6. The sixth line, divided, shows one moving his jaws and tongue.
ITS CHARACTER AND INFLUENCE.
An idea of the several commentaries, or ‘Wings,’ upon such a passage may be gained from the following excerpts. First comes the ‘Treatise on the Twan,’ or King Wăn’s paragraphs; then the ‘Treatise on the Symbols,’ consisting of observations on Duke Chau’s exposition.
From the Second Wing.—1. Hien is here used in the sense of Kan, meaning [mutually] influencing.
2. The weak [trigram] above, and the strong one below; their two influences moving and responding to each other, and thereby forming a union; the repression [of the one] and the satisfaction [of the other]; [with their relative position] where the male is placed below the female—all these things convey the notion of ‘a free and successful course [on the fulfilment of the conditions], while the advantage will depend on being firm and correct, as in marrying a young lady, and there will be good fortune.’ ... etc., etc.
Fourth Wing.—[The trigram representing] a mountain and above it that for [the waters of] a marsh form Hien. The superior man, in accordance with this, keeps his mind free from preoccupation, and open to receive [the influences of] others.
1. ‘He moves his great toe’—his mind is set on what is beyond [himself].
2. Though ‘there would be evil, yet if he abide [quiet] in his place there will be good fortune’—through compliance [with the circumstances of his condition and place] there will be no injury.
3. ‘He moves his thighs’—he still does not [want to] rest in his place. His will is set on ‘following others;’ what he holds in his grasp is low.
4. ‘Firm correctness will lead to good fortune, and prevent all occasion for repentance’—there has not yet been any harm from