[ p. 123 ]
¶ THE HSIEN HEXAGRAM
Hsien indicates that, (on the fulfilment of the conditions implied in it), there will be free course and success. Its advantageousness will depend on the being firm and correct, (as) in marrying a young lady. There will be good fortune.
1. The first six, divided, shows one moving his great toes.
2. The second SIX, divided, shows one moving the calves of his leg. There will be evil. If he abide (quiet in his place), there will be good fortune.
3. The third NINE, undivided, shows one moving his thighs, and keeping close hold of those whom he follows. Going forward (in this way) will cause regret.
4. The fourth NINE, undivided, shows that firm correctness whi.ch will lead to good fortune, and prevent all occasion for repentance. If its subject be unsettled in his movements, (only) his friends will follow his purpose.
5. The fifth NINE, undivided, shows one moving the flesh along the spine above the heart. There will be no occasion for repentance. [ p. 124 ] 6. The sixth six, divided, shows one moving his jaws and tongue.
[ p. 125 ]
¶ THE HĂNG HEXAGRAM
Hăng indicates successful progress and no error (in what it denotes). But the advantage will come from being firm and correct; and movement in any direction whatever will be advantageous.
1. The first SIX, divided, shows its subject deeply (desirous) of long continuance. Even with firm [ p. 126 ] correctness there will be evil; there will be no advantage in any way.
2. The second NINE, undivided, shows all occasion for repentance disappearing.
3. The third NINE, undivided, shows one who does not continuously maintain his virtue. There are those who will impute this to him as a disgrace. However firm he may be, there will be ground for regret.
4. The fourth NINE, undivided, shows a field where there is no game.
5. The fifth SIX, divided, shows its subject continuously maintaining the virtue indicated by it. In a wife this will be fortunate; in a husband, evil.
6. The topmost SIX, divided, shows its subject exciting himself to long continuance. There will be evil.
[ p. 127 ]
¶ THE THUN HEXAGRAM
Thun indicates successful progress (in its circumstances). To a small extent it will (still) be advantageous to be firm and correct.
1. The first SIX, divided, shows a retiring tail. The position is perilous. No movement in any direction should be made. [ p. 128 ] 2. The second SIX, divided, shows its subject holding (his purpose) fast as if by a (thong made from the) hide of a yellow ox, which cannot be broken.
3. The third NINE, undivided, shows one retiring but bound,—to his distress and peril. (If he were to deal with his binders as in) nourishing a servant or concubine, it would be fortunate for him.
4. The fourth NINE, undivided, shows its subject retiring notwithstanding his likings. In a superior man this will lead to good fortune; a small man cannot attain to this.
5. The fifth NINE, undivided, shows its subject retiring in an admirable way. With firm correctness there will be good fortune.
6. The sixth NINE, undivided, shows its subject retiring in a noble way. It will be advantageous in every respect.
[ p. 129 ]
¶ THE TÂ KWANG HEXAGRAM
Tâ Kwang indicates that (under the conditions which it symbolises) it will be advantageous to be firm and correct. [ p. 130 ] 1. The first NINE, undivided, shows its subject manifesting his strength in his toes. But advance will lead to evil,—most certainly.
2. The second NINE, undivided, shows that with firm correctness there will be good fortune.
3. The third NINE, undivided, shows, in the case of a small man, one using all his strength; and in the case of a superior man, one whose rule is not to do so. Even with firm correctness the position would be perilous. (The exercise of strength in it might be compared to the case of) a ram butting against a fence, and getting his horns entangled.
4. The fourth NINE, undivided, shows (a case in which) firm correctness leads to good fortune, and occasion for repentance disappears. (We see) the fence opened without the horns being entangled. The strength is like that in the wheel-spokes of a large waggon.
5. The fifth SIX, divided, shows one who loses his ram(-like strength) in the ease of his position. (But) there will be no occasion for repentance.
6. The sixth SIX, divided, shows (one who may be compared to) the ram butting against the fence, and unable either to retreat, or to advance as he would fain do. There will not be advantage in any respect; but if he realise the difficulty (of his position), there will be good fortune.
[ p. 131 ]
[ p. 131 ]
¶ THE ŽIN HEXAGRAM
In Žin we see a prince who secures the tranquillity (of the people) presented on that account with numerous horses (by the king), and three times in a day received at interviews. [ p. 132 ] 1. The first SIX, divided, shows one wishing to advance, and (at the same time) kept back. Let him be firm and correct, and there will be good fortune. If trust be not reposed in him, let him maintain a large and generous mind, and there will be no error.
2. The second SIX, divided, shows its subject with the appearance of advancing, and yet of being sorrowful. If he be firm and correct, there will be good fortune. He will receive this great blessing from his grandmother.
3. The third SIX, divided, shows its subject trusted by all (around him). All occasion for repentance will disappear.
4. The fourth NINE, undivided, shows its subject with the appearance of advancing, but like a marmot. However firm and correct he may be, the position is one of peril.
5. The fifth SIX, divided, shows how all occasion for repentance disappears (from its subject). (But) let him not concern himself about whether he shall fail or succeed. To advance will be fortunate, and in every way advantageous.
6. The topmost NINE, undivided, shows one advancing his horns. But he only uses them to punish the (rebellious people of his own) city. The position [ p. 133 ] is perilous, but there will be good fortune. (Yet) however firm and correct he may be, there will be occasion for regret.
[ p. 134 ]
¶ THE MING Î HEXAGRAM
Ming Î indicates that (in the circumstances which it denotes) it will be advantageous to realise the [ p. 135 ] difficulty (of the position), and maintain firm correctness.
1. The first NINE, undivided, shows its subject, (in the condition indicated by) Ming Î, flying, but with drooping wings. When the superior man (is revolving) his going away, he may be for three days without eating. Wherever he goes, the people there may speak (derisively of him).
2. The second SIX, divided, shows its subject, (in the condition indicated by) Ming Î, wounded in the left thigh. He saves himself by the strength of a (swift) horse; and is fortunate.
3. The third NINE, undivided, shows its subject, (in the condition indicated by) Ming Î, hunting in the south, and taking the great chief (of the darkness). He should not be eager to make (all) correct (at once).
4. The fourth six, divided, shows its subject (just) entered into the left side of the belly (of the dark land). (But) he is able to carry out the mind appropriate (in the condition indicated by) Ming Î, quitting the gate and courtyard (of the lord of darkness).
5. The fifth six, divided, shows how the count of Kî fulfilled the condition indicated by Ming Î. It will be advantageous to be firm and correct.
6. The sixth six, divided, shows the case where there is no light, but (only) obscurity. (Its subject) had at first ascended to (the top of) the sky; his future shall be to go into the earth.
[ p. 136 ]
¶ THE KIÂ ZĂN HEXAGRAM
For (the realisation of what is taught in) Kiâ Zăn, (or for the regulation of the family), what is [ p. 137 ] most advantageous is that the wife be firm and correct.
1. The first NINE, undivided, shows its subject establishing restrictive regulations in his household Occasion for repentance will disappear.
2. The second SIX, divided, shows its subject taking nothing on herself, but in her central place attending to the preparation of the food. Through her firm correctness there will be good fortune.
3. The third NINE, undivided, shows its subject (treating) the members of the household with stern severity. There will be occasion for repentance, there will be peril, (but) there will (also) be good fortune. If the wife and children were to be smirking and chattering, in the end there would be occasion for regret.
4. The fourth SIX, divided, shows its subject [ p. 138 ] enriching the family. There will be great good fortune.
5. The fifth NINE, undivided, shows the influence of the king extending to his family. There need be no anxiety; there will be good fortune.
6. The topmost NINE, undivided, shows its subject possessed of sincerity and arrayed in majesty. In the end there will be good fortune.
[ p. 139 ]
[ p. 139 ]
¶ THE KHWEI HEXAGRAM
Khwei indicates that, (notwithstanding the condition of things which it denotes), in small matters there will (still) be good success.
1. The first NINE, undivided, shows that (to its subject) occasion for repentance will disappear. He has lost his horses, but let him not seek for them;—they will return of themselves. Should he meet with bad men, he will not err (in communicating with them).
2. The second NINE, undivided, shows its subject happening to meet with his lord in a bye-passage. There will be no error.
3. In the third SIX, divided, we see one whose carriage is dragged back, while the oxen in it are pushed back, and he is himself subjected to the shaving of his head and the cutting off of his nose. There is no good beginning, but there will be a good end.
4. The fourth NINE, undivided, shows its subject solitary amidst the (prevailing) disunion. (But) he meets with the good man (represented by the first [ p. 140 ] line), and they blend their sincere desires together. The position is one of peril, but there will be no mistake.
5. The fifth SIX, divided, shows that (to its subject) occasion for repentance will disappear. With his relative (and minister he unites closely and readily) as if he were biting through a piece of skin. When he goes forward (with this help), what error can there be?
6. The topmost NINE, undivided, shows its subject solitary amidst the (prevailing) disunion. (In the subject of the third line, he seems to) see a pig bearing on its back a load of mud, (or fancies) there is a carriage full of ghosts. He first bends his bow against him, and afterwards unbends it, (for he discovers) that he is not an assailant to injure, but a near relative. Going forward, he shall meet with (genial) rain, and there will be good fortune.
[ p. 141 ]
¶ THE KIEN HEXAGRAM
In (the state indicated by) Kien advantage will be found in the south-west, and the contrary in the north-east. It will be advantageous (also) to meet [ p. 142 ] with the great man. (In these circumstances), with firmness and correctness, there will be good fortune.
1. From the first SIX, divided, we learn that advance (on the part of its subject) will lead to (greater) difficulties, while remaining stationary will afford ground for praise.
2. The second SIX, divided, shows the minister of the king struggling with difficulty on difficulty, and not with a view to his own advantage.
3. The third NINE, undivided, shows its subject advancing, (but only) to (greater) difficulties. He remains stationary, and returns (to his former associates).
4. The fourth SIX, divided, shows its subject advancing, (but only) to (greater) difficulties. He remains stationary, and unites (with the subject of the line above).
5. The fifth NINE, undivided, shows its subject struggling with the greatest difficulties, while friends are coming to help him.
6. The topmost SIX, divided, shows its subject going forward, (only to increase) the difficulties, [ p. 143 ] while his remaining stationary will be (productive of) great (merit). There will be good fortune, and it will be advantageous to meet with the great man.
[ p. 144 ]
[ p. 144 ]
¶ THE KIEH HEXAGRAM
In (the state indicated by) Kieh advantage will be found in the south-west. If no (further) operations be called for, there will be good fortune in coming back (to the old conditions). If some operations be called for, there will be good fortune in the early conducting of them.
1. The first SIX, divided, shows that its subject will commit no error. [ p. 145 ] 2. The second NINE, undivided, shows its subject catch, in hunting, three foxes, and obtain the yellow (= golden) arrows. With firm correctness there will be good fortune.
3. The third SIX, divided, shows a porter with his burden, (yet) riding in a carriage. He will (only) tempt robbers to attack him. However firm and correct he may (try to) be, there will be cause for regret.
4. (To the subject of) the fourth NINE, undivided, (it is said), ‘Remove your toes. Friends will (then) come, between you and whom there will be mutual confidence.’
5. The fifth SIX, divided, shows (its subject), the superior man (= the ruler), executing his function of removing (whatever is injurious to the idea of the hexagram), in which case there will he good fortune, and confidence in him will be shown even by the small men.
6. In the sixth SIX, divided, we see a feudal prince (with his bow) shooting at a falcon on the top of a high wall, and hitting it. (The effect of his action) will be in every way advantageous.
[ p. 146 ]
¶ THE SUN HEXAGRAM
In (what is denoted by) Sun, if there be sincerity (in him who employs it), there will be great good fortune:—freedom from error; firmness and correctness that can be maintained; and advantage in every [ p. 147 ] movement that shall be made. In what shall this (sincerity in the exercise of Sun) be employed? (Even) in sacrifice two baskets of grain, (though there be nothing else), may be presented.
1. The first NINE, undivided, shows its subject suspending his own affairs, and hurrying away (to help the subject of the fourth line). He will commit no error, but let him consider how far he should contribute of what is his (for the other).
2 . The second NINE, undivided, shows that it will be advantageous for its subject to maintain a firm correctness, and that action on his part will be evil. He can give increase (to his correlate) without taking from himself
3. The third SIX, divided, shows how of three men walking together, the number is diminished by one; and how one, walking, finds his friend.
4. The fourth SIX, divided, shows its subject diminishing the ailment under which he labours by making (the subject of the first line) hasten (to his help), and make him glad. There will be no error.
5. The fifth SIX, divided, shows parties adding to (the stores of) its subject ten pairs of tortoise shells, and accepting no refusal. There will be great good fortune. [ p. 148 ] 6. The topmost NINE, undivided, shows its subject giving increase to others without taking from himself. There will be no error. With firm correctness there will be good fortune. There will be advantage in every movement that shall be made. He will find ministers more than can be counted by their clans.
[ p. 149 ]
¶ THE YÎ HEXAGRAM
Yî indicates that (in the state which it denotes) there will be advantage in every movement which shall be undertaken, that it will be advantageous (even) to cross the great stream.
1. The first NINE, undivided, shows that it will be advantageous for its subject in his position to make [ p. 150 ] a great movement. If it be greatly fortunate, no blame will be imputed to him.
2. The second SIX, divided, shows parties adding to the stores of its subject ten pairs of tortoise shells whose oracles cannot be opposed. Let him persevere in being firm and correct, and there will be good fortune. Let the king, (having the virtues thus distinguished), employ them in presenting his offerings to God, and there will be good fortune.
3. The third SIX, divided, shows increase given to its subject by means of what is evil, so that he shall (be led to good), and be without blame. Let him be sincere and pursue the path of the Mean, (so shall he secure the recognition of the ruler, like) an officer who announces himself to his prince by the symbol of his rank.
4. The fourth SIX, divided, shows its subject pursuing the due course. His advice to his prince is followed. He can with advantage be relied on in such a movement as that of removing the capital.
5. The fifth NINE, undivided, shows its subject with sincere heart seeking to benefit (all below). There need be no question about it; the result will be great good fortune. (All below) will with sincere heart acknowledge his goodness.
6. In the sixth NINE, undivided, we see one to whose increase none will contribute, while many will seek to assail him. He observes no regular rule in the ordering of his heart. There will be evil.
[ p. 151 ]
¶ THE KWÂI HEXAGRAM
Kwâi requires (in him who would fulfil its meaning) the exhibition (of the culprit’s guilt) in the royal court, and a sincere and earnest appeal (for sympathy [ p. 152 ] and support), with a consciousness of the peril (involved in cutting off the criminal). He should (also) make announcement in his own city, and show that it will not be well to have recourse at once to arms. (In this way) there will be advantage in whatever he shall go forward to.
1. The first NINE, undivided, shows its subject in (the pride of) strength advancing with his toes. He goes forward, but will not succeed. There will be ground for blame.
2. The second NINE, undivided, shows its subject full of apprehension and appealing (for sympathy and help). Late at night hostile measures may be (taken against him), but he need not be anxious about them.
3. The third NINE, undivided, shows its subject (about to advance) with strong (and determined) looks. There will be evil. (But) the superior man, bent on cutting off (the criminal), will walk alone and encounter the rain, (till he be hated by his proper associates) as if he were contaminated (by the others). (In the end) there will be no blame against him. [ p. 153 ] 4. The fourth NINE, undivided, shows one from whose buttocks the skin has been stripped, and who walks slowly and with difficulty. (If he could act) like. a sheep led (after its companions), occasion for repentance would disappear. But though he hear these words, he will not believe them.
5. The fifth NINE, undivided, shows (the small men like) a bed of purslain, which ought to be uprooted with the utmost determination. (The subject of the line having such determination), his action, in harmony with his central position, will lead to no error or blame.
6. The sixth SIX, divided, shows its subject without any (helpers) on whom to call. His end will be evil.
[ p. 154 ]
¶ THE KÂU HEXAGRAM
Kâu shows a female who is bold and strong. It will not be good to marry (such) a female. [ p. 155 ] 1. The first SIX, divided, shows how its subject should be kept (like a carriage) tied and fastened to a metal drag, in which case with firm correctness there will be good fortune. (But) if he move in any direction, evil will appear. He will be (like) a lean pig, which is sure to keep jumping about.
2. The second NINE, undivided, shows its subject with a wallet of fish. There will be no error. But it will not be well to let (the subject of the first line) go forward to the guests.
3. The third NINE, undivided, shows one from whose buttocks the skin has been stripped so that he walks with difficulty. The position is perilous, but there will be no great error.
4. The fourth NINE, undivided, shows its subject with his wallet, but no fish in it. This will give rise to evil.
5. The fifth NINE, undivided, (shows its subject as) a medlar tree overspreading the gourd (beneath it). If he keep his brilliant qualities concealed, (a good issue) will descend (as) from Heaven.
6. The sixth NINE, undivided, shows its subject receiving others on his horns. There will be occasion for regret, but there will be no error.
[ p. 156 ]
¶ THE ŽHUI HEXAGRAM
In (the state denoted by) Žhui, the king will repair to his ancestral temple. It will be advantageous
[ p. 157 ]
(also) to meet with the great man; and then there will be progress and success, though the advantage must come through firm correctness. The use of great victims will conduce to good fortune; and in whatever direction movement is made, it will be advantageous.
1. The first SIX, divided, shows its subject with a sincere desire (for union), but unable to carry it out, so that disorder is brought into the sphere of his union. If he cry out (for help to his proper correlate), all at once (his tears) will give place [ p. 158 ] to smiles. He need not mind (the temporary difficulty); as he goes forward, there will be no error.
2. The second SIX, divided, shows its subject led forward (by his correlate). There will be good fortune, and freedom from error. There is entire sincerity, and in that case (even the small offerings of) the vernal sacrifice are acceptable.
3. The third SIX, divided, shows its subject striving after union and seeming to sigh, yet nowhere finding any advantage. If he go forward, he will not err, though there may be some small cause for regret.
4. The fourth NINE, undivided, shows its subject in such a state that, if he be greatly fortunate, he will receive no blame.
5. The fifth NINE, undivided, shows the union (of all) under its subject in the place of dignity. There will be no error. If any do not have confidence in him, let him see to it that (his virtue) be great, long-continued, and firmly correct, and all occasion for repentance will disappear.
6. The topmost SIX, divided, shows its subject sighing and weeping; but there will be no error.
[ p. 159 ]
¶ THE SHĂNG HEXAGRAM
Shăng indicates that (under its conditions) there will be great progress and success. Seeking by
[ p. 160 ]
(the qualities implied in it) to meet with the great man, its subject need have no anxiety. Advance to the south will be fortunate.
1. The first SIX, divided, shows its subject advancing upwards with the welcome (of those above him). There will be great good fortune.
2. The second NINE, undivided, shows its subject with that sincerity which will make even the (small) offerings of the vernal sacrifice acceptable. There will be no error.
3. The third NINE, undivided, shows its subject ascending upwards (as into) an empty city.
4. The fourth SIX, divided, shows its subject employed by the king to present his offerings on mount Khî. There will be good fortune; there will be no mistake.
5. The fifth six, divided, shows its subject firmly correct, and therefore enjoying good fortune. He ascends the stairs (with all due ceremony).
6. The sixth six, divided, shows its subject advancing upwards blindly. Advantage will be found in a ceaseless maintenance of firm correctness.
[ p. 161 ]
¶ THE KHWĂN HEXAGRAM
In (the condition denoted by) Khwăn there may (yet be) progress and success. For the firm and [ p. 162 ] correct, the (really) great man, there will be good fortune. He will fall into no error. If he make speeches, his words cannot be made good.
1. The first SIX, divided, shows its subject with bare buttocks straitened under the stump of a tree. He enters a dark valley, and for three years has no prospect (of deliverance).
2. The second NINE, undivided, shows its subject straitened amidst his wine and viands. There come to him anon the red knee-covers (of the ruler). It will be well for him (to maintain his sincerity as) in sacrificing. Active operations (on his part) will lead to evil, but he will be free from blame.
3. The third SIX, divided, shows its subject straitened before a (frowning) rock. He lays hold of thorns. He enters his palace, and does not see his wife. There will be evil.
4. The fourth NINE, undivided shows its subject proceeding very slowly (to help the subject of the first line), who is straitened by the carriage adorned with metal in front of him. There will be occasion for regret, but the end will be good. [ p. 163 ] 5. The fifth NINE, undivided, shows its subject with his nose and feet cut off. He is straitened by (his ministers in their) scarlet aprons. He is leisurely in his movements, however, and is satisfied. It will be well for him to be (as sincere) as in sacrificing (to spiritual beings).
6. The sixth SIX, divided, shows its subject straitened, as if bound with creepers; or n a high and dangerous position, and saying (to himself), ‘If I move, I shall repent it.’ If he do repent of former errors, there will be good fortune in his going forward.
[ p. 164 ]
¶ THE ŽING HEXAGRAM
(Looking at) Žing, (we think of) how (the site of) a town may be changed, while (the fashion of) its [ p. 165 ] wells undergoes no change. (The water of a well) never disappears and never receives (any great) increase, and those who come and those who go can draw and enjoy the benefit. If (the drawing) have nearly been accomplished, but, before the rope has quite reached the water, the bucket is broken, this is evil.
1. The first SIX, divided, shows a well so muddy that men will not drink of it; or an old well to which neither birds (nor other creatures) resort.
2. The second NINE, undivided, shows a well from which by a hole the water escapes and flows away to the shrimps (and such small creatures among the grass), or one the water of which leaks away from a broken basket.
3. The third NINE, undivided, shows a well, which has been cleared out, but is not used. Our hearts are sorry for this, for the water might be drawn out and used. If the king were (only) intelligent, both he and we might receive the benefit of it. [ p. 166 ] 4. The fourth SIX, divided, shows a well, the lining of which is well laid. There will be no error.
5. The fifth NINE, undivided, shows a clear, limpid well, (the waters from) whose cold spring are (freely) drunk.
6. The topmost SIX, divided, shows (the water from) the well brought to the top, which is not allowed to be covered. This suggests the idea of sincerity. There will be great good fortune.
[ p. 167 ]
¶ THE KO HEXAGRAM
(What takes place as indicated by) Ko is believed in only after it has been accomplished. There will be great progress and success. Advantage will come from being firm and correct. (In that case) occasion for repentance will disappear.
1. The first NINE, undivided, shows its subject (as if he were) bound with the skin of a yellow ox. [ p. 168 ] 2. The second SIX, divided, shows its subject making his changes after some time has passed. Action taken will be fortunate. There will be no error.
3. The third NINE, undivided, shows that action taken by its subject will be evil. Though he be firm and correct, his position is perilous. If the change (he contemplates) have been three times fully discussed, he will be believed in.
4. The fourth NINE, undivided, shows occasion for repentance disappearing (from its subject). Let him be believed in; and though he change (existing) ordinances, there will be good fortune.
5. The fifth NINE, undivided, shows the great man (producing his changes) as the tiger (does when he) changes (his stripes). Before he divines (and proceeds to action), faith has been reposed in him.
6. The sixth SIX, divided, shows the superior man producing his changes as the leopard (does when he) changes (his spots), while small men change their faces (and show their obedience). To go forward (now) would lead to evil, but there will be good fortune in abiding firm and correct.
[ p. 169 ]
¶ THE TING HEXAGRAM
Ting gives the intimation of great progress and success.
1. The first SIX, divided, shows the caldron overthrown and its feet turned up. (But) there will be [ p. 170 ] advantage in its getting rid of what was bad in it. (Or it shows us) the concubine (whose position is improved) by means of her son. There will be no error.
2. The second NINE, undivided, shows the caldron with the things (to be cooked) in it. (If its subject can say), ‘My enemy dislikes me, but he cannot approach me,’ there will be good fortune.
3. The third NINE, undivided, shows the caldron with (the places of) its ears changed. The progress (of its subject) is (thus) stopped. The fat flesh of the pheasant (which is in the caldron) will not be eaten. But the (genial) rain will come, and the grounds for repentance will disappear. There will be good fortune in the end.
4. The fourth NINE, undivided, shows the caldron with its feet broken; and its contents, designed for the ruler’s use, overturned and spilt. Its Subject will be made to blush for shame. There will be evil. [ p. 171 ] 5. The fifth six, divided, shows the caldron with yellow ears and rings of metal in them. There will be advantage through being firm and correct.
6. The sixth NINE, undivided, shows the caldron with rings of jade. There will be great good fortune, and all action taken will be in every way advantageous.
[ p. 172 ]
¶ THE KĂN HEXAGRAM
Kăn gives the intimation of ease and development. When (the time of) movement (which it indicates) comes, (the subject of the hexagram) will be found looking out with apprehension, and yet [ p. 173 ] smiling and talking cheerfully. When the movement (like a crash of thunder) terrifies all within a hundred lî, he will be (like the sincere worshipper) who is not (startled into) letting go his ladle and (cup of) sacrificial spirits.
1. The first NINE, undivided, shows its subject, when the movement approaches, looking out and around with apprehension, and afterwards smiling and talking cheerfully. There will be good fortune.
2. The second SIX, divided, shows its subject, when the movement approaches, in a position of peril. He judges it better to let go the articles (in his possession), and to ascend a very lofty height. There is no occasion for him to pursue after (the things he has let go); in seven days he will find them.
3. The third six, divided, shows its subject distraught amid the startling movements going on. If those movements excite him to (right) action, there will be no mistake. [ p. 174 ] 4. The fourth NINE, undivided, shows its subject, amid the startling movements, supinely sinking (deeper) in the mud.
5. The fifth SIX, divided, shows its subject going and coming amidst the startling movements (of the time), and always in peril; but perhaps he will not incur loss, and find business (which he can accomplish).
6. The topmost SIX, divided, shows its subject, amidst the startling movements (of the time), in breathless dismay and looking round him with trembling apprehension. If he take action, there will be evil. If, while the startling movements have not reached his own person and his neighbourhood, (he were to take precautions), there would be no error, though his relatives might (still) speak against him.
[ p. 175 ]
[ p. 175 ]
¶ THE KĂN HEXAGRAM
When one’s resting is like that of the back, and he loses all consciousness of self; when he walks [ p. 176 ] in his courtyard, and does not see any (of the persons) in it,—there will be no error.
1. The first SIX, divided, shows its subject keeping his toes at rest. There will be no error; but it will be advantageous for him to be persistently firm and correct.
2. The second SIX, divided, shows its subject keeping the calves of his legs at rest. He cannot help (the subject of the line above) whom he follows, and is dissatisfied in his mind.
3. The third NINE, undivided, shows its subject keeping his loins at rest, and separating the ribs (from the body below). The situation is perilous, and the heart glows with suppressed excitement.
4. The fourth SIX, divided, shows its subject keeping his trunk at rest. There will be no error.
S. The fifth SIX, divided, shows its subject keeping his jawbones at rest, so that his words are (all) orderly. Occasion for repentance will disappear.
6. The sixth NINE, undivided, shows its subject [ p. 177 ] devotedly maintaining his restfulness. There will be good fortune.
[ p. 178 ]
¶ THE KIEN HEXAGRAM
Kien suggests to us the marriage of a young lady, and the good fortune (attending it). There will be advantage in being firm and correct.
1. The first SIX, divided, shows the wild geese gradually approaching the shore. A young officer (in similar circumstances) will be in a position of danger, and be spoken against; but there will be no error. [ p. 179 ] 2. The second SIX, divided, shows the geese gradually approaching the large rocks, where they eat and drink joyfully and at ease. There will be good fortune.
3. The third NINE, undivided, shows them gradually advanced to the dry plains. (It suggests also the idea of) a husband who goes on an expedition from which he does not return, and of a wife who is pregnant, but will not nourish her child. There will be evil. (The case symbolised) might be advantageous in resisting plunderers.
4. The fourth SIX, divided, shows the geese gradually advanced to the trees. They may light on the flat branches. There will be no error.
5. The fifth NINE, undivided, shows the geese gradually advanced to the high mound. (It suggests the idea of) a wife who for three years does not become pregnant; but in the end the natural issue cannot be prevented. There will be good fortune.
6. The sixth NINE, undivided, shows the geese gradually advanced to the large heights (beyond). Their feathers can be used as ornaments. There will be good fortune.
[ p. 180 ]
¶ THE KWEI MEI HEXAGRAM
Kwei Mei indicates that (under the conditions which it denotes) action will be evil, and in no wise advantageous. [ p. 181 ] 1. The first NINE, undivided, shows the younger sister married off in a position ancillary to the real wife. (It suggests the idea of) a person lame on [ p. 182 ] one leg who yet manages to tramp along. Going forward will be fortunate.
2. The second NINE, undivided, shows her blind of one eye, and yet able to see. There will be advantage in her maintaining the firm correctness of a solitary widow.
3. The third SIX, divided, shows the younger sister who was to be married off in a mean position. She returns and accepts an ancillary position.
4. The fourth NINE, undivided, shows the younger sister who is to be married off protracting the time. She may be late in being married, but the time will come.
5. The fifth SIX, divided, reminds us of the marrying of the younger sister of (king) Tî-yî, when the sleeves of her the princess were not equal to those of the (still) younger sister who accompanied her in an inferior capacity. (The case suggests the thought of) the moon almost full. There will be good fortune.
6. The sixth SIX, divided, shows the young lady bearing the basket, but without anything in it, and the gentleman slaughtering the sheep, but without blood flowing from it. There will be no advantage in any way.
[ p. 183 ]
¶ THE FĂNG HEXAGRAM
Făng intimates progress and development. When a king has reached the point (which the name denotes) [ p. 184 ] there is no occasion to be anxious (through fear of a change). Let him be as the sun at noon. [ p. 185 ] 1. The first NINE, undivided, shows its subject meeting with his mate. Though they are both of the same character, there will be no error. Advance will call forth approval.
2. The second SIX, divided, shows its subject surrounded by screens so large and thick that at midday he can see from them the constellation of the Bushel. If he go (and try to enlighten his ruler who is thus emblemed), he will make himself to be viewed with suspicion and dislike. Let him cherish his feeling of sincere devotion that he may thereby move (his ruler’s mind), and there will be good fortune.
3. The third NINE, undivided, shows its subject with an (additional) screen of a large and thick banner, through which at midday he can see (the small) Mei star. (In the darkness) he breaks his right arm; but there will be no error.
4. T he fourth NINE, undivided, shows its subject in a tent so large and thick that at midday he can see from it the constellation of the Bushel. But he meets with the subject of the (first) line, undivided like himself. There will be good fortune.
5. The fifth SIX, divided, shows its subject bringing around him the men of brilliant ability. There will be occasion for congratulation and praise. There will be good fortune.
6. The topmost SIX, divided, shows its subject [ p. 186 ] with his house made large, but only serving as a screen to his household. When he looks at his door, it is still, and there is nobody about it. For three years no one is to be seen. There will be evil.
[ p. 187 ]
¶ THE LÜ HEXAGRAM
Lü intimates that (in the condition which it denotes) there may be some little attainment and progress. If the stranger or traveller be firm and correct as he ought to be, there will be good fortune.
1. The first SIX, divided, shows the stranger mean and meanly occupied. It is thus that he brings on himself (further) calamity. [ p. 188 ] 2. The second SIX, divided, shows the stranger, occupying his lodging-house, carrying with him his means of livelihood, and provided with good and trusty servants.
3. The third NINE, undivided, shows the stranger, burning his lodging-house, and having lost his servants. However firm and correct he (try to) be, he will be in peril.
4. The fourth NINE, undivided, shows the traveller in a resting-place, having (also) the means of livelihood and the axe, (but still saying), ‘I am not at ease in my mind.’
5. The fifth SIX, divided, shows its subject shooting a pheasant. He will lose his arrow, but in the end he will obtain praise and a (high) charge.
6. The sixth NINE, undivided, suggests the idea of a bird burning its nest. The stranger, (thus represented), first laughs and then cries out. He has lost his ox(-like docility) too readily and easily. There will be evil.
[ p. 189 ]
¶ THE SUN HEXAGRAM
Sun intimates that (under the conditions which it denotes) there will be some little attainment and progress. There will be advantage in movement [ p. 190 ] onward in whatever direction. It will be advantageous (also) to see the great man.
1. The first SIX, divided, shows its subject (now) advancing, (now) receding. It would be advantageous for him to have the firm correctness of a brave soldier.
2. The second NINE, undivided, shows the representative of Sun beneath a couch, and employing diviners and exorcists in a way bordering on confusion. There will be good fortune and no error.
3. The third NINE, undivided, shows its subject penetrating (only) by violent and repeated efforts. There will be occasion for regret.
4. The fourth SIX, divided, shows all occasion for repentance (in its subject) passed away. He takes game for its threefold use in his hunting.
5. The fifth NINE, undivided, shows that with firm correctness there will be good fortune (to its [ p. 191 ] subject). All occasion for repentance will disappear, and all his movements will be advantageous. There may have been no (good) beginning, but there will be a (good) end. Three days before making any changes, (let him give notice of them); and three days after, (let him reconsider them). There will (thus) be good fortune.
6. The sixth NINE, undivided, shows the representative of penetration beneath a couch, and having lost the axe with which he executed his decisions. However firm and correct he may (try to) be, there will be evil.
[ p. 192 ]
¶ THE TUI HEXAGRAM
Tui intimates that (under its conditions) there will be progress and attainment. (But) it will be advantageous to be firm and correct. [ p. 193 ] 1. The first NINE, undivided, shows the pleasure of (inward) harmony. There will be good fortune.
2. The second NINE, undivided, shows the pleasure arising from (inward) sincerity. There will be good fortune. Occasion for repentance will disappear.
3. The third SIX, divided, shows its subject bringing round himself whatever can give pleasure. There will be evil.
4. The fourth NINE, undivided, shows its subject deliberating about what to seek his pleasure in, and not at rest. He borders on what would be injurious, but there will be cause for joy.
5. The fifth NINE, undivided, shows its subject trusting in one who would injure him. The situation is perilous.
6. The topmost SIX, divided, shows the pleasure of its subject in leading and attracting others.
[ p. 194 ]
¶ THE HWÂN HEXAGRAM
Hwân intimates that (under its conditions) there will be progress and success. The king goes to his ancestral temple; and it will be advantageous to [ p. 195 ] cross the great stream. It will be advantageous to be firm and correct.
1. The first SIX, divided, shows its subject engaged in rescuing (from the impending evil) and having (the assistance of) a strong horse. There will be good fortune.
2. The second NINE, undivided, shows its subject, amid the dispersion, hurrying to his contrivance (for security). All occasion for repentance will disappear.
3. The third SIX, divided, shows its subject discarding any regard to his own person. There will be no occasion for repentance.
4. The fourth SIX, divided, shows its subject scattering the (different) parties (in the state); which leads to great good fortune. From the dispersion (he collects again good men standing out, a crowd) like a mound, which is what ordinary men would not have thought of.
5. The fifth NINE, undivided, shows its subject amidst the dispersion issuing his great announcements as the perspiration (flows from his body). [ p. 196 ] He scatters abroad (also) the accumulations in the royal granaries. There will be no error.
6. The topmost NINE, undivided, shows its subject disposing of (what may be called) its bloody wounds, and going and separating himself from its anxious fears. There will be no error.
[ p. 197 ]
¶ THE KIEH HEXAGRAM
Kieh intimates that (under its conditions) there will be progress and attainment. (But) if the regulations (which it prescribes) be severe and difficult, they cannot be permanent.
1. The first NINE, undivided, shows its subject not [ p. 198 ] quitting the courtyard outside his door. There will be no error.
2. The second NINE, undivided, shows its subject not quitting the courtyard inside his gate. There will be evil.
3. . The third SIX, divided, shows its subject with no appearance of observing the (proper) regulations, in which case we shall see him lamenting. But there will be no one to blame (but himself).
4. The fourth SIX, divided, shows its subject quietly and naturally (attentive to all) regulations. There will be progress and success.
5. The fifth NINE, undivided, shows its subject sweetly and acceptably enacting his regulations. There will be good fortune. The onward progress with them will afford ground for admiration.
6. The topmost SIX, divided, shows its subject enacting regulations severe and difficult. Even with firmness and correctness there will be evil. But though there will be cause for repentance, it will (by and by) disappear.
[ p. 200 ]
[ p. 199 ]
¶ THE KUNG FÛ HEXAGRAM
Kung Fû (moves even) pigs and fish, and leads to good fortune. There will be advantage in crossing [ p. 200 ] the great stream. There will be advantage in being firm and correct.
I. The first NINE, undivided, shows its subject resting (in himself). There will be good fortune. If he sought to any other, he would not find rest.
2. The second NINE, undivided, shows its subject (like) the crane crying out in her hidden retirement, and her young ones responding to her. (It is as if it were said), ‘I have a cup of good spirits,’ (and the response were), ‘I will partake of it with you.’
3. The third SIX, divided, shows its subject having met with his mate. Now he beats his drum, and now he leaves off. Now he weeps, and now he sings.
4. The fourth SIX, divided, shows its subject (like) the moon nearly full, and (like) a horse (in a chariot) whose fellow disappears. There will be no error.
5. The fifth NINE, undivided, shows its subject perfectly sincere, and linking (others) to him in closest union. There will be no error.
6. The topmost NINE, undivided, shows its subject in chanticleer (trying to) mount to heaven. Even with firm correctness there will be evil.
[ p. 201 ]
¶ THE HSIÂO KWO HEXAGRAM
Hsiâo Kwo indicates that (in the circumstances which it implies) there will be progress and attainment. [ p. 202 ] But it will be advantageous to be firm and correct. (What the name denotes) may be done in small affairs, but not in great affairs. (It is like) the notes that come down from a bird on the wing;—to descend is better than to ascend. There will (in this way) be great good fortune.
1. The first SIX, divided, suggests (the idea of) a bird flying, (and ascending) till the issue is evil.
2. The second SIX, divided, shows its subject passing by his grandfather, and meeting with his [ p. 203 ] grandmother; not attempting anything against his ruler, but meeting him as his minister. There will be no error.
3. The third NINE, undivided, shows its subject taking no extraordinary precautions against danger; and some in consequence finding opportunity to assail and injure him. There will be evil.
4. The fourth NINE, undivided, shows its subject falling into no error, but meeting (the exigency of his situation), without exceeding (in his natural. course). If he go forward, there will be peril, and he must be cautious. There is no occasion to be using firmness perpetually.
5. The fifth SIX, divided, (suggests the idea) of dense clouds, but no rain, coming from our borders in the west. It also (shows) the prince shooting his arrow, and taking the bird in a cave.
6. The sixth SIX, divided, shows. its subject not meeting (the exigency of his situation), and exceeding (his proper course). (It suggests the idea of) a bird flying far aloft. There will be evil. The case is what is called one of calamity and self-produced injury.
[ p. 204 ]
¶ THE KÎ ŽÎ HEXAGRAM
Kî Žî intimates progress and success in small matters. There will be advantage in being firm [ p. 205 ] and correct. There has been good fortune in the beginning; there may be disorder in the end.
1. The first NINE, undivided, (shows its subject as a driver) who drags back his wheel, (or as a fox) which has wet his tail. There will be no error.
2. The second SIX, divided, (shows its subject as) a wife who has lost her (carriage-)screen. There is no occasion to go in pursuit of it. In seven days she will find it.
3. The third NINE, undivided, (suggests the case of) Kâo Žung, who attacked the Demon region, but was three years in subduing it. Small men should not be employed (in such enterprises). [ p. 206 ] 4. The fourth SIX, divided, shows its subject with rags provided against any leak (in his boat), and on his guard all day long.
5. The fifth NINE, undivided, shows its subject (as) the neighbour in the east who slaughters an ox (for his sacrifice); but this is not equal to the (small) spring sacrifice of the neighbour in the west, whose sincerity receives the blessing.
6. The topmost SIX, divided, shows its subject with (even) his head immersed. The position is perilous.
[ p. 207 ]
¶ THE WEI ŽÎ HEXAGRAM
Wei Žî intimates progress and success (in the circumstances which it implies). (We see) a young fox that has nearly crossed (the stream), when its tail gets immersed. There will be no advantage in any way. [ p. 208 ] 1. The first SIX, divided, shows its subject (like a fox) whose tail gets immersed. There will be occasion for regret.
2. The second NINE, undivided, shows its subject dragging back his (carriage-) wheel. With firmness and correctness there will be good fortune.
3. The third SIX, divided, shows its subject, with (the state of things) not yet remedied, advancing on; which will lead to evil. But there will be advantage in (trying to) cross the great stream.
4. The fourth NINE, undivided, shows its subject by firm correctness obtaining good fortune, so that all occasion for repentance disappears. Let him stir himself up, as if he were invading the Demon region, where for three years rewards will come to him (and his troops) from the great kingdom.
5. The fifth SIX, divided, shows its subject by firm correctness obtaining good fortune, and having no occasion for repentance. (We see in him) the brightness of a superior man, and the possession of sincerity. There will be good fortune.
6. The topmost NINE, undivided, shows its subject [ p. 209 ] full of confidence and therefore feasting (quietly). There will be no error. (If he) cherish this confidence, [ p. 210 ] till he (is like the fox who) gets his head immersed, it will fail of what is right.
¶ Footnotes
124:XXXI With the 31st hexagram commences the Second Section of the Text. It is difficult to say why any division of the hexagrams should be made here, for the student tries in vain to discover any continuity in the thoughts of the author that is now broken. The First Section does not contain a class of subjects different from those which we find in the Second. That the division was made, however, at a very early time, appears from the sixth Appendix on the Sequence of the Hexagrams, where the writer sets forth an analogy between the first and second figures, representing heaven and earth, as the originators of all things, and this figure and the next, representing (each of them) husband and wife, as the originators of all the social relations. This, however, is far from carrying conviction to my mind. The division of the Text of the Yî into two sections is a fact of which I am unable to give a satisfactory account.
Hsien, as explained in the treatise on the Thwan, has here the meaning of mutual influence, and the duke of Kâu, on the various lines, always uses Kan for it in the sense of ‘moving’ or ‘influencing to movement or action.’ This is to my mind the subject of the hexagram considered as an essay,—‘Influence; the different ways of bringing it to bear, and their issues.’
The Chinese character called hsien is
, the graphic symbol for ‘all, together, jointly.’ Kan, the symbol for ‘influencing,’ has hsien in it as its phonetic constituent (though the changes in pronunciation make it hard for an English reader to appreciate this), with the addition of hsin, the symbol for the heart.’ Thus 
kan, ‘to affect or influence,’ = + 
; and it may have been that while the name or word was used with the significance of ‘influencing,’ the was purposely dropt from it, to indicate the most important element in the thing,—the absence of all purpose or motive. I venture to think that this would have been a device worthy of a diviner.
With regard to the idea of husband and wife being in the teaching of the hexagram, it is derived from the more recent symbolism of the eight trigrams ascribed to king Wăn, and exhibited on p. 33 and plate III. The more ancient usage of them is given in the paragraph on the Great Symbolism of Appendix II. The figure consists of Kăn
‘the youngest son,’ and over it Tui ( 
), ‘the youngest daughter.’ These are in ‘happy union.’ p. 125 No influence, it is said, is so powerful and constant as that between husband and wife; and where these are young, it is especially active. Hence it is that Hsien is made up of Kăn and Tui. All this is to me very doubtful. I can dimly apprehend why the whole line ( 
) was assumed as the symbol of strength and authority, and the broken line as that of weakness and submission. Beyond this I cannot follow Fû-hsî in his formation of the trigrams; and still less can I assent to the more recent symbolism of them ascribed to king Wăn.
Coming now to the figure, and its lines, the subject is that of mutual influence; and the author teaches that that influence, correct in itself, and for correct ends, is sure to be effective. He gives an instance,—the case of a man marrying a young lady, the regulations for which have been laid down in China from the earliest times with great strictness and particularity. Such influence will be effective and fortunate.
Line 1 is weak, and at the bottom of the hexagram. Though 4 be a proper correlate, yet the influence indicated by it must be ineffective. However much a man’s great toes may be moved, that will not enable him to walk.
The calves cannot move of themselves. They follow the moving of the feet. The moving of them indicates too much anxiety to move. Line 2, moreover, is weak. But it is also the central line, and if its subject abide quiet, till he is acted on from above, there will be good fortune.
Neither can the thighs move of themselves. The attempt to p. 126 move them is inauspicious. Its subject, however, the line being strong, and in an odd place, will wish to move, and follows the subject of 4, which is understood to be the seat of the mind. He exercises his influence therefore with a mind and purpose, which is not good.
Line 4 is strong, but in an even place. It is the seat of the mind. Its subject therefore is warned to be firm and correct in order to a good issue. If he be wavering and uncertain, his influence will not extend beyond the circle of his friends.
The symbolism of line 5 refers to a part of the body behind the heart, and is supposed therefore to indicate an influence, ineffective indeed, but free from selfish motive, and not needing to be repented of.
Line 6 is weak, and in an even place. It is the topmost line also of the trigram of satisfaction. Its influence by means of speech will only be that of loquacity and flattery, the evil of which needs not to be pointed out. ↩︎126:XXXII The subject of this hexagram may be given as perseverance in well doing, or in continuously acting out the law of one’s p. 127 being. The sixth Appendix makes it a sequel of the previous figure. As that treats, it is said, of the relation between husband and wife, so this treats of the continuous observance of their respective duties. Hsien, we saw, is made up of Kăn, the symbol of the youngest son, and Tui, the symbol of the youngest daughter, attraction and influence between the sexes being strongest in youth. Hăng consists of Sun, ‘the oldest daughter,’ and Kăn, the oldest son. The couple are more staid. The wife occupies the lower place; and the relation between them is marked by her submission. This is sound doctrine, especially from a Chinese point of view; but I doubt whether such application of his teaching was in the mind of king Wăn. Given two parties, an inferior and superior in correlation. If both be continuously observant of what is correct, the inferior being also submissive, and the superior firm, good fortune and progress may be predicated of their course.
Line 1 has a proper correlate in 4; but between them are two strong lines; and it is itself weak. These two conditions are against its subject receiving much help from the subject of 4. He should be quiet, and not forward for action.
Line 2 is strong, but in the place of a weak line. Its position, however, being central, and its subject holding fast to the due mean, the unfavourable condition of an even place is more than counteracted.
Line 3 is strong, and in its proper place; but being beyond the centre of the trigram, its subject is too strong, and coming under p. 128 the attraction of his correlate in 6, he is supposed to be ready to abandon his place and virtue. He may try to be firm and correct, but circumstances are adverse to him.
Line 4 is strong in the place of a weak line, and suggests the symbolism of the duke of Kâu.
The weak 5th line responds to the strong 2nd, and may be supposed to represent a wife conscious of her weakness, and docilely submissive; which is good. A husband, however, and a man generally, has to assert himself, and lay down the rule of what is right.
In line 6 the principle of perseverance has run its course; the motive power of Kăn is exhausted. The line itself is weak. The violent efforts of its subject can only lead to evil. ↩︎128:XXXIII Thun is the hexagram of the sixth month; the yin influence is represented by two weak lines, and has made good its footing in the year. The figure thus suggested to king Wăn the growth of small and unprincipled men in the state, before whose advance superior men were obliged to retire. This is the theme of his essay,—how, I when small men multiply and increase in power, p. 129 the necessity of the time requires superior men to withdraw before them.’ Yet the auspice of Thun is not all bad. By firm correctness the threatened evil may be arrested to a small extent.
‘A retiring tail’ seems to suggest the idea of the subject of the lines hurrying away, which would only aggravate the evil and danger of the time.
‘His purpose’ in line 2 is the purpose to withdraw. The weak 2 responds correctly to the strong 5, and both are central. The purpose therefore is symbolled as in the text. The ‘yellow’ colour of the ox is introduced because of its being ‘correct,’ and of a piece with the central place of the line.
Line 3 has no proper correlate in 6 and its subject allows himself to be entangled and impeded by the subjects of 1 and 2. He is too familiar with them, and they presume, and fetter his movements;—compare Analects, 17. 25. He should keep them at a distance.
Line 4 has a correlate in 1, and is free to exercise the decision belonging to its subject. The line is the first in Khien, symbolic of strength.
In the Shû IV, v, Section 2. 9, the worthy Î Yin is made to say, ‘The minister will not for favour or gain continue in an office whose work is done;’ and the Khang-hsî editors refer to his words as an illustration of what is said on line 5. It has its correlate in 2, and its subject carries out the purpose to retire ‘in an admirable way.’
Line 6 is strong, and with no correlate to detain it in 3. Its subject vigorously and happily carries out the idea of the hexagram. ↩︎130:XXXIV The strong lines predominate in Tâ Kwang. It suggested to king Wăn a state or condition of things in which there was abundance of strength and vigour. Was strength alone enough for the conduct of affairs? No. He saw also in the figure that which suggested to him that strength should be held in subordination to the idea of right, and exerted only in harmony with it.
This is the lesson of the hexagram, as sententiously expressed in the Thwan.
Line 1 is strong, in its correct place, and also the first line in Khien, the hexagram of strength, and the first line in Tâ Kwang. The idea of the figure might seem to be concentrated in it; and hence we have it symbolised by ‘strength in the toes,’ or ‘advancing.’ But such a measure is too bold to be undertaken by one in the lowest place, and moreover there is no proper correlate in 4. Hence comes the evil auspice.
Line 2 is strong, but the strength is tempered by its being in an even place, instead of being excited by it, as might be feared. Then the place is that in the centre. With firm correctness there will be good fortune.
Line 3 is strong, and in its proper place. It is at the top moreover of Khien. A small man so symbolled will use his strength to the utmost; but not so the superior man. For him the position is beyond the safe middle, and he will be cautious; and not injure himself, like the ram, by exerting his strength.
Line 4 is still strong, but in the place of a weak line; and this gives occasion to the cautions with which the symbolism commences. The subject of the line going forward thus cautiously, his strength will produce good effects, such as are described.
Line 5 is weak, and occupies a central place. Its subject will cease therefore to exert his strength; but this hexagram does not forbid the employment of strength, but would only control and p. 132 direct it. All that is said about him is that he will give no occasion for repentance.
Line 6 being at the top of Kăn, the symbol of movement, and at the top of Tâ Kwang, its subject may be expected to be active in exerting his strength; and through his weakness, the result would be as described. But he becomes conscious of his weakness, reflects and rests, and good fortune results, as he desists from the prosecution of his unwise efforts. ↩︎133:XXXV The Thwan of this hexagram expresses its subject more fully and plainly than that of any of the previous thirty-four. It is about a feudal prince whose services to the country have made him acceptable to his king. The king’s favour has been shown to him by gifts and personal attentions such as form the theme of more than one ode in the Shih; see especially III, iii, 7. The symbolism of the lines dimly indicates the qualities of such a prince. Žin means to advance.’ Hexagrams 46 and 53 agree with this in being called by names that indicate progress and advance. The advance in Žin is like that of the sun, ‘the shining light, shining more and more to the perfect day.’
Line 1 is weak, and in the lowest place, and its correlate in 4 is neither central nor in its correct position. This indicates the small and obstructed beginnings of his subject. But by his firm correctness he pursues the way to good fortune; and though the king does not yet believe in him, he the more pursues his noble course.
Line 2 is weak, and its correlate in 5 is also weak. Its subject therefore has still to mourn in obscurity. But his position is central and correct, and he holds on his way, till success comes ere long. The symbolism says he receives it ‘from his grandmother;’ and readers will be startled by the extraordinary statement, as I was when I first read it. Literally the Text says ‘the king’s mother,’ as P. Regis rendered it,—‘Istam magnam felicitatem a matre regis recipit.’ He also tries to give the name a historical reference;—to Thâi-Kiang, the grandmother of king Wăn; Thâi-Zăn, his mother; or to Thâi-sze, his wife, and the mother of king Wû and the duke of Kâu, all famous in Chinese history, and celebrated in the Shih. But ‘king’s father’ and ‘king’s mother’ are well-known Chinese appellations for ‘grandfather’ and ‘grandmother.’ This is the view given on the passage, by Khăng-žze, Kû Hsî, and the Khang-hsî editors, the latter of whom, indeed, account for the use of the name, instead of ‘deceased mother,’ which we find in hexagram 62, by the regulations observed in the ancestral temple. These authorities, moreover, all agree in saying that the name points us to line 5, the correlate of 2, and ‘the lord of the hexagram.’ Now the subject of line 5 is the sovereign, who at length acknowledges the worth of the feudal lord, and gives him p. 134 the great blessing. The ‘New Digest of Comments on the Yî (1686),’ in its paraphrase of the line, has, ‘He receives at last this great blessing from the mild and compliant ruler.’ I am not sure that ‘motherly king’ would not be the best and fairest translation of the phrase.
Canon McClatchie has a very astonishing note on the name, which he renders ‘Imperial Mother’ (p. 164):—‘That is, the wife of Imperial Heaven (Juno), who occupies the “throne of the diagram,” viz. the fifth stroke, which is soft and therefore feminine. She is the Great Ancestress of the human race. See Imp. Ed. vol. iv, Sect. v, p. 25, Com.’ Why such additions to the written word?
Line 3 is weak, and in an odd place; but the subjects of 1 and 2 are possessed by the same desire to advance as the subject of this. A common trust and aim possess them; and hence the not unfavourable auspice.
Line 4 is strong, but it is in an even place, nor is it central. It suggests the idea of a marmot (? or rat), stealthily advancing. Nothing could be more opposed to the ideal of the feudal lord in the hexagram.
In line 5 that lord and his intelligent sovereign meet happily. He holds on his right course, indifferent as to results, but things are so ordered that he is, and will continue to be, crowned with success.
Line 6 is strong, and suggests the idea of its subject to the last continuing his advance, and that not only with firm correctness, but with strong force. The ‘horns’ are an emblem of threatening strength, and though he uses them only in his own state, and against the rebellious there, that such a prince should have any occasion to use force is matter for regret. ↩︎135:XXXVI In this hexagram we have the representation of a good and intelligent minister or officer going forward in the service of his country, notwithstanding the occupancy of the throne by a weak p. 136 and unsympathising sovereign. Hence comes its name of Ming Î, or ‘Intelligence Wounded,’ that is, injured and repressed. The treatment of the subject shows how such an officer will conduct himself, and maintain his purpose. The symbolism of the figure is treated of in the same way in the first and second Appendixes. Appendix VI merely says that the advance set forth in 35 is sure to meet with wounding, and hence Žin is followed by Ming Î.
Line 1 is strong, and in its right place;—its subject should be going forward. But the general signification of the hexagram supposes him to be wounded. The wound, however, being received at the very commencement of its action, is but slight. And hence conies the emblem of a bird hurt so as to be obliged to droop its wings. The subject then appears directly as ‘the superior man.’ He sees it to be his course to desist from the struggle for a time, and is so rapt in the thought that he can fast for three days and not think of it. When he does withdraw, opposition follows him; but it is implied that he holds on to his own good purpose.
Line 2 is weak, but also in its right place, and central; giving us the idea of an officer, obedient to duty and the right. His wound in the left thigh may impede his movements, but does not disable him. He finds means to save himself, and maintains his good purpose.
Line 3, strong and in a strong place, is the topmost line of the lower. trigram. It responds also to line 6, in which the idea of the sovereign, emblemed by the upper trigram, is concentrated. The lower trigram is the emblem of light or brightness, the idea of which again is expressed by the south, to which we turn when we look at the sun in its meridian height. Hence the subject of the p. 137 line becomes a hunter pursuing his game, and successfully. The good officer will be successful in his struggle; but let him not be over eager to put all things right at once.
Line 4 is weak, but in its right place. Kû Hsî says he does not understand the symbolism, as given in the Text. The translation indicates the view of it commonly accepted. The subject of the line evidently escapes from his position of danger with little damage.
Line 5 should be the place of the ruler or sovereign in the hexagram; but 6 is assigned as that place in Ming Î. The officer occupying 5, the centre of the upper trigram, and near to the sovereign, has his ideal in the count of Kî, whose action appears in the Shû, III, pp. 123, 127, 128. He is a historical personage.
Line 6 sets forth the fate of the ruler, who opposes himself to the officer who would do him good and intelligent service. Instead of becoming as the sun, enlightening all from the height of the sky, he is as the sun hidden below the earth. I can well believe that the writer had the last king of Shang in his mind. ↩︎138:XXXVII Kiâ Zăn, the name of the hexagram, simply means ‘a household,’ or ‘the members of a family.’ The subject of the essay based on the figure, however, is the regulation of the family, effected mainly by the co-operation of husband and wife in their several spheres, and only needing to become universal to secure the good order of the kingdom. The important place occupied by the wife in the family is seen in the short sentence of the Thwan. That she be firm and correct, and do her part well, is the first thing necessary to its regulation.
Line 1 is strong, and in a strong place. It suggests the necessity of strict rule in governing the family. Regulations must be established, and their observance strictly insisted on.
Line 2 is weak, and in the proper place for it,—the centre, moreover, of the lower trigram. It fitly represents the wife, and what is said on it tells us of her special sphere and duty; and that she should be unassuming in regard to all beyond her sphere; always being firm and correct. See the Shih, III, 350.
Line 3 is strong, and in an odd place. If the place were central, the strength would be tempered; but the subject of the line, in the topmost place of the trigram, may be expected to exceed in severity. But severity is not a bad thing in regulating a family;—it is better than laxity and indulgence.
Line 4 is weak, and in its proper place. The wife is again suggested to us, and we are told, that notwithstanding her being confined to the internal affairs of the household, she can do much to enrich the family.
The subject of the strong fifth line appears as the king. This may be the husband spoken of as also a king; or the real king whose merit is revealed first in his family, as often in the Shih, where king Wăn is the theme. The central place here tempers the display of the strength and power.
Line 6 is also strong, and being in an even place, the subject of it might degenerate into stern severity, but he is supposed to be sincere, complete in his personal character and self-culture, and hence his action will only lead to good fortune. ↩︎140:XXXVIII Khwei denotes a social state in which division and mutual alienation prevail, and the hexagram teaches how in small matters this condition may be healed, and the way prepared for the cure of the whole system. The writer or writers of Appendixes I and II point out the indication in the figure of division and disunion according to their views. In Appendix VI those things appear as a necessary sequel to the regulation of the family; while it is impossible to discover any allusion to the family in the Text.
Line 1 is strong, and in an odd place. A successful course might be auspiced for its subject; but the correlate in line 4 is also strong; and therefore disappointment and repentance are likely to ensue. In the condition, however, indicated by Khwei, where people have a common virtue, they will help one another. Through the good services of 4, the other will not have to repent. His condition may be emblemed by a traveller’s loss of his horses, which return to him of themselves.
Should he meet with bad men, however, let him not shrink from them. Communication with them will be of benefit. His good p. 141 may overcome their evil, and at least it will help to silence their slanderous tongues.
Line 5 is weak, and its subject is the proper correlate of the strong 2. They might meet openly; but for the separation and disunion that mark the time. A casual, as it were a stolen, interview, as in a bye-lane or passage, however will be useful, and may lead on to a better understanding.
Line 3 is weak, where it ought to be strong. Its correlate, however, in 6 is strong, and the relation between them might seem what it ought to be. But the weak 3 is between the strong lines in 2 and 4; and in a time of disunion there ensue the checking and repulsion emblemed in the Text. At the same time the subject of line 6 inflicts on that of 3 the punishments which are mentioned. It is thus bad for 3 at first, but we are told that in the end it will be well with him; and this will be due to the strength of the sixth line. The conclusion grows out of a conviction in the mind of the author that what is right and good is destined to triumph over what is wrong and bad. Disorder shall in the long run give place to order, and disunion to union.
Line 4 has no proper correlate, and might seem to be solitary. But, as we saw on line 1, in this hexagram, correlates of the same class help each other. Hence the subjects of 4 and 1, meeting together, work with good will and success.
The place of 5 is odd, but the line itself is weak, so that there might arise occasion for repentance. But the strong 2 is a proper correlate to the weak 5. Five being the sovereign’s place, the subject of 2 is styled the sovereign’s relative, of the same surname p. 142 with him, and head of some branch of the descendants of the royal house. It is as easy for 5, so supported, to deal with the disunion of the time, as to bite through a piece of skin.
Line 6 is an even place, and yet the line is strong;—what can its subject effect? He looks at 3, which, as weak, is a proper correlate; but he looks with the evil eye of disunion. The subject of 3 appears no better than a filthy pig, nor more real than an impossible carriage-load of ghosts. He bends his bow against him, but he unbends it, discovering a friend in 3, as x did in 4, and 5 in 2. He acts and with good luck, comparable to the falling rain, which results from the happy union of the yang and yin in nature. ↩︎143:XXXIX Kien is the symbol for incompetency in the feet and legs, involving difficulty in walking; hence it is used in this hexagram to indicate a state of the kingdom which makes the government of it an arduous task. How this task may be successfully performed, now by activity on the part of the ruler, and now by a discreet inactivity:—this is what the figure teaches, or at least gives hints about. For the development of the meaning of the symbolic character from the structure of the lineal figure, see Appendixes I and II.
The Thwan seems to require three things—attention to place, the presence of the great man, and the firm observance of correctness—in order to cope successfully with the difficulties of the situation. The first thing is enigmatically expressed, and the language should be compared with what we find in the Thwan of hexagrams 2 and 40. Referring to Figure 2, in Plate III, we find that, according to Win’s arrangement of the trigrams, the southwest is occupied by Khwăn (
), and the north-east by Kăn ( ). The former represents the champaign country; the latter, the mountainous region. The former is easily traversed and held; the latter, with difficulty. The attention to place thus becomes transformed into a calculation of circumstances; those that promise success in an enterprise, which should be taken advantage of, and those that threaten difficulty and failure, which should be shunned.
This is the generally accepted view of this difficult passage. The Khang-hsî editors have a view of their own. I have been myself inclined to find less symbolism in it, and to take the southwest as the regions in the south and west of the kingdom, which we know from the Shih were more especially devoted to Wăn and his house, while the strength of the kings of Shang lay in the north and east.
‘The idea of “the great man,” Mencius’s “minister of Heaven,”’ is illustrated by the strong line in the fifth place, having for its correlate the weak line in 2. But favourableness of circumstances and place, and the presence of the great man do not dispense from the observance of firm correctness. Throughout these essays of the Yî this is always insisted on.
Line 1 is weak, whereas it ought to be strong as being in an odd place. If its subject advance, he will not be able to cope with the difficulties of the situation, but be overwhelmed by them. Let him wait for a more favourable time.
Line 2 is weak, but in its proper place. Its correlation with the strong 5, and consequent significance, are well set forth.
Line 3 is strong, and in a place of strength; but its correlate in 6 is weak, so that the advance of its subject would be unsupported. He waits therefore for a better time, and cherishes the subjects of the two lines below, who naturally cling to him.
Line 4 is weak, and, though in its proper place, its subject could do little of himself. He is immediately below the king or great man, however, and cultivates his loyal attachment to him, waiting for the time when he shall be required to act.
Line 5 is the king, the man great and strong. He can cope with the difficulties, and the subjects of 2 and the other lines of the lower trigram give their help.
The action of the hexagram is over; where can the weak 6 go forward to? Let him abide where he is, and serve the great man immediately below him. So shall he also be great;—in meritorious action at least. ↩︎145:XL Kieh is the symbol of loosing,—untying a knot or unravelling a complication; and as the name of this hexagram, it denotes a condition in which the obstruction and difficulty indicated by the preceding Kieh have been removed. The object of the author is to show, as if from the lines of the figure, how this new and better state of the kingdom is to be dealt with. See what is said on the Thwan of Kien for ‘the advantage to be found in the south-west.’ If further active operations be not necessary to complete the subjugation of the country, the sooner things fall into their old channels the better. The new masters of the kingdom should not be anxious to change all the old manners and ways. Let them do, as the duke of Kâu actually did do with the subjugated people of Shang. If p. 146 further operations be necessary, let them be carried through without delay. Nothing is said in the Thwan about the discountenancing and removal of small men,—unworthy ministers or officers; but that subject appears in more! than one of the lines.
There is a weak line, instead of a strong, in the first place; but this is compensated for by its strong correlate in 4.
Kû Hsî says he does not understand the symbolism under line 2. The place is even, but the line itself is strong; the strength therefore is modified or tempered. And 2 is the correlate of the ruler in 5. We are to look to its subject therefore for a minister striving to realise the idea of the hexagram, and pacify the subdued kingdom. He becomes a hunter, and disposes of unworthy men, represented by ‘the three foxes.’ He also gets the yellow arrows, the instruments used in war or in hunting, whose colour is ‘correct,’ and whose form is ‘straight.’ His firm correctness will be good.
Line 3 is weak, when it should be strong; and occupying, as it does, the topmost place of the lower trigram, it suggests the symbolism of a porter in a carriage. People will say, ‘How did he get there? The things cannot be his own.’ And robbers will attack and plunder him. The subject of the line cannot protect himself, nor accomplish anything good.
What is said on the fourth line appears in the form of an address to its subject. The line is strong in an even place, and 1, its correlate, is weak in an odd place. Such a union will not be productive of good. In the symbolism 1 becomes the toe of the subject of 4. How the friend or friends, who are to come to him on the removal of this toe, are represented, I do not perceive.
Line 5 is weak in an odd place; but the place is that of the ruler, to whom it belongs to perfect the idea of the hexagram by p. 147 removing all that is contrary to the peace and good order of the kingdom. It will be his duty to remove especially all the small men represented by the divided lines, which he can do with the help of his strong correlate in 2. Then even the small men will change their ways, and repair to him.
Line 6 is the highest line in the figure, but not the place of the ruler. Hence it appears as occupied by a feudal duke, who carries out the idea of the figure against small men, according to the symbolism employed. ↩︎148:XLI The interpretation of this hexagram is encompassed with great difficulties. Sun is the symbol for the idea of diminishing or diminution; and what is said in Appendix I has made it to be accepted as teaching the duty of the subject to take of what is his and contribute to his ruler, or the expenses of the government under which he lives; in other words, readily and cheerfully to pay his taxes. P. Regis says, Sun seu (vectigalis causa) minuere . . . est valde utile;’ and Canon McClatchie in translating Appendix I has:—‘Diminishing (by taxation for instance) … is very lucky.’ Possibly, king Wăn may have seen in the figures the subject of taxation; but the symbolism of his son takes a much wider range. My own reading of the figure and Text comes near to the view of Khăng-žze, that ‘every diminution and repression of what we have in excess to bring it into accordance with right and reason is comprehended under Sun.’
Let there be sincerity in doing this, and it will lead to the happiest results. It will lead to great success in great things; and if the correction, or it may be a contribution towards it, appear to be very small, yet it will be accepted;—as in the most solemn religious service. This is substantially the view of the hexagram approved by the Khang-hsî editors.
Line 1 is strong, and its correlate in 4 is weak. Its subject will wish to help the subject of 4; but will not leave anything of his own undone in (loin. so. Nor will he diminish of his own for the other without due deliberation.
Line 2 is strong, and in the central place. But it is in the place of a weak line, and its subject should maintain his position without moving to help his correlate in 5. Maintaining his own firm correctness is the best way to help him.
Paragraph 3 is to my mind full of obscurity. Kû Hsî, adopting the view in Appendix I, says that the lower trigram was originally Khien, three undivided lines, like ‘three men walking together,’ p. 149 and that the third line, taken away and made to be the topmost line, or the third, in what was originally Khwăn, three divided lines, was ‘the putting away of one man;’ and that then the change of place by 3 and 6, while they continued their proper correlation, was, one going away, and finding his friend. I cannot lay hold of any thread of reason in this.
Line 4 is weak, and in an even place; like an individual ailing and unable to perform his proper work. But the correlate in 1 is strong; and is made to hasten to its relief. The ‘joy’ of the line shows the desire of its subject to do his part in the work of the hexagram.
Line 5 is the seat of the ruler, who is here humble, and welcomes the assistance of his correlate, the subject of 2. He is a ruler whom all his subjects of ability will rejoice to serve in every possible way; and the result will be great good fortune.
Line 6 has been changed from a weak into a strong line from line 3; has received therefore the greatest increase, and will carry out the idea of the hexagram in the highest degree and style. But he can give increase to others without diminishing his own resources, and of course the benefit he will confer will be incalculable. Ministers will come to serve him; and not one from each clan merely, but many. Such is the substance of what is said on this last paragraph. I confess that I only discern the meaning darkly. ↩︎150:XLII Yî has the opposite meaning to Sun, and is the symbol of addition or increasing. What king Wăn had in his mind, in connexion with the hexagram, was a ruler or a government operating p. 151 so as to dispense benefits to, and increase the resources of all the people. Two indications are evident in the lines;—the strong line in the ruler’s seat, or the fifth line, and the weak line in the correlative place of 2. Whether there be other indications in the figure or its component trigrams will be considered in dealing with the Appendixes. The writer might well say, on general grounds, of the ruler whom he had in mind, that he would be successful in his enterprises and overcome the greatest difficulties.
Line 1 is strong, but its low position might seem to debar its subject from any great enterprise. Favoured as he is, however, according to the general idea of the hexagram, and specially responding to the proper correlate in 4, it is natural that he should make a movement; and great success will make his rashness be forgotten.
With paragraph 2 compare paragraph 5 of the preceding hexagram. Line 2 is weak, but in the centre, and is the correlate of 5. Friends give its subject the valuable gifts mentioned; ‘that is,’ says Kwo Yung (Sung dynasty), ‘men benefit him; the oracles of the divination are in his favour,—spirits, that is, benefit him; and finally, when the king sacrifices to God, He accepts. Heaven confers benefit from above.’
Line 3 is weak, neither central, nor in its correct position. It would seem therefore that its subject should have no increase given to him. But it is the time for giving increase, and the idea of his receiving it by means of evil things is put into the line. That such things serve for reproof and correction is well known to Chinese moralists. But the paragraph goes on also to caution and admonish.
Line 4 is the place for a minister, near to that of the ruler. Its subject is weak, but his place is appropriate, and as he follows the p. 152 due course, his ruler will listen to him, and he will be a support in the most critical movements. Changing the capital from place to place was frequent in the feudal times of China. That of Shang, which preceded Kâu, was changed five times.
Line 5 is strong, in its fitting position, and central. It is the seat of the ruler, who has his proper correlate in 2. Everything good, according to the conditions of the hexagram, therefore, may be said of him;—as is done.
Line 6 is also strong; but it should be weak. Occupying the topmost place of the figure, its subject will concentrate his powers in the increase of himself, and not think of benefiting those below him; and the consequence will be as described. ↩︎153:XLIII In Kwâi we have the hexagram of the third month, when the last remnant, cold and dark, of winter, represented by the sixth line, is about to disappear before the advance of the warm and bright days of the approaching summer. In the yin line at the top king Wăn saw the symbol of a small or bad man, a feudal prince or high minister, lending his power to maintain a corrupt government, or, it might be, a dynasty that was waxen old and ready to vanish away; and in the five undivided lines he saw the representatives of good order, or, it might be, the dynasty which was to supersede the other. This then is the subject of the hexagram,—how bad men, statesmen corrupt and yet powerful, are to be put out of the way. And he who would accomplish the task must do so by the force of his character more than by force of arms, and by producing a general sympathy on his side.
The Thwan says that he must openly denounce the criminal in the court, seek to awaken general sympathy, and at the same time go about his enterprise, conscious of its difficulty and danger. Among his own adherents, moreover, as if it were in his own city, he must make it understood how unwillingly he takes up arms. Then let him go forward, and success will attend him.
Line 1 is strong, the first line of that trigram, which expresses the idea of strength. But it is in the lowest place. The stage of p. 154 the enterprise is too early, and the preparation too small to make victory certain. Its subject had better not take the field.
Line 2 is strong, and central, and its subject is possessed with the determination to do his part in the work of removal. But his eagerness is tempered by his occupancy of an even place; and he is cautious, and no attempts, however artful, to harm him will take effect.
Line 3 is strong, and its subject displays his purpose too eagerly. Being beyond the central position, moreover, gives an indication of evil. Lines 3 and 6 are also proper correlates; and, as elsewhere in the Yî, the meeting of yin and yang lines is associated with falling rain. The subject of 3, therefore, communicates with 6, in a way that annoys his associates; but nevertheless he commits no error, and, in the end, incurs no blame.
Line 4 is not in the centre, nor in an odd place, appropriate to it as undivided. Its subject therefore will not be at rest, nor able to do anything to accomplish the idea of the hexagram. He is symbolised by a culprit, who, according to the ancient and modern custom of Chinese courts, has been bastinadoed till he presents the appearance in the Text. Alone he can do nothing; if he could follow others, like a sheep led along, he might accomplish something, but he will not listen to advice.
Purslain grows in shady places, and hence we find it here in close contiguity to the topmost line, which is yin. As 5 is the ruler’s seat, evil may come to him from such contiguity, and strenuous efforts must be made to prevent such an evil. The subject of the line, the ruler in the central place, will commit no error. It must be allowed that the symbolism in this line is not easily managed.
The subject of the 6th line, standing alone, may be easily disposed of. ↩︎155:XLIV The single, divided, line at the top of Kwâi, the hexagram of the third month, has been displaced, and Khien has ruled over the fourth month of the year. But the innings of the divided line commence again; and here we have in Kâu the hexagram of the fifth month, when light and heat are supposed both to begin to be less.
In that divided line Wăn saw the symbol of the small or unworthy man, beginning to insinuate himself into the government p. 156 of the country. His influence, if unchecked, would go on to grow, and he would displace one good man after another, and fill the vacant seats with others like-minded with himself. The object of Wăn in his Thwan, therefore, was to enjoin resistance to the encroachment of this bad man.
Kâu is defined as giving the idea of suddenly and casually encountering or meeting with. So does the divided line appear all at once in the figure. And this significance of the name rules in the interpretation of the lines, so as to set on one side the more common interpretation of them according to the correlation; showing how the meaning of the figures was put into them from the minds of Wăn and Tan in the first place. The sentiments of the Text are not learned from them; but they are forced and twisted, often fantastically, and made to appear to give those sentiments forth of themselves.
Here the first line, divided, where it ought to be the contrary, becomes the symbol of a bold, bad woman, who appears unexpectedly on the scene, and wishes to subdue or win all the five strong lines to herself. No one would contract a marriage with such a female; and every good servant of his country will try to repel the entrance into the government of every officer who can be so symbolised.
Line 1 represents the bête noire of the figure. If its subject can be kept back, the method of firm government and order will proceed. If he cannot be restrained, he will become disgusting and dangerous. It is not enough for the carriage to be stopt by the metal drag; it is also tied or bound to some steadfast object. Internal and external restraints should be opposed to the bad man.
The ‘wallet of fish’ under line 2 is supposed to symbolise the p. 157 subject of line r. It has come into the possession of the subject of 2, by virtue of the meaning of the name Kâu, which I have pointed out. With his strength therefore he can repress the advance of 1. He becomes in fact ‘the lord of the hexagram,’ and all the other strong lines are merely guests; and especially is it important that he should prevent 1 from approaching them. This is a common explanation of what is said under this second line. It seems farfetched; but I can neither find nor devise anything better.
With what is said on line 3, compare the fourth paragraph of the duke’s Text on the preceding hexagram. Line 3 is strong, but has gone beyond the central place; has no correlate above; and is cut off from 1 by the intervening 2. It cannot do much therefore against 1; but its aim being to repress that, there will be no great error.
Line 1 is the proper correlate of 4; but it has already met and associated with 2. The subject of 4 therefore stands alone; and evil to him may be looked for.
Line 5 is strong, and in the ruler’s place. Its relation to 1 is like that of a forest tree to the spreading gourd. But let not its subject use force to destroy or repress the growth of 1; but let him restrain himself and keep his excellence concealed, and Heaven will set its seal to his virtue.
The symbolism of line 6 is difficult to understand, though the meaning of what is said is pretty clear. The Khang-hsî editors observe:—‘The subject of this line is like an officer who has withdrawn from the world. He can accomplish no service for the time; but his person is removed from the workers of disorder.’ ↩︎158:XLV Žhui denotes collecting together, or things so collected and hence this hexagram concerns the state of the kingdom when a happy union prevails between the sovereign and his ministers, between high and low; and replies in a vague way to the question how this state is to be preserved; by the influence of religion, and the great man, who is a sage upon the throne.
He, ‘the king,’ will repair to his ancestral temple, and meet in spirit there with the spirits of his ancestors. Whatever he does, being correct and right, will succeed. His religious services will be distinguished by their dignity and splendour. His victims will p. 159 he the best that can be obtained, and other things will be in harmony with them.
Line 1 is weak, and in the place of a strong line. It has a proper correlate in 4, but is separated from him by the intervention of two weak lines. The consequence of these things is supposed to be expressed in the first part of the symbolism; but the subject of the line is possessed by the desire for union, which is the theme of the hexagram. Calling out to his correlate for help, he obtains it, and his sorrow is turned into joy.
Line 2 is in its proper place, and responds to the strong ruler in 5, who encourages and helps the advance of its subject. He possesses also the sincerity, proper to him in his central position; and though he were able to offer only the sacrifice of the spring, small compared with the fulness of the sacrifices in summer and autumn, it would be accepted.
Line 3 is weak, in the place of a strong line, and advanced from the central place. The topmost line, moreover, is no proper correlate. But its subject is possessed by the desire for union; and though 2 and 4 decline to associate with him, he presses on to 6, which is also desirous of union. That common desire brings them together, notwithstanding 3 and 6 are both divided lines; and with difficulty the subject of 3 accomplishes his object.
[But that an ordinary rule for interpreting the lineal indications may be thus overruled by extraordinary considerations shows how much of fancy there is in the symbolism or in the commentaries on it.]
Line 4 has its correlate in 1, and is near to the ruling line in 5. We may expect a good auspice for it; but its being strong in an odd place, calls for the caution which is insinuated.
Line 5 is strong, central, and in its correct position. Through p. 160 its subject there may be expected the full realisation of the idea of the hexagram.
Line 6, weak, and at the extremity of the figure, is still anxious for union; but he has no proper correlate, and all below are united in 5. Its subject mourns his solitary condition; and his good feeling will preserve him from error and blame. ↩︎160:XLVI The character Shăng is used of advancing in an upward direction, ‘advancing and ascending.’ And here, as the name of the hexagram, it denotes the advance of a good officer to the highest pinnacle of distinction. The second line, in the centre of the lower trigram, is strong, but the strength is tempered by its being in an even place. As the representative of the subject of the p. 161 hexagram, it shows him to be possessed of modesty and force. Then the ruler’s seat, the fifth place, is occupied by a divided line, indicating that he will welcome the advance of 2. The officer therefore both has the qualities that fit him to advance, and a favourable opportunity to do so. The result of his advance will be fortunate.
It is said that after he has met with the ruler, ‘the great man’ in 5, ‘advance to the south will be fortunate.’ Kû Hsî and other critics say that ‘advancing to the south’ is equivalent simply to ‘advancing forwards.’ The south is the region of brightness and warmth; advance towards it will be a joyful progress. As P. Regis explains the phrase, the traveller will proceed ‘via recta simillima illi qua itur ad austrates felicesque plagas.’
Line 1 is weak, where it should be strong; its subject, that is, is humble and docile. Those above him, therefore, welcome his advance. Another interpretation of the line is suggested by Appendix I; which deserves consideration. As the first line of Sun, moreover, it may be supposed to concentrate in itself its attribute of docility, and be the lord of the trigram.
See on the second line of Žhui. Line 2 is strong, and the weak 5 is its proper correlate. We have a strong officer serving a weak ruler; he could not do so unless he were penetrated with a sincere and devoted loyalty.
Paragraph 3 describes the boldness and fearlessness of the advance of the third line. According to the Khang-hsî editors, who, I think, are right, there is a shade of condemnation in the line. Its subject is too bold.
Line 4 occupies the place of a great minister, in immediate contiguity to his ruler, who confides in him, and raises him to the highest distinction as a feudal prince. The mention of mount p. 162 Khî, at the foot of which was the capital of the lords of Kâu, seems to take the paragraph out of the sphere of symbolism into that of history. ‘The king’ in it is the last sovereign of Shang; the feudal prince in it is Wăn.
In line 5 the advance has reached the highest point of dignity, and firm correctness is specially called for. ‘Ascending the steps of a stair’ may intimate, as Kû Hsî says, the ease of the advance; or according to others (the Khang-hsî editors among them), its ceremonious manner.
What can the subject of the hexagram want more? He has gained all his wishes, and still he is for going onwards. His advance is blind and foolish; and only the most exact correctness will save him from the consequences. ↩︎163:XLVII The character Khwăn presents us with the picture of a tree within an enclosure; ‘a plant,’ according to Williams, ‘fading for want of room;’ ‘a tree,’ according to Tai Tung, ‘not allowed to spread its branches.’ However this be, the term conveys the idea of being straitened and distressed; and this hexagram indicates a state of things in which the order and government that would conduce to the well-being of the country can hardly get the development, which, by skilful management on the part of ‘the great man’ and others, is finally secured for them.
Looking at the figure we see that the two central places are occupied by strong lines; but 2 is confined between 1 and 3, both of which are weak, and 5 (the ruler), as well as 4 (his minister), is covered by the weak 6; all which peculiarities are held to indicate the repression or straitening of good men by bad. For the way in which the same view is derived from the great symbolism, see Appendix II, in loc.
The concluding sentence of the Thwan is literally, ‘If he speak, he will not be believed;’ but the Khang-hsî editors give sufficient reasons for changing one character so as to give the meaning in the translation. ‘Actions,’ not words, are what are required in the case.
The symbolism of ‘buttocks’ is rather a favourite with the duke of Kâu;—‘chacun à son goût.’ The poor subject of line 1 sitting on a mere stump, which affords him no shelter, is indeed badly off. The line is at the bottom of the trigram indicating peril, and 4, which is its proper correlate, is so circumstanced as not to be able p. 164 to render it help; hence comes the unfavourable auspice. ‘Three years’ is used, as often, for a long time.
The three strong lines in the figure (2, 4, and 5) are all held to represent ‘superior men;’ and their being straitened is not in their persons or estates, but in their principles which are denied development. Hence the subject of 2 is straitened while he fares sumptuously. His correlate in 5, though not quite proper, occupies the ruler’s place, and comes to his help. That it is the ruler who comes appears from his red or vermillion knee-covers, different from the scarlet knee-covers worn by nobles, as in paragraph 5. Let 2 cultivate his sincerity and do the work of the hexagram as if he were sacrificing to spiritual beings; and then, if he keep quiet, all will be well.
For I a full explanation’ of paragraph 3 Kû Hsî refers his readers to what Confucius is made to say on it in Appendix III, ii, 35. The reader, however, will probably not find much light in that passage. The Khang-hsî editors say here:—‘The subjects of the three divided lines (1, 3, and 6) are all unable to deal aright with the straitened state indicated by the figure. The first is at the bottom, sitting and distressed. The second, occupies the third place, where he may either advance or retreat; and he advances and is distressed. Wounded abroad, he returns to his family, and finds none to receive him; so graphically is there set forth the distress which reckless action brings.’
Line 4 is the proper correlate of 1, but it is a strong line in an even place, and its assistance is given dilatorily. Then 1 is overridden by 2, which is represented by ‘a chariot of metal.’ It is difficult for the subjects of 1 and 4 to come together, and effect much; but 4 is near 5, which is also a strong line. Through a p. 165 common sympathy, the subject of 5 will have a measure of success. So the symbolism of this line has been explained,—not very satisfactorily.
Line 5 is repressed by 6, and pressed on by 4. Above and below its subject is wounded. Especially is he straitened by the minister in 4, with his scarlet knee-covers. But the upper trigram is Tui, with the quality of complacent satisfaction. And this indicates, it is said, that the subject of 5 gets on notwithstanding his straits, especially by his sincerity. This explanation is not more satisfactory than the last.
Line 6 is at the top of the figure, where the distress may be supposed to reach its height. Its subject appears bound and on a perilous summit. But his extremity is also his opportunity. He is moved to think of repenting; and if he do repent, and go forward, his doing so will be fortunate. ↩︎166:XLVIII Žing, which gives its name to this hexagram, is the symbol of a well. The character originally was pictorial (
), intended to represent a portion of land, divided into nine parts, the central portion belonging to the government, and being cultivated by the joint labour of the eight families settled on the other divisions. In the centre of it, moreover, was a well, which was the joint property of all the occupants.
What is said on Žing might be styled ‘Moralisings on a well,’ or Lessons to be learned from a well for the good order and government of a country.’ What a well is to those in its neighbourhood, and indeed to men in general, that is government to a people. If rulers would only rightly appreciate the principles of government handed down from the good ages of the past, and faithfully apply them to the regulation of the present, they would be blessed themselves and their people with them.
In the Thwan we have the well, substantially the same through many changes of society; a sure source of dependance to men, for their refreshment and for use in their cultivation of the ground. Its form is what I have seen in the plains of northern China; what may be seen among ourselves in many places in Europe. It is deep, and the water is drawn up by a vessel let down from the top; and the value of the well depends on the water being actually raised. And so the principles of government must be actually carried out.
Line 1, being weak, and at the very bottom of the figure, suggests, or is made to suggest, the symbolism of it. Many men in authority are like such a well; corrupt, useless, unregarded.
Line 2 is strong, and might very well symbolise an active spring, ever feeding the well and, through it, the ground and its cultivators; but it is in an inappropriate place, and has no proper correlate. p. 167 Its cool waters cannot be brought to the top. So important is it that the ministers of a country should be able and willing rightly to administer its government. In the account of the ancient Shun it is stated that he once saved his life by an opening in the lining of a well.
Line 3 is a strong line, in its proper place; and must represent an able minister or officer. But though the well is clear, no use is made of it. I do not find anything in the figure that can be connected with this fact. The author was wise beyond his lines. After the first sentence of the paragraph, the duke of Kâu ceases from his function of making emblems; reflects and moralises.
Line 4 is weak, but in its proper place. Its subject is not to be condemned, but neither is he to be praised. He takes care of himself, but does nothing for others.
Line 5 is strong, and in its right place. The place is that of the ruler, and suggests the well, full of clear water, which is drawn up, and performs its useful work. Such is the good Head of government to his people.
Line 6 is in its proper place, but weak. If the general idea of the figure was different, a bad auspice might be drawn from it. But here we see in it the symbol of the water drawn up, and the top uncovered so that the use of the well is free to all. Then the mention of ‘sincerity’ suggests the inexhaustibleness of the elemental supply. ↩︎168:XLIX The character called Ko or Keh is used here in the sense of changing. Originally used for the skin of an animal or bird, alive or dead, it received the significance of changing at a very early time. Its earliest appearance, indeed, in the first Book of the Shû, is in that sense. How the transition was made from the idea of a skin or hide to that of change is a subject that need not be entered on here. The author has before him the subject of changes occurring—called for—in the state of the country; it may be on the greatest scale. The necessity of them is recognised, and hints are p. 169 given as to the spirit and manner in which they should be brought about.
For the way in which the notion of change is brought out of the trigrams of the figure, see Appendixes I and II. It is assumed in the Thwan that change is viewed by people generally with suspicion and dislike, and should not be made hastily. When made as a necessity, and its good effects appear, the issues will be great and good. A proved necessity for them beforehand; and a firm correctness in the conduct of them:—these are the conditions by which changes should be regulated.
Line 1, at the bottom of the figure, may be taken as denoting change made at too early a period. It has no proper correlate or helper, moreover, above. Hence its subject is represented as tied up, unable to take any action.
Line 2, though weak, is in its correct place. It is in the centre also of the trigram Lî, signifying brightness and intelligence, and has a proper correlate in the strong 5. Let its subject take action in the way of change.
The symbolism of paragraph 3 is twofold. The line is strong, and in the correct position, but it has passed the centre of Sun and is on its outward verge. These conditions may dispose its subject to reckless and violent changing which would be bad. But if he act cautiously and with due deliberation, he may take action, and he will be believed in.
Line 4 is strong, but in the place of a weak line. This might vitiate any action of its subject in the way of change, and give occasion for repentance. But other conditions are intimated that p. 170 will have a contrary effect; and if he have further secured general confidence, he may proceed to the greatest changes, even to change the dynasty,—‘with good fortune.’ The conditions favourable to his action are said to be such as these:—The line has passed from the lower trigram into the upper; water and fire come in it into contact; the fourth place is that of the minister immediately below the ruler’s seat. All these considerations demand action from the subject of 4 in harmony with the idea of the hexagram.
Line 5 has every quality proper to ‘the lord of the hexagram,’ and his action will be in every way beneficial. He is symbolled by the tiger; and the changes which he makes by the bright stripes of the tiger when he has changed his coat.
Line 6 is weak, but its subject is penetrated with the spirit of the hexagram. If its subject be a superior man, only inferior to ‘the great man,’ immediately below, the changes he makes will be inferior only to his. If he be a small man, he will be compliant and submissive. The lesson for him, however, is to abide firm and correct without taking any action of his own. ↩︎171:L Ting was originally a pictorial character, representing a caldron with three feet and two ears, used for cooking and preparing food for the table (the mat in old times) and the altar. The picture has disappeared from the character, but it is said that in the hexagram we have an outline from which fancy may construct the vessel. The lower line, divided, represents its feet; lines 2, 3, 4, all undivided, represent the body of it; line 5, divided, represents its two ears; and line 6, undivided, the handle by which it was carried, or suspended from a hook. Appendix VI makes Ting follow Ko in the order of the hexagrams, because there is no changer of the appearance and character of things equal to the furnace and caldron!
Ting and Žing (48) are the only two hexagrams named from things in ordinary use with men; and they are both descriptive of the government’s work of nourishing. There are three hexagrams of which that is the theme, Î (27), under which we are told in Appendix I that ‘the sages nourished men of worth, by means of them to reach to the myriads of the people.’ Žing treats of the nourishment of the people generally by the government through its agricultural and other methods; Ting treats of the nourishment of men of talents and virtue; and that being understood, it is said, without more ado, that it ‘intimates great progress and success.’ The Text that follows, however, is more difficult to interpret than that of Žing.
Line 1 is weak, and little or nothing can be expected from its subject. But it has a proper correlate in the strong 4; and the disastrous overthrow, causing the feet to be directed towards 4, is understood to be lucky, as accelerating the co-operation of their two lines! The overturned caldron is thereby emptied of bad stuff that had accumulated in it!! The writer uses another illustration, which comes to the same thing. A concubine is less honourable than a wife,—like the overthrown caldron. But if she have a son, p. 172 while the proper wife has none, he will be his father’s heir, and the mother, the concubine, will share in the honour of his position. Thus the issue of what was so unpromising is good. At least ‘there is no mistake.’ The above is what is found in the best commentaries on the paragraph. I give it, but am myself dissatisfied with it.
Line 2 is strong. ‘The enemy’ is the first line, which solicits 1. One, however, is able to resist the solicitation; and the whole paragraph gives a good auspice. The personal pronoun seems to show that the whole was, or was intended to be, understood as an oracular response in divination. This paragraph is rhymed, moreover, as are also 1, 3, and 4
‘In the caldron is good fare,
See my foe with angry glare;
But touch me he does not dare.’
Line 3 is also strong, and in the proper place; and if its correlate were the divided 5, its auspice would be entirely good. But instead of 5, its correlate is the strong 6. The place of the ears at 5 has been changed. Things promise badly. The advance of 3 is stopped. The good meat in the caldron which it symbolises will not be eaten. But 3 keeping firm 5 will by and by seek its society! The yin and the yang will mingle, and their union will be followed by genial rain. The issue will he good.
Line 4 is in the place of a great minister, who is charged with the most difficult duties, which no single man can sustain. Then the strength of 4 is weakened by being in an even place, and its correlate is the weak 1 in the lowest place. Its subject is insufficient of p. 173 himself for his work, and he has no sufficient help; and the result will be evil.
‘Paragraph 5,’ says the Daily Lecture, ‘praises the ruler as condescending to the worthy with his humble virtue.’ ‘Yellow’ has occurred repeatedly as ‘a correct colour;’ and here ‘the yellow ears and strong rings of metal’ are intended to intensify our appreciation of the occupant of 5. As the line is divided, a caution is added about being firm and correct.
Line 6 is strong, but the strength is tempered by its being in an even place. It is this which makes the handle to be of jade, which, though very hard, is supposed to have a peculiar and rich softness of its own. The auspice of the line is very good. ‘The great minister,’ it is said, ‘the subject of 6,’ performs for the ruler, the subject of 5, in helping his government and nourishing the worthy, the part which the handle does for the caldron. ↩︎174:LI Kăn among the trigrams represents thunder, and, according to Wăn’s arrangement and significance of them, ‘the oldest son.’ It is a phonetic character in which the significant constituent is Yü, meaning rain, and with which are formed most characters that denote atmospherical phenomena. The hexagram is formed of the trigram Kăn redoubled, and may be taken as representing the crash or peal of thunder; but we have seen that the attribute or virtue of the trigram is ‘moving, exciting power;’ and thence, symbolically, the character is indicative of movement taking place in society or in the kingdom. This is the meaning of the hexagram; and the subject is the conduct to be pursued in a time of movement—such as insurrection or revolution—by the party promoting, and most interested in, the situation. It is shown how he ought to be aware of the dangers of the time, and how by precaution and the regulation of himself he may overcome them.
The indication of a successful issue given by the figure is supposed to be given by the undivided line at the bottom of the trigram. The subject of it must be superior to the subjects of the two divided lines above. It is in the idea of the hexagram that he should be moving and advancing;—and what can his movement be but successful?
The next sentence shows him sensible of the danger of the occasion, but confident and self-possessed. The concluding sentence shows him rapt in his own important affairs, like a sincere worshipper, thinking only of the service in which he is engaged. Such a symbol is said to be suggested by Wăn’s significance of Kăn as ‘the oldest son (page 33).’ It is his to succeed to his father, and the hexagram, as following Ting, shows him presiding over the sacrifices that have been prepared in the caldron. This is too fanciful.
What is said on line 1 is little more than a repetition of the principal part of the Thwan. The line is undivided, and gives the auspice of good fortune.
‘The position of peril’ to the subject of line 2 is suggested, as Appendix II says, by its position, immediately above 1. But the rest of the symbolism is obscure, and Kû Hsî says he does not understand it. The common interpretation appears in the version. The subject of the line does what he can to get out of danger; and finally, as is signified by the central position of the line, the issue is better than could have been expected. On the specification of ‘seven days,’ see what is said in the treatise on the Thwan of hexagram 24. On its use here Khăng-žze says:—‘The places of a diagram amount to 6. The number 7 is the first of another. When the movement symbolised by Kăn is gone by, things will be as they were before.’
Line 3 is divided, and where an undivided line should be; but if its subject move on to the fourth place, which would be right for him, the issue will not be bad.
The 4th line, however, has a bad auspice of its own. It is undivided in an even place, and it is pressed by the divided line on p. 176 either side, hence its subject is represented as supinely sinking in the mud.
Line 5 is divided, in an odd place, and that in which the action of the hexagram may be supposed to be concentrated. Hence its subject is always in peril; but his central position indicates safety in the end.
Line 6 is weak, and has to abide the concluding terrors of the movement. Action on the part of its subject is sure to be evil. If, however, he were to take precautions, he might escape with only the censures of his relatives. But I do not see anything in the figure to indicate this final symbolism. The writer, probably, had a case in his mind, which it suited; but what that was we do not know. ↩︎177:LII The trigram Kăn represents a mountain. Mountains rise up grandly from the surface of the earth, and their masses rest on it in quiet and solemn majesty; and they serve also to arrest the onward progress of the traveller. Hence the attribute ascribed to Kăn is twofold; it is both active and passive-resting and arresting. The character is used in this hexagram with both of those significations. As the name of the figure, it denotes the mental characteristic of resting in what is right; especially resting, as it is expressed by Chinese critics, ‘in principle,’—that which is light, on the widest scale, and in the absolute conception of the mind; and that which is right in every different position in which a man can be placed. We find this treated of in the Great Learning (Commentary, chapter 3), and in the Doctrine of the Mean, chapter 14, and other places. This is the theme of the hexagram; and the symbolism of it is all taken from different parts of the human body, as in hexagram 31, and the way in which they are dealt with. Several of the paragraphs are certainly not easy to translate and interpret.
The other parts of the body, such as the mouth, eyes, and ears, have their appetencies, which lead them to what is without themselves. The back alone has nothing to do with anything beyond itself-hardly with itself even; all that it has to do is to stand straight and strong. So should it be with, us, resting in principle, free from the intrusion of selfish though s and external objects. Amidst society, he who realises the idea of the hexagram is still alone, and does not allow himself to be distracted from the contemplation and following of principle. He is not a recluse, however, who keeps aloof from social life; but his distinction is that he maintains a supreme regard to principle, when alone, and when mingling with others.
In the symbolism the author rises from one part of the body to the other. The first line at the bottom of the figure fitly suggests ‘the toes.’ The lesson is that from the first men should rest in, and be anxious to do, what is right in all their affairs. The weakness of the line and its being in an odd place give occasion for the caution, with which the paragraph concludes.
Above the toes are the calves, represented by the second line, weak, but in its proper place. Above this, again, are the loins, represented by 3, strong, and in danger of being violent. Line 2 p. 178 follows 3, and should help it; but is unable to do so; and there results dissatisfaction.
When the calves are kept at rest, advance is stopped, but no other harm ensues. Not so when the loins are kept at rest, and unable to bend, for the connexion between the upper and lower parts of the body is then broken. The dissatisfaction increases to an angry heat. Paragraph 3 is unusually difficult. For ‘loins’ P. Regis has scapulae, and for ribs renes; Canon McClatchie says:—‘Third Nine is stopping at a limit, and separating what is in continued succession (i. e. the backbone); thus the mind,’ &c.
Line 4 is a weak line resting in a proper place; hence it gives a good auspice. The Khang-hsî editors, however, call attention to the resting of the trunk as being inferior to the resting of the back in the Thwan.
The place of the weak fifth line is not proper for it; and this accounts for the mention of its subject ‘repenting,’ for which, however, there is not occasion.
The third line of the trigrams, and the sixth of the hexagram, is what makes Kăn what it is,—the symbol of a mountain. The subject of it therefore will carry out the resting required by the whole figure in the highest style. ↩︎179:LIII Kien is ordinarily used in the sense of gradually; but there is connected with that the idea also of progress or advance. The element of meaning in the character is the symbol of water; and the whole of it denotes gradual advance, like the soaking in of water. Three hexagrams contain in them the idea of advance, Žin (35), Shăng (46), and this Kien; but each has its peculiarity of meaning, and that of Kien is the gradual manner in which the advance takes place. The subject then of the hexagram is the advance of men to offices in the state, how it should take place gradually and by successive steps, as well as on certain other p. 180 conditions that may be gathered from the Text. P. Regis gives this exposition of the subject, as taken by him from the symbolism, which he ascribes to Confucius:—‘Viri probi, seu republica digni, in virtutis soliditate instituendi sunt a sapiente, bonisque regulis ut altis radicibus firmandi, nec alii ad rempublicam tractandam promovendi, nisi qui paulatim per varios minoresque gradus ad magnum hoc regimen periculo facto ascendere digni sint.’ He then illustrates this sentiment by the words of Pliny:—‘Eligetur multis experimentis eruditus, et qui futura possit ex praeteritis praevidere.’
But how does the lineal figure give the idea of a gradual advance? We shall see how it is attempted in the Great Symbolism to get this from the component trigrams. The account there is not satisfactory; and still less so is what else I have been able to find on the subject. E. g., the trigrams were originally Khwăn and Khien; but the third line of Khwăn and the first of Khien have changed places; and the trigrams now denote ‘the youngest son,’ and ‘the eldest daughter.’ If all this, which is a mere farrago, were admitted, it would not help us to the idea of an advance.
Again, the lines 2, 3, 4, 5 are all in the places proper to them as strong or weak; we ascend by them as by regular steps to the top of the hexagram; and this, it is said, gives the notion of the gradual steps of the advance. But neither does this carry conviction with it to the mind. We must leave the question. King Wăn, for reasons which we cannot discover, or without such reasons, determined that the hexagram Kien should denote the gradual advance of men to positions of influence and office.
The marriage of a young lady is mentioned in the Thwan as an illustration of an important event taking place with various p. 181 preliminary steps, continued from its initiation to its consummation. But all must he done in an orderly and correct manner. And so must it be with the rise of a man in the service of the state.
The goose from the most ancient times played an important part in the marriage ceremonies of the Chinese; and this may have suggested the use of it in the symbolism of the different lines. Its habits as a bird of passage, and flying in processional order, admirably suited the writer’s purpose. In paragraph 1 it appears for the first time in the season approaching the shore. Then comes the real subject of the line; and the facts of its being weak, and without a proper correlate, agree with, if they do not suggest, what is said about him, and the caution added.
The geese have advanced in line 2, and so has the officer, though he is not mentioned. The line is weak or humble, and central, and has a proper correlate in 5. Hence comes the good auspice.
Line 3 is strong, and has passed the central place, to the top of the lower trigram, and has not a proper correlate in 6. Its subject is likely to be violent and at the same time unsuccessful in his movements. He is like a husband who does not care for his wife, or a wife who does not care for her child. But in the case supposed, his strength in the end would be useful.
The web-footed goose is not suited for taking hold on the branches; but on flat branches it can rest. Line 4, weak, but in an even place, does not promise a good auspice for its subject; but it is the first line in the trigram of humility, and it is concluded that he will not fall into error.
Line 5 is a strong line in the ruler’s seat; and yet it appears here as the symbol of a wife. Somehow its subject has been at variance with, and kept in disgrace by, calumniating enemies such as the plunderers of paragraph 3; but things come right in the end. The wife, childless for three years, becomes at last a mother; and there is good fortune.
The subject of line 6 has reached the top of the hexagram. There is no more advance for him; and he has no correlate. But he may still do some good work for the state, and verify the auspice derived from the ornamental plumes of the geese. ↩︎182:LIV Mei Kwei is a common way of saying that a young lady is married, or, literally, ‘is going home.’ If the order of the characters be reversed, the verb kwei will be transitive, and the phrase will signify ‘the marrying away of a daughter,’ or ‘the giving the young lady in marriage.’ In the name of this hexagram, Kwei is used with this transitive force. But Mei means ‘a younger sister,’ and not merely a young lady or a daughter. Kwei Mei might be equivalent to our ‘giving in marriage;’ but we shall find p. 183 that the special term has a special appropriateness. The Thwan makes the hexagram give a bad auspice concerning its subject; and for this the following reasons are given:—According to Win’s symbolism of the trigrams, Tui, the lower trigram here, denotes the youngest daughter, and Kăn, the upper trigram, the oldest son. And as the action of the hexagram begins with that of the lower trigram, we have in the figure two violations of propriety. First, the marriage represented is initiated by the lady and her friends. She goes to her future home instead of the bridegroom coming to fetch her. Second, the parties are unequally matched. There ought not to be such disparity of age between them. Another reason assigned for the bad auspice is that lines 2, 3, 4, and 5 are all in places not suited to them, quite different from the corresponding lines in the preceding hexagram.
Is then such a marriage as the above, or marriage in general, the theme of the hexagram? I think not. The marriage comes in, as in the preceding essay, by way of illustration. With all the abuses belonging to it as an institution of his country, as will immediately appear, the writer acknowledged it without saying a word in deprecation or correction of those abuses; but from the case he selected he wanted to set forth some principles which should obtain in the relation between a ruler and his ministers. This view is insisted on in Wan King’s ‘New Collection of Comments on the Yî (A. D. 1686).’
A feudal prince was said to marry nine ladies at once. The principal of them was the bride who was to be the proper wife, and she was attended by two others, virgins from her father’s harem; a cousin, and a half-sister, a daughter of her father by another mother of inferior rank. Under line 1 the younger sister p. 183 of the hexagram appears in the inferior position of this half-sister. But the line is strong, indicative in a female of firm virtue. The mean condition and its duties are to be deplored, and give the auspice of lameness; but notwithstanding, the secondary wife will in a measure discharge her service. There will be good fortune. Notwithstanding apparent disadvantages, an able officer may do his ruler good service.
Line 2 is strong, and in the centre. The proper correlate is 5, which, however, is weak, and in the place of a strong line. With such a correlate, the able lady in 2 cannot do much in the discharge of her proper work. But if she think only of her husband, like the widow who will die rather than marry again, such devotion will have its effect and its reward. Though blind of one eye, she yet manages to see. And so devoted loyalty in an officer will compensate for many disadvantages.
Line 3 is weak, where it should be strong; and the attribute of pleased satisfaction belonging to Tui culminates in its subject. She turns out to be of so mean a character and such a slave of passion that no one will marry her. She returns and accepts the position of a concubine.
Line 4 is strong, where it should be weak; but in the case of a female the indication is not bad. The subject of the line, however, is in no haste. She waits, and the good time will come.
King Tî-yî has been already mentioned under the fifth line of hexagram 11, and in connexion with some regulation which he made about the marriage of daughters of the royal house. His sister here is honourably mentioned, so as to suggest that the adorning which she preferred was ‘the ornament of the hidden man of the heart.’ The comparison of her to ‘the moon almost full’ I am ready to hail as an instance where the duke of Kâu is for once poetical. Khăng-žze, however, did not see poetry, but a symbol in it. ‘The moon is not full,’ he says, ‘but only nearly full. A wife ought not to eclipse her husband!’ However, the sister of Tî-yî gets happily married, as she deserved to do, being represented by the line in the place of honour, having its proper correlate in 2.
Line 6 is weak, at the top of the hexagram, and without a proper correlate. Hence its auspice is evil. The marriage-contract is broken, according to Kû Hsî, and does not take effect. The p. 185 parties mentioned in the paragraph appear engaged in the temple, offering or sacrificing to the spirits of their ancestors. But the woman’s basket which should contain her offerings (The Shih, I, ii, ode 4) is empty, and the man attempts to perform his part in slaying the victim (The Shih, II, vi, ode 6. 5) without effect. ↩︎186:LV The character Făng is the symbol of being large and abundant, and, as the name of this hexagram, denotes a condition of abundant prosperity. In the changes of human affairs a condition of prosperity has often given place to one of an opposite character. The lesson of the hexagram is to show to rulers how they may preserve the prosperity of their state and people. The component trigrams have the attributes of intelligence and of motive force, and the second is under the direction of the first. A ruler with these attributes is not likely to fail in maintaining his crown and prosperity, and it may well be said that the figure intimates progress and development. The king is told not to be anxious, but to study how he may always be like the sun in his meridian height, cheering and enlightening all.
The explanation of the Thwan is thus natural and easy. It will be found that a change is introduced in explaining the symbolism of the lines, which it is as well to point out here. Thus far we have found that to constitute a proper correlation between two lines, one of them must be whole, and the other divided. Here two undivided lines make a correlation. The law, evidently made for the occasion, goes far to upset altogether the doctrine of correlated lines. I have been surprised that the rules about the lines stated in the Introduction, pp. 15, 16, have held good so often. There have been various deviations from them, but none so gross as that in this hexagram.
Line 1 is strong, and in an odd place. Its correlate is 4, which would in other figures be deemed unfortunate. But here even the Text calls 4 (for the reference must be to it) the mate of 1, and makes their belonging to different categories of no account. The lesson taught is that mutual helpfulness is the great instrument for the maintenance of prosperity. The subject of line 1 is encouraged to go forward.
Line 2 is divided, and in its proper place. Occupying the centre of the trigram of brightness, the intelligence of it should be concentrated in its subject; but his correlate is the weak 5, weak and in an improper place, so that he becomes the benighted ruler, and darkness is shed from him down on 2, which is strangely symbolised. p. 187 The subject of 2 therefore, if he advance, will not be acceptable to his ruler, and will not be employed. The only way in which he. can be useful by developing the light that is in him is pointed out in the conclusion. The constellation of the Bushel corresponds to our Ursa Major, or perhaps part of Sagittarius.
Line 3 is strong, in its proper place. It is the last line moreover of the trigram of Brightness. All these conditions are favourable to the employment of its subject; but its correlate is the weak 6, which is at the extremity of the trigram of movement. There is no more power therefore in 6, and the subject of 3 has no one to co-operate with him. His symbolism and auspice are worse than those of 2; but his own proper goodness and capacity will save him from error. Mei is a small star in or near the Bushel.
The symbolism of line 4 is the same as that of 2, till we come to the last sentence. Then there is the strange correlation of the two strong lines in 4 and 1; and the issue is good.
The subject of line 5 is in the ruler’s place, himself weak, but ‘the lord’ of the trigram of movement. He can do little unhelped, but if he can bring into the work and employ in his service the talents of 1, 3, and 4, and even of 2, his correlate, the results will be admirable. Nothing consolidates the prosperity of a country so much as the co-operation of the ruler and able ministers.
All the conditions of line 6 are unfavourable, and its subject is left to himself without any helpers. He is isolated for long, and undone. The issue is only evil. ↩︎188:LVI The name Lü denotes people travelling abroad, and is often translated by ‘strangers.’ As early as the time of king Wăn, there was a class of men who went about from one state to another, pursuing their business as pedlars or travelling merchants; but in Mencius II, i, chap. 5. 3, it is used for travellers generally, whatever it was that took them out of their own states. Confucius himself is adduced as a travelling stranger; and in this hexagram king Wăn is supposed to have addressed himself to the class of such men, and told them how they ought to comport themselves. They ought to cultivate two qualities,—those of humility and integrity (firm correctness). By means of these they would escape harm, and would make some little attainment and progress. Their rank was too low to speak of great things in connexion with them. It is interesting to find travellers, strangers in a strange land, having thus a place in the Yî.
For the manner in which the component trigrams are supposed p. 189 to give the idea that is in Lü, see Appendix II. In Appendix I there is an endeavour to explain the Thwan by means of the lines and their relation to one another.
Line 1 is weak, in an odd place, and at the very bottom or commencement of the hexagram, These conditions are supposed to account for the unfavourable symbolism and auspice.
Line 2 is weak, but in its proper place. That place, moreover, is the central. Hence the traveller—and he might here very well be a travelling merchant—is represented in the symbolism as provided with everything he can require; and though the auspice is not mentioned, we must understand it as being good.
Line 3 is strong, and in an even place. But it occupies the topmost place in the lower trigram; and its strength may be expected to appear as violence. So it does in the symbolism, and extraordinary violence as well. It seems unreasonable to suppose, as in the conclusion, that one so described could be in any way correct. The Khang-hsî editors remark that the subjects of 2 and 3 are represented as having ‘lodging-houses,’ and not any of those of the other lines, because these are the only two lines in the places proper to them!
Line 4 is strong, but in an even place. Hence its subject has not a lodging-house;’ but has found a situation where he has shelter, though he is exposed to perils. Hence he is represented as having an axe, which may be available for defence. Still he is not at peace in his mind. The Khang-hsî editors observe well that the mention of an axe makes us think of caution as a quality desirable in a traveller.
Line 5, though weak, is in the centre of the upper trigram, which p. 190 has the quality of brightness and elegance. It is held to be the lord of the trigram Lî; and lines 4 and 6 are on either side in loyal duty to defend and help. Then the shooting a pheasant is supposed to be suggested; an elegant bird,—by the trigram of elegance. When an officer was travelling abroad in ancient times, his gift of introduction at any feudal court was a pheasant. The traveller here emblemed is praised by his attached friends, and exalted to a place of dignity by the ruler to whom he is acceptable. It will be seen how the idea of the fifth line being the ruler’s seat is dropt here as being alien from the idea of the hexagram, so arbitrary is the interpretation of the symbolism.
Line 6 is strong, in an even place, at the extremity of Lî and of the whole hexagram. Its subject will be arrogant and violent; the opposite of what a traveller should be; and the issue will be evil. The symbolism must be allowed to be extravagant. What bird ever burned its nest? And the character for ‘ox’ is strangely used for ‘ox-like docility.’ ↩︎191:LVII With Sun as the fifth of the Fû-hsî trigrams we have become familiar. It symbolises both wind and wood; and has the attributes of flexibility (nearly allied to docility) and penetration. In this hexagram we are to think of it as representing wind with its penetrating power, finding its way into every corner and cranny.
Confucius once said (Analects 12. 19):—‘The relation between superiors and inferiors is like that between the wind and the grass. The grass must bend when the wind blows upon it.’ In accordance with this, the subject of the hexagram must be understood as the influence and orders of government designed to remedy what is wrong in the people. The ‘Daily Lecture’ says that the upper trigram denotes the orders issuing from the ruler, and the lower the obedience rendered to them by the people; but this view is hardly borne out by the Text.
But how is it that the figure represents merely ‘some little attainment?’ This is generally explained by taking the first line of the trigram as indicating what the subject of it can do. But over the weak first line are two strong lines, so that its subject can accomplish but little. The Khang-hsî editors, rejecting this view, contend that, the idea of the whole figure being penetration, line 1, the symbol of weakness and what is bad, will not be able to offer much resistance to the subjects of the other lines, which will enter and dispel its influence. They illustrate this from processes of nature, education, and politics; the effect they say is described as small, because the process is not to revolutionise or renew, but only to p. 192 correct and improve. Such as it is, however, it requires the operation of the strong and virtuous, ‘the great man.’ Even all this criticism is not entirely satisfactory.
Line 1 is weak, where it should be strong. The movements of its subject are expressive of perplexity. He wants vigour and decision.
Line 2 is strong, and in the right place, and has a good auspice. Things are placed or hidden beneath a couch or bed; and the subject of the line appears as searching for them. He calls in divination to assist his judgment, and exorcists to expel for him what is bad. The work is great and difficult, so that he appears almost distracted by it; but the issue is good. For this successful explanation of the line, I am indebted to the Khang-hsî editors. The writer of the Text believed of course in divination and exorcism; which was his misfortune rather than his fault or folly.
Line 3 is in the right place for a strong line. But its position at the top of the lower trigram is supposed to indicate the restlessness, and here the vehemence, of its subject. And 6 is no proper correlate. All the striving is ineffective, and there is occasion for regret.
Line 4 is weak, as is its correlate in 1. But 4 is a proper place for a weak line, and it rests under the shadow of the strong and central 5. Hence the omens of evil are counteracted; and a good auspice is obtained. The game caught in hunting was divided into three portions:—the first for use in sacrifices; the second for the entertainment of visitors; and the third for the kitchen generally. A hunt which yielded enough for all these purposes was deemed very successful.
On line 5 Khăng-žze says:—‘It is the seat of honour, and the p. 193 place for the lord of Sun, from whom there issue all charges and commands. It is central and correct; we must find in its subject the qualities denoted by Sun in their greatest excellence. But those qualities are docility and accordance with what is right; and the advantage of firm correctness is insisted on. With this all will be right.’ With the concluding sentence compare the conclusion of the Thwan of hexagram 18.
The evil that paragraph 6 concludes with would arise from the quality of Sun being carried to excess. I have followed the Khang-hsî editors in adopting a change of one character in the received Text. ↩︎193:LVIII The trigram Tui symbolises water as collected in a marsh or lake; and its attribute or virtus is pleasure or complacent satisfaction. It is a matter of some difficulty to determine in one’s mind how this attribute came to be connected with the trigram. The Khang-hsî editors say:—'When the airs of spring begin to blow, from the collections of water on the earth the moistening vapours rise up (and descend again); so, when the breath of health is vigorous in a man’s person, the hue of it is p. 194 displayed in his complexion. Akin to this is the significance of the hexagram Tui representing a marsh, as denoting pleasure. Although the yin lines give it its special character they owe their power and effect to the yang; so when the qualities of mildness and harmony prevail in a man, without true-heartedness and integrity to control and direct them, they will fail to be correct, and may degenerate into what is evil. Hence it is said that it will be advantageous to be firm and correct!’
The feeling then of pleasure is the subject of this hexagram. The above quotation sufficiently explains the concluding characters of the Thwan; but where is the intimation in Tui of progress and attainments? It is supposed to be in the one weak line surmounting each trigram and supported by the two strong lines. Fancy sees in that mildness and benignity energised by a double portion of strength.
Line 1, strong in the place of strength, with no proper correlate above, is thus confined to itself. But its subject is sufficient for himself. There will be good fortune.
Line 2, by the rule of place, should be weak, but it is strong. Without any proper correlate, and contiguous to the weak 3, the subject of it might be injuriously affected, and there would be cause for repentance. But the sincerity natural in his central position counteracts all this.
The view of the third paragraph that appears in the translation is derived from the Khang-hsî editors. The evil threatened in it would be a consequence of the excessive devotion of its subject to pleasure.
‘The bordering on what is injurious’ in paragraph 4 has reference to the contiguity of line 4 to the weak 3. That might have p. 195 an injurious effect; but the subject of 4 reflects and deliberates before he will yield to the seduction of pleasure, and there is cause for joy.
The danger to the subject of line 5 is from the weak 6 above, in whom he is represented as ‘trusting.’ Possibly his own strength and sincerity of mind may be perverted into instruments of evil; but possibly, they may operate beneficially.
The symbolism of paragraph 6 is akin to that of 3, though no positive auspice is expressed. The subject of line 3 attracts others round itself for the sake of pleasure; the subject of this leads them to follow himself in quest of it. ↩︎196:LIX Hwân, the name of this hexagram, denotes a state of dissipation or dispersion. It is descriptive primarily of men’s minds alienated from what is right and good. This alienation is sure to go on to disorder in the commonwealth; and an attempt is made to show how it should be dealt with and remedied.
The figure is made up of one of the trigrams for water and over it that for wind. Wind moving over water seems to disperse it, and awakes naturally in the beholder the idea of dissipation.
The intimation of progress and success is supposed to be given by the strong lines occupying the central places. The king goes to the ancestral temple, there to meet with the spirits of his ancestors. His filial piety moves them by the sincerity of its manifestation. Those spirits come and are present. Let filial piety—in our language, let sincere religion—rule in men’s minds, and there will be no alienation in them from what is right and good or from one another. And if the state of the country demand a great or hazardous enterprise, let it be undertaken. But whatever is done, must be done with due attention to what is right, firmly and correctly.
Line 1, at the commencement of the hexagram, tells us that the evil has not yet made great progress, and that dealing with it will be easy. But the subject of the line is weak, and in an odd place. He cannot cope with the evil himself. He must have help, and he finds that in a strong horse, which description is understood to be symbolical of the subject of the strong second line.
‘Line 2 is strong, but in an even place. That place is, indeed, the central, but the attribute of the lower trigram Khan is peril. These conditions indicate evil, and action will be dangerous; but the subject of 2 looks to 1 below him, and takes shelter in union with its subject. Since the commentary of Khăng-žze, this has been the interpretation of the line.
Line 3 is weak, and in an odd place. A regard for himself that would unfit its subject for contributing any service to the work of p. 197 the hexagram might be feared; but he discards that regard, and will do nothing to be repented of. There is a change of style in the Chinese text at this point. As Wang Shăn-žze (Yüan dynasty) says:—‘Here and henceforth the scattering is of what should be scattered, that what should not be scattered may be collected.’
Line 4, though weak, is in its correct place, and adjoins the strong 5, which is in the ruler’s seat. The subject of 4, therefore, will fitly represent the minister, to whom it belongs to do a great part in remedying the evil of dispersion. And this he does. He brings dissentient partizanship to an end; and not satisfied with that, he collects multitudes of those who had been divided into a great body so that they stand out conspicuous like a hill.
Line 5 gives us the action of the ruler himself;—by his proclamations, and by his benevolence. Kû Hsî and other critics enlarge on the symbolism of the perspiration, which they think much to the point. P. Regis avoids it, translating—‘Ille, magnas leges dissipans, facit ut penetrent(ur?).’ Canon McClatchie has an ingenious and original, so far as my Chinese reading goes, note upon it:—‘As sweat cures fevers, so do proclamations cure rebellions.’ Both of these translators miss the meaning of the other instance of the king’s work.
Line 6 is occupied by a strong line, which has a proper correlate in 3; but 3 is at the top of the trigram of peril. The subject of 6 hurries away from association with the subject of it, but does so in the spirit of the hexagram, so that there is no error or blame attaching to him. ↩︎198:LX The primary application of the character Kieh was to denote the joints of the bamboo; it is used also for the joints of the human frame; and for the solar and other terms of the year. Whatever makes regular division may be denominated a Kieh; there enter into it the ideas of regulating and restraining; and the subject of this hexagram is the regulations of government enacted for the guidance and control of the people. How the constituent trigrams are supposed to suggest or indicate this meaning will be seen in Appendix II.
Kû Hsî anticipates that symbolism in trying to account for the statement that the figure gives the promise of success and attainment; but the ground of this is generally made out by referring to the equal division of the undivided and divided lines and our having in 2 and 5, the central places, two undivided lines. An p. 199 important point concerning ‘regulations’ is brought out in the conclusion of the Thwan,—that they must be adapted to circumstances, and not made too strict and severe.
Line 1 is strong, and in its correct place. Its subject therefore would not be wanting in power to make his way. But he is supposed to be kept in check by the strong 2, and the correlate 4 is the first line in the trigram of peril. The course of wisdom therefore is to keep still. The character here rendered door is that belonging to the inner apartments, leading from the hall into which entrance is found by the outer gate, mentioned under line 2. The courtyard outside the door and that inside the gate is one and the same. The ‘Daily Lecture’ says that the paragraph tells an officer not to take office rashly, but to exercise a cautious judgment in his measures.
Line 2 is strong, in the wrong place; nor has it a proper correlate. Its subject keeps still, when he ought to be up and doing. There will be evil.
Line 3 should be strong, but it is weak. It is neither central nor correct. It has no proper correlate, and it is the topmost line in the trigram of complacent satisfaction. Its subject will not receive the yoke of regulations; and he will find out his mistake, when it is too late.
Line 4 is weak, as it ought to be, and its subject has respect to the authority of the strong ruler in 5. Hence its good symbolism and auspice.
Line 5 is strong, and in its correct place. Its subject regulates himself, having no correlate; but he is lord of the hexagram, and his influence is everywhere beneficially felt.
Line 6 is weak, in its proper place. The subject of the topmost line must be supposed to possess an exaggerated desire for enacting regulations. They will be too severe, and the effect will be evil. But as Confucius (Analects 3. 3) says, that is not so great a fault as to be easy and remiss. It may be remedied, and cause for repentance will disappear. ↩︎200:LXI Kung Fû, the name of this hexagram, may be represented in English by ‘Inmost Sincerity.’ It denotes the highest quality of man, and gives its possessor power so that he prevails with spiritual beings, with other men, and with the lower creatures. It is the p. 201 subject of the ‘Doctrine of the Mean’ from the 21st chapter onwards, where Remusat rendered it by ‘la perfection,’ ‘la perfection morale,’ and Intorcetta and his coadjutors by ‘vera solidaque perfectio.’ The lineal figure has suggested to the Chinese commentators, from the author of the first Appendix, two ideas in it which deserve to be pointed out. There are two divided lines in the centre and two undivided below them and above them. The divided lines in the centre are held to represent the heart or mind free from all pre-occupation, without any consciousness of self; and the undivided lines, on each side of it, in the centre of the constituent trigrams are held to denote the solidity of the virtue of one so free from selfishness. There is no unreality in it, not a single flaw.
The ‘Daily Lecture’ at the conclusion of its paraphrase of the Thwan refers to the history of the ancient Shun, and the wonderful achievements of his virtue. The authors give no instance of the affecting, of ‘pigs and fishes’ by sincerity, and say that these names are symbolical of men, the rudest and most unsusceptible of being acted on. The Text says that the man thus gifted with sincerity will succeed in the most difficult enterprises. Remarkable is the concluding sentence that he must be firm and correct. Here, as elsewhere throughout the Yî, there comes out the practical character which has distinguished the Chinese people and their best teaching all along the line of history.
The translation of paragraph 1 is according to the view approved by the Khang-hsî editors. The ordinary view makes the other to whom the subject of line 1 looks or might look to be the subject of 4; but they contend that, excepting in the case of 3 and 6, the force of correlation should be discarded from the study of this p. 202 hexagram; for the virtue of sincerity is all centred in itself, thence derived and thereby powerful.
For paragraph 2, see Appendix III, Section i, 42. It is in rhyme, and I have there rendered it in rhyme. The ‘young ones of the crane’ are represented by line 1. In the third and fourth sentences we have the symbolism of two men brought together by their sympathy in virtue. The subject of the paragraph is the effect of sincerity.
The ‘mate’ of line 3 is 6. The principle of correlation comes in. Sincerity, not left to itself, is influenced from without, and hence come the changes and uncertainty in the state and moods of the subject of the line.
Line 4 is weak, and in its correct place. The subject of it has discarded the correlate in 1, and hastens on to the confidence of the ruler in 5, being symbolised as the moon nearly full. The other symbol of the horse whose fellow has disappeared has reference to the discarding of the subject of 1. Anciently chariots and carriages were drawn by four horses, two outsides and two insides. Lines 1 and 4 were a pair of these; but 1 disappears here from the team, and 4 goes on and joins 5.
Line 5 is strong and central, in the ruler’s place. Its subject must be the sage on the throne, whose sincerity will go forth and bind all in union with himself.
Line 6 should be divided, but is undivided; and coming after 5, what can the subject of it do? His efforts will be ineffectual, and injurious to himself. He is symbolised by a cock—literally, ‘the plumaged voice.’ But a cock is not fitted to fly high, and in attempting to do so will only suffer hurt. ↩︎203:LXII The name Hsiâo Kwo is explained both by reference to the lines of the hexagram, and to the meaning of the characters. The explanation from the lines appears immediately on comparing them with those of Tâ Kwo, the 28th hexagram. There the first and sixth lines are divided, and between are four undivided lines; here the third and fourth lines are undivided, and outside each of them are two divided lines. The undivided or yang lines are great, the divided or yin lines are called small. In Hsiâo Kwo the divided or small lines predominate. But this peculiar structure of the figure could be of no interest to the student, if it were not for the meaning of the name, which is ‘small excesses’ or ‘exceeding in what is small.’ The author, accepted by us as king Wăn, p. 204 had in his mind our distinction of essentials and non-essentials. Is it ever good to deviate from what is recognised as the established course of procedure? The reply is—never in the matter of right but in what is conventional and ceremonial—in what is nonessential—the deviation may be made, and will be productive of good. The form may be given up, but not the substance. But the thing must be done very carefully,—humbly and reverently, and in small matters.
The symbolism of the bird is rather obscure. The whole of it is intended to teach humility. It is better for the bird to descend, keeping near to where it can perch and rest, than to hold on ascending into the homeless regions of the air.
Line 1 is weak, in an odd place, and possessed by the ‘idea of exceeding,’ which belongs to the hexagram. Its correlate is the strong 4, belonging to the trigram Kăn, the attribute of which is movement. There is nothing to repress the tendency of i; rather it is stimulated; and hence the symbolism.
Line 2 is weak, but in its proper place, and in the centre. Its correlate is 5, which is also a weak line. The lines 3 and 4 between them are both strong; and are supposed to represent the father and grandfather of the subject of 2; but he or she goes past them, and meets with the grandmother in 5. Again, 5 is the ruler’s seat. The subject of 2 moves on to him, but not as an enemy; but humbly and loyally, as his minister according to the attributes of a weak line in the central place. It must be allowed that this view of the symbolism and its interpretation is obscure and strained.
The subject of line 3 is too confident in his own strength, and too defiant of the weak and small enemies that seek his hurt. p. 205 Line 4 is also strong, but the exercise of his strength by its subject is tempered by the position in an even place. He is warned, however, to continue quiet and restrain himself.
Line 5, though in the ruler’s seat, is weak, and incapable of doing anything great. Its subject is called king or duke because of the ruler’s seat; and the one whom in the concluding sentence he is said to capture is supposed to be the subject of 2.
The first part of the symbolism is the same as that of the Thwan under hexagram 9, q.v. I said there that it probably gave a testimony of the merit of the house of Kâu, as deserving the throne rather than the kings of Shang. That was because the Thwan contained the sentiments of Wăn, while he was yet only lord of Kâu. But the symbolism here was the work of the duke of Kâu, after his brother king Wû had obtained the throne. How did the symbolism then occur to him? May we not conclude that at least the hsiang of this hexagram was written during the troubled period of his regency, after the accession of Wû’s son, king Khăng?
The Khang-hsî editors find in the concluding symbolism an incentive to humility:—‘The duke, leaving birds on the wing, is content to use his arrows against those in a cave!’
Line 6 is weak, and is at the top of the trigram of movement. He is possessed by the idea of the hexagram in an extreme degree, and is incapable of keeping himself under restraint. ↩︎206:LXIII The character called Kî is used as a symbol of being past or completed. Žî denotes primarily crossing a stream, and has the secondary meaning of helping and completing. The two characters, combined, will express the successful accomplishment of whatever the writer has in his mind. In dealing with this lineal figure, king Wăn was thinking of the condition of the kingdom, at length at rest and quiet. The vessel of the state has been brought safely across the great and dangerous stream. The distresses of the kingdom have been relieved, and its disorders have been repressed. Does anything remain to be done still? Yes, in small things. The new government has to be consolidated. Its ruler must, without noise or clamour, go on to perfect what has been wrought, with firmness and correctness, and ever keeping in mind the instability of all human affairs. That every line of the hexagram is in its correct place, and has its proper correlate is also supposed to harmonize with the intimation of progress and success.
Line 1, the first of the hexagram, represents the time immediately after the successful achievement of the enterprise it denotes;—the time for resting and being quiet. For a season, at least, all movement should be hushed. Hence we have the symbolism of a driver trying to stop his carriage, and a fox who has wet his tail, and will not tempt the stream again.
Line 2 is weak, and in its proper place. It also has the strong correlate 5; and might be expected to be forward to act. But it occupies its correct and central place, and suggests the symbol of a lady whose carriage has lost its screen. She will not advance p. 207 further so soon after success has been achieved; but keep herself hidden and retired. Let her not try to find the screen. When it is said that she will find this ‘after seven days,’ the meaning seems to be simply this, that the period of Kî Žî will then have been exhausted, the six lines having been gone through, and a new period, when action will be proper, shall have commenced.
The strong line 3, at the top of the lower trigram, suggests for its subject one undertaking a vigorous enterprise. The writer thinks of Kâo Žung, the sacrificial title of Wû Ting, one of the ablest sovereigns of the Shang dynasty (B. C. 1364-1324), who undertook an expedition against the barbarous hordes of the cold and bleak regions north of the Middle States. He is mentioned again under the next hexagram. He appears also in the Shû, IV, ix, and in the Shih, IV, iii, ode 5. His enterprise may have been good, and successful, but it was tedious, and the paragraph concludes with a caution.
Line 4 is weak, and has advanced into the trigram. for water. Its subject will be cautious, and prepare for evil, as in the symbolism, suggested probably by the nature of the trigram.
‘The neighbour in the East’ is the subject of line 5, and ‘the neighbour in the West’ is the subject of the correlate 2, the former quarter being yang and the latter yin. Line 5 is strong, and 2 is weak; but weakness is more likely to be patient and cautious than strength. They are compared to two men sacrificing. The one presents valuable offerings; the other very poor ones. But the p. 208 second excels in sincerity, and his small offering is the more acceptable.
The topmost line is weak, and on the outmost edge of Khân, the trigram, of peril. His action is violent and perilous, like that one attempting to cross a ford, and being plunged overhead into the water. ↩︎210:LXIV p. 208 Wei Žî is the reverse of Kî Žî. The name tells us that the successful accomplishment of whatever the writer had in his mind had not yet been realised. The vessel of the state has not been brought across the great and dangerous stream. Some have wished that the Yî might have concluded with Kî Žî, and the last hexagram have left us with the picture of human affairs all brought to good order. But this would not have been in harmony with the p. 209 idea of the Yî, as the book of change. Again and again it has been pointed out that we find in it no idea of a perfect and abiding state. just as the seasons of the year change and pursue an ever-recurring round, so is it with the phases of society. The reign of order has been, and has terminated; and this hexagram calls us to see the struggle for its realisation recommenced. It treats of how those engaged in that struggle should conduct themselves with a view to secure the happy consummation.
How the figure sets forth the state of things by its constituent trigrams will appear in Appendix II. A similar indication is supposed to be given by the lines, not one of which is in the correct place; the strong lines being all in even places, and t he weak lines in odd. At the same time each of them has a proper correlate; and so the figure gives an intimation of some successful progress. See also Appendix I.
The symbolism of the young fox suggests a want of caution on the part of those, in the time and condition denoted by the hexagram, who try to remedy prevailing disorders. Their attempt is not successful, and they get themselves into trouble and danger. Whatever can be done must be undertaken in another way.
I suppose a fox to be intended by the symbolism of line 1, bringing that animal on from the Thwan. Some of the commentators understand it of any animal. The line is weak, at the bottom of the trigram of peril, and responds to the strong 4, which is not in its correct place. Its subject attempts to be doing, but finds cause to regret his course.
The subject of line 2, strong, and in the centre, is able to repress himself, and keep back his carriage from advancing and there is good fortune.
The Khang-hsî editors say that it is very difficult to understand what is said under line 3; and many critics suppose that a negative has dropt out, and that we should really read that ‘it will not be advantageous to try and cross the great stream.’
Line 4, though strong, is in an even place; and this might vitiate the endeavours of its subject to bring about a better state of things. But he is firm and correct. He is in the fourth place moreover, and immediately above there is his ruler, represented by a weak line, humble therefore, and prepared to welcome his endeavours. Let him exert himself vigorously and long, as Kâo Žung did in his p. 210 famous expedition (see last hexagram, line 3), and he will make progress and have success. Expeditions beyond the frontiers in those days were not very remote. Intercourse was kept up between the army and the court. Rewards, distinctions, and whatever was necessary to encourage the army, were often sent to it.
Line 5 is weak, in an odd place. But its subject is the ruler, humble and supported by the subject of the strong 2; and hence the auspice is very good.
The subject of line 6, when the work of the hexagram has been done, appears disposed to remain quiet in the confidence of his own power, but enjoying himself; and thereby he will do right. If, on the contrary, he will go on to exert his powers, and play with the peril of the situation, the issue will be bad. ↩︎