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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Of course the auspice is evil. 104 THE Yi KING. TEXT. 1. The first line, undivided, shows one adorning (the way of) his feet. He can discard a carriage and walk on foot. 2. The second line, divided, shows one adorning his beard. 3. The third line, undivided, shows its subject with the appearance of being adorned and bedewed (with rich favours). But let him ever maintain his firm correctness, and there will be good fortune. 4. The fourth line, divided, shows one looking as if adorned, but only in white. As if (mounted on) a white horse, and furnished with wings, (he seeks union with the subject of the first line), while (the intervening third pursues), not as a robber, but intent on a matrimonial alliance. 5. The fifth line, divided, shows its subject adorned by (the occupants of) the heights and gardens. He bears his roll of silk, small and slight. He may appear stingy; but there will be good fortune in the end. 6. The sixth line, undivided, shows one with white as-his (only) ornament. There will be no error. XXII. The character Pi is the symbol of what is ornamental and of the act of adorning. As there is ornament in nature, so should there be in society; but its place is secondary to that of what is substantial. This is the view of king W4n in his Thwan. The symbolism of the separate lines is sometimes fantastic. Line 1 is strong, and in an odd place. It is at the very bottom of the hexagram, and is the first line of Li, the trigram for fire or light, and suggesting what is elegant and bright. Its subject has nothing to do but to attend to himself. Thus he cultivates— adorns—himselfin his humble position ; but if need be, righteousness requiring it, he can give up every luxury and indulgence. SECT. I. THE PO HEXAGRAM. 105 XXIII. THe Po Hexacram. Po indicates that (in the state which it symbolises) it will not be advantageous to make a movement in any direction whatever. Line 2 is weak and in its proper place, but with no proper correlate above. The strong line 3 is similarly situated. These two lines therefore keep together, and are as the beard and the chin. Line 1 follows 2. What is substantial commands and rules what is merely ornamental. Line 3 is strong, and between two weak lines, which adorn it, and bestow their favours on it. But this happy condition is from the accident of place. The subject of the line must be always correct and firm to ensure its continuance.
2Line 3 is strong, and between two weak lines, which adorn it, and bestow their favours on it. But this happy condition is from the accident of place. The subject of the line must be always correct and firm to ensure its continuance. Line 4 has its proper correlate in 1, from whose strength it should receive ornament, but 2 and the strong 3 intervene and keep them apart, so that the ornament is only white, and of no bright colour. Line 4, however, is faithful to 1, and earnest for their union. And finally line 3 appears in a good character, and not with the purpose to injure, so that the union of 1 and 4 takes place. All this is intended to indicate how ornament recognises the superiority of solidity. Compare the symbolism of the second line of Xun (3), and that of the topmost line of Kh wei (38). Line 5 is in the place of honour, and has no proper correlate in 2. It therefore associates with the strong 6, which is symbolised by the heights and gardens round a city, and serving both to protect and to beautify it. Thus the subject of the line receives adorning from without, and does not of itself try to manifest it. Moreover, in his weakness, his offerings of ceremony are poor and mean. But, as Confucius said, ‘In ceremonies it is better to be sparing than extravagant.’ Hence that stinginess does not prevent a good auspice. Line 6 is at the top of the hexagram. Ornament has had its course, and here there is a return to pure, ‘white,’ simplicity. Substantiality is better than ornament. 106 THE yt KING. TEXT. 1. The first line, divided, shows one overturning the couch by injuring its legs. (The injury will go on to) the destruction of (all) firm correctness, and there will be evil. 2. The second line, divided, shows one overthrowing the couch by injuring its frame. (The injury will go on to) the destruction of (all) firm correctness, and there will be evil. 3. The third line, divided, shows its subject among the overthrowers ; but there will be no error. 4. The fourth line, divided, shows its subject having overthrown the couch, and (going to injure) the skin (of him who lies on it). There will be evil. 5. The fifth line, divided, shows (its subject leading on the others like) a string of fishes, and (obtaining for them) the favour that lights on the inmates of the palace. There will be advantage in every way. - 6. The topmost line, undivided, shows its subject (as) a great fruit which has not been eaten. The superior man finds (the people again) as a chariot carrying him. The small men (by their course) overthrow their own dwellings.
3There will be advantage in every way. - 6. The topmost line, undivided, shows its subject (as) a great fruit which has not been eaten. The superior man finds (the people again) as a chariot carrying him. The small men (by their course) overthrow their own dwellings. XXIIL Po is the symbol of falling or of causing to fall, and may be applied, both in the natural and political world, to the process of decay, or that of overthrow. The figure consists of five divided lines, and one undivided, which last thus becomes the prominent and principal line in the figure. Decay or overthrow has begun at the bottom of it, and crept up to the top. The hexagram is that of the ninth month, when the beauty and glory of summer have disappeared, and the year is ready to fall into the arms of sterile winter. In the political world, small men have gradually displaced good men and great, till but one remains; and the lesson for him is to wait. The power operating against him is SECT. I. THE FO HEXAGRAM. 107 XXIV. Tue FO Hexacram. Ff indicates that there will be free course and progress (in what it denotes). (The subject of it) finds no one to distress him in his exits and too strong; but the fashion of political life passes away. If he wait, a change for the better will shortly appear. The lesser symbolism is chiefly that of a bed or couch with its occupant. The idea of the hexagram requires this occupant to be overthrown, or at least that an attempt be made to overthrow him. Accordingly the attempt in line 1 is made by commencing with the legs of the couch. The symbolism goes on to explain itself. The object of the evil worker is the overthrow of all firm correctness. Of course there will be evil. Line 2 is to the same effect as 1; only the foe has advanced from the legs to the frame of the couch. Line 3 also represents an overthrower ; but it differs from the others in being the correlate of 6. The subject of it will take part with him. His association is with the subject of 6, and not, as in the other weak lines, with one of its own kind. From line 4 the danger is imminent. The couch has been overthrown. The person of the occupant is at the mercy of the destroyers. With line 5 the symbolism changes. The subject of 5 is ‘lord of all the other weak lines,’ and their subjects are at his disposal. He and they are represented as fishes, following one another as if strung together. All fishes come under the category of yin. Then the symbolism changes again. The subject of 5, representing and controlling all the yin lines, is loyal to the subject of the yang sixth line. He is the rightful sovereign in his palace, and 5 leads all the others there to enjoy the sovereign’s favours. We have still different symbolism under line 6. Its strong subject, notwithstanding the attempts against him, survives, and acquires fresh vigour. The people again cherish their sovereign, and the plotters have wrought to their own overthrow. 108 THE yf KING. TEXT.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Of course the auspice is evil. 104 THE Yi KING. TEXT. 1. The first line, undivided, shows one adorning (the way of) his feet. He can discard a carriage and walk on foot. 2. The second line, divided, shows one adorning his beard. 3. The third line, undivided, shows its subject with the appearance of being adorned and bedewed (with rich favours). But let him ever maintain his firm correctness, and there will be good fortune. 4. The fourth line, divided, shows one looking as if adorned, but only in white. As if (mounted on) a white horse, and furnished with wings, (he seeks union with the subject of the first line), while (the intervening third pursues), not as a robber, but intent on a matrimonial alliance. 5. The fifth line, divided, shows its subject adorned by (the occupants of) the heights and gardens. He bears his roll of silk, small and slight. He may appear stingy; but there will be good fortune in the end. 6. The sixth line, undivided, shows one with white as-his (only) ornament. There will be no error. XXII. The character Pi is the symbol of what is ornamental and of the act of adorning. As there is ornament in nature, so should there be in society; but its place is secondary to that of what is substantial. This is the view of king W4n in his Thwan. The symbolism of the separate lines is sometimes fantastic. Line 1 is strong, and in an odd place. It is at the very bottom of the hexagram, and is the first line of Li, the trigram for fire or light, and suggesting what is elegant and bright. Its subject has nothing to do but to attend to himself. Thus he cultivates— adorns—himselfin his humble position ; but if need be, righteousness requiring it, he can give up every luxury and indulgence. SECT. I. THE PO HEXAGRAM. 105 XXIII. THe Po Hexacram. Po indicates that (in the state which it symbolises) it will not be advantageous to make a movement in any direction whatever. Line 2 is weak and in its proper place, but with no proper correlate above. The strong line 3 is similarly situated. These two lines therefore keep together, and are as the beard and the chin. Line 1 follows 2. What is substantial commands and rules what is merely ornamental. Line 3 is strong, and between two weak lines, which adorn it, and bestow their favours on it. But this happy condition is from the accident of place. The subject of the line must be always correct and firm to ensure its continuance.
2Line 3 is strong, and between two weak lines, which adorn it, and bestow their favours on it. But this happy condition is from the accident of place. The subject of the line must be always correct and firm to ensure its continuance. Line 4 has its proper correlate in 1, from whose strength it should receive ornament, but 2 and the strong 3 intervene and keep them apart, so that the ornament is only white, and of no bright colour. Line 4, however, is faithful to 1, and earnest for their union. And finally line 3 appears in a good character, and not with the purpose to injure, so that the union of 1 and 4 takes place. All this is intended to indicate how ornament recognises the superiority of solidity. Compare the symbolism of the second line of Xun (3), and that of the topmost line of Kh wei (38). Line 5 is in the place of honour, and has no proper correlate in 2. It therefore associates with the strong 6, which is symbolised by the heights and gardens round a city, and serving both to protect and to beautify it. Thus the subject of the line receives adorning from without, and does not of itself try to manifest it. Moreover, in his weakness, his offerings of ceremony are poor and mean. But, as Confucius said, ‘In ceremonies it is better to be sparing than extravagant.’ Hence that stinginess does not prevent a good auspice. Line 6 is at the top of the hexagram. Ornament has had its course, and here there is a return to pure, ‘white,’ simplicity. Substantiality is better than ornament. 106 THE yt KING. TEXT. 1. The first line, divided, shows one overturning the couch by injuring its legs. (The injury will go on to) the destruction of (all) firm correctness, and there will be evil. 2. The second line, divided, shows one overthrowing the couch by injuring its frame. (The injury will go on to) the destruction of (all) firm correctness, and there will be evil. 3. The third line, divided, shows its subject among the overthrowers ; but there will be no error. 4. The fourth line, divided, shows its subject having overthrown the couch, and (going to injure) the skin (of him who lies on it). There will be evil. 5. The fifth line, divided, shows (its subject leading on the others like) a string of fishes, and (obtaining for them) the favour that lights on the inmates of the palace. There will be advantage in every way. - 6. The topmost line, undivided, shows its subject (as) a great fruit which has not been eaten. The superior man finds (the people again) as a chariot carrying him. The small men (by their course) overthrow their own dwellings.
3There will be advantage in every way. - 6. The topmost line, undivided, shows its subject (as) a great fruit which has not been eaten. The superior man finds (the people again) as a chariot carrying him. The small men (by their course) overthrow their own dwellings. XXIIL Po is the symbol of falling or of causing to fall, and may be applied, both in the natural and political world, to the process of decay, or that of overthrow. The figure consists of five divided lines, and one undivided, which last thus becomes the prominent and principal line in the figure. Decay or overthrow has begun at the bottom of it, and crept up to the top. The hexagram is that of the ninth month, when the beauty and glory of summer have disappeared, and the year is ready to fall into the arms of sterile winter. In the political world, small men have gradually displaced good men and great, till but one remains; and the lesson for him is to wait. The power operating against him is SECT. I. THE FO HEXAGRAM. 107 XXIV. Tue FO Hexacram. Ff indicates that there will be free course and progress (in what it denotes). (The subject of it) finds no one to distress him in his exits and too strong; but the fashion of political life passes away. If he wait, a change for the better will shortly appear. The lesser symbolism is chiefly that of a bed or couch with its occupant. The idea of the hexagram requires this occupant to be overthrown, or at least that an attempt be made to overthrow him. Accordingly the attempt in line 1 is made by commencing with the legs of the couch. The symbolism goes on to explain itself. The object of the evil worker is the overthrow of all firm correctness. Of course there will be evil. Line 2 is to the same effect as 1; only the foe has advanced from the legs to the frame of the couch. Line 3 also represents an overthrower ; but it differs from the others in being the correlate of 6. The subject of it will take part with him. His association is with the subject of 6, and not, as in the other weak lines, with one of its own kind. From line 4 the danger is imminent. The couch has been overthrown. The person of the occupant is at the mercy of the destroyers. With line 5 the symbolism changes. The subject of 5 is ‘lord of all the other weak lines,’ and their subjects are at his disposal. He and they are represented as fishes, following one another as if strung together. All fishes come under the category of yin. Then the symbolism changes again. The subject of 5, representing and controlling all the yin lines, is loyal to the subject of the yang sixth line. He is the rightful sovereign in his palace, and 5 leads all the others there to enjoy the sovereign’s favours. We have still different symbolism under line 6. Its strong subject, notwithstanding the attempts against him, survives, and acquires fresh vigour. The people again cherish their sovereign, and the plotters have wrought to their own overthrow. 108 THE yf KING. TEXT.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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