What we are accepting here in this moving line is the inactivity of our outer world, so there is less stress because we are not struggling with our rigidity. This does not change the rigidity but makes it more manageable and may mask the basic problem.

Reliance on masking the stresses we have would be a weak support.

It might seem that if the life force became active in biting through, our troubles would disappear, but the tao is the experience of being restrained by circumstances and there being no alternative. It is natural for identity to try to avoid this, so restraint is imposed by our greater being.

The toes lead our step so if they are hidden we see no way forward. We step with our feet so if they are shackled we cannot go forward. This is no error but intentional restraint.

If we cannot bear an experience we lessen our feeling of it; we should not try to take more stress than we can stand, yet we should not in these circumstances avoid experience or we lose our way in the tao. Here we are tending to avoid.

The tender meat is the “best” part, the most comforting, and by indulging in it we lose our directing sense, the nose. This is an instinctive reaction and so no error of identity.

In these circumstances where we are held fast by our ignoring of the life force no new experience comes to us and we use what we already have.

Old experience that we have in our identity memory is like old dried meat; it contains things we did not wish to experience and repressed, and so we come upon these, which is uncomfortable but helpful to our biting through.

We identify ourselves more in outer world activity as a way of biting through, we try to take the bull by the horns.

Trying to bite through outer circumstance is tough and not too rewarding, but searches for the core of the matter, the bone. We have taken a firm direction (the metal arrow) but the difficulty is not out there, it is inner, and realizing this brings us to the tao.

We are less involved in feelings of the tao; there is less interference from identity and also less compliance.

Nourishing ourselves on old experience (dried meat) we find the value (gold) of the middle way (yellow), in this case between interfering and complying with the tao; the danger is from being precariously balanced.

This top line represents our inner involvement in the flow of the life force, the tao. The tao shows our inability to understand what we are feeling and this line shows that we are accepting this as a way of being.

A cangue is a wooden board worn round the neck, used as a punishment in China at one time, so we bring upon ourselves a burden which stops us from hearing what the tao, our circumstance, is saying to us.

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.