I Ching:The Hexagrams

I plan to write a short essay about each of the 64 hexagrams here. This will be a long-term project beginning in January 2025 and will take about two years in total. I will add each hexagram as I write it, but then I intend to allow another three months or so to rewrite the entire document at the end and enhance its consistency. So the whole thing will finally be completed around April 2027.

My essays will be aimed at people who already have some familiarity with the I Ching and want to explore each hexagram in more detail. I’m not claiming any great originality in my ideas, most of which are taken from the work of Wilhelm; my aim is rather to distil his understanding of the I Ching at a nuts and bolts level in order to illustrate its tight, logical structure and inner coherence.

Regarding this coherence, when we look at each of the hexagrams there are many aspects to consider, so I have written essays about the eight trigrams that combine to make the sixty-four hexagrams and a document outlining other vital factors, such as correspondence, correctness and nuclear trigrams, that underlie the I Ching. Readers may wish to look at these before turning to the specifics of each hexagram.

I will not focus solely on the I Ching as an oracle: there are many excellent books and websites that do this, ranging from populist introductions to classics such as those by Legge, Wilhelm and Blofeld, and I don’t feel there is any need to simply repeat their work. Also, as my essay on the I Ching as an oracle makes clear, I now have reservations about its use in this way. Nor will I delve into more occult interpretations of the text or relate it to the wider field of the paranormal or mystical traditions. For those who are more interested in these aspects, I recommend a website, The Gnostic Book of Changes, which, as well as speculating about these fields of which I tend to be sceptical, is also a fantastic resource which contains various translations of the I Ching into English, some by native Chinese speakers.

To do my best to avoid copyright issues, I will minimise direct quotations from published books, although I will be using Baynes’ translation of Wilhelm as my source, so anyone reading this may wish to buy it (although I expect that anyone interested enough in the I Ching to read my essays is very likely to already have a well-worn copy of Wilhelm anyway. Mine looks sad and rather battered, but I would never dream of exchanging it for a new one even if this is rather sentimental on my part.)

I have read and consulted the I Ching for more than fifty years now and perhaps the main reason I am putting together this section of my website is to think through and write down what I have learned about it, and from it, during that long time. As I reach old age, it is also basically a kind of thank you.

Hexagram 1: The Creative

In a sense, this hexagram and the following one, The Receptive, are extremely abstract. They are representative of the two principles, Yin and Yang, underlying the intrinsic structure of the I Ching: the Creative as the essence of Yang, the Receptive as the essence of Yin (although I should stress here that the words Yin and Yang are never mentioned in the text of the I Ching, nor in the various commentaries). The Creative represents Heaven and its symbol is the dragon; the Receptive represents Earth and its symbol is the mare. The Creative is temporal, while the Receptive is spatial.

Although these first two hexagrams are ‘pure’ in the sense that they consist only of one type of line – yang or yin – it would be a mistake to view them as binary absolutes. In the I Ching there is never a space or time where either of these two principles reigns supreme and is unchallenged – even in the Creative with its six yang lines, there is the shadow of Yin, since the core concept of the I Ching is that change is constant and eternal, so there can never be stasis. Yang is always moving towards becoming Yin, and Yin will always eventually flow into being Yang.

The text to the moving lines of these two initial hexagrams operates at a kind of exemplary level, pointing to the general significance of a yang or yin line in its position as one of the six lines of a hexagram moving from bottom to top, as we shall see when we go on to discuss the individual lines.

The Creative develops upwards step by step in a structure based on temporality. It is eternal since it constantly creates itself, and indivisible in the manner of Time, which we experience as a continuous, ever-changing movement from moment to moment. So the key thing when we receive this hexagram as an answer is where we are positioned temporally within this particular cycle of change. This is expressed through the symbol of the dragon, which is repeated in four of the six moving lines (and implied in a fifth). This dragon hides and then gradually emerges, takes action on the earth, moves to the sky, takes action in the sky, until eventually its power fades, the cycle is completed, and it must retreat. Throughout the I Ching there is often an implicit assumption that ‘there is a tide in the affairs of men’, and the Creative spells this out explicitly.

In the first line, the dragon is ‘hidden’. It has not yet amassed enough power for action and therefore should lie low and build up its strength. However, the first line of a hexagram is always a yang position, and a yang line in a yang position can often be impatient and risk acting prematurely. Thus, the first line in the Creative advises against this temptation to early action. As I have already said, the moving lines of the first two hexagrams often act as guidelines to the moving lines throughout the I Ching, so several yang lines in this position in other hexagrams (e.g. Hexagrams 26, 34, 43) offer similar advice and warn against precipitate action.

The position of the second line in a hexagram is often seen as favourable because it is central in the lower trigram, which represents earth, both as the physical space in which we live, and as a concept in contrast with Heaven (which is represented by the upper trigram). In the second line of the Creative, therefore, the dragon is now ‘in the field’: power has accumulated to the point where the dragon can make itself visible and at which action is advisable and will lead to success. However, the second position in a hexagram is yin in nature, and is in the lower trigram, so the action here is often performed in a subordinate position and on behalf of a superior (the person represented in the fifth line). This responsibility to someone of higher rank is clear in the yang line in the second position of Hexagram 7, The Army, where the image is that of a general on the battlefield following the strategic orders of his political leaders.

Another way in which the individual lines of a hexagram are categorised in the I Ching is to separate them into the world of nature (first and second lines), the human sphere (third and fourth lines), and the heavens (fifth and sixth lines). The third and fourth lines, therefore, often mark a turning point from lower to upper, from earth to sky, but their transitional quality renders them unstable and potentially vulnerable. A yang line in the third position of a hexagram (a yang position) is generally full of energy and purpose, but because of its intermediary position within the hexagram, needs to be continuously active while remaining mindful of the need to ward off danger. Thus, in the Creative, constant activity is advised but with an awareness that this could place oneself in peril. This sense of fulfilling one’s duty but inviting danger in the process exists in a yang third position in other hexagrams such as 5, 26 and 62.

With the fourth line, we have left the lower trigram and entered the upper, and are therefore in the vulnerable position of someone in a new environment, especially since the fourth position is yin and therefore less powerful. It is often seen as attaching itself to the central line above, working as a minister serving the emperor, but physically and immediately closer than the subordinate in the second line. Because it is yin, it is frequently advised to focus on supporting others rather than attending to its own concerns. There is often an uncertainty about this position, a doubting of one’s ability, so in the Creative the line is advised to introspect in order to decide whether it has the strength and abiity to perform its new role in the upper trigram. This need to be circumspect, and if necessary to be willing to quickly retreat, is repeated in the yang fourth lines of Hexagrams 6, 13 and 33 among others.

The fifth line – a yang line in a yang position – is the supreme example of the Yang principle. In many hexagrams this fifth line – centrally placed in the upper trigram – is the ruling line of the hexagram and interpreted very positively. In the Creative, this yang line in the paramount yang position is pictured as the dragon which is now in the sky where it can be seen by all below, and which has both the power and talent and the opportunities of its position to achieve great things. In the temporal development which has occurred since the moment when the dragon lay hidden in the first line, this is the moment when supreme success becomes possible, but this moment is short and we must make the most of it. Even here, though, the line stresses the need for support from others (the incorporation of a shadow yin). In general, this line is often so propitious that even in a ‘negative’ hexagram such as Hexagram 6, Conflict, supreme good fortune is predicted as long as one grasps the moment and contends.

The sixth line of the Creative is the opposite. Just as the first line in a hexagram often marks the beginning of the cycle represented by the hexagram, this line often represents its end and further action is strongly warned against (for example, hexagrams 9, 11, and 25). In the hexagram of the Creative, where timing is all, the time for action has passed; one has achieved all that one can and any further ambition or attempts at expansion will court disaster. This line represents talent, energy and even greatness which will not recognise its own limitations, and a quick glance at history suggests that not knowing when to stand down or being able to retreat is a very common trait in human leaders.

The abstract nature of this hexagram can sometimes make it hard to interpret its answers on a personal level, but it denotes a situation where great things can be achieved but can also then be thrown away or end in disaster. In general, I interpret this hexagram temporally, so I tend to read it chronologically and, if I get more than one moving line, I assume that events will happen sequentially (for example, Line 2 will generally take place before Line 4, and so on), but of course there can be no hard and fast rules in interpretation. As I’ve repeated several times, timing is of the essence in this hexagram: knowing when to advance and when to cease and let go.

Hexagram 2: The Receptive

While the first hexagram, the Creative, represents the concept of Yang, the second one, the Receptive, expresses the essence of Yin. Instead of the dragon, its symbol is a female horse. Its home is not in the sky but roaming the earth, and its destiny is to follow others and serve. The Creative is structured temporally, with each of the moving lines like the steps of a ladder, as the dragon emerges, takes action, and eventually recedes, exercising power until this power is exhausted. In contrast, the Receptive is structured spatially, without a recurrent image. Each moving line employs different imagery, as we travel through a range of environments and lands.

The core message of this hexagram is that we should follow others rather than take the initiative in the situation in which we find ourselves. However, this does not mean we just sit on our hands and do nothing or helplessly wait for orders and then be told what to do. I suspect this hexagram is more difficult for western thinkers to comprehend, based as it is on Taoist ideas of going with the flow and submitting to nature. We westerners tend to be uncomfortable when inaction is the best course of action and often chomp at the bit to do something, anything, to address a problem. But the advice of the Receptive is crystal clear – if we try to lead, we will go astray.

One reading of the first moving line in the Receptive, with its imagery of hoar frost leading to thick ice, is that we have reached the absolute nadir of the winter solstice and that therefore we should take no action but wait for the inevitable return of the vanquished sun, the Yang line that re-emerges as the first line in Hexagram 24. But the image of hoar frost contains a sort of warning, too, suggesting that our current course of action is misguided and that we are making a bad situation worse through counter-productive meddling. The message couldn’t be spelt out more clearly: we should stop digging. This yin line in the lowest place is powerless, and action is at best futile and will often make things worse, (as in Hexagrams 33, 39, 48, and many others). At other times, (most notably Hexagram 44), this yin line at the bottom of a hexagram marks the arrival of an evil which will gradually increase in power as the strong lines retreat or are converted into broken ones.

Just as the fifth line of the Creative, a yang line in the higher central yang position, represents the apotheosis of Yang, the second line of the Receptive, a yin line in the lower central yin position, is the perfect expression of Yin. It obeys the Taoist concept of wu wei, of non-striving, whereby by working with nature rather than trying to dominate and control it, we can progress and achieve our goals. It is not simply inaction, but rather acting in the only way possible, which is in harmony with our situation and the universe more generally. The same idea is expressed very clearly in the yin second line of Hexagram 25, while inaction brings reward in yin second lines in Hexagrams 51 and 63.

It is interesting to compare the third line in the Receptive with that of the Creative. Both show a busy situation (third lines in general are full of energy), but in the Receptive, it is important that we should not seek work on our own initiative and most certainly not seek glory, but merely quietly fulfil our duties and look for as little credit as possible. This yin line in a yang position runs the risk of becoming visible and gaining acclaim when the overall message of the hexagram is that serving others behind the scenes will be more productive. The line warns against going beyond our current situation and advises us merely to finish any work we have been given and not to expend energy on our own initiatives. Effort which is wasted or even dangerous is a key idea in other hexagrams with a yin line in the third place (3, 29).

Line 4, the ‘tied-up sack’, is perhaps the most passive line in the whole of the I Ching. Nothing can get in and nothing can get out of this combination of yin line/yin place in a hexagram in which the overall message is strongly against taking the initiative. This line can keep itself safe but it can have no effect whatsoever on the world around it. Retreat to safety is often advised in other hexagrams with a yin fourth line (e.g. 7, 36, 39).

The fifth line of most hexagrams is the ‘ruler’ of the hexagram, and in political terms often a leader, someone followed by others. In keeping with the general message of this hexagram, though, the ruler of the hexagram of the Receptive is actually the second line in its more modest position. The person designated in the fifth line as the person in worldly power should therefore be humble and do their best not to demonstrate this power. The implication is that this will lead to success, for the power and beauty within is so strong that it will be recognised even if it is not openly displayed. This sense of inner beauty which leads to instinctive respect from others is common in yin fifth lines, especially in auspicious hexagrams, such as 11, 14, 15).

The sixth line returns us to the Creative’s imagery of dragons, but here the dragons are fighting each other to the death. Yin has usurped the position that correctly belongs to Yang, which can only harm them both. Even though a yin line at the top of a hexagram is ‘correct’ – a yin line in a yin position – at the top of certain hexagrams this yin line is interpreted in a negative manner, as a kind of usurper occupying a position they should not hold, and that some sort of disruption has taken place which has shattered the natural order (e.g. Hexagrams 36, 40, 43, 54, 55).

Having looked at these two foundational hexagrams which consist solely of either yin or yang lines, I will move on to explore all of the others which follow and mix these two types of lines.

Hexagram 3: Difficulty at the beginning

Following the hexagrams of the Creative and the Receptive, which consist of only one type of line, unbroken or broken, this is the first to combine them and represents the initial coming together of Yang and Yin, and the birth of all things. The lower trigram is Thunder pushing upwards; the upper trigram is Water falling downwards: images which suggest storm and rain and primordial chaos. Unlike Hexagram 40, Deliverance, where the position of these trigrams is reversed and the hexagram signifies movement away from a difficult, complex situation towards simplicity and release, here the pushing upwards of the unbroken bottom line shows movement towards danger. But there is no choice other than to make this step, for this is the only way to forge order out of the chaos and confusion of a brand new beginning.

The responsibility for undertaking this struggle lies with the two unbroken lines for they possess the inner strength of Yang. However, both are limited in their ability to succeed. The power of the first line is attenuated by its lowly position, like the dragon in the first line of the Creative, which must not fritter away its power in premature action and should lie low and wait and build up its strength, while the fifth line, despite its lofty position, is trapped between two yin lines in the trigram of Water, which symbolises toil and peril. In addition, there is no relationship between the two yang lines, which act more like rivals than colleagues working together for the common good. The yin lines in their turn are basically powerless. Three of them are also in yin positions, underlining their weakness, while two of them have little relationship with either of the unbroken lines and are therefore isolated. All that these various yin lines can do is attach themselves to the yang lines and cling on, hoping to be rescued.

This hexagram represents a new venture or situation and advises how to behave in such a circumstance. We must recognise both our weakness and the difficulty of the task ahead and not try to achieve too much too quickly, but at the same time it is important that we remain active and persevere. This is a difficult balance to achieve. If we receive an unbroken moving line, especially the fifth, progress is possible but it will be slow and limited at first; if we receive broken moving lines, we will have to rely on others to help us out of our problems. And even if we are strong, we still need the help of other people because the task we face is so challenging and we cannot succeed on our own.

The first line, as a yang line at the foot of the trigram Thunder, has the impulse to move upwards, but it stands in a weak position at the bottom of the hexagram, so any action that it takes will lead to difficulties, and it is uncertain whether it will prove adequate to the huge task ahead. To emphasise the scale of this task, the warning words of the judgement of the hexagram as a whole are repeated and emphasised. We are at the very beginning of something and must show patience and perseverance and not try to achieve too much, and certainly not too quickly. The advice of the judgement of the hexagram as a whole that we should seek the help of others is also repeated, even if individually these helpers are not strong.

The other yang line is the fifth, in a much stronger position in the hexagram, usually that of the leader. This places great responsibility on it to deal with the chaotic situation and bring about order. However, despite its strength and its position, it is warned not to overstretch itself and try to achieve too much. If it recognises the huge difficulty of the task it faces, though, it can achieve a limited success.

Lines 2, 3, 4 and 6 are all yin, and the prognosis for them depends on their relationship, or their lack of a relationship, with the two yang lines. In three of them, the ones which are in yin positions within the hexagram, the same image appears of a horse and wagon becoming detached from each other, reflecting the lack of inner cohesion and established relationships within the hexagram. The potential for connection is there – Yin and Yang will always attract each other like the opposite poles of a magnet and order will be established – but at the moment this exists only in embryo.

Lines 2 and 4 are similar in the sense that they both have direct links to the two yang lines, but at the moment this adds to the confusion rather than being helpful, for their connection to the bottom line distracts them from the relationship they should eventually have with the fifth. If we receive either of these lines, the message is that we need to make a key decision about who we will trust and follow. This is especially difficult for Line 2, which is in the same trigram as the bottom line and stands directly above it. It is pictured as a young woman who is uncertain about who to marry, and is advised to wait before making any decision. The long-term augury is good, but she is warned that she will need to wait a long time. The fourth line, directly beneath the powerful fifth in the upper trigram but also attracted to the rising bottom line, has an easier route out of this dilemma. It is told that it can immediately show its allegiance to the line above and, if it does, all will work out well.

Line 3 is not so lucky. It stands between two other broken lines and thus is isolated from both of the yang ones. However, like most third lines it is restless and keen to advance: the image is that of a hunter seeking game in a forest. But no amount of activity can change the situation because there is no available game. The message is that the hunt is futile and we should give up the chase: we will never achieve order out of this chaos. Unfortunately, though, the likelihood is that we will not give up the chase and we will continue to waste our energy on a fruitless pursuit.

The broken sixth line lies outside of the game and has no relationship with the hexagram below. The upper trigram, Water, flows downwards, so there is no chance of any connection with the leader in the fifth line below or with the distant bottom line. The image is the flow of blood and tears: the birth has been a miscarriage and there is no hope for a successful outcome. Even so, despite the pain, in some ways this is a better long-term augury than the third because the line is not entangled in the hexagram and can move on to a fresh start. Later, perhaps, there will be another birth, and this may prove more successful.

Hexagram 4: Youthful Folly

It’s important to stress that ‘folly’ here means innocence and ignorance, the latter not as used in everyday speech to imply stupidity and stubbornness but in its original sense of not knowing, a lack of awareness and experience. Following the difficult birth of the previous hexagram, this one represents a young person beginning to learn about life.

As in the previous hexagram, there are two unbroken and four broken lines, and it is useful to compare the two figures. They are similar in the sense that in both the yang lines lead while the yin lines follow. They differ because this hexagram includes the trigram Mountain instead of that of Thunder. An unbroken line at the top of a hexagram, especially when this occurs in the trigram of Mountain, often represents a sage or teacher (Hexagram 27), and the core theme of this hexagram is the relationship between teacher and student, and more generally how to teach and learn.

In the western occult tradition, there is the figure of The Fool, represented in the Tarot pack, the young man at the edge of a cliff who is too wrapped up in thought to notice the abyss ahead and is in danger of falling into it. Interestingly, the I Ching, originating from a totally different culture, uses almost identical imagery to symbolise the perils of youth in this hexagram composed of the trigram Water cutting its way through a valley at the foot of a ravine, and the trigram Mountain towering above it.

The yin lines are all Fools who need to gain experience of life so as not to fall into danger. The first line logically represents the young person at their most inexperienced, in a helpless position like a child. At this stage, discipline is required for their own sake, to protect them from tumbling into harm. The moving line goes on to say, though, that there comes a point at which this discipline must be removed. This will mean that the child will suffer at times, but is part of the process of growing up and learning, and the child will never learn if not allowed to make its own mistakes.

The third line is more like a headstrong child (although the image is that of a young girl who throws herself away at the first strong man who offers himself to her). Standing above the unbroken second line, and having the usual restlessness of a third line, it is too impatient to learn or to wait to find the right teacher. It looks upwards, besotted by the yang line in the sixth place with which it has correspondence, but this is not the most suitable teacher and thus the young Fool will learn little of value. It seeks to study at a level for which it is not ready rather than looking downwards at the unbroken second line and focusing on learning the basics.

The fourth line is best understood by comparing it with the third line of the previous hexagram. As in that case, a similarly broken line is isolated from both of the yang lines and enclosed above and below by other broken lines. It is therefore far from guidance. Either it is unlucky and there is no teacher available or it is too passive in its approach and therefore incapable of learning.

The opposite is true of the fifth line. It has relationships with both the unbroken line above, the sage at the top of the mountain, and the other unbroken line in the second place. Furthermore, its weakness as a yin line is tempered by its position in the fifth place, so unlike the previous line it is willing and able to learn. The augury is good and the Fool will progress.

Both of the Yang lines in the hexagram are teachers. The unbroken line in the second place is the complement of the broken line in the fifth place; in this case, the yang strength of the line is balanced by its yin position. It has learned enough to take its place in society and is now ready and able to pass on this experience, particularly at a basic level. This line makes me think of teachers of young children and the key responsibility they hold in society. That the line specifically calls for gentleness on the part of the instructor strengthens this idea.

In contrast, the yang line in the sixth place, looking down at the rest of the hexagram, is a sage and a model to others. It is the hermit on the mountain, available to those who can benefit from its wisdom but harsh towards those who approach it and demanding as a teacher. The moving line contains a warning, therefore, against being overly strict and as a result harming those who come for guidance.

It is interesting that both the top and bottom lines advise that too much punishment will impair the learning process, counselling against overly severe strictures and warning that a love of discipline can easily descend into cruelty.

Hexagram 5: Waiting

This hexagram consists of the trigram Water over that of the Creative, or Heaven. There is rain in the sky, and the nature of water is always to move downwards, so eventually the gift of rainfall will come and nourish the earth. However, we cannot make this rain happen; all we can do is wait for its inevitable arrival. The general meaning of the trigram Water – difficulty and danger – results in a related second meaning of the hexagram as a whole: problems which we know are waiting ahead. The strength and power of the Creative lies below, and since hexagrams move upwards from bottom to top, the three yang lines in the lower trigram must eventually go forward to meet the danger, but rather than immediately doing this, they should wait for the opportune moment. So in terms of what we are advised, both meanings of the hexagram counsel waiting as the right thing to do.

At first glance, therefore, this hexagram looks fairly simple: all we have to do is stay calm and wait. In reality, though, this is not usually an easy thing to do; we often rush towards a danger unprepared, but this impetuosity of action is rarely wise. The judgement, nevertheless, urges us to cross the great water – in other words, to make a decisive and important move – so at some point we need to advance and meet the danger. The problem, as so often in the I Ching, lies in timing.

The moving lines offer advice about when (and sometimes if) we should confront the danger. The three unbroken lines in the lower trigram are all some distance from it, but edge gradually closer as the hexagram unfolds. The first line, like many yang lines in this bottom yang position, may be tempted to advance too early, so it is warned against being hasty. The line is still far from the danger, ‘in the meadow’, and the Creative trigram has the inner strength to stand firm, so the implication is that it will be able to resist the temptation to advance too soon. The second line is closer to the water, ‘on the sand’, and, like the dragon who appears in the field in the very first hexagram, the Creative, does not have the same option to remain unnoticed. Its intentions may be misunderstood and it will be criticised, perhaps for not acting sooner, but as a central line in a yielding position, it is moderate enough to eschew an untimely advance. Its time will come if it continues to show enough resolution to stand firm. The third line, however, is ‘in the mud’. As with many unbroken third lines, it is impetuous and impatient, thereby placing itself in a position of great peril, and is keen to take on the fight, and it is warned against this. The place where a battle takes place can determine who wins it, and the implication of this line is that we may choose the wrong place and the wrong time. Avoiding this mistake, though, will require an inner strength and patience that we may not possess.

The unbroken line in the fifth place, the ruler of the hexagram, is completely engulfed in the danger represented by the unbroken lines above and below it, and yet all the strength of the Creative is concentrated in this central line. This suggests the eye at the centre of a storm where all is calm. The line is easily strong enough to survive its perilous position, and has only to bide its time in order to achieve success: the rain must eventually fall. This is especially true if this is the only moving line, since the hexagram then changes to Hexagram 11, Peace, one of the most auspicious hexagrams in the I Ching.

As in the previous two hexagrams, the unbroken lines can do little to help themselves and their aim should be simply to escape the peril they are in. The fourth line is in an especially vulnerable position as a yin line in a yin position, but, at the bottom of the trigram for Water, it still has the option of retreating by following its inner nature to flow downwards and is counselled to do so immediately. Like many yin fourth lines, its weakness is its strength because it is willing to retreat and keep itself away from harm.

In contrast, the unbroken line at the top is in the severest peril and cannot engineer its own escape, but luck is on its side and it will receive unexpected help. The imagery may seem rather obscure, with its ‘three uninvited guests’ who come and offer assistance, which both Legge and Wilhelm assume to be the three yang lines of the lower trigram, but the overall message is clear: the line will escape as long as it treats these helpers with respect. In lines such as this where the imagery is extremely precise, we probably should not be too literal in our interpretation and assume there must be exactly three helpers; the crucial thing in this case is that we get unexpected assistance that takes us out of danger at a point where all seems lost.

The judgement in Waiting promises ‘light and success’, and even counsels the major step of crossing the great water, and yet it can be argued that only the ruler of the hexagram in line 5 fully achieves this. Perhaps we should not expect too much when we receive this hexagram; in many cases when danger lies ahead, simply overcoming that danger and leaving it behind may be achievement enough.

Hexagram 6: Conflict

In the previous hexagram, the trigram Water stood above the trigram Heaven. The positions are reversed here, so while in the former hexagram, danger and conflict lay ahead and we were advised how best to prepare for it, in this one the conflict is upon us and we are counselled how we should behave if we have to contend.

Wilhelm sees all of the lines except the ruler in the fifth position as disputants in contention with each other, and the ruler as a kind of judge who will bring an end to the fighting. I suggest a second reading is also possible, according to our situation: that we may have to go into battle but only if we are in the strong position of the fifth line, and even then we should always be ready to sue for peace. We might need to fight, but the most important thing is to bring an end to the conflict as swiftly as possible.

Sincerity is mentioned in the judgement since this is a quality of the two trigrams which make up this hexagram, both of which have a yang line at their core. We feel we are in the right and we are ready to fight for our belief. But still the oracle warns against fighting to the bitter end because it will indeed be bitter. Our primary aim should be to end the conflict rather than to crush our opponent, and if we must engage in battle we should always be ready to make peace and be magnanimous if we win.

The bottom two moving lines are too weak to put up a fight. The first, in its yang position, might want to take up arms but the best thing it can do is give up a struggle that it can never win. It should retreat and keep itself safe, even if this leads to criticism and allegations of cowardice. The second line is stronger because it is unbroken, but it is in a yin position sandwiched between two broken lines and is likewise unequal to the struggle. Like the dragon in the field in The Creative, though, it cannot remain invisible since it is responsible not only for itself but for others. If it chooses to fight, the people in its charge will suffer, and so therefore it should retreat and protect those who depend on it from senseless harm. Fortunately, its yang strength is moderated by awareness of the weakness of its position and it is willing to do this.

The wording of the broken third line repeats verbatim part of that used in Line 3 of The Receptive. At the top of the trigram for peril, it is in serious danger, especially since, as we see again and again in moving third lines of the I Ching, it is restless and impatient to advance. It should not, however, enter the conflict directly. It can best help the struggle by quietly going about its duty and supporting the leader in the fifth position behind the scenes. The fourth line, like many fourth lines, readily accepts its weakness and is willing to retreat. It is more fortunate than the first three in the sense that it is no longer in the trigram of danger and as long as it gives up any attempt to contend, it will stay safe.

The top two lines are almost direct opposites. The fifth line, a yang line in the central position of the ruler of the hexagram, has the power to contend and win the battle. However, if it does so, it will call a halt to the fighting as soon as it can and try to reach a lasting peace which will prevent future conflict. The top line, in contrast, is the arrogant dragon of the sixth line in The Creative. It may have the ability to crush its opponent but it will do so at a very heavy cost. Its victory will be a Pyrrhic one, its harshness in victory and its unwillingness to compromise will lead to further resistance and inevitable future conflict, and it will eventually lose everything it has gained.

The key message of this hexagram is that conflict should be avoided wherever possible, especially if we are in a weak position and fighting will only result in harm and defeat. And even if we are strong enough to win an unavoidable conflict, we should aim to make it as short-lived and painless as possible. Brutality will always lead to resistance and yet more conflict in the future.

Hexagram 7:The Army

The meaning of this and the following hexagram stems from the fact that they both have a single unbroken line surrounded by five which are broken. In both, the yang line acts as a leader organising the masses, which are represented by the five yin ones. Where the two hexagrams differ can largely be explained by the position of this line.

In this hexagram, the Yang line is in the second place, the place of the field in the Creative, and its central image is therefore that of a general amid his army. While this massing of troops is a logical development following the previous hexagram, Conflict, there is no militaristic tone or glorifying in war, with several of the lines focusing on the human losses which will result from any battle. The implication is that the general should not sacrifice his troops without good cause and that peace should be negotiated as quickly as possible.

Much of the hexagram focuses on the need for strong leadership, represented by the unbroken second line, working on behalf of his political superiors in line 5. The bottom and top lines are largely outside the action: the first is the decision to wage war, the latter marks the end and the treaty that will follow. This means that the heart of the hexagram, and all of its energy comes from the Yang second line in the field, which pushes upwards as the root of the nuclear trigram Thunder, suggesting the advance of an army.

Obviously, in terms of interpretation, the hexagram can also refer to situations which are not military per se, but where we must plan a campaign to win some kind of battle, especially if we are doing so on behalf of a superior or a larger organisation.

As a moving line, the unbroken second is auspicious. It has the strength and resolution to lead the campaign, moderated by the caution of the yin second place, and the support of the political leader in the fifth (the two lines are in correspondence). It can advance and be victorious.

The yin lines, however, lack this strength and therefore carry warnings, or even predictions of disaster. The first line, broken in the lowest place of the trigram representing peril, marks the beginning of the campaign and its underlying strategy, so the text warns that if this is not correct, everything will be put at risk. There is a danger that we will enter the battle without sufficient forethought and planning, and the war must also be a just war. The third line, a weak yin line in the third position which tends to take rash action, carries a very strong warning of an attempted advance that will lead to a crushing defeat and severe loss of life. In contrast, the yin line in the fourth place, a position which always errs on the side of caution, is willing to retreat when it recognises its own weakness. At least it avoids this terrible defeat and there will be no casualties.

The fifth place is more ambiguous than the other broken lines. It stands in the place which is usually that of the ruler but must make a decision about whom it entrusts to lead the troops on the ground. It is told that there is ‘game in the field’, so presumably this game can be caught and victory is possible. However, it is again warned of the danger of choosing a leader who is not equal to the task because, should the decision be a poor one, there will be a disastrous defeat and horrendous loss of life. We must make sure we use the right person to act on our behalf and then put trust in this subordinate.

In the sixth line, the war is over and it is time to reward those who fought on our behalf. Interestingly, though, there is no sense of vainglory in the text. The advice it gives in peacetime is essentially the same as that when there was war: we must choose wisely who to give positions of real power and who should not be trusted. Otherwise, even if we win the war, we may lose the peace.

Hexagram 8: Holding Together

This hexagram, like the previous one, has a single unbroken line amid five others that are broken. It differs because the yang line is in the fifth place of the ruler. It sits in the centre of the trigram, Water, so the movement of the hexagram is downwards, as the water follows its nature and streams down to the lower trigram representing Earth. Unlike the former hexagram, The Army, in which the ruler had a strong and capable helper, a general in the field of the second place, here he must rely on less talented aides and his ability to organise them into a functioning team. The focus of this hexagram is therefore not how to conduct a war, but how to arrange and manage peacetime administration.

Both hexagrams stress that in their specific situations it is imperative that the people making decisions are adequate to the task, but this time it is the person consulting the oracle whose ability is questioned rather than that of the general they employ. As the one yang line organising the mass of less dynamic yin lines, the responsibility is great. Therefore, in Holding Together, the person consulting the I Ching is encouraged to ask once more to check that they have the skill-set required to lead and unite this group to face the challenge ahead.

If the fifth line, as the only yang line in the hexagram in the ruling position, is thrown as a moving line, the text emphasises the message in the judgement that progress will depend on our ability to organise and utilise the group of weak lines. As in the previous hexagram, discrimination is essential in choosing who to employ, but this time we are putting together a team of people rather than identifying a strong and charismatic leader to act on our behalf. It is especially important, therefore, that everyone buys into the process and is working towards the same final goal, and we are advised to use only those who are committed to the cause and whose loyalty we can depend on. However, if we choose wisely, and have the requisite skills and personal qualities to lead this team, the administration will run smoothly and meet with success.

Unlike the unbroken line of the fifth in which the oracle addresses the leader, in all of the yin moving lines the I Ching shifts its attention and speaks directly to those who are subordinate. The first, second and fourth should be included in the task at hand while the third and sixth should be allowed to go their own way and not be employed.

The first line, a broken line in a yin position and lacking a direct relationship with the fifth, might seem to be hopelessly weak, but, because of its modesty and devotion as a yin line in the lowest place, it is fortunate and is invited to play a role in the fight for the common good. In contrast, the yin Lines 2 and 4 do have a direct relationship with the fifth, either through correspondence (line 2) or proximity in the same trigram (line 4). They thus receive differing advice. The second line is recommended to be ‘inwardly’ loyal to the ruler but warned against trying to force a closeness; it should wait to be approached. The fourth line, on the other hand, in what is sometimes the position of a minister to the ruler, can express its loyalty ‘outwardly’ and openly play their part.

The broken third and top lines are not so fortunate. The third lies between two yin lines and has only a distant relationship with the leader in the fifth. While it is true that they are connected by belonging to the same nuclear trigram, this is the trigram Mountain and therefore movement upwards is stalled. Third lines, though, are restless to advance, so this line seeks its correlate in the upper trigram, the broken sixth, but this is also yin in nature so the two lines repel each other rather than attract. What is more, the top line is detached from the rest of the hexagram as the upper trigram, Water, flows inexorably down. The third line is therefore advised that it seeks union with the wrong people and should change its allegiance at once and join in the general movement before it is too late. The broken sixth line sits alone at the top of the trigram of peril, unnaturally above the leader and without any correlate below. It is out of the game and can take no part in the action, so the augury is misfortune.

Hexagram 9: The Taming Power of the Small

The meaning of the previous pair of hexagrams was based on their having one unbroken yang line amid five broken yin lines, and therefore denoted situations where one strong individual is called upon to lead the masses. This hexagram and the following one are the opposite: they both contain one yin line surrounded by five yang, so they advise how we should behave when we are in a weak position and need to placate the strong. The yin line in this hexagram lies in the weak fourth position, the lowest in the upper trigram Wind, the Gentle, and is poorly equipped for the task it faces of suppressing the rise of the three yang lines of the trigram for Heaven below. This hexagram therefore represents a situation in which we need to place a temporary check on someone or something more powerful than ourselves, and we need to use gentle persuasion as our method. However, if we are circumspect, recognise our relative weakness, conduct ourselves with humility, treat others with politeness, and do not try to exceed our limited power, we can meet with some success, or at the very least avoid harm.

Another approach to understanding this hexagram is by contrasting it with Hexagram 5, Waiting, and Hexagram 26, The Taming Power of the Great. In Waiting, where the trigram for Heaven is also below but that of Water lies above, the latter must eventually fall as rain and nourish the earth. We can simply wait for this to happen. In contrast, in this hexagram, where the upper trigram is the gentle Wind, the image in the Judgement is not of rainclouds directly above but of clouds gathering on the horizon which may deliver rain, but none has yet arrived and we cannot be certain that it will fall. Our goals must be more modest as a result, and we cannot merely wait for inevitable success.

Hexagram 26, The Taming Power of the Great, also has the trigram for Heaven below, but its upper trigram is Mountain, with two broken lines to act as the restrictive agent, making it a much stronger force to suppress the upward push of the lower trigram. Instead of the Creative easily forcing its way upwards, an accumulation of virtue results, stored in the towering bulk of the trigram Mountain. The period of restriction becomes positive and enabling, since it will build our strength and shore up our eventual position. In contrast, the weak fourth line in this hexagram has to work alone against the push of the Creative, limiting its chances of success and how ambitious it can aim to be. It can only restrict for a short time before it must concede defeat and withdraw.

The three yang lines at the foot of this hexagram all have the drive to push upwards. When the first two lines are cast as moving lines, though, they both voluntarily hold back and accept the gentle persuasion of the upper trigram. The first line does this willingly because of its lowly position and its direct connection through correspondence to the fourth, unbroken line whose task is to impose the restriction. The second line lacks any such relationship, but is central and its drive is moderated by its yin position, so it is cajoled into deferring to the temporary limitations of the time. Conflict is avoided.

Line 3, however, a yang line in a yang place at the top of the lower trigram, and therefore too eager to advance, directly baulks against the restrictions denoted by the hexagram. The result is disastrous failure. Despite its relative strength compared to the weak fourth line, it finds itself unable to advance (‘the spokes burst out of the wagon wheels’), and all it does is set off a conflict between itself and the fourth line, the pair of them pictured as a quarrelling married couple who may be heading for divorce. If we refuse to accept the relatively gentle restrictions which are being placed on us at the moment, we will live to regret it.

As a yin line in a yin position, and therefore correct, Line 4 does not seek to go beyond its limited ability. This is wise since it is extremely weak and would place itself in danger if it tried to do so. It faithfully serves as minister to the ruling line above and they act in unison; although what they can achieve is limited and temporary, there is no bloodshed. In its turn, the ruler in Line 5 is advised to trust the loyalty of its minister. If it does so, all will go well.

There are several hexagrams in the I Ching in which the augury of the top line contrasts with that of the Judgement in general since the condition denoted by the hexagram is coming to a close. This is one of them. Whereas in the Judgement no rain falls, at least for the time being, in this moving line the rain arrives and the restriction ceases to hold. A warning is added, however. The time for the weak and temporary check is over, and whatever success we have managed will have to suffice; any attempt to continue the current situation will lead to misfortune. We have achieved all that we can and must be satisfied.

Hexagram 10: Treading

Like the previous hexagram, this one is defined by its single broken line surrounded by five which are unbroken. Here, though, the yin line is at the top of the trigram, Lake, beneath the trigram for Heaven, and in the third place of the hexagram as a whole. Since hexagrams move upwards, the yin third line must encroach on the strong trigram above, and the image in the Judgment is that of a person treading on the tail of a tiger. Thus, the hexagram advises how we should behave when we come into contact with someone or something much more powerful than ourselves, and stresses the need for deference, politeness and careful conduct in this dangerous situation. If we show these qualities, we can come out of this encounter suffering no harm.

It is probably most useful to interpret the moving lines by splitting the hexagram into three: the first two unbroken lines, which can see the danger ahead and avoid it; lines 3, 4 and 5, which all belong to the nuclear trigram Wind and have to tread upon the tiger’s tail; and the top line which focuses on the result of this perilous action.

The first two lines are similar. They both behave correctly and are careful to show due respect and not to overstep the mark. The first is far from the danger and, like the hidden dragon of the Creative, can stay invisible and only has to follow its usual routine to avoid it. The second, although closer to the danger, shows a calm that protects it because of its central position. There is the suggestion in both of these lines that their care and circumspection will keep them safe from the tiger.

The third, fourth and fifth lines must tread on its tail, though. In the case of the third, broken line, this is disastrous and leads to serious harm because we are unequal to the task and any enemy we face is much more powerful than us. Two possible reasons for this ruinous failure are suggested by the text of the line. The first is that it is self-inflicted because we are overestimating our own ability and are therefore careless. The second is that we may have no choice but to take this action because responsibility to others demands it in some way. Whichever is the case, we cannot escape misfortune.

The fourth line, in its position which is naturally retiring and cautious, also treads on the tiger but its carefulness and circumpsection leads to success, or at least to an absence of harm. Any positive good fortune from the action, however, may have to wait for the future. Line 5 has the responsibilities of a leader and does not have the option of merely keeping itself safe; therefore the I Ching warns us of a need to be resolute and to remain aware of the peril. Although it is strong and central, and in the middle of the trigram Heaven, there is no added promise of good fortune, but the implication is that correct conduct on our part will help us navigate the danger and come to no harm.

In Line 6, the treading is over. We have advanced beyond the tiger, and survived. We can now look back at the action that we have taken and if we have shown the requisite qualities of caution and respect, and behaved correctly, we can expect good fortune as a result. The text even says ‘supreme good fortune’, so perhaps we can hope for more than mere safety and our encounter with people in power may even lead to the chance of some kind of preferment.

As noted when discussing the previous hexagram, there are several hexagrams in the I Ching where an individual moving line will contradict the overall text of the Judgment, and line 3 in Treading is another of these. Although the Judgment states, ‘Treading upon the tail of the tiger. It does not bite the man.’, in the moving third line, ‘The tiger bites the man’. (Other examples of this clash between the Judgment in general and an individual moving line are the top lines of Hexagrams 12 and 23.) When we receive the moving line in such cases, especially if we receive only the moving line, this generally overrides the Judgment, but as always when using the I Ching, we must be flexible in our thinking and avoid dogmatic rules. Interpreting the I Ching is an art, not a science.

Hexagram 11: Peace

This hexagram and the one that follows it, Standstill, are intimately related to each other and are best understood as a pair. Peace consists of the trigram, Earth, above that of Heaven; Standstill shows the reverse imagery of Heaven above Earth.

There is a strong temporal element to both hexagrams. The first represents a period of prosperity and growth; the second denotes a time of contraction and decline. Because hexagrams develop from below, in Peace the yang lines are increasing and converting the broken yin lines above them into yang; the opposite is true of Standstill. Therefore, Peace represents a time when everything is favourable and all is going well.

According to Baines’ translation of Wilhelm, the English word ‘peace’ is an inadequate translation of the ancient Chinese name for this hexagram because the English has a sense of calm and repose that is not true of the original Chinese, which is much more dynamic in feeling. Personally, I try to bridge this gap by seeing this hexagram as a picture of springtime, when conditions are ripe for growth and the natural world is flourishing. This auspicious time is brief and we must make the most of the moment.

The three yang lines of the lower trigram for Heaven all push upwards. The first line in its lowly position can only do so in unison with the others because it has limited strength of its own. This suggests a situation in which working alongside others around us is the best way to make the most of this propitious time. The second line in the middle of the trigram has much more opportunity to progress on its own. Unlike the lower line, it is advised to disregard its close companions and look upwards instead to the ruler in the fifth line with which it has an affinity due to correspondence. If we receive this moving line, we can afford to be more ambitious and to take a larger, more comprehensive view beyond our immediate circle.

The yang line in the third place stands in direct proximity to the broken lines above. The power of the trigram for Heaven is already starting to weaken and the text warns that this moment of potential will soon pass. Instead of regretting this, however, we must make the most of the opportunities that still exist before they disappear completely. As a yang third line, it will show a strong desire to advance and we should not let our doubts prevent us from trying to do so. We must strike while the iron is hot because spring will soon be over and the time for progress will have passed.

Just as the three unbroken lines of the lower trigram move upwards, the three broken lines of the upper trigram, Earth, remain steady in their place and look down. This is easy for the fourth line in its yin position and it unselfishly seeks to unite with the stronger lines below, and especially the first line with which it enjoys correspondence. It has a role to play in helping the strong lines to advance. The yin line in the fifth place has a strong connection with the yang line in the second and encourages it to advance. There is a marriage of earth and heaven as the leader is willing to cede some of her power to a worthy individual below, and everyone will gain as a result. The message is that generosity towards people below us in station will not only help them to advance but also benefit us as a result of our magnanimity.

In the sixth line, the condition represented by the hexagram has begun to turn into its reverse and springtime is over. There can be no further progress and we can only pocket any gains that we have made. Efforts to advance further will be fruitless and might even risk what has been achieved. All we can do is protect ourselves and those who are closest to us. Autumn has arrived and the drawing in of winter is on its way.

Hexagram 12: Standstill

More than fifty years ago, when I first received this hexagram in answer to a question, I found it hard to understand why it was inauspicious. The placing of the trigram for Heaven above the trigram for Earth, as in this hexagram, seemed natural and correct to me. As I learned more about the Book of Changes, however, I understood why my original intuition had been based on a misunderstanding. It was the previous hexagram, Peace, in which Heaven was below, enabling growth and easy development, where progress could be made, while this one signalled decline.

In the I Ching, hexagrams are always formed upwards from below. In Peace, therefore, the trigram for Heaven pushes up while that of Earth above stands still, so the two intermingle and there is a brief moment of flourishing when heaven could be said to exist on earth. In Standstill, the reverse is true. The trigram for Heaven above stretches further and further away while that of Earth below stays static or slowly sinks, so the distance between them grows ever wider. In addition, the weak yin lines, representing less talented and ethical people, move upwards and convert the yang lines one by one into their opposite. In the natural world winter is on its way, while in human affairs people of ability and substance are slowly being replaced by those less capable and worthy.

As in the previous hexagram, the three lines of each trigram stand together to form a unit. In Standstill, however, those of the lower trigram should not aim to move upwards but be content to stay safely where they are. The moving line in the first place draws on the same imagery as its correlate in Peace, of grass being pulled up and its roots and soil coming with it. This emphasises the need for us to stay united with those around us during this time of frustration and difficulty. If we do, the augury is positive and we will survive our current spell of hardship.

The broken line in the second place can be read in one of two ways, depending on whether we are being advised as a ‘superior man’ or as one of the masses. If we are the latter in this time of adversity, we have little choice but to endure its woes, and remaining close to our companions and working alongside them is the right thing to do. However, as we saw in the image of the dragon in the field of the foundational hexagram, The Creative, the line in the central second place often has great responsibilities because of its links to the leader in the fifth. Even if this applies here, though, unlike the second line of Peace, where the superior man is advised to leave behind his immediate companions and approach the ruler, his counterpart in Standstill is counselled to remain where he is and wait for more favourable times before taking any action. In contrast, the broken third line, like all third lines, looks upwards and wishes to advance, but it is powerless to do so. All it can do is feel ashamed of its desire and to rue its inability to influence events.

All three lines of the upper trigram are far more favourable, firstly because they are part of the trigram for Heaven, and secondly because they edge ever closer to release from the current impasse, when standstill comes to an end in the very top line. The fourth line’s role as minister to the ruler is emphasised when it is moving, and it is advised to follow orders and play its part in ending the present stagnation. The unbroken fifth line, as ruler of the hexagram, has the overall responsibility of organising the struggle against the standstill and to change it into its opposite. The moment is drawing near when this is possible, but there is the danger of complacency, and much still needs to be done before we can feel confident of success. Fear of failure and thoroughness of approach will be vital qualities to maintain in this situation where much is still so uncertain.

In the I Ching there is no belief in a permanent paradise that will never change or decay, nor a darkness so complete that light will never return. Therefore, just as Peace eventually crumbles in the previous hexagram, the impasse signified by this hexagram will never become permanent, and in the top line it comes to an end and transforms into its opposite. If we get this moving line, and only this line, the suggestion is that we have gone through a difficult time but we should now feel relieved that there is light at the end of the tunnel.

This hexagram and the previous one are both temporal in essence, so if we get a mix of moving lines, I feel it often makes sense to interpret them chronologically: in this case as a gradual development from stagnation to the hope of a fresh beginning. This may take more time, though, and we will need to exercise patience.

Hexagram 13: Fellowship

This hexagram is defined by the one broken line in the second place surrounded by five unbroken lines. In the I Ching, lines of the same polarity repel each other while lines of the opposite polarity attract like magnets. Therefore, the key feature of this hexagram is that all of the yang lines seek to unite with the one yin line in the second place. The heart of nearly every hexagram, however, resides in the two middle lines of the trigrams that compose it: the fifth and the second. This means that in this hexagram the aim for fellowship, and the energy that goes into seeking it, is centred on the urge for these two lines to meet and unite.

The top and bottom lines are peripheral in this hexagram and have little overall influence. The bottom line, which holds together with the second, represents the first moves towards fellowship and the image is of someone standing at their gate, open to the approach of others as they pass by. The top line, which has no relationship of either correspondence or holding together with any of the others, and is far from the yin line which is sought by all of the yang lines, is out of the game, so to speak. It is on the edge of the city and is open to others but has no intimate relationships. Its fellowship is abstract and impersonal. No blame is attached, however, to either of these lines: the openness of mind is there and it is not their fault if their wishes are never realised in full.

All the focus in this hexagram is on the four central lines and on the battle between the three yang lines to form a close relationship with the yin line. Those in the third and fourth places are seen as rivals to the fifth and an obstacle to its eventual coming together with the second. Yet despite the opposition and the difficulty, this union is delayed but eventually takes place.

The third line offers the strongest challenge to the union of fifth and second. It is contiguous with the yin in second place and holds together with it. However, its link to the second is nowhere near as strong or as natural as that of the fifth line, so it is too weak to launch a direct attack. As a result, it hides its weapons in a thicket (disguises its intentions) and climbs a hill from where it plans to mount a future assault. This line is wracked with frustration: it is like a suitor who seeks marriage but knows that the heart of the person he desires is bound to someone else. Eventually it must give up the fight, although it will be a long time before it admits defeat.

The fourth line similarly gives up the fight, but finds doing this much easier. Firstly, it is in a yin place which softens its yang determination and makes it less stubborn; secondly, although it has a place in the same nuclear trigram, it is not contiguous with the second line and stands in a different primary trigram. Therefore, while the third line climbs a hill in preparation for an attack, this line climbs on a wall, which suggests less obduracy in its desire to assail its opponent. It willingly surrenders and this eventually leads to good fortune.

The line in the second place is very interesting. Although it is correct – a yin line in a yin place – and corresponds to the unbroken line in the fifth, its augury is negative if we receive it as a moving line. It represents ‘fellowship with men in the clan’. The implication is that it is too passive and short-sighted to accept the advances of the fifth line, preferring to remain in the safety of the lower trigram: the questioner is being pusillanimous. The Judgment of this hexagram as a whole advises ‘crossing the great water’, which in this case means making a decisive step to achieve union, but this line is too timorous or complacent to attempt that.

The fifth line confidently foretells the successful realisation of the potential for union within the hexagram. The opposition to its coming together with the line in the second place is overcome and fellowship is achieved. The Comments on this moving line contain a poem, sometimes alleged to be the words of Confucius himself, which have what can seem a most un-Confucian tone: the words of the two people who have united ‘are sweet and strong, like the fragrance of orchids’. Union is attained.

This makes me want to counsel against interpreting this hexagram in an overly romantic way. The hexagram that directly deals with romantic and sexual attraction is #31, Influence, while the one that engages with the formal steps of courtship and marriage is #53, Development. In many non-western cultures (and historical western cultures), marriage has largely been seen as a contract between two people in preparation to build a family rather than the coming together of two people in love. This hexagram, Fellowship, may therefore apply more to friendship, or a meeting of kindred souls, something which was highly valued in many earlier cultures, including the Greek. Also, in this hexagram, as always in the I Ching, the text can be interpreted in a political and social context, unlike in the west, where the interpretation of ‘paranormal’ tools like the I Ching or the Tarot has focused almost exclusively on the spiritual growth of the individual.

As Wilhelm points out, if this hexagram as a whole concerns the search for universal fellowship, it actually fails: the culmination of the ideal of the hexagram which takes place in the fifth line is limited and personal. Just as we began outside our gate open to the approach of others, we end up on the borders of the city open to a wider fellowship, but universal fellowship never arrives. Perhaps this could serve as a message for us in a modern world where we may have hundreds of ‘friends’ on social media: true friendship is always intimate and restricted to a few people. And perhaps there are limits to our political ability to forge global relations.

Hexagram 14: Possession in Great Measure

This hexagram may be best understood by contrasting it with both its opposite, #8 Holding Together, and its inverse, #13 Fellowship with Men. In Holding Together, one unbroken line in the fifth place has to unite and manage the five broken lines around it. This puts tremendous pressure on the unbroken line because so much responsibility lies on its shoulders as it is organising and utilising people of limited talent, so in the Judgment of this hexagram the I Ching advises the questioner to consult the oracle again to see if they have the skills and abilities which are essential for the task ahead. In contrast, in Possession in Great Measure, the fifth place is a yin line surrounded by five yang lines, which is far more favourable since it represents a modest and open-minded leader who is supported by a group of talented helpers and who is eager to make the most of their skills.

The previous hexagram, Fellowship with Men, has a yang fifth line which bears a relationship of correspondence with a yin line in second place. At first glance, this seems extremely favourable, since the central lines in both trigrams are correct. However, as the negative content in the text to the second line shows, this situation is less balanced than in Possession in Great Measure. In Fellowship with Men, the yin line in the yin second place is too passive, merely waiting for the conflict between the yang lines to play itself out and determine who will be its eventual partner; in contrast, the yin line in the elevated fifth place in Possession in Great Measure is able to establish and maintain relationships with all of the other lines and ‘possess’ them. Also, in Fellowship with Men, the final union that results is one-to-one and personal and limited; in Possession in Great Measure all of the lines are linked and play their part in the realisation of the hexagram, including the unbroken line at the top. In consequence, this is one of the most favourable hexagrams in the I Ching.

None of the moving lines in this hexagram warn of misfortune, but those of the lower trigram are much less positive than those of the upper. The first line can offer little to the general good for several reasons: it is newly entered into the hexagram; it has the limited power of many bottom lines; and it is far from the leader in the fifth place and has no direct relationship with it. Therefore, the advice given to the person who casts this line emphasises weakness and the need for caution, but danger can be avoided through careful behaviour. More positively, the second line has a relationship of correspondence with the leader in the fifth and also has much more to offer, since the qualities of the lower trigram of heaven have accumulated within it like a loaded wagon. Therefore, it should be proactive and make itself available to the leader. Although the word ‘misfortune’ is not used, the third line carries an implicit warning. The line seems unwilling to trust in the collective effort and is tempted to act on its own initiative rather than follow the guidance of the leader in the fifth. The message is that it should temper its ego and impatience or it will harm itself.

Moving lines in the upper trigram are much more favourable. The fourth line, unlike the line below it, is happy to sacrifice itself to the common good and to act as a willing minister to the leader. This selflessness is beneficial to everyone involved. The text to the fifth line largely repeats the general message of the hexagram as a whole, highlighting the gentle yin nature of the line. It is ‘accessible’ (eager to work alongside the other lines) but also ‘dignified’ (because of its position as a fifth line). This mix of modesty and inner confidence will lead to certain success. There is also an implication in the comments to this moving line that the most important qualities required of us in the situation signified by the hexagram are open-mindedness and trust in our intuition.

On several occasions in the I Ching (Hexagrams 18, 20, 26, 27, 53), an unbroken top line can symbolise a kind of sage or teacher or guardian who watches over the hexagram from a place beyond the minutiae of everyday life and guides the worldly leader in the fifth position. This is true of the top line here, of which it is explicitly stated that ‘he is blessed by heaven’. Not only is our behaviour correct, but the time is right and fate is on our side. This line promises supreme success.

Some writers have used alternative names for this hexagram, such as Wealth or Riches, but for me that tempts us to focus too much on material gain. The real wealth in this hexagram is the harmony that exists among its individual components and the benefits which result from a leader who is flexible and has the quiet courage to encourage contributions from everyone involved, whatever their status or level of skill. The leader who surrounds himself with yes-men will rarely achieve the success of someone who draws on people of talent and welcomes and invites their contribution. This hexagram also contains a general lesson on possession which is repeated in several other places in the I Ching, such as the top lines of Hexagrams #42 Increase and #55 Abundance: possession is never a good in itself but only when it is used for the benefit of all rather than selfishly hoarded.

Hexagram 15: Modesty

It is difficult to assign an English name to this hexagram which encapsulates all of its various meanings. Wilhelm/Baynes choose ‘Modesty’, but while this reflects the core virtue that the hexagram extols, the tone of the word may be a little passive for a hexagram which is not about hiding one’s light under a bushel and lying low, but displaying a lack of arrogance and selfishness while taking strong action. There is also a second meaning to the hexagram which is equally important: achieving balance, decreasing what is excessive and increasing what is deficient. This is made clear in the advice given to the superior man, who must ‘weigh things and make them equal’. For this reason, Legge chooses ‘Temperance’ as its title, which users of the I Ching who see it as an occult document may prefer, since it links it to the card of the same name in the Tarot pack which bears a similar significance.

Whichever name is chosen, this hexagram is highly favourable. Like the previous one, Possession in Great Measure, there is a build-up of wealth in this hexagram, but here it takes the form of an accumulation of virtue in the lower trigram of Mountain, and particularly in its unbroken third line. One feature of Mountain as a trigram is that it represents a slow accretion of knowledge or wisdom or virtue in its unbroken top line (for example, in Hexagrams 26, 27 and 52). In those hexagrams, this line is in its ‘natural’ place at the summit of the Mountain. But in this one, it has modestly moved down to the lower trigram and placed itself under the earth, from which position it acts as the ruler of the hexagram rather than the yin line in the fifth place. In this humbling of itself, it personifies the quality of the hexagram as a whole and created a more balanced state of forces.

However, this line is different from many similar lines which occur throughout the I Ching which are also advised to quietly and selflessly serve others. Nearly all of those lines are yin in nature and are often in the second or fourth place, so they are subordinate helpers: in contrast, this line is the only yang line surrounded by five yin ones, so as in hexagrams, 7, 8 and 16, it must be active and take control. The Judgment makes this clear. Unusually, it directly addresses the superior man, who is counselled to ‘[carry] things through.’ There is work to be done and we must not let our innate humility prevent us from doing it.

All three lines of the bottom trigram are hugely auspicious. The first line, a yin line at the bottom of the hexagram, would in most other hexagrams be interpreted as vulnerable and weak, but because here it is the perfect expression of the overall meaning of the hexagram, it is highly favourable. Again the superior man is mentioned and told that he ‘may cross the great water’: that is, undertake a difficult, but vital task. The line reads as encouragement to embrace this task and not to let our natural reticence lead us into self-doubt and refraining from action. The second broken line, correct in its yin place, holds together with the yang line above it and can support the efforts of the latter in a practical way. It is also given an augury of good fortune.

Yang third lines are often negative because they tend to be aggressive and impatient and to overestimate their own power. This line, however, shows none of those failings since it has voluntarily placed itself beneath the trigram for Earth that now lies above it. Yet again the superior man is mentioned, but this time he ‘carries things to conclusion’: the task that begins in the first line comes to fruition here. The line has all the virtues of the top line of Mountain with its accumulation of merit, and has two faithful followers in the first and second lines. Moreover, it is also the bottom line of the nuclear trigram, Thunder, which imbues it with a desirable balance between the movement upwards of Thunder and the stasis of Mountain. The former gives it the drive to thrust up and connect with the two yin lines above it in the upper trigram, while the latter provides the fuel to do so. One final advantage is that it is in a relation of correspondence to the top line, and therefore it has a connection with all of the lines in the hexagram and access to a full range of resources to achieve its goal.

The yin fourth line, correct in its position, is naturally modest and therefore in tune with the hexagram as a whole. At the foot of the trigram, Earth, its movement is downwards, so it can play a role in linking the two trigrams and join in the collective effort, even if not as directly as the first and second lines.

The imagery of the top two lines shifts and draws on the second common meaning of the trigram Earth – the masses, and especially the masses as an army – a meaning which is made explicit in Hexagram 7. Thus, both top lines employ military metaphors, but there is a subtle difference between them. The fifth line attacks external enemies working against the desired goal and is able to do this successfully because it is humble (yin) and therefore gets support from the other lines around it. It is advised to take vigorous action, which will succeed. The top line, in contrast, has to tackle internal dissension and must ‘chastise [its] own city and [its] country’, so the opponents are within, either within the situation that we face or within ourselves, and its correspondence to the strong line in the third place will help it to perform this task successfully.

This may be a suitable place to mention the importance of interpreting the I Ching flexibly. Its poetic imagery is not a flowery layer added for decoration, nor is it a way of obscuring meaning and allowing the questioner to interpret the answer in any way s/he likes: it enables the answer to be related to a wide range of differing types of questions. In this hexagram, for instance, it could pertain to an objective, external situation that we face, but it could equally be used to analyse an inner, subjective conflict which we are trying to overcome. The mathematics behind the creation of the sixty-four hexagrams may be binary, but the content within it most assuredly is not.

Hexagram 16: Enthusiasm

As with the previous hexagram, translators have given this one several different names in English, but this time the choices vary much more widely in their meaning, with everything from ‘Happiness’ to ‘Excess’ to ‘Self-Deception’. It is one of a quartet of hexagrams (7, 8, 15 and 16) in which one unbroken line has the task of gathering together the five broken ones around it and forging them into a unified force. In this hexagram, however, the yang line is in the weaker fourth position of the minister, so its task is not to take control and act as a strong leader but to persuade everyone to join a common movement by inspiring their passion and zeal. I imagine this is why Wilhelm/Baynes opted for ‘Enthusiasm’.

The fact that there is no promise of good fortune in the Judgment reflects the relative weakness of the ruling yang line due to its retiring fourth position. Like the third line in the previous hexagram, it has a connection to every other line, either through correspondence or holding together or belonging to the same primary or nuclear trigram, but it lacks the reserves of talent of its counterpart in Hexagram 15. As a result, it is advised to ‘install helpers’: it is not in a strong enough position to achieve the desired outcome on its own.

The upper trigram is Thunder, the bottom line of which pushes strongly upwards, as does the trigram as a whole. The lower trigram, Earth, stays still or slowly sinks, so the two trigrams are moving away from each other, which works against the push for unity. A second feature of Earth is its association with the masses, and often the potential for them to form an army if required, so the Judgment uses military imagery and counsels the questioner to ‘set armies marching’: this movement must be collective rather than based on the singular talent of one leader. The superior man is not mentioned; instead we are told that ‘the ancient kings made music’, which might be the drums of an army but could also be religious in nature, a hymn to bring people together in their hearts, for the ‘Supreme Deity’ and the ancestors are mentioned. Music is often celebrated for its ability to express and evoke emotions, and one thing which is common to the various names given to this hexagram is their connotation of strong feeling, with both the positive and negative consequences these can give rise to.

The first line, like many broken lines in this lowly position, has little strength of its own and gazes up at the fourth line for help, attracted to its yang character which acts like a magnet to its opposite yin nature. The two lines correspond, but this is one occasion where this relationship of correspondence is undesirable. Firstly, it increases the passivity of the bottom line, which makes no effort to help itself but simply waits to be rescued. Secondly, the fourth line, as the bottom line of the trigram Thunder, surges upwards, so no opportunity exists for any of the yin lines in the trigram below to forge a lasting connection. The first line should stay where it is, alongside the other yin lines, take responsibility for its own needs, and not dream of being rescued by someone or something else.

The second line, also yin but in the central place of the lower trigram, is its opposite in attitude. At the heart of the primary trigram, Earth, and the foot of the nuclear trigram, Mountain, it stays resolute in its own place and is not tempted by the magnetic pull of the yang fourth line. This independence of spirit is correct in the current conditions, and good fortune will be the deserved result.

The yin line above it, in the third place of the lower trigram, is closer to the first in its desire to hasten upwards and link with the yang line above. It holds together with this line, and in common with most third lines it wants to advance, but the lines are in different trigrams and those trigrams are moving in opposite directions. The connection can never be made, and this line needs to alter its attitude and be content to unite with the other two yin lines in the lower trigram. If it doesn’t do this quickly, it will live to regret it.

The fourth line is ‘the source of enthusiasm’, and the ruler of the hexagram. The wording reads like an attempt to reassure the line that it has the ability needed to succeed in its goal of bringing all the lines of the hexagram together. The character of the line is yang but its position is yin, so the ability is there and the danger is self-doubt, and the comment to the moving line baldly advises, ‘Doubt not.’ The image is that of a hair clasp which gathers together all the strands of the hair with little difficulty.

It is rare for a moving fifth line not to be given a prognosis of ‘good fortune’ or ‘success’, but this one, a yin line at the top of the nuclear trigram, Water, signifying difficulty and strife, is given no such reassurance. The image is that of a person who is chronically ill but does not die. If the questioner is asking about health, the portent is obvious; in other fields of life it suggests that whatever the problem is, there will be no dramatic, abject and final failure, but neither will the problem fade away over time. It will simply linger on and sometimes the suggestion may be that the will is not strong enough to overcome it. Anyone receiving this line should look deeply at the second hexagram which is formed after the moving lines change, for this becomes a crucial sign pointing to the long-term future and whether this current hiatus will mend or further deteriorate.

The final line at the top must shed its illusions. It imagines that it has the ability to achieve great success, but this is far from true and a rude awakening lies ahead. The good news is that when we shed these illusions, although admitting they existed might be deeply embarrassing, we can start all over again and finally go forward. Indeed, if this is the only moving line, the second hexagram formed after the line moves will be Hexagram 35, Progress, symbolised by the sun rising above the earth and one of the most auspicious hexagrams in the I Ching. The sting and humiliation of failure may be the key to future success, but only if the change in our attitude is sincere.

The success of this hexagram is far less certain than that of the previous one. While there is a calmness about Modesty which is founded on its roots in its lower trigram Mountain, this one has all the excitation and restless desire of its upper trigram Thunder. What unites the two hexagrams, and is also true of the other two which I mentioned in the opening paragraphs and are distinguished by having only one yang line, is that all must be active if they want to achieve their goal of forging unity from a mass of discrete units or individuals.

Hexagram 17: Following

I often feel I struggle to interpret this hexagram, probably because of my western training and upbringing. In the I Ching, everything contains a kind of shadow of its opposite, as in the famous image which most people recognise at once as a symbol of yin and yang. This idea that things always harbour a mirror image of themselves becomes explicit in this hexagram, which is not only about following others but also gaining followers.

The hexagram is composed of the trigram Thunder below the trigram Lake, both of which have an unbroken line at the bottom and a broken line at the top. The yang places itself below the yin and follows it. This is repeated when we look at the trigrams as a single unit: Thunder, having only one yang line, is a yang trigram, while Lake, with its single broken line is yin, so again the yang lies below the yin and follows it. The message Wilhelm reads into this is that before we can lead, we must learn how to follow, and that following and leading are inextricably linked, both of which I feel are true. The movement of the hexagram is very simple, rising in a series of steps so that Line 1 follows Line 2, Line 2 follows line 3, and so on, and therefore all of the lines, except for the top and bottom, both follow and are followed.

This duality of meaning turns any moving lines we receive into a vital guide towards interpreting the answer to our question. The first line is relatively simple: it has entered a fresh situation and there is no one below to follow it, like the dawn of a brand new day (similar in this respect to the first line of Hexagram 30). It must go forward into the world beyond its door and trust in its instincts about who and what it will choose to follow. As a yang line in a yang position, it is correct and its instincts are good, so these small steps into the outside world will be the opening to eventual success.

The second and third lines, both broken, are mirror images of each other. In conformity with the general movement of the hexagram, they look up to the line above them. This is not advisable for the second line, which is following the broken third and ‘cling[ing] to the little boy’. There are several yin lines in second place throughout the I Ching which are seen as guilty of shallow thinking, and this is one of them. No augury is given of good or bad fortune, but we can assume that if we don’t change direction in what we choose to follow, misfortune will ensue. Basically, we are following the wrong people or the wrong ideas. We are on the wrong path and need to go in a different direction.

The third line also looks up to the line above, but this is the unbroken fourth in the place of the minister. ‘The little boy’ is being rejected in favour of ‘the strong man’. Despite the immediate proximity of the two lines, forging a connection will not be easy for the lines are in different trigrams, but the desire to do so is correct in the present situation and, as long as we show perseverance and commitment, we will find the guidance we need.

The fourth line, yang in a yin position, is caught in a complex situation. In the place reserved for the minister, it naturally looks upwards to the ruler of the hexagram in the fifth and seeks to serve it. However, it is also the unbroken top line of the nuclear trigram, Mountain, and this links it to the two broken lines below which cling on to it and refuse to let go. This line must break its connection with these followers and commit without reservation to serving the ruler above. We have hangers-on who sap our strength and drag us away from our destiny, or ideas which impede our progress, and we must ruthlessly detach ourselves from them.

The text to the fifth line is sparse and devoid of any imagery, which can seem at first to make it hard to interpret. However, the reason it is so simple is that the general message is perfectly clear: as a yang line correctly in a yang position at the centre of the upper trigram, supported by a strong line below, and guided by a sage above, its success is guaranteed.

The top line has no one to follow as the hexagram comes to a close. However, it is followed by the ruler below and remains as a source of guardianship watching over the whole hexagram. There are several hexagrams in the I Ching when the top line performs this role of either a sage or a higher, abstract source of inspiration (for example, 26, 27 and 53) but in every other case this line is unbroken. In keeping with the overall message of this hexagram, though, on this occasion the yang will follow the yin. For someone who casts this top line, their sense of duty shown to the ruler will bring its own reward in terms of lasting recognition of their role.

Hexagram 18: Work on What Has Been Spoiled (Decay)

There are several hexagrams in the I Ching which denote a time and situation when negative influences are predominant, either because this is part of the normal cycles of life (12, 23, 47) or because people have gained power who are hostile to our best interests (36, 43, 54). In these hexagrams there is sometimes little we can do but endure and bide our time and quietly prepare for the inevitable change that will come and the chance for us to move to better times. This hexagram is not as pessimistic, for the problems we face are things that we have inherited or the result of our own past mistakes, and can be repaired with a change of attitude on our part from our current mood of complacency to one of decisiveness and resolution.

There are links between this hexagram and #53, Development, since they share the same two trigrams but in reverse positions. In Hexagram 53, the trigram Wind (with its secondary meaning of Wood) is a tree standing on top of Mountain, an image of gradual but steady, inevitable growth. In contrast, in this hexagram, Mountain sits firmly on top and acts as a kind of block preventing the lower trigram, Wind, from going about its usual task of gentle penetration. The result is decay, a situation where strong action is required but difficult to bring about, and a vigorous response is needed if we are to halt and reverse it.

The Judgment of this hexagram is fairly lengthy compared with many others because the situation we find ourselves in is complex and requires a determined and multi-pronged response. Strong, direct action (‘crossing the great water’) is recommended as an antidote to the lethargy that has allowed the decay to build up and fester. We are advised to spend time carefully planning before we take any action since the problems are long-lasting and run deep, and to constantly monitor our progress once our plan is put into action: ‘Before the starting point, three days/After the starting point, three days’.

The moving lines, except for the unbroken line at the top, all contain the idea of problems which have their origins in the parents, with four of them focused on the father and a single line focused on the mother. They can be interpreted in myriad ways. The difficulties may be practical and based on history (for example, in most cultures before the modern west, the family was emphasised more than the individual and things like debt would often be inherited by the children). Alternatively, the problems might stem from mistakes that we made ourselves in the past, the consequences of which we never dealt with, but which need to be rectified now if we wish to move on. Another possibility is to interpret the answer psychologically: a need to address a failing or a lack in our personality or even deep-seated issues from early childhood. Or perhaps we have simply been indolent and need a good kick up the backside. This hexagram is a perfect example of the flexibility of the I Ching and how we need to be open and receptive when we use it.

In the first moving line, the father is described as ‘departed’, which suggests deep-lying or longstanding problems with no one around to correct them and which therefore remain unaddressed. The mistakes may not be our own, but the onus falls on us to put things right. This broken line at the bottom of the hexagram is in a weak position and we are therefore warned of the dangers that would arise from confronting these issues head-on. However, good fortune is promised if we energetically take on the challenge.

The second line is the only line where the mother is the root of what has gone wrong. This suggests that the problems we face may be less clearly defined and difficult to pin down, subjective and internal rather than concerning the practical aspects of life. The mix of the yang character of the line and its yin position shows the need to handle things with delicacy but to add a firmness that has so far been lacking and which has allowed matters to slowly decline and decay. No augury is given regarding success or failure.

The third and fourth lines are mirror images of each other. The impulsive third, an unbroken line at the foot of the nuclear trigram Thunder, is too forceful in its attempts to correct the situation, so it will ruffle a few feathers and make mistakes. However, the oracle advises that this is better than avoiding action altogether and pretending that the issues don’t exist, which is what the very weak broken line in the fourth position will do. If we get this line, we are being warned that we are burying our head in the sand and need to face up to reality and start taking action at once before the difficulties get even more entrenched and become insurmountable.

The fifth line marks the point at which the decay is arrested. If we get this line only, the second hexagram that forms will be #57, The Gentle, which is a doubling of the trigram for Wind, which suggests that the impasse has been breached and the Wind can do its quiet work of penetration into the problem and gently repair the situation. The oracle not only predicts relief and satisfaction at a job well done but also promises that we will meet with ‘praise’: others will recognise our success.

Like some other top lines in the trigram Mountain (27, 52), the top line here is a sage who stands at a distance from the main body of the hexagram. The work of arresting the decay has been completed by the other five lines, so this line can look beyond any local and personal issues and move on instead to greater, more universal challenges. If it is the only moving line, the hexagram changes to the very progressive #46, Pushing Upwards, where Wood pushes upwards with ease through the compliant upper trigram Earth, emphasising that the decay has been left behind and we can start to focus our attention well beyond it.

Hexagram 19: Approach

This hexagram is one of many (11, 12, 23, 24, 33, 34, 43, 44) in which the meaning at least partly results from the seasonal nature of life, as winter becomes spring, then summer, then autumn, before changing back to winter again. In Hexagram 24, Return, a single unbroken line enters the hexagram from below at the moment of the winter solstice, representing the return of the yang force after its apparent death. The yang force is still weak at this point and needs to be carefully nurtured. Approach represents a development of this moment, as the single line of Return is now joined by a yang partner. This is the moment of early spring, when the two yang lines can advance together up the hexagram, converting the remaining yin lines into yang.

The movement upwards is strong, since the docile upper trigram Earth offers no resistance and welcomes the advance of the yang. It is not surprising, therefore, that the main advice of the oracle is to make the most of this propitious moment because it will not last. The time to act is now. In fact, the Judgment explicitly warns that ‘when the eighth month comes, there will be misfortune’. Spring will have turned into autumn, and winter will lie ahead.

As so often in the I Ching, this hexagram has a dual aspect, depicting the same situation from two different perspectives: it not only signifies the upward thrust of those below, but also the response of those in authority to this attempted advance. Anyone consulting the oracle must decide from their specific circumstances how to interpret the answer to best make sense of it, whether they are the strong rising force from below or those in authority who must react to this upward movement. If the person consulting the I Ching receives moving lines in the lower trigram, this would suggest that they are the active mover in this situation and seek to advance; lines in the upper trigram only could signify that they are in a position of authority in some capacity and should do all they can to facilitate this desirable ascent.

The moving lines of the lower trigram all represent people who are in a lowly position and seek to push strongly upwards. The first two lines are very similar and work together as a pair; hence both contain the text ‘joint approach’. There are other hexagrams in the I Ching, such as 35 and 46, which focus more on the promotion of an individual from obscurity to recognition and success, but here the advance is likely to be collective and we must work together with others to achieve it. Both lines promise ‘good fortune’, but the first line is worded more circumspectly, stressing that progress will require ‘perseverance’ on our part. In contrast, the second line receives the unequivocally optimistic message that ‘everything furthers’.

The third line is the only moving line in this hexagram which has a generally negative augury. It warns of a ‘comfortable’ approach. As the broken top line of the trigram Lake, a line which is almost universally regarded as inauspicious throughout the I Ching, this suggests that we are not making the most of this time of growth and promise, behaving as if it will last forever, but it will not: we are guilty of complacency and are missing out on opportunities because of our laziness or apathy. Even so, the current time is so propitious that there are still huge advantages to be gained if we change our attitude and become more diligent and purposeful. (And if this is the only moving line we receive, the second hexagram becomes #11, Peace, implying that we will have this change in attitude and benefit greatly from it.)

As I stated earlier, the lines of the upper hexagram represent people in authority who are being approached by others from below, so if we receive one or more of them as moving lines, we are likely to be in some kind of position of responsibility. The fourth line, a yin line in a yin position, is very open to others and welcomes the advance of the unbroken first line. Yang and yin attract each other like the opposite poles of a magnet, which applies in this hexagram to both the minister in Line 4 and the leader in Line 5 with their correlates in the lower trigram below. However, the line gives no forecast of good fortune, but merely that there is ‘no blame’. Perhaps due to the weakness of our own position, we can only offer limited support to the subject of the first line.

Line 5, in contrast, is described as a ‘great prince’ who will respond with wisdom to the time of flourishing at hand. Standing in the fifth position, the place of the leader, it is able to offer much more help to its unbroken correlate in the second place. Good fortune is guaranteed.

The lower trigram correlate of the subject of Line 6, however, is the broken third, so here both lines are yin and there is no natural affinity. Yet the text calls the top line ‘greathearted’, which I take to mean that, in spite of this lack of chemistry between them, the top line in its elevated position is ready to accept the approach of people from below despite the fact that, in some way, it now stands ‘outside the game’. The implication is that we should be magnanimous and help others make the most of the moment, and good fortune for all will be the result.

In my opinion, the statement in the Judgment that misfortune will occur eight months later makes the second hexagram we receive after the transformation of the moving lines even more important than usual. For instance, if we get the fourth line only, this would make the future hexagram #54, The Marrying Maiden, which warns of misfortune and counsels against taking action, suggesting that the natural decline which will follow this hexagram of springtime will be a precipitous one. In contrast, if we receive the top line only, the hexagram would change to #41, Decrease, suggesting a more controlled and measured retreat from the current favourable circumstances. If we receive a mix of moving lines which includes at least one from both of the component trigrams, this probably signifies that the situation we are asking about is a complex mix of factors with repercussions for both aspirants and for those in power, and that we need to take all parties into account before taking any action. But not to delay that action for more than the bare minimum of time required – the motto of this hexagram could be ‘strike while the iron is hot’.

Hexagram 20: Contemplation (View)

Although people mainly use the Book of Changes for divination, and therefore a lot of mystical ideas have attached themselves to it over its long history, especially in some branches of Taoism and also in its use as an oracle in the modern west, the text of the I Ching is surprisingly practical in many ways and worldly in its concerns, with most of its hexagrams dealing with social and political realities in the physical world of everyday life rather than entering some paranormal realm or espousing a mystical worldview or delving deep into the individual psyche. There is an underlying philosophy that permeates the entire book, of course, grounded in ideas that would go on to develop into Yin and Yang and Confucianism and Taoism, but its content and its tone are often far from the ‘spiritual’ concerns in mystical traditions of the individualistic west. This hexagram, Contemplation, is one of a handful, however, which are broadly philosophical rather than pragmatic in nature, along with #52 in particular, and to a lesser extent, #22, #45 and #59.

In the previous hexagram, Advance, two unbroken lines stand at the foot of the hexagram and push energetically upwards through Earth, making it one of the most dynamic in the I Ching. In this one, in contrast, the two unbroken lines stand at the top and form a kind of mountain above the earth, creating a stillness of mood in which there is little movement except for the gentle breeze of the upper trigram, Wind. Yet the two hexagrams, for all their difference in the sense that one is bursting with energy while the other is calm and contemplative, are similar in that both are open to interpretation from two opposing perspectives. Just as Advance can be seen from the point of view of those advancing from below or from that of the people in power who are the target of this advance, the meaning of Contemplation can focus on either the broken lines below looking up and contemplating those above or the unbroken lines at the top which are being viewed.

The text of the Judgment uses words which generally have a religious flavour in English. There is talk of an ‘ablution’ – a washing of hands – and an ‘offering’ – a sacrifice to the gods – that hasn’t yet taken place. We are in the middle of some kind of ceremony for which the participants are now prepared, but which is not an arcane ritual secreted away but unfolds before the entire populace. We are clearly in a special setting and a moment of deep significance, far from the ordinary terrain of daily life. This is underscored by the image of the hexagram as a whole, which takes on the appearance of the trigram Mountain, with its connotations of hermits and holy recluses and its ascent as a gateway to heaven.

We should not exaggerate, however, this apparently religious interpretation. The image of the hexagram as a whole can also be perceived as a man-made tower which can be seen from afar on the land below, or as the emperor surveying the territory over which he reigns. There are hints in the text of the more sacral hexagram, Stillness (52), which focuses on the individual following ancient practices which still the mind and set it free, but the emphasis in Contemplation is on collective ritual rather than individual salvation. The Image underlines this, depicting the kings of old visiting the regions of their kingdom in order to inspire the people, but also to monitor and instruct them. The ritual taking place is as much a social and political event as a holy ceremony.

The lower trigram, Earth, composed of three broken lines, represents the masses staring up at the offering taking place. As yin lines far from the central leading fifth line in a trigram that represents the masses, each of them is limited in outlook. The first is pictured as a boy, lacking the experience of life necessary to comprehend the meaning of what he is watching. If this is the state of the person consulting the oracle, he or she is blameless: either incapable of understanding or simply not yet ready to do so. However, the line itself, and the Comment on the line, are very stern if this childish way of looking is taking place in those who have the experience to know better: in this case, this limited way of looking is unforgivable. If we get this line, therefore, we are either guilty of shallow thinking and letting our better selves down or we simply aren’t equipped to comprehend the ritual or make a worthwhile contribution to it.

The second line can observe a little more of the offering than the first, like someone peeping through a crack in a door. This is not the total incomprehension of the line below, but still only provides a narrow and distorted view of the whole situation. Yet, unlike the first, the line is advised to persevere; it is not incapable of, or resistant to, learning further – it has a correlate in the fifth place where the ritual is unfolding – but the only way to do so is to continue working hard and to slowly build up its ability and readiness to respond. (The person peeping through the crack is pictured as a woman, which will set off alarm bells for most of us in the modern west: this issue of possible sexism in the I Ching is a serious one which must be addressed and I will discuss it in more detail in Hexagram 37, The Family.)

The third line has moved on from the position of the second and can see the tower more clearly as it edges ever closer to the upper trigram. Someone who throws this line must make a decision whether they feel ready to advance and take a more active part in whatever it is in their life that is represented here as ablution and offering, or would be better advised to stay where they are and continue to gather more experience before going forward. In contrast, the last of the broken lines above it in the fourth place has already made the step that the third line is contemplating. It has been invited into the kingdom, leaving behind its lowly role as a mere spectator, and can now serve a minor role in the ritual as it unfolds. It should accept this invitation and play its part.

The two unbroken lines in the fifth and sixth places are similar but subtly different. In Wilhelm’s translation, for example, the text of the fifth reads ‘Contemplation of my life’, while that of the sixth speaks of ‘Contemplation of his life’, suggesting that the focus of the former is introspection and self-analysis, while the latter is more detached and gazes down at what is happening with a vision wider in scope and less bound to the personal. However, the Comment on the fifth line seems to contradict the original text for it talks of ‘contemplation of the people’ rather than ‘of my life’, suggesting awareness of its social role rather than a process of self-examination.

I’m not confident about trying to explain this apparent contradiction, although the numerous examples throughout the I Ching which feature the top line as some kind of sage who is not directly affected by the situation of the hexagram tempt me towards interpreting this line in the same way, and to see the fifth line as showing the leader examining his role as guider of his people as he looks down at the masses below. If I’m correct, it is interesting that Jungian individuation is not seen as the supreme goal in the way that it is in many strands of western mysticism; the good of the whole community remains a more pressing concern than the self-actualisation of the individual.

One final thing to note about this hexagram is that not once does it give an augury of ‘good fortune’ or ‘misfortune’. Perhaps this reflects that it is not a hexagram of action undertaken in the everyday world with subsequent consequences in that world, but refers to a liminal moment between two worlds where these concepts cease to be relevant because individual destiny, the ups and downs of a personal life, are not significant. The vital thing is that the offering take place and all should be involved in it, even if merely as spectators, for if this happens, everyone shall benefit as a result.

Hexagram 21: Biting Through

In Hexagram 27, Nourishment, there are unbroken lines in the top and bottom places, with a quartet of broken lines filling the four spaces between them. Thus, it is the image of an open mouth. This diagrammatic resemblance to the physical shape of the mouth is further supported by the meaning of the two trigrams that form this figure; the bottom line is the yang line in the trigram Thunder which pushes upwards (the movable lower jaw), while the sixth line stands at the top of the trigram Mountain, which doesn’t move (the immovable upper jaw).

In Biting Through, the broken line in the fourth place of Nourishment is replaced by an unbroken line, so the hexagram as a whole becomes a picture of a mouth with some kind of obstacle inside it which prevents the upper and lower jaws from coming together. We have to bite energetically through this obstacle in order to achieve union.

The Judgment of Biting Through advises that the time is favourable for legal action, with the top and bottom lines representing wrongdoers who must be tried in a court of law and punished if found guilty. However, when interpreting this hexagram, it is not inevitable that recourse to the law is advised or even relevant; as always with the I Ching, we must be flexible in our thinking. In our specific situation, for example, the unbroken fourth line may simply signify a person or an obstacle preventing our movement and progress but which cannot be solved by means of legal action. In whichever way we understand the hexagram, our primary task is to identify the obstruction and vigorously remove it.

The top and bottom lines are seen as criminals or offences against the common good. The former represents a first offender or a minor infringement of the law, so the important thing is to take steps to stop the same thing from occurring again. The feet of the individual are therefore placed in the stocks and cannot move, so the culprit is unable to reoffend. As the yang line at the foot of the trigram Thunder, its instinct is to move upwards and perhaps repeat its mistake, but its partner in the fourth place is also yang, so there is no correspondence between them and any movement is curtailed. The fourth line is also the top line of the nuclear trigram Mountain, which arrests any advance by the lines below.

In contrast, the top line, standing above the mild yin leader in the fifth place, is pictured as a hardened criminal. There is no chance that the miscreant can ever be reformed so the crucial thing is that punishment takes place. He is placed in the cangue, a board around the neck which severely restricted the ability of the person to move his head. The commentary on the moving line stresses the fact that his ears are said to ‘disappear’ in the text of the line – in other words, the subject of this line will never listen to advice or try to reform, and further misfortune will inevitably befall him. There is a strong suggestion that we need to completely change our way of thinking and behaviour but we are unable and unwilling to do so.

The four lines in the centre of the hexagram each contain the same imagery of eating meat as an image of biting through the obstruction. There are subtle differences in the meat on each occasion, however. That of the second line is described as ‘tender’; a yin line in a yin place, so the error is small and easy to correct, although there is an indication that we may be a little too harsh. The third line is ‘old, dried meat’ and contains poison. The implication is the opposite of the previous line; we are not being vigorous enough in correcting it. In the fifth line of the leader, the meat is ‘dried’ and ‘lean’ so the mild leader, a mix of yin in character and yang in position, is able to find the right balance of clemency and punishment, and all will turn out well. It also suggests that if we are involved in any law suit, it will go in our favour because we receive ‘yellow gold’.

The fourth line is more complex, for it is both someone who is trying to remove the obstacle but also, in terms of the hexagram as a whole, the obstacle itself. This time the meat is ‘dried’ and ‘gristly’ and not easy to chew. Surprisingly, however, this is the only moving line that predicts ‘good fortune’, so as long as we are rigorous and determined, all should go well. Furthermore, if this is the only moving line received, the second hexagram which forms will be that of Nourishment, suggesting that the blockage is cleared.

I’d like to briefly repeat that it is always essential to be flexible when we interpret the I Ching, and this may be one of the hexagrams of which this is particularly true. That fourth line preventing the jaws from coming together may well be an external problem such as an enemy who wishes to harm us or an obstacle that is preventing our advance, but it could equally be an aspect of ourselves that we need to overcome and leave behind.

Hexagram 22: Grace

I am following the Wilhelm/Baynes headings for each hexagram throughout this document, so I’m calling this one ‘Grace’, although my personal preference might actually be ‘Adornment’, or perhaps Blofeld’s ‘Elegance’. For this is the hexagram of aesthetics, which interests me as someone who writes poetry and fiction and enjoys all of the arts, especially painting. It is one of the few hexagrams (along with 20 and 52) which is mainly contemplative in nature and doesn’t concern itself much with the social and political aspects of human life. Unlike those hexagrams, however, Grace is not particularly philosophical in nature; it is about the pleasures of the physical senses rather than those of the abstract mind.

Although it comes from a totally different cultural tradition, this hexagram reminds me of Plato in many ways, and his expulsion of the poets from his ideal state. Wilhelm has a footnote describing how Confucius was rather concerned when he received this hexagram when consulting the I Ching, fearing it signalled a shallowness of thinking on his part. There is nothing as extreme as Plato’s banishment of artists in this hexagram, but there is the warning in both the Judgment and the Image that this graceful, aesthetic approach to life is not appropriate for weighty matters. The key binary within this hexagram is content and form, and content wins out every time. I can see no support in it for Schopenhauer’s belief that Art might perhaps replace religion as a source of meaning or consolation.

The central place in both of the component trigrams is occupied by a yin line and therefore what can be accomplished is limited: instead of trying to achieve great things, we should enjoy the chance to take calm pleasure in the joys of the senses. In both trigrams, the yin lines provide the form that adorns the yang content: in the lower trigram, Fire, which is associated with beauty throughout the I Ching, the central yin line gives form to the content of the two outer yang lines; in the upper trigram, Mountain, the yang line at the top provides the content to which the yin lines underneath cling. The picture of the hexagram as a whole shows a fire lighting a mountain from below and rendering it visible and beautiful.

The first line, a yang line in a yang position with a yin correlate in the fourth place, would usually be impatient to advance upwards as quickly as it can. But here it prefers not to take a carriage but to opt for the slower progress of travelling on foot. This is one of the many instances in this hexagram where viridity is preferred to ostentation, and simple pleasures are extolled rather than those of luxury. The second line, in contrast, like several broken lines in this place (13, 17, 20 etc), is prone to shallow thinking and to lack of vision. It adorns its beard, an action which has little import, but suggests self-absorption and even smugness in the comfortable situation in which we find ourselves. In modern-day life, it is the person who spends all day uploading flattering photos of themselves onto Instagram. There is no mention of good or bad fortune because this action is insignificant (the implication, though, is that it is far from an admirable way to behave).

I must admit that I find the third line of this hexagram somewhat obscure and I don’t feel confident about interpreting it. The text simply states ‘graceful and moist’ and goes on to advise ‘constant perseverance’. The imagery is easy to explain since the line stands in the centre of the nuclear trigram, Water, but what form does this moistness take? Is it the rain that gathers in the foothills as it trickles down the mountain, and makes it lush and green? The environment seems very pleasant, so is the call to perseverance a warning against the potential danger of lethargy in such a situation? As an unbroken line in the third place, this line should be energetic and seek to push upwards: is the prediction of good fortune attached to the line predicated on not slipping into complacency in our comfortable position and retaining our desire to move forward? This is my reading of the line, but I offer it without great confidence.

The contrast between content and form that runs throughout this hexagram reappears in the fourth line, with its unusually romantic imagery of a white horse with wings who will ‘woo at the right time’. A yin line in the transitional fourth place at the top of the nuclear trigram Water might lead to misgivings about our own ability. But the line has correspondence with the yang line at the bottom of the hexagram, and although we may at first be suspicious of the latter’s approach as the white horse with wings, its intentions turn out to be honourable. However, there is no augury of good fortune; this is not a hexagram where great things can be achieved, especially by a yin line in the fourth place.

The fifth line of most hexagrams is extremely potent. It usually represents the leader, and is the place where the potential of the hexagram is realised. In Grace, however, this line is not the leader of the hexagram. Instead there are two leaders: the second, broken line which provides form for the content of the lower trigram, and the unbroken yang line at the top (which is much more favourable). Their power is limited, however. The former is yin in nature and has no correlate above, while the latter at the top of the trigram Mountain is adorned by two weak yin lines which cling on but have little positive to offer. So although the fifth line is in a very comfortable situation (‘grace in hills and gardens’), its ‘roll of silk is meager and small’. Good fortune is still predicted, but it is unlikely to be more than the temporary pleasures of our current relaxed situation.

The top line returns to the theme of content and form, and represents the quintessence of the idea that content must take precedence. The text is as basic as its message: ‘Simple grace. No blame.’ Instead of the myriad colours of hills and gardens, there is simply white. The unbroken line staring down from the top of the mountain shares with several top lines throughout the I Ching a feeling that it stands outside the main body of the hexagram and takes on an abstract quality detached from everyday activity. However, unlike many other similar lines, since this is a hexagram where only small things can be achieved, there is no promise of good fortune. But the ideal of the hexagram has been realised.

As someone who loves the arts, I feel a certain sadness that the I Ching seems to me to hold such a bounded view of beauty and the aesthetic. In the west, the argument has often been made that Chinese culture is practical at heart and has much less interest in theory than the ancient Greek, explaining why, despite its impressive list of inventions, it never developed a systematic way of thinking that became the scientific approach. I don’t feel I know enough to offer an opinion on this, but the attitude of this hexagram towards Beauty as a concept, and its much less important role when compared to the thinking of the Greeks, suggests that it may be partly true.

Hexagram 23: Splitting Apart

This hexagram has one unbroken line at the top with five broken lines beneath. It is part of a sequence of hexagrams (44, 33, 12, 20) in which the yin element increases each time and creeps upwards, replacing the yang lines one by one until only the single one remains at the top. This in its turn will be replaced and all of the lines will be broken.

Splitting Apart has two broad kinds of imagery and related meaning. The first draws on the metaphor of seasonal change in nature and the hexagram represents the final moments of autumn when the last leaf falls and the world is plunged into winter. This suggests that whatever we are asking about can never come to fruition and is doomed to fail, and almost certainly there are hard times ahead. All we can do is be stoical, lie low, and wait for better times which, as sure as summer follows winter, will eventually return.

The second strand takes its imagery from the human sphere. In this reading, the five broken lines are weak and malevolent individuals who are burrowing from within to undermine people of good character and gradually replace them with their helpers and their cronies until only a single person of integrity remains, represented by the yang top line. Then even this will be removed until the weak and the evil are in full control.

In both the natural and human scenarios, there is an inevitability about this process and therefore the I Ching advises against attempts to avoid it. There is nothing we can do except let things take their course and reject any compromise with the dark forces now in the ascendant: the unbroken line at the top of the hexagram will eventually be breached and the entire structure will collapse. However, this yang line becomes the seed of a new beginning as it falls to the ground and the cyclical process repeats itself. In nature, the moment of the triumph of darkness is the turning point of the winter solstice when the sun is reborn and the earth edges back towards spring. In the human sphere, the I Ching suggests, the triumph of evil will always be short-lived because it needs to feed on the good and once all the good people have been removed, the evil will start to turn on each other: the revolution devours its children.

All of the five lower lines are yin in nature and the lower four represent the inferior masses who are gradually increasing in power. Lines 1, 2 and 4 show the collapse as it gets ever deeper and more catastrophic as we move up the hexagram. In line 1, only the leg of the bed is split, so the process of destruction is in its early stages, yet despite this it is still too late to be avoided, although perhaps we will have more time to prepare for it. Line 2, at the centre of the lower trigram, but lacking a corresponding yang line in the fifth place, takes its part in the undermining of the people of good character, and the split has now reached the main frame of the bed. There is a suggestion of betrayal here, perhaps, since the duty of any second line should be to aid the leader in the fifth. By line 4, the dissolution has reached ‘the skin’: total collapse is imminent and almost certainly we will suffer personally.

Line 3, although also broken, is different from the three lines already mentioned because of its correspondence with the unbroken line at the top. This gives it a connection to the good and it therefore withdraws from the process that will lead to disaster, abandoning the other yin lines and joining the cause against the devastation. This is morally correct (‘No blame’) but offers no relief to the person who receives this line, who will suffer for their loyalty and their support for the good. Their only solace is the sense of knowing that at least they did the right thing.

Line 5 has a direct relationship of holding together with the top line, and the mood of the hexagram changes at this point. It is an ally of the leader at the top and quells the advance of the masses below, who are now pictured as ‘a shoal of fishes’ caught in this line’s net. I’m uncertain exactly how to interpret this line. Does it counter the overall message of the hexagram that the splitting apart is inevitable, so that perhaps with the help it offers the collapse can still be prevented? Or is it merely able to alleviate some of the pain when the inevitable ruination occurs? The line states that ‘Everything acts to further’, which suggests the former, and yet the rest of this hexagram, including the Judgment, is so adamant that decimation is inevitable that it becomes difficult to see how this might happen.

Many unbroken lines at the top of the trigram Mountain, especially when they are also at the top of the hexagram as a whole, are seen as having accumulated experience of life and as a result become a kind of repository or treasure trove of virtue and wisdom. This is true of the top line of Splitting Apart, which is pictured as a fruit that has fallen from a tree. In a reading based on the cycles of nature, the yang line will rot in the ground but form the seed of revival from which a new tree will grow, while in a reading based on the rise of evil people, their energy will be spent once they have no good people they can exploit in order to provide it, so their moment of glory will be short-lived and a gradual return to goodness will start to take place. The Superior Man is pictured riding in a carriage on his return; the inferior masses have nothing except the ruins of the structure they have destroyed. Despair transforms into hope, as is clear in the next hexagram of Return.

Hexagram 24: Return (The Turning Point)

The previous hexagram, Splitting Apart, depicts the extinguishing of the light, with the last unbroken line at the top of the figure becoming broken as the world moves into winter. This hexagram which follows immediately signals the return of the light; just as the yang line at the top of Splitting Apart was transformed into yin, the yin line at the foot of this hexagram changes into yang as part of the cycle of nature, and the process of growth and decay begins all over again. This marks the moment of the winter solstice when all seems dark and dead, but the earth takes its first slow, hidden steps towards spring. This is a hexagram of the beauty of the dawn of a brand new day.

Everything is positive: the lower trigram Thunder is bursting with energy and will thrust its way powerfully upwards, while the upper trigram Earth sinks down and offers no resistance. Progress is inevitable, but in the human sphere it is much more difficult to build than to destroy, so the young light is still fragile and needs to be carefully nurtured. Thus, in the Image, the kings of old forbade movement within their kingdom as everyone battened down the hatches in the depths of winter, and rested and built up their strength for the fresh new year ahead.

At first, therefore, although this hexagram is very auspicious, we must be careful not to put too much strain on whatever in our life is being reborn. This is not a call for total quiescence, though, and like the fresh, green growth which is starting to stir in nature, we must make our first preparations towards a future advance. At this embryonic stage of rejuvenation, we should seek out people of similar character, desires and aims to help our venture, other yang lines which can join us in our ascent as we collectively move up the hexagram and transform the yin lines into yang.

Many of the moving lines are mirror images of those of the previous hexagram. Just as the top of that hexagram represented the moment of collapse when the last yang line turned into yin and the whole structure finally caved in, undermined from below, the bottom line in this one marks the beginning of the return of all that is good and true. We are warned against feeling remorse about what was lost since it is pointless to look back with regret; the past cannot be changed and we must focus on the future. If we do, great good fortune is predicted.

The text of the second line speaks of a ‘quiet return’. As a yin line in a central yin position, its task is to support the line below with which it has the relationship of holding together. If it is the only moving line that we cast, the hexagram will change to #19, Approach, which has as its core image two yang lines working together in a joint advance: in other words, if we seek them out, supporters are available who share our goal and again good fortune is predicted.

The power of the trigram Thunder is concentrated in its unbroken bottom line, so its energy quickly wanes as it moves upwards from this yang base. In addition, the third position in a hexagram is generally unsettled and transitional, impatient to advance and over-confident in its own ability. This combination in this hexagram, the broken line in the third place at the top of the trigram Thunder, suggests an erratic, inconsistent advance which sometimes pushes up aggressively and at others ceases its effort or even retreats. If it is the only moving line we cast, the second hexagram becomes #36, Darkening of the Light, which is one of the most negative in the I Ching, with its central image in the Judgment of the sun swallowed up by the earth in a world in total darkness. The return may possibly fail if we lack consistency and resolve, and the oracle warns of this danger, but at this point it is merely a possibility.

The fourth line, although it is in the centre of the five broken lines and has little strength as a yin line in a yin position, has a relationship of correspondence with the one yang line at the foot of the lower trigram, mirroring the third line in the previous hexagram. This attraction, alongside its tendency to sink downwards as the bottom line of the upper trigram Earth, means it leaves its immediate companions to join its correlate below and offer its help. What it has to offer may not be great, but its devotion and humility will serve it well, and it can contribute in its small way to the return of the light.

The fifth line, also surrounded by the mass of the other yin lines, lacks any kind of relationship with the leader at the foot of the hexagram, and might seem to be even more distant and isolated. However, the fifth place remains a position of some power, even when it is yin in nature and is not the ruler of the hexagram, and it voluntarily follows its nature to move down to support the aims of the yang line at the foot of the hexagram, an action which the text calls ‘noblehearted’. The message is that we should not feel embarrassed by the relative paucity of what we have to contribute for our attitude is noble in intention.

Despite the auspicious nature of this hexagram as a whole, the top line is one of the most calamitous in the whole of the I Ching: the threat of ‘missing the return’, which exists only as a potential in the third line, comes about in reality here. This yin line in the top place has done nothing to aid the return of the light but has instead sought to take advantage of the situation to plant itself at the pinnacle of the hexagram. It is similar to its counterpart in the foundational Hexagram #2, The Receptive, forcing its way to the top and directly challenging the yang, which leads to disastrous conflict as the blood of the two dragons flows. If we engage in conflict, we will be making a terrible mistake which will destroy a glorious opportunity of a fresh beginning, and not only lead to severe harm to ourselves, but have terrible repercussions for the people and community around us.