The dragon lies hid in the deep it is not the time for active doing this appears from the strong and undivided line being in the lowest place.The superior man, in accordance with this, nerves himself to ceaseless activity. Heaven in its motion, gives the idea of strength. The sage appears aloft, high above all things, and the myriad states all enjoy repose. The result is 'what is advantageous, and correct and firm.' The method of Ch'ien is to change and transform, so that everything obtains its correct nature as appointed by the mind of Heaven and thereafter the conditions of great harmony are preserved in union. Accordingly they mount the carriage drawn by those six dragons at the proper times, and drive through the sky. The sages grandly understand the connection between the end and the beginning, and how the indications of the six lines in the hexagram are accomplished, each in its season. The clouds move and the rain is distributed the various things appear in their developed forms. Vast is the 'great and originating power' indicated by Ch'ien! All things owe to it their beginning: it contains all the meanings belonging to the name heaven. Similarly, the terms "man" or "men" usually refer to person(s)/human(s) and are not indicative of gender. In other words, the terms "small" and "superior" refer to the moral and ethical stature and not the physical size of a person. The term "superior man" means 君子, and indicates a person of virtue (in the Confucian sense of the term), regardless of gender. For example, the term "small man" means 小人, although it actually means a petty or mean-spirited person, of either gender. The translation of some basic terms can be problematic, and sometimes Legge attempts a word-for-word translation.The hexagrams themselves are the only unchanging references between books by different authors. In addition, this hexagram is transliterated as "Qian" and "Ch'ien" by the two authors respectively, and in Pinyin it is represented as "qián". For example, Qian (the first hexagram) is translated as "Initiating" by Alfred Huang, and translated as "The Creative" by James Legge. The translation and transliteration of the Chinese characters representing the hexagrams can differ substantially between authors, depending on their understanding and interpretation, as well as whether they use Pinyin, Wade-Giles, or their own method of transliteration.The transliteration in the right column serves as a pointer to the accurate pronunciation and Chinese characters representing each of the 64 hexagrams. We can then proceed to obtain the pronunciation in the left column, one for each entry. For example, if we look for "Jian" and "Qian" in the column on the right, we will find two entries for each of these terms. However, this name is not in Pinyin or Wade-Giles, and the tonal pronunciation can only be found in the left column. When the table is sorted by the right column, we can conveniently find a hexagram by its name as transliterated from Chinese.In other words, Shao Yong arranged the Gua from "000000" (as the first hexagram) to "111111" (as the last hexagram), in strict binary order, about a thousand years ago. When the table is sorted by this column, it will also be sorted by the binary representation of the Gua, and the I Ching hexagrams arranged by Shao Yong, in vertical sequence, appears. For example, the first Gua is "Qian", and it can be represented by "111111".
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