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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1. 5. The fifth line, divided, shows its subject going and coming amidst the startling movements (of the time), and always in peril; but perhaps he will not incur loss, and find business (which he can accomplish). 6. The topmost line, divided, shows its subject, amidst the startling movements (of the time), in breathless dismay and looking round him with trembling apprehension. If he take action, there will be evil. If, while the startling movements have not reached his own person and his neighbourhood, (he were to take precautions), there would be no error, though his relatives might (still) speak against him. LI. X4n among the trigrams represents thunder, and, according to W&n’s arrangement and significance of them, ‘the oldest son.’ It is a phonetic character in which the significant constituent is Yi, meaning rain, and with which are formed most characters that denote atmospherical phenomena. The hexagram is formed of the trigram Xan redoubled, and may be taken as representing the crash or peal of thunder ; but we have seen that the attribute or virtue of the trigram is ‘ moving, exciting power ;’ and thence, symbolically, the character is indicative of movement taking place in society or in the kingdom. This is the meaning of the hexagram; and the subject is the conduct tp be pursued in a time of movement—such as insurrection or revolution—by the party promoting, and most interested in, the situation. It is shown how he ought to be aware of the dangers of the time, and how by precaution and the regulation of himself he may overcome them. The indication of a successful issue given by the figure is supposed to be given by the undivided line at the bottom of the trigram. The subject of it must be superior to the subjects of the two divided lines above. It is in the idea of the hexagram that he should be moving and advancing ;—and what can his movement be but successful? SECT. Il. THE KAN HEXAGRAM. 175 LII. Tue Kan Hexacram. mC { When one’s resting is like that of the back] and he loses all consciousness of self; when he walks The next sentence shows him sensible of the danger of the occasion, but confident and self-possessed. The concluding sentence shows him rapt in his own important affairs, like a sincere worshipper, thinking only of the service in which he is engaged. Such a symbol is said to be suggested by WAn’s significance of Kn as ‘the oldest son (page 33).’ It is his to succeed to his father, and the hexagram, as following Ting, shows him presiding over the sacrifices that have been prepared in the caldron. This is too fanciful. What is said on line 1 is little more than a repetition of the principal part of the Thwan. The line is undivided, and gives the auspice of good fortune.
2This is too fanciful. What is said on line 1 is little more than a repetition of the principal part of the Thwan. The line is undivided, and gives the auspice of good fortune. ‘The position of peril’ to the subject of line 2 is suggested, as Appendix II says, by its position, immediately above 1. But the rest of the symbolism is obscure, and AQ Hsi says he does nat understand it. The common interpretation appears in the version. The subject of the line does what he can to get out of danger; and finally, as is signified by the central position of the line, the issue is better than could have been expected. On the specification of ‘seven days,’ see what is said in the treatise on the Thwan of hexagram 24. On its use here KAAng-jze says:—‘ The places of a diagram amount to 6. The number 7 is the first of another. When the movement symbolised by A%n is gone by, things will be as they were before.’ Line 3 is divided, and where an undivided line should be ; but if its subject move on to the fourth place, which would be right for him, the issue will not be bad. The 4th line, however, has a bad auspice of its own. It is undivided in an even place, and it is pressed by the divided line on 176 THE yi KING. TEXT. in his courtyard, and does not see any (of the persons) in it,—there will be no error. 1. The first line, divided, shows its subject keeping his toes at rest. There will be no error; but it will be advantageous for him to be persistently firm and correct. 2. The second line, divided, shows its subject keeping the calves of his legs at rest. He cannot help (the subject of the line above) whom he follows, and is dissatished in his mind. 3. The third line, undivided, shows its subject keeping his loins at rest, and separating the ribs (from the body below). The situation is perilous, and the heart glows with suppressed excitement. 4. The fourth line, divided, shows its subject keeping his trunk at rest. There will be no error. 5. The fifth line, divided, shows its subject keeping his jawbones at rest, so that his words are (all) orderly. Occasion for repentance will disappear. 6. The sixth line, undivided, shows its subject either side, hence its subject is represented as supinely sinking in the mud. Line 5 is divided, in an odd place, and that in which the action of the hexagram may be supposed to be concentrated. Hence its subject is always in peril; but his central position indicates safety in the end. Line 6 is weak, and has to abide the concluding terrors of the movement. Action on the part of its subject is sure to be evil. If, however, he were to take precautions, he might escape with only the censures of his relatives. But I do not see anything in the figure to indicate this final symbolism. The writer, probably, had a case in his mind, which it suited; but what that was we do not know. SECT. II. THE KAN HEXAGRAM. 177 devotedly maintaining his restfulness. There will be good fortune.
3But I do not see anything in the figure to indicate this final symbolism. The writer, probably, had a case in his mind, which it suited; but what that was we do not know. SECT. II. THE KAN HEXAGRAM. 177 devotedly maintaining his restfulness. There will be good fortune. LII. The trigram K&n represents a mountain. Mountains rise — up grandly from the surface of the earth, and their masses rest on it in quiet and solemn majesty ; and they serve also to arrest the onward progress of the traveller. Hence the attribute ascribed to Kan is twofold; it is both active and passive—resting and arresting. The character is used in this hexagram with both of those significations. As the name of the figure, it denotes the mental characteristic of resting in what is right; especially resting, as it is expressed by Chinese critics, ‘in principle, —that which is right, on the widest scale, and in the absolute conception of the mind; and that which is right in every different position in which a man can be placed. We find this treated of in the Great Learning (Commentary, chapter 3), and in the Doctrine of the Mean, chapter 14, and other places. This is the theme of the hexagram; and the symbolism of it is all taken from different parts of the human body, as in hexagram 31, and the way in which they are dealt with. Several of the paragraphs are certainly not easy to translate and interpret. The other parts of the body, such as the mouth, eyes, and ears, have their appetencies, which lead them to what is without themselves. The back alone has nothing to do with anything beyond itself—hardly with itself even; all that it has to do is to stand straight and strong. So should it be with us, resting in principle, free from the intrusion of selfish though s and external objects. Amidst society, he who realises the idea of the hexagram is still alone, and does not allow himself to be distracted from the contemplation and following of principle. He is not a recluse, however, who keeps aloof from social life; but his distinction is that he maintains a supreme regard to principle, when alone, and when mingling with others. In the symbolism the author rises from one part of the body to the other. The first line at the bottom of the figure fitly suggests ‘the toes.’ The lesson is that from the first men should rest in, and be anxious to do, what is right in all their affairs. The weakness of the line and its being in an odd place give occasion for the caution, with which the paragraph concludes. Above the toes are the calves, represented by the second line, weak, but in its proper place. Above this, again, are the loins, represented by 3, strong, and in danger of being violent. Line a {16] N 178 THE yi KING. TEXT. LII{. Tue Aten Hexacram. Kien suggests to us the marriage of a young lady, and the good fortune (attending it). There will be advantage in being firm and correct.
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.
1. 5. The fifth line, divided, shows its subject going and coming amidst the startling movements (of the time), and always in peril; but perhaps he will not incur loss, and find business (which he can accomplish). 6. The topmost line, divided, shows its subject, amidst the startling movements (of the time), in breathless dismay and looking round him with trembling apprehension. If he take action, there will be evil. If, while the startling movements have not reached his own person and his neighbourhood, (he were to take precautions), there would be no error, though his relatives might (still) speak against him. LI. X4n among the trigrams represents thunder, and, according to W&n’s arrangement and significance of them, ‘the oldest son.’ It is a phonetic character in which the significant constituent is Yi, meaning rain, and with which are formed most characters that denote atmospherical phenomena. The hexagram is formed of the trigram Xan redoubled, and may be taken as representing the crash or peal of thunder ; but we have seen that the attribute or virtue of the trigram is ‘ moving, exciting power ;’ and thence, symbolically, the character is indicative of movement taking place in society or in the kingdom. This is the meaning of the hexagram; and the subject is the conduct tp be pursued in a time of movement—such as insurrection or revolution—by the party promoting, and most interested in, the situation. It is shown how he ought to be aware of the dangers of the time, and how by precaution and the regulation of himself he may overcome them. The indication of a successful issue given by the figure is supposed to be given by the undivided line at the bottom of the trigram. The subject of it must be superior to the subjects of the two divided lines above. It is in the idea of the hexagram that he should be moving and advancing ;—and what can his movement be but successful? SECT. Il. THE KAN HEXAGRAM. 175 LII. Tue Kan Hexacram. mC { When one’s resting is like that of the back] and he loses all consciousness of self; when he walks The next sentence shows him sensible of the danger of the occasion, but confident and self-possessed. The concluding sentence shows him rapt in his own important affairs, like a sincere worshipper, thinking only of the service in which he is engaged. Such a symbol is said to be suggested by WAn’s significance of Kn as ‘the oldest son (page 33).’ It is his to succeed to his father, and the hexagram, as following Ting, shows him presiding over the sacrifices that have been prepared in the caldron. This is too fanciful. What is said on line 1 is little more than a repetition of the principal part of the Thwan. The line is undivided, and gives the auspice of good fortune.
2This is too fanciful. What is said on line 1 is little more than a repetition of the principal part of the Thwan. The line is undivided, and gives the auspice of good fortune. ‘The position of peril’ to the subject of line 2 is suggested, as Appendix II says, by its position, immediately above 1. But the rest of the symbolism is obscure, and AQ Hsi says he does nat understand it. The common interpretation appears in the version. The subject of the line does what he can to get out of danger; and finally, as is signified by the central position of the line, the issue is better than could have been expected. On the specification of ‘seven days,’ see what is said in the treatise on the Thwan of hexagram 24. On its use here KAAng-jze says:—‘ The places of a diagram amount to 6. The number 7 is the first of another. When the movement symbolised by A%n is gone by, things will be as they were before.’ Line 3 is divided, and where an undivided line should be ; but if its subject move on to the fourth place, which would be right for him, the issue will not be bad. The 4th line, however, has a bad auspice of its own. It is undivided in an even place, and it is pressed by the divided line on 176 THE yi KING. TEXT. in his courtyard, and does not see any (of the persons) in it,—there will be no error. 1. The first line, divided, shows its subject keeping his toes at rest. There will be no error; but it will be advantageous for him to be persistently firm and correct. 2. The second line, divided, shows its subject keeping the calves of his legs at rest. He cannot help (the subject of the line above) whom he follows, and is dissatished in his mind. 3. The third line, undivided, shows its subject keeping his loins at rest, and separating the ribs (from the body below). The situation is perilous, and the heart glows with suppressed excitement. 4. The fourth line, divided, shows its subject keeping his trunk at rest. There will be no error. 5. The fifth line, divided, shows its subject keeping his jawbones at rest, so that his words are (all) orderly. Occasion for repentance will disappear. 6. The sixth line, undivided, shows its subject either side, hence its subject is represented as supinely sinking in the mud. Line 5 is divided, in an odd place, and that in which the action of the hexagram may be supposed to be concentrated. Hence its subject is always in peril; but his central position indicates safety in the end. Line 6 is weak, and has to abide the concluding terrors of the movement. Action on the part of its subject is sure to be evil. If, however, he were to take precautions, he might escape with only the censures of his relatives. But I do not see anything in the figure to indicate this final symbolism. The writer, probably, had a case in his mind, which it suited; but what that was we do not know. SECT. II. THE KAN HEXAGRAM. 177 devotedly maintaining his restfulness. There will be good fortune.
3But I do not see anything in the figure to indicate this final symbolism. The writer, probably, had a case in his mind, which it suited; but what that was we do not know. SECT. II. THE KAN HEXAGRAM. 177 devotedly maintaining his restfulness. There will be good fortune. LII. The trigram K&n represents a mountain. Mountains rise — up grandly from the surface of the earth, and their masses rest on it in quiet and solemn majesty ; and they serve also to arrest the onward progress of the traveller. Hence the attribute ascribed to Kan is twofold; it is both active and passive—resting and arresting. The character is used in this hexagram with both of those significations. As the name of the figure, it denotes the mental characteristic of resting in what is right; especially resting, as it is expressed by Chinese critics, ‘in principle, —that which is right, on the widest scale, and in the absolute conception of the mind; and that which is right in every different position in which a man can be placed. We find this treated of in the Great Learning (Commentary, chapter 3), and in the Doctrine of the Mean, chapter 14, and other places. This is the theme of the hexagram; and the symbolism of it is all taken from different parts of the human body, as in hexagram 31, and the way in which they are dealt with. Several of the paragraphs are certainly not easy to translate and interpret. The other parts of the body, such as the mouth, eyes, and ears, have their appetencies, which lead them to what is without themselves. The back alone has nothing to do with anything beyond itself—hardly with itself even; all that it has to do is to stand straight and strong. So should it be with us, resting in principle, free from the intrusion of selfish though s and external objects. Amidst society, he who realises the idea of the hexagram is still alone, and does not allow himself to be distracted from the contemplation and following of principle. He is not a recluse, however, who keeps aloof from social life; but his distinction is that he maintains a supreme regard to principle, when alone, and when mingling with others. In the symbolism the author rises from one part of the body to the other. The first line at the bottom of the figure fitly suggests ‘the toes.’ The lesson is that from the first men should rest in, and be anxious to do, what is right in all their affairs. The weakness of the line and its being in an odd place give occasion for the caution, with which the paragraph concludes. Above the toes are the calves, represented by the second line, weak, but in its proper place. Above this, again, are the loins, represented by 3, strong, and in danger of being violent. Line a {16] N 178 THE yi KING. TEXT. LII{. Tue Aten Hexacram. Kien suggests to us the marriage of a young lady, and the good fortune (attending it). There will be advantage in being firm and correct.
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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