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At this fifth level, Sovereign place of the hexagram, the Creative Impetus reaches its apex : Heaven. The Dragon, its emblem, reappears in all its plenitude. It is that which creates the shadowy areas in the clouds, deploying all the celestial qualities of which he is the carrier. Hardiness in action, creativity in all domains, maximal easeness in the realisation of projects, the activation power proper to Yang is here able to attain all summits.
Still, in a Chinese way of understanding, the absence of favourable appreciation indicates that this accomplishment is but an apogee. Contrary to the text of the Sovereign level at the Receptive Impetus ( hexagram 2), no mantic formula crowns the convergence between the Yang nature of the fifth level and of the hexagram as a whole. The text insists on the recommendation, already mentioned at the second level, to gain scope. When the creative flux is manifested entirely, it is by accepting to reposition the moment in a grander scheme. A superior approach knows that any true realisation includes the consciousness of withdrawal ( contemplation).
龍 Dragon : In China, dragons are omnipresent. Deeply rooted in oriental imagination since ancient times as the emblem of the benevolent power of the vital impetus, dragons would naturally come to portray the productive power of the Yang. Aquatic animal, the Chinese dragon spits the fertile waters and not the destructive fire as dragons do in the West. During winter, still in the water depths it fills itself with water; During Spring it awakens to the rumble of storms and takes off towards the heavens. In Summer, it soars in the sky from where it spreads, as fertile rain, the accumulated water gathered during the Yin season and, when Autumn comes, it dives back down towards the sombre waters to restore its strength during its Winter slumber. One can follow along the hexagram traces of this cycle of the Dragon, so named in lines one, two, five and six; It is also evoked in line four.
飛 To Fly : The ideogram represents a Bird Flying. In the Yi Ching the Dragon is the only one whose flying is favourable. When the subject concerns birds, flying is always a sign of excess or misfortune. Further can be found at Ming Yi’s (36) first level, Zhong Fu’s (61) sixth and Xiao Guo’s (62) judgement.
在 In : The ideogram is much more significant than a simple preposition. Meaning To Be At One Place, Present In A Place, Doing Something, it is a word which, in the context of the Yi Ching, emphasises a strong relationship between the presence and the place where one is present. Since the idea is most often in relation with Yin situations, and generally quoted at even levels – as is the case at levels two and four of this hexagram – its presence here at the Sovereign level highlights the perfection of coupling between the Yang aspect of the Dragon ( its natural identity with the sky) and its Yin aspect, the fertility of the water it has accumulated during winter ( as seen at the first level). It is the Dragon’s nature to spread this water from high above.
天 Sky : The notion of Sky covers all of China’s history. During the Shang period, it is one of the multiple animist deities. The Zhou will see it as the impersonal image of cosmic regulation, the supreme power that bestows and confiscates ruling mandates on Earth ( Ge -49– emphasises on this). It would henceforth come to symbolise the very Yang itself.
見 To go see : The ideogram means To Go See and Visible, To Be Seen. Compared to the hidden aspect of the Yin, visibility is of the realm of Yang. It is very present in this hexagram, where this character is quoted four times : twice at the second level, here at the fifth and in the specific paragraph : All Yangs at work.
大 人 To go see a person of scope : Specific mantic formula inciting to go ask advice to someone trustworthy. The Creative Impetus is the only hexagram where this advice is repeated twice, here and at the second level, where it is an invitation to involve the newborn energy in a solid direction. Here. It recommends to put in perspective the creative intensity that has reached its apex by placing it in a broader context.
Still, in a Chinese way of understanding, the absence of favourable appreciation indicates that this accomplishment is but an apogee. Contrary to the text of the Sovereign level at the Receptive Impetus ( hexagram 2), no mantic formula crowns the convergence between the Yang nature of the fifth level and of the hexagram as a whole. The text insists on the recommendation, already mentioned at the second level, to gain scope. When the creative flux is manifested entirely, it is by accepting to reposition the moment in a grander scheme. A superior approach knows that any true realisation includes the consciousness of withdrawal ( contemplation).
龍 Dragon : In China, dragons are omnipresent. Deeply rooted in oriental imagination since ancient times as the emblem of the benevolent power of the vital impetus, dragons would naturally come to portray the productive power of the Yang. Aquatic animal, the Chinese dragon spits the fertile waters and not the destructive fire as dragons do in the West. During winter, still in the water depths it fills itself with water; During Spring it awakens to the rumble of storms and takes off towards the heavens. In Summer, it soars in the sky from where it spreads, as fertile rain, the accumulated water gathered during the Yin season and, when Autumn comes, it dives back down towards the sombre waters to restore its strength during its Winter slumber. One can follow along the hexagram traces of this cycle of the Dragon, so named in lines one, two, five and six; It is also evoked in line four.
飛 To Fly : The ideogram represents a Bird Flying. In the Yi Ching the Dragon is the only one whose flying is favourable. When the subject concerns birds, flying is always a sign of excess or misfortune. Further can be found at Ming Yi’s (36) first level, Zhong Fu’s (61) sixth and Xiao Guo’s (62) judgement.
在 In : The ideogram is much more significant than a simple preposition. Meaning To Be At One Place, Present In A Place, Doing Something, it is a word which, in the context of the Yi Ching, emphasises a strong relationship between the presence and the place where one is present. Since the idea is most often in relation with Yin situations, and generally quoted at even levels – as is the case at levels two and four of this hexagram – its presence here at the Sovereign level highlights the perfection of coupling between the Yang aspect of the Dragon ( its natural identity with the sky) and its Yin aspect, the fertility of the water it has accumulated during winter ( as seen at the first level). It is the Dragon’s nature to spread this water from high above.
天 Sky : The notion of Sky covers all of China’s history. During the Shang period, it is one of the multiple animist deities. The Zhou will see it as the impersonal image of cosmic regulation, the supreme power that bestows and confiscates ruling mandates on Earth ( Ge -49– emphasises on this). It would henceforth come to symbolise the very Yang itself.
見 To go see : The ideogram means To Go See and Visible, To Be Seen. Compared to the hidden aspect of the Yin, visibility is of the realm of Yang. It is very present in this hexagram, where this character is quoted four times : twice at the second level, here at the fifth and in the specific paragraph : All Yangs at work.
大 人 To go see a person of scope : Specific mantic formula inciting to go ask advice to someone trustworthy. The Creative Impetus is the only hexagram where this advice is repeated twice, here and at the second level, where it is an invitation to involve the newborn energy in a solid direction. Here. It recommends to put in perspective the creative intensity that has reached its apex by placing it in a broader context.