THE I CHING OR I CHOU ONE INDIVIDUALS'S [ MIS - ] [ ? ] UNDERSTANDING Version 1.0 7 Septem

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THE I CHING OR I CHOU ONE INDIVIDUALS'S [ MIS - ] [ ? ] UNDERSTANDING Version 1.0 7 September 1992 22:33H JONATHON BLAKE THE TURTLE SHELL 2625 PIEDMONT RD # 56105 ATLANTA GA 30324-3012 404-814-0363 ******************** For "Is" and "Is-not" though with Rule and Line And "Up-and-Down" without, I could define, I yet in all only cared to know, Was never deep in anything --- Wine. Rubaiyat of Omar Khayyam Quatrain XLI The hypothesis, which we shall call the 2^6 rule is then, that _Irrespective of race, culture or evolutionary level, culturally institutionalised folk taxonomies will not contain six or more orthogonally related binary dimensions, for the definitions of all the terms._[ emphasis his ] ... In the area of cultural semantics, we are suggesting that a somewhat similar principle applies..._the evolution of cultural complexity is limited, in so far as folk taxonomies are concerned, by the two-to-the-power-of-six-rule[ emphasis_ [ emphasis his]...What is limited is the complexity of the taxonomies which are components of the various cultural sub-systems. Anthony F. C. Wallace Quoted in McKenna & McKenna 1975 CONTENTS Cover Title Page II Introductory Quotes. III Contents. IV Tables. V Illustrations. 1 Start of the Main Text. 8 The Lines. 9 The Genetic Code. 10 The Trigrams. 14 The Trigram/Hexagram Families. 28 Trigrams as a state of Consciousness. 31 The Lines [ revisted ]. 33 Cycles of the I CHING. 37 Synopsis of the interpretation of the Hexagram that is cast. 40 Hexagrams derived from the Trigrams. 50 Last page of text. Bib Bibliography. TABLES Page Table of: Source 1 Trigram names with major attributes Blofeld: 1965: 216. 1 Different Names for the arrangements of the Trigrams. 10 Lines and their relationship to the four-element-theory of the Multiverse. 11 Trigrams and their relationship to Da Liu: 1979: 134 the five-element-theory. Production Cycle: Destruction Cycle: Exhaustion Cycle: Injury Cycle: 14 Relationship of the Cycles to Fortune Da Liu: 1979: 134. 16 Direction of movement of the trigrams Govinda: 1981: 117. 17 Families of Hexagrams and Trigrams Govinda: 1981: 117+. 18 Eight Element Trigram relating to families. 19 Hexagrams: with lead trigram on top. 20 Hexagrams, with lead trigram as base. 25 Psychological Process of the Trigrams Govinda: 1981: 28 Consciousness of the Trigrams Schonberger: 1979. 31 Individual meaning of the lines Sherrill & Chu: 1977. 32 A restatement of the meaning of the Sherrill & Chu: 1977 lines : 30. 34 The Energy Conditions Dhiegh: 1983: 193. 34 The Thirty Six Kinds of Involvement Dhiegh: 1983: 180. 35 Other types of Divination. 36 Sex of the Trigram Hook: 19736: 55 [ Fu-Hsu & King Wen ]. 37 Interpretation of the Lines Sherrill & Chu: 1977. 38 Interpretation of the Trigram Sherrill & Chu: 1977. 38 Interpretation of the Hexagram Sherrill & Chu: 1977. 39 Construction of the Hexagram. 40 I changing to I. << # 42 changing to # 27 >> 42 Technically illegal hexagrms. 43 Interpretation of hexagrams and trigrams. 44 Specific interpretation of some hexagrams. 51 Pinyan-Rominov, Wade-Giles, English & Numbers. ILLUSTRATIONS Page Illustration/Drawing of Source 2 "I" meaning Change Shonberger: 1979. 2 "I Chou" meaning Book of Chou Wilhelm/Baynes: 1950/1977. 2 Trigrams, with Chinese Characters Govinda: 1981: 103. 3 Early Heaven Arrangement Da Liu: 1979: 14. 3 Later Heaven Arrangement Da Liu: 1978: 18. 5 Yellow River Map Da Liu: 1979: 13. 5 Lo River Map Da Lie: 1979: 16. 6 Tortoise with Lo River Map Da Liu: 1979: 16. 6 Dragon with Yellow River Map Da Lie: 1979: 23. 7 Yin and Yang Lines. 7 T'ai Chi. 11 Cycles of the Elements Da Lie: 1979: 134-135. 15 Tables of Permutation Values Govinda: 1981: 116. 22 Abstract and Temporal Order Govinda: 1981: 79. 23 The Abstract Order Govinda: 1981: 120/121. 24 The Elemental and Temporal Orders Govinda: 2981: 120/122. 26 The Abstract Order, Corrected Govinda: 1981: 152. 27 The Abstract Order of Hexagrams Da Liu: 1979: 128/130. 46 "I' meaning "Increase" : # 46. 46 Commentary upon # 46 Sharon Solvin. 46 Peace, with heaven & earth. 47 Various quotes on the I CHING. 47 Diviners Arrangement of Trigrams Blofeld: 1968: 218. On Page Two, on the top left hand cornet is the Chinese Word of "I", which means "Change". In the top right hand corner are the two Chinese characters, which collectively mean "I CHOU", or "The Book of CHOU". The characters on the lower half of the page are the names of the trigrams used or found in the I CHING. From left to right, the trigrams are: Qian Heaven Creative Firmness Creation Li Fire Clinging Clarity Cohesion Zhen Thunder Arousing Mobility Excitement Sun Wind/Wood Penetrating Refinement Kun Earth Receptive Self-devotion Fulfillment Kan Water Abysmal Danger Immersion Gen Mountain Keeping Still Stability Stay Dui Lake Joy Dissolution. On page three we have the trigrams arranged according to two different systems. The arrangement at the top is the Abstract Order, whilst the one at the bottom is the Temporal order. Other names for these two terms are: Abstract Order Temporal Order Fu-Hsu Arrangement King Wen Arrangement Heaven Earth Early Heaven Later Heaven Outer World Inner World Primal Order Ho T'u Map Lo Map Yellow River Map Lo River Map. This list is just a few of the more common terms. The difference between the two is that the temporal order is the abstract order spiralled out in time. The I CHING derives much of its philosophy from these differences. Chinese tradition holds that to fully understand the superiority of the temporal order, over the abstract order, one must be a sage, and fully understand the abstract order, in all of its intricate workings. The abstract order is the temporal order flattened into space. -------- -------- --- --- -------- -------- --- --- --- --- -------- -------- -------- -------- --- --- Heaven Fire Thunder Wood Ch'ien Li Chen Sun --- --- --- --- -------- --- --- --- --- -------- --- --- -------- --- --- --- --- --- --- -------- Earth Water Mountain Lake K'un K'an Ken Tui. S summer 2 1 5 -- -- ------ ------ ------ ------ ------ ------ ------ -- -- Tui Ch'ien Sun E W Spring Autumn 3 6 ------ -- -- -- -- ------ ------ -- -- Li N K'an winter 4 8 7 -- -- -- -- ------ -- -- -- -- -- -- ------ -- -- -- -- Chen K'un Ken Early Heaven Arrangement. S summer ------ ------ -- -- ------ -- -- -- -- -- -- ------ -- -- Sun Li K'un E W Spring Autumn -- -- -- -- -- -- ------ ------ ------ Chien N Tui winter ------ -- -- ------ -- -- ------ ------ -- -- -- -- ------ Ken K'an Chien The Inner World Arrangement. 5 1 7 ------ ------ ------ ------ ------ -- -- -- -- ------ -- -- Sun Chien K'en 3 6 ------ -- -- -- -- ------ ------ -- -- Li K'an 2 8 4 -- -- -- -- -- -- ------ -- -- -- -- ------ -- -- ------ Dui K'un Chen Diviner's Arrangement. Above are two diagrams --- The "Yellow River Map" and the "Lo River Map" respectively positioned at the top and bottom of the page. These maps are the source for the sequence of the hexagrams in the I CHING. Depending upon what one wishes to use, one will utilize either of these, or occasionally, both of them together! [ For example, in "I CHING Astrology" Sherrill & Chu: 1976; 1977. ] Tradition holds that Fu-Hsu found the Yellow River Map on the back of a Dragon-Horse. This map pictures each hexagram, and thus demonstrates its meaning. ( Page six has a drawing of the Dragon-Horse. ) The Lo River Map, so the legend goes, came from the back of a Tortoise which swam ashore from the Lo River, and presented the map to King Wen, so that he could put the hexagrams in their "proper" order. The proper order is correct only in a very subtle way. Both layouts are equally valid, depending upon what one wishes to know, or to do. These give rise to the different interpretations of the trigrams. For example, in the abstract order, the youngest son is "Fire", whilst in the temporal order, the youngest son is "Mountain". There are several other differences, just in the family relationships. In other aspects of divination these differences are even greater. [ See, for example, divination about the family house, and the rooms therein. ] These differences emphasize the overriding concept of the I CHING --- Things Change. Every so often, the I CHING itself has to undergo a change. Man has not changed, nor seems as willing to change, as the I CHING has. This is why the old interpretations have been kept. These interpretations are still valid, even though they are for an age that expired about three thousand years ago. It has been suggested that we ought to be ready for another arrangement of the hexagrams, and of the trigrams. An arrangement that would be equally profound, and legitimate, as opposed to the illegitimate one used by 'street fortune tellers' and "diviners', an example of which can be seen on page four. Other arrangements have been seen, which appear to have no significance, or esoteric meaning. [ At this juncture may I point out that the traditional method of teaching a person in the Orient has been: "I will teach you 20% of what I know, and you will work out the remaining eighty percent by yourself."] Perhaps there is an esoteric significance to the diviner's arrangement, above and beyond that of the Earth or Heaven orders. However, it is more likely that the diviner's arrangement is simply that of a fortune teller who forgot the actual order of the Fu-Hsu arrangement, and contrived this. The only difference between the two is that the "corners" are moved a quarter- circle. Do remember that the primary theme of the I CHING is that things change --- things have to change. The I CHING is composed of hexagrams that are composed of trigrams and bigrams, which are composed of lines, which represent the four states of yin and yang. This blending of yin and yang is the foundation for most of the applied philosophy of the orient. [ See for example: Odsen: 1985, Praytor: 1982, Munenori Yagyu: 1983.] Yin is the shadow. It is the north side of the mountain, but the south side of the river. It is the receptive, the passive, yang which has been split into two. Yang is the light, the south side of the mountain, but the north side of the river, the creative, the active, yin which has fused itself together. The T'ai Chi is simply a reminder that the closer to the extremes which one moves, the closer to the opposite one also moves. There are numerous mind games which one can play, using the T'ai Chi as a basis. However, does anybody really benefit from knowing that Alaska is the furthest state East, of the states in the United States? Likewise with mind games ---- especially those of the I CHING However, let us bear in mind a quotation from the TAO TE CHING. The Tao created the ONE The ONE created the TWO The TWO created the THREE and the THREE created the MANY. Within the framework of the I CHING this becomes: The TAO created the T'AI CHIN. The T'AI CHI created the YIN and the YANG. The YIN and the YANG created the LINES. The LINES created the TRIGRAMS and BIGRAMS. The TRIGRAMS and BIGRAMS created the HEXAGRAMS. The HEXAGRAMS created the TAO. As an alternative, the cosmology of Huai Nan Tzu: [ Dhiegh 1973: 35] 1] There was a beginning. 2] There was a beginning of an anteriority to this beginning. 3] There was a beginning of an anteriority to this beginning even before the beginning of this anteriority. 4] There was being. 5] There was non-being. 6] There was "not yet a beginning of the non-being. 7] There was "not yet a beginning of the not yet beginning of non-being.' Diagramming the lines ought not to be difficult, but it is. [ See the drawings that are on page 7. ] The problem arises in that the different translations of the I CHING draw them differently. [ For example; Legge: 1963: 423 contrasted with Wilhelm/Baynes 1950/1977: 319, contrasted with Blofeld: 1965: 67. ] I have used Legge 1971: 358 as the source for the scores as Frank Fiedeler in Schonberger ( 1979: 149) states that the Wilhelm/Baynes translation of the I CHING contains a printing error. Most English language commentaries on the I CHING are based upon the Wilhelm/Baynes translation of the I CHING. Value Bigram As one Line Energy 9 ------ -- 0-- Yang ------ <------> 8 -- -- -- -- yin ------ 7 ------ ------ yang -- -- 6 -- -- -- X-- yin -- -- . Now, for a brief discussion of the meanings of the lines: Nine is old yang, and is represented by a line with a circle over the line ---o--- . To me, it is a more aesthetically accurate way of portraying it would be a line with an arrow at both ends, pointing out <------->. This is because young yang has yin as a part of it, but old yang does not, and the internal force of yang is to try to push out of the confined space. Likewise, young yin has a part of yang in it, but old yin does not. In old yin, the internal force is collapsing of its own pressure, and thus causing the break of the line to disappear. ---X- -- . Thus nine and six are moving lines, whilst seven and eight are not. Furthermore, it can be seen that the lines require a bit of their "opposite" in order to function effectively. Thus the movement to yin, and to yang respectively. Thus, one could say that in a very real sense there are twelve lines in a hexagram, not six. This is something that might be useful in some functions, but not with any immediately useful consequences, in general usage. Then, since there is the idea that each line is in actuality two lines, there is also the idea that two line should combine, and form one line, thus giving each hexagram a Golden trigram, which is the essence of all that is in the trigram, whilst the hexagram is an expanded aspect of the trigram. This does give rise to the temptation to view each hexagram as a glorified trigram. [ The logic that since one can expand out, one can also expand in, is the basis for this. It does ring true. ] There has been the long standing idea that the top two lines are representative of heaven, and the middle two lines are representative of man, and the two base lines are representative of earth. Yin of Yin Yin / Yang Yin of Yang Yin / Yang Yang of Yin Yin / Yang Yang of Yang Yin / Yang. Schonberger ( 1979: 71 ) states that the genetic code is expressed in the I CHING thusly: U 6, C 8 G 7 A 9. He then proceeds to state that there is no distinct proof for this correspondence, there is a relationship, which might be there coincidentally, or might be synchronization at work. He points out a number of similarities. These are: #1: the punctuation codon UAA is "STOP", whilst in the I CHING it is # 33 - Retreat. #2: Codon UGA is "STOP", whilst in the I CHING it is # 12 - standstill, and in the DNA code its function is to serve as a confirmation mark. Schonberger ( 1979 ) describes the similarities with many of the codons, and hexagrams, noting the similar outcome associated with each. Another purely coincidental piece of evidence is that the Chinese symbol for "I" [ change ] is very similar to that of DNA molecules, as photographed under an electron microscope. The Bigrams, also corresponds to an unqualified 'yes' for 9, 'yes, but...' for 7, 'no, but..' for 8 and an unqualified 'no' for 6, according to Reifler ( 1974: 13). These also correspond to the four elements of the Chinese four-element-theory-of-the-multiverse. Young yin is wood, which is up, down and all around. Young yang is metal, and receives everything. Old yang is fire, and it goes up and opens up everything, and old yin is water, and it drains everything away. The related functions/attributes are not always a result of the order of trigrams which one uses. On page eleven, there are four columns of five trigrams each --- Water is at the base and top of each column. This is an elaboration of how the meanings associated with the trigrams arose. Each column is associated with a different function, whilst each trigram is associated with a specific element of the Chinese five-element-theory-of-the-multiverse. -- -- -- -- -- -- -- -- water ------ ------ ------ ------ -- -- -- -- -- -- -- -- water ------ ------ -- -- ------ mountain ------ -- -- ------ -- -- -- -- ------ ------ -- -- earth ------ -- -- ------ ------ wind -- -- ------ -- -- ------ ------ ------ -- -- -- -- wood ------ ------ ------ -- -- lake -- -- ------ -- -- ------ -- -- -- -- ------ ------ metal -- -- ------ ------ ------ fire ------ -- -- ------ -- -- ------ -- -- -- -- ------ fire -- -- -- -- -- -- -- -- ------ ------ ------ ------ -- -- -- -- -- -- -- -- produces destroys exhausts injures -- -- ------ -- -- -- -- ------ -- -- -- -- ------ ------ earth heaven thunder. A quick look at the charts will show that the Creative, the Receptive and Thunder are missing. This is not because they do not have any elements associated with them, but rather that the associated elemental changes, according to the which schemata of the I CHING one is using. Their elements differ thus: In Plum-Blossom-Numberology, the Creative is Metal, Thunder is Wood, Earth is Earth and Lake is Water, and is repeated twice. [ The reason for the repetition of Lake is that Plum- Blossom-numberology is a variation of nine-House Astrology, which requires nine parts for the nine houses.] If one were to use another system, for example, Ho-Map-Lo-Map-Rational-Number-Astrology, then one would find that Wood was both the Creative, and the Receptive, Fire is Both Mountain & Lake, Earth was Fire and Water, and Metal is Wind and Thunder, and Water is the Creative and Receptive, for the Ten Celestial Stems utilized. However, getting back to these columns, they are mainly, but not exclusively used in prediction. They are both an asset, and a hinderance in understanding why a hexagram means what is does. The first column --- the cycle of what produces/generates what. Water produces Wood by providing nourishment. Wood generates fire by providing something to burn. Fire generates Earth [ in this case Mountain ] by providing ash [ especially as a volcanic eruption ]. Earth generates Metal, by providing the salts for the metal. Metal produces Water, or rather a liquid, when heated to high temperatures. [ Note, the rational here are not traditional, but I use to help me keep the orders straight. ] The second column --- the cycle of what destroys what, works on the same lines. Water puts out Fire. Fire, as heat, evaporates the Lake, but it also melts Metal. Metal [ Lake ] destroys Wood by chopping it down. Wood destroys Earth, by reshaping it. Earth absorbs water, and thus destroys it. Then, the cycle starts again. The third column --- the cycle of exhaustion is similar, but states what depletes the energy of the element, without requiring the element to be destroyed. Water rusts Metal away [ here it does so by adding to the Lake to the degree that the Lake con not hold any more and is threatening to burst.] If there is too much Metal, the Earth will be Dissolved away [ Lake erodes the Mountain ]. If there is too much earth, the fire will not be able to burn [ Mountain is denuded with nothing to provide nourishment for the fire.] Too much Fire will deplete the Wood, and thus no Wood would be left. [ Fire burns all the Wood ]. Finally Wood absorbs the Water, and hence uses it all up. [ Either Wind evaporates the Water, or alternatively, Wood Absorbs the Water from the earth. In either case there is no water left. ] Thus the cycle repeats itself. The final stage is that injury --- the interaction of the elements with each other, to the point that they hurt each other, but do no lasting harm, except in a long drawn out 'battle,' which is where the exhaustion or destruction cycles are more likely to come into play. Water injures the Mountain by erosion [ Metal dissolves the earth, by breaking it ]. The Mountain blocks the Wind [ Wood being stunted by a lack of food from Earth ]. The Wind evaporating the Lake is Wood Dulling Metal, or as an alternative, Wood prevents the Lake from increasing in size, when used as a dam wall. Lake inhibits the growth of Fire. [ Metal does not burn. ] Fire turns Water into Steam, and thus injures it, by changing its form. None of these is a lasting injury, but are enough to stop the element for a short time. Use the "Fate Trigram", and the "Subject Trigram", respectively, in working out the relationship of the trigrams, to each other. The Fate Trigram contains the moving line, whilst the subject trigram does no. The Fate Trigram is placed on the top for these cycles. Each trigrasm is directly below every other trigram, somewhere in the set of cycles. The Subject Trigram is the base trigram, in these instances. For example, using Chen as the fate trigram, and Sun as the subject trigram. First problem, Chen isn't listed, per se. Not an omission, because first we have to decide what element Chen is representing. Using Plum-Blossem-numberology Chen would be Wood, whilst SUn is also Wood. No problem we simply remember that likes reinforce likes. Thus, since are the same element, this will, usually bode good fortune. Another example: Chen is the subject trigram and Li is the Fate trigram. Looking at the cycles we see that Fire exhausts Wood. This indicates possible great misfortune. [ This assumes we were using Plum-Blossem-Numberology for our decision of what Chen will be ] Each cycle has a specific indication associated with it --- The production Cycle indicates good fortune, whilst the injury cycle indicates slight misfortune. The Destruction cycle indicates misfortune and the exhaustion cycle indicates gross misfortune. In some rare instances both trigrams have moving lines. That being the case, fate rules supreme. You can not do anything except flow with the flow. Paradoxicallyt, you will have many choices which give you apparant control. These may or may not be shams. Also rare is to have no moving lines. This would indicate that whilst there is no apparant control, one is in total control of the situation, if one flow with the Dao. Here, the fates are heavy upon one, but with no aids. Also notice that the lower trigram represents the manifestation on the tangible material plane. The upper trigram represent the spiritual force that is dominant for individuals. To look as Ch'ien, Kun and Chen more closely. Ch'ien is the trigram that is pure yang, whilst Kun is the trigram that is pure Yin, hence are explicitly implied by every other trigram, by the lines within the trigram. Likewise, these two trigrams arethe basis for all acts of creation, by their interaction. Whilst not as obvious, Thunder is implied in every other trigram, as it is the result of interaction of action, with non-action. Heaven creates Thunder, but only with the help of Earth. Thunder is latent energy, and has to be tapped by both, before either can use it, and therefore is implied by all the other trigrams --- they can only be made manifest by the action of Thunder. I will discuss this in more detail, later, especially how the other elements are formed from these three. The next stage is to look at the "family" of trigrams and thus the family of hexagrams. Page 16 has a listing of the "TABLES OF PERMUTATION VALUES." Each trigram has movement associates with it, which it passes onto the hexagram. The direction of movement applies to part of the interpretation of the trigram in relationship to the hexagram in which it occurs. [ Easy way to remember movement directions: Yin base line sinks, yang base line rises. ] ie: Ch'ien moves up K'an moves down Ken moves down Chen moves up Sun moves down Li moves up Kun moves down Tui moves up TABLES OF PERMUTATION VALUES A C1 C2 O P starting Coordinated val complement parallel excluded value #1 #2 opposite value ^ -------- -------- -------- --- --- -------- thunder | -------- -------- --- --- --- --- --- --- lake -------- --- --- --- --- --- --- -------- water | --- --- --- --- --- --- -------- --- --- wind V --- --- -------- --- --- --- --- --- --- mountain --- --- -------- -------- -------- --- --- heaven | -------- -------- -------- --- --- -------- earth V --- --- --- --- -------- -------- -------- mountain --- --- -------- -------- -------- --- --- thunder ^ --- --- --- --- --- --- -------- --- --- earth | --- --- --- --- -------- -------- -------- heaven -------- --- --- --- --- --- --- -------- mountain | -------- -------- -------- --- --- -------- water V -------- -------- --- --- --- --- --- --- earth --- --- -------- -------- -------- --- --- lake ^ -------- -------- -------- --- --- -------- lake | --- --- --- --- -------- -------- -------- thunder -------- --- --- --- --- --- --- -------- earth | --- --- --- --- --- --- -------- --- --- mountain V --- --- --- --- -------- -------- --- --- wind --- --- -------- -------- -------- --- --- fire ^ --- --- --- --- --- --- -------- --- --- fire | -------- -------- --- --- -------- -------- heaven -------- --- --- --- --- --- --- -------- wind A C1 C2 O P . The Co-ordinate Value #1 is derived from the starting value, by replacing the base line with its complementary line --- yin changes to yang, and vice versus. Co-ordinate value #2 is created by changing the base line & the middle line to their complementary line. The complimentary opposite is created by changing all three lines to their complementary line. The parallel value is created by changing the middle line to the complementary opposite line. Later on, we will touch upon why the top line , the top and bottom line, or middle and top lines are not changed to derive the family. We could respectively term these Complementary Co-ordinate value #1 and Complementary Parallel value, and Complementary Co-ordinate Value # 2. Why not place all the trigrams above "A" or below "A", instead of the way shown? That would then make every trigram, from each trigram. However, by not using all eight trigrams, but just five, one can relate each trigram to the five-element-theory-of-the-multiverse. Of course, with eight trigrams, the four-element-theory-of the-multiverse could be utilized, with each element having two trigrams attached to it. But utilizing eight elements would result in a minor, but significant problem --- some hexagrams would belong to two or even three families, whilst others would only belong to one family. With five trigrams, the family is produced thus: A Subject trigram C1 Co-ordinate Value # 1 C2 Co-ordinate Value # 2 O Complementary Opposite P Parallel Value The, our table would look like this: Trigram first: 1 2 3 4 5 6 7 8 A Qian Dui Li Zhen Sun Kan Gen Kun C1 Sun Kan Gen Kun Qian Dui Li Zhen C2 Gen Kun Sun Kan Li Sun Qian Dui O Kun Gen Kan Sun Zhen Li Dui Qian P Li Zhen Qian Dui Gen Kun Sun Kan C3 Dui Qian Zhen Li Kan Sun Kun Gen C4 Zhen Li Dui Qian Kun Gen Kan Sun CP Kan Sun Kun Gen Dui Qian Sun Li Hexagrams are: Ch'ien K'an Ken Chen Sun Li K'un Tui A/A # 1 # 29 # 52 # 51 # 57 # 38 # 2 # 58 A/C1 # 44 # 60 # 22 # 16 # 9 # 56 # 24 # 47 A/C2 # 33 # 3 # 26 # 40 # 37 # 50 # 19 # 45 A/O # 12 # 63 # 41 # 32 # 42 # 64 # 11 # 31 C1/O # 20 # 49 # 38 # 46 # 25 # 4 # 34 # 39 C2/O # 23 # 55 # 10 # 48 # 21 # 59 # 43 # 15 P/O # 35 # 36 # 61 # 28 # 27 # 6 # 5 # 62 P/A # 14 # 7 # 53 # 17 # 18 # 13 # 8 # 54. The point of having the houses is that we can then relate them to more than the trigrams, but the hexagrams can thus come into closer contact with each other, and share the same characteristics. Furthermore, by arrangeing them into houses, one can do a reconstruction of the trigrams, and hexagrams, into what is most likely the original order, which Fu-Hsu [ assuming that: # I) he did exist, # II) he constructed the hexagrams and trigrams & # III) he had a mathematical reason for his arrangement.] had them in. Now, you might be asking why they are not all simply placed above A, or below A, instead of the [ maybe ] strange looking order in which they are, in the diagram. Basically, it is due to if each family were to only have the base trigram, or top trigram, the hexagram would have an overabundance of that element, which was represented by the trigram. This would result in the families being at war with each other, so to speak, rather than harmonious living together as they currently do. Also, one would have to produce more component trigrams, such as I questioned why there were not, earlier on. Anyway thus : C3 Complementary co-ordinate Value # I [ the top line becomes its complement ] C4 Complementary Co-ordinate Value II [ the top two lines become their complement ] P2 Complementary Parallel Value [ the top and bottom lines become their complement ] Thus, our table would look like this: Trigrams first: A Ch'ien K'an Ken Chen Sun Li K'un Tui C1 Sun Tui Li K'un Ch'ien Ken Chen K'an C2 Ken Chen Ch'ien K'an Li Sun Tui K'un O K'un Li Tui Sun Chen K'an Ch'ien Ken P Li K'un Sun Tui Ken Ch'ien K'an Chen C3 Tui Sun K'un Li K'an Chen Ken Ch'ien C4 Chen Ken K'an Ch'ien K'un Tui Sun Li P2 K'an Ch'ien Chen Ken Tui K'un Li Sun On the next page are the tables for both A/Trigram, and Trigram/A. Hexagrams, with Trigram "A" on top: Ch'ien K'an Ken Chen Sun Li K'un Tui A/A # 1 # 29 # 52 # 51 # 57 # 30 # 2 # 58 A/C1 # 44 # 60 # 22 # 16 # 9 # 56 # 24 # 47 A/C2 # 33 # 3 # 26 # 40 # 37 # 50 # 19 # 45 A/O # 12 # 63 # 41 # 32 # 42 # 64 # 11 # 31 The Following hexagrams would be new to these Houses A/P # 13 # 8 # 18 # 54 # 53 # 14 # 7 # 17 A/C3 # 10 # 48 # 23 # 55 # 42 # 21 # 15 # 43 A/C4 # 25 # 39 # 4 # 34 # 20 # 38 # 46 # 49 AP2 # 6 # 5 # 27 # 62 # 61 # 35 # 36 # 28 Hexagrams, with Trigram "A" on the base: Ch'ien K'an Ken Chen Sun Li K'un Tui A/A # 1 # 29 # 52 # 51 # 57 # 30 # 2 # 58 P/A # 14 # 7 # 53 # 17 # 18 # 13 # 8 # 54 The following hexagrams are new to these Houses C1/A # 9 # 47 # 56 # 24 # 44 # 22 # 16 # 60 C2/A # 26 # 40 # 33 # 3 # 50 # 37 # 45 # 19 O/A # 11 # 64 # 31 # 42 # 32 # 63 # 12 # 41 C3/A # 43 # 59 # 15 # 21 # 48 # 55 # 23 # 10 C4/A # 34 # 4 # 39 # 25 # 46 # 49 # 20 # 38 P2/A # 5 # 6 # 62 # 27 # 28 # 36 # 35 # 61 . A natural procession of order can be seen, if their order was Earth, Mountain, Water, Wind, Thunder, Fire, Lake, and Heaven. This shows a number of symmetrical patterns, which could be utilized for further understanding. However, do take care not to get involved in any of the mind-games the I CHING can bring on. To extract the total meaning out of all the possible arrangements, is to delve into the I CHING, and stay buried in it, from one's birth, until one's death, a few millennia later, if so short a period of time is there. [ After all, the I CHING considers its own cycle to be in the range of an eternity and then some.] [ 6^64 years -- but Chinese years of 384 days, not 365 days. While glancing across calendars, I ought to point out that there are days that are a part of the Chinese calendar, but not a part of the cycle, by not being there, represented by the I CHING. The Chinese year is based upon the I CHING, and hence the number of days in year, and the value of the number of years in its cycle. See Khiegh Alx Dhiegh 1982: 1983 for more information on the Chinese year. ] If one could survive that long, then maybe one could understand it, in its entirety. However, Daoist priests and practitioners have claimed that immortality is there for the taking, [ for example: Lu K'uan Yu: 1970 ] especially by using Green Tiger, White Dragon Alchemy, with fourteen ounces of unsmelted silver, to use the traditional expression. Admittedly, Lu K'uan Yu does not admit to the total virtue of that method. It is appropriate, however, to point out that such a union was permissible, only if there was no sexual desire, per se. One must love, maybe, but not have any lust, of any form within one. In this case, it is not just the lust for sex, but also the lust for money, for "things" including immortality, that must be overcome. To have no desires within one is the way. However, it is not the only way, but merely a way, for some. Other ways of achieving immortality are easier, but not much. Furthermore, the question then arises as to why one wishes to be immortal, when one could transform one's self, and ride the dragon. End of digression. The chief result of having the trigram family, is to create the hexagram family, so that one can get back to the original order of the trigrams, also to gain more out of each trigram. One can take the abstract order, or the temporal order or the elementary order, which are on pages 22, 23 & 24, respectively. On the diagrams on those pages, one can see a certain structural relationship between the trigrams, and the members of its "trigram family." By using the houses as developed by the trigrams, one can come up with the diagram on page 26 that is an idealization of the Abstract Order, as Lama Govinda ( 1981: 152 ) sees, after one has made some corrections in the numbering of the hexagrams. [ He switched hexagrams # 21, # 22, #30, # 35, # 36, # 3 and # 4, placing them in their new place.] Why, you might be wondering, bother with the traditional arrangement, and try to seek out the original order. The answer lies in the reasoning behind my answer on page seventeen --- that Fu-Hsu had a specific reason for his order of the trigrams, and the hexagrams. Finding the original order will deepen the understanding one has, as it will show up relationships between the hexagrams which one was not aware of, before. Furthermore, knowing the exact sequence which Fu-Hsu used, is of vital importance, if one is using the I CHING for prediction, and to do so accurately. [ Of course, one could always resort to the trickery and misuse./abuse that the street fortune tellers use the I CHING for, but I am assuming that the individual who wants to utilise it for such is a superior person --- one does not consult it recklessly, but in open honesty. [ On second thoughts, let me point out that that would be the ideal. If one were totally honest with one's self, one would be the SUPERIOR PERSON, the I CHING discusses and hence would not need to use it. ] ] Furthermore, if one has an idea of the original sequence, one could make some profound insights into the reasoning behind the order which King Wen placed the hexagrams and the trigrams. However, the houses also show the sequence of emergence of consciousness in the individual, although not as clearly as the Abstract order does. It does show consciousness, and spiritual growth in greater depth --- because it has more variations with which to play. [ And, I might add, I suspect that it is all a game, as far as the I CHING is concerned --- but not a game of how we do live [ though that does come into play ] but of how we ought to play. Does it really take itself seriously? ] The Fu-Hsu order shows the trigrams, with the procession of Heaven moving to Earth, to create existence, Fire moving towards water, with the idea of becoming aware, Thunder reaching out to wood, with the idea of increasing one's effectuation, by moving from the stimulating deed, to the evaluation through feeling. The final process is becoming aware, which is the move from the Lake, to the Mountain. It is passive sensory consciousness becoming active, still transcendental consciousness. If one looks at the trigrams in the following order. [ Here I am going to jump all the way back to page 11, where I discussed the five- element-theory-of-the-multiverse, and the cycles that are made manifest, with the trigrams. ] There is a distinct relationship to the process of becoming the superior person, and gaining a greater degree of consciousness. To wit: The Create and the Receptive are Universals, Thunder and Wood are Organic. Fire and Water are Elemental elements, and the Mountain and the Lake are Inorganic. Now, in the five-element-theory cycles, Heaven and Earth were excluded because they are inherent in all other trigrams --- they are the yin and the yang. Together, they form a class of invisible transcendental forces, which is pure principle. More subtle is the fact that Thunder is inherent in all the other trigrams. It is latent energy, which stimulates everything. Thunder creates electricity which releases itself in lightning. The house of Thunder has its basic foundation as man between inspiration and sensitivity, tending towards reflection. It is the stimulating, the will, the deed: A part of the process of effectuation, in sensation and in will. It is the energy we have within, which we do not recognize as being from within. It is the Elan Vital whereby everything comes into play. Wood is the complementary opposite of thunder. Wood is creation, but it is the act created, creation after the fact. Thunder is also the act of creation, but creation after the fact. Hence, Thunder is inherent in all the other trigrams, but wood is not. Thunder is what is to be, whilst Wood is what has become. Fire and Water are elemental, because they are found everywhere. Fire is bright, is warm is moving up. Water is dark, is cold and moves down. Fire is everything that Water is not --- hence they are elementals. The Inorganic group are thus termed, because the mountain just sits there --- it [ Mountain ] has as its major attribute, Keeping Still, and the Lake has as its major attributes Pleasure and Joy. It is an arousing mist, still, it remains peaceful --- there are no dynamics that Thunder has, or that Wood has, Nor is there even the tension which is present between the Creative, and the Receptive. Hexagram # 41: Sun: Mountain above the Lake The Image: At the foot of the Mountain, the Lake; The image of DECREASE. Thus the superior Man controls his anger And restrains his instincts Wilhelm/Baynes 1950/1977: 159: Hexagram # 31: Hsien: Lake above the Mountain: The Image: A Lake upon the Mountain The image of Influence Thus the Superior Man encourages people to approach him By his readiness to receive them. Wilhelm/Baynes 1950/1977: 123 We can see here why the Inorganic trigrams have no Dynamics in them --- while they are concerned with ethical conduct, it is by non-doing that the ethics is achieved. The basic meaning is, I feel very obvious, and it is a useful exercise, for an individual, to look at the composite hexagrams, which for the Universals will be # 11 --- T'ai, and # 12 --- P'i. For the Organic trigrams it will be # 42 - I , and # 32 --- Heng. For the Elemental group it will # 64 --- Wei Chi, and # 63 --- Chi Chi. And the Inorganic group obviously is # 42 -- Sun & and # 31 --- Hsien. There are other hexagrams which should also be studied in depth -- the Receptive and the Creative, along with the _Great Treatise on the First and Second Hexagrams_. [ Appendix Four in Legge: 1971. It is included with the First and Second Hexagrams in Wilhelm/Baynes 1950/1977 in Book III. Blofeld ( 1968 ) puts his translation of the Wen Yen with hexagrams # 1 & # 2. Ruffler ( 1974 ) seems to have either ignored it, or put it throughout the book, and thus eliminated the "need" to study it, as it is already present in his commentary/translation. Everything that has been discussed so far, is only a part of the I CHING. There is a specific place for each line, and this is what the I CHING really is --- the combination of the lines, not the trigrams, nor the hexagrams, nor anything else, but the lines. The correct place for each line is found in hexagram # 63 --- Chi Chi. Ironically there is an inherent misfortune within Chi Chi, because everything is in its proper place. Reading the Text [ Blofeld 1965: 208 ] we see this clearly: After completion --- success in small matters! Persistence in the righteous course brings reward. Good fortune at the start; disorder in the end! The lines serve further in highlighting this: He breaks the wheel of the chariot and gets the rear part wet --- no error The lady loses the blind from her chariot window. She should not go in search of it, for she will recover it in seven days. The Illustrious Ancestor carried out a punitive expedition in Kuei Fang and conquered it after three years --- men of mean attainments would have been useless Amidst the fine silk are ragged garments --- be cautious throughout the livelong day! In terms of benefits, the neighbors gained less from sacrificing an ox than the neighbor to the west gained from carrying out the Spring Sacrifices His head gets wet ---- trouble! It is typical of the I CHING that the more fortunate the hexagram as a whole, the less fortunate the lines are, and vice versa. To contrast with # 64 -- Wei Chi. The Text and the lines show this [ Blofeld 1965: 210-211] Before completion --- Success! Before the little fox has quite completed its crossing its tail gets wet. No goal is favorable now. His tail gets wet --- disgrace! He brakes the wheels of the chariot --- righteous persistence brings good fortune. The crossing is incomplete, so to advance now would bring misfortune ( yet ) it will be advantageous to cross the great river. Persistence in a righteous course brings good fortune and absence of regret The lustre of the Superior Man wins people's confidence --- hence his good fortune. Those in whom the people repose their trust may feast for themselves without doiing wrong; but if they allow their heads to get wet, they forfeit that trust. One can see here how the lines of the hexagram relate back to other lines, as well as the 'balancing' of the misfortune with good fortune, that is a part of every hexagram --- the more positive the hexagram as a whole, the more negative the lines, and the more negative the hexagram, the more positive the lines. [ Can one really say that a hexagram is positive or negative, then? ] As stated earlier, the lines are the I CHING. Hence, they have a specific meaning in the hexagram; videlicet 6 relates to heaven in and as heaven. 5 relates to man in and as heaven. 4 relates to earth in and as man. 3 relates to heaven in and as man. 2 relates to man in and as earth. 1 relates to earth in and as earth. A brief restatement: 5 & 6 relate to the essence of the subject 3 & 4 relate to the subject of the subject 1 & 2 relate to the object of the subject Furthermore, the lines are also indicative of the following, as a result of where they are in the hexagram: 6 outcome of the situation 5 ruler of the situation 4 minister of the situation 3 transitional state between the situations 2 follower of the situation 1 seeds of changing the situation. Or to relate them to specify person 6 The Perfect Person 5 The King 4 The Court Official 3 The Prefect 2 The Low Official 1 The Commoner. Or, as chess pieces 6 The Queen 5 The King 4 The Rook 3 The Bishop 2 The Knight 1 The Pawn. Or relating to various body parts: The Human Body The Animal Body 6 Head Head 5 Shoulders Front Leg 4 Torso Front Part of the body 3 Thighs Back Part of the Body 2 Shins Back Legs 1 Feet Tail. One ought not to approach the I CHING in a casual manner, hence, I think that the lines, trigrams, etc., were developed, to discourage a casual attitude to the I CHING. Furthermore, it encourages one to have a serious, legitimate question, which one con not, by one's own self answer. Or more accurately, one has not yet seen the answer within one's self. The I CHING simply points out the obvious to one, [ unless one has asked a foolish question, in which case one will no doubt receive # 4 --- Meng, as one's answer. ] Furthermore, may I point out that one's personal copy of the I CHING acquires a psyche of its own --- but one which reflects the zeitgeist of the individual, and it [ the I CHING ] tries to mould the individual to conform with its weltanschauung, by assuming that the individual is a allready a superior person. IE: It gives positive strokes for when the person is allready doing the right thing. It is a reflection of the individual, but also the individual becomes a reflection of it. A question should always be very clear and precise and concise. A sloppy question will bring forth a sloppy answer. For those who use the I CHING as a tool for growth, they will often come up with # 4, simply because they throw the hexagram so often. However, there is the tendency for one to start to rely totally upon the I CHING, and here to give one Meng, simply because one is acting as an immature person. Quoting from Wilhelm/Baynes 1950/1977: 406 Youthful Folly has success. It is not I who seeks the young fool; The young fool seeks me. At the first oracle I inform him. If he asks two or three times, it is importunity. If he importunes, I give him no information. Perseverance furthers. The last line "Perseverance furthers" refers to the individual going within him/herself, for the answer, and not running to the I CHING with every little [ or big ] problem/question which they have. However, if one is going to use the I CHING as a tool for growth, I would suggest using a Chinese calendar, such as Khiegh Alx Dhieghs _YI JING: Daoist Book of Days, ( 1983 ) which is a calender-diary, keyed to the Chinese year of 384 days. It also has a description of the twelve energy cycles of the I CHING, and the thirty-six kinds of involvements that are made manifest by the I CHING. However, Dhiegh ( 1983: 193-211 ) does describe the energy cycles, and how they are used. Furthermore, he also describes the different types of involvements of the I CHING, and how they are to be integrated into the energy cycles. Ni [ 1983 ] describes the relationship between the energy cycles and the Celestial Stems and Terrestrial Branches. Whilst it is obvious that the I CHING has cycles within it [ after all, it does state that all that is, is change ] and that the Fu-Hsu Order shows polar opposites, there is nothing quite as explicit as the passage in Ecclesiastes 3: 1 - 8, which is as follows: To everything there is a season and a time to every purpose under the heaven: A time to be born, a time to die A time to plant; A time to harvest; A time to kill; A time to heal; A time to destroy; A time to rebuild; A time to cry; A time to laugh; A time to grieve; A time to dance; A time for scattering stones; A time for gathering stones; A time to hug; A time not to hug; A to find; A time to lose; A time for keeping; A time for throwing away; A time to tear; A time to repair; A time to be quiet; A time to speak up; A time for loving; A time for hating; A time for war A time for peace. [ Verse one is from the KJV, verses 2 though 8 are from The Way. ] These energy conditions, if one wants to call them that, vary tremendously from those in the I CHING. Furthermore, for one to study them, one has to go through the I CHING in tremendous detail --- or have one tell one about them. At the same time, they are similar to the energy conditions of the I CHING, and to the different kinds of involvements of the I CHING. Viz. [ Dhiegh 1983: 193 ] the energy conditions: Establishing Removing Filling Leveling Focusing Holding Breaking Dangerous [ loft , alert ] Completing Collecting Opening Closing. And [ Dhiegh 1983: 180 ] the thirty-six kinds of involvements: Engagements Commencing Plowing Weddings [ festivities ] Planting Grain Commencing Studies Planting Vegetables Assuming A New Position Collecting Honey Moving Residences Cutting Lumber Starting A Journey Building a Chicken Coop Meditation/Self-cultivation Building A Pig Sty Seeking Cures Building A Horse Barn Visiting the Sick Building A Cow Pen Airing out the Room Obtaining Poultry Setting up the Hearth Obtaining Pigs Burials Obtaining Horses Openings Obtaining Cattle Contracts and Trade Obtaining Cats Purchasing Property Obtaining Dogs Dividing Property Earth Moving & Land Leveling Letting out Money [ lending ] Commencing Building Collecting Money [ debts ] Digging Pools or Ponds. But, these are implied in the arrangement of the hexagrams, and are not noticeable, when one studies the I CHING, as tradition ascribes to Fu-Hsu, and the order he laid them out in. But in, Ecclesiastes 3: 1-8 whilst telling us how the person would act, does not tell us when to cry, or when to laugh. However, the I CHING can provide an answer as when to plant crops, and, do the right thing. This can be done either by reading the time straight off the hexagram, or by using any one of the numerous systems of astrology, and numerology, which is associated with the I CHING. For example Ho Map Lo Map Astrology [ The Astrology of the I CHING ] Tzu Pin Astrology Nine Star Astrology [ Nine House Astrology ] Tzu Wei Astrology Tai I Astrology Tzu Pin Geomancy Lo Map Geomancy Nine House Numerology Nine House Directionology Tzu Pin Directionology Plum Blossom Numerology Iron Plate Divine Number Numerology Feng Shu. However, the hexagrams do give an idea of the potential, for time, in the fact that the lines can refer to time, in terms of either weeks, months, or days! One has to know things fairly well, to know which one of the several time periods is being referred to. Time is indicated by the moving line, and the period is indicated by the line number. For example, if the moving lien is Nine in the third place, then the events will occur either three days, or three weeks, or three months time, from the date of asking the I CHING. The next aspect of the hexagrams, which relates to the trigrams, is to place them [ the hexagrams ] in their family relationships, and to determine their sex. This is done by examination. It is here that the greatest difference between the Fu-Hsu Arrangement, and the King Wen arrangement, is at their greatest contrast --- in my opinion. Thus I list both [ Hook: 1973: 55 ] Fu-Hsu Sex/Family Relationship King Wen Creative Father Creative Receptive Mother Receptive Arousing Oldest Son Arousing Clinging Middle Son Abysmal Joyous Youngest Son Keeping Still Gentle Oldest Daughter Gentle Abysmal Middle Daughter Clinging Keeping Still Youngest Daughter Joyous. However, the family relationship plays a part in the five-element- theory-of-the-multiverse, by providing a base from which the different trigrams can join, to show the proper element for each trigram. However, do not look at the cycles on page 13, for the sequences listed above, as they are not there. The trigrams arrive at specific family relationships, for both sequences, by a very simple method. The King Wen arrangement gives the minority line the sex of the trigram, and the height above the base line is the birth order. Thus, yang is masculine, and the third line indicates the youngest child. The exceptions being Heaven, and Earth, which have no minority lines. These are the sex of the three lines, whilst implying the existence of the absent lines. Fu-Hsu saw the base line as giving the sex, whilst the line that was the same as the base line gave the birth order. IE: Youngest Son is a Yang line in the second place, whilst the Middle Son would be a yang line on top. Furthermore, the Fu-Hsu sequence is oldest middle, youngest, opposite sex parent, if one moves in a clockwise direction. [ Which is the direction the King Wen Sequence appears to travel in. ] Whilst King Wen splits the sexes upon the Sun - Ch'ien axis. The next mode of analysis of the hexagram is to consider that each hexagram implies its opposite. That is to say that just as Wind implies Thunder as its reverse, so Wind implies Lake, as its inverse. Thus the idea that the hexagrams reveal each other, by their inverse, and by their reverse, arose. The two schools of thought were respectively termed the P'ang-tung and the Ch'in-kua. Thus when one consults the I CHING, one not only makes a nuclear hexagram, [ lines 3, 4 & 5 above lines 2 , 3 & 4 ] and a moving hexagram, along with its nuclear hexagram, but also the inverse hexagram, and the reverse hexagram., in order to find out what the situation is not. Thus, to summerize what has been covered in how to interpret the I CHING. For each line: Is it in the Right Place? Is it the same as the corresponding line in the other trigram? Is it favorable or unfavorable, in respect to the other line of the bigram? What is on top of it? What is below it? Is it Yang, or Yin? Is it fixed or moving [ young or old ] ? Is its action favorable, or unfavorable, whist moving? What is its Constituting Ruler? What is its Governing Ruler? For each trigram: What does the trigram symbolize? What is the sex of the trigram --- both the Fu-Hsu and King Wen Arrangements? What is the nature of the trigram? What is its family relationship to the other trigram? Which sex is leading? Which sex is following? Which direction is it moving? How many moving lines does it have? What is the position of these lines? What trigram is ultimately formed, with the moving lines? What trigrams are formed by the combination of moving lines How do these relate to the major hexagrams? [ Cast, Moving, Nuclear & Moving Nuclear ] What is its position in the Fu-Hsu Sequence? What is its position in the King Wen Sequence? What element is it? Which cycle is it below the other trigram? Which cycle is it above the other trigram? What is its psychological process? What is its Consciousness? For each Hexagram: Repeat the series of questions for the trigrams, substituting hexagram for trigram. What is the interaction of the symbolism of the trigrams? What is the direction of the flow of the energy of the trigrams? How does the hexagram affect the other major hexagrams? How does the Inverse Hexagram affect it? How does the Reverse Hexagram affect it? How does the Nuclear Hexagram affect it? How does the moving hexagram affect it? How does the Primary hexagram affect it? Which course of action indicates good fortune? What course of action indicates misfortune? What is the proper timing? Is the proposed course of action flowing with the Tao? [ Adapted from Sherrill & Chu 1977: 34 - 35. ] The rational for the final question --- Is the Proposed course of action flowing with the Tao --- is that as far as both the I CHING and the Tao Te CHING are concerned, a correct action, done by an incorrect person, or at the incorrect time, or for an incorrect reason, or any combination thereof, is an incorrect action, and therefor is not flowing with the Tao. The fourth last question --- how do other hexagrams affect it --- refers specifically to the following section, which is implied by all the proceeding material. The cast hexagram is the first hexagram one obtains. The Moving Hexagram is the hexagram that results when changing all the moving lines. Then one takes the third, fourth and fifth line to construct the upper nuclear trigram. The second, third and fourth lines are used to construct the lower nuclear trigram. These two are then combined, to form the Nuclear Hexagram. One then constructs the Moving Nuclear Hexagram using the same process upon the moving hexagram. Then one constructs the Inverse hexagram, for each. Then one constructs the Reverse Hexagram for each. Then one determines the hexagram that precedes it, In Fu-Hsu's order of things. Then Determine the hexagram which follows it, in Fu-Hsu's order of things. Then Determine the hexagram which precedes it In King Wen's scheme of thing. The determine the hexagram which comes after it, in King Wen's scheme. The upper, upper nuclear, lower nuclear and lower trigrams are made from each of the primary hexagrams. These are respectively: lines 6,5,4: 5,4,3: 4,3,2: 3,2,1: for the trigrams and Cast [ P ], Moving [ M ], Nuclear [ N ] and Moving Nuclear [ X ] hexagrams. Furthermore, there are various other hexagrams which are to be looked at, for a total, in-depth reading, of the hexagrams which one cast. As an example: Cast Moving Nuclear Moving Nuclear Hexagram # 42 # 27 # 23 # 2 trigrams are: upper Sun Ken Ken k'un upper nuclear Ken K'un K'un K'un lower nuclear K'un K'un K'un K'un lower Chen Chen K'un K'un derivitave hexagrams, but not from the trigrams inverse 41 27 24 2 reverse 32 28 43 1 preceeding hexagrams Fu Hsu 33 38 15 60 King Wen 41 26 22 1 following hexagrams: Fu-Hsu: 50 56 20 1 King Wen 43 28 24 3. The trigrams are used to derive the hexagrams upon the following page. The underlined hexagram is the cast hexagram, whilst the trigram in square brackets is the moving hexagram. P6 P5 P4 P3 M6 M5 M4 M3 N6 N5 N4 N3 X6 X5 X4 X3 Sun 57 -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- Ken 53 52 -- -- -- -- -- -- -- -- -- -- -- -- -- -- K'un 20 23 2 -- -- -- -- -- -- -- -- -- -- -- -- -- __ Chen|42| 27 24 51 -- -- -- -- -- -- -- -- -- -- -- -- ~~ Ken 53 52 15 62 52 == == == == == == == == == == == K'un 20 23 2 16 23 2 == == == == == == == == == == K'un 20 23 2 16 23 2 2 == == == == == == == == == Chen 42 27 24 51 [27] 24 24 51 == == == == == == == == Ken 53 52 15 62 52 15 15 62 52 xx xx xx xx xx xx xx K'un 20 23 2 16 23 2 2 16 23 2 xx xx xx xx xx xx K'un 20 23 2 16 23 2 2 16 23 2 2 xx xx xx xx xx K'un 20 23 2 16 23 2 2 16 23 2 2 2 xx xx xx xx K'un 20 23 2 16 23 2 2 16 23 2 2 2 2 $$ $$ $$ K'un 20 23 2 16 23 2 2 16 23 2 2 2 2 2 $$ $$ K'un 20 23 2 16 23 2 2 16 23 2 2 2 2 2 2 $$ K'un 20 23 2 16 23 2 2 16 23 2 2 2 2 2 2 2. The "--" indicates that the row is a part of the Cast Trigram. The "==" indicates that the row is a part of the Moving Trigram. The "xx" indicates that the row is a part of the Nuclear Trigram. The "$$" indicates that the row is a part of the Moving Nuclear Trigram. However, let me point that there is a distinct "pecking" order, of the trigrams, which is not violable. Furthermore, there is also a distinct "pecking" order for the hexagrams, which is also inviolable, For trigrams the sequence is: upper upper nuclear lower nuclear lower. Whilst, for the hexagrams it is: Cast Moving Nuclear Moving Nuclear. Thus, the following hexagrams are technically illegal, and are not relevant to the hexagram: P5/P6 P4/P5 P4/P6 P3/P4 P3/P5 P3/P6 M6/P5 M5/P6 M5/P5 M5/M6 M4/P6 M4/P5 M4/P4 M4/M6 M4/M5 M3/P6 M3/P5 M3/P4 M3/P3 M3/M6 M3/M5 M3/M4 N6/P6 N6/M6 N5/P6 N5/P5 N5/M6 N5/M5 N5/N6 N4/P6 N4/P5 N4/P4 N4/M6 N4/M5 N4/M4 N4/N6 N4/N5 N6/P6 N3/P5 N3/P4 N3/P3 N3/M6 N3/M5 N3/M4 N3/M3 N3/N6 N3/N5 N3/N4 X6/P6 X6/M6 X6/N6 X5/P6 X5/P5 X5/M6 X5/M5 X5/M4 X5/N5 X5/X6 X4/P6 X4/P5 X4/P4 X4/M6 X4/M5 X4/M4 X4/N6 X4/N5 X4/N4 X4/X6 X4/X5 X3/P6 X3/P5 X3/P4 X3/P3 X3/M6 X3/M5 X3/M4 X3/M3 X3/N6 X3/N5 X3/N4 X3/N3 X3/X6 X3/X5 X3/X4. Now, for the interpretations of the remaining hexagrams: Cast hexagram: This is the situation, without any frills or simplifications. Moving Hexagram: This is the situation that is to be, if one acts as a superior person. Nuclear Hexagram: This is the essence of the situation. X Hexagram: This is the essence of the situation to be. Interpretation of the Trigrams: Upper: This is the outcome of the situation. Upper Nuclear: This is the core of the situation. Lower Nuclear: This is the danger inherent within the situation. Lower: This is the foundation of the situation. Thus, one puts the hexagrams with the trigrams together, to come to an interpretation. However, there are still some missing hexagrams, here: The Inverse: This is what the situation is not, by defining the foundation. The Reverse: This is what the situation is not, by amplification of the definition. The Preceding: The Source of the situation. The Following: The Result of the Situation. The Fu-Hsu sequence gives the source, and the result of the situation, by amplification of the forces of opposition, whilst the King Wen sequence gives the source, and the result of the situation, by amplification of the temporality of the situation. The upper and lower trigrams amplify the situation, whilst the upper nuclear and lower nuclear trigrams delve into the core of the situation. Now, a few specific hexagrams derived from the cast hexagram: P6/P5 This amplifies the outcome. P4/P3 This amplifies the foundation. P4/N5 This amplifies what was to be. N5/N4 This is the final outcome of the situation to be. It has to be either # 1, # 2, # 63 or # 64. It indicates whether the situation is ultimately going to be creation, reception, perfection or transition, respectively. X6/X5 This amplifies the essence of the situation to be, as regards the final outcome. X4/X3 This amplifies the essence of the foundation of the situation to be. X5/N4 This amplifies the essence of what is to be. [ This is usually where the dates are found ] X5/X4 This amplifies the essence of the final outcome. Thus, the general picture of how to do the interpretations lies, with the most commonly derived hexagrams. However, as stated before, the deeper one wishes to delve into the I CHING, the more one is required to look at all the hexagrams which are derived from it --- this will also involve looking at the inverse and reverse hexagrams, including tearing them apart to reconstruct them. However, lest that worry you, may I remind you that the I CHING proper consists of 10 000 words [ or about half the length of this paper ] --- the Judgement, and the lines. Everything else is a commentary upon the main text, as a casual reading through Book III of Wilhelm/Baynes 1950/1977 will show, The Sequence Miscellaneous Notes The Judgement --- the Text, proper Commentary on the decision The Image The Lines --- the text proper, for the most part. Of the Ten Wings of the I CHING, Wilhelm/Baynes 1950/1977 only has three appended, apart from the main text --- Wing # 5 and Wing # 6: The _Ta Chuan_ or _Hsi Tz'u Chuan_. And Wing # 8: _The Shou Kua: which is a discussion of the Trigrams. Legge [ 1963 ] lists all the Wings in their own section, thus showing how compact the I CHING is, for the text proper. Furthermore, it can -- with some legitimacy --- be argued that the Lines are also a commentary, upon the Judgement. This is as the lines are a restatement of the judgement, within the context of the trigrams, and the judgement of the various hexagrams which influence it, by various means and factors. By letting go, it all gets done; The world is won by those who let it go! But when you try and try, The World is then beyond the winning. The Way of Life Blakney 1955: 101 Increase is not a quantitative thing; it must be measured qualitatively Dhiegh: 1982 hexagram # 42 Using hexagram # 42 as an example: Hexagram # 27 [ Providing Nourishment] is the moving hexagram -- which is 9 in the fifth place. Sun is the fate trigram, whilst Chen is the subject trigram. Substituting Thunder, as Wood, we see that these trigrams are of the same element, and hence reinforces each other. However, with the moving hexagram, we note that Ken is the fate trigram, and is injurious to Thunder. Thus this bodes that whilst the final outcome will be acceptable, there will be some slight set backs, to one, although they will be fairly easy to overcome. The text from Wilhelm/Baynes: 1950/1977 for the respective hexagrams each other Hexagram # 42 INCREASE It furthers one to undertake something. It furthers one to cross the great water. Increase. Decreasing what is above and increasing what is below; Then the joy of the people is boundless. What is above places itself under what is below: This is the way of the light. And it furthers one to undertake something: Central, correct and blessed. It furthers one to cross the great water: The way of Wood Creates success. INCREASE moves, gentle and mild: Daily progress without limit. Heavens dispenses, earth brings forth; Thereby things increase in all directions. The way of INCREASE everywhere proceeds in harmony with the time. Wind and THUNDER: The image of INCREASE. Thus the SUPERIOR Man: If he sees good, he imitates it; If he has faults, he rids himself of them. Hexagram # 27: THE CORNERS OF THE MOUTH. Perseverance brings good fortune. Pay heed of the providing of nourishment, for what is right, good fortune comes. "Pay heed to the providing of nourishment" that is pay heed to what a man provides nourishment for. "To what he seeks to fill his own mouth with," that is, Pay heed to what a man nourishes himself with. Heaven and Earth provide nourishment for all beings. The holy man provides nourishment for men of worth and thus reaches the whole people. Truly great is the time of providing nourishment At the foot of the Mountain, Thunder: The image of PROVIDING NOURISHMENT. Thus, the superior man is careful of his words and temperate in his eating and drinking. At which point, I think that the point is clear, that there is a very definite link between the two hexagrams, and the interaction of the two can lead to greater self-awareness, if one so chooses. In both these hexagrams [ # 42 & # 27 ] it is obvious that the superior man is to look at what he is, and that he is to act accordingly --- he is to help others, but not if they are not worthy of it. To do a more extensive study of these hexagrams is now relatively simple, as all has to do now, is simply to go through the text of the I CHING. Thus I end my paper, with you the reader, to do the commentary that this implies. APPENDIX A Using the Yarrow Stalks _A Consecration Ritual_ One first picks one's own yarrow stalks, preferably grown on the grave of a great sage, or saint. Then one takes them home, washes them in Holy water, or Wine which has been blessed by a Daoist Priest. One then goes to one's sanctuary, at home, performing three kowtows and places the yarrow stalks onto the altar, next to the I CHING. The I CHING should be on an altar, facing south. In the East should be a lighted candle, either white, saffron or the blue which is the shade of the aura of an immortal. To the East and west of the I CHING should be incense burning. [ Traditionally it is sandalwood or Saffron, but Myrrh or Jasmine is equally acceptable. ] One then silently meditates on the virtues and wisdom and benevolence of the I CHING, for the duration of time it takes the incense stick to smolder away. One then lights a fresh stick of incense, and holding the Yarrow Stalks, meditate upon the meaning and wisdom that the Yarrow stalks will gain, as a result of being with the I CHING. One then lights a third stick of incense, and this time ponders upon the flame of the candle, becoming the flame, as the I CHING and Yarrow Stalks are. Three more Kowtows are performed, and the yarrow stalks placed in their receptacle, and then are sprinkled with the holy water, or wine. The Yarrow Stalks stay in this holding receptacle until they are used, and are not to be handled by another person. At the death of the individual who consecrated them, they may either be burned with the individual, or passed to a _grandchild_ who has had the experience of the Tao. Once the ritual is over, the candle is to be snuffed out, not blown out. One then performs three more kowtows, and leaves the sanctuary. The I Ching is left on the sanctuary, closed, facing south. Everything is left spotless, and is always to be spotless. The following appendices are actually part of version 2.0 of this paper. hence they are excluded. APPENDIX B Using The Seeds APPENDIX C Using Coins APPENDIX D Using F-15's and F-16's No consecration ritual Production of the hexagram APPENDIX E A Synopsis of Interpretation *************************** BIBLIOGRAPHY Agmoller: I CHING Cards: New York: U S Game System: 1971 Anthony, Carol K: _A Guide To The I CHING_. Stow, MA: Anthony Publishing, 1981. _The Philosophy Of The I CHING_ Stow, MA: Anthony Publishing, 1981. Bahm, Archie J: _Tao Te King By Lao Tzu_ New York: Frederick Ungar, 1958 Blakney, R B _The Way Of Life, Lao Tzu._ New York: Mentor Books, 1955. Blofeld, John: _I CHING: The Book Of Chagne._ New York: Dutton, 1968. Bynner, W: "Ein I Ging-Versuch" _Analytische Psychologi._ 8 ( 2 ), 130-145, 1977 Ni, Hua CHING _The Book of Changes and the Unchanging Truth_ Los Angeles: Shrine of the Eternal Breath: 1990 Clave, Jaime: "The Vital Points: Chinese Medical and Martial Arts" Part I: _Black Belt_, 20 ( 7 ) , 31 - 36. 1982 A Part II: _Black Belt_, 20 ( 8 ) , 31+ 1982 B Part III: _Black Belt_, 20 ( 9 ) , 44+ 1982 C Colmer, Michael: _The Executive I CHING: The Business Oracle_ Dorset UK: Blandford Press: 1987 Cleary, Thomas: _The Taoist I CHING_ Boston: Shambhala Books: 1986 _The Buddhist I CHING_ Boston: Shambhala Books: 1987 _I CHING: The Tao of Organization_ Boston: Shambhala Books: 1988 _I CHING Mandalas_ Boston: Shambhala Books: 1989 Culling, Louis T: _The Incredible I CHING_ York Beach: Weiser: 1984 _The Pristine Yi King_ St Paul: Llewellyn: 1989 Damon-Knight, Guy: _The I CHING on Business and Decision Making_ Rochester VT: Destiny Books: 1986 _The I CHING on Love_ Dorset UK: Blandford Press: 1984: Deng Ming Dao _Scholar Warrior: An Introduction to the Tao in Everyday Life_ New York: Harper Collins: 1990 Khigh Alx Dhiegh: _The I CHING: Taoist Book of Days_ New York: Ballantine, 1982 _The Yi Jing: Daoist Book of Days_ New York: 1983 _The Eleventh Wing: An exposition of the Dynamics of The I CHING For Now_ New York: Dell publishing, 1973 Dillon, Robert W: "Zen: An approach to understanding." _Black Belt_ 20 (6), 60-64, 1982. Feng & English: _Tao Te CHING._ New York: Knopf, 1972 Fitzgerald, Edward: _The Rubiyat of Omar Khayyam_ New York: Collier 1962 Lama Anagarika Govinda: _The Inner Structure of the I CHING: The Book of transformations._ Mew York: Wheelwright Press, 1981. Hays, Stevphen k. "Ninjutsu: The Scheme of Totality." _Black Belt_ 19(7), 26+ 1981 Heider, J: "The Leader who Knows How To Make Things Happen." _Journal of Humanistic Psychology_ 22(3), 33-39, 1982. Hook, Diana F. _The I CHING and Your._ New York: Dutton, 1973. Huang, Kerson & Rosemary: _I CHING: A New Translation_ New York: Workman Publishing 1987 Kahn, M. et al "The I CHING as a Model for a Personal Growth Workshop" _Journal of Humanstic Psychology_. 14(3), 39-51, 1974 Kaltenmark, M. _Lao Tzu and Taoism_ Stanford: Stanford University Press 1969. KJV _The Holy Bible: King James Version._ Camden NJ: Thomas Nelson 1970. Klee, James: _Points of Departure: Aspects of the Tao: South Bend IN: AND Books, 1982. Ch'en Ku-Ying: _Lao Tzu: Texts, Notes and Comments_ San Francisco: Chinese Materials Center, 1977 Lee, Jung Young: _The I CHING and Modern Man_ Secaucus NJ: University Books 1975 Legge, James. _The Texts of Taoism, Part One._ New York: Dover Books, 1962A _The Texts of Taoism, Part Tow._ New York: Dover Books, 1962B. _The Yi King_. New York: Dover Books, 1963. _The I CHING: Book of Changes_ New York: Bantam 1969 [ edited by Ch'u with Winberg Chai. ] _The I CHING._ New York: Mentor Books, 1971. [ edited by Raymond Von Over ] Lin, Paul J: _A Translation of Lao Tzu's TAO TE CHING and Wang Pi's Commentary._ Ann Arbour: University of Michigan Center for Chinese Studies 1977 Da Lie: _I CHING Numberology_ New York: Harper & Row 1979. Mckenna & McKenna: _The Invisible Landscape_ New York: Seabury Press 1975. Medhurst, C S: _The Tao-Teh_King._ Wheaton: Theosophical Pub 1972 Norvell: _Miracle Power of teh I CHING_ West Nyack NY: Miracle Publishing 1982 Odsen, Dorothy A: "Taoism, T'ai Chin Ch'uan and the Aesthetics of Chinese Painting" _Black Belt_ 20 (2), 60-64, 1982 Orellana, Sandra l "Chinese Martial Arts and The Medicinal Tradition" Part I: _Black Belt_ 19 (4) 36-40, 1981A Part II: _Black Belt_ 19 (5) 60-64, 1981B Palmer, Martin et al: _The Fortune Teller's I CHING_ New York: Ballantine Books 1986 Perrottet, Oliver: _The Visual I CHING_ North Ryde, Australia: Angus and Robertson 1987. Ponce, Charles: _The Nature of the I CHING_ New York: Award Books 1970 Praytor, James: "Acupuncture: The Healing Power" _Black Belt_ 19(2), 66-69 1981. Reifler, Sam: _I CHING: A New Interpretation for Modern Times._ New York: Bantam 1974. Schmidt, K: _Tao Te CHING._ Lakemont GA: CSA Press, 1975. Schonberger, Martin: _The I CHING and the Genetic Code_ New York: ASI Publishers 1979 [ translated by D Q Stephenson] Seaton, Jerome P: _The Wine of Endless Life: Taoist Drinking Songs_ Buffalo NY: White Pine Press 1985. Shchutskii, Julian K: _Researches On Te I CHING._ Princeton: Princeton University Press 1979 [ translated by William L Macdonald et al. ] Sherrill, W A & Chu, W K _The Astrology Of The I CHING_ London: Routledge & Kegan 1976. _An Anthology of The I CHING_ London: Routledge & Kegan 1977. Smullyan, R M _The Tao is Silent._ New York: Harper & Row 1977 Sensrud, R: "Personal Power: A Taoist Perspective" _Journal of Humanistic Psychology._ 19 (4), 31 - 41, 1979 Sung, Z D: _The Text of The Yi King_ New York: Paragon Bookss 1969A _The Symbols Of the YI King_ New York: Paragon Books 1969B Suzuki, D T & Carus, P _The Cannon OF Reason And Virtue_ La Salle IL: Open Court Publishing 1974 Waley, Arthur. _The Way and Its Power._ New York: Grove Press, 1958 _The Way: The Illustrated Living Bible_ Wheaton: Tyndale House Publishers, 1971 Whincup, Greg: _Rediscoveringt The I CHING_ Garden City NY: Double Day 1986 Wing, R L _The Illustrated I CHING_ New York: Doubleday 1982 The I CHING Workbook_ New York: Doubleday 1979 Wilhelm, Helmut: _Heaven, Earth And Man in the Book of Changes._ Seattle: University of Washington Press 1977 _Eight Lectures on the I CHING_ Princeton: Princeton University Press 1960 Wilhelm, Richard. _The Secret of teh Golden Flower._ New York: Harcourt Brace. nd [ translator: Cary F Baynes ] _The I CHING or Book of Changes._ Princeton: Princeton University Press, 1977 [ translator: Cary F Baynes ] [ Wilhelm/Baynes 1950/1977 ] Wu, John C & Sih, Paul K: _Lao Tzu: Tao Te CHING._ New York: St Johns University Press, 1961 Munenori Yaggyu "The Heiho Kadensho masterwork of Munenori Yagyu." _Black Belt_ 21 ( 4 ), 78 - 89-, 1983 [ translated by William Scott Wilson. ] Lu K'uan Yu: _Taoist Yoga, Alchemy and Immortality._ New York: Samual Weiser, 1970. _The Secrets Of Chinese Meditation_ New York: Samual Wesier: 1964. Lin Yutang: _The Wisdom of Lao Tzu._ New York: Modern Library 1948. ******************************************** i don't know how available these are. i don't even know if half of these books are still in print. perhaps, perhaps not. You could just treat it as a comprehensive reading list on the I CHING. I do, however, have all of these in my personal library. I am very reluctant to lend these to other people, becausee i had quite a bit of trouble aquiring them in the first place.

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