A

Ships from and sold by Amazon.com

Black and white version = $ 18.99

Full color version = $ 57.32

Availability: In Stock

Gift-wrap available

Back to: www.sakistotlis.gr

stotlis@otenet.gr ...........................

...........................................................................................

The sophisticated "I Ching"

An aesthetic track hunting

into the heart of antiquity

(Not for everybody)

...........................................................................................

Prospective readers of the I Ching have two distinctive and opposite attitudes towards it.
First, there are the I Ching lovers, those who adore the I Ching. Some of them are known as willing to read anything, no matter how irrational and far fetched, as long as it bears the mark of the wise ancient book.
Then, there are the I Ching haters, those who abhor the I Ching, who think of it (and of all divination, oracles and the like) as rubbish and turn-off their attention immediately upon hearing the name. Most of these readers of he second kind are considered rational, sensible and sophisticated.
The True eye of the Tiger is a rational work, written for positive minds, but it faces a peculiar problem. It is very hard to talk of the I Ching to people who hate it, who avert their eyes from it the instance they hear the name.
To solve this dilemma, I have decided to talk to people of the first kind, to I Ching lovers, to the vast majority of people eager to listen about the I Ching. I am sure that I will find among them many clear minds, ready to know what’s right once they come across it. I am addressing you my dear reader. Let’s go!…

THE TRUE EYE OF THE TIGER

«The True Eye of the Tiger» is a complete
«I Ching» ready to use, so one may employ it
to cast divinations. Its main objective, however,
is to demonstrate how the minds of the
writers of the «I Ching» actually worked.
A true Shaman has nothing to do with
sham. His mind follows definite perceptional patterns that
make sense to him, according to his personal
worth and the mental maturity or the prejudices
of his era.
Inevitably, all human conception, now and
then, East and West, stands on some real perceptional
ground. This is a fundamental truth.
The mind follows the eye.

The issue

This
Book
Attempts
An aesthetic
Interpretation
Of the I Ching
Based exclusively
On numerous visual ideas
Hidden for centuries within the 64 hexagrams

THE PLEASING PRETEXT

The I Ching contains sixty-four hexagrams (six-liners), related with sixty-four themes-situations of life, (“The friendly company,”“The marrying maiden,” “The inexperienced military commander,” etc.) described with short standardized texts. The reader arbitrarily chooses one of these sixty-four hexagrams, along with its related situation, to find out what the book advises him about some personal dilemma; that is, whatever the book says about the standard situation the reader picked by chance, is supposed to be also true for his own dilemma.
This chance pick of advice naturally characterized the I Ching as a book of divination. That’s how it was fixed in the consciousness of the multitude; that’s how especially all those fishing in the muddy waters of some profitable orientalism use it. Yet, the sophisticated reader of the I Ching quite soon realizes that the practice of divination (irrational and unbelievable anyway) is nothing more than a playful and witty pretext for something a lot more important: the artful guidance of the reader into a balanced world of quiet wisdom. This is the I Ching: a code of great philosophical value unfolding under the pretext of a charming game, employing sixty-four simple-looking situation-models of everyday life, which we use as prototypes for our own life each time we find ourselves in some similar situation.
The experienced user of the book realizes in time that he doesn’t have to toss his coins for an oracle when he is in need. Divination is redundant. Simply, every time he faces a dilemma he remembers some suitable excerpt of the book. For example, when an aggressive person challenges him, he recalls the oracle of the hexagram “The confrontation”: “You have good intentions but you face aggressive people. You’d better stop in the middle of the distance and seek advice by some respectable person instead of going on.”
In essence all the advice of this hexagram, “The confrontation,” through play and divination, unfold sound arguments advisory for someone who is challenged about locking himself into a dangerous confrontation. All the texts related to all sixty-four hexagrams of the book are as carefully philosophized.
Needless to say both the Old and New Testaments counsel the readers equally indirectly and discreetly. With or without the playful pretext of the oracle, the stories and the parables in the holy books are simple, easy, and enjoyable in reading, like fairy tales, but in essence they are archetypal guides of wise and moral behavior. The reader, who learns these pleasant short stories, knows what he has to do in every analogous situation in his life. Indeed the morality of the holy books is adamant and their wisdom classical, eternal, and ever useful to all. This counts most of all.

New aesthetic approach

Historically the I Ching is the Chinese Bible, a book of ancient knowledge and wisdom. Along with the ten wings of analytical commendations added during the scholarly Confucian period, it is a voluminous work. The present edition includes only the crest of the authentic I Ching: the sixty-four hexagrams and their oracles. This handy edition justifies its existence by attempting a new aesthetic approach based emphatically on numerous visual ideas (images) hidden in the hexagrams. For this reason a comment has been added in every hexagram in order to clarify its symbolic-poetic dynamism. It is an important key for the understanding and the enjoyment of the book, which clarifies at the same time that the ancient writers of the book served mainly this aesthetic-poetic approach.

Characteristic example:

Hexagram 27, “The mouth, food”

As it is well known this specific hexagram visually-aesthetically looks like an opened mouth. The two unbroken (yang) lines - one in the bottom, one at the top - represent the open lips. In between, the four broken lines (yin) with the successive gaps in the middle form the opening of the mouth. All ideas developed in the texts of this hexagram refer to a mouth and to food. There is a lot more than that, however, unseen for centuries. Food, to begin with, is understood either on a realistic level (real food) or on a transcendental level (spiritual food). The idea of transcendence is supported by the visual idea presented by the successive gaps in the middle, which also look like a straight road going uphill toward a top, both obvious and symbolic.

Given all of the above (the two unbroken lines up and down and the four broken lines in between), the entire hexagram is a precise symbolic image of the hard and precipitous road of learning:
A) The young student is the unbroken line (yang) at the foot of the hill, at the start of the climbing.
B) The old and wise teacher is the other unbroken line, up at the sixth place (on top of the hill and at the peak of his own life). He is the same aesthetically refined holy priest-writer of the I Ching. We read his advice in the sixty-four hexagrams. We see him up there in many hexagrams, and we listen to him talking in first person singular, addressing again and again his fellow human beings, calling them up, toward the transcendental level, which he symbolized in such an abstract way with six simple broken or unbroken lines.
C) The uphill road or path of learning is open between the student (down) and the teacher (up), with the four successive gaps exactly in the middle of the hexagram.

Multiple visual ideas
This hexagram, then, is rich with more than one visual idea, because it resembles both a mouth and a road uphill. Actually most hexagrams present many such crude images. The cruder a sign, the more ideas it can signify, gaining thus great poetic propensity.

The four successive gaps of the present hexagram form a perpendicular cut in the middle and so the shape of the entire hexagram also resembles the cat-like eye of the tiger. This idea is backed by a text of this hexagram, which blesses the reader who has “the eye of the tiger and the craving for knowledge and spiritual food.”
Yes, this is the legendary “eye of the tiger” we all talk about but this is the first time ever the reader comes to actually see it and catch on the full story of its true origin.
This edition addresses especially the readers who have the minimum necessary philosophical inclination and the spiritual refinement to feel delight and elation by the rare aesthetic function of the hexagrams, chiefly through the numerous hidden-yet-obvious images they present

Obvious yet hard to see

The previous example, “The mouth,” depicts this pretty obvious main visual idea on which both the name of the hexagram and all the texts related to it are based. That’s why all commentators of the I Ching never fail to underline this evident visual idea, along with a few more cases just as obvious (“The watch tower,” “The point of return”). Things are not as obvious and easy with most of the hexagrams, however. On the contrary, these numerous images that exist within the hexagrams are very crude, abstract and hard to discern. The texts, too, though indeed they always express faithfully those hidden visual ideas, are written in a very allegoric language that hide the initial visual idea behind imaginative poetic similes rather than reveal it. Indeed, the relationship between texts and secret images is not declared; it is hidden and tacit. This secret and expert employment of imagery, similes and symbols, is actually an advanced and quite charming poetic guessing game.

Visual and oral insinuation
The I Ching contains 384 lines (192 broken yin lines and 192 unbroken yang lines) built in sets of six into sixty-four hexagrams. For the unacquainted reader, both the hexagrams and the individual lines seem very simple, crude, and prosaic and on first glance they do not trigger the imagination; neither do they seem to contain any significant visual ideas. That’s true. At first they look indifferent if not stark and ugly or even repulsive. Yet, for the initiated eye, a whole world is alive in the sixty-four hexagrams, full of many extremely interesting secret images discovered one by one with pleasure. This is the secret charm of the I Ching. This is the charm of poetry, too: the discovery of pictures and meanings hidden within artfully abstract insinuations, pictorial or verbal.

The Chinese insinuation
The ancient writers of the book did not declare this most obvious relationship. They recorded it as an indirect hint with an artful allegoric description and under the pretext of issuing some divination.

The experienced reader must be amazed to see so many hidden crude images in the I Ching he knew well and thought it had no surprises in store for him, but surely understands plainly and beyond any doubt that a text following a given hexagram is no more no less than an accurate reference to a visual idea hidden within this hexagram: a bird, a tree, a house. Indeed, it is not the hexagram that accompanies some text, as most people would have it, but it is always the text that expresses directly some specific secret image within some hexagram.

The reader’s mystification

Having in mind all these new clarifications, we may now understand better the confusion of the readers, especially the modern western readers, who ignored all these secret relationships and nobody ever explained anything to them.

In fact, the readers:

This is true for all texts of all sixty-four hexagrams. There is not a single text of the I Ching that does not refer to some secret picture within some hexagram. Nothing stands on the air. These countless pictures, birds, trees, houses, are so crude that the vast majority of them passed unnoticed for centuries. Yet, they are plain to see with naked eye once a reader knows what to look for. The presence and the form of these images are backed powerfully by the texts themselves, which all speak of them in detail with precision and clarity.

Triple analogy of text, hexagram and reality

The 448 texts of the I Ching engage a massive number of verbal poetic pictures (bird nests on fire, big uneaten apples, carriages overturned, thunder, mountain lakes), which for the unsuspicious minds look like they come out of nowhere. That’s why many sober western readers tend to consider them as irrelevant, metaphysical and exotic, because they think of them as divinations and not as similes. Even Carl Jung, who adored the I Ching, said that the book relies on “some particular oriental logic, completely different from the western deterministic rationality.”
Yet, with unfailing precision, every verbal picture (imagery) in the original text expresses a visual picture (image) existing secretly in the related hexagram. All texts of the book express exclusively these visual ideas within the sixty-four hexagrams, which are related to specific situations of simple, everyday reality, which refer to actual historical facts. In other words, the texts, the hexagrams and reality are true, austere, and accurate analogies of each other; and the I Ching as a whole is a rich poetic system symbolizing reality, with nothing at all obscure, mysterious, oriental; just pure poetic elation and precise philosophical essence.

The enigmatic I Ching

Indeed, for a cultured person well acquainted with poetic imagery, this practice of faithful yet insinuating and enigmatic rendering of some hidden realistic ideas and actual images, is very attractive and not in the least strange. Verbal riddles are in common use and widely spread all over the world. They were very popular especially in ancient Greece, since the time of Oedipus and the Sphinx. The Greeks used the term “enigma” for a riddle.
As a characteristic example, we will use the well-known riddle the Sphinx put to Oedipus:

What is the creature who
Walks on all four in the morning
Walks on two legs at noon
Walks on three legs in the evening?

These riddles in the original are told in rhyme and measure and so they do not lack some poetic craftsmanship and beauty. As far as their meaning is concerned, they are not arbitrary at all, either. It is well known that Oedipus killed the Sphinx after he had found the answer to that riddle, which is “a human being.” A man walks on all four when he is an infant (in the morning), he walks on his two legs when he is mature (at noon), and walks on three legs in his late age (in the evening), when he uses a walking stick. It is plain that riddles actually outline a secret image, picture or situation, while also hiding it artfully behind imaginative allegoric similes.
Certainly the I Ching is doing something similar. The texts of the I Ching in the original are also told in rhyme and measure; they render a hidden image with unerring accuracy. They also hide it carefully behind imaginative similes.

“A princess, daughter of an emperor,
Is getting married to governor Wen
Her clothes have poorer embroidery
Than the clothes of his servant”

The answer: The hexagram looks like an erect human figure and indeed like a woman,
because the four lower lines remind us of a dress or an apron.
The solitary gap in the third line denotes poor embroidery on the apron and poor clothes.

It is very hard to guess it, indeed, especially when you don’t know that this is a visual riddle to be solved, when you believe that you read some exotic magical divination on a certain personal dilemma of yours.
For those acquainted with historical facts, things were even more complex. Governor Wen (one of the legendary creators of the I Ching) was really very rich and his wife was actually poorer than him, though she was a princess, daughter of the emperor Yi. As a rule the divinations of the I Ching recount historical facts. Of course the I Ching does not owe its charm to some historical fidelity. The charm and worth of high poetry is derived mainly from some mature philosophy emanating between the lines, beyond and often contrary to the main and obvious use and aim of the poems.

..........

THE EVOLUTION

OF THE SYMBOLS

The I Ching started in ancient China not as highly philosophized poetry (this evolved in time) but as a system predicting the future with positive and negative answers to the usual questions of people, whether the omens were favorable or unfavorable for the outcome of some enterprise (a marriage, a trip, etc.) At first there were two simple chances: one broken line (- -) being the negative answer (NO), and one unbroken line (----) being the positive answer (YES). The broken line was called yin, and, as the dark semi-cycle of the Tai Tsi ([), symbolized darkness, woman, acceptance, earth, night, moon, etc. The unbroken line was called yang and, as the light semi-cycle of the Tai Tsi, symbolized light, man, energy, heaven, day, sun, etc.

The color and the name

If the reader has difficulties seeing an unbroken black line as “light,” let him think that this line could be drawn with a white chalk on a blackboard. Let him also think that besides black lines on white paper, they could be light cracks appearing on the shell of a holy turtle or on some holy bones when the priests heated them.
We must also note here that the name of the unbroken line (yang) literally means “light” and the name of the broken line (yin) literally means “darkness.” So, initially they must have been drawn light-colored on dark surfaces (on holy items, copper or bronze, on stones, wood, bones etc.) Then the yin line with the dark gap in the middle indeed looked darker and the yang line was indeed lighter. In other words, these names initially must have correlated to relevant colors (dark for yin and light for yang, as the colors of the two semi-cycles of the Tai Tsi [). The names stayed when the lines were drawn black on white surfaces, especially after the general use of paper. In any case, whatever the color, the one line (yang) was always unbroken and the other (yin) was always broken. This distinguished the two and gave to each one a character with steady characteristics (broken-unbroken) and related properties (male-female, heaven-earth, etc.)
Summing up all of the above, we can say that, despite the color, every line symbolizes certain separate and opposite properties, whatever the origin, derivation or history of every property and every name.

The four digrams

As was natural (especially for the Chinese, a people with a strong inclination to improve things steadily), in time these two symbols were combined to create more complex symbols, to provide more sophisticated answers to more intricate questions. The combination of the two lines in pairs yielded four digrams (two-liners):

2 X 2 = 4

In the interpretation of these four digrams, besides the nature of each line (broken or unbroken), of great significance was the position of each line (up or down) and the spatial relationship between the two lines.
For example, the two male unbroken lines were a very positive omen, something like sixes cast by two dice, interpreted as very favorable for action. On the contrary, the two broken lines (with the two gaps and the double hole in the middle) visually referred to female and were favorable to acceptance and patience. Then, the digram with the unbroken line up and the broken line down visually represented a carriage (with the two smaller lines underneath resembling two wheels), so they referred to a trip. On the contrary, the digram with the unbroken line down and the broken line up gave the visual impression of a carriage upturned (with the two wheels up), so it referred to some accident and in general problems in some trip.

The 8 trigrams

The trigram (three-liner) was the natural evolution of the digram when one more line of the original two was combined with each of the four digrams. All the possible combinations yielded eight trigrams, giving more analytic and full answers, always artfully insinuating, of course, and poetically ambiguous.
Traditionally the sequence of the eight trigrams follows couples of opposites, with one trigram opposite the other in the arrangement of the lines and the property it signified.

2 X 4 = 8

Pictures-ideas-symbols of the trigrams

Each trigram is interpreted as a whole and as particular lines. In the interpretation and the symbolic evaluation of these eight trigrams, the nature of each line (broken or unbroken) played a great role, as well as the place of each line (up, middle or down) and their respective spatial relationships.
The visual ideas presented by each trigram however, provide the foundation for their interpretation. As always some picture (visual, audio, oral) gives the essential stand to any verbal, rational expansion of it. Everything first is what its picture presents and then symbolizes and signifies something else.

Oral and pictorial imagery, similes and symbols

The three unbroken (yang) lines present the most solid picture. They suggest the idea of firmness, fullness, and power. They symbolize energy, light, fullness, a dragon (heavenly spirit), heaven.

Visually, each line reminds us of a strong horizontal beam, a sturdy axis of a carriage, a belt. The three unbroken horizontal lines remind us of parallel plough lines and consequently a (ploughed) field or a plain. They also resemble successive waves and so a sea, a lake, a river. Of course these successive lines reminded the Chinese of the underbelly of an erect serpent or a dragon.

2. Earth
The three broken (yin) lines present a picture cut to pieces, but also suggest order with the resulting six smaller lines arranged in a perfect rectangle, suggesting the idea of orderly multiplicity. The three gaps in the middle suggest femininity and relevant properties such as acceptance, forbearance, patience.

Visually, these consecutive gaps in the middle look like an open road; like a mountainous (vertical) open pass; like a wall (fortification) with its middle part crumbled down. The six smaller lines are a mass representing a school of fish in formation and other well known similar masses with analogous symmetrical arrangement: a military unit in parade, geese flying in the sky, etc.

3. Water
An unbroken line in the middle and two broken lines of earth up and down suggest the idea of a riverbank or a cavity in the earth (yin = earth) filled with water, as a trench or a well.

Visually, the two broken yin lines up and down enclosing the unbroken yang line in the middle resemble a double-loop-holed wall made of bricks or clay (yin = earth = clay) around a village or a barricaded military camp. The trigram also looks like a rectangular table with four figures seated around it. In a smaller scale it suggests a hollow clay vessel, a jar, or a plate filled with some content (yang = full).
The trigram symbolizes a cavity (mostly in the earth) full of water, the abyss, a well, a bank, fluidity, water.

4. Fire
Symbolically a dark (yin) line in the middle and two light (yang) lines outside suggest the idea of a fire burning outside a piece of wood.

Visually, the single white gap in the middle looks like the bright sun flaring in the sky, the moon, or a big star. The trigram resembles a ground plan of a building, with the gap or hole in the middle as the hollow room and the two steady lines externally being the solid walls. The same ideas fit the picture of a round bird’s nest.
The trigram symbolizes fire, the clinging of fire to wood, light, the sun.

One broken line on top and two solid lines below present a picture of stability in the lower part and playfulness up, on the surface, as a mass of water with playful waves on top.
Visually, the only gap on top looks like it’s dividing the upper line in two smaller ones, facing each other. This arrangement looks like a meeting of two beings, light and happy, because it happens on two (positive and bright) yang lines and because this gap looks like a channel in a mass of water, as in a lake pouring the water out.
The trigram symbolizes lightheartedness, joy, diffusion, outwardness, conversation, sociability, the lake.

6. Wind, wood
A broken line at the bottom topped by two unbroken lines suggests the idea of a strip of earth beneath (yin), open skies (double yang - heaven) above, and a lot of air.

Visually, it looks like a big tree, with the only (white) gap below in the middle as a light-colored but sturdy tree trunk (or like stout roots going down into the gap - hole of earth - yin). Above (up in the air - wind) the foliage is outlined with the two dark-colored yang lines, whispering in the wind.
The only gap open underneath, also resembling a bed, suggests the idea of retreat and weakness, softness, or gentleness.
The trigram symbolizes gentleness, softness, tree, wood, retreat, breath, the wind.

An unbroken solid line down and two broken above produce four smaller, upper lines presenting as a whole an impression of great upward mobility.
Visually, the two gaps in the middle form an opening toward the sky, like a hollow vessel (a cup or a chalice) open to heaven as if ready to receive food from above. The white color of the gaps in the middle suggests bright flames coming out of a hollow vessel going upward. All of this suggests a sacred vessel used in holy ceremonies. The trigram symbolizes the rising, the erection, the up-going movement (e.g., of flames or lightning), thunder.

8. Mountain
Double earth down (two yin lines one on the other) suggests the idea of earth accumulated, thus, a mountain with a strip of heaven (yang line) on top.

Visually, two broken lines down and one unbroken up look like a house (the solid yang line atop being the roof and the double, light-colored gaps as the door) or like a table (with two legs right and left and one flat top) or like a plateau - a flat-topped mountain.
The well-known allegoric road formed by the successive gaps in the middle here seems to be closed with the one solid (yang) line above, blocking it. So, we have immobility and stagnation.
The trigram symbolizes immobility, stillness, stability, the mountain.

The 64 hexagrams

The hexagram was the last stage in the evolution of the I Ching, when somebody combined the two trigrams together. All possible combinations of the eight trigrams resulted in sixty-four hexagrams:

Pictures, ideas and symbols of the hexagrams

With the sixty-four hexagrams, it is more obvious that pure poetry and philosophy exceeded divination and in time conquered the I Ching. In essence the hexagrams are two trigrams put together. So the eight elements related to the trigrams (heaven, earth, water, fire, lake, wind, thunder, mountain) as a rule are taken into consideration for the interpretation of the hexagrams, as well as their related properties (the immobility of the mountain, the clinging of the fire, etc.). At the same time, of course, every hexagram consists of six individual lines yin or yang which count analytically as well for the final interpretation. Yet, the visual ideas existing within the hexagrams play the most important role, reminding one of a road, a human body, or a ground plan of a building, as we analyze further below.

1. The way

TAO in essence means energy but literally means “a road” or “way” implying “an evolutionary course towards an end,” as the changing life of a person, the course of a day or of the whole world. As we have already mentioned, aesthetically (visually) the whole hexagram looks like a vertical road from the foot of a hill (1) to its top (6). This is more obvious in hexagrams with many broken lines producing several successive gaps in the middle, forming this uphill road.
When a light unbroken line (yang) exists on the top (6), then the road looks as if leading up to heaven (yang = heaven) to some sacred temple (where a priest surely abides), thus leading to some higher knowledge or food, and so the hexagram is considered very positive.
The precipitous way to heaven

2. Human body
Often the hexagram resembles a human body, in which (consequently to the spatial analogy) the legs are down, formed by the lines 1, 2, and/or 3, and the head is up. Often the analytic divinations of the individual lines refer to some progressing action happening successively in a very characteristic way from down upward. This is apparent in the hexagram “Reaction,” in which the toes react in line 1, the legs react in line 2, the calves react in line 3, and the head reacts in lines 5 and 6.
Examples of hexagrams depicting human bodies

56 “The traveler.” The hexagram resembles a human body with legs apart as if walking, holding something in his hand - his luggage.

36 “The fall.” The former hexagram (56) is presented here upside down (head down, legs up) appropriately symbolizing “the fall” (e.g. from heaven).
57“The wind.” The hexagram resembling a human figure wearing a long robe is mentioned as a “priest.”
21 “The convict.” The unbroken horizontal lines (yang) in positions 1, 4, 6 are mentioned as “chains,” hence “a convict.”

3. The gaps

The gaps in the middle of the broken lines are visual light holes in the massive body of the dark lines. Sometimes they look like openings, like a room in a house, or like gaps made by an ax on a stout piece of wood or like wounds in the human body. These light gaps other times look like the sun up in the sky, like an open door or an open channel between two lakes, depending always on the other ideas central to each hexagram. If the main idea of the hexagram is positive a gap may denote “light” or something else equally positive. If the central idea of the hexagram is negative, then a gap may denote a prison cell or a pitfall or some other such hazard.
Example of gaps in a solid body

In hexagram 63 “Completion” there are three alternating gaps (2, 4, 6). The divination of every line of these attributes a particular simile to the respective gap:
63.2 The divination of line 2 mentions “a door of a carriage without a curtain.” Sure enough, lines 1, 2, 3 form this carriage in profile.
63.4 The divination of line 4 mentions “a hole in the bottom of a boat.” Lines 3, 4, 5 form this boat in a ground view.
63.6 The divination of line 6 mentions “a head in the water.” Line 6 represents here the surface of a lake or a pond, formed by the entire hexagram.

4. The smaller lines
In the hexagrams with many gaps, the resulting many smaller lines play a great interpreting role. Sometimes they are interpreted simply as thorns or nails, sometimes as a mass of people - relatives or friends - around a rectangular table or as a forest with many trees.
It is easily understood that since the multitudes of these lines are arranged symmetrically, they are usually interpreted as real and well-known crowds that are arranged with similar symmetry. So, these smaller lines at one instance are interpreted as an army with a young and inexperienced officer at its head or like a school of fish, which also is resembled poetically as a group of ladies going eagerly to the quarters of the master and to his bed.
At all times, however, whenever in the hexagram discussed there is such a multitude of smaller lines, the assorted divining text provides a simile of some such real crowd, (an army, relatives, a friendly company or a band of hostile enemies, etc.), in tune always with the main idea of the hexagram.
Examples of hexagrams related to masses and multitudes

7 “The army.” The hexagram depicts a military unit in formation. The divining text speaks of an army. The lower trigram (1, 2, 3) is also mentioned as a barricaded military camp with two loop-holed yin lines (1, 3) enclosing a full yang line (at 2).
8 “Friendly Company.” The upper trigram (4, 5, 6) resembles a rectangular table with four figures seated around it. The lower six smaller lines (formed by the broken lines 1, 2, 3 X 2 = 6) are mentioned as “delayed friends coming hurriedly to join the feast.”
16 “Enthusiasm.” The whole hexagram resembles a double comb (clasp) holding the hair. The many small lines looking like the “teeth” of the comb. The text of this particular fourth line, speaks of such a comb.
23 “Return.” The whole hexagram resembles a school of fish in formation moving toward the net - the straight line at 6. Indeed, a text of this hexagram mentions such a school of fish, also resembling poetically this multitude of smaller lines with a group of ladies (a harem) going eagerly and in formation to the room (and the bed) of the lucky master.

5. Cut and ground plan

Quite often the hexagrams resemble a cut plan of an object (of a jar or a bamboo cane, for example) or a ground plan of successive irrigating dams or some building - a house, a jail, etc.
In cases such as these, the gaps resemble the hollow rooms, and the solid lines resemble the solid walls that enclose them. It is easily understood that a double opening (two gaps in a row) designates a big room, so it is a public building (a jail, for example) or a great and rich house. The two unbroken lines around it could denote a tall wall surrounding the rich house.

Quite often the hexagram resembles a well, a lake, or a river. Then the earthen banks are designated with the broken lines (yin = earth), as are the banks of a real lake, the earthen walls of a real well, and the banks and bed of a river. The water then is symbolized with the solid and horizontal yang lines. It is the symbolic light or fullness symbolized by the (heavenly and solid) yang line. It is the symbolic light in the darkness or the clear water in the dark earth.
It is easily understood that if these heavenly and full yang lines (alias “the water”) are few or low in the hexagram, this is interpreted as lack of water, general loss, and a bad omen. On the contrary, when the water is high and in abundance, things are more auspicious.

7. Abstraction

Sometimes the hexagram does not resemble any specific real object (plate, pot, mouth, animal’s pelt). Then it represents something more abstract, an idea, a situation, depending on the aesthetic balance or the general relationships between the lines. Then the majority of the strong or weak lines and their respective position (in the middle, up, or down) play the most important part.
For example, in the hexagram “Innermost truth,” there is symmetry and a general majority of strong lines (4 to 2) and in the center of the hexagram there is a double gap like a big hollow in the heart of the hexagram. This does not represent any specific object or room; it is a symbolic inner space, an idealistic void, where the inner truth abides. It may be something you cannot actually see, but it is something every-body knows directly “even the ignorant pigs and the fish.”

An idealistic hollow
depicted by two successive gaps
in the middle of the hexagram.

Beyond all these considerations, however, most hexagrams are interpreted visually (in part or as a whole) because they actually look like something real and specific, which serves as a central theme for their interpretation.

34 “Growing power” – resembling (and it is mentioned as) the head of a goat with two straight horns up
51 “Thunder” - resembling (and it is mentioned as) a two-story building without roof (struck by lightning)
26 “Great mild power” – resembling (and it is mentioned as) the head of a bull with a horizontal piece of wood stuck on his horns (to make him harmless)
20 “Watch Tower” - also resembling (and it is mentioned as) a window with half-open curtains

In time many more pertinent ideas have accumulated on these basic images contributing to the interpretation of the hexagrams: the idea of a family, the six lines of the hexagram standing for each of the family member (6 = father, 5 = mother, 4 = eldest son, etc.), or standing for a social hierarchy of offices (king, prince, priest, etc.). Likewise the eight trigrams symbolize the directions of the cardinal orientation (E, W, N, S, NE, NW, SE, SW). The most important interpreting part, however, is played by the multitude of visual ideas existing in each hexagram combined in all the more complex structures.

Analytic example

Both these ideas (“mountain” down and “sun” above) combined produce the more complex idea of the sun setting over a mountain, resulting in darkness. Indeed the lower trigram looks like a plateau, and the upper trigram “Fire” looks like a “sun in the sky,” as we have seen in the chapter “Ideas and pictures of the trigrams.”

Because the lower trigram also looks like a house, the interpretation of the hexagram includes the complementary idea of an inn, where naturally the lone traveler found lodging when darkness fell after the sunset.

Because the lower trigram (1, 2, 3) is a house (in this hexagram an inn) and the upper trigram (4, 5, 6) is “fire,” the hexagram is also interpreted as a building (1, 2, 3) on fire, the flames shooting upward above its roof.

Because the upper trigram (4, 5, 6) also resembles a bird’s nest and the lower (1, 2, 3) a house, these ideas combined result in a large bird’s nest (a stork’s nest?) on a burning roof.

Because the four upper lines (3, 4, 5, 6) resemble the iron part of an ax, and the lower two (1, 2) a house without a roof (a ruin), the traveler expelled from the inn finds a crude abode (1, 2). He also has an ax in hand for his safety.

The specific story
All these visual ideas combined result a specific story with narrative coherence (from 1 to 6) and definite rationale, connected to some similar historical incidents, proverbs, etc. The story, based exclusively on some visual ideas of the hexagram, concentrates and propagates precise knowledge and wisdom.
“The lone traveler delayed in his trip unreasonably and unwisely, is caught by darkness in foreign, dangerous, and inhospitable places. He must be polite and obliging to be served by the employees of the inn. But something unfortunate happens (fire breaks out or the traveler forgets his obliging manners and flares up furious against the employee), and all turn against him because he is a stranger and accuse him as responsible and answerable for the fire.
Expelled from the inn, he finds himself alone on the road by night with all his belongings in his hands, an ax for his safety, and a heavy heart. He finds a crude abode. But he is not safe and sound, open as he is to all kinds of prospects. Now he must be very careful. If he is ill-mannered, incompetent, or unfortunate, this will probably be the end of him.”

The specific advice
Out of all this some specific advice of moral stance is extracted, expressed as six separate verbal-over-picture situations, usually told in rhyme in the original:
1. “If the lone traveler spends his time in trivialities and delays his trip, night will fall upon his way.”
2. “The lone traveler arrives at an inn. He has all his belongings. An employee will serve him eagerly if the traveler is polite and obliging.”
3. “The inn catches fire. The employee openly accuses the traveler.”
4. “The traveler settles in a crude abode. In his hands he has all his belongings and an ax and a heavy heart.”
5. “He kills a bird with the first shot. He earns favorable comments by all and a place among them.”
6. “The bird’s nest is on fire. The traveler laughs. Then he cries. He lost his composure. Surely he will have to pay for it.”
At this point, it must be stated once more that the majority of the hexagrams refer to real life incidents, to actual historical or mythological facts. According to Kerson Huang, (see bibliography), this particular hexagram reverberates the story of prince Hai, a legendary ancestor of the Sang tribe.
Another fact must also be underlined, that the reader does not receive this story as a whole. He reads only the texts of the individual lines he will draw at random, and he may draw anything from none or one up to six. The reader does not have a whole story to start with. He makes up his own story putting together whatever fragments he will draw by chance. This fragmentary reading contributes greatly to the poetic flexibility and propensity of the I Ching. It also multiplies its mystery and the confusion of the readers.

..........

I CHING
A complex yet definite system of symbolism

All of the above ideas and facts enriched largely the interpretation of the hexagrams and the interpreting capability of the I Ching. Eventually it developed into a sophisticated system of symbolism, very intricate yet very definite. It had a certain structure and principles, though it contained a huge variety of symbols.

The diverse symbols

The I Ching is a poetic ark full of lively poetic pictures expressed verbally by its texts. Wells, lakes, thunder, geese in the sky, marching armies, carriages upturned, convicts in chains up to their necks, stray horses, lean pigs, brainless stubborn goats, bulls with covered horns, melons falling from heaven, fish in the bucket. All these verbal pictures spring out of the hexagrams, which ceaselessly hatch visual ideas with multiple interpretations. A line of a hexagram may be a barrier on the road; with a second line it may be an upturned carriage; with a third one it becomes the moon in the dark sky. The three parallel yang lines could be a field, a dragon, and heaven in one and the same hexagram.

The definite system

Yet, all this multiplicity in the interpretation of the lines and the continuous alteration of images and concepts do not change at all the steady pattern of the hexagram, which always starts at the bottom (1) and always ends up on the top (6), invariably following six steady steps.
Because the hexagram is essentially composed of two trigrams (1, 2, 3) and (4, 5, 6), the situation developed as a certain story in each hexagram by the six lines of change is usually completed as a mini theatrical drama in two semi-autonomous acts: Act A: 1, 2, 3 and Act B: 4, 5, 6.
This means that because each line has a specific spatial position in each trigram and the whole hexagram, it also has a specific position in the sequence of the drama, having also a definite significance and playing a standard role in the interpretation of each hexagram.

As a suitable example we will use “Heaven,” the first of the sixty-four hexagrams. This hexagram has six identical unbroken (yang) lines, yet to each line a different meaning is attributed, signified by its position obviously and not by its nature (since all lines are alike - yang).

The lines analytically

Line one (1), is the first line of all hexagrams, so as a rule it denotes the start of the action. That’s why the divinations related to the first line (of change) usually refer to a start or to a return, to the commencement of some enterprise, to some youth, or to some inexperienced person. The first line is the prelude of the hexagram.
The divination of the first line of hexagram 1, “Heaven,” which we took as suitable example, is:

This divination refers to an “empty field” because the lower trigram (1, 2, 3), (as the whole hexagram) visually resembles an empty field with the yang lines as parallel plough lines of an actual field, empty too. The idea of the empty field combined with the fact that we are at the beginning of the hexagram, here at the first line, make it clear that the time is premature, and so it is defined as “not ripe for action.” That’s also why “the dragon is hidden.”

Line two (2), generally signifies the climax of some action in the first trigram with relevant significance for the whole hexagram. More than that, the fact that this second place lies honorably and snugly between two lines (1, 3), as if escorted and protected by devoted bodyguards, makes the second line very important, and usually it is connected to strong and positive divinations.
Sure enough, in the same example, of the hexagram “Heaven,” the divination of the second line actually is:

2) “A bright dragon appears openly in the field. Good omen to meet an important person.”

In other words, here in the second line we have the climax of some action, because the dragon (who was hidden in the first line), here (in the second line) “appears openly in the field” and this is hailed explicitly as a “good omen.”

Line three (3), usually concludes the first trigram and generally refers to some temporary completion of an action that started at line one. Because it is one position under the middle of the whole hexagram, it often refers to something hidden, usually deep in the ground or in a lake, depending on the rest of the ideas present in each hexagram.
In the same example, of the hexagram “Heaven,” the divination of the third line is:

3) “A dragon assists the wise man. He works untiringly day and night and solves properly all problems.”

In other words, the action here (in the third line) is completed appropriately because the wise man works at full speed and solves all problems. As we said, with the first three lines the action is temporarily completed in a semi-autonomous first act.

Line four (4), is considered quite critical since it is the beginning of a second and last stage, which finally concludes the hexagram. It is a position above the middle of the whole hexagram, so it denotes something coming to the light, appearing to the surface, or ascending to heaven.
In the same example, of hexagram “Heaven,” the divination of the fourth line is:

4) “A flying dragon in the field unfolds his wings to take off. He is strong, so he will finally make it.”

Here, in line four, we enter the second trigram (4, 5, 6), which in the example we took, is identical with the first trigram (1, 2, 3) because both trigrams are made of three solid yang lines. Yet the second trigram is interpreted not as a field any longer but as heaven.
It is pretty obvious that, because the first trigram is down, it is interpreted as a “field,” and because the second identical trigram is up, it is mentioned as “heaven.” Indeed with the divination of the fourth line, a hesitant transition from the field “down” to heaven “up” is attempted, because it is stated clearly that the dragon “unfolds his wings to take off (in the sky or heaven).”

Line five (5): is high on the forehead of the hexagram in the advantageous fifth position between lines 4 and 6. It is therefore considered the most important position and line of the six, usually with strong and positive predictions. It usually culminates the action of the whole hexagram as it is taught today at the schools of script writing and creative writing that the action reaches a climax at about the seventy five percent of the whole story.
In the same example, the hexagram “Heaven,” the divination of the fifth line is:

5) “Flying dragon high in the sky. Good omen to meet someone you respect.”

In other words, here we have the final climax of the story, of the action, and of the drama, because the flying dragon flies “high in the sky.” In the first line the dragon was hidden, in the second he appeared in the field, in the third he helped in the solution of every problem, in the fourth he unfolded his wings to fly, and in the fifth we see him flying high in the sky. This is a very characteristic culmination of the action from lines 1 to 5.
Line six (6): as the last line of the hexagram naturally is very important, too. It is the finale of the story and the hexagram. The oracles attached to it usually refer to a leader, to a temple, to an old priest or to heaven.
In the same example, the hexagram “Heaven,” the divination of the sixth line is:

6) “Arrogant flying dragon very high in the sky. If he goes beyond the proper limits, he will have grounds to repent.”

The hexagram already reached its finale and its end is announced after the violation of the proper limit, which of course is symbolized by the sixth and last line of the hexagram, concluding its life span and usually announcing the beginning of a new one.
It is understood that change is continuous, so after the sixth line a new one appears underneath renewing the cycle of life and reality. The first line usually is referred to as “seventh,” meaning the first line after the sixth, so 6 + 1 = 7: a complete cycle of six lines plus a new one.

A last aesthetic note: All of the above six lines refer to some dragon, because these six unbroken yang lines strongly resemble the underbelly of a serpent. The Chinese indeed symbolized the dragon as a big flying lizard (a serpent). Truly there is nothing in the text if first there is not some relative visual idea in the related hexagram.

The Dragon

..........

THE USE OF THE I CHING

In the present edition, as the tradition usually is, each hexagram is given along with certain standardized texts: The oracle, the six lines of change, and the aesthetic comment. The first two give some divination and the third simply explains it. Namely, the oracle provides the main theme of the divination (for example, “ The well,” “The army,” “Peace,” “Stability”) and the individual lines enrich the central meaning, expressing also its future potential development.
The reader consults the book for advice whenever a definite dilemma is disturbing him. He picks at random one hexagram of the sixty-four, along with its assorted texts referring to a certain situation. He reads these texts (oracle, aesthetic comment, and the lines of change befallen to him), having in mind that whatever the book says about a standard situation, he takes it as true for his dilemma, too. In other words he tries to match in his mind this standard situation of the I Ching with his own personal predicament.

The magic of matching

According to the personal experience of countless users of the I Ching through many centuries, it is well known that for all good-intentioned people this matching works faultlessly and the advice is always suitable and correct.
But what’s really going on? How is it ever possible to match a chance personal dilemma with a hexagram of the sixty-four you also picked at random? It seems to be either true magic, as countless scoundrels have tried to pass it for centuries, or, somehow, any hexagram can match with any personal dilemma of anybody. These are the two most obvious alternatives and the most frequently suggested.
Of course the alternative of magic is irrational and it is out of the question and we need not say anything more about it. So, we have to consider that, because any hexagram we may draw matches with a chance personal dilemma of ours, then all hexagrams can match with any of our dilemmas.
No matter how strange it sounds, this is exactly the case. This matching is explained neither with metaphysics, nor with psychology or parapsychology. It is explained perfectly with aesthetics. In fact it is well known that human imagination can use infinite ideas to match two given premises. So, if we insist and we are imaginative enough, eventually we will match even the most mismatching and irrelevant themes. Of course the case is a lot easier with the I Ching. Here the two premises we are called to match are already very poetic, which simply means that they are ambiguous and thus open to many interpretations, being at the same time very rich with vivid details. This is true both for all the sixty-four situations-themes suggested with the hexagrams and for any dilemma of ours, which by being a dilemma it is open to more than one prospects.
To start with, the sixty-four hexagrams of the I Ching surely deliver some themes rich in detail. The I Ching is admired for its poetic diction. They are ambiguous, too, because they are given fragmentarily and isolated from anything else. For example, we may pick, fragmentary, as they are, any of the following texts:
“There is no fish in the bucket.”
“Someone sits with a heavy heart under a bare tree.”
“The goat butts at the fence and his horns are entangled in the wires.”
Such fragmentary images, which do not belong to any specified wider whole, are incomplete in themselves, and so they acquire a strong tendency to be interpreted, also acquiring a great poetic propensity. They literally match everywhere because they are ready to match anywhere.
On the other hand, any problematic situation of ours is dilemmatic by definition, and so it is ambiguous, too, and open to multiple alternatives and interpretations. If it were not dilemmatic and ambiguous, it would not bother us in the first place. Of course the more we think about it, the more details we knit with it.
We eventually understand how easy it is for a sensitive imagination to match in any way two very rich and flexible premises as a personal dilemma and one poetic situation of the I Ching. This is not magic; it is a plain poetic act of interrelating two otherwise unrelated premises.
It is helpful to take into consideration here, that especially the language of divination has always been ambiguous, vague, and indefinite in order to match many alternatives, even contradicting, so that the predicting diviner may avoid probable awkward refutes. The I Ching, the most advanced system of divination of all times worldwide, naturally is very ambiguous, too, but in a very refined and rich way. It is written entirely in such a poetically ambiguous way that the reader himself matches his own problematic case with one of the sixty-four hexagrams, he himself works out the proper interpretations, and he alone draws his conclusions, always according to his own personal aptitude and inner worth.

Divination and wisdom
Yet, the true value of the I Ching is not divination. The I Ching openly pretends to be a predictor but secretly holds for itself the role of the wise counselor. The I Ching always counsels correctly because as a rule it counsels eternal values: love, friendship, integrity, patience, perseverance, respect. It usually issues divinations under specific conditions, so they are correct anyway: “If you respect your friends, you walk between them.” With unfailing accuracy the honest and hard working are compensated, while the misfortunes ensue on the dishonest. The “virtuous man” is the unquestionable protagonist of the I Ching. Even more, behind the respect for all ethical order, there is true esteem for reality and natural order. It is true. Respect of realism and nature comprise the highest philosophy.
The precious philosophic secret of the I Ching is that its sixty-four situations have an ethically-philosophically higher conclusion. Thus, the identification of a personal dilemmatic case of ours with one of the sixty-four hexagrams of the I Ching permits our problematic case to be solved in the best way. Actually it is rather simple. Our case is dilemmatic in the first place, which means that it is lacking a proper conclusion. But, when we identify it with any standard situation of the sixty-four, it automatically acquires the best conclusion it could have. Faith saves this way, too. We identify one of our own problems with one situation of the sixty-four existing in the I Ching, so that our case may be eulogized and blessed. It is no mystery. This is a marvel performed secretly by all high art. We identify our selves with Jean Valjean in Victor Hugo’s Les Miserables in order to be uplifted in the end with his final moral triumph over narrow-minded, bitter-hearted inspector Javiert. All works of high art have excellent ethical conclusions. “Give me a proper good ending to some big dilemma, to give you a superb story,” as any good writer might say.

..........

New and old lines

Before we describe the ways of picking by chance a hexagram, we would like to remind the reader that a line might be new or old. Of course the lines are only two - yin and yang - yet each line (as each hexagram) represents something else, a realistic situation. So, this situation may either be new, vigorous, and lasting for a while, or it may be old and weak and soon to change into its opposite.
The I Ching is based on the fundamental idea of changing opposites. All situations eventually grow old and change into their opposites, yin situations into yang and vice versa.

Marking of lines
We are also reminded of the ways these old and new lines are marked:
1. New yin line: (- -), simply called “yin.”
2. New yang line: (---), simply called “yang.”
3. Old yin line: (- X -), also called “yin line of change.”
4. Old yang line: (- 0 -), also called “yang line of change.”
Using the new and old yin and yang lines, the I Ching acquired the ability to predict the future in depth, advising both on situations that will last long and on situations that soon will lose their dynamism and will turn into something else.

The easiest way to choose a hexagram at random is by a pyramid die with yin and yang lines inscribed on it. The die has four sides with one line inscribed on each side, either yin (new or old) or yang (new or old), total four.

In practice
This analytic description of the procedure may seem a bit complex; when put to practice, however; picking a hexagram by chance is an easy task. Quite simply we toss the pyramid die six times, and every time we trace with a pencil on a piece of paper, one by one, the six lines that will occur, forming finally one hexagram, always from down up. Then we go to the page with all the sixty-four hexagrams and we find the serial number of this particular one. Then we go to the pages with the analytic oracles in order and read the assorted texts of this hexagram (oracle, comment, and the lines of change, if any). The procedure is very simple.

An example (With only new lines)

Suppose that we toss the pyramid die six times and we get successively three new yin lines and three new yang lines. On a piece of paper we trace (from down up) the lines in the sequence they occurred, forming a hexagram:

6.    ----     (New) yang
5.    ----     (New) yang
4.    ----     (New) yang
3.    -   -      (New) yin
2.    -   -      (New) yin
1.    -   -      (New) yin

It is easily understood that because all the lines turned out new, the total situation related to the whole hexagram is also new and vigorous. It will last for a long time, and it is not going to change soon into its opposite. So, we read only the advisory texts (“Oracle,” “Comment”) of only this hexagram. We go to the page with the sixty-four hexagrams and find this one (incidentally, it is the hexagram 12, “Opposition”).
Then we go to the page with the analytic texts of this hexagram and read them.

An example
(With one old line)
We notice that in the hexagram we took as the first and easy example none of the six lines was old (yin or yang); that is, no line was a line of change. If, however, we had drawn one or more old lines, things would have been a bit different. When we draw even one old line, we have to depict a second hexagram because the old line changes into its opposite resulting a new hexagram.

So, let’s suppose that we drew the same lines in the same sequence, with only the first line an old yin line instead of a new yin line. Then initially we’ d have exactly the same hexagram, but because the first line is now old, it will change into its opposite and the whole hexagram will change into something else. This time we have to depict one more hexagram, representing this change:

The only line that changed into its opposite was line one because it was an old yin line, while all the other lines remain as they were because they were all new.
We also notice that the first hexagram (“Opposition”) predicting the present, changed into another hexagram, (“Innocence”), which predicts the future.
It is easily understood that an individual line changes into its opposite, but the whole hexagram does not change “into its opposite.” What the hexagram will turn into depends on what line or lines will change. The probabilities are that any line of the six in a hexagram or any combination of these initial lines may be old and so they will change. Actually, an initial hexagram may change into any other hexagram of the remaining sixty-three.
We see eventually that this prediction associated with a change is a bit more complex. This time we have a first hexagram, we have a second hexagram and we also have one old line of change in position 1. Consequently, this time we also have more advisory texts to read:
1. We have to read the texts (“Oracle,” “comment”), of the first hexagram, predicting the present.
2. We have to read the text especially assigned to the first line of change.
3. We have to read the texts (“Oracle,” “comment”), of the second hexagram, predicting the future.

Eventually
Summing up all of the above, we may say that in any case we must remember that:
1. If we draw new all six lines then we form only one hexagram and we read the assigned texts (“Oracle,” “comment”) of this hexagram predicting the present and the near future.
2. If we draw one or more (up to six) old lines of change, then we read more texts:
a. We read the texts (“Oracle,” “comment”) of the first hexagram predicting the present.
b. We read the assigned text(s) of the line(s) of change.
c. We read the texts (“Oracle,” “comment”) of the second hexagram predicting the future.

..........

There are many traditional ways to pick a hexagram not so easily and fast as the pyramid die method, but in general they are considered more valid and authentic because they carry the aura of tradition.
In antiquity the priests used animal bones or shells of holy turtles, which they heated ceremoniously in order to crack and form certain lines and hexagrams. These methods and manners were appropriate for those very old eras. Modern times do not favor the slow-paced and mysterious ceremonies of holy divination, and, quite appropriately too, for aesthetic and ecological reasons, they abhor the employment of animal bones and turtle shells. From those ancient times two methods of chance pick have remained in constant use to this day. One is the method of the fifty yarrow stalks, and the other is the method of the three coins. The first is very slow. It takes up to half an hour to eventually form a hexagram. Only a few friends of the I Ching use it mainly because it carries the aura of traditional authenticity, also because the slow rhythm of this particular procedure is very tranquil and soothing.

The three coins

The easiest, simplest, and fastest traditional way to chance pick a hexagram of the sixty-four is to throw together three coins six times, drawing one line each time eventually forming the hexagram on a piece of paper, depending on how heads or tails will turn out.

The two values
First we append two values on each coin. On one side (the “tail”) we append the value 2, and on the other side (the “head”) we append the value 3.
Let us note here that it is handy to use coins with the number “2” inscribed on one side (for example, two Euros or 2 cents); it is much easier to append the value of 2 on the side that has the inscription 2, letting the other side be of the value 3.
Let’s also note that traditionally the higher value of “3” is related to heaven while the lesser value of “2” is related to earth. All the wisdom of the I Ching evolves on the manifold relationship between the realistic earth and the allegoric heaven.

The four combinations
Given all this, we toss together the three coins six times, summing up every time the three values that will turn out. The possible combinations of the two sides of the three coins that may turn out are only four: (a) Three “tails,” (b) One “head” and two “tails,” (c) Two “heads” and one “tail,” (d) Three “tails.”

The four sums
These four combinations produce four sums: 6, 7, 8, 9 as follows:

a. (Three “tails”)……………….…..…2 + 2 + 2 = 6
b. (One “head” and two “tails”)……....3 + 2 + 2 = 7
(or 2 + 3 + 2 or 2 + 2 + 3)
c. (Two “heads” and one “tail”)…….....3 + 3 + 2 = 8
(or 3 + 2 + 3 or 2 + 3 + 3)
d. (Three “heads”)………..………......3 + 3 + 3 = 9
.
Sums and lines
According to tradition these four sums correlate with the lines yin or yang, “old” or “new” as follows:

(a) 3+3+3 = 9 =   (Old) yang   =
(b) 2+3+3 = 8 =   (New) yin    =
(c) 2+2+3 = 7 =   (New) yang =
(d) 2+2+2 = 6 =   (Old) yin     =

Each time we toss the three coins, a combination of heads and tails turns out, resulting each time in a sum that correlates to a line yin or yang, new or old.
From here on, the chance pick of a hexagram is exactly the same as with the pyramid die. We toss the three coins six times and we get six lines one by one (yin or yang, new or old) and we form a hexagram from down up.

A comparison of all methods
To aid the reader choosing the best method of a chance pick, we highlight one more difference between all of these methods.
When casting the three coins, the probability of tossing a new line (yin or yang) is three times higher than tossing an old line (yin or yang). The reason is that the three coins may turn out a 6 or a 9 with only one combination each: 2 + 2 + 2 = 6 and 3 + 3 + 3 = 9.
The three coins may turn out three combinations for a 7 and three combinations for an 8, however. Namely: (2 + 2 + 3 = 7 or 2 + 3 + 2 = 7 or 3 + 2 + 2 = 7), the resulting 7 correlating with a new yang line; and (2 + 3 + 3 = 8 or 3 + 2 + 3 = 8 or 3 + 3 + 2 = 8), the resulting 8 correlating with a new yin. This means that by using the three-coin method, we are three times more likely to draw a new line (yin or yang) than to draw an old line (yin or yang).
Note that the yarrow stalk oracle provides more complicated yet similar disproportionate odds, too. Using the pyramid die, however, there are even chances for all lines because this die has four sides each for one of the four lines (yin and yang, new and old) providing a 25 percent chance for each line.

The method with the regular die
There is one more method quicker and easier than the three-coin method, which provides at the same time more probabilities for new lines, a prospect closer to the traditional methods. It is the method with the regular six-sided die.
We append to the six sides of the die the four new and old yin and yang lines as follows: 1 and 2 = new yin, 3 and 4 = new yang, 5 = old yin, 6 = old yang.
This way we offer two chances for each of the new lines. The regular six-sided-die method has the speed of the pyramid die, at the same time providing closer probabilities to the traditional three-coin method.

After this last clarification, the reader may choose the method he prefers best: the fair method with the pyramid die, the traditional method with the three coins or the mixed method with the regular six-sided die. All methods exploit very well the interpreting aptitude of the I Ching.

..........

THE INTERPRETING READINESS
OF THE I CHING

Considering that we have a new hexagram if only one line changes into its opposite, we understand that all probabilities that may turn out when we toss our coins for an oracle are 64 X 64, that is 4.096.

If we further consider the interpreting contribution of each line of change, plus the immense potential of subjective interpretation of each hexagram depending on a certain real personal dilemma, we realize that the interpreting readiness of the I Ching is practically boundless.

..........

I, the author of this book, had many doubts at first whether I should undertake the task of rendering the ancient book into Greek and then into English. So, I tossed six times my three coins as I have done for more than thirty years when I faced a dilemma. I drew consecutively 7, 7, 6, 9, 8, 8 and formed from down up the first hexagram 54, “The engagement.” Because I had two old lines of change, (6 in the third place and 9 in the fourth place), I also formed a second hexagram, number 11, “Peace.”

Hexag. 54. “Engagement” Hexag. 11. “Peace”

6.    8   -   -      (New) yin   (New) yin      -   -
5.    8   -   -      (New) yin   (New) yin       -   -
4.    9   -0-    “Old yang (New) yin       -   -
3.    6   - X -      “Old yin” (New) yin       -   -
2.    7   -----     (New) yang (New) yang    -----
1.    7   -----     (New) yang (New) yang    -----

Naturally at that time I did not have my I Ching, and I used the I Ching version of Richard Wilhelm, rendered into English by Carry F. Baynes (see bibliography).
I read the advice on this very precise predicament of mine: “Should I render the book in Greek and English or not?”
First I read the texts (“Idea,” “Oracle” and the lines of change 6 and 9) of the first hexagram 54, “The engagement,” designating the engagement of a young and inexperienced maiden. Right away I matched this idea with my case because I, too, was a writer young and inexperienced (compared to the old and wise book) engaged (but not married yet) with this task of translating the ancient book into Greek.

The idea: “Thunder over the lake. The wise man understands the eternal in the light of the passing moment.”

It fit perfectly, because in the short time of my work, I literally had to grasp and express the eternal wisdom of the book.
The “oracle” also fit perfectly as a suitable answer to my question, but was downright negative:

The Oracle: “The undertaking of the job brings misfortune. All unfavorable!”

It was obvious that I had to give up immediately the idea of translating the book. I had two lines of change to read, however. I still had hopes that things might improve. The first hexagram refers to the present status of a predicament, but the lines of change and the second hexagram predict the future. Fortunately I had an old yin at third place and an old yang at fourth place.
First I read the third line of change:

Apparently the book advised me to work like a slave. It told me tactlessly that otherwise I would not qualify to be a formal translator (husband) but rather a semi-formal translator (a concubine). In other words if I did not work really hard, my translation would have to find secondary publishers, and it would vanish eventually on dusty bookstore shelves. Anyway, at least I avoided the total rejection, plus I am not afraid of hard work.
With the next line of change (an old yang at fourth place), my prospects improved even more, and the total rejection of the initial prediction vanished permanently, though under severe conditions.

“4. The fiancé waits for a long time. A delayed marriage eventually befalls.”

So, I did not lose everything. I just had to work hard (like a slave) and be very patient. I must confess here that I really intended to finish the job within a couple of months. I started it (I was engaged to it!) at the beginning of December 2001, and I said to my wife and kids that I would finish it by January.
Yet, the book was telling me that only if I worked very hard and waited patiently (for a long time!), a delayed marriage would compensate me eventually. This was the best advice that could be given to me by my best and wisest friend.

The second hexagram (11, “Peace”) that turned out by the two lines of change hailed and eulogized the project with one of the most favorable hexagrams of union and peace.

The idea: “Heaven and earth united; the idea of peace. The wise man calculates and classifies the paths of heaven and earth, multiplies the gifts of heaven and earth and offers them to the people.”

Perfect! If only I could, with a lot of work and patience, consider with the accuracy of an astronomer the words and images of the book, to multiply its gifts, and offer them to the people-readers.
The “oracle” of the second hexagram epitomized the favorable outcome:

The oracle: “Peace. The important arrive. The unimportant depart. Good luck. Success.”

So, let’s get to work with faith and lots of patience! The omens are the best.

..........

PART B

The sixty-four

hexagrams

..........

Heaven, creative

1. Hidden dragon. Empty field. The time is not ripe for action.
2. A bright dragon appears in the field. Favorable omen to see an important person!
3. Heavenly dragon aids the decent man to work day and night, to be creative and fulfill every task.

4. Flying dragon balances his wings to take off. He is powerful, so he will eventually make it.
5. Flying dragon high up in the sky. Good omen to get advice from a respectable person.
6. Flying dragon very high up in the sky. If he exceeds the proper limits he will have reasons to repent.

The aesthetic Judgment

Six firm lines compose the most favorable and solid hexagram of the sixty-four. It assures success if the objective is right. These six parallel lines compose the leading visual idea suggesting the serpent-like pattern of the underbelly of a dragon (heavenly spirit), mentioned in all the lines of change. The mighty dragon is suggested anyway by the emphatic power emanating from the full and solid aspect of the six firm lines.
The six lines of change (always completing the oracle) mention a field and a sky because both are visible in the hexagram. The three lower lines (1, 2, 3), look like an empty field deserted and furrowed with parallel plough lines. The upper trigram (4, 5, 6) is a symbolic sky (since yang = heaven). The two trigrams are identical but their significant place in space is quite different: down = a field, up = sky.
The six lines of change express the culmination of the action. The text of the first line mentions a “hidden dragon,” an “empty field” and a premature time “not ripe for action”. In the second line the dragon “appears on the field.” In the third line he “helps the decent man to fulfill all tasks”. Then he “balances his wings to take off,” something he actually does in the fifth line, and then in the last sixth line he exceeds the “proper limits,” which are set by the six lines themselves.

“The receptive brings about absolute great success
with the calm perseverance of the mare.
Do not lead. Follow a good leader.
You may see friends in the southwest
but not in the northeast.”

1. When there is frost under the feet, soon ice will follow.
2. Great, perfect rectangle. There is no visible outline, but everything is in the right place.
3. Hidden lines. Difficulties! The same effort continues. Do not commence new undertakings before you complete whatever you have started.

4. Tied up sack. Neither positive, nor negative!
5. Yellow lower garment brings great success.
6. Two dragons fighting on the fields. Their blood is dark and yellow.

Six broken lines offer the leading visual idea of the hexagram - a picture totally cut to pieces - also introducing order and harmonious alignment because the twelve smaller lines are orderly arranged in a perfect rectangle (mentioned in line 2).
Because all yin lines are broken, each one yields two smaller ones (1, 2, 3, 4, 5, 6 X 2 = 12, the most among all hexagrams) symbolizing thus the dyad, the multiplicity, the visible earthly world of multiple phenomena.
Visually, these successive gaps in the middle divide the hexagram into two slim parts (left and right) looking like a road parting a large field in two. They also resemble two slender dragons erect opposite each other, like “two dragons fighting in the fields” (mentioned in line 6).
Visually, the six successive gaps in the middle look like a path open toward the top, up to the sky. It is the straight and arduous road opened to essence when the multiple phenomena are properly arranged
All these ideas issue a very favorable hexagram though exactly the opposite of the first hexagram (“Heaven”) regarding the nature of their lines (all yang – all yin). Success in the war depends on the fighting vigor of the male horse; success in peace depends on the insistence of the patient mare pulling the cart on the just and straight road of daily duty.

“Difficulties at the beginning
may eventually bring about great success.
Be patient and mindful.
Do not be in a hurry; do not be restless.
It helps to employ helpers.”

1. An obstacle on the road! Patience helps. Helpers help.
2. Horse and carriage part. The maiden is kidnapped, not by a robber but by a suitor. The maiden is virtuous and she does not give in. She gives in after ten years.
3. If someone hunts deer without the forest ranger he gets lost in the forest. The decent man knows the signs of the times and prefers to wait. Haste yields humiliation.

4. Horse and carriage part. The daughter asks for help by her suitor. He puts them back together and the trip continues.
5. An obstacle on the road! If it is small, try to eliminate it. If it is big, the trip must be suspended.
6. Horse and carriage part permanently. Bloody tears are shed.

After the creation of heaven and earth, the adventure of life commences. Yet, the first solid line of the hexagram looks like a horizontal obstacle blocking the road (formulated by the many successive gaps in the middle). Combined with the second line, it looks like an upturned carriage (with wheels up), hence, perplexities and difficulties in the very beginning.
Two yang lines (1,5) amid four yin lines (2, 3, 4, 6) make up the leading visual ideas: a natural couple (two yang lines) unnaturally apart (1, 5), as if separated and lost in a multitude (many smaller lines) on a road (formed by the successive gaps). Hence, the idea of a carriage and a horse (a natural couple) apart from each other, (as mentioned in lines 2, 4, 6) while traveling on a road, in a vast plain (with many parallel plough lines).
The same ideas bring to mind another such natural couple: a hunter and a forester hunting side by side in a forest. This time the many smaller lines symbolize the trees of the forest. This natural couple here is also separated, so the hunter must be illegally hunting without the forest ranger, deep in the forest eventually losing his way.
One more natural couple (a man and a woman) is also mentioned in an unusual relationship: the man kidnaps the woman.
The first yang line (1), as the reasonable man at the start, is aware of the hidden coincidences and waits patiently until the other solid (yang) line (5) moves with a natural trend to 6 and then down to 1 under him.

“Youthful folly has success.
It is auspicious to continue whatever you are doing.
I do not look for the immature youth.
I wait for him to look for me.
Then I give him a divination.
If he asks twice or thrice he is irreverent; I do not answer.”

1. Some punishment may help the ignorant pupil in his first easy steps of learning, then all punishment should be abandoned.
2. If you accept the ignorance of the youth with the good heart of a woman, you also have good fortune. Parental punishment should not exceed the endurance of their children.
3. Do not marry a maiden who is startled when she looks at men in uniform. Nothing good comes out of her.

4. The ignorance of the man brings humiliation.
5. The ignorance of the youth may bring good fortune.
6. You should not punish the ignorant, as you do not hit the weak.

The previous hexagram advised patience (at 1) because another yang line delayed (at 5). Here a solid yang line (2), like a restless and brainless youth, moves ahead (from 1 has moved to 2) despite the delay of the other yang line, which is still at 6.
Visually, the entire hexagram is the symbol of the ascending path of learning. The successive gaps in the middle (1, 3, 4, 5) form the precipitous path to heaven, symbolized adequately by one bright yang line at six. This line by nature (full, bright) and by position (up at 6) could very well be heaven or a temple up on a hill where a priest abides.
The ignorant youth (symbolized by the yang line at 2) is also depicted by the entire hexagram (rough sketch above). He has an iron shackle of youthful ignorance (the solid horizontal line at two) tied around his long, teenage legs as a punishment mentioned three times in the lines of change.
But at least he is moving up toward the temple seeking higher advice from the priest who talks here in first person singular.
The wise priest allows the youth to manifest his intentions (by moving on his own will toward the priest asking for a divination). Before the priest gives any guidance, the pupil should manifest his intentions willfully and in a proper measure (not asking the same question twice), denoting respect.

“Waiting.
If you are patient enough, relaxed, and good humored,
you will have success in whatever you will undertake.
You will be able to cross the great water.”

1. Waiting on a field next to a river. Waiting on something solid. Good choice!
2. Waiting in the sand of the bank. Some minor problems appear but they will be solved.
3. Waiting in the mud of the bank. The lurking enemies will soon attack.

4. Waiting in the muddy water. Get out on the bank before it is too late.
5. Waiting and feasting in good humor. That’s the best.
6. Someone falls in the river after all. Fortunately three passing travelers take him along on a carriage. He must thank them heartily and all will go well.

Visually the whole hexagram looks like a feast table (4, 5, 6) set on a field (1, 2, 3). It also looks like a river (4, 5, 6) next to a field (1, 2, 3). Also as rain clouds (4, 5, 6) high in the sky (1, 2, 3). In other words, we have some rain clouds (4, 5, 6 = water) that retreat high in the sky (1, 2, 3 = heaven) suggesting the idea of a downpour that has already fallen. As a result the river (also visible 4, 5, 6) is full with muddy water, dark as blood. The two broken yin lines (4, 6) form its two earthly banks, (yin = earth); the full yang line (5) is the flooded water between the earthen banks (yang = full).
In the same scene the three solid lines (1, 2, 3) symbolize a group of travelers (who of course travel up toward the sixth line). Yet the flooded river cuts their way with its swollen, muddy waters. The best thing for these travelers to do is to feast carelessly, sitting at the feast table (4,5,6) waiting for the waters to subside. By waiting things improve naturally. The time of action will come soon on its own.
The best place to wait is at a safe distance from the muddy waters on a field next to the river; also visible in the hexagram because the three furrow-like parallel lines (1, 2, 3) also look like a field.
Every single picture depicting these ideas is visible within the hexagram: a feast table, three travelers, the way, the river, its earthly banks, a field, even clouds in the sky, since the upper trigram is “water”, and the lower “heaven” or “sky.”

“Conflict. Dispute.
You have good intentions
but you face offensive people.
You had better stop amid the way
and seek advice from someone you respect.
Bad omen to cross now the great water.”

1. If you retreat avoiding a dangerous conflict, you may hear some negative gossip talk, but that will be all.
2. If you retreat in the shelter of your village, avoiding a dangerous conflict none of your co-villagers will say anything against you, and there are 300 households.
3. Long exercise in virtuous self-restraint pays back in a time of need. Danger, but eventually all is well if you don’t respond to any challenge.

4. Don’t lock yourself into any conflict even if you are provoked. Let them be! Forgive them! Continue your peaceful work! That’s the only way to find the contentment and happiness you are looking for.
5. You are content and happy. Great good luck!
6. Conflicts have no end. Even if you grab the belt in the morning, they will grab it back from you three times before noon.

The aesthetic Judgment

A main visual idea is presented by the two broken lines (1, 3) of the lower trigram (1, 2, 3) surrounding a full line in the middle (2) resembling a loop-holed clay wall (yin = earth = clay) around a barricaded village. The upper trigram (4, 5, 6) suggests a solid and massive body of enemies opposite the barricade. Conflict.
Visually the whole hexagram also looks like a courtroom, with the lower trigram (1, 2, 3) as a rectangular desk with the four judges seated around it and the upper trigram as an array of parallel benches for the people attending a court trial.
All these ideas combined portray the main theme of the hexagram, “the Conflict,” “Dispute,” or “Confrontation.”
All six lines of change refer to it completing the oracle. Because the first line is yin, the divination is negative. Because the second is a yang line between two yin lines, it refers to someone who finds shelter in his barricaded village. Because the third line is yin, it refers to a passing danger provided that someone is restrained.
The best divination is given in the fifth place, where there is a yang line honorably between two yang lines.
The last divination talks about some thrice-stolen belt because the three horizontal and unbroken upper lines actually look like three belts.

“The army needs order and discipline
and a competent and experienced officer on the lead.”

1. An army should have order. Without order it will be defeated.
2. You fight bravely. Your commander decorates you twice.
3. Your outfit is defeated in battle. Carriages carry corpses and wounded soldiers.

4. The army retreats tactically and disciplined in order to be reorganized and recuperate.
5. Reorganization! First we have to catch prey on the fields. Then call a capable and experienced general to lead the army. Then we must collect the corpses and the wounded. This holy duty will repay us.
6. An efficient leader issues orders. He organizes the defense of the dilapidated fort. He appoints duties to all capable. He puts away the unfit.

Five broken lines (1, 3, 4, 5, 6) present a main visual idea. They produce ten smaller lines perfectly aligned as a military formation, orderly and well disciplined. In the second place there is the sole solid yang line as a commander. He is not in the fifth place (like a general) but down below in the second place. So, he is a young and minor officer.
Another attractive visual idea presented by the entire hexagram is that of a carriage (1, 2) carrying on top of it eight horizontal smaller lines (3, 4, 5, 6 X 2 = 8) symbolizing many horizontal corpses or wounded soldiers picked up after a lost battle and piled on carriages. The battle is also suggested by the two multitudes of smaller lines (left and right) divided by the successive gaps in the middle, like two clashing armies.
The lower trigram (1, 2, 3) also resembles a barricaded military fort; the upper trigram resembles a massive enemy army in well-disciplined formation.
Many smaller lines above a solid horizontal line (2) look like birds (game) flying over the horizon of the fields. The successive gaps in the middle also looking like a road dividing a field into two (left and right); hence, game in the fields.
Despite the negative prospects, the whole hexagram also presents order and discipline. The idea of water in the earth also contributes a positive idea, as well; it does not amount to a catastrophe. In the long run the army gains proper fulfillment: a capable and experienced general on the lead.

“Friendly company brings good luck.
Ask for one more divination.
If you have tolerance, patience, and insistence,
there is no blame.
One by one the delayed friends are coming.
If someone delays too long
he will have to suffer some punishment.”

1. Good friends forgive the delay of the loyal member of the company. As a sole punishment he will have to drink a cup full of wine under the jest of the rest.
2. Deep and sincere friendly feelings sustain a friendship.
3. You associate with the wrong kind of people.

4. A good friend expresses openly his friendly feelings enforcing friendly bonds.
5. Mutual trust supports a friendship. In hunting, the helpers beat about the bush from three sides and the arch-hunter waits ahead for the scared game. Such tactics are not fit among friends - bad luck.
6. You do not earn a friendship if you do not give it first yourself - bad lack.

The natural leader of the hexagram is the single yang line (5) among five broken yin lines (1, 2, 3, 4, 6) producing ten smaller ones (a multitude, suggesting the idea of a mass or of a friendly company). This line represents the decent man keeping all the friends of the company united with his strong and prominent personality.
Visually, the idea of the friendly company is also served by the upper trigram (4, 5, 6) resembling a table with four smaller lines, like a group of friends seated around it. The rest of the smaller lines (1, 2, 3 X 2 = 6) resemble some delayed friends (moving anyway toward the sixth line) coming hurriedly to join the table of the friendly feast.
Visually, this sole yang line (5) presents a strong horizontal bond uniting the ten smaller lines, which appear divided in two by the successive gaps in the middle.
The hexagram looks open in the middle like an empty cup upside down, also resembling a trap closed from three sides. This is a visible analogy of the way they used to hunt in those days with some helpers beating the bush from three sides and the arch-hunter waiting ahead for the scared game. This practice is mentioned here in a negative way, however, as something unbefitting among true friends, because this trap is open the wrong way (downwards).

“The power of the powerless. Success!
Dense clouds from the west carry no rain.”

1. When you don’t know what way to take, you’d better take the way home.
2. He took the way to his home. Good luck!
3. Grave damage to the carriage. The axis is pulled off from its hole. The man and the woman don’t even want to look at each other.

4. If you are sincere, nothing happens to you. The blood dissolves and fear vanishes.
5. If you are honest and sincere, you are rich with neighbors. They help you eagerly with any misfortune of yours.
6. Rain falls and the skies clear. A passing carriage takes you along because you were obliging and polite. When the moon is filling, womanly passivity is unbefitting. When the moon wanes, manly energy is unbefitting.

A weak broken line in the significant fourth place (a little above the middle) keeps in check five strong lines. It manifests the power of the powerless when it takes a strategic position in a body, also making obvious the magnitude of the harm when it is done in a crucial spot.
Though the whole hexagram is solid and powerful, consisting as it is of five full lines, this small hole signifies a grave danger and threatens general disorder. That’s why the advice to follow a well known and safe way: the way home.
Visually, this gap represents the very important hole for the axis of the carriage, visible only when some grave damage is done and the axis is pulled off for general repair.
This hole also suggests the moon in the dark sky, which at first (1, 2, 3) fills up and then (4, 5, 6) wanes. The attitude of people is advised to be energetic at first (manly) and then passive (womanly).
The two smaller lines divided by the gap are mentioned as a couple in disputes that don’t want to see each other. The gap is also one eye (the other being closed).
The lines 4, 5, 6 are also mentioned as a carriage (4, 5) with a passenger on it (6).
Three solid lines (1, 2, 3) uphold this gap (4) as neighbors help an unfortunate friend.

“Treading.
He treads on the tail of the tiger.
The tiger does not bite him.
Success!”

1. Walking in plain walking shoes without excess ornaments. Unhindered progress.
2. Walking on a straight and wide road. All is well for the lone walker.
3. One-legged, one-eyed, he both walks and sees. He treads on the tail of the tiger. He bites him. Misfortune! A lame soldier should not fake the able general.

4. You tread on the tail of the tiger. You must be very careful to avoid the consequences.
5. You walk decisively, but a shoe of yours is damaged. You must mend it to continue.
6. If you are mindful in your last steps, you will reach your high destination. Your arrival will be triumphant.

One weak line (2) moves upward with a gap that is very annoying in the body of very strong lines. It is still down below in the third place exactly on the tail of the strong hexagram. It looks as if someone is treading on the tail of a strong animal - a tiger no doubt because (visually) the pelt of this body has parallel dark stripes. Danger, yet the joy of the lake and humor prevail.
The hexagram is generally positive, presenting the idea of a lone traveler in a vast empty plain (a light gap within five parallel plough lines of a large field or plain). It becomes especially auspicious at its ending (4, 5, 6) with three successive yang lines.
Whatever the danger, it is momentary and passing. Only one line (the weak yin line at 3 naturally) speaks of some calamity, well deserved indeed to someone who provoked danger, though he was not qualified, lame, and one-eyed as he was.
The single eye mentioned in the third line is the single gap in the third place.
A similar one eye was also mentioned in the previous (similar) hexagram, referring to a man and a woman, who didn’t want to see each other, (surely after a bitter quarrel). They literally looked at each other with one eye.

1. When you uproot the grass you pull some roots along (and the horse does not eat it). The decent man reaps only the peaks. He may continue.
2. The decent man crosses the river with corks round his waist. He lends them to his friends. If you care for your friends, you walk in the middle of them.
3. At the end of the plain you come upon some mountains. Once going, once returning. Now is the time to start. Take advantage of the auspicious circumstances while they last.

4. If you do not boast about your riches, your neighbors are friendly, sincere, and helpful.
5. A great lord gives away his daughter in marriage. Great good luck!
6. The wall collapses in the moat. Alarms sound, but the enemy army does not attack. They are afraid it is a decoy.

Visually, the whole hexagram with three solid lines below (1, 2, 3) and three broken lines above (4, 5, 6) looks like a huge cup auspiciously open toward the sky to receive food or spiritual blessing.
The hexagram also looks like a field below and (two) stacks of reaped grass piled up above.
The same ideas also suggest a vast plain below (1, 2, 3 parallel plough lines = a single field or a vast plain), with two mountains above (4, 5, 6 = pile up of yin lines = pile of earth = mountain). The successive gaps in the middle form an open mountain pass calling the passenger to pass it right away, while it is open, because tomorrow it may be too late.
Another visual idea mentioned is a moat below (1, 2, 3 parallel lines of waves and water this time) and a fortress above (4, 5, 6) with piled-up yin lines (yin = earth = clay = bricks) with the middle part gapping, collapsed into the moat below. The negative outcome is strange and unbelievable, for such a positive hexagram of “Peace,” so much that even the lurking enemy does not believe it. They think it is a trap and do not attack. A very positive hexagram cannot have a bad ending.
The whole hexagram also depicts the lurking enemy with two straight horns up.

“Stagnation. Inferior people prevail.
All unfavorable!
The significant depart. The trivial arrive.
The decent man waits patiently and survives.”

1. When you uproot the grass you pull some roots along (and the horse does not eat it). The decent man reaps only the peaks.
2. Inferior people prevail. The decent man is set aside. He must be patient until hard days are over.
3. Sooner or later inferior people in crucial positions will shame themselves by making a grave mistake.

4. The lord employs anew the decent man. Friends and enemies work with him now that he has the great seal in his hand.
5. Standstill recedes. The decent man labors with diligence to accomplish his duties.
6. Standstill is over. Good days are here.

Visually, the whole hexagram resembles a huge cup inverted, (with the opening down, the opposite of the former hexagram). It is no doubt a plain symbol of rejection, of willful refusal of gifts and honors.
The straight road formed by the successive gaps in the middle looks helplessly blocked by three solid lines cutting perpendicularly the way. Total standstill and stagnation!
The whole hexagram most probably resembles the great seal. It also resembles a handful of grass uprooted - the upper three full lines suggesting a mass (for example, of grass); underneath it are the three successive gaps (1, 2, 3) resembling a downward, slender white string (hence a root).
The hexagram also looks like a big house or a cave where the decent man retreats waiting for better days to come, waiting for the lord to trust him again. The present situation (1, 2, 3) looks gloom but the three last lines (4, 5, 6) are yang (bright).
The six lines of change express consequently these negative and positive prospects. First (1) the decent man is described as able, but soon (2) he is set aside by some inferior people, who very soon (3) make a grave mistake, ignorant as they are. Within three yin lines the whole negative drama unfolds. Then, with the introduction of the three yang lines, the positive aspects are at hand. The decent man is back on the stage receiving the great seal and a new assignment by the lord (4), working hard with good result (5), and finally all is well (6). A happy ending!

“Open fellowship among people. Success!
It is auspicious to cross the great water
to persevere in fellowship and support.”

1. Many people gather around the gate in fellowship to help with the problem of the household.
2. Only the relatives came to help - very humiliating.
3. Enemies gather secretly. Their weapons protrude over the thicket! Then they appear in the open fields and assault the wall. For three years they siege the city.

4. The enemies siege the wall but do not seize the city. United, all the inhabitants repel them.
5. Men lamenting, now they laugh, united after so many years apart.
6. Many people in the fields together, happily they celebrate.

One weak line in the second place draws the concern of all over its weakness alone. The gap in the low second place is the hole, the wound, the problem, the need over which everybody should bend with concern and true fellowship. The five yang lines are the decent multitudes that gather around this hole-problem.
Visually, the single gap (2) within five solid lines (1, 3, 4, 5, 6) looks like an open small gate low on a high building or a wall.
The same gap looks like a loophole on the low wall represented by the two first lines (1, 2) in front of open fields (the solid parallel lines 3, 4, 5, 6 also look like a dark massive enemy army). These fields are mentioned in the lines of change as the place where all relatives gather to celebrate a victory together.
This gap between two yang lines (1, 2, 3) also resembles the sun low in the darkening sky as in a sunset. The sun vanishes; darkness is thickening. Indeed the divination of the six lines start (1, 2, 3) with many problems, which by and by clear away with the successive yang lines (4, 5, 6) that follow.
The multitude of the many yang lines provides the auspicious name fellowship and the happy ending of the whole hexagram.

1. It is a grave mistake to waste your time with minor trivial matters when the big harvest lies ahead.
2. It is high time you prepare the big carriage to carry the crops. It must function properly when soon the time comes.
3. If you possess a lot, you offer a lot to heaven. If you possess little, you cannot offer equally much.

4. The decent man stacks the crops carefully. Who can blame him for that?
5. Everybody joins to help the good neighbor reap his crops. Good luck for him and all.
6. If you have the blessing of heaven you have great good luck.

The aesthetic Judgment

The situation analyzed in this hexagram is of the great harvest and many problems to be solved beforehand. A timely preparation is necessary in order to face properly this great challenge when soon the time comes. If the big carriage (5, 6) is not ready in time, how will we carry the crop?
In this hexagram (as in the former hexagram 13) there is only one broken line (and one gap) among five unbroken yang lines. But what a difference! Here the gap is not in the low second place but high on the forehead of the hexagram in the most advantageous place 5. As a result it symbolizes the highest practical profit by the great harvest and the richest crops, which come about anyway as soon as some practical routine problems are solved with simple good housekeeping.
The multitudes of the yang lines (1, 2, 3, 4, 6) do not symbolize citizens fighting off enemies but neighbors coming to help the good neighbor with the great harvest. The same parallel horizontal lines also look like a huge crop stack.
All these positive ideas permeate the hexagram with a rare exaltation symbolized properly by the overall images presented by the two trigrams: below (1, 2, 3) one furrowed field, above (4, 5, 6) a bright sun (the gap in the fifth place) in the cloudless, blue, mid-summer sky. It also resembles a carriage (5, 6) on a vast, full field (1, 2, 3, 4), ready to carry the crops.

The oracle

“Modesty brings about great success.
The decent man carries his affairs through with modesty.”

1. A modest person talks modestly about his own modesty.
2. Your hidden virtues are recognized by all. You have great good fortune.
3. A modest person accomplishes his affairs with modesty.

4. Modesty may bring about only good results.
5. A neighbor abused some property of yours but you did not react out of modesty. The time is favorable for a determined reaction. Now it will be successful.
6. Virtue expressed and employed for a good cause. It is an auspicious occasion to set armies marching for the rescue of the city and the country.

The aesthetic Judgment

The hexagram is composed of many dark and weak yin lines (1, 2, 4, 5, 6) and of two trigrams emphatically earthly: above earth, below mountain, standstill.
Yet, the whole hexagram refers to a very favorable situation and central idea: modesty. Because the only full and bright (yang) line looks like it is hidden deep (in the third place, below the center of the hexagram) within many earthly (yin) lines. It could very well be a shiny golden coin or a whole treasure buried in the earth on the side of some mountain.
The I Ching states clearly that a modest person does not boast of his virtues, does not even reveal them, keeping them secret as a hidden treasure.
These hidden virtues come to light only when someone else recognizes them and speaks of them. The modest person, however, may reveal his virtues on his own accord only on one occasion, when they must be employed hurriedly for a good and great cause, as for the defense of the country.
The idea of such marching armies, mentioned in the divination of line 6, presents the entire hexagram by the two multitudes of the tactically arranged smaller lines produced by the successive gaps of many yin lines (1, 2, 4, 5, 6).
Visually, the only solid line (3) is a bond in the middle yielding the idea of armies marching jointly.

1. Do not express your enthusiasm now. You will lose the respect of other people.
2. Wait firm as a rock until the right moment for action. But do not let all day pass.
3. It is bad to express your enthusiasm prematurely. It is worse to hesitate when the right moment comes.

4. You express freely your enthusiasm and you excite your friends. Don’t hesitate! You attract friends around you like a hair clasp gathers the hair.
5. Dying enthusiasm, but not dead yet.
6. Unbefitting enthusiasm. If you realize it in time and check it, there will be no problem.

Within many dark lines of earth (1, 2, 3, 5, 6) a bright yang line (4) ascends (as it is above the middle of the hexagram) like short lightning. Related to the previous hexagram (15), it has moved one place up. These ideas of short light, ascendance and promotion suggest the central idea of this hexagram, the expression of the enthusiasm from the depths.
Visually, the whole hexagram resembles a double clasp holding the hair. Its two open parts (left and right) are held together in the middle by a fastener (the solid horizontal yang line at 4.) Such a clasp is mentioned in the fourth line of change, the only solid yang line.
The divinations of the six lines of change refer to enthusiasm with faultless consequence. Initially the three first (yin) lines express a reserve with suitable advice for each level: The advice of line 1 is not to express your enthusiasm prematurely. Line 2 advises firm wait until the right moment. Line 3 warns to take instantaneous advantage of the very short right moment when it soon will come. Line 4 (the only yang line in the hexagram) is the short but proper moment to express the enthusiasm (neither before nor afterward), and then follows a decline of the enthusiasm with two more yin lines.
The entire hexagram presents the idea of the marching armies (mentioned in the oracle) by the two multitudes of the tactically arranged smaller lines produced by the successive gaps of many yin lines (1, 2, 3, 5, 6 x 2 = 10). The only solid line above the middle (4) is a virtuous bond yielding the idea of armies marching jointly.

1. Problems at home, but if you go out you will find good company and gain some profit.
2. If you follow the innocent child you lose the mature man.
3. If you follow the mature man, you lose the innocent child.

4. If you follow good advice, you will have success; if you ignore it, you will fail. If you are sincere in yourself, if you have a clear mind, you will know which is the best choice.
5. He follows goodness with sincerity. He will have good luck.
6. He is given good advice. Then he passes it on to a youngster. He takes an honorary place in the holy mountain of fame.

Within, two weak and dark yin lines (2, 3), follow two strong and bright yang lines (4, 5). Without, a weak and earthly yin line (6) follows a strong and heavenly yang line (1), hence, the weak follow the strong or earth follows heaven.
In the lower trigram (1, 2, 3) there are two dark yin lines for one bright yang line. In the second trigram (4, 5, 6) there is one dark yin line and two bright yang lines, hence, a following that promotes light.
The sixth line of change mentions one more characteristic following. The yin line at 6 (on top of a mountain) gets good advice from its back (from the two bright yang lines 4, 5) and relays it (through its open gap) forward to the bright yang line at one.
Hence, this line (6) is a decent old man who takes advice and gives it to a youngster (line 1), and he is rewarded highly for this, taking a honorary place on a hill of fame (alias on the sixth line), as mentioned in the sixth line of change.
The I Ching is an advisory book, so it is consequent to think high of advice and those who follow advice; therefore this attitude is hailed and rewarded in this hexagram with the best words.
Visually the two successive gaps (2, 3) form a double opening representing a big house. The two successive yang lines (4, 5) symbolize the good company, out of the house.

“Mending. Great success!
Auspicious to cross the great water!
Before departing three days, after departing three days.”

1. Mending some pending breaches left by the father. If there is a decent son, there is no blame for the prodigal father. Many problems at first eventually are clearing away.
2. Mending some minor breaches left by the mother. Not too much toil is necessary.
3. Mending some pending minor breaches left by the father. Few problems at first eventually are clearing away.

4. Tolerating the wasteful father. If this goes on, he will shame all the family.
5. Gathering what the father scattered away. Positive remarks by all!
6. He does not serve the prodigal father; he serves the virtue of serving the father.

The main visual idea is given by the entire hexagram resembling a garment with holes in it (1, 4, 5) mended with long sideways parallel stitches (2, 3, 6).
The hexagram has three yin lines (1, 4, 5) and three yang (2, 3, 6), so there is a final balance; however, there is some imbalance between the two initial trigrams. The upper trigram has one yang and two yin lines. The lower has one yin and two yang lines. Consequently there is a double gap above and a single gap below. This suggests that the first opening got smaller by some mending, and soon the second will get smaller too.
In other words, the elder upper trigram (for example, a father) has left many holes and breaches behind him (so he is a prodigal father) and the younger lower trigram (the elder son) following close behind the father mends the holes and breaches pending by the prodigal father.
With these visible ideas, the hexagram issues forth the situation of mending, of arranging pending problems by good housekeeping and of final balance. These ideas presuppose some unsettled affairs or breaches, a prodigal father, and a decent son. They are all present in the hexagram.

“Influence has supreme success.
It is auspicious to start right away.
If time passes to no avail and the eighth month comes,
there will be misfortune.”

1. A positive influence commences. This is an auspicious omen.
2. Influence by persuasion. Good luck. Everything furthers.
3. A negative influence. He is too sloth to support and guide properly other people. All negative. Only if you toil over an affair may you bring it to good completion.

4. He influences others with his sincerity. All goes well.
5. He influences others with his wisdom. Influence befitting a great leader. Good luck.
6. He influences others by his greatness. Good luck. No blame whatsoever.

Influence is an idea akin to guidance, support, and following. With the present hexagram, all these concepts acquire clarity and become visually discernable and specific in a very simple way. The two strong, solid lines down at the beginning (1, 2) look like upholding and guiding all the weak lines above (3, 4, 5, 6) providing from below a strong foundation, a guide of behavior, a positive influence.
With these two solid lines in the two first places, it is obvious that the renovation of the hexagram and the modification into its opposite has started, and it is in full development providing right influence and guidance. Some attention is needed, however, because this is an early stage (there are only two strong lines) and still a great effort and persistence must be exerted for a favorable ending.
Of course the positive trend of the affairs is assured and the hexagram will fill anyway on its own accord by and by. We are called simply to tune our behavior with the development of circumstances, taking advantage of the auspicious coincidences now, before it is too late.
By the seventh line The I Ching means the beginning of a new cycle of change after the completion of a full cycle (6 + 1 = 7). The eighth month mentioned here is a sum of six lines (a full cycle) plus the two yang lines (at 1 and 2). It implies one stage beyond the new start (6 + 1 + 1 = 8), meaning too late (and not August, the eight month of the year).

“Contemplation.
The ablution is done but not yet the offering.
They are watching him with full trust and expectation.”

1. Indiscreet childlike observation is fit for inferior men. For a decent man, it is a shame.
2. Discreet observation! A behavior fit for women who watch behind half-drawn curtains.
3. I contemplate my own life. This is a decisive contemplation for the augmentation or for the failure of my life.

4. Someone contemplates the greatness of the state. He acquires remarkable knowledge and influence. He may be a counselor of the lord.
5. Someone watches my life. If I am faultless, no blame!
6. Someone watches the lives of citizens. If they are faultless, they are blameless.

Visually, two unbroken lines above (5, 6) and four broken lines below (1, 2, 3, 4) give the impression of a watchtower on two very high pillars. In ancient China there were many such towers scattered all over the country over which guards contemplated continually the horizon (or the citizens) and reported to the local lord.
The idea expressed and the situation analyzed with this hexagram is of contemplation, observation, or watching. You watch someone; someone else is watching you or the citizens or the greatness of the state. Someone is watching with the insolence of a child, someone else discreetly behind a half-drawn curtain, someone with a good motive, someone else with an evil one. The supreme purpose is guidance again.
The climax is progressive, starting with childish contemplation (1), passes to a woman’s contemplation (2), and is completed in the first trigram with the contemplation of a man (3), to encompass eventually (4, 5, 6) the whole state.
Visually the entire hexagram (as mentioned in line 2) also looks like a window with half-open curtains, through which someone is watching discreetly.

“The convict. Strict punishment has success.
Auspicious to administer justice!”

1. An iron shackle around his feet. His toes are not discernable. A minor problem!
2. He eats soft meat. He nose is not discernable. A minor problem!
3. He eats old, dried meat. He bites something spoiled. Slight embarrassment. Not a big problem.

4. He eats old, dried, and gristly meat. He bites a metal arrow. Danger! He must stop at once.
5. He eats fresh, lean meat. He bites a golden arrow. He may continue if he is aware of the danger.
6. An iron shackle around his neck. His ears are not discernable. Bad luck!

Visually, the overall hexagram resembles an erect man with iron shackles around his feet (1), his neck (4) and his head (6).
It also looks like an open mouth (1, 6 = lips, 2, 3, 5 = the opening of the mouth), with a straight horizontal object (4) across the teeth, which could be a bone, a stick, or an arrow.
Two yang lines amid five broken lines (producing ten smaller lines) present the leading visual ideas of the hexagram. All these ideas yield the final idea of a convict in chains eating a bony piece of meat, inducing also the idea of punishment.
The situation is sinister, and there are certain bad signs threatening that it will get worse, as the general guidance of the six lines accentuates climaxing from line 1 (the feet of the convict) up to line 6 (the head of the convict) in accordance with the lines of the hexagram.
Because one iron shackle is at line 1 and there is nothing underneath, the divination of the first line mentions that the toes of the convict cannot be seen.
Because the iron chain is in line 6, there is nothing over it, the divination of the last line mentions that the ears of the convict cannot be seen.

“Charm has success (only) in small matters.
You may commence an enterprise.”

1. He is wearing charmingly ornamented shoes like a groom. But he leaves the carriage and goes on foot.
2. He has a charming goatee on his useful chin.
3. He is charming and drunk. Patience until he comes around.

4. Charm or simplicity? A rider gracefully ornamented comes galloping on a white horse to grab the bride. He is not a robber; he keeps the charming custom.
5. He is esteemed by all possessing graceful gardens on the sides of the hill; however, his roll of silk is almost empty.
6. The grace of simplicity! The best!

The hexagram presents a variable and charming alteration of broken and unbroken lines looking beautiful like an ornament. There is no perfect alteration of one broken and one unbroken line (as the hexagram 64 symbolizing the most serious idea of equilibrium and balance) but grants a graceful variety, beauty, and charm.
Visually the hexagram presents the crude image of a beautiful landscape with gardens on the side of a hill (the entire hexagram).
In a much smaller scale it also looks like the lower trigram is a horizontal (wooden) roll of silk (1, 2, 3) with a last meager fragment of colorful silk still attached to it (4, 5, 6).
The situation presented here and the moral issue posed by the hexagram is the limit between natural beauty and exaggerated charm. It is eternally the trend of people to boost anything good until it becomes an exaggerated hyperbole and a problem on its own.
Of course The I Ching proposes natural simplicity as perfect beauty and grace free from any ornaments. In the last sixth line (at the apex of the hexagram) there is an ideogram of a man dressed in spotless white, the perfect grace of simplicity.

1. The leg of his bed is split. Perseverance causes misfortune.
2. The frame of the bed is split. Perseverance causes disaster.
3. You split from others. A big problem for them, no problem for you!

4. The bed is split; your skin is split, too. If you persevere, you are destroyed.
5. A shoal of fish is coming to your net, one behind the other as the eager ladies of the court go to the quarters of the lord.
6. Big, uneaten fruit ahead. The reasonable man takes a fast carriage to catch it. The fool stays at home, but his home is split in two.

The hexagram with many yin lines (pile of earth) looks like the side of a mountain empty in the middle as if losing its soil by corrosion. It also looks like a rectangular piece of wood split in half, the two pieces held together only by a thin piece of skin at top (6), like a bed with too long and problematic legs as if split apart, like a very tall house with a strangely tall door as if split apart.
The many small lines (formed by the successive gaps) also look like a regular formation of fish. The only unbroken horizontal line (6) this time serves the idea of a net.
The same formation resembles a double-row group of ladies going eagerly to the quarters (and to the bed) of the lord.
With these two last images related to the lines 5 and 6, it is obvious that things are improving, as we are getting closer to the top and to the only yang line. The situation developed here is one day before the winter solstice, when all days are dark and soon the last day will also be dark leading to the winter solstice. The dark days are at their peak, but soon the cycle will start anew. Ahead is the whole spring and summer as a big, uneaten fruit. The reasonable person looks forward to the future for better days, taking a fast carriage to get to them. The ignorant person sticks to the (negative) present. He stays here or stays home, but the present status of affairs is negative, and he is punished for his foolishness. His home is split apart as the divination of the sixth line mentions, as the image of the entire hexagram is split apart.

“Return. Success! You depart and you return with no problems.
Friends arriving freely! The seventh day they depart.
Their departure is auspicious.”

1. Return from a short trip. All is well. Good luck!
2. Return in a good mood. The trip went well.
3. Repeated trips, repeated returns, multiplied danger.

4. He departs with a big company, but he returns alone. He split from them on the way.
5. He returns with heart satisfied by a profitable trip. Many problems initially, at the end they clear away.
6. He loses the way and comes back alone. Problematic departure, difficult return, great fatigue! He should not set armies marching now. He will be defeated and suffer a great catastrophe. For ten years he will not be able to recuperate.

All the lines of the hexagram are dark, and only the first one is bright, signifying the return of better days. The first line is yang, as the first day after the winter solstice or else after the last dark day of the many dark winter days. The bright cycle of spring and summer has just started and is all ahead as a big, uneaten fruit.
The familiar marching armies presented by the entire hexagram, split in two multitudes by the successive gaps in the middle, this time signify a risky deed, because we are still at the very first bright day after many difficult and arduous days.
This means that right now we are not in the position to commence great, costly, and difficult endeavors. The present situation may be positive and full of prospects and promises, but it still is fragile and dangerous, full of past fatigue as it is.
Indeed, as the oracle mentions, this hexagram is the very image of the seventh day, the very first day after a complete, arduous, and difficult cycle (6 + 1 = 7).
It also is the image of the open road with five successive gaps in the middle (2, 3, 4, 5, 6), suggesting a trip and a return, ideas mentioned by all lines of change.

“Innocence. Great success!
Persisting to innocence brings good fortune.
Selfishness amounts to misfortune.
Auspicious to commence a new enterprise.”

1. Innocent and unselfish behavior brings good luck.
2. If you do not think of reaping when you are sowing, if you do not think of how you will use the land you are clearing, heaven will reward you.
3. No matter how carefully you tie up your cow, you may lose it. Some passerby may untie it and carry it away, and you will blame your neighbors for the loss.

4. On the path of learning, there are no such accidents. You acquire knowledge that no one can ever take it away from you.
5. Take no medicine for the sickness. Alone it came; on its own it will go away.
6. Innocent behavior in a wrong moment may amount to disaster.

Three (initially) dark lines of earth have acquired help from the heaven above (4, 5, 6), receiving a bright yang line at the first place (1). This was neither enforced nor extorted. It came naturally like the bright lightning that falls on earth on its own accord when the time is right.
The image presented by the entire hexagram is of a clearing depicted by the two successive gaps (2, 3) among many dark solid lines (1,4,5,6) that visually look like a furrowed field. It is the clearing mentioned in line 2, expected to fill with the help of heaven represented symbolically here by the three full yang lines forming the upper trigram (heaven above 4, 5, 6). The initiative, then, belongs to heaven alone. We just have to be patient, innocent, unselfish.
Visually, the two successive gaps (2, 3) look like a capacious empty clearing full of inner knowledge. These two gaps, one behind the other, also suggests a couple, like a man and a (stolen) cow traveling the same way, one behind the other, in a vast plain as if moving away.
A situation also symbolized here is the first day after the spring equinox, when the first three of the six lines were yin and the second three were yang, but already the first line is yang. So, it is one day after the equinox.

“Double powerless power. Friendships and allies are rewarded.
Auspicious not to eat at home!
Auspicious to cross the great water.”

1. Small obstacle on the road! Short wait!
2. Long wait. The axis is pulled off the carriage.
3. A good horse is the companion of his master in battle and in hunting; waits for him patiently to fix the carriage; then he will be harnessed to pull it to their far-off destination.

4. A bull with a piece of wood stuck on his horns. Great fortune!
5. Tusks of a castrated boar. Great fortune!
6. The decent man crosses the way of heaven. He reaches his high destination.

In hexagram 10 a weak yin line with a gap (at 4) kept in check five strong lines, because it occupied a strategic position in that strong body. Here this mild power of the powerless (at 4) is doubled with a faithful companion (at 5). The hole is getting bigger, so is the weakness of the strong body (now having only 4 strong lines).
The situation discussed in this hexagram is of mild friendships and allies enforcing the mild power of the powerless in a non-violent way, producing great problems on the strong body of the enemy. It is exactly like sticking a piece of wood on the horns of a strong bull to render him harmless in a non-violent way. This general idea is illustrated by the principal visual idea presented by the entire hexagram, which looks like the head of a bull (1, 2, 3), with two horns (4, 5) erected above, and one piece of wood (unbroken yang horizontal line at 6) stuck on his horns.
The double hole prominent in the hexagram reminds us of the hole presented in the carriage (5, 6) when the axis is pulled off.
The same double hole also represents another double absence, the missing double vital parts of a castrated wild boar.
This double hole gives also the visual idea of another mild pair: a carriage (4) and a horse (5) moving one behind the other in a vast plain (1, 2, 3, 6).

“Perseverance brings good fortune.
Take care of nourishment
and everything man fills his mouth with.”

1. You discard the holy turtle shell (with the divination) and you eagerly open your mouth for food. Misfortune!
2. You neglect the arduous path, and you are heading right away for the top to find nourishment effortlessly. Misfortune!
3. You turn your back to nourishment. All unfavorable! Misfortune! Don’t go on! Don’t do it again for ten years.

4. You follow faithfully the path (for mental nourishment) with the eyes of the tiger and his insatiable craving for food. No blame!
5. You relax. Good decision! You cannot cross the great water now (tired as you are).
6. You cross the great water and you get to the top. The awareness of the difficulties helped you to surpass them all.

One unbroken line down (1) and another up (6) form the two widely parted lips of a mouth, and the four successive gaps in the middle (2, 3, 4, 5) form its opening.
The entire hexagram having a perpendicular slot in the middle (formed by the four successive gaps) also looks like the catlike eye of the tiger.
The same arrangement makes the hexagram also look like the arduous path of learning. The yang line at one is the young pupil moving in the path toward the top, toward the other yang line at six. This is the old priest or the temple on the top of the hill, or heaven.
The image presented by this hexagram is the perfect divorce between earth and heaven, and at the same time it is their perfect link with the straight road opened exactly in the middle with the successive gaps (2, 3, 4, 5).
The upward movement is obvious; even more, it is necessary. Today we know that the man (homo) had to stand erect (homo erectus) in order to be wise (homo sapiens), because this erect posture antagonizes gravity, multiplying man’s stamina and abilities and improving the species. This arduous upward move has always been obligatory for man and we have to admire the hexagram for embodying this vital idea and popularizing it in such a simple and playful way.

“TA KUO”

The limits of the powerful

“The limits of the powerful.
The strong ridgepole is cracking.
High time to take some measures.”

1. Lay on supports underneath. All is well!
2. The dry plant sprouts white roots underneath. An old man marries a young wife. All is auspicious!
3. The ridgepole is cracking. Misfortune!

4. The ridgepole is fortified. Well done! If there are any ulterior motives, misfortune!
5. The withered plant sprouts flowers. An old woman marries a young man. Neither good nor bad!
6. Obligatory crossing of the water. If it is deeper than the man’s height, misfortune! He has no choice. He has to try.

“TA KUO”

The limits of the powerful

Two symmetrical gaps provide many visual ideas. In between four full yang lines (2, 3, 4, 5), look like a strong ridgepole with one crack down (1) and one up (6). The ridgepole is still very strong, but it is more than obvious that it needs some supporting. The two yin lines (one below, one above) look anyway like supporting grips fastened (nailed) to both sides of the firm ridgepole. All is well.
The entire hexagram also looks like a deep lake or pond with one yin line of earth down (its bottom) and one up (its bank). The pond is full of water to the brim. Because the lower trigram is the tree and the upper is the lake, we can also say the lake is flooded over the trees.
The gap below (1) and the other gap above (6) are very far apart but they belong to the same hexagram, like an improper marriage between an old man and a young woman (or vice versa).
These two gaps, separated as they are from each other, also bring to mind a water plant (a water lily?) having its root below, deep in the bottom of the lake (gap at 1) and a white flower sprouting from above on top (gap at 6), on the surface of the water.
It is amazing how four unbroken lines and two symmetrical gaps can suggest so many and such charming visual ideas. This is what we call poetic propensity triggered by the crudest of means.

“Very deep water.
Only if you have enough faith in your heart
you will cross it.”

1. Very deep water! You fall in. Misfortune!
2. The water is deep. Danger! Times favorable only for small matters! The more important matters will have to wait.
3. A well in front of you, another well behind you! Danger! Stay still and wait, otherwise you may fall in.

4. A jar full of wine and a plate full of food, passed through the jail window. No blame indeed!
5. The water fills the pond to the edge but it does not overflow. No blame!
6. He is bound with ropes and cords. He is shut in a high-walled prison with thorns all around. For three years the way is blocked. Misfortune!

There are four yin lines (1, 3, 4, 6) over only two yang lines (2, 5). Besides, the four yin lines in pairs (1-3 and 4-6) keep in their depths strongly imprisoned, two bright yang lines (2 and 5) well separated from each other. In other words, two honest men (two bright yang lines) are kept imprisoned within two dark cells.
The two successive gaps in the middle of the hexagram look enclosed like a big (double) jail room. The many smaller lines around this double hole suggest thorns all around it.
The same pattern from another perspective looks like a barred, rectangular, jail window (the two yang lines being the two horizontal bars).
These two horizontal lines (2, 5) also look like the two loops of a rope or a cord tied around the body of the hexagram.
The two trigrams (consisting of two yin lines enclosing a yang line) also suggest the idea of two clay pots or bowls (yin = earth = clay). These clay vessels are mentioned full because within each one there is a full yang line.
All these ideas put forward the divination of the fourth line of two full, clay vessels passed through a jail window. It is meant as a friendly gesture toward a prisoner.

“Light above, light below.
Peaceful perseverance brings happiness.
Care of the cow brings great good fortune.”

1. Footprints are coming and going. If you have a clear mind there will be no problem.
2. You stand in very bright light. Great success!
3. The sun is setting. Some have reason to celebrate, some to wail. Misfortune!

4. The great flames shoot immediately high up but soon they die, and only worthless ashes are left behind.
5. Tears flooding, sighs, and lamenting. Purification! Exaltation!
6. The lord assigns him to subdue a revolution. It is best to kill the leaders and put to prison the followers.

The aesthetic Judgment

Quietly positive hexagram! There is a general superiority of four bright yang lines over two dark yin lines. Two of the bright lines occupy firmly the center of the hexagram and two more are externally on the flanks. Light everywhere! Furthermore all yin and yang lines are arranged in perfect symmetry.
The reasonable advice of the oracle is to stick to this favorable situation for as long as possible following a serene way of life (taking care of the docile cow) so that the favorable conditions may not be disturbed.
Some shadows are not absent, however. The two symmetrical gaps (2, 5) surrounded by so many solid lines look like two jail cells well isolated.
The same symmetrical gaps look very much like footprints on a field (on the ground). Symmetrical as they are, one must decide whether they are coming or going.
The same gaps present two suns in the sky, the first (2) like a low setting sun, the other (5) at the zenith of high noon, each one causing different feelings. They symbolize the double response people have toward life: the young and lucky having fun and celebrating, the old and unlucky wailing.
Once again a clear reference is made on the many pains and adversities humans have to suffer in order to gain the precious purification in the long run. Bright, high flames soon die with no result (like fame). The low fire burning slowly for a long time, eventually leads to maturity, purification, and prized serenity.

“Response! Success!
Perseverance rewards in the long run.
Take the maiden for your wife. Good fortune!”

1. Only his toes respond. Neither positive nor negative! It is still too early.
2. The calves of his legs respond. Great caution and self-restraint! He had better stay home.
3. His thighs respond. He walks. He follows close behind someone walking ahead. If he does not restrain himself, he will make a fool of himself.

4. Perseverance is rewarded. All dangers move away, but soon he will have to clarify his intentions, otherwise only those who love him deeply will remain with him.
5. The muscle over his spinal cord next to his heart is responding. This is not a problem.
6. His jaws and his tongue are responding.

The very optimistic oracle talks openly about good fortune and success and proposes directly and eagerly a marriage with some maiden. Following the same approach, the lines of change mention some progressive response (from down up) of a body toward someone else - no doubt toward this maiden already mentioned and proposed for a wife.
The hexagram symbolizes the body of a young man in love responding to the influence applied on him by a fair maiden, following her closely behind and eventually talking to her, expressing his love with the auspicious happy ending mentioned in the oracle.
Indeed the entire hexagram resembles an erect human body (as depicted roughly by the hexagram to the left). The progressive action of the hexagram and the six lines of change refer to love and to the result love has on the body of the young man in love. First his toes respond, then his calves and thighs and eventually his heart and his tongue.
This progressive bodily response to the young maiden is very specific with hilarious hues at times, especially the repeated advice to stay home and restrain himself (at the early and premature stages 1, 2, 3) least he makes a fool of himself, full of love as he is for the maiden.

“Duration and stability! Success! No remorse!
Perseverance helps. Having a destination also helps.”

1. Duration needs not haste. Premature haste brings permanent misfortune
2. The skies clear, remorse disappears.
3. Lack of steady character means lack of dignity - a source for permanent humiliation!

4. No game in the fields!
5. Duration through perseverance! The patient woman is rewarded the vehement man meets with misfortune.
6. Impatience in a long-lasting affair amounts to misfortune.

The leading idea of the entire hexagram is of a mass of water (depicted by the three successive, full, yang lines 2, 3, 4) deep in the bowels of earth (symbolized by the yin lines 1, 5, 6). It is a water deposit deep in the earth filled slowly through many years, hence the idea of duration, patience, stability, and piling up of a great quantity bit by bit.
As we can see plainly, a yin line (yin = earth) symbolizes the dirt bottom of this deposit; the two upper yin lines (5, 6) symbolize the rim of the cavity in the earth.
This idea of steadiness and duration is not easily expressed by the two nuclear trigrams (thunder and wind) - two extremely unsteady and short lived phenomena. The interpretation based solely on the trigrams must exceed inventiveness and stretch rationality to express it; however, the image presented by the whole hexagram provides the idea offhand.
In this hexagram, it is obvious that the images and the general visual ideas presented by the entire hexagram play a major role in the casting of the divination and the interpretation of the hexagram rather than the two nuclear trigrams. Once aware of these hidden images, everything seems clear, logical, and matter of fact.
Of course a careful interpretation is always needed. For instance, why is the divination of line 4 no game in the fields? Can you see it?

1. The tail under the hind legs! Danger! Do not undertake anything! Stay still! Go nowhere!
2. He does nothing. He stays immobile as if fastened with the strongest ropes that nobody can break.
3. Hesitant retreat is dangerous and nerve-racking. Helpers will help and bring good fortune!

4. A wise man will retreat and win. An unwise man will never retreat, so he usually suffers defeats.
5. Tactical retreat brings good fortune.
6. Massive tactical retreat will amount to great good fortune.

Two leading visual ideas are presented by the entire hexagram (both ideas mentioned in the lines of change).
The first is the back of an animal (most likely a dog) with a double hole below (two gaps 1, 2) denoting the absence of a tail, suggesting that it is put under his legs, as in the presence of a danger, hence retreat.
The second idea is of an erect man fastened all around with tight loops of a stout rope. The idea accentuates the proper behavior a man should have when under the threat of grave danger. He must stay still.
Furthermore, the two yielding yin lines underneath (1, 2) make it clear that the transformation of the hexagram into dark has started. There are still many (four) bright yang lines, but progressively they will all become dark. This is the present trend of the matters.

The hexagram symbolizes a grave and dangerous situation and all the important affairs should be put off for a later better coincidence; however, the four yang lines still ahead (3, 4, 5, 6) offer a last fair opportunity. If we take good advantage of it, things might still turn out well. Retreat is not necessarily something negative, as long as someone has the minimal necessary humility and flexibility beyond sterile egotistic rigidity amounting only to disaster. This is especially true in perilous times like this, which demand a tactical wholesale retreat.

1. Power in the toes. If you persevere you will fail. This is precisely the truth.
2. You will succeed if you continue quiet, calm, and simple.
3. The wise man is calm and polite. An unwise man is aggressive and violent. Danger! The goat butts against a hedge and gets his horns entangled.

4. Success through perseverance! The problems recede. The hedge retreats. No entanglement! Strong is the axis of a carriage, though with a quiet strength.
5. Soon the goat loses his horns (…his violent might). No remorse!
6. The goat butts against the hedge and gets entangled in the wires. No progress! If he knew what problems his attitude would have caused, he would never be violent.

Two leading visual ideas are presented by the entire hexagram (both mentioned in the lines of change).
The first is the head of a goat depicted by the four yang lines (1, 2, 3, 4) standing for his head and the two divided yin lines above (5, 6) as his two erected horns.
The second idea also presented by the entire hexagram is of a hedge or fence with the same four yang lines as the horizontal wires forming the fence and the four smaller lines (5 and 6 X 2 = 4) representing the thorns on top of a fence.
These two ideas combined produce a goat butting a fence, suggesting the main idea of an impatient, violent, and mindless power.
One more visual idea is of an open road ahead (gaps 5, 6) after many obstacles (solid horizontal lines 1, 2, 3, 4) initially blocking the way.
The general situation is positive. We have four bright yang lines (also resembled as a strong carriage axis) promising that the whole hexagram will soon become bright. The power is present and it is auspicious as long as it does not abuse its own might. The I Ching grasps the opportunity by the horns to talk about non-violence and the effectiveness of calm interventions. Using genuine satiric sarcasm resembles the violent man with a brainless goat who butts the fence impatiently and gets entangled in the wires when matters evolve auspiciously on their own. Reason and wisdom should accompany strength.

“Progress! Ascent!
Honorary offer of many horses is given to the lord.
The same day you are accepted twice.”

1. Progress and halting! Perseverance is rewarded. If you lack knowledge and strength you must have patience at least.
2. Progress and problems! Perseverance is rewarded by some elder ancestress.
3. All is well. Progress. They all trust you and remorse disappears.

4. A rodent is progressing by digging subterranean tunnels. Dangerous progress!
5. The problems recede. Heed not losses and gains now. Proceed! The way is open.
6. Progressing with the horns is allowed only in order to bring your own relatives to their senses. If you are conscious of the danger, you can face it successfully. If you ignore it, you will be humiliated.

Several visual ideas are presented by the entire hexagram (all of them are mentioned in the six lines of change): The first and most obvious idea is of the sun high up in the sky, depicted by the upper trigram (4, 5, 6 = fire, sun), over the earth symbolized and actually depicted by the three yin lines of the lower trigram (1, 2, 3 = earth).
This image alone presents the idea of gradual progress; as the sun is progressing slowly yet steadily up on the sky. Here neither haste nor delays are present.
The second idea formed by the entire hexagram is of a horse (his head is the gap in the fifth place, and his very long legs depicted by the 6 smaller lines formed by the three successive yin lines (1, 2, 3 X 2 = 6).
The same smaller lines suggest a multitude or a pack of horses driven toward the lord at the top.
Another charming and very imaginative idea is of a rodent digging subterranean tunnels. The rodent itself is depicted by the single (white) gap in the fifth place, and the subterranean tunnel is the hollow line formed by the three successive gaps (1, 2, 3). It is “subterranean” of course because “terra” in Latin means earth and earth is indeed the lower trigram with the three successive yin lines. It is some kind of progress anyway but not an honored one, so the divination attached to it marks it as dangerous!

1. Darkness falls in time of flight. Folding the wings. The decent man fasts three days. He has a destination, but he must find accommodation for the night by an unfriendly host.
2. Darkness falls in time of flight. His left leg is wounded. He rides a strong horse away from all danger.
3. Darkness falls while hunting deep in the south. The lord of the darkness is captured. This does not mean that all problems are exceeded.

4. Following the left valley he enters the country of evil. He falls in the deepest darkness, yet the gates of the dark yard fly open and he escapes. Set
5. Trapped in a dark yard. He will survive through patience and perseverance.
6. Darkness! The sun is down. What first was high up in the sky now is plunged under the earth.

The aesthetic Judgment

The hexagram presents many visual ideas. First of all, because it is the previous hexagram inverted, it depicts a body upside down indicating a fall (from the sky) as is mentioned in most lines of change.
The nuclear trigrams present the idea of a sunset with the sun (1, 2, 3) down below and the earth (4, 5, 6) above. Hence, the sun plunging under the earth implies darkness or twilight.
The entire hexagram presents a gloomy scene. Below we have a closure (a single gap at 2) like a dark yard, and two high mountains above, formed by six smaller lines (4, 5, 6 X 2) piled up left and right. The three gaps between the two erected mountains above fortunately form an open pass upward and out.
The lower trigram is “fire” and the upper is “earth,” however, and the hexagram is also interpreted as the “land of evil” – with flames gushing under the earth.
The same elements depict the evil lord himself. His two long horns are formed by the many upper smaller lines (3, 4, 5 X 2 = 6) and his head is produced by the lower trigram (1, 2, 3) with his gapping mouth (gap at 2) emitting flames.
These elements also portray the body of a bird (1, 2, 3), with folded wings above (smaller lines 4, 5, 6 X 2), as sketched roughly here to the left.
All these ideas make the present hexagram one of the gloomiest of the sixty-four. Night falls while a great endeavor (hunting in the south) was in full progress and everything now is in grave danger.

“The family!
The role of the woman is most important!
The calm conduct of a woman leads to success.”

1. Retreat in the depths of the family. All concerns recede.
2. A woman should not follow her whims. She must take care of familial food. Womanly perseverance brings good fortune.
3. Spirits often fly high within the family. They should not exceed proper limits. The house is a blessing nevertheless. Only when the wife and kids play around forgetful of their duties, are they humiliated at the end.

4. A woman is a blessing in the house. A good housewife is great good luck.
5. Like a lord his approaches his family. No problem! Good luck!
6. If the father is magnificent and magnanimous, in the long run there is good fortune!

The hexagram looks like the ground plan of a house. The lower gap (2) is the inner home surrounded by solid walls (1, 3). The other gap (4) is the front door in the second wall of the front yard surrounding the house.
The two trigrams suggest a home-fire (hestia) with the lower trigram being the fire, and warm wind coming out from above with the upper trigram being wind.
All these ideas place the positions and the duties of the woman (as a housewife) within the house.
A woman is mentioned twice in the six lines of change, in lines 2 and 4. Both these lines are yin (representing female or woman).
The first time an ambiguous judgment is made concerns some dubious deeds, because this is a low gap (2). The second time concerning an upper gap (4) the comment is positive.
A man is mentioned twice (5 and 6). Both these lines are bright, firm, and positive yang (representing man). Both these lines are located up on the hexagram and outside the house (outside the front door) depicted by the ground plan.
This alone was enough to vouch safe the absolute relationship of the divination and the lines of the hexagram. No verbal idea exists in the text if first a similar visual idea does not exist in the six lines. The text is a strict analogy of the hexagram point to point.

1. Remorse disappears. If your horse runs away, do not go after it. He will be back on his own accord. If you meet a quarrelsome person don’t respond to him.
2. You meet your landlord in the small backyard. No blame!
3. A carriage upturned. The oxen loose! The carriage man’s hair and nose are cut. Bad beginning, good end!

4. Alone after a quarrel! You meet someone of like mind. You keep good company. You ease off; you relax.
5. The wrath is quiescent. They eat peacefully at the dining table. If you join them, who is to blame you?
6. Often bitter quarrels. The other party is like a pig in the mud, like a carriage full of demons. First you draw your bow, and then you let it slacken. He is not that bad after all. Eventually rain falls and all tension clears away.

Some well-known similes are present in this hexagram, too. The upturned carriage is present (made up of the lines 2 and 3), and it is mentioned once (in the divination of the third line of change). Of course just to make the deciphering a bit harder, some intricate images are given: the carriage man with hair and nose cut. (Do you see him?)
A carriage (not upturned this time) is also present (made up of the lines 5 and 6), and it is also mentioned in the divination of line 6, embroidered again with suitable details concerning some quarrels (a carriage full of demons).
A dining table is also present (lines 3, 4, 5) as mentioned in line 5. Some suitable details (concerning the present situation of quarrel) are also embellished with it.
The two trigrams are of two females (1, 2, 3 = tui or lake, the younger daughter and 4, 5, 6 = Li or fire, the older daughter). The only two yin lines of the hexagram (3, 5) also represent these two females. Visually, these two broken lines present two gaps as two households separated by a thin wall (the horizontal unbroken line at 4). So, we have two sisters married in the same house, in different households, amounting to frequent family quarrels followed often by equally happy reunions.
These two gaps amid five solid lines are also mentioned as two entities running one after the other, as a stray horse ahead (5) followed by his master (3) chasing after him; or someone (gap at 2) meeting his landlord (gap at 5) in the backyard.

“Obstacles!
The southwest is auspicious;
the northeast is not.
Auspicious to see the great man!
Perseverance brings good fortune.”

1. Going will meet obstacles; returning is open.
2. The lord’s servant encounters one obstacle after the other, but this is hardly his fault.
3. Going meets an impassable obstacle; returning is obligatory.

4. Going meets impassable obstacles; returning leads to a reunion.
5. While facing the greatest obstacle, friends arrive.
6. Going meets obstacles; coming is the best you can do. It is high time to get advice from a respectable person.

The very well known ascending road, made up of many successive gaps here, is repeatedly blocked by one obstacle after the other, presented by the perpendicular solid yang lines (3, 5).
The entire hexagram is the very image of a mountainous path blocked again and again by huge fallen timber, (water ditches, or rain creeks).
All lines of change refer to some obstacle(s), but line 3 (the solid line representing the actual obstacle) mentions an impassable obstacle. Likewise the other line representing an obstacle (5) mentions the greatest obstacle, climaxing the drama.
The same line also mentions some friends arriving (to help) at the zenith of all problems. The four smaller lines produced by the broken yin lines 4 and 6 represent these friends. As it is, these four smaller lines seem to be arranged around the obstacle (5) as if bent over it to lift it up and off the way. Hence, they are friends that have come to help.
The entire hexagram presents the figure of a man, mentioned in line 4 as the lord’s servant, probably because the two smaller lines (made up by the broken yin line at 4) look like two arms over his belly holding or carrying something (the gap between the two smaller lines looks like such an object).
These two smaller lines also look like a meeting suggesting the divination of line 4 mentioning some reunion.

“Deliverye!
The southwest is auspicious.
If you don’t have a destination, you may return.
If you have a destination,
you should hasten and you will be profited.”

1. All is well.
2. You kill three foxes in the fields. You win a silver arrow. Perseverance is rewarded.
3. Carrying a burden on your back while riding on a carriage appeals to robbers from afar. If you continue this, you will be humiliated.

4. If you get rid of some unworthy companions, a trustworthy friend of yours will return.
5. If you stay steadily away from unworthy companions, they will realize that you are determined to get rid of them.
6. A lord shoots an arrow at a hawk on a high wall. He kills it. All is well.

At the beginning of the hexagram (lines 1, 2) we see again the image of the well-known carriage. This time it is carrying a man. The two smaller lines (produced by the broken line at 3) depict his two feet. The solid line (4) represents his bent down back. Strangely enough this man (though he rides a carriage) carries a huge bundle on his back. As we can see in the adjacent sketch, the four smaller lines (produced by two broken lines 5, 6) make up this bundle (tied-up crisscross with a white rope).
The overall, quite complex image indicates just how much can be depicted with six simple broken and unbroken lines once a standard system of symbolism is established. These hidden images were there for thousands of years, yet nobody could discern most of them, and for a good cause, too. A degree of poetic ambiguity and mystery should exist for people to accept the oracles, and the divination as we saw is needed as a strong pretense for the propagation of wisdom.
Some old lovers of the I Ching may be annoyed by this persistence of ours to clarify all symbols and hidden pictures. But before they accuse this attitude as too prosaic, let them think that the images of the I Ching are practically endless. In this same hexagram there are also three dead foxes on a field, a silver arrow, some robbers, a prince, a hawk, a high wall, some beloved friends, and some others unworthy. So, there is still plenty of mystery left for all mystery lovers.

“A decrease causing the increase of one’s own self
brings great good fortune.
Perseverance further
if you bring small bowls for the sacrifice.”

1. You leave your tasks in order to help a friend. No blame! There is a limit on how much you will decrease yourself to increase others, however.
2. Auspicious to continue! Not auspicious to undertake a new task! There is a way to increase others without decreasing yourself.
3. Three travelers may lose the company of one. One traveler may only acquire company sooner or later.

4. If you decrease your faults, others will come to you gladly.
5. Someone is increasing you constantly. Ten negative oracles cannot stop you. Great good fortune!
6. You increase yourself without decreasing others. No blame! Perseverance furthers. You acquire helpers and your home is open to all.

The leading image of the hexagram is of a water deposit very low with water. Starting from down up, we see only two full yang lines (1, 2). The three successive yin lines (3, 4, 5) depict the earthen walls of the (half empty) deposit. On the top (6), a strip of heaven (or ascending vaporized water) completes the scheme. This is the precise image of decrease.
The allegory of the ascending road this time supports another idea. Two yang lines at the bottom (1, 2) travel upward but initially they were three. The third traveler (the third yang line at six) looks like he abandoned the company of the other two travelers and speeded up for above. Hence, out of three travelers, one splits away.
It seems that he decreased the company of the three yang lines in order to help the upper trigram consisting of only yin lines, hence the decrease of one’s self in order to help others. The I Ching proposes an even better way: to increase others without decreasing one’s own self. In this hexagram, it is feasible. No matter what the inner shuffling of lines, the overall balance is still three yin and three yang lines.
The divination of the fifth line mentions that someone is aiding you so strongly that not even ten negative divinations could oppose you. This very helpful someone is represented by the full yang line (at six) adjacent to the fifth. It is the helpful heaven assisting from above all people ascending willingly to him.

“Ascend!
Auspicious to undertake something!
Auspicious to cross the great water!”

1. You may undertake great works. Good fortune is with you.
2. Great assistance from above! Ten negative divinations cannot stop you. Steady ascending! A high official presents you to the lord. Good luck!
3. Misfortunes build up our characters. No problem if you are sincere, if you walk in the middle of the road, if you present yourself to the lord holding the great seal in your hand.

4. You walk in the middle of the road. The lord follows your advice. He appoints you administrator of public wealth.
5. If you have a clear heart do not hesitate. You will be promoted. Your honesty will be recognized.
6. He is not promoted. Indeed somebody slaps him. He deserves that; he is not honest.

“I”

The aesthetic Judgment

This hexagram (42), as all hexagrams, is the inversion of the former (41) producing almost the same relationships with a single, though not insignificant, difference. The former hexagram had two yang lines down (1, 2) and one above (6). This hexagram has one yang line down (1) and two above (5, 6). This means that the assistance from above is doubled and the single yang line at position 1 (like a promising young man just starting his way up) receives much greater assistance from heaven. If we take just a look at the hexagram, we see the obvious: the two heavenly lines (5, 6) with united power call, draw, and assist the bright line underneath to ascend high to the top.
All these ideas make it clear that the situation presented by this hexagram is of the fortune of great assistance coming from above. We must be careful, however, because this heavenly assistance is given only to honest people. One must walk in the middle of a straight road (as the one depicted by the present hexagram). One must hold the seal in his hand (most probably depicted by the whole hexagram, as the similar hexagram 12 also mentioned this seal). Then one yang line (5) as a higher official presents the honest person to the lord (6). Otherwise these two heavenly lines (5, 6) are interpreted as double obstacles blocking the way to all dishonest people, providing the divination of no promotion.
Indeed the entire hexagram also depicts a human figure with chains in his feet (solid line at 1), so he is a convict and a dishonorable person.

“Overflow!
The council of state should be notified!
Danger!
The city should be notified at once!
We should look immediately to it - not with arms.”

1. The very beginning of something new and dangerous! If you are not ready or capable, then you will face disaster.
2. Alarm is sounding. Weapons at dusk and through the night; but it is not an enemy assault.
3. Do not pretend you are resolute. Misfortune! A determined man is steadily resolved. He walks alone under rain under blows and adverse comments but never backs up.

4. All your troubles would have gone away if you had let yourself be guided like a lamb. These words, however, are not easily believed.
5. You must cut the grass quickly. This is wise advice. If you follow it, you will have no problem.
6. He calls for help in an empty marketplace. A bad omen! At the end, an unexpected misfortune happens.

The aesthetic Judgment

Most lines are solid. Soon the last sixth line will be solid, too, like a lake filled with water to the brim. The hexagram is the very image of a full lake with just a narrow margin of earth (a thin bank) at 6. It is a moment of great completion of fulfillment and soon the beginning of something new and hard. The present situation is of the last day before the summer solstice. All the difficult winter cycle is lying ahead. Another evident image is of ripped grass (mentioned in line 5). The two smaller lines on top (6) are very short as clipped grass on a vast empty field represented by the whole hexagram. (We may compare the same symbol, of grass on a field, with the visually similar hexagram 11).
In the divination of line 6 the same elements serve another idea. The single gap on the top resembles a solitary person calling for help in an empty (outfield) marketplace (also represented by the whole hexagram, looking very much like an empty field fit for such an open marketplace).
Because the last line is the only yin of the whole hexagram, it also symbolizes an unexpected misfortune happening at the last minute to a lonely man deserted by all his friends.

1. Problem! It must be stopped with an iron brake. If you let it go uncontrolled, it will lead to misfortune. If the lean pig is let loose, it roams around.
2. There is a fish in the bucket. Good enough for you, not for your visitors!
3. He has problematic legs and his walk is difficult. He knows the problem and he will face it.

4. There is no fish in the bucket. Misfortune!
5. Delicate melons are carefully preserved under cool palm leaves. If you hide your virtues with equal care, the reward will fall on your lap from above like a ripe melon.
6. He comes to the meeting with protruded horns. Shame on him! No blame for you!

In the absolute solid body of many successive, strong lines (2, 3, 4, 5, 6) a single gap (1) appeared from underneath, ill omen and dangerous. It must be stopped immediately with an iron brake before it is too late. Just a single gap under five solid lines provides many clear images, symbols and ideas. First of all, this gap underneath (1) symbolizes a lean pig in front of a large empty field (2, 3, 4, 5, 6) ready to roam about if let loose. It is really a very simple but very suggestive image. The same elements also resemble a fish (same gap) in the bottom of a bucket (the entire hexagram). The same elements also resemble a melon (same gap) covered for shade under many large palm leaves (2, 3, 4, 5, 6), or falling off a vast empty heaven (also 2, 3, 4, 5, 6) out of the blue.
The two smaller lines left and right (produced by the sole gap) under many solid lines make the entire hexagram look like a huge body (2, 3, 4, 5, 6) moving hither or coming with two short, protruding horns. They also resemble a massive body with undersized legs, hence, walking with difficulty.
The reference to the dangerous woman (that one should not marry) might be allegoric or literal, but it is not sibylline. The one and only gap underneath, like a lower open hole, shows clearly that it is a woman, and a shameless and wanton woman indeed. Once more the spatial relationships provide clear meanings. As always down or up can be greatly significant - that is both important and signifying. The mind always derives the first meaning out of spatial positions and spatial relationships of otherwise scant and meaningless objects.

“Accumulation!
Success!
The priest approaches his temple.
Auspicious to see an important person,
to make allies and friends.
You may undertake a new enterprise.”

1. If you are not stable, sometimes people will gather round you, sometimes not. Sometimes you win immediately, sometimes with smiles and handshakes.
2. Enter the masses. No blame! If you are sincere, you can win with no difficulty.
3. Massing with sighs. All unfavorable! You may continue if you wish. Slight humiliation.

4. Great good fortune! No blame!
5. You take an honorary place in a gathering. Someone who did not respect you now thinks highly of you and he stands by you.
6. Lamenting, sighing, and a flood of tears! Yet nobody is blaming you.

Two solid lines high on the hexagram (4, 5) have only one broken line above them and three underneath (1, 2, 3). They look like mountain lakes filled with water after a heavy rain, like mountain creeks sometimes dry and sometimes filled with water. These images serve the idea of accumulation or massing.
The same idea is better served by the gathering of some people. A multitude of smaller lines (1, 2, 3, 6) render a double number (eight) of smaller lines resembling a gathering around two strong, unbroken lines (4, 5). This time it is not just friendly company around a table but an outdoor greater social, political, or religious gathering in a great square.
The two strong yang lines (4, 5) are next to each other and in very honorary positions. They appear to play a significant leading role - most probably political.
In other words the superior man (whom we met in hexagram 8 holding together a friendly company) here is playing a greater role, and he has found a friend, an ally, and supporter next to him bucking him up from the lower fourth place.
The whole hexagram also resembles an erect human figure standing on high and unsteady legs, hence the divination of the three first lines is dubious talking about someone with exactly this trait - lacking stability.

“Growth brings supreme success.
You must see the important person.
Fear not!
Departure for the south brings great good fortune.”

1. Growth approved by all brings great good fortune.
2. If you are virtuous and honest, you will grow with the least effort.
3. He is growing into an empty city.

4. You acquire fame and glory and one place in the pantheon of the chosen. Good fortune! No blame!
5. Perseverance brings good luck. Gradual growth with one step at a time!
6. Growing into the darkness. Furthering through steady persistence.

The lower trigram (1, 2, 3) is of wind, also symbolizing wood and generally a plant, as in this hexagram. The upper trigram (4, 5, 6) symbolizes earth. The entire hexagram symbolizes the wood in the earth or the plant in the earth, meaning a plant growing inside the earth, which soon will sprout up into the open air.
The same idea is rendered visually just as well. The two full yang lines (2, 3) deep under the earth within five yin lines (yin = earth) have sprouted a slim bit of a root represented by the single gap (1).
All these ideas mean that the seed within the earth is living and growing steadily upward toward the light of heaven, slowly but steadily with a natural trend and vitality. It neither hesitates nor hurries. It is growing.
Natural, steady growth is the leading idea discussed in this hexagram related to a very positive, natural, and auspicious situation; however the plant grows in the dark earth under various circumstances in the most diverse and usually adverse surroundings. The many dark yin lines of the hexagram render this inhospitable surrounding described in the lines of change as darkness.
The upper trigram divided left and right by the successive gaps (4, 5, 6) presents two deserted structures (or apartment buildings) standing above an empty street, formed by the two horizontal lines (2, 3). It is a mini urban landscape depicted by the crudest means, hence the divination: a deserted city.

“Oppression!
You will get over it if you persist.
Some important person will help you.
Someone has something to say, but they do not believe him.”

1. Someone is sitting heavy under a bare tree. He enters a dark valley. For three years he sees no light.
2. He is sitting at a feast table with a heavy heart. The feudal lord with scarlet knee bands is approaching. For his own sake he must greet him heartily.
3. Someone hits his head against a wall. He lies on thorns. Returns home but his wife is absent. Misfortune!

4. Speechless, beaten, he returns on a golden carriage. Humiliated but all oppression is over now.
5. His nose cut off, wounds in his feet. Oppressed by the lord with the scarlet knee bands. Sooner or later better days will come. Till then fasting, courage, and patience!
6. He is caught in simple creep vines. He thinks he is in grave danger. If he ever sees the simple truth, he will free himself easily.

The leading visual idea presented by the entire hexagram is that of a human figure with a (scarlet) band on his knees, a distinction in those days of a certain feudal lord. Here he is mentioned in two lines of changes (2, 5) as the lord with the scarlet knee bands. He is a fierce figure throwing a heavy shadow on the entire hexagram, affecting all individual ideas.
The first two lines represent a bench and the lines 3, 4, 5 a tree above the bench. But in this gloomy hexagram they are interpreted as a man sitting with a heavy heart under a bare tree. At the well known feast table (formed by the lines 1, 2, 3), this time the protagonist is also mentioned, sitting with heavy heart. This bright yang line (2) lying between two yin lines (1, 3) producing four smaller lines is interpreted this time as thorns all around.
These elements also produce the idea of a golden carriage (lines 1,2) carrying a tortured and humiliated man (3, 4, 5, 6) returning home.
This man has one gap down at his feet (3) and another one up at his face (6) producing the idea of a person with a cut in his feet and his nose, meaning wounds from top to bottom or wounds all over. He is a maltreated man.
Fortunately there are two bright yang lines quite high in the hexagram (4 5) offering some hope for assistance from above.

The well

“The well.
The city stretches around,
but the well was always there.
All come and go and draw water from the well.
If the rope is short, if the bucket is broken, misfortune!”

1. Nobody drinks from an old and muddy well. Neither birds nor animals go near it.
2. In the old well only crabs and frogs live. And his bucket is full of holes and dripping.
3. The well is cleaned but nobody comes to drink. My heart is heavy for it. If the lord was sensible, all citizens would have profited and first of all he himself.

4. The well is being lined. This will improve it greatly.
5. Clear, cool water springs out of the well. All may come and drink.
6. They all draw water from the well and it never empties. Great good fortune!

At the beginning there is a spring or a well and all around it, life and the city spread. As always in the evolution of life and human societies, great cities were developed around water deposits (wells, rivers, lakes, seas).
The two nuclear trigrams (wood below, water above) yield the idea of a wooden shaft in the water (as the wells were at those times in China).
Visually, the well is also reproduced with a line-to-line reference. The first line at the bottom (1) is yin denoting the earthen bottom of the well (which also can be muddy because yin = earth = clay = mud).
Directly above, two successive full yang lines (2, 3) represent a quantity of water deep in the well. The three upper lines (4, 5, 6) represent a full yang line (5) between two yin lines (4, 6) as a hollow bucket (full of gaps or holes) pulling up a smaller quantity of water.
Other minor visual ideas are discernable, too. The lines 1, 2, 3, with the two smaller lines (at 1) as his pincers, can very well create a crab. And the lines 4, 5, 6 can form the image of a frog; the four smaller lines (4, 6 X 2) can represent his four legs.
The same lines also represent the symmetrical stones lining the inside walls of the well (mentioned in line 4).
All divinations mention the well and some activity referring to it becoming gradually more optimistic as we progress toward the last sixth line, the most optimistic of all.

“Revolution!
It is high time to revolt.
They listen to you and they believe you.
Great success!
Perseverance rewards.
All remorse disappears.”

1. You wait still and silent, wrapped tightly in the thickest hide of yellow cow.
2. Revolution erupts when the time is ripe. Commencing amounts to good fortune! No blame!
3. Commencing brings misfortune. Persistence brings danger. When the rumors make the cycle of the city three times, you may repeat them. They will all believe you.

4. Remorse disappears. They all believe you. Passing over all obstacles brings good fortune.
5. The great leader is like a tiger recognized from afar. All follow him even before they hear what he has to say.
6. The leader is like an old panther with molting pelt. Commencing brings misfortune. Patience brings good luck.

The general aspect of the entire hexagram provides the ideas of oppression and revolution. There is a gap (2) low in the hexagram like a narrow and dark jail cell oppressed by three successive solid lines from above (3, 4, 5). The gap at 6 offers an outlet up and out. A revolution is needed to sweep all obstacles blocking the sole way out.
Indeed the revolution erupts in line 2 representing a broken yin line presenting a crude but adequate enough visual image of such an eruption.
The entire hexagram also looks like a dried-up animal hide or pelt resembling here three times, three different animals (cow, tiger, panther) according to the needs of the similes and symbolism fitting each line of this hexagram of revolution.
The gap (at 2) surrounded by many solid yang lines, resembles someone oppressed yet staying still and silent, wrapped tightly in the strongest hide of a yellow cow, waiting because the time is not yet ripe for action (we are still very low in the hexagram).
The other gap of the hexagram (at 6) supports (as a hole) the simile of a pelt of an old panther losing his hair (molting).
The successive lines (as parallel stripes) support once more the simile of a tiger.

1. A caldron with legs upturned. It is good for the caldron to remove periodically the stagnating residues; as it is good to benefit an unmarried woman for the sake of her son. No blame!
2. There is food in the caldron. My companions are envious of me, but they cannot do me any harm.
3. The caldron has broken handles. Its use is difficult. One cannot cook easily a fat pheasant to serve it warm; however, rain falls and all remorse clears away.

4. The caldron has broken legs. It upturns. The meal of the incompetent host is spilled. His face is soiled.
5. The caldron has yellow handles and golden carrying rings. Perseverance furthers.
6. The caldron has rings of jade. Great good fortune! Nothing adverse!

The aesthetic Judgment

A caldron is a vessel in which food is cooked, so it is important for the support of life and it is holy for the same reason. The main idea of the hexagram is of a caldron and all details concerning the preparation of food for the family and the clan. These ideas are expressed in the six lines of change as usually becoming progressively more and more optimistic.
The two trigrams alone provide adequate ideas to suggest the caldron, because the lower trigram is of wood and the upper trigram is of fire; a caldron is always put on such a fire.
Visually the caldron is also produced with a line-to-line reference. The first line at the bottom (1) is yin, suggesting the earth on which a fire is put. The gap represents the flame and the two smaller lines left and right represent two pieces of burning wood.
Above, three successive yang lines represent the concrete body of the black caldron. Its opening is represented by the upper gap at 5. The double reference to some caldron upside down points out that this caldron can equally well be considered upside down, with the gap at 1 being its opening. Hence, it is a caldron upside down.

“Thunder brings success
The initial shock is followed by laughter.
Thunder resounding a hundred kilometers afar!
You should hold steadily the holy chalice.”

1. Thunder brings shock and surprise at first, then laughter and jokes.
2. Thunder falls countless times one after the other. You abandon everything valuable and climb nine stories to avoid danger. Don’t look for the spoils. In seven days you will get it all back.
3. Lightning strikes and you get dizzy. If you react in time you surpass all danger.

4. A lightning sinks into the mud.
5. Lightning strikes hither and thither. Danger! But you may attend to your business.
6. Lightning brings ruins and people staring all around; yet the lightning hit your neighbor’s house not yours. People’s talk is no concern of yours.

First comes one bright yang line (1) like instantaneous lightning, followed by two vibrations upward depicted by two broken lines (2, 3). Immediately lightning (4) strikes again followed by two more such broken lines (5, 6): repeated lightning.
The entire hexagram also looks like a chalice open to the sky. Combined with the lightning and flames, it may as well be a holy chalice used for religious ceremonies mentioned in the oracle.
Visually, the symmetrical hexagram looks very much like a two-story building and indeed like a ruin because the roof on top is missing as if struck by lightning. The two successive upper gaps (5, 6) represent a bigger opening, gapping to the sky above the black (and almost smoking) wreck.
The solitary yang line (4) amid eight smaller lines (2, 3 + 5, 6 X 2 = 8) suggests a multitude of curious people gathered around staring at a black, rectangular structure hit by lightning.
The same line at 4 (a single, bright yang line lying between two couples of yin lines) signifies that lightning has fallen well into the mud (yin = earth = mud) causing no harm whatsoever. This is exactly the divination of the fourth line. This favorable idea gives the key for the relatively happy ending of the hexagram despite so much lightning, such great danger, shock, and ruin.

“Standstill
He keeps his back still for so long
that he doesn’t feel his body.
Someone enters his yard but sees nobody.
No blame!”

1. Your feet are still. No blame! Perseverance furthers.
2. Your calves are still. The man following needs help, but you cannot help him and his heart is sore.
3. Your pelvis is stiff. Danger! Your heart suffocates.

4. Your trunk is still. No problem!
5. Your jaw is steady. Your words have order. Remorse disappears.
6. Magnanimous stillness! Good fortune!

Two rigid lines (3, 6) block twice the way up to the top, like repeated obstacles blocking the outlet ahead. The two trigrams (1, 2, 3 and 4, 5, 6) look like two inverted cups one atop the other as if waiting for better times. Hence, the main idea of this hexagram is of standstill affecting the interpretation of all individual lines.
The comments on the six lines of change sound like instructions for yoga exercises involving many still postures progressing as always from down up. Stillness is a trait of self-control and self-discipline, characteristic of lords, higher officials and priests standing still many hours in religious or public ceremonies. The higher an individual stands in the social pyramid, the more necessary his self-control and the more frequent his long stillness.
Visually, the two trigrams present the crude figures of two men, one following the other but never catching up - mentioned in line 2. The lower trigram looks like a gate through which one may enter an empty inner yard formed by the double gaps (4, 5) enclosed by the two yang lines (3, 6).
The entire hexagram also looks like an erect man with a stiff pelvis (the solid horizontal yang line at 3), hence, the divination of the third line relates the only problem mentioned, such a stiffness. Fortunately the other solid line (a yang line at 6) spatially correlates with the jaw of this erect figure, so its divination is positive because a steady jaw controls one man’s words providing the hexagram with a final happy end.

“Enhancement of virtue!
The maiden is given in marriage.
Good fortune!
Perseverance furthers!”

1. The wild geese gradually approach the coast. The young son is at danger. No blame!
2. The wild geese gradually approach the cliff. They eat and drink peacefully. Good fortune!
3. The wild geese gradually approach the plateau. A man departs, but he does not return. A woman carries a child but does not bring it forth. Misfortune! It is time to fight off evil.

4. The wild geese gradually approach a high tree. They may find some stout branch to land. No blame!
5. The wild geese gradually approach the top. For three years the woman does not carry a child. In the end all is well. Good fortune!
6. The wild geese gradually approach the clouds. Their feathers may be used for the holy ceremonies. Good fortune!

The main idea of the hexagram is offered by the six smaller lines (produced by the yin lines 1, 2, 4 X 2) looking like a symmetrical formation of flying geese approaching gradually (line after line) one characteristic place after the other. Since the lower hexagram is mountain, it provides the cliff they approach. The mountain is also the plateau because the lower trigram (the mountain) is flat on top. The big tree is the upper trigram (wind-wood-tree). Its two heavenly yang lines on top (5, 6) provide the idea of a sky and the clouds, for that matter.
The entire hexagram looks like an erect woman with a hollow in her belly (one gap at 4), hence she carries no child.
Why a marriage? A pair of yin lines underneath (1, 2), opposite another pair of yang lines (5,6), resemble two facing couples of parents giving in marriage their children (3,4). In the middle of the hexagram, one yang line (3) and one yin line (4) represent the children. They are given away because the single yin line (4) is closer to the yang pair of parents, and the single yang line (3) is closer to the yin pair of parents. Both (3, 4) form one more couple in the middle (yin-yang): marriage.
In the first trigram we have one yang line (3), and in the second we have two (5, 6), so we have enhancement of virtue, a happy ending, a marriage.

“The engagement!
If you undertake the undertaking,
you will face misfortune!
All unfavorable!”

1. The fiancée is married as a concubine. A lame man moves limping. The undertaking of some undertaking may have a good end.
2. A one-eyed man can see everything. The perseverance of a widow may end up well.
3. The fiancée is a slave. She is married as a concubine.

4. The fiancée is waiting patiently for a long time. A late marriage rewards her in the long run.
5. A princess, daughter of an emperor, is getting married to governor Wen. Her clothes have poorer embroidery than the clothes of his servant. A nearly full moon brings good fortune.
6. A woman holds a basket but no fruit in it. A man slaughters a sheep but no blood flows. All unfavorable!

Exactly like the previous hexagram (marriage), we have two similar lines down (1, 2 = yang) as a couple of parents, and two similar lines above (5, 6 = yin) like another couple of parents. We also have two lines in the middle (3,4) - one yin and one yang - like their children forming a couple in the middle (between their parents). The present hexagram, however, is not a facsimile of the previous but its inversion. This means that in the place of the yin lines, we now have yang and vice versa. The result is not as auspicious as in the former hexagram, because at the beginning we have two positive yang lines (1, 2) diminishing to one in the second trigram (4).
This means that the prospects in this hexagram are gloomy. We have only an engagement but not a marriage. The marriage, or the positive final result of an initial engagement, will depend on many factors and parameters.
This central negative aspect colors all inferior ideas of the hexagram.
The single gap (3) on the apron suggests poor embroidery, which, in this gloomy hexagram, is interpreted accordingly as a poor garment of a princess.
The gap at 4 divides the line in two, making it look like two arms (left and right) meeting in the middle, holding an empty basket (because this gap denotes a hole and emptiness).
The gap at 6 is the slashed throat of a slaughtered animal, also empty (dry, bloodless).

“Abundance! Success!
Lords honor the rich household.
No fear in the abundant light of the day.”

1. You meet a wise counselor. You will be together for ten days. No blame! If you go, they will accept you well.
2. A dark veil subdues the light of the day. The bigger stars can be seen. If you go, they will not trust you; they will hate you. If you are sincere, you will avoid the worst consequences.
3. An even darker veil subdues the light of the day. Even the smaller stars can be seen. He breaks his arm. Fortunately, this is his only misfortune.

4. The dark veil recedes. Only the bigger stars can be seen. You meet the governor. He is of the same mind with you. Good fortune!
5. Blessing and fame draw near. Good fortune!
6. His household is rich, yet his family is very isolated. They peer through the gate but they do not see them. For three years nobody can see them. Misfortune!

The lower gap (at 2) between two solid lines (1, 3) represents a household. Further up there is still another unbroken line (4). The house is too isolated, like a rich house well isolated for the fear of thieves, like having a high double wall around, throwing a shadow so thick that it hides the light of the day. As in eclipses, the sky darkens so much that the stars can be seen in daytime.
The situation discussed in the present hexagram is of prosperity and abundance, but of isolation, too, fear of thieves, and precautions in a problematic degree.
This hexagram mentions one more original symbol. In the hexagram 14 “The great harvest” there is a gap in the high fifth position among many unbroken yang lines representing heaven. That’s why the gap symbolizes the sun at high noon in mid summer. In hexagram 9 “The power of the powerless” the same gap appeared a bit lower, in the fourth position, among many yang lines of heaven. That time symbolized the moon. In this hexagram the gap is even lower, in the second position, among three yang lines representing heaven. Now it symbolizes the star. Such a precise and methodical symbolization marks a rich and accurate system of symbolism.

The lone traveler

“The lone traveler!
Success in what is small.
Perseverance brings good fortune to the lone traveler.”

1. If the lone traveler spends his time in trivialities and delays his trip, night will fall upon his road.
2. The lone traveler arrives at an inn. With him are all his belongings. An employee serves him eagerly because the traveler is polite and obliging.
3. The inn catches fire. The employee openly accuses the traveler.

4. The traveler settles in a crude abode. In his hands he has all his belongings and an ax and a heavy heart.
5. He kills a bird with the first shot. He earns favorable comments by all and a place among them.
6. The bird’s nest is on fire. The traveler laughs; then he cries. He lost his composure. Surely he will have to pay for it.

Down is the trigram mountain. Up is the trigram fire (light, sun). Both ideas combined produce the more complex idea of the sun setting over a mountain, resulting in twilight and night.
The hexagram also looks like an erect figure walking; this idea suggests a lone traveler.
These two ideas (of a sunset and a lone traveler) combined produce the even more complex idea of a lone traveler facing night while wandering in strange, dangerous and inhospitable places.
Because the lower trigram looks like a house, in the interpretation of the hexagram enters the idea of an inn in which the traveler finds lodging when night falls upon him.
Because the upper trigram is of fire and the lower is of a house (namely an inn), the idea of the inn catching fire also enters the plot. Because the upper trigram looks like a bird’s nest (a gap encircled by two yang lines) and the lower trigram is of a house, we have the idea of a bird’s nest on a roof catching fire.
Because the entire hexagram presents the figure of a man, the two smaller lines (5) look like his two arms carrying something (represented by the gap in the middle). In line 1 it is mentioned as his belongings; in line 6 it is mentioned as an ax, most probably because the upper trigram also looks like the iron head of an ax.

“Wind, wood! Yielding!
Success with amiable means!
Good omen for a departure,
in order to see an important person.”

1. A warrior should have a great heart whether he advances or he retreats.
2. Sly spirits blow under the bed. Exorcists and priests are invited. Good fortune! No problem!
3. Retreating again and again! Humiliation!

4. All problems recede. You go hunting and you kill three different prey.
5. Tactical retreat brings good fortune. Remorse recedes. Bad beginning, good ending! Before the seventh day, three days! After the seventh day, three days! Good fortune!
6. Sly spirits blow under the bed. You lose your property. You also lose your ax. Bad fortune whatever you do!

The present hexagram is made up of two trigrams of air, so it has to do with amiability, gentleness, and retreat, withdrawal, departure. It also relates to spirits, an idea close to wind blowing and thin air.
In a strange way it is very akin with the hexagram 33 “Retreat,” which expressed a similar situation, that of retreating. Visually that hexagram had two gaps underneath (1, 2) and double (4) unbroken yang lines on top (3, 4, 5, 6). The present hexagram repeats this relationship twice. It has one gap and double unbroken yang lines above repeated twice. So, both hexagrams express a double (or emphatic) retreat. The two hexagrams express concepts so akin that they can hardly be distinguished but with a lingual acrobatic. The one we name “Retreat” and the other “Yielding.”
The line arrangement of the present hexagram makes it look like two beds, one atop the other, or like a human figure (1, 2, 3) stooping under the bed (4, 5, 6).
The main idea here is of the hollow under the bed, usually dark, where enemies and tricky spirits may lurk in wait. The fear and the exorcism of the dark and the lowly are eminent in this hexagram. What baby did not fear the dark gap under his bed?
The entire hexagram looks like a figure in a long garment holding a (holy) article in his hands (a gap at 4), hence, a priest called to exorcize the tricky spirits.

1. Harmonious conversation! Good fortune!
2. Sincere conversation! Good fortune! Remorse recedes.
3. Excessive conversation! Prattle! Misfortune!

4. A conversation too apprehensive is not at peace. A man is happy when he gets rid of his faults.
5. If you talk sincerely to deceitful people, you are in danger.
6. Joyous chat at first but then gradually seducing you and becoming a problem in itself.

Two lakes, double joy! One (1, 2, 3) replenishes with water from the other (4, 5, 6), and they never empty.
Visually the gap in the middle (3) looks like an internal tunnel of communication between the two lakes, like an open channel of intercommunication. That’s why the hexagram is also called “Dispersion” or conversation between the two lakes.
The second gap (at 6) looks like an open channel outward, where the excessive water pours out. The two lakes look like a closed system of mutual support open outwardly toward heaven.
With all these positive ideas, the hexagram is quite optimistic; however, a caution is needed, otherwise too much joy and talk will end up into something negative, into nonsensical babbling.
This is one of the few hexagrams that do not become gradually optimistic but gets more and more pessimistic, line after line and divination after divination. Actually only the divination of the two first lines (yang) are positive, and then it becomes all the more negative. No wonder the negative (yin) lines are on top of each trigram.

Dissolution! Success!
The priest approaches his temple!
Good omen to cross the great water.
Perseverance furthers!”

1. Strong as a horse he is coming to help. Good fortune!
2. When dissolution begins, you turn to something stable. Remorse disappears.
3. He dissolves himself in order to help others. Good deed indeed!

4. He dissolves the bond with his group! Great good fortune! Dissolution of old groups lead to new allies and formations. This is something most people forget.
5. Sweating, he issues the new orders hastily in a loud voice. He deals out goods accumulated in the public warehouses. All problems dissolve.
6. The blood is dissolved and clears away. He departs; he is taking distance from all evil. No blame!

The main visual idea in the present hexagram is of a horse. The two upper yang lines (5, 6) are his body and the lower lines (1, 2, 3, 4) make up his very long legs. This horse has a bond around his legs (the solid horizontal line at 2).
The same idea of bondage is served by the two yin lines (1, 3) surrounding and holding in the middle a single, bright yang line (2), which looks like playing a decisive bonding role in the grouping of the multitude of many smaller lines produced by three yin lines (1, 3, 4 X 2 = 6). This yang line at 2, however, may form another better and more natural group with the other two similar yang lines at the top (5, 6).
The lower group is inferior both by nature and place, because it is composed of smaller divided yin lines in a lower place. The upper group is of the same kind (all yang lines) and superior both by nature (because it is composed of strong yang lines) and by position (because it is on top of the hexagram).
Fortunately, this yang line (at 2) is moving (strong as a horse) with the natural and powerful trend of changing and soon will leave the lower group of the many smaller lines in order to join the other superior group of the two similar yang lines on the top.
If we are strong enough to break old habits and erroneous bonds, then new, better alliances are waiting for us in the future.

1. If you do not go out of your front door, you will profit!
2. If you do not go out of your front door, you will lose.
3. If you don’t know what limitation is, you will suffer. You don’t have to blame anybody else.

4. Natural limitation, natural satisfaction! Success!
5. Comfortable discipline within natural limitations brings success and great esteem by all.
6. If you continue to impose these strict self-limitations, sooner or later you will face disaster. The danger will recede only if you put a limit to unlimited limitation.

Because the lower trigram is the lake and the upper trigram is water, the images and symbols are derived accordingly. The entire hexagram resembles a lake below (1, 2, 3) with water very low (yang lines 1, 2) by a high earthen bank (yin lines 3, 4, 6), while a smaller quantity of water (one yang line at 5) goes up as vapor. The lake is losing too much water and soon will be exhausted. There must be some limit to it with suitable dams.
Indeed the entire hexagram also looks like the ground plan of a series of irrigation ditches with barriers and dams between them to control the flow of the water. The unbroken yang line (5) is a limitation restraining the double gap (3, 4) allowing only one open channel outward (6). This is a barrier, a limitation reducing the reduction.
Because the entire hexagram also looks like a big house (double gap 3, 4) with the outer gate open outwardly (gap at 6) after a yard wall (5), it also symbolizes the moral limitations set by the lord of the house to himself and to the members of the family.
The Chinese word for limitation literally means the knot or barrier of the bamboo cane dividing the hollow cane to smaller and smaller sections up to its peak. Visually, the entire hexagram reminds us precisely of such a cut of a bamboo cane.

“CHUNG FU”

“The innermost truth!
Even the dumb fish and pigs know it!
Good fortune!
It furthers one to cross the great water!
Perseverance furthers!”

1. Calm acceptance of the innermost truth brings serenity. Secret thoughts and designs bring disquieting.
2. A crane in the shade calls his young. “Come! I have a fish to share with you!” “I’m coming!” replies the youth.
3. He finds a companion. Now he beats the drum, now he stops. Now he sobs, now he laughs.

4. When the moon is nearly full, one horse will run astray. But you are not accused of it.
5. He possesses the truth everybody understands and they all accept. No remorse!
6. A rooster flies up in the sky! Strange! If this continues, it will bring misfortune.

The perfect symmetry and the abundance of yang lines over yin lines (4 against 2) and their position on the flanks render this hexagram one of the most positive of the sixty-four.
Visually, two solid yang lines below (1, 2) and two more on top (5, 6) enclose a pair of yin lines in the middle (3, 4). The two successive gaps form a hollow in the very heart of the hexagram. This is the innermost truth. Most important is the invisible essence depicted by visible means.
It looks like the cut of a plant presenting a hollow in its center, like a cane, like a bush trunk with soft spongy innards. It is the nearest we may call the heart or soul of the plant.
These two gaps, one next to the other, remind us again of the well-known simile of the carriage and the horse; a natural pair traveling in the very center of an endless plain. Indeed the divination of these two (yin) lines talks about a dubious companion (3) and a horse going astray (4).
The rooster flying high in the sky (in line 6) is formed by the entire hexagram resembling a bird. His body is in the middle (3, 4) and to his left and right are his two open wings (1, 2 and 5, 6). Compared to the next hexagram (62) resembling a flying bird, this one is a non-flying bird (with heavy, solid wings), a rooster.

The oracle

“Supremacy of the small.
Success only in small matters!
A flying bird brings the message:
“If you fly low, you will benefit the most.”

1. A flying bird meets misfortune.
2. She passes by his ancestor and she meets her ancestress. She doesn’t meet a high official; she meets a lower official. At least he doesn’t rebuke her.
3. If you are not extremely careful, someone sneaks from behind and strikes you.

4. Without passing by, he meets you. No departure! Danger! Do not act! Be constantly on guard!
5. Dense rain clouds but no rain. A prince aims well and hits the man in the cave.
6. He passes by without saying a word. The bird flew away. Unlucky moment! Injury!

“HSIAO KUO”

Supremacy of the small

The entire hexagram presents the main visual idea of a flying bird. His body is in the middle formed by a couple of solid yang lines (3, 4). His open wings stretch outwardly (left and right) formed by the broken yin lines (1, 2 and 5, 6). This is a flying bird, the opposite of the previous (62) non-flying bird.
The hexagram also looks like a house (1, 2, 3) or an underground cave low in the hexagram (with some yin lines of earth above) where the decent man withdraws waiting for better days, because the present situation is ominous.
This is the inversion of the previous symmetrical hexagram producing a similar pattern but an inversion of the nature of the lines (yin for yang).
The result is disastrous. Now two bright yang lines are held captive in the middle of the hexagram by two couples of dark yin lines well posted in the flanks like a powerful wrench. That’s why the flying bird brings bad news and meets with misfortune.
The dark, small, and lowly people have the upper hand in this hexagram. This is the present situation, and as long as it lasts a decent man has to wait withdrawn in his inner worth. Nothing else! This inner worth is very well represented by the two bright yang lines (3, 4) in the center of the hexagram among many dark yin lines. This is inner worth indeed.

“Perfect balance!
Very sensitive!
Success in small matters!
For the moment everything is in the right place.
Soon disorder!”

1. The wheels of the carriage break. He wets his tail in the water. Humiliation!
2. She loses the curtain of her carriage. She doesn’t look for it. On the seventh day she takes it back.
3. The great ancestor serves in the evil land. In three years he conquers it. He had only chosen assistants.

4. He has rags in his hands ready to fill the gaps in his boat. He is alert all day long.
5. The neighbor in the east who slaughters an ox is not better off than the neighbor in the west who slaughters a smaller animal.
6. Only his head protrudes out of the water. Danger!

The upper trigram (4, 5, 6) is water and the lower trigram (1, 2, 3) is fire. They both suggest the caldron full of water over a fire, suggesting finally a sensitive balance, producing energy (steam). If the water spills over the fire, the fire will be extinguished. If the fire is too strong, the water will evaporate.
A line-to-line reference also supports the idea of sensitive balance. The six lines in their ceaseless changing have reached a sensitive balance, forming a perfect line-to-line sequence of one yin and one yang line.
This perfectly symmetrical hexagram (yang-yin-yang-yin) reached a perfect but sensitive balance that will soon be overturned by the first change that will happen from moment to moment.
The divination related to the three gaps in the positions (2, 4, 6) mention with unfailing precision images with some kind of a hole.
The divination of the second line mentions the door of a carriage gapping without a curtain. It is stolen. The entire carriage (in profile) is formed by lines 1, 2, 3.
The divination of the fourth line mentions a boat (seen as a ground plan, formed by lines 3, 4, 5) with a hole in its bottom (gap at 4), needed to be sealed with rugs.
The divination of the sixth line mentions a head in the water, referring actually to a hole in the water. The uppermost yin line (6) is the surface of the water.

“WEI CHI”

Anticipation of balance

“Anticipation of balance!
But if the little fox wets his tail now, in the last moment,
all unfavorable!”

1. The little fox wets his tail. Humiliation!
2. The wheels of the carriage break. Perseverance is rewarded.
3. If you attack before completing preparations, you will be defeated. You have to cross the great water first.

4. Perseverance rewards, as long as you are alert for three years as if you were in the land of evil. Worthy helpers help!
5. Perseverance brings good fortune. No remorse! The light of the leader is true! Good fortune!
6. “They eat and drink together in mutual confidence. No problem! But the first head that gets wet, is lost at once!

Anticipation for completion! Similar symmetrical arrangement and anticipation like in the former hexagram (63), yet here we do not wait for the overturn of an established balance. We wait for this balance to happen. We are anticipating the first firm line at 6 to fall down at place 1. We wait for the caldron full of water (1, 2, 3) to be put on fire (4, 5, 6), so that the food will start preparing.
For the moment everything seems stagnant. There are three pairs of yin and yang couples like upside down cups one atop the other (with their respective gap down and not toward the sky).
With just a single change, however, everything will reverse. It is a crucial moment full of great expectation. We must be alert and full of apprehension (as if residing in the evil land) ready to grasp the moment any time now. The hexagram deals with exactly this anticipation for the right moment of action about to happen.
The gap at 5 (under the horizontal line at 6) is mentioned as a wet head, or else as a head under the surface line of water (6). The last (sixth) line talks about such a friendly wine drinking (at the well known feast table 1, 2, 3) and a lost head, because we must be sober and alert, we are indeed in the very last moment of a very crucial period. Now, if we wet our head, we lose it instantly.

..........

USER’S PAGES

In these two pages

There is all the information one needs

to use the three coin method

for picking a hexagram.

1. Appending two values:
First, two values are appended on each side of each coin. On one side (the “tail”) the value 2, on the other side (the “head”) the value 3.

2. Casting and marking:
Then the three coins are cast together six times, summing up casts each time and marking down the outcome.

3. Sums and lines:
Four possible sums may be cast, each one corresponding to a specific line:

(a) 3+3+3 = 9 =   (Old) yang   =
(b) 2+3+3 = 8 =   (New) yin    =
(c) 2+2+3 = 7 =   (New) yang =
(d) 2+2+2 = 6 =   (Old) yin     =

4. The hexagram(s)
This way one specific hexagram is eventually formed (or two if any line or lines of change turn out).
All hexagrams are listed on the next page.

The 64 hexagrams

..........

Divination and poetry
The ancient Chinese diviners issuing divinations with the I Ching believed that “spirit-like-agencies” were the very soul of the I Ching and assisted the holy book in giving correct and meaningful divinations with the arbitrary cast of the yarrow stalks or the three coins. I believe that pure poetic means, just the same in East and West, are the sole yet powerful secret behind the uncanny effectiveness of the wise ancient book and in this brief forward I am determined to try and make my point.

Poetic similes and symbols

«Like» is the most frequent word in poetry and the most important by far, since the most useful skill of poetry is to establish similarity between two premises with the use of similes, establishing this way and exploiting the fact that something looks like something else.
This double premise is also useful to symbolism, another important key of poetry and the mind. Ancient Greeks first defined (the Greek term) “symbolism” as, “something standing for something else.” For example, a crossed fork and a knife form a specific image, which is something (an image for our perception) that helps our minds think of something else, “a restaurant.” We literally see something and think of something else. Symbolism.
So, according to this definition, also according to the example used, “symbol” is something evident, simple, plain and complete in itself, which at the same time means something else. The same example makes it clear that symbolism functions a lot easier when the symbol (the image of crossed fork and knife) “looks like” what is being symbolized (the restaurant) or reminds us of it in a very obvious, clear and specific way. A handful of sand can easily stand for and mean a desert, and a drop of water can aptly symbolize an ocean. Similes are able to assist symbolism practically because similes and symbols have similar ambiguous nature and they both function on two levels.

Allegory and metaphor

As far as ambiguity in poetry is concerned, it may also be considered that the definition of “allegory” is “saying something and meaning something else.” To this the definition of “metaphor” can be added, which is “not a literal expression of a concept, with the use of similes.” Actually a “metaphor” is a simile without the use of like or as.
This way we come to understand that all means of poetry function on two levels and that poetic ambiguity lies behind and supports every poetic act. Poetic ambiguity as a lingual bridge relating two levels, ideas, concepts or premises is the secret key producing all poetry, producing similes, symbols, metaphors and allegories analogous of a certain initial “something.”

What’s the practical use of all that?

Consider how an architect plans a building on a piece of paper and then he applies the results on a real full-scale building. An architect produces a small scale building “on paper” in order to control a lot better all real problems involved in real building construction. He knows how to work on two levels, one figurative and handy the other literal and realistic. He masters the second because he easily controls the first and because he can relate them both, one as a true analogy of the other.

Analogy

The key word is “analogy.” The building “on paper” is a two-dimensional small-scale replica corresponding point-to-point in every detail with the full-scale three-dimensional building. The architect has an expanded and well-trained wide awareness, able to view in parallel somehow both the paper building and the real building.
Mastering analogy man acquired a master key to rule over reality. Without the invaluable assistance of similes, symbols and analogy, man would not be able to build structural marvels as the Empire State Building, the Parthenon or the Great Chinese Wall; nor Beethoven’s Ninth Symphony, which also is a great structure of sounds made possible by compositions of convenient musical note structures on paper.

Analogy in poetry

Whitman’s “Leaves of Grass” is such a poetic structural marvel in language. Great is a poet who can construct “on paper” a whole world in order to organize it, to analyze and study it easier and understand it better and eventually extract from it a certain philosophical essence.
The poems of Konstantine Kavafi, another such poetic example, reconstruct artfully the ancient post Alexandrian Hellenistic era. Every Hellenistic poem by Kavafi is a clear, plain and complete in itself realistic “picture-situation” of that old historical period, which at the same time can also signify somehow one “similar” or “analogous” modern situation, acting as a timeless moral-psychological-philosophical model. One situation “looks like” or “stands for” the other, as a true poetic analogy. The greatness of a poet is measured with the representational vigor and the accuracy of his poetic analogies, plus his philosophical maturity. The same measures of mastering analogy and of philosophical maturity may also apply to a whole civilization, as that of ancient China and other Oriental cultures.
Ultimately “ana-logy” literally means “again-relationship” and denotes “two matching relationships existing between two otherwise dissimilar premises” (yes, “between something and something else”).

Practical ambiguity

In our modern prosaic times “ambiguity” ended-up meaning something negative, something obscure and annoying and useless no doubt, but its true meaning is derived from Latin ambi-agere, meaning driving toward two directions, derived most probably from the Greek amfi-agein with exactly the same meaning. This is not necessarily something bad or useless. As a matter of fact this is the one single capability of the human mind that set apart human beings from animals. Because human brains are able to have a simultaneous awareness of two different “things” on two different but related levels, human beings are able to use language in order to think and express ideas and concepts. Language is a true and precise (verbal) analogy of direct (pictorial or sensorial) perception of reality. Language begins with a word standing for an image. As, for example, the word “a-p-p-l-e” is a standard set of letters standing steadily for the specific image of the apple. All words are standard sets of letters standing steadily for certain images, ideas, concepts and objects. Language as a whole is a huge verbal analogy of immense perceptional reality.
Unsurprisingly “language” in Greek is “logos,” also meaning “ratio” or “relationship” (yes, “between something and something else”).

Liberating poetry
Without ambiguity, imagery, similarity, symbolism and analogy we would be unable to use language. We would remain stuck on the consciousness level of the higher mammals, on the consciousness level of the cow, for example. A cow can see an apple only as an apple. Poetic means help our minds escape from the trap of single dimensional reality, where a spade is always only a spade, unrelated to and never “like” anything else. Poetry assists and exploits the ability of the human brain to drive on two levels. A real poetic act is to establish a true and functional relationship between the most dissimilar things, between “cabbages and Kings” as the example goes. Poetry is the lingual file that whets our minds to be or act on more than one level of consciousness.

Divination and poetry
The ancient diviners issuing divinations with the I Ching were simple folks. They believed that “spirit-like-agencies” were the very soul of the I Ching and assisted the holy book in giving correct and meaningful divinations with the arbitrary cast of the yarrow stalks or the three coins.
The writers of the I Ching were surely a different case. The literate Chinese minds have always been poetic, because the Chinese language is made of ideograms, depicting small, stylized pictures or crude visual ideas. The reader will witness in the present edition of the I Ching that in a much similar way, typically Chinese, all sixty-four hexagrams of the I Ching depict small, stylized pictures or crude visual ideas, which all the texts of the I Ching faithfully describe. This leads to a single conclusion. The I Ching is the work of sophisticated and mature poetic minds that were proficient with similes, symbols and poetic analogies, those powerful reality controlling levers, which are a lot more functional than spirit-like-agencies and much more factual, indeed.

..........

BIBLIOGRAPHY

“I CHING,” the book of changes”

The James Legge translation – etext

James Legge (1816-1897)

Scottish scholar, professor at Oxford, a missioner to China for twenty-five years, a pioneer in translating and editing of classic Chinese texts. He was the main contributor in the edition of the “Sacred Books of the East.” His translations were scholarly and unequaled in precision.

“I CHING,” or book of changes”

The Richard Wilhelm translation

Rendered into English by Carry F. Baynes
Editions “ARKANA”

Richard Wilhelm (1873-1930)

German scholar, a professor of sinology at the University of Frankfurt; Personal friend with Carl Yung; A missioner to China where he lived for twenty years. He is considered the “Marco Polo” of the Mental Chinese civilization, the man who opened the world of oriental philosophy to the “West.” His translation of the “I Ching” surpassed all other translations and is considered a classic of its kind.

“I CHING,” the law of changes”

The Kerson and Rosemary Huang translation

Editions “WORKMAN” (USA), “EORA” (Gk)

Kerson Huang

A Chinese scholar, writer, and translator. He is a professor of Molecular Physics at the famous M.I.T. (Massachusetts Institute of Technology) of the U.S.A. With the assistance of the poet Rosemary Huang, he rendered the holy book into English. Using many historical references, he enriched the classical work with a new depth.

Author's brief bio
Sakis Totlis was born in 1946, in Edessa Greece, where he lives up to
now, married, with two sons. For some years a military electronic engineer
with specialty in «Radio wave Propagation» acquired at Fort Monmouth
NJ USA. Later, a teacher of English as a foreign language in
Greece. He also published a local newspaper and owned an offset print
house. Editorial columnist of major newspapers in Northern Greece
«Thessaloniki» and «Macedonia.»
Sakis Totlis is a well-known author in Greece, having published many
literary, psychological, philosophical and historical books with the very
best Greek publishers, among which:
1991: «THE COMBINATION.» A novel. Editions «Diagonios.» Second
through fifth edition: editions «Kedros.»
- On this book the movie «Balkanizater» by Sotiris Goritsas was based,
which set the box office record in Greece for the past decade.
1995: «FULL MOON.» Short stories. Editions «Kastaniotis.»
1996: «DEJAVU.» A major movie script that was accepted and financed
by the Greek Film Center.
1997: «12 DREAMS.» Twelve dreams interpreted according to the
author's Space-emotional dream interpreting theory and method, based
on rational comparative analyses between dream images, real images and
related emotions. Editions «Dolphin.»
1998: «THE BOOK OF ENERGY AND NATURE.» Introducing the Tao
Te Ching in Greek. Editions «Patakis.»
2000: «I WAS THERE, TOO.» A literary rendering of traditional fairy
tales. Editions «Patakis.»
2002: «ONE DREAM AND SEVEN LAWYERS.» A novel. Editions
«Patakis.»
2005: «I RECALL.» A novella. Editions «MeTRO.»
2006: «THE TRUE EYE OF THE TIGER» is the first book he writes in
English.

THE TRUE EYE OF THE TIGER

The issue

1

THE PLEASING PRETEXT

New aesthetic approach

Characteristic example:

Hexagram 27, “The mouth, food”

Obvious yet hard to see

The reader’s mystification

In fact, the readers:

Triple analogy of text, hexagram and reality

The enigmatic I Ching

..........

2

THE EVOLUTION

OF THE SYMBOLS

The color and the name

The four digrams

2 X 2 = 4

The 8 trigrams

2 X 4 = 8

Pictures-ideas-symbols of the trigrams

Oral and pictorial imagery, similes and symbols

The 64 hexagrams

Pictures, ideas and symbols of the hexagrams

1. The way

3. The gaps

5. Cut and ground plan

7. Abstraction

Analytic example

..........

3

I CHING A complex yet definite system of symbolism

The diverse symbols

The definite system

The lines analytically

The Dragon

..........

4

THE USE OF THE I CHING

The magic of matching

..........

New and old lines

An example (With only new lines)

..........

The three coins

..........

7

THE INTERPRETING READINESS OF THE I CHING

..........

..........

PART B

The sixty-four

hexagrams

..........

Heaven, creative

The aesthetic Judgment

The aesthetic Judgment

The aesthetic Judgment

The oracle

The aesthetic Judgment

28

“TA KUO”

The limits of the powerful

28

“TA KUO”

The limits of the powerful

The aesthetic Judgment

The aesthetic Judgment

“I”

The aesthetic Judgment

The aesthetic Judgment

The well

The aesthetic Judgment

The lone traveler

“CHUNG FU”

The oracle

62

“HSIAO KUO”

Supremacy of the small

I CHING
A complex yet definite system of symbolism

THE INTERPRETING READINESS
OF THE I CHING

Rendered into English by Carry F. Baynes
Editions “ARKANA”