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59. Huan / Dispersion [Dissolution}

rosada

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This again indicates an inward striving to hold together, through the fostering of religion, elements outwardly falling asunder. The task is to preserve the connection between God and man and between the ancestors and their posterity. Here likewise the image of the temple is suggested by the nuclear trigram Ken. Finally, the idea of entering is suggested by Sun, and the idea of the dark by K'an.
-Wilhelm
 

rosada

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Drastic change is indicated. There is no longer room in your life for anything which is outdated and/or does not serve your best interests. It is a case of of with the old and on with the new. Do not hesitate to make essential changes to your life-style and environment. They need to reflect who you are now rather than who you used to be. But you must proceed with care. Radical change will be destructive unless it is carried out in the appropriate way and at the right time. Think things through carefully. Because many aspects of your life will be transformed, there are far-reaching implications not only for yourself but for others who are involved. You must enlist their support. Discuss the issues in detail and address any doubts or fears they may have. If you go about the changes in the correct way, the outcome will be highly successful.
- The Everyday I Ching, Sarah Dening.
 

my_key

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Lower states into higher states, solids into liquids, liquids into gasses. These are endothermic processes - they absorb energy, or take the heat away. Huan isn't a release of pent up energy because it takes energy to move up to a higher state. It's an investment, like a flower is a sacrifice to make seed. But the movement is into a larger world, specific into general, narrow into wide, parochial into cosmopolitan, stuck into liberated, mortality into that which survives us. It's often scary, because it's a big leap, hence the clinging described in some of the lines.
There are lots of similarities and differences between this and Hexagram 40. In 40 the loosening takes less energy because you are allowing things to return to the way they want to be. In 59 you might make an effort to become a generally better and more forgiving person, while in 40 you simply let go of specific resentments.

hi bradford

This really make good sense for me at the moment. Thanks for posting...I'm sure it's been useful for a number of the readers here.
So it's more of a case of actively taking on board the new energy of the moment that is to allow you to move to a higher level. You are really wanting to do it, something is drawing you towards it but it's a big step for you to do it.

I guess it's a case of ringing in the new, ringing out the old.

MIke
 

rosada

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THE LINES

59.1
Six at the beginning means:
He brings help with the strength of a horse.
Good fortune.

It is important that disunion should be overcome at the outset, before it has become complete - that the clouds should be dispersed before they have brought storm and rain.

At such time when hidden divergences in temper make themselves felt and lead to mutual misunderstandings, we must take quick and vigorous action to dissolve the misunderstandings and mutual distrust.
-Wilhelm
 
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rosada

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59.1

Six at the beginning:

a) He brings help with the strength of a horse.
Good fortune.

b) The good fortune of the six at the beginning is based on its devotion.

The strong horse is the nine in the second place. K'an means a strong horse with a beautiful back. The six at the beginning is weak and in a lowly place, and does not itself posses the strength to stop the dissolution. But since the line is only at the beginning of the dissolution, its rescue is relatively easy. The strong, central nine in the second place comes to its aid, and the six submits and joins with it in service to the ruler in the fifth place.
-Wilhelm
 

rosada

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So the good fortune is for the six at the beginning, the one who needs to be rescued, because someone else, the nine above it, will bring help with the strength of a horse. So in a reading, is this advising that one will be saved or that one needs to save others, or what?

I note this line changed leads to hexagram 61, Inner Truth, so the misunderstanding is quickly resolved by looking to the intent, the inner truth?
The Fan Yao reads,
"61.1 Being prepared brings good fortune.
If there are secret designs, it is disquieting."
How exactly should the Fan Yao be viewed in a reading? That is, what is the Fan Yao line supposed to tell us?

Rosada
 

my_key

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So I'm going to work along the idea that Bradford dropped into the thread about
Lower states into higher states, solids into liquids, liquids into gasses. These are endothermic processes - they absorb energy, or take the heat away. Huan isn't a release of pent up energy because it takes energy to move up to a higher state. It's an investment, like a flower is a sacrifice to make seed.

Having looked at this agaian there is still an element of the give away here - we absorb energy to take us ap a level either in the physical or spirtual aspects of our life. We create a new way of being through our actions or our attitudes and by taking the enegy on board we are able to dissolve old blocks and allow new situations to develop
So perhaps at 59.1 - this is some of the old stuff that we have been tied up in. We now recognise this and the strength comes from this and the new way we walk which allows us to create for ourselves the opportunity for moving forward to take the first small step forward towards the big leap.

I would also echo Rosada's query on the Fan Yao - it's been a mystery tome how that works. So if anyone can help me take a step towards understanding than that would be greatly appreciated.

Mike
 

rodaki

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hi Rosada, Mike :)

have been trying to post sth abt the line since last night but this damn connection just won't let me -grrrmph!!
hope I'll do it tonight after work

take care
 

rosada

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hmm.. I think 59.1 must be about needing someone to BRING help with the strength of a horse...
 
M

maremaria

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Its interesting that Kan /water is frozen at 59 and Kan also a horse running. Something in the "water" has what is needed here.
 
M

meng

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I'm not a big fan yao fan (ha!), and I know it can confuse more than clarify, if an incorrect emphasis is placed on it. I think Bradford is who conceived it, or at least has more experience with it. Or perhaps named it?

I view it as a reflection of an active change line, which in some 'designs' may be completely opposite. Other designs will look similar when reflected, i.e. if you hold a rose up to a mirror, the reflection will still resemble a rose, but if you hold a letter or number up to a mirror, it appears obviously reversed. So for me, it requires a little deciphering to use a fan yao effectively. I don't like referring to it, and do so only when searching around for something missing.
 
M

meng

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I should mention the simple mechanics of it, since it may be new to some.

ex: 59.1 changes to 61, and the fan yao is 61.1. One could then possibly gain further insight into 59.1 by looking at 61.1. There frequently is a pretty obvious connection between them, but I suspect that's also a tool or trick used by the translators to further narrow a meaning down. Logically, they should be related, 59.1 and 61.1.
 

rodaki

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Bruce's description of fan yao's mechanics is pretty much how I have understood it's function, namely, I usually see it as referring to the same pattern of action, only turned inside out, or approaching the same focal point from a radically different point of view . . This has been very helpful for me time and again, especially when I had a very clear experience of one of the two lines.

Having said that, I don't have any such clear insight on 59.1 or 61.1 but I have tried to understand them through reading Bradford's and Richmond's books -even though I 've come to understand how purely theoretical approaches mostly fall short in terms of really getting the meaning of Yi's lines- and I'll share it here awaiting for feedback from others who probably have better insights with it . .

It seems to me that 59.1 is a reminder that in letting go all previous safe ground we can count on being carried along by a new force that appears (a strong current in water, a horse, an inner truth). What the fan yao brings to the fore in this case for me is a warning to not replace what we have dispersed with any new assumptions or expectations, cause any such act would make for a heavy load again, weighing us down instead of helping us float/flow according to inner laws . .
(now I'm sure this can be said more fluently :rolleyes:)

also I have a question for the more experienced about 1st lines: do you ever feel like the first line of a hexagram works a bit like a sign on the door of the hex., kind of like the one most important thing we have to keep in mind about what goes in the hexagram's space? not really it's basic meaning, but maybe what we need to carry along at all times/lines of it? say a grand parent's only line of advice before we embark on a new plane of action?
 

bradford

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I'm not a big fan yao fan (ha!), and I know it can confuse more than clarify, if an incorrect emphasis is placed on it. I think Bradford is who conceived it, or at least has more experience with it. Or perhaps named it?

Yes, that's all true. And my baby has kind of gotten out of its original cage already. Like many of the Yijing and Zhouyi dimensions, it only has a partial applicability. Think of it as a part-time algorithm. Much of the time it may have no relevance whatsoever. It was my hypothesis that the original authors used the Fan Yao dimension from time to time when they were looking for sources of imagery, and so it is just as often useful to try this out in trying to decipher the Zhouyi symbolism. I made a list of fairly obvious examples in my Dimensions chapter. I think that the Zhi Gua dimension, for which I also give the more obvious examples, has a somewhat more universal relevance.
 

rosada

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59.2

# Nine in the second place means:
At the dissolution
He hurries to that which supports him.
Remorse disappears.

When an individual discovers within himself the beginnings of alienation from others, of misanthropy and ill humor, he must set about dissolving these obstructions. He must rouse himself inwardly, hasten to that which supports him. Such support is never found in hatred, but always in a moderate and just judgement of men, linked with good will. If he regains this unobstructed outlook on humanity, while at the same time all saturnine ill humor is dissolved, all occasion for remorse disappears.
-Wilhelm
 

rodaki

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Yes, that's all true. And my baby has kind of gotten out of its original cage already. Like many of the Yijing and Zhouyi dimensions, it only has a partial applicability. Think of it as a part-time algorithm. Much of the time it may have no relevance whatsoever. It was my hypothesis that the original authors used the Fan Yao dimension from time to time when they were looking for sources of imagery, and so it is just as often useful to try this out in trying to decipher the Zhouyi symbolism. I made a list of fairly obvious examples in my Dimensions chapter. I think that the Zhi Gua dimension, for which I also give the more obvious examples, has a somewhat more universal relevance.

thank you for providing the specific reference to your book Bradford . . I read the passage you refer to but I still have a question . .
If I get this right, you are saying that there is little evidence of intentional corresponding symbolism appearing in a line and its fan yao as composed by the writers of the Zhouyi. Does that also imply that the one cannot illuminate the other? The reason I'm asking this is that, as I mentioned in my earlier post, I have found the fan yao very helpful in understanding the meaning of any given line . . It could be that I have been misleading myself into unearthing meaning where there is properly none, and in that case I have to re-consider the way I approach this -which I have to say, I'm having some difficulty to accept, because results have proven otherwise . .
Or, it could be that what I believe that I find in the fan yao, is in fact a core principle of the resultant hexagram in general and not a specific characteristic of the fan yao, and if so, I need again to re-arrange my approach in this
. . but the question remains . . is using the fan yao to illuminate a line a misleading strategy, when it wasn't particularly intended as such by the writers? (taking of course under consideration the possible mistakes implied in strictly applying any method)
for example, is the way I approached 59.1 and it's fan yao, misleading in that sense?

I do not mind at all finding out I was mistaken in thinking it is not, but I would like to take the chance to get a clearer understanding of the hows or whys of that possible mistake, if you wouldn't mind elaborating on this . .

:bows:
Dora
 

bradford

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is using the fan yao to illuminate a line a misleading strategy, when it wasn't particularly intended as such by the writers? (taking of course under consideration the possible mistakes implied in strictly applying any method)
for example, is the way I approached 59.1 and it's fan yao, misleading in that sense?
Dora

Hi-
59.1 was on my list of good examples for using the Fan Yao as a key to the symbolism (Volume 2, p.13).
Your interesting expression "unearthing meaning where there is properly none" really got my attention. There are a couple of aspects to this. Flying in the face of post-modern and deconstructionist thinking, I believe it IS a useful endeavor to look for the intent or intended meaning of the original authors, and to assume that they were in fact trying to convey meaningful ideas and not merely mystify us. In this regard I wanted to use the Fan Yao to see whether or not this was actually used in constructing the images of the text. Consequently, when doing my translation, I wanted meaning where it really was and didn't want to unearth too many wild ideas. But when that was done and I was on to the commentary, I felt it OK to revisit the Fan Yao to see if it might offer additional ideas to use for creative purposes, as long as these were consistent with the original text. So for me it's a bit of both. The second, the creative unearthing, is what we have to do in interpretation anyway, and all's fair there. I don't think that we ought to assume that there is always something there, and more than half of the time I was unable to make use of this dimension in either way. Still, it was worth it to try. In fact, I'd have to say that it went the distance in illuminating the meaning of a number of lines that had no other plausible meaning and had eluded understanding for centuries.
The Zhi Gua, on the other hand, strikes me as absolutely fundamental to the meaning of all of the lines as each line represents a transition from one gua into another, and regardless of what we think the text says or means, we just don't understand the line until we see the connection. This, as an exercise, is especially useful since we so often forget that the line meaning is always a subset of the hexagram's meanings, and this forces us to use both ben and zhi gua in understanding each of the lines.
 
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rodaki

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hi Bradford,

uhm . . . I mentioned 59.1 because I was under the impression that it was a case of good Zhi Gua connection but more than that, it was also a handy example since it had just come up. I greatly appreciate your comments on my question . . Going into research has made it clear to me that I do tend to take off a bit too much on my intuition instead of hard facts -both a blessing and a curse :eek:- hence the 'unearthing meaning where none' part. I try to be extra careful in being too creative with that but I know I can't escape it altogether or I'll be mutilating my mind . . What you wrote makes a lot of sense and is of much help for me in keeping the balance between the two extremes . . thank you!
 

rosada

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I have just learned over at Open Space that our dear friend Martin has passed on. Martin contributed much to these Memorizing threads. How appropriate that we would learn of his passing here at Hexagram 59. Dissolution. I like to think this is a message telling us his soul is crossing the Great Water, that angels have come to assist him with the strength of horses and that he is easily hastening to that which supports him.

Trojan, could you please post a link over to the Martin thread at Open Space? Thanks.

-rosada
 
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Trojina

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I have just learned over at Open Space that our dear friend Martin has passed on. Martin contributed much to these Memorizing threads. How appropriate that we would learn of his passing here at Hexagram 59. Dissolution. I like to think this is a message telling us his soul is crossing the Great Water, that angels have come to assist him with the strength of horses and that he is easily hastening to that which supports him.

Trojan, could you please post a link over to the Martin thread at Open Space? Thanks.

-rosada

Thanks for remembering him here too Rosada.

I remember Martin talking of his encounter with an angel. Infact i can remember lots of things he said and lots of jokes too.

Heres the link http://www.onlineclarity.co.uk/friends/showthread.php?t=8689
 

rosada

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59.3

Six in the third place means:

He dissolves his self. No remorse.

Under certain circumstances, a man's work may become so difficult that he can no longer think of himself. He must set aside all personal desires and disperse whatever the self gathers about it to serve as a barrier against others. Only on the basis of a great renunciation can he obtain the strength for great achievements. By setting his goal in a great task outside himself, he can attain this standpoint.
-Wilhelm
 
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rodaki

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59.3 - How best can I serve?

I wonder what this line is all about . . is it about letting go all the demands of ego trusting that truth will get through hardness in a subtle way? who are we serving and what is served if everything is slipping away?
 

Trojina

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I wonder what this line is all about . . is it about letting go all the demands of ego trusting that truth will get through hardness in a subtle way? who are we serving and what is served if everything is slipping away?

For me its been about times its easy to let the self, the ego self, get out of the way of things. Things become simpler. This isn't a time of sternly instructing the ego to take a back seat, or striving. It just seems a time its somehow easier to let go of any self interest that is divisive.

IMO of course
 

rosada

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Six in the third place:

a) He dissolves his self. No remorse.
b) "He dissolves his self." His will is directed outward.

This is a weak line in a strong place, hence remorse could be expected. But it is the only line of the inner trigram that stands in relationship of correspondence to a line of the outer trigram. Hence its will is directed outward. At the top of the trigram of water, it is in direct contact with the trigram of wind, hence the idea of dissolution in connection with one's own self, and consequently, the absence of remorse.
-Wilhelm
 

rosada

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I am staying with my son and daughter-in-law this month hoping to give them some support with the new baby while they juggle Jax's needs and the mom going back to work. The old schedules and routines are being abandoned as we try to find the new way things will work. I'm seeing 59 in this situation so far..
59.1 He brings help with the strength of a horse.
(Me arriving on the scene eager to help anyway I can.)
59.2 At the dissolution he hurries to that which supports him. Remorse disappears.
(Me here without my husband, feeling kinda at sea, uncertain if the kids want Grandma's ideas.)
59.3 He dissolves his self. No remorse.
(Feeling really disoriented living in someone else's home, don't know where anything goes, can't follow my usual routine...Still glad to be here.)

I'm thinking 59.3 is a sensory deprivation experience where you don't have any of the old surroundings, limits, and so you sort of lose track of yourself, at least those parts of you that were in place strictly because of the outer world. A chance to get away from it all and regroup.
 

Trojina

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59.3 He dissolves his self. No remorse.
(Feeling really disoriented living in someone else's home, don't know where anything goes, can't follow my usual routine...Still glad to be here.)

I'm thinking 59.3 is a sensory deprivation experience where you don't have any of the old surroundings, limits, and so you sort of lose track of yourself, at least those parts of you that were in place strictly because of the outer world. A chance to get away from it all and regroup.

Yeah good one. losing track of yourself but in a good way. I think this line refers to natural, unforced selflessness.
 

rosada

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59.4

#Six in the fourth place means:

He dissolves his bond with his group {he dissolves himself from his group}.
Supreme good fortune.
Dispersion leads to accumulation.
This is something that ordinary men do not think of.
 

Trojina

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59.4

#Six in the fourth place means:

He dissolves his bond with his group {he dissolves himself from his group}.
Supreme good fortune.
Dispersion leads to accumulation.
This is something that ordinary men do not think of.

My private readings experience is this always has a touch of sadness about it. One may in the end be better off going it alone without the group you bonded with but its no fun to start with. I think that whats the "this is something ordinary men do not think of" is about. i think it may mean that it wouldn't ordinarily seem good news to be dissolving this bond, thats why you feel bad about, but even though you feel bad now its the right thing to do....but its real hard to see that at the time :(

Its because you need a higher view to know why dissolving this bond is desirable. In your ordinary frame of mind you can't see it. Sometimes i think this line can be experienced as a kind of comfort, like 'you can't see why now but this dissolving is a good thing'...
 

rosada

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Yes. In my experience here with the kids I was imagining I would sail in and be this Super Grandma and I'm realizing my ideas of how to run a household - lists, schedules, dinner table discussions - just aren't the way it's done here, sigh...

A conversation with the Fan Yaos might go like this:

59.1
I'm here to help!
61.1
Uh, prepare yourself Grandma. the truth is your design of how a house should run isn't the same as ours.

59.2
Oh..well hey, no problem, we don't need to follow my ideas, I'm here to follow your ideas!
20.2
Uh, you still don't understand. You may not see it but our lives don't always include you.

59.3
Oh..well, yes, of course, I don't need to be included all the time...
57.3
All the time, some of the time, whatever .. you just don't seem to get the point.

59.4
Oh I get it alright. I may be the mother but this household already has a wife - and I need to get a life.
6.4
Thanks Mom, glad you understand. We do love you, you know.
 
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