陽氣將盡、結構將崩之卦
Judgment and its commentary
先讀經文，再讀《彖傳》如何解釋卦辭。Read the received text first, then its Tuan commentary.
剝：不利有攸往。
剝——不利於有所行動。 五陰已升到接近頂端，最後一條陽爻在上九孤懸。整個結構正在崩落的邊緣，此時不適合出手。
Bo indicates that (in the state which it symbolises) it will not be advantageous to make a movement in any direction whatever.
「剝」，剝也，柔變剛也。「不利有攸往」，小人長也。順而止之，觀象也；君子尚消息盈虛，天行也。
「剝」——剝離。柔（陰）正在改變剛（陽）。「不利有攸往」——小人在生長。順從並停止，是觀察卦象的智慧；君子看重消息盈虛的規律，這是天的運行。
Bo means 'overthrow' or 'fall.' (We see in the figure) the weak lines (on the point of) changing the (last) strong line. That 'it will not be advantageous to make a movement in any direction' appears from the fact that the small men are (now) growing and increasing. The superior man acts according to (the exigency of the time), and stops (all forward movement), looking at (the symbolism of) the figure. He values the (alternate) processes of decrease and increase, of fulness and decay, (as seen) in the movements of the heavenly bodies.
Great Image Commentary
上下卦取象 → 全卦成象 → 人事取法Trigrams → whole image → conduct
山附於地，剝
(The trigram representing) the earth, and (above it that for) a mountain, which adheres to the earth, form Bo.
上以厚下安宅。
The superior occupants (of high places), in accordance with this, seek to strengthen those below them, to secure the peace and stability of their own position.
山依附在地上—這就是剝的圖象。 在上者仿效這個樣子，用厚待在下者來安定居所。 （山看似高，但它的安定來自它與地的連結；如果山不再有厚厚的地承托，山就會崩。在上者的安定同樣取決於對在下者的厚待。）
本站導讀，不屬《大象傳》原文；用來預覽本卦六爻由初至上的意象變化。An editorial preview of the six line images, not part of the Great Image Commentary.
剝床以足，蔑貞凶。
從床腳開始剝起——蔑視正道，凶。 崩落從最不起眼的地方開始；這個時候不警覺，後面就收不住。
The first SIX, divided, shows one overturning the couch by injuring its legs. (The injury will go on to) the destruction of (all) firm correctness, and there will be evil.
剝床以足，以滅下也。
從床腳開始剝——是從下面開始滅。
'He overthrows the couch by injuring its legs:'—(thereby) he aims at the destruction of those below him.
剝床以辨，蔑貞凶。
剝到床身與床腳的連接處——蔑視正道，凶。 剝從邊緣蔓延到結構的連接部分。比初六更嚴重。
The second SIX, divided, shows one overthrowing the couch by injuring its frame. (The injury will go on to) the destruction of (all) firm correctness, and there will be evil.
剝床以辨，未有與也。
剝床以辨——是因為還沒有援助。
'He overthrows the couch by injuring its frame:'—(he does so), because (the subject of the line) has none with whom to co-operate.
剝之，无咎。
在剝的過程中——無咎。 六三居中而與上九的陽相應，雖處剝之中但心仍向陽，所以無咎。在集體衰敗中仍能個別守正的位置。
The third SIX, divided, shows its subject among the overthrowers; but there will be no error.
剝之无咎，失上下也。
剝之無咎——因為失去上下兩個陰爻的牽連，反而守住正道。
'Among the overthrowers, but not partaking of their error':—(the subject of the line) has lost (the company of) those above and below.
剝床以膚，凶。
剝到床上的皮膚（接觸人的部分）——凶。 從結構一直剝到與人直接接觸的層次。災已經切近自身。
The fourth SIX, divided, shows its subject having overthrown the couch, and (going to injure) the skin (of him who lies on it). There will be evil.
剝床以膚，切近災也。
剝床到皮膚——災已切近。
'He has overthrown the couch, and (proceeds to injure) the skin:'—calamity is very near at hand.
貫魚，以宮人寵，无不利。
把魚串起來——像帶領宮中人受寵一樣，無不利。 六五是群陰之首而接近上九的陽，能帶領其餘陰順從陽，化解剝的凶險。剝卦中唯一的轉折點。
The fifth SIX, divided, shows (its subject leading on the others like) a string of fishes, and (obtaining for them) the favour that lights on the inmates of the palace. There will be advantage in every way.
以宮人寵，終无尤也。
帶領宮中受寵——最終沒有過失。
'Favour shown to the inmates of the palace':—but in the end there will be no ground for blame.
碩果不食，君子得輿，小人剝廬。
結滿果實卻不採摘—君子因此得到車子（被民眾擁戴），小人卻剝掉自己的屋子（自取毀滅）。 上九是整個剝卦中最關鍵的陽爻：剩下的那顆種子。君子能保留它等來年；小人連自己的居所都拆光。種子是復之始。
The topmost NINE, undivided, shows its subject (as) a great fruit which has not been eaten. The superior man finds (the people again) as a chariot (carrying him). The small men (by their course) overthrow their own dwellings.
君子得輿，民所載也；小人剝廬，終不可用也。
君子得到車子——是民眾擁戴他；小人剝掉屋子——最終無可為用。
'The superior man finds (the people again) as a chariot':—he is carried along by the people. 'The small men (by their course) overthrow their own dwellings':—they cannot be made use of (in such a state of affairs).
To peel, strip, flake. The character pictures peeling skin or bark layer by layer. The hexagram's signature action is decay rising from below — yin progressively unseating yang.
Bed / couch. The metaphor's anchor object: the structure being progressively destroyed. Lines 1, 2, 4 progressively trace this destruction from legs → frame → surface.
Frame / boundary part. Specifically the part where the bed-legs meet the bed-body — the structural joint. Stripping reaches here in line 2.
Skin. In line 4, the peeling has reached the surface that touches the person — calamity is no longer structural-distant but personal-near.
A string of fish. Image of orderly leading — line 5's resolution: lead the yin lines collectively into compliance with the remaining yang above.
Great fruit. The fruit that doesn't fall, the seed that survives the season's decay. Line 6's central image: when all else has been stripped, what's preserved is what generates the next cycle.
Chariot / carriage. To 'gain a chariot' = to be carried by the people; to be supported, given a vehicle. Line 6's gentleman is rewarded thus.
A simple dwelling, hut. The small man strips away even his own roof — the final image of self-destruction.
