning using sweet words to approach the people below. Since a yin line is in the third position, it has already lost its proper position, and Dui also represents joy, so it cannot accomplish anything, hence "no benefit." If one can transform the single-minded flattery into the movement of Zhen (Thunder) — the third line is located in the mutual trigram Zhen — a single movement will produce anxiety, and having anxiety can correct the mistake, thus not continuing to flatter endlessly. The Small Image Commentary says: "Approaching with sweetness, the position is improper; but if one is concerned, the blame will not last long."

六四：至臨，無咎。四為互震，雖與初二漸遠，而初為正應，以言夫臨，可展震足而至。四為大臣，臨初得以貴下賢之義，故無咎。象曰：至臨無咎，位當也。六五：知臨，大君之宜，吉。乾體中實，坤體中虛，故先儒以乾屬仁，以坤屬智。五為坤中，居尊位，下臨夫二，故曰知臨。夫知人則哲，能官人則智，實為大君之宜。蓋一日萬幾，一人未能周知，惟不自有其智而擇賢以輔之，則集思廣益，非大智不能若是也。知臨故吉也。象曰：大君之宜，行中之謂也。

The line statement for the fourth line says: "Approaching closely, there is no blame." The fourth line is located within the trigram Zhen (Thunder), although it is gradually moving away from the first line Jia and the second line Yi. However, the first line Jia is its proper corresponding line. In terms of the lower trigram, it can take steps with the Thunder trigram to approach. The fourth line represents the position of a minister, going personally to meet the first line Jia, which conforms to the principle of a superior person showing respect to a virtuous person, thus there is no blame. The Small Image Commentary says: "Approaching closely without blame, because the position is appropriate." The line statement for the fifth line says: "Knowing how to govern, it is suitable for the great ruler, and it is auspicious." The middle part of the Qian trigram is full, while the middle part of the Kun trigram is empty. Therefore, previous scholars assigned Qian to represent Ren (humanity) and Kun to represent Zhi (wisdom). The fifth line is located in the middle of the Kun trigram and holds a high position, descending to personally meet the second line Yi. Therefore, it is said "knowing how to govern." Recognizing people is wisdom, employing people is benevolence, which is indeed the quality that a great ruler should possess. In a single day, there are countless matters, and one person cannot understand them all; only those who do not rely solely on their own intelligence and choose virtuous people to assist them can gather the wisdom of many. This is something not achieved by those without great wisdom. Governing with wisdom, thus it is auspicious. The Small Image Commentary says: "It is suitable for the great ruler, which is called acting in the middle."

上六：敦臨，吉，無咎。敦，厚也。坤為土，上為坤終，則土愈厚，如此臨，是為敦臨。以貴下賤，以尊從卑，惟位愈高，益見舍己從人之善也，故吉無咎。象曰：敦臨之吉，志在內也。內謂內卦二陽。

The line statement for the sixth line at the top says: "Dun lin, ji, wu jiu." "Dun" means thick or solid. The trigram坤 represents earth, and the sixth line at the top is the final position of the trigram坤. Earth becomes even more solid here; using such solidity to approach and govern below is called "dun lin." To be in a position of honor yet humble, to be in a superior position and follow those below; the higher the position, the more evident the virtue of setting aside one's own views and following others, hence it is auspicious and without blame. The Small Image Commentary says: "Dun lin's auspiciousness lies in the intention within." "Within" refers to the two yang lines in the inner trigram.

慧珠閣原本，岫巖多隆阿雯溪。周易上經（五）。

This volume is still based on the original edition from "Hui Zhu Ge," written by Duolong'a, a native of Xiuyan, with the courtesy name Wenxi. The following explanations are for the fifth part of the Upper Classic of the Zhou Changes, namely the six hexagrams: Guan, Shihhe, Ben, Bo, Fu, and Wuwang.

【坤下巽上，中互艮坤】觀為陰息陽消卦，為艮變體，重畫艮象。艮為門闕，為鬼冥門，故卦以祭祀繫辭也。觀：盥而不薦，有孚顒若。上巽下坤，卦名觀。鄭氏曰：坤為地為眾，巽為木為風，互體有艮，艮為鬼門，又為宮闕，地上有木而為鬼門宮闕者，宗廟之象也。馬氏曰：盥，進爵灌地以降神也。國之大事，惟祀與戎，王道可觀，在於祭祀，祭祀之盛，莫過初盥降神。蓋以巽為白茅，艮手持之，置諸坤地之上，有進爵灌地之象。無論其既盥之後容止何如，而當盥初尚未薦牲，則誠孚已顒若可觀。薦，羞牲也；顒，敬也。故曰盥而不薦有孚顒若矣。

The hexagram "Observing" has the hexagram Kun (Earth) below and Xun (Wind) above, with the intermediate trigrams being Gen (Mountain) and Kun (Earth) again. The hexagram "Observing" represents the growth of yin and the decline of yang, and is a variation of the hexagram Gen. It is as if the image of Gen is drawn twice. Gen represents a gate and also the gate to the spiritual world, so this hexagram uses the theme of worship in its statement. The hexagram statement says, "Observing, washing the hands but not yet offering sacrifices, there is sincerity and solemnity." The hexagram has Xun above and Kun below, and is called "Observing." Zheng Xuan said that Kun represents earth and the people, while Xun represents wood and wind. The intermediate trigrams include Gen, which represents the gate to the spiritual world and also a palace. Trees growing on the earth with gates and palaces are the image of the ancestral temple. Ma Rong said that "washing" refers to presenting a cup of wine and pouring it on the ground to invite the spirits. The great affairs of the state are only worship and war; the observable aspect of the Way of the King lies in worship, and the most solemn moment of worship is when the wine is first poured to invite the spirits. Xun has the image of white reeds, and Gen holds them and places them on the earth, which is the image of presenting a cup of wine and pouring it on the ground. Regardless of the subsequent gestures and expressions, at the moment of pouring the wine but before offering the sacrifice, the sincerity and solemnity are already observable. "Offering sacrifices" refers to presenting the sacrificial animals, and "颙" refers to reverence. Therefore, it says, "washing the hands but not yet offering sacrifices, there is sincerity and solemnity."

彖曰：大觀在上，順而巽，中正以觀天下。觀盥而不薦，有孚顒若，下觀而化也。觀天之神道而四時不忒，聖人以神道設教，而天下服矣。此卦何以名觀也？臨與觀反對，臨之二陽在下，上臨下謂之臨；觀之二陽在上，陽為大，下觀上，是為大觀在上。下陰順巽，五陽居中得正，以觀天下之民。夫其觀之，實欲有以化之，化民以敬，實化民以孚。盥而不薦，有孚顒若，下觀上之敬，下因以孚上之敬。上觀民以中正，民觀上以敬孚，是敬孚為化民之本也。

The Commentary on the Judgment says: "Great observation is above, orderly and yielding, upright and correct in the center to observe the world. Observing the washing but not the offering, with sincere faith and solemn appearance, the people below observe and are transformed. Observing the divine way of heaven, the four seasons do not err. The sage establishes teaching by the divine way, and the world is thus subdued." Why is this hexagram called "Observation"? "Governing" and "Observation" are a pair of opposite hexagrams: "Governing" has two yang lines below, governing from above to below, hence called "Governing"; "Observation" has two yang lines above, yang is called "great," and those below look up to those above, hence "Great observation is above." The yin lines below are gentle and respectful, and the nine five line, being yang in the center, is upright and correct, used to show the people of the world. He observes the people because he wants to transform them; transformation depends on respect, which is actually based on sincerity. "Washing but not offering, with sincere faith and solemn appearance" refers to the people below seeing the respect of those above, and thus sincerely imitate this respect. Those above observe the people with upright and correct conduct, while the people observe those above with respect and faith, showing that respect and faith are the fundamental means of transforming the people.

化之者即教之也。聖人設教，不先求之民而先求之身，則求之身者因先致力於神。神道之顯者莫如天，天道不言而四時運行，終無差忒。聖人體此意，以祼鬯薦藉者感化天下，而萬民戴服，日遷善而不自知。詩言不顯，記曰篤恭，皆此義也。

Influence through virtue is essentially moral education. Sages establish moral education, not by first demanding from the people but by first demanding from themselves, and in demanding from themselves, they begin with reverence towards the divine. The most evident manifestation of the divine way is heaven: heaven does not speak, yet the four seasons proceed in order without error. Sages understand this, and thus use rituals such as pouring wine and offering sacrifices to influence the world, leading the people to embrace and obey, constantly becoming virtuous without realizing it. The "not visible" (deep and silent yet fully manifest virtue) mentioned in the Book of Poetry, and the "sincere reverence leading to universal peace" from the Book of Rites, Doctrine of the Mean, both refer to this principle.

象曰：風行地上，觀。先王以省方觀民設教。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。坤為眾民象，巽為令教象。初六：童觀，小人無咎，君子吝。卦體為重艮，艮為少男，在觀之初則童也，故曰童觀。夫為童則人小，小人為童觀，乃小人之宜，故無咎；君子如此，有吝疵矣。象曰：初六童觀，小人道也。

The Great Image says: "Wind moves over the land, observing. The former kings thus traveled to observe the people and establish education." The Nine Schools' Commentary on the Book of Changes says: wind sweeping across the ground causes grass and trees to bow down, so the former kings took this as a model, touring the land to observe the customs and practices of the people, and based on this established their teachings. The hexagram of Kūn represents the people, while the hexagram of Xùn represents commands and education. The line statement for the first line says: "Observing as a child, the petty person has no blame, but the superior person is regrettable." The hexagram is composed of two Kūn, which represents the young male. Being at the beginning of the hexagram of Gùn, which is the young male, it is like a child, hence "childlike observation." Since it is like a child, its vision is shallow. A petty person, being in a low position, observing like a child, is doing what is appropriate, hence no blame. But if a superior person does so, it is regrettable. The Small Image says: "The first line's childlike observation is the way of the petty person."

六二：窺觀，利女貞。二在坤中，坤為母，是謂之女；坤又為闔戶，上與五應，五艮體為門闕，二自下位觀之，有自門中竊窺之象，故曰窺觀。夫大觀在上，德容之盛，是豈陰伺者所能測？乃以見小之故，偶有所見，終不識聖王之大體。此在女之正者尚利，丈夫不為也。象曰：窺觀女貞，亦可醜也。

The line statement for the second line says: "To peek and observe, it is advantageous for a woman to be steadfast." The second line is located within the trigram of坤 (Earth), which represents a mother, hence it is called "female." The trigram of坤 also has the image of a closed door. It corresponds upward with the fifth line, which is in the trigram of艮 (Mountain), representing a gate or threshold. The second line looks up from below, resembling peeking through a crack in the door, hence it is called "peeking and observing." Great observation is above, with virtue and appearance of such magnificence, how could it be guessed by someone who is merely peeking? It is only because of limited vision, occasionally seeing a little, that one cannot ultimately understand the great principles of the sage king. This is still advantageous for a woman to be steadfast, but a man should not do so. The Small Image Commentary says: "Peeking and observing, the steadfastness of a woman, is also considered shameful."

六三：觀我生，進退。三居內卦外卦之間，上欲觀五，位在初二之上，則似可進；前猶為四所隔，又似宜退。蓋位鄰上巽，巽為進退，故有此象。宜即我生觀之，以審可否耳。象曰：觀我生進退，未失道也。未失道者，欲合於道，得進退之宜也。

The line statement of the third line says: "Observing my life, advancing and retreating." The third line is located at the boundary between the inner and outer trigrams. It looks upward to the nine in the fifth position, and since it is above the six at the beginning and the six in the second, it seems to be able to advance; yet there is still the six in the fourth ahead, so it seems to be appropriate to retreat. Because it is adjacent to the upper trigram Xun, the "Commentary on the Changes" says that Xun "represents advancing and retreating," hence this image. It should observe its own actions and thus determine whether to advance or retreat. The "Small Image Commentary" says: "Observing my life and advancing and retreating, he has not lost the Way." What is meant by not losing the Way is that he is entirely devoted to following the Way, and thus can act appropriately in advancing or retreating.

六四：觀國之光，利用賓于王。臨為以上臨下，不宜於卑，惟居尊位者乃吉；觀為以下觀上，不宜於遠，惟近君上者乃利。四為大臣位，近於五，五為君，是謂之王。坤為國，陽明有光，故國家之光惟四得觀之。夫聖王洗心藏密，未嘗有意表白以聳士民之觀，而德積於中，其英華外發，自有流露不可掩者，所以懷才負異之士皆願進於朝廷，攀鱗附翼，作賓王家，是為利用賓于王矣。象曰：觀國之光，尚賓也。

The line statement of the fourth line says: "Observing the light of the state, it is advantageous to serve as a guest of the king." The hexagram "Qin" represents a superior ruling over an inferior, which is not suitable for a low position; only those in a high position are auspicious. The hexagram "Guan" represents an inferior observing a superior, which is not suitable for being distant; only those close to the sovereign are advantageous. The fourth line occupies the position of a minister, adjacent to the fifth line, which represents the sovereign, so it is referred to as "the king." The earth hexagram symbolizes the state, and the yang line has brightness and radiance, so the light of the state can only be closely observed by the fourth line. The sage king purifies his mind, keeps his virtue hidden, and never intends to display himself to stir the people's admiration. However, virtue accumulated within naturally radiates outward, revealing itself inevitably. Therefore, those with talent and outstanding qualities are willing to enter the court, associate with the sovereign, and serve as guests of the king, which is why it is said "it is advantageous to serve as a guest of the king." The small image commentary says: "Observing the light of the state, it is about being a guest."

九五：觀我生，君子無咎。位卑者則居下觀上，位尊者宜居上自觀。陽為君子，五即以君子自衡，蓋我生能盡君子之道，乃可以問心無愧耳。象曰：觀我生，觀民也。民心之向背，即可以觀君德之媺惡，則以觀民者觀我生也。

The line statement of the fifth line says: "Observing my life, the gentleman incurs no blame." A person of low status looks up to those above, while a person of high status should be above and look inward. A yang line symbolizes the gentleman, and the nine in the fifth position uses the standard of the gentleman to examine itself: one's actions must fulfill the way of the gentleman in order to be free from guilt. The small image commentary says: "Observing my life, observing the people." The people's support or opposition can reveal the virtue or lack thereof of the ruler, so it is by observing the people that one observes one's own conduct.

上九：觀其生，君子無咎。五之觀我生，乃意在化民；上之觀其生，則志在修己。五有其位，是欲合君子之道以立君極；上無其位，是欲合君子之道以為民望。惟恐有失，觀之彌審，所以善補過而無咎也。象曰：觀其生，志未平也。平，安也。志未平者，蓋即檢身若不及、望道未見之意。

The line statement of the top nine says: "Observing others' lives, the gentleman incurs no blame." The nine in the fifth says "Observing my life," aiming to influence the people; the top nine says "Observing others' lives," aiming to cultivate oneself. The nine in the fifth holds the position of a ruler, seeking to conform to the way of the gentleman in establishing the standard for rulership; the top nine has no official position, seeking to conform to the way of the gentleman in becoming a model for the people to look up to. Fearing any possible mistake, it observes even more carefully, thus being good at correcting faults and avoiding blame. The Small Image Commentary says: "Observing others' lives, the mind is not yet at peace." "Peace" means security. The mind cannot be secure and content, which is the meaning of the words in the Book of Documents, "Examining oneself as if not having done enough," and in the Mencius, "Looking toward the Way but not yet seeing it."

【震下離上，中互坎艮】否。噬嗑為三陰三陽卦，自否來。虞氏曰：否五之坤初，坤初之五。噬嗑：亨，利用獄。齒齧物謂之噬，嗑，合也。震下離上，兩陽居外，中為一陽三陰，有似口之噬物，故卦名噬嗑。夫噬所以求亨，惟亨乃克得嗑，噬嗑自有亨義。而卦中有互坎，坎為獄，外卦為離，離明以察之，內卦為震，震動以治之，故用獄亦利也。

The hexagram Shìkè has Zhen below and Li above, with Kan and Gen emerging in the middle. The transformation of the hexagram comes from the hexagram Pǐ: Shìkè is a hexagram with three yin and three yang lines. Yu Fan says that the line nine in the fifth position of Pǐ descended to the first position of Kūn, while the first line of Kūn ascended to the fifth position. The hexagram statement says: "Shìkè, hexing, useful for legal matters." To bite with teeth is called "shì," and "kè" means to close. With Zhen below and Li above, two yang lines are at the upper and lower ends, with one yang line and three yin lines in the middle, forming the shape of something being bitten in the mouth, hence the name Shìkè. Biting is to achieve smoothness; only when smooth can the upper and lower parts close together, so Shìkè itself contains the meaning of smoothness. The hexagram also contains the mutual trigram Kan, which symbolizes prison; the outer trigram is Li, using the brightness of Li to examine; the inner trigram is Zhen, using the movement of Zhen to deal with matters, so it is beneficial for legal judgments.

彖曰：頤中有物曰噬嗑，噬嗑而亨。剛柔分，動而明，雷電合而章。柔得中而上行，雖不當位，利用獄也。卦所以名噬嗑者，以爻畫觀之，兩陽外峙，有頤象也。夫兩陽外峙既象頤，而兩陽外錮又象獄，頤之合所以噬堅物，猶獄之用所以禁罪人。頤以有所噬而得亨，獄亦以有所用而知利。卦辭兼言用獄者，蓋曰以噬嗑之象推之，即用獄亦利也。

The Commentary on the Judgment says: "A thing in the mouth is called噬嗑, and through噬嗑 there is smoothness. The yin and yang are divided, movement brings clarity, and thunder and lightning combine to form a clear image. The yin line occupies the center and ascends, even though it is not in the proper position, it is advantageous for the use of punishment." This hexagram is called噬嗑 because, from the lines, two yang lines stand outside, resembling the upper and lower jaws of the hexagram 颐. The two yang lines outside resemble the mouth, and the two yang lines outside enclosing the center resemble a prison. The mouth closes to bite something hard, just as a prison is set up to restrain criminals; the mouth achieves smoothness through biting, and the prison achieves advantage through its use. The hexagram statement mentions "use of punishment" because, according to the image of噬嗑, it is advantageous to apply punishment.

此卦自否來，否上乾下坤，剛柔類聚，今乃初柔上往之五，五剛下來之初，則剛柔分矣。由是內卦為震，其德為動；外卦為離，其德為明。震之象又為雷，離之象又為電，雷電交濟，相合成章。否坤初柔原居偏位，上行居五，始為得中，雖陰居陽位未云得當，而離明燭照幽隱，以行震雷之威，用獄亦利矣。

This hexagram comes from the hexagram of "Non-Communication." In the hexagram of "Non-Communication," the upper trigram is Qian (Heaven) and the lower trigram is Kun (Earth), with the yang lines and yin lines each gathered together. Now, the initial line of Kun moves up to the fifth position, and the fifth line of Qian moves down to the initial position, causing the yang and yin lines to separate and intermingle. This is what the Commentary on the Judgment refers to as "the separation of yang and yin." Thus, the inner trigram becomes Zhen (Thunder), with the quality of movement, and the outer trigram becomes Li (Fire), with the quality of brightness. The image of Zhen is also Thunder, and the image of Li is also Lightning. Thunder and lightning assist each other, combining to form a brilliant display, which is described as "movement and brightness, thunder and lightning working together to form a pattern." In the hexagram of "Non-Communication," the initial line of Kun was originally in a lower position. When it moves up to the fifth position, it becomes central. Although a yin line in a yang position is not considered properly positioned, the brightness of Li can illuminate hidden things, and with the power of Zhen's thunder to enforce it, this is beneficial for judging cases.

象曰：雷電，噬嗑。先王以明罰勑法。宋氏曰：雷動而威，電動而明，二者合而其道彰也。用刑之道，威明相兼，若威而不明，恐致刑濫；明而無威，不能伏物，故須雷電合而噬嗑備。鄭氏曰：勑猶理也。卦中有互坎，坎為罰為法，離火以明之，震動以勑之，故曰明罰勑法也。

The Great Image Commentary says: "Thunder and lightning, the hexagram of噬嗑. The former kings used this to clarify punishments and regulate laws." Song Zhong explained that thunder, once it moves, has authority, and lightning, once it moves, has brightness. When the two are combined, their meaning becomes evident. In the use of punishment, both authority and brightness must be present: only authority without brightness may lead to excessive punishment; only brightness without authority cannot make people submissive. Therefore, thunder and lightning must be combined, and the meaning of噬嗑 is complete. Zheng Xuan said: "Chì" means to regulate. The hexagram contains an interacting trigram Kan, which represents punishment and laws. Using the fire trigram Li to illuminate it, and using the movement of Zhen to regulate it, thus it is said "clarify punishments and regulate laws."

初九：屨校滅趾，無咎。震為足，初為足之趾，震又為木，木加足上，有足械滅趾之象。屨校，足械也。於【於：乾】氏曰：初居剛躁之家，體貪狠之性，強暴之男也，行侵陵之罪，以陷屨校之刑，故曰屨校滅趾。得位於初，顧震知懼，小懲大戒，以免刑戮，故曰無咎。象曰：屨校滅趾，不行也。趾有校絆，因有所懲，不敢行也。

The first line statement says: "The foot is bound with a wooden restraint, no blame." Zhen represents the foot, and the first line is the toe on the foot; Zhen also represents wood, so wood being placed on the foot symbolizes a foot restraint covering the toe. "Foot restraint" refers to a wooden device used as a punishment. Ganbao says: The first line is in a卦 with strong and impetuous energy, possessing a greedy and fierce nature, representing a violent man who commits the crime of harming others, thus suffering the punishment of foot restraints. Therefore, it is said "the foot is bound with a wooden restraint." However, he is in the correct position at the beginning, and he is mindful of the power of Zhen, knowing fear, and thus receives a minor punishment to gain a great warning, thus avoiding more severe punishment, hence "no blame." The Small Image Commentary says: "The foot is bound with a wooden restraint, not moving." The toe is restrained by the punishment, and thus he is punished, so he does not dare to move further.

六二：噬膚滅鼻，無咎。二為互艮。虞氏曰：艮為膚為鼻。二下乘初，則艮鼻為震剛所掩而鼻滅矣。當其噬膚，豈意傷鼻？至鼻已滅，始知所噬過甚。然噬以去間，惟有噬乃可以得嗑也，無咎也。象曰：噬膚滅鼻，乘剛也。

The line statement for the second line says: "Biting flesh and breaking the nose, no blame." The second line is located within the interacting trigrams of Gen (Mountain). Yu Fan says that Gen represents flesh and nose. The second line is below the first line, which is a yang line. The nose of Gen is covered by the strong yang line of Zhen (Thunder). When biting the tender flesh, one does not expect to injure the nose. Only when the nose is obscured does one realize that the bite was too strong. However, biting is meant to remove the obstruction in the middle, and only by biting can the upper and lower parts be joined together, so there is still no blame. The Small Image Commentary says: "Biting flesh and breaking the nose, riding on a strong line."

六三：噬臘肉遇毒，小吝，無咎。三居外卦之介，離日相近，肉為日所暴乾，乃臘也。臘，虞氏作□，殘肉也。臘多伏毒，噬者往往遇之。蓋三為互坎，坎為隱伏，又為毒，故曰噬臘肉遇毒。然三又為互艮，遇坎毒故小吝，而艮以止之，故無咎，此不敢強有所噬者。象曰：遇毒，位不當也。

The line statement for the third line says: "Eating dried meat and encountering poison, slight regret, no blame." The third line is located at the junction of the inner and outer trigrams, close to the trigram representing the sun. The meat is dried by the sun and becomes dried meat. The character "腊" was written differently by Yu Fan (the original carving is missing), referring to leftover dried meat. Dried meat often contains hidden poison, and those who eat it may encounter it. The third line is also within the interacting trigram Kan, which represents concealment and poison, hence "eating dried meat and encountering poison." However, the third line is also within the interacting trigram Gen, which stops the poison, so there is only slight regret, and no blame—this refers to someone who does not bite hard. The Small Image Commentary says: "Encountering poison, because the position is not appropriate."

九四：噬乾胏，得金矢，利艱貞，吉。胏，脯也。脯為離火所炙，而離又為乾卦，是為乾胏。夫四居離初，離為矢；四在否願為乾，乾為金，則為金矢，是所噬者乾胏，而所得者金矢也。王氏曰：金矢所以獲野禽，故食反得金矢。君子於味必思其毒，於利必備其難，故曰利艱貞。象曰：利艱貞吉，未光也。四居離初，離火未盛，故未光也。

The fourth line statement says: "Shi Qian Ze, de Jin Shi, li jian zhen, ji." "Ze" refers to dry meat with bones. The meat is roasted by the fire of Li, and since Li is connected to "Qian" (dryness), it is called "Qian Ze." The fourth line is at the beginning of the body of Li, and Li represents arrows; in the hexagram "Pu," the fourth line originally belongs to the body of Qian, which represents metal, hence "Jin Shi." This shows that what is bitten is dry meat, but what is actually bitten is the metal arrowhead. Wang Bi says that the metal arrow is used to hunt wild birds, so eating meat leads to encountering the metal arrowhead. The gentleman should think of possible poison when enjoying delicious food and be cautious of difficulties when pursuing benefits, hence "li jian zhen." The Small Image Commentary says: "Li jian zhen ji, wei guang ye." The fourth line is at the lowest part of the body of Li, and the fire of Li is not yet strong, hence the light has not yet become prominent.

六五：噬乾肉，得黃金，貞厲，無咎。陰為肉，居離之中，離火燥之則為乾肉。五自否之初來，否初為坤，五為乾，今以坤初□於乾中，乾為金，坤為黃，是噬乾肉而得黃金也。夫意外之獲雖可喜，而意外之變亦宜防。乾肉尚可強噬，黃金不可妄得也，是惟持以貞正，惕厲處之，庶得黃金之利，不至罹乾肉之害也，故無咎。象曰：貞厲無咎，得當也。

The line statement of the sixth line says: "To bite dry meat, obtaining gold, being cautious, no blame." A yin line symbolizes meat, which is located within the Li (Fire) trigram, and thus is roasted and becomes dry meat. The sixth line comes from the initial line of the Gou (Opposition) hexagram: the initial line of Gou belongs to Kun (Earth), and the fifth line belongs to Qian (Heaven). Now the initial line of Kun is placed within the body of Qian. Qian represents metal, and Kun represents yellow, hence biting dry meat and obtaining gold. Although unexpected gains are pleasant, unexpected changes should also be guarded against. Dry meat can still be bitten, but gold should not be taken recklessly. Only by maintaining sincerity and being cautious can one hope to gain the benefit of gold without suffering the harm of dry meat, thus there is no blame. The Small Image Commentary says: "Being cautious and avoiding blame, this is appropriate."

上九：何校滅耳，凶。卦體上下兩陽禁錮於外，其象似獄，故卦辭兼言用獄，爻辭初上亦以用獄取象。中有互坎，坎為罪。罪在於初，其罪尚輕，故校在足，不敢妄行，以致無咎；至於上，罪惡之積大不可解，實有滅身之禍，故凶也。何，荷，通；校，項械。鄭氏曰：離為槁木，坎為耳，木在耳上，何校滅耳象也。象曰：何校滅耳，聰不明也。耳司聰，耳滅故不明。

The statement for the top line says: "He bears a yoke on his neck and has his ears covered, resulting in misfortune." The two upper yang lines of this hexagram enclose the middle, forming a shape like a prison, so the hexagram statement mentions "using prison." The line statements for the first line and the top line also use the image of punishment. Within the hexagram there is an interacting trigram Kan, which symbolizes crime. When the crime is on the first line, the crime is still light, so the punishment is a yoke on the feet, preventing him from moving around recklessly, thus resulting in no misfortune. However, when the crime reaches the top line, the accumulated wrongdoing is too great to be resolved, leading to a calamity that may result in death, hence misfortune. "He" is the same as "Hé," meaning to bear or carry; "yao" refers to a yoke placed around the neck. Zheng Xuan says that Li represents withered wood and Kan represents the ear, with wood placed above the ear, forming the image of bearing a yoke over the ears. The Small Image Commentary says: "He bears a yoke on his neck and has his ears covered, meaning his hearing is not clear." The ear is responsible for hearing, and when the ear is covered, hearing becomes unclear—this indicates a failure to listen to advice from others in daily life.

【離下艮上，中互震坎】泰。賁為三陽三陰卦，自泰來。荀氏曰：此本泰卦，謂陰上來居乾之中，分乾之二居坤之上。虞氏曰：泰上之乾二，乾二之坤上。賁：亨，小利有攸往。賁，文飾也。此卦亦上下兩陽，有似噬嗑，而乃名賁者，頤象下動，離上震下，故名噬嗑；此則上卦為艮，下卦為離，離火文明，有飾象焉，故艮上離下之卦曰賁也。夫文亦治世之具，故曰亨；而文非治世之源，故小利有攸往。

The hexagram 《贲》 has the trigram 《离》 below and 《艮》 above, with the intermediate trigrams 《震》 and 《坎》 emerging in the middle. The transformation of the hexagram comes from 《泰》: 《贲》 is a hexagram with three yang lines and three yin lines. Xun Shuang said that this hexagram originally was 《泰》, with the upper line of 《坤》 moving down to the middle position of 《乾》, and the second line of 《乾》 moving up to the upper position of 《坤》. Yu Fan said that the upper line of 《泰》 moved to the second position of 《乾》, and the second line of 《乾》 moved to the upper position of 《坤》. The hexagram statement says: "Bian, hex, small benefit in going forward." "Bian" means ornamentation. This hexagram also has one yang line at the top and one at the bottom, resembling 《噬嗑》, but it is named 《贲》 instead. This is because 《噬嗑》 represents the image of mouth and nourishment with the lower trigram 《震》 moving, having 《离》 above and 《震》 below, hence called 《噬嗑》. This hexagram, however, has 《艮》 above and 《离》 below. The fire of 《离》 has the nature of civilization, containing the image of ornamentation, so the hexagram with 《艮》 above and 《离》 below is called 《贲》. Ornamentation is also a tool for governing, hence it says "hex." But ornamentation is not the root of governance, so it only says "small benefit in going forward."

彖曰：賁亨，柔來而文剛，故亨；分剛上而文柔，故小利有攸往，天文也；文明以止，人文也。觀乎天文以察時變，觀乎人文以化成天下。卦之所以名賁者，以剛柔上下往來成文故也。荀氏曰：此本泰卦，謂陰從上上來居乾之中，文飾剛道，交於中和，故亨也；分乾之二居坤之上，上飾柔道，兼據二陰，故小利有攸往矣。當乾坤未分之時，天玄地黃，各得正色；自上下分文之後，則玄黃色雜，色既不純，是有色不如無色，此雜卦傳所以曰賁無色也。蓋文盛宜反歸質，故曰無色也。

The Commentary on the Judgment says: "B贲 is亨, because the soft line comes and adorns the hard line, hence it is亨; the hard line above is divided and adorns the soft line, hence it is small benefit for going somewhere, which refers to the heavenly phenomena; civilizing with stopping, which refers to human culture. Observing the heavenly phenomena to understand the changes of time, observing human culture to transform the world." This hexagram is called B贲 because the hard and soft lines move up and down, intersecting to form ornamentation. Xun Shuang said: this hexagram originally was the Tai hexagram, with the yao from above coming down to occupy the central position of Qian, adorning the hard line and blending with harmony, hence it is亨; also, the second line of Qian goes up to occupy the upper position of Kun, adorning the soft line, and occupying the upper two yao, hence "small benefit for going somewhere." When Qian and Kun had not yet differentiated, heaven was black and earth was yellow, each maintaining their pure color; since the upper and lower lines exchanged and adorned each other, the black and yellow colors became mixed. Since the color is no longer pure, it shows that colored things are worse than colorless ones, which is why the Miscellaneous Commentary says "B贲, no color." Excessive ornamentation should return to simplicity, hence "no color."

今於賁家論之，不論其色，惟論其文。自泰剛柔相易之後，艮為星，離為日，互坎為月為雲，日月星雲高麗於上，乃天文也。上為天位，泰二上往以成文，故曰天文。離為火，艮為山，互震為龍，交雜乾赤坤黃之間，有似繪山龍藻火於乾衣坤裳上者，此人文也。內明外止，燦著有節，故曰人文。以日月星辰觀之，乾寒坤暑，易為艮春離夏，則可以考察時序之變；以山火衣裳觀之，居離南面嚮明而治，艮德靜止，穆然無為，則可以化成天下，此賁之亨通利和也。

Now considering the hexagram Zhen itself, regardless of color, we focus only on its ornamentation. Since the hexagram Tai involved the mutual exchange of yin and yang, the element Gen represents stars, and Li represents the sun. The interacting lines Kan represent the moon and clouds. The sun, moon, stars, and clouds are high above, forming the "celestial phenomena." The upper position is the heavenly position. In the hexagram Tai, the second line moves upward to form ornamentation, hence it is called "celestial phenomena." Li represents fire, Gen represents mountain, and the interacting line Zhen represents dragon. These elements are interwoven between Qian's red and Kun's yellow, like mountains, dragons, water plants, and flames painted on Qian's robe and Kun's skirt. This is called "human culture." The inner part is bright, the outer part is held firmly, brilliant yet restrained, hence it is called "human culture." From the perspective of the sun, moon, and stars, Qian governs cold, and Kun governs heat. When transformed into Gen, it represents spring, and when transformed into Li, it represents summer. Thus, we can observe the change of seasons, which is "observing celestial phenomena to understand the changes of time." From the perspective of mountains and fire on robes, the position of Li is in the south, facing the bright, and there is the stillness of Gen. It is solemn and non-action, thus it can cultivate and bring forth the world, which is "observing human culture to transform the world." This is precisely where the hexagram Zhen achieves harmony and smoothness.

象曰：山下有火，賁。君子以明庶政，無敢折獄。王氏曰：山下有火，文明相照，山之為體，層峰峻嶺，巖巒峭麗，參差被日光照耀，如以雕飾而見文章，賁之象也。君子體離之文，購庶政以明；體艮之止，則獄無敢折。蓋卦中有互坎，坎為法律，是為政，得離明以照之，故曰明庶政；坎又為獄，互震甫動，艮即止之，故曰無敢折獄也。

The Great Image Commentary says: "Fire below the mountain, Brightness. The superior person uses this to clarify all government affairs and dares not hastily decide on cases." Wang Bi says: Fire below the mountain, the literary brilliance shines brightly and intermingles; the mountain's form is layered peaks and steep cliffs, beautiful and elegant, rising and falling under the sunlight, like something carved and polished to reveal its literary quality. This is the image of the hexagram Brightness. The superior person observes the civilizing qualities of Li (Fire) and uses them to clarify all government affairs; observes the stillness of Gen (Mountain) and thus dares not hastily decide on cases. Within the hexagram there is an interacting trigram Kan (Water), which represents laws, i.e., government affairs, and receives the illumination of Li (Fire) to examine them, hence it is said "clarify all government affairs." Kan also symbolizes prisons, and the interacting trigram Zhen (Thunder) with its strong yang moves once, while Gen (Mountain) stops it, hence it is said "dares not hastily decide on cases."

初九：賁其趾，舍車而徒。以賁飾一身言之，初位在下，是足之趾，而以離文賁之，是為賁其趾。初之前為互坎，坎為車輪，初為離，尚未及坎，是為舍車。舍車則行無資，而趾既賁，則猶可以徒行，蓋安步當車也。象曰：舍車而徒，義弗乘也。義，宜也。初本無位，徒行宜也。

The first line statement says: "Adorn the toe, abandon the carriage and walk on foot." In terms of adorning the whole body, the first line is at the very bottom, corresponding to the toe. Using the literary quality of Li to adorn it is referred to as "adorn the toe." The line before the first line is Kan, which represents a carriage wheel; the first line belongs to Li, and has not yet reached Kan, hence "abandon the carriage." Without a carriage, there is no means of transportation, but since the toe has already been properly adorned, one can still walk, which is called walking calmly as if riding a carriage. The Small Image Commentary says: "Abandon the carriage and walk on foot, righteousness does not allow riding." "Righteousness" means appropriate. The first line originally has no position, so walking on foot is appropriate.

六二：賁其須。須，頤下毛也。二在泰為乾中，乾為首，乃與坤上相易，是以離文飾乾首也，故曰賁其須。蓋須原無利於人，僅為面上之飾已耳。象曰：賁其須，與上興也。頰上添毫，所以飾面，然非二與上易，則無由得，故曰與上興也。

The line statement for line six two says, "The beard is adorned." "Beard" refers to the facial hair on the lower jaw. Line six two in the卦 of Tai is located within the Qian trigram, which represents the head. Now it exchanges with the top line of the Kun trigram, which means using the cultural refinement of Li to adorn the head of Qian. Therefore, it is said, "The beard is adorned." Facial hair is originally of no practical use to a person, but it is merely a decoration on the face. The Small Image Commentary says, "The beard is adorned, following the top line." Adding facial hair to the cheeks is for the purpose of embellishing the face; however, without the exchange between line six two and the top line, it would not be possible, so it is said to arise together with the top line.

九三：賁如濡如，永貞吉。三居互坎之中，坎為水，潤澤如濡，此賁之極盛者。夫禮勝則離，樂勝則流，賁至濡如，不有以節制之，則本質盡失，無為貴賁矣，故永持以正則吉。象曰：永貞之吉，終莫之陵也。陵，躐也，言文不躐等也。永持以正，不復於濡如之外有所加也。

The line statement for the third line says: "Bian ru ru ru, yong zhen ji." The third line is in the center of the interacting trigrams, which form Kan (Hexagram 29), representing water. The water is so moistening that it seems to be soaked through, which is the peak of ornamentation. The "Book of Rites: Music Record" says, "If ritual is excessive, it becomes detached; if music is excessive, it becomes flowing." When ornamentation reaches the point of being so moist that it seems about to drip, if it is not restrained, the essence will be lost, and there will be nothing valuable left. Therefore, maintaining constancy and uprightness brings good fortune. The Small Image Commentary says: "The good fortune of maintaining constancy is that it will never be exceeded." "Ling" means to exceed or surpass, meaning that ornamentation should not surpass its proper level. By maintaining constancy, one will not add anything beyond the moistening quality.

六四：賁如皤如，白馬翰如，匪寇婚媾。由賁趾、賁須至於濡如，則賁文極盛矣。文盛則宜反質，而色之純乎質者惟白，故上卦皆以白言賁。皤、翰皆白貌。皤，老人白也，兩都賦曰：皤皤國老。馬之白者曰翰，禮曰：戎事乘翰。

The line statement of the fourth line says: "B贲 like a white head, a white horse galloping swiftly, not a robber but a bridegroom." From "B贲 its toes" to "B贲 its beard" and up to "moist like a jade," the ornamentation has reached its peak. When ornamentation becomes excessive, it should return to simplicity. Among colors, white is closest to simplicity, so the lines of the upper trigram all use "white" to describe ornamentation. "Pó" and "Hàn" both refer to the appearance of white: "Pó" refers to white hair and beard, as in Ban Gu's "Two Capitals Fu" which says "pó pó national elders"; "Hàn" refers to white horse hair, as mentioned in the "Rites of Zhou" which says "for military campaigns, ride white horses," meaning to ride white horses in battle.

四為文質適均者，體為互震，震為馬，是為白馬；又居互坎之上，坎為盜，是為寇。卦中陰陽相應者惟四與初，陰陽相配，原屬婚媾，因其與三相比，三亦為陽，四似比三不能應初。不知文質不可偏勝，質宜濟文，白宜受採，四之皤如乘翰而來者，雖居互坎之中，實匪初之寇，乃初之婚媾也，宜得初離之文以成賁也。象曰：六四當位疑也，匪寇婚媾，終無尤也。四為陰，三為陽，四比三亦是陰陽相配，當位可疑，而四終與初為正應，故無尤也。

Six four is the yao that best combines form and substance: its hexagram structure belongs to the mutual hexagram Zhen, which represents a horse, so it is referred to as 'white horse'; it is also located above the mutual hexagram Kan, which represents thieves, hence the term 'bandit'. In the entire hexagram, the only yao that forms a proper yin-yang response is six four with nine one, one yin and one yang, which naturally belongs to 'marriage and union'; however, since six four is adjacent to nine three, which is also a yang yao, it appears that six four might be close to nine three rather than responding to nine one. But in fact, form and substance cannot be biased; substance needs to complement form, and white needs to be colored. The appearance of six four, with white hair, riding a white horse, although situated within the mutual hexagram Kan, is not actually a bandit attacking nine one, but rather the marital partner of nine one, who should receive the literary grace from nine one's hexagram to complete the ornamentation. The Small Image Commentary says: 'Six four is in the proper position, but there is doubt, not a bandit but a marital partner, thus without blame.' Six four is yin and nine three is yang; although six four is adjacent to nine three, it still forms a yin-yang pairing, so whether it is in the proper position is questionable; however, six four ultimately responds properly to nine one, so there is no fault.

六五：賁于丘園，束帛戔戔，吝，終吉。賁至於五，不惟尚質，而且崇儉。蓋艮為山，故象坵；艮又為果蓏，下為互震，震為木，故象園。荀氏曰：艮山震林，在山林之間，隱士之象也。夫五原為泰坤之中，坤為帛，言來聘此坵園中人，以賁飾此坵園者，不過此束帛之戔戔耳。帛，璧色繒，五兩曰束；戔，古殘字。蓋坤易為艮，坤帛不完，言至少也。帛繒色白，而又戔戔無多，以此言賁，可謂質餘於文矣。即其固陋觀之似吝，而儉為美德，終吉也。象曰：六五之吉，有喜也。

The line statement of the fifth line says: "Adorning the hillside garden, with a bundle of silk of little value, there is a sense of regret, but ultimately it is auspicious." When the fifth line is adorned, it not only values simplicity but also values frugality. Gen represents a mountain, so the image is a hill; Gen also represents fruits and vegetables, and below it is the mutual trigram Zhen, which represents wood, so the image is a garden. Xun Shuang said: Gen is a mountain, Zhen is a forest, and a person in between the mountain and the forest is the image of a recluse. Originally, the fifth line was in the Tai hexagram within the Kun trigram, and Kun represents silk. This refers to going to invite the recluse in the hillside garden, and the silk used for honoring him is only a small bundle. "Silk" refers to silk of the color of jade tablets, and five dou make a bundle. "Zhan" is an ancient form of the character for "deficient." When Kun transforms into Gen, the silk is no longer complete, meaning it is extremely scarce. The color of the silk is white, and the quantity is very small, so using this to speak of adornment can be considered as having more substance than ornamentation. From its simplicity, it seems somewhat regrettable, but frugality is a virtue, so it ultimately leads to auspiciousness. The Small Image Commentary says: "The auspiciousness of the fifth line is due to joy."

上九：白賁，無咎。賁至於上，是有色歸於無色，較諸四之白馬、五之束帛則尤進也，直以為白賁而已矣。夫賁似不可言白，而白為五色之一，白亦未嘗非賁。以白為賁，是有質不見文也，得賁之本，故無咎。象曰：白賁無咎，上得志也。志蘊於內，文著於外，得志是得其本也。

The line statement for the topmost line says: "White simplicity, no blame." When the decoration reaches the topmost line, it moves from colored to colorless; compared to the white horse in the fourth line and the bundle of silk in the fifth line, it goes even further, simply calling it "white simplicity." Decoration should not be called "white," yet white is one of the five colors, and white is not necessarily not a form of decoration. To use white as decoration means to be simple and unassuming, not showing off, thus grasping the essence of decoration, hence no blame. The Small Image Commentary says: "White simplicity, no blame, the superior person's aspirations are fulfilled." The heart's aspiration is within, while the ornamentation is outside; what is meant by "fulfilled" is to have attained the essence of decoration.

【坤下艮上，中互重坤】剝為陰息陽消卦，坤卦變體，五陰剝一陽為坤，卦名剝。下為五陰，上餘一陽，兼艮象。剝：不利有攸往。五陰前往消此一陽，坤下艮上之卦，故名剝。言陰氣極盛，陽孤不能久存，猶之小人成群，君子孤立，動輒得禍也，故不利有攸往。

This hexagram has the lower trigram as Kun (Earth) and the upper trigram as Gen (Mountain), with the intermediate trigrams forming two layers of Kun. "Bao" (Peeling) belongs to the category of hexagrams where yin energy grows and yang energy declines. It is derived from the trigram Kun: five yin lines ascend from below to erode the single remaining yang line, and when completely peeled away, it becomes pure Kun. Hence, the hexagram is named "Bao." The hexagram consists of five yin lines below and a single yang line above, thus incorporating the image of Gen. The hexagram statement says: "Bao is unfavorable for going forward." This is because the five yin lines ascend continuously, seeking to eliminate the remaining yang line. With Kun below and Gen above, it is named "Bao." It describes a situation where yin energy reaches its peak, leaving the isolated yang line unable to endure. This is like small people forming gangs while the virtuous remain isolated and helpless, and every action brings disaster. Therefore, it is unfavorable to go forward.

彖曰：剝，剝也，柔變剛也。不利有攸往，小人長也。順而止之，觀象也。君子尚消息盈虛，天行也。十二闢卦多言陰陽往來之義，剝、復、姤、夬四卦為陰陽生死之幾，聖人扶陽抑陰之旨，於此四卦中尤深切著明焉。卦名曰剝，何也？剝者，落也。剝為九月卦，《漢書·五行志》云：九月陰氣至五，通於天位，剝落萬物，始大殺矣，故曰剝落也。卦有五陰，僅餘一陽，而五陰又在下日進，一陽在上豈能久安，則所以名剝者，乃陰柔前往變陽剛也。夫陰往則陰息陽消，陽變則陰實陽虛，天行如是。君子觀象，已知往必不利，惟順而止之，以避小人之長而已矣。

The Commentary on the Judgment says: "Peel" means the falling away, which is the transformation of a soft line into a strong line. It is not favorable to move forward, because the petty people are growing stronger. To follow the trend and stop, this is the reasoning derived from the hexagram. The gentleman values the waxing and waning, the fullness and emptiness of yin and yang, which is the operation of the heavenly way. Duolong'a explains: the twelve trigrams mainly discuss the meaning of the coming and going, waxing and waning of yin and yang. Among them, the trigrams Pei, Fu, Guo, and Guai are especially critical points of the birth and death of yin and yang. The intention of the sage to assist yang and restrain yin is most clearly expressed in these four trigrams. Why is the trigram called "Pei"? "Pei" means falling away. Pei is the trigram of the ninth month. The Book of Han, Volume on the Five Phases, says: in the ninth month, the yin energy rises to the fifth position, directly reaching the heavenly position, causing the falling away of all things, beginning the widespread killing, hence it is called "falling away." This trigram has five yin lines, only one yang line left, and the five yin lines are constantly ascending, while the single yang line is isolated at the top, how can it be stable for long? Therefore, it is called "Pei," precisely because the yin lines are advancing to transform the yang lines. The ascending of yin lines means the growth of yin and the decline of yang, and the yang lines being transformed become yin solid and yang empty, which is the way of heaven. The gentleman observes the trigram, already knowing that moving forward is certainly not favorable, can only follow the trend and stop, to avoid the growth of petty people.

象曰：山附於地，剝；上以厚下安宅。陸氏曰：艮為山，坤為地，山附於地，謂高附於卑，貴附於賤，君不能制臣也，故曰剝。君子體此象以厚下安宅者，恐其危而至於剝也。厚如坤地，坤在內卦，故曰下；安如艮止，艮為宮闕，故象宅。

The Great Image Commentary says: Mountains rely on the earth, which is the image of the Hexagram 43, the Hexagram of Decline; those in high positions thus understand the need to treat the people below with generosity and to secure their dwellings. Duolong'a cites Lu Ji's words: "Geng is the mountain, and Kun is the earth. The mountain relies on the earth, meaning the high relies on the low, the noble relies on the humble, that is, the sovereign can no longer control his ministers, hence it is called 'Decline.' " The gentleman observes this image and practices 'generosity toward the people and securing their dwellings,' precisely to prevent the situation from becoming perilous and ultimately leading to decline. 'Generosity' takes its image from the earth's thickness, with Kun in the inner trigram at the lower position, hence 'below'; 'security' takes its image from Geng's stillness, and since Geng represents palaces, it is taken as 'dwelling.'

初六：剝床以足，蔑貞凶。虞氏曰：此卦坤變乾也，動初成巽，巽木為床，伏震在下為足，是床足也。剝必有漸，床足在下，故剝床自足始。蓋剝之即滅之，陰滅陽即是邪滅正，滅正故凶也。蔑、滅同。象曰：剝床以足，以蔑下也。

The first line statement says: The bed is being stripped away, starting from the foot of the bed, eliminating the correct path, resulting in danger. Duolong'a cites Yu Fan's words: This hexagram is formed by the transformation of the earth trigram into the heaven trigram. When the first line moves, it becomes the wind trigram, which represents wood, symbolizing the bed. The hidden thunder trigram beneath the wind trigram is at the very bottom, symbolizing the foot. Together, they form the foot of the bed. Stripping away must proceed gradually, and since the foot is at the lowest position, the stripping of the bed must begin from the foot. Stripping it away means eliminating it; the extinguishing of the yin overpowers the yang, which is the extinguishing of the wrong over the right, and the correct path is eliminated, hence the danger. "Mie" and "mie" have the same meaning. The "Small Image Commentary" says: Stripping the bed starting from the foot indicates that the yin force is eliminating the correct path from the bottom up.

六二：剝床以辨，蔑貞凶。鄭氏曰：足上稱辨，謂近膝之下，屈則相近，伸則相遠，故謂之辨。辨，分也。剝及於辨，剝又進矣。夫二位正中，似可為善，而亦與初陰同滅貞正，故凶與初同。象曰：剝床以辨，未有與也。上無正應，故曰未有與。

The line statement for the second line says: The bed is being stripped away, the stripping has reached the place where the bed frame meets the legs, eliminating the correct path, which brings danger. Duolong'a cites Zheng Xuan's words: The part above the legs is called 'bian', referring to the area below the knees. When bent, the two parts are close together, and when stretched out, they are far apart, hence it is called 'bian'; 'bian' means boundary. The stripping has reached the boundary, indicating that the stripping force has advanced another layer. The second line is in the center of the lower trigram, seemingly capable of good deeds, yet it still shares the same yao as the first line, both being yin lines, and thus together eliminating the correct path, so its danger is the same as that of the first line. The Small Image Commentary says: Stripping the bed to the boundary is because there is no corresponding support above. Duolong'a says: The second line has no corresponding yao above, hence it is said 'no corresponding yao'.

六三：剝之，無咎。三與上應，則有與矣。雖居眾陰之中，而不與眾陰同惡，是剝中之無咎者。象曰：剝之無咎，失上下也。獨應上陽，不比上下眾陰也。六四：剝床以膚，凶。王氏曰：在下而安人者，床也；在上而處床者，人也。床剝盡以及人身，為敗滋深，害莫甚焉。艮為膚，陰息至四，下乾已盡，故剝床以膚凶也。象曰：剝床以膚，切近災也。爻曰凶，象曰災，切近固以明陰之惡，兼以戒陽宜遠禍也。

The line statement for the third line says: Being in the state of decline, there is no blame. Duolong'a says: The sixth line in the third position corresponds with the ninth line at the top, thus receiving support; although it is in the midst of many yin lines, it does not join them in wrongdoing, so it is the line in the hexagram of decline that has no blame. The Small Image Commentary says: The decline without blame is because it has separated from the like above and below. Duolong'a says: The sixth line in the third position corresponds solely with the yang of the ninth line at the top, and does not attach itself to the many yin lines above and below. The line statement for the fourth line says: The bed is being stripped away, having reached the person's skin, resulting in danger. Duolong'a cites Wang Bi's words: The bed is what provides stability below, and the person is lying on it above; when the bed is completely stripped away, the harm reaches the person, and the damage becomes even greater, there is no greater harm than this. The trigram Gen is taken as skin, and the yin energy grows to the fourth line; the yang body below has been completely stripped away, thus it is said that the bed is stripped down to the skin, resulting in danger. The Small Image Commentary says: Stripping the bed to the skin, the disaster is already close at hand. Duolong'a says: The line statement says 'danger,' the Small Image says 'disaster,' the phrase 'very close' clearly points out the evil nature of yin energy, but it is also a warning for the yang lines to keep away from calamity.

六五：貫魚以宮人寵，無不利。剝消觀五，觀變為剝，五在觀家則五猶為巽，巽為繩、為魚，今變為艮，是以艮手牽巽繩，則魚貫矣。夫艮又為閽寺，五為艮之陰爻，故象宮人。使五能率宮人如魚之貫，以受大君之寵，不惟不凶，而且有利，蓋言陰不剝陽，轉有益於陰也。象曰：以宮人寵，終無尤也。爻曰無不利，象曰終無尤，所以誘陰以善，亦所以保此將盡之陽也。

The line statement of the fifth line says: Like stringing fish, leading the palace attendants to receive the king's favor, there is no disadvantage. Duolong'a says: The hexagram of division is formed when the yang line of the fifth line of the hexagram of observation is removed. When the hexagram of observation changes into the hexagram of division, the fifth line originally belonged to the trigram of xun (wind) in the hexagram of observation. Xun takes the image of a rope and a fish. Now it has changed into the trigram of gen (mountain), which takes the image of a hand. Thus, it becomes using the hand of gen to pull the rope of xun, and the fish are strung together in a row. Gen also takes the image of the palace attendants, that is, the close attendants in the palace. The fifth line is a yin line of gen, so it takes the image of 'palace attendants'. If the fifth line can lead the palace attendants to receive the king's favor in the same way as stringing fish, then it will not only be without danger, but also beneficial. This means that if yin does not remove yang, it will be beneficial to yin itself. The small image commentary says: Leading the palace attendants to receive favor, ultimately there will be no fault. Duolong'a says: The line statement says 'there is no disadvantage', and the small image says 'ultimately there will be no fault'. This is both guiding the yin line towards goodness and preserving the yang that is about to be completely removed.

上九：碩果不食，君子得輿，小人剝廬。陰進消乾，一陽孤存，乾為木果，是碩果也。使或天運有待，亂不欲極，雖欲食之，有不能者。陽為君子，坤為輿，君子處此，則猶欲得此坤輿；坤陰為小人，艮為門闕、為廬，若小人則必欲剝此艮廬以為純坤。君子小人用心之異如此。象曰：君子得輿，民所載也；小人剝廬，終不可用也。坤為民，輿稱載，言君子猶欲得民容民歸附；若小人則必剝去此陽，謂其異已，終不可用耳。

The line statement for the topmost yang line says: A large fruit remains uneaten, and the gentleman thus obtains a carriage, while the petty person destroys his own dwelling. Duolong'a says: Yin energy advances step by step, gradually consuming the yang of Qian, leaving only a single yang line remaining; Qian takes the image of a fruit on a tree, which is called 'a large fruit.' If the heavenly order still has a chance to change and the chaos does not reach its end, although the many yins wish to eat it, there will be times when they cannot consume it. Yang represents the gentleman, and坤 takes the image of a carriage, so the gentleman in this situation still hopes to obtain this坤 carriage, which is the carrying of the people; the yin of坤 represents the petty person, and Gen represents gates and dwellings, so the petty person must destroy this Gen dwelling in order to make the whole hexagram become pure yin坤. This is how the hearts of the gentleman and the petty person differ. The Small Image Commentary says: The gentleman obtaining the carriage is because the people support him; the petty person destroying the dwelling will ultimately not be trusted. Duolong'a says:坤 takes the image of the people, and the carriage is used for carrying, which means the gentleman still wishes to gain the acceptance and allegiance of the people; as for the petty person, he must remove this yang line, thinking it is not of the same kind as himself, so he is said to be ultimately not trustworthy.