Here, activity begins to show in our feelings, which are our earliest manifestation of the life force, but we need to avoid narrowing this down to action too soon; keep it open and feel, for this is the tao of creation itself and if we do not interpose with our own pattern, we are privileged to know ourselves as part of the inevitable. In practice, we keep our options open.

The life energy is in the open because it is manifesting in our feeling and it benefits us to experience this widely; to see the great man is to attend to our greater awareness. In terms of the oracle greatness is always wideness, including more—it is not power.

In the tao of the creative there is great power and when this comes to manifestation, we may feel overburdened by it if we think it is we who are doing it. This only brings on unnecessary worry, but if we remember that taking part is not taking possession, there is no danger in this line.

The day symbolizes the activity in the world and the night a withdrawal of activity to the inner. The superior man is the one who follows the tao, and the danger to him (to our following the tao) is over-involvement, yet we have to be involved. There is no dividing line here to observe, hence the danger.

To accept ourselves as the life force and tao is to confuse ourselves with the whole—in the tao of the creative we then think we are the creators.

It is particularly contrary to this tao for us to take charge of things. We are then deprived of the experience of the creative itself; we only experience ourselves.

Without the attention of our inner being (line 6 is yang) the emerging energy becomes quiet. This, in the context of decay, means a disconnection between an activity and the one following (the sixth line is our inner structure absorbed from activity and the first line is the next emerging energy).

For an internal interpretation the father is our past distinguishing which “fathers” our next response. The disconnection noted above is seen as a change of mode which, if a change in distinguishing (a son rather than a daughter which would be feeling) removes the old way of distinguishing (the father’s mode). Changing our way of being is going through instability (peril) but brings good fortune, a new way forward.

Here is a new feeling of the life force; it derives from our old way of feeling (the mother).

Feeling is a flow and so a continuity, consequently the change of one cycle to the next in feeling is not achieved by throwing out the old. The natural flow of feeling is for the new to take the place of the old when that is exhausted, so we allow old feelings to die, we do not kill them.

The old outer activity had ceased and now here is the new in which our identity manifests; changing our outer mode is only carried out when we think the old is inferior and can be improved (the old mode is the father’s). We spend our time making things “better” and this means that we are always seeing ourselves as in some way in error.

We have to regret what we are in order to want to change it but this does not necessarily mean that there is error.

The old outer activity has decayed by exhausting itself; this lessens interest in outer activity so that we do not change what has been done. In this tao it is important that a new cycle replaces the old or identity itself has no vehicle.

Here we are becoming less involved in the inactive feeling of line 2, less attached to it, and this is a turning point from decay to new growth. We prepare to take on a new cycle of activity, which in our usual progress is a development of what has gone before.

The praise belongs to the re-experience of our direction in a new way.

Here we accept the turning point from decay to re-birth as it refers to our own being. In this we can have no purposes.

This is the line of the inner being and as near to experience of the whole as our manifest part can reach. Kings and princes refer to the identifying process which is irrelevant here, where the turning point is in our own being.

It is the deep emerging life force that is showing activity, so it is not yet time for us to manifest this—that will come in due course. Having deep knowing that this activity is there helps us to restrain our impatience for action, and holding this like a secret love in our heart is part of the richness of this tao.

The dragon is an ominous symbol, it is a dynamic expression of the life energy which, here, is still hidden from conscious manifestation.

Here, activity begins to show in our feelings, which are our earliest manifestation of the life force, but we need to avoid narrowing this down to action too soon; keep it open and feel, for this is the tao of creation itself and if we do not interpose with our own pattern, we are privileged to know ourselves as part of the inevitable. In practice, we keep our options open.

The life energy is in the open because it is manifesting in our feeling and it benefits us to experience this widely; to see the great man is to attend to our greater awareness. In terms of the oracle greatness is always wideness, including more—it is not power.

In the tao of the creative there is great power and when this comes to manifestation, we may feel overburdened by it if we think it is we who are doing it. This only brings on unnecessary worry, but if we remember that taking part is not taking possession, there is no danger in this line.

The day symbolizes the activity in the world and the night a withdrawal of activity to the inner. The superior man is the one who follows the tao, and the danger to him (to our following the tao) is over-involvement, yet we have to be involved. There is no dividing line here to observe, hence the danger.

Here we interest ourselves in the inactivity of line 3 and we may be tempted to be intentionally inactive, but this is _doing_ and not in keeping with this tao of the creative doing itself. It is necessary to fall effortlessly into the activity of the creative, which is neither being active nor withholding activity.

The chasm is this void that happens when we discount ourselves, trying not to _do_. Here we hesitate to relax because we feel the need to control even our inactivity. Identity feels threatened by not _doing_ and this is part of its nature, not an error or failure on our part.

Here we are identifying ourselves with unchanging feeling (line 2). We have difficulty in identifying with the non-active as there seems to be nothing there.

Dragons are the flow of earth energy—things we normally identify with—and here our identifications are out of place unless heaven itself (Ch’ien) can be felt.

To accept ourselves as the life force and tao is to confuse ourselves with the whole—in the tao of the creative we then think we are the creators.

It is particularly contrary to this tao for us to take charge of things. We are then deprived of the experience of the creative itself; we only experience ourselves.