《集註太玄經》Vol. 5

The fifth chapter "Diminishment" in the Scripture of Great Mystery (Taixuan Jing) discusses the natural principle of Yin energy increasing while Yang energy recedes. Here, "diminishment" metaphorically represents the declining phase of things, much like after the Limit of Heat solar term (one of the twenty-four solar terms), when Yin energy grows stronger and all beings begin to wither.

The first line reveals: Those who truly understand the Dao of "diminishment" may appear to be reducing outwardly, yet maintain inner emptiness and stillness (chongxu refers to the Daoist pursuit of void tranquility). Like wise individuals who humble themselves, they paradoxically receive assistance from others—this inner enrichment remains invisible to ordinary perception.

The second line observes: When thoughts of diminishment arise within, they manifest in external behavior. If one's inner motivation wanes first—as Confucius criticized Ran Qiu for "drawing boundaries around himself"—abandoning cultivation midway naturally hinders progress.

The third line explains: Voluntarily reducing external dignity (referring to solemn demeanor) can paradoxically elevate one's standing. Just as ascending steps requires lowered gaze for steady progress, those in high positions who restrain their arrogance through self-discipline gain genuine respect.

The fourth line warns: When governance capability (ai/yi denotes administrative skill) diminishes, one forfeits the qualification to lead others. Like officials neglecting their duties, they struggle to maintain their positions and emoluments.

The fifth line emphasizes: Those in authority should maintain uprightness like the color yellow (symbolizing balance and harmony), treating subordinates with humility. Such harmonious interaction embodies the essential principle of ministerial conduct. The Fan commentary (referring to Fan Wang's annotated edition) particularly highlights this as the standard for ministers to follow.

(Note: The term "lines" refers to the Taixuan Jing's divinatory symbol system modeled after the Book of Changes (Yijing), with each chapter divided into nine segments called "nine praises." This commentary analyzes the first five. References to Song dynasty scholars Lu Ji, Fan Wang, and Wang Bi indicate variations among their annotated editions.)

This passage elucidates the application of the "Way of Diminishment" in various contexts. It first mentions that when a ruler (王) occupies the illuminated central position (当昼) and understands appropriate diminishment (减), they become a true sovereign. Like yellow representing the central upright position (黄中贞正), this balanced approach attracts followers, allowing subordinates to obey their superiors, thereby attaining peace and blessings.

The fifth line (五) symbolizes the pinnacle of equilibrium, hence the metaphor of yellow. However, when things reach their zenith, decline inevitably follows, making understanding diminishment essential. Ministers who apply this principle in assisting their ruler can preserve their safety.

The sixth line (六) depicts water's (水) nature—dark and accumulating (幽阐积) without diminishing or giving. Like stubborn stone (石), this prevents equitable distribution of beneficence (泽). Water should naturally flow and nourish, but here it stubbornly withholds, violating the noble principle of "taking from abundance to supplement scarcity for fair distribution."

The seventh line (七) teaches that timely diminishment of illness and worry (疾、恤) averts danger (厉). Though the seventh line itself signifies the onset of misfortune, understanding self-diminishment turns peril into safety, as the Yijing states: "Diminishing illness brings swift recovery."

The eighth line (八) employs trees (木) as a metaphor. In autumn (沈天), trees begin to wither, their vital sap (滋液) draining away like flowing water (浏涟涟). This diminishes the life-sustaining roots (根), making revival impossible. It illustrates how excessive diminishment harms the foundation.

The top line (上九) reveals that at the extreme of diminishment (减终), one may ascend Western Mountain (西山) or face the great river (大川). For when things reach their limit, reversal occurs—diminishment transforms into increase. Western Mountain belongs to Metal (金), the great river to Water (金生水), symbolizing the pivot of Yin-Yang transformation.

This passage comes from the Collected Commentaries on the Supreme Mystery Scripture, describing a state where Yin and Yang fail to interact, leading to stagnation in all things. The hexagram "Yin" (meaning closed-mouthed silence or obstruction) symbolizes periods when heaven and earth are blocked, and all beings fall into dormancy.

The first line states that when a person withdraws like a secluded woman—refusing communication like a husband imitating a reclusive wife—it creates alienation. Those who isolate themselves will find others avoiding them.

The second line explains that while one may appear emaciated externally ("qu" denotes physical thinness), conserving inner vitality ("Yin in the blood" refers to storing Jing and Qi) can nourish the self. As the Great Learning teaches, virtue (De) moistens body and mind.

The third line depicts someone outwardly disconnected, with lips sealed in silence ("qiyi" describes stifled speech), nearly severing all social ties. Like the Book of Changes warns, misfortune follows when one stays indoors at the crucial moment for engagement.

The fourth line reveals that even blocking grain circulation ("Yin the harvest") harms not just others but one’s own clan and elders. This illustrates the severe consequences of obstructed resource flow.

Through the "Yin" hexagram, the text outlines the adverse effects when "Yin fails to transform and Yang cannot disperse"—a core Daoist cosmological principle about disrupted energetic exchange. It underscores the vital importance of openness and interaction.

This passage discusses the dialectical relationship between "stinginess" and "generosity" in the Taixuan Jing, using natural water sources and the human body as metaphors:

The fifth line describes those in high positions who fail to practice generosity. It's like hoarding grain in a storehouse until it rots and breeds insects—such behavior completely violates the Middle Way. A noble person should understand both accumulating wealth and dispersing it, practicing frugality when appropriate and generosity when needed.

The sixth line uses a spring as a metaphor for wise accumulation. Water gushes continuously from a high place, temporarily pooling in hills and gardens. Though this may appear stingy, it actually prepares for nourishing broader lands in the future. Such far-sighted accumulation should not be criticized.

The seventh line explains the harm of stinginess to the human body. Just as Qi (vital energy) and blood should nourish the whole body, withholding them from the limbs leads to bone and muscle damage. Similarly, withholding kindness from family disrupts kinship bonds and divides households.

The eighth line discusses remedying misfortune caused by stinginess. Though excessive miserliness invites disaster, offering grand sacrificial rites with oxen (a Daoist disaster-averting ritual) to dispel calamity represents appropriate "spending to resolve misfortune."

The ninth line depicts the extreme consequences of stinginess—like prolonged drought desiccating land until even flesh turns to jerky, symbolizing a ruler's exhausted benevolence that withers both people and all things.

The concluding section introduces the concept of "guarding": Yin (earth) guards the household gate, while Yang (heaven) guards the main gate, with all things maintaining their positions without interference. The metaphors of "gatekeeping" illustrate how heaven, earth, and all beings observe their respective duties and boundaries.

The Collected Commentaries on the Supreme Mystery Scripture presents five progressive levels of "guarding" in spiritual cultivation:

The first level involves severing external connections ("closing doors and windows") while preserving one's original nature ("guarding primordial being"). Like shutting physical openings prevents disturbances, this maintains inner purity. The text cites the Book of Changes to illustrate how human minds naturally gravitate toward similar phenomena, emphasizing the need to safeguard our innate clarity.

The second level represents misguided perseverance ("confused self-guarding"), inferior to the first stage. This blind persistence lacks clear direction, akin to losing one's way at night due to external temptations. Quoting the Book of Documents, it notes how human nature, though fundamentally honest, remains susceptible to external influences.

The third level achieves equanimity beyond gain or loss ("neither losing nor gaining"). Practitioners at this stage possess such mental stability that external phenomena no longer disturb their peace. This echoes the Book of Changes concept of "neither acquiring nor losing," maintaining perfect inner stillness.

The fourth level embodies watchful vigilance ("guarding like Gen"). Here "Gen" (the Mountain trigram) symbolizes a dog's alert yet measured awareness. Like straw dogs that resemble real ones but never bite, this represents balanced protection without excessive defensiveness.

The fifth and highest level masters the Middle Way ("centered harmony"). Comparable to a sovereign governing his state, this achieves perfect equilibrium where all elements naturally align. Though textual variations exist across editions, all emphasize this ultimate balance.

These five stages systematically demonstrate how practitioners progress from external isolation to internal harmony, perfecting the art of "guarding" through deepening levels of cultivation.

This passage from the Collected Commentaries on the Supreme Mystery Scripture primarily discusses the manifestations of the "Way of Central Harmony" (the principle of balanced moderation) in various contexts, along with the potential consequences of deviating from it.

Regarding feudal lords governing their states, the scripture indicates that the ideal state is maintaining the Way of Central Harmony. If lords become overly rigid in formalities—like wheels blocked by chocks that cannot turn, or jade tablets (guibi) gathering dust unused—they may appear rule-abiding but will ultimately sever diplomatic ties with neighboring states. The sixth line reveals that excessive conservatism paradoxically leads to losing the true Dao.

The seventh line explains that when yang energy (qunyang) fails to consolidate, men lose their moral integrity (zhen). This emphasizes the crucial importance of steadfast sincerity.

The eighth line employs vivid metaphors: like a mortar without its pestle, or overcast skies that bring no rain while the sun instead ruins crops. This symbolizes conservatism that maintains form without substance, ultimately resulting in poverty. As the eighth position resides in misfortune, such conservatism only depletes resources.

The ninth line presents positive examples: maintaining purity like white cogon grass (tu), keeping far from slanderous "black-headed" (lu) individuals, ensures the state avoids peril. Quoting the Book of Documents' "Oath of Qin," it contrasts the prudent wisdom of seasoned virtuous scholars (fanfan liangshi) with the rashness of reckless warriors (yiyi yongfu), demonstrating the importance of holding fast to the true Dao.

Finally, the concept of "xi" (meaning to gather and condense) belongs to the metal-yin phase, corresponding to the Xun trigram (wind), temporally aligning with the White Dew solar term, spatially positioned in the west (you position), and musically resonating with Nanlü pitch. This signifies the importance of gathering and maintaining centrality at specific spatiotemporal nodes.

Lü Lu (commentator) explains: "Xun" symbolizes entering, while "xi" also conveys the meaning of gathering inward. Wang Bi (another commentator) interprets "xi" as representing convergence.

Sima Guang (annotator) points out: Since the Xun trigram is associated with the chicken, "xi" is often used to depict birds folding their wings. When yin energy rises contrary to its natural tendency, it is called "rebellion," whereas when yang energy descends to nourish all things, it is called "accordance."

The first line (Chu Yi) describes: A reckless person charges blindly in darkness, harboring ill intentions inwardly while feigning carefreeness outwardly. However, Heaven does not support such behavior, as this arrogance violates cosmic principles.

The second line (Ci Er) states: Maintaining a gathered state in darkness is like aligning oneself as when shooting an arrow. Even in obscurity, a noble person preserves upright intentions—just as aiming ensures hitting the target—demonstrating that Heaven favors only the righteous.

The third line (Ci San) illustrates: Devouring greedily like a starving wolf. This refers to petty individuals who seize profit eagerly, rushing like dancers keeping frantic rhythm. Such insatiable greed inevitably invites misfortune.

The fourth line (Ci Si) metaphorizes: Folding wings like a bird preparing to take flight. This suggests that in the early stages of one’s career, humility and restraint attract allies, benefiting professional advancement.

The fifth line (Ci Wu) warns: Excessive restraint to the point of abstaining from food (bigu, Daoist fasting). Such extremity is not praiseworthy, showing that extreme self-denial is unwise.

Note: Here, "xi" denotes a state of gathering or convergence; "bigu" refers to fasting in Daoist cultivation. The numerical lines follow the sequence of the six lines in the Yi Jing (Book of Changes), from bottom to top. Commentators like Sima Guang use animal imagery to illuminate human conduct, emphasizing the importance of balance in restraint and expression.

This passage from the Collected Commentaries on the Supreme Mystery Scripture discusses the philosophy of "grain avoidance" (a cultivation method for nurturing life through breath regulation and dietary practices) and principles for human conduct.

Regarding grain avoidance practice, there originally existed the concept of "avoiding metal and grain." During cultivation, one should gather their blessings and emoluments just as one draws in the abdomen. However, if one merely seeks personal gain, others will inevitably take it away—this fundamentally violates the true path of cultivation, let alone attaining a good reputation.

The "Yellow Heart and Swan's Wings" section explains that when in an advantageous position (represented by the number six, indicating upper-middle status), one should maintain the golden mean as their core principle, like the yellow swan (the swan being a bird that flies exceptionally high). This way, supporters will be numerous, just as a swan spreads its wings to soar—there being no place beyond its reach.

The "Drawing the Bowstring Warily" passage uses the metaphor of an archer's bowstring (representing the number seven, the beginning of misfortune) during nighttime (symbolizing an inauspicious period), cautioning one to carefully avoid harm.

"Lifting the Net, Severing the Snares" states that although daytime (symbolizing favorable conditions) allows self-protection from danger, remaining perilous if one doesn't completely discard entanglements (the net being a bird-catching chariot trap, the snare being a net). The number eight represents being amidst misfortune yet escaping unscathed due to daylight conditions.

Finally, "Butting with Horns" explains that the number nine represents extremity—like using horns (symbolizing aggression) to confront situations, which invites universal disdain. Persisting in gathering misfortunes during nighttime and attempting forceful victory at the extreme leads ultimately to severing kinship ties.

The text then transitions to the concept of "Gathering" (this trigram belongs to the second division of the second section in the three regions and one province configuration, corresponding to Yang Earth and paralleling the Book of Changes' Gathering hexagram). When Yang energy gathers, Yin cannot obstruct it, and all things naturally converge. Yet in the initial stage (first line), though spirits gather, their forms remain invisible—indicating the gathering force remains insufficiently manifest.

This scripture primarily discusses concepts of spirits, sacrifices, and rituals. Spirits are most numinous in their formless state, for when Jing (essence) and Qi (vital energy) gather, they take physical form, and when dispersed, they return to formlessness. All things returning from form to formlessness represent a homecoming to the origin, and this formless state manifests spiritual potency.

The second passage warns that excessive nocturnal revelry among people leads to transgressions. The third states that those who respect their elders will likewise earn the reverence of spirits. The fourth depicts a sacrificial scene: leading sheep to worship before the altar of the earth deity (She), yet holding the jade scepter (Gui) with the wrong leg extended (a ritual error) - such sacrifice brings no honor. The fifth describes solemn ceremonies with blood offerings in bronze tripods (Ding) and pyre sacrifices, demonstrating loyalty to royal decrees.

The sixth passage cautions that excessive fear of spirits and indulgence in improper sacrifices (Yinsi) leads to spiritual blindness and confusion. The final section describes people gathering reverently before towering burial mounds, illustrating how ritual propriety persists even in the face of death.

Note: "She" refers to earth deity altars, "Gui" denotes ancient jade ritual implements, and "Yinsi" indicates excessive, unorthodox sacrifices. These contents reflect Han Dynasty emphasis on sacrificial rituals and the philosophical concept of "gathering and dispersing between form and formlessness."

This passage from the Collected Commentaries on the Great Mystery Scripture presents two allegorical teachings.

The first part employs the metaphor of "an owl in the forest." The owl, being an ominous bird, causes other birds to gather and cry out to drive it away when it appears among the trees. This symbolizes how when petty persons commit numerous misdeeds and ruin their reputation, they will inevitably face collective condemnation and rejection. At its most severe manifestation, it resembles a person wailing in grief with their household in ruins—a sign of destiny reaching its end. As the ancient sage Zhao Wenzi observed: both joy and sorrow reside here, family gatherings occur here, yet ultimately all must come to an end.

The second part elucidates the principle of "accumulation" through the imagery of mountains, rivers, and marshes storing all creatures. When yin energy grows strong while yang energy becomes faint, all things return to dwell within these natural reservoirs.

Regarding the principle of accumulation specifically: when one secretly accumulates misdeeds from the outset, this forms the foundation for future punishment. Conversely, when noble persons accumulate virtuous deeds, they may temporarily go unrecognized, but through persistent accumulation will ultimately find great purpose. The noble person should focus on cultivating expansive virtue (De) within their heart-mind, rather than hastily pursuing fame and achievement. As the Fan Commentary explains: when accumulated virtue remains long unused, it signifies profound hidden brilliance—once encountering the proper moment, it will manifest with great efficacy.

The Third Line (Line 3) describes: Like piling stones that cannot be eaten, one exhausts effort in vain. This signifies futile actions that ultimately yield no results. The phrase "three represents thoughts of advancement yet occurs at night" illustrates how people fixate on climbing upward while misdirecting their energy—like laboriously stacking rocks that cannot satisfy hunger, no matter how diligent the effort.

The Fourth Line (Line 4) states: When noble persons continuously accumulate virtuous deeds, they will eventually become as prominent as the chariot's ear (ancient mudguards flanking the carriage). Commentary notes two interpretations of "fan": the Song Xiaozhu edition reads it as "chariot ear," while other versions interpret it as "flourishing." Sima Guang (referred to as "Guang" in annotations) explains the chariot ear metaphor—virtuous accumulation becomes visibly apparent, like the carriage's distinctive side panels.

The Fifth Line (Line 5) warns: When granaries remain unfilled, even thieves cannot plunder them completely. The commentary clarifies this signifies those in exalted positions who hoard wealth without practicing benevolent virtue, becoming prime targets for thieves—just as Qin Dynasty's stockpiles at Ao Granary were seized by Liu Bang and Xiang Yu, or Sui Dynasty's reserves at Luokou fell to Li Mi.

The Sixth Line (Line 6) teaches: When overflowing with abundance, generous beneficence wins hearts and renders one invincible. Here, rulers at their zenith who distribute riches to aid the people naturally gain universal allegiance. "Kang" denotes adversaries, citing the Book of Songs to show how those who win hearts become unconquerable.

The Seventh Line (Line 7) cautions: Flaunting wealth—displaying jades and silks to indulge desires—only invites thieves. "Kui" signifies conspicuous prominence, while "yan" indicates ostentatious display. This line reveals how those at disaster's onset remain oblivious; though momentarily gratified, they fail to notice thieves lurking in shadows.

The Eighth Line (Line 8) observes: Accumulating virtue yet encountering calamity stems from ancestral transgressions. The commentary explains "chen" as "timing," emphasizing present misfortunes arise not from personal faults but karmic retribution for forebears' misdeeds.

This passage from the Collected Commentaries on the Supreme Mystery Classic primarily discusses the principles of karmic retribution and the cultivation of speech and conduct.

First, it addresses karmic retribution: the sins committed by ancestors may bring calamity upon their descendants, just as petty individuals who persistently commit evil deeds will ultimately accumulate misfortunes that extend to future generations. The character "骫" (wei) was anciently interchangeable with "委," signifying that when wickedness reaches its extreme, disasters will spread to one's progeny.

Next, it expounds on the principle of "ornamentation" (饰). Here, the explanation employs Yin-Yang and the Five Phases: Yang corresponds to fire, Yin to white, and Yang to black. When Yin energy manifests above, it appears as white ornamentation; when Yang energy manifests below, it appears as black ornamentation. White symbolizes revelation, while black symbolizes concealment—the clear distinction between black and white represents the essence of ornamentation.

Specifically regarding speech and conduct:

The first layer of meaning is that true wisdom lies in being trusted without speaking, as Confucius said, "Does Heaven speak? The four seasons proceed, and all things are produced." A noble person maintains utmost sincerity within, recognizing that silence is golden.

The second layer warns that without substantive content, relying solely on superficial ornamentation may initially appear eloquent, but ultimately, one will lose genuine quality. Like petty individuals whose hearts lack sincerity—focusing only on external adornment—their true nature will eventually be exposed. Here, "服" (appearance) metaphorically represents the outward manifestation of virtue.

The third layer mentions "spitting a yellow tongue and clamping a yellow brush," advising caution in speech. The tongue should function like a clamp, knowing when to speak appropriately, especially in the presence of wise individuals where prudence is paramount. Here, "yellow" likely refers to the Golden Mean (中庸之道), while "聿" (brush) metaphorically implies that words should be as carefully measured as written characters.

Through contrasts like Yin-Yang and black-white, the entire passage emphasizes that inner substance outweighs outward ornamentation, and that speech and conduct must be prudent and sincere—otherwise, calamity will follow.

This scripture primarily discusses the art of speech, distinguishing between noble individuals and petty people through their verbal expressions in different contexts.

The explanation of "glib-tongued chatter" (clever speech like a merchant's patter): Merchants excel at using flowery language to promote goods—this is their professional skill but not the proper way of a noble person. The analogy of merchants' eloquence illustrates the kind of superficial rhetoric that may appear in wealth-seeking situations ("fourth position: wealth").

The passage about "speech flowing downward like water" describes how those in esteemed positions ("fifth position: high rank") who can humbly accept advice, like the sea receiving all rivers ("heavenly feminine" referring to the ocean), may achieve sage-like wisdom. This praises the virtue of humble receptivity to counsel.

"Words once spoken cannot be pursued" serves as a warning: spoken words are like arrows loosed from a bow that cannot be retrieved ("four horses cannot overtake the tongue"). Especially for those in high positions ("great persons"), their words carry thunderous weight affecting many people's fortunes, demanding utmost caution.

"When direct speech is untimely" explains that when serving tyrannical rulers ("noble persons serving cruel lords"), it isn't the time for blunt remonstration. One must understand timing and circumstances, making one's speech subtle and implicit ("refined in phrasing"), avoiding excessive directness or exposure.

Overall, these passages use various speech behaviors in different situations to expound the Daoist emphasis on "prudent speech." They particularly highlight adapting one's manner of speaking according to circumstances—requiring both the magnanimity to accept criticism and the wisdom to exercise restraint when necessary.

This passage from the Collected Commentaries on the Canon of Supreme Mystery primarily discusses the need for caution when offering remonstrance or expressing opinions, emphasizing how forcibly speaking out at inopportune moments may cause harm.

Like a gentle breeze, admonitions should be subtle and restrained. If words are too blunt and exposed, those in power will inevitably become suspicious. Confucius said that a noble person must first gain trust before offering counsel—to speak bluntly without having earned trust will only be seen as slander.

The text uses the metaphor of cicada song: like the incessant chirping of cicadas (蛁, meaning tiao) that continues until their mouths bleed, yet no one listens, only harming themselves. This mirrors how ministers who forcibly remonstrate when rulers refuse to listen may face humiliation at best, punishment at worst—ultimately only self-inflicted wounds.

The wisest approach is described in the ninth line: "keeping the tongue pure" (referring to refined speech) while knowing when to "bend at the root" (meaning timely silence). When noble persons find themselves in chaotic times where words meet no trust, they should keep silent. This is the enduring way of self-preservation, as the Book of Changes states: "speech finds no belief"—the more one speaks, the more one sinks into difficulty.

Regarding "doubt," the text explains: when Yin and Yang energies grind against each other (磑), all things suffer damage and dispersion. At such times, distinguishing right from wrong becomes difficult, for while Yin energy is lowly it dominates, while Yang energy is noble yet suppressed—breeding confusion. As described in the initial state (first line): wavering in doubt, one loses proper direction. How can such unsteady doubt possibly yield definite answers?

Note: The mentioned "three divisions and two houses" refers to the Canon of Supreme Mystery's hexagram classification system. "Yin house Wood" indicates this hexagram belongs to Yin and corresponds to the Wood phase among the Five Phases, structurally similar to the Zhouyi's Ben hexagram (Adornment).

This scripture discusses different attitudes and approaches people take when facing doubts.

The first passage states that when one's mind is improperly oriented, filled with excessive suspicion and indecision, they will fall into a state of confusion and disorientation. Like an arrow shot askew, it will ultimately miss its target.

The second passage explains that when noble individuals encounter doubts, they should eliminate selfish thoughts and maintain inner clarity. Through self-reflection, they discern right from wrong—embracing what aligns with the Dao (the Way) and rejecting what contradicts it. By handling doubts this way, one naturally finds the correct path.

The third passage criticizes those who pretend to understand what they don't. This is like forcefully straining one's eyes in darkness, which only damages vision. Confucius said: "To know what you know and know what you don't know—this is true wisdom." When encountering the unknown, one shouldn't feign understanding.

The fourth passage suggests consulting classics or seeking guidance from experienced individuals when in doubt. Like walking on an open road in daylight, through inquiry and verification, doubts naturally resolve. Confucius also advised: "When in doubt, seek clarification."

The fifth passage uses the metaphor of testing metals to illustrate how some in high positions fail to distinguish true gold from counterfeit in darkness. This happens because deceitful individuals often disguise themselves as loyal, making truth hard to discern.

The sixth passage emphasizes that in handling important matters, one must base actions on sincerity. Like imperial edicts that must be truthful to command respect, only through genuine attitudes and fair oaths can public doubts be dispelled.

These teachings embody the Daoist principles of "clarity, stillness, and Wuwei (non-action)," instructing people to maintain inner lucidity when facing doubts, seek answers through proper channels, and avoid being misled by appearances.

This passage from the Collected Commentaries on the Supreme Mystery Classic primarily explores the relationship between "doubt" and "trust," presenting a layered approach to handling uncertainty.

The text begins by stating that all people can discern confusion through attentive listening. When doubts persist without resolution, one must employ sincere and lucid principles to achieve clarity—thus dispelling ignorance. This resembles how a ruler issues clear decrees to resolve public uncertainties. Sima Guang (Guang) explains: When the nature of things provokes doubt, oaths must be made; if the oath is upright, people will comply. Should doubts remain after swearing, utmost sincerity must be demonstrated—for only genuine conviction inspires trust, while insincerity finds no followers. The sixth line symbolizes high position and emolument, hence its reference to "royal command."

The seventh line discusses ghostly phenomena (representing elusive matters) that cause doubt—like sighing while shooting at crows in trees or foxes in caves, then perceiving with inverted senses (ears seeing, eyes hearing). Sima Guang notes: Ghostly doubts indeed shouldn't be lightly believed. Though crows and foxes are easily recognizable, distrusting one's own senses and reversing perception is profoundly dangerous. The seventh line signifies waning will and decline; occurring at night when darkness prevails, multiplied confusion makes distinguishing spirits impossible, leaving only sighs.

The eighth line depicts encountering a capable guest during extreme doubt, remaining unweary for three years (here "shooting" denotes weariness). Sima Guang observes: Meeting a worthy during profound uncertainty is most honorable.

The ninth line represents doubt's zenith—holding a drawn bow aimed at a deer yet daring not release, symbolizing utter lack of confidence. Sima Guang interprets: This is suspicion pushed to extremity, where perpetual hesitation inevitably yields no results.

The concluding section introduces the concept of "observation" (shi): Yin qi forms shapes, Yang qi forms pairings, allowing all things' forms to be perceived. Wang Bi (Wang) notes this as the stage where all forms become visible. Sima Guang suggests that during autumn equinox, Yin qi resembles the moon's outline, interpreting "bi" as "pairing"—the balanced division of Yin-Yang forming complementary relationships.

Through these hexagram transformations, the text illustrates doubt's progression from inception to excessive suspicion, emphasizing sincerity's power to dissolve uncertainty and the importance of maintaining proper cognition. When doubt reaches extremes, it ultimately paralyzes judgment and renders action impossible.

The first passage discusses the principle of "introspection." If a person can turn inward to examine their own heart, it is like being able to see clearly even in darkness, without relying on external light. Fan's commentary explains that when the heart harbors no guilt, there will be no anxiety or fear. Here, "light" refers to the initial state of contemplation, akin to daylight withdrawing its brilliance to focus on inner clarity.

The second passage contrasts the differences between a noble person (junzi) and a petty person (xiaoren). The noble person emphasizes inner cultivation, while the petty person only cares about outward appearances. The appended judgment states that petty people judge by surface impressions and fail to perceive the inner essence. A person's honor or disgrace, gain or loss, wisdom or foolishness—all follow this principle.

The third passage highlights the importance of observing virtue (De). By examining a person's virtue, one can determine whether they are fit to assist a ruler in governing the state. The judgment states that only by discerning the foundation of virtue can the state be preserved. The number three represents achievement and progress, much like the daylight revealing virtue. A ruler bestows titles based on virtue and talent, cultivating pillars of the nation.

The fourth passage uses the metaphor of makeup ruined by rain. Someone powders their forehead (ti) and paints their cheeks (bian), only for the rain to soak their beard, leaving them looking anything but beautiful. The judgment says such superficial adornment cannot withstand scrutiny. Fan explains that this symbolizes petty people who rely on outward embellishment to secure favor, but their deception will eventually be exposed—just as makeup washes away in the rain, revealing their true form.

The fifth passage depicts an auspicious scene. Luan birds and phoenixes soar in flight, their virtue radiating brilliance. The judgment states this is the manifestation of virtuous light. The number five occupies the honored position and coincides with daylight, symbolizing a ruler whose abundant virtue summons auspicious signs—just as Jia Yi said, "Phoenixes descend in response to virtuous radiance."

The sixth passage warns against empty appearances. A plain white carriage adorned with an emerald canopy appears harmful rather than splendid. The judgment says this is mere superficiality. The number six occupies a high position but coincides with night, symbolizing petty people who lack virtue yet hold high rank. Like a crude carriage paired with an ornate canopy, it is outwardly glamorous but inwardly hollow—requiring the right perspective to see through the illusion.

The seventh passage speaks of correcting flaws. Recognizing one's own blemishes (shortcomings) and eliminating them. The judgment states that only those who can identify their own faults are capable of self-correction.

This passage from the Collected Commentaries on the Supreme Mystery Classic primarily discusses how to conduct oneself in different circumstances and the principle of Yin-Yang mutual generation. Here's a modern interpretation in sections:

The seventh line occupies an overfull position, but if one can seize the moment—reflecting on one's faults during daylight (symbolizing righteousness) and remaining vigilant before calamity strikes—disaster can be avoided. The text states that "seven" represents the beginning of misfortune, yet because it occurs during the bright period, timely correction remains possible.

The eighth line employs metaphors of kingfishers and foxes/martens: the kingfisher flies away from its flock due to its beautiful plumage, while foxes and martens invite fatal consequences because of their prized fur. This mirrors how humans who focus solely on external adornments ("outward beauty") may instead invite misfortune. Mencius's example of Pengcheng Kuo illustrates someone with minor talent who failed to understand the great Dao of the noble person, ultimately harming themselves.

The ninth line describes how the setting sun illuminates the east—symbolizing the need to maintain the same caution at a matter's conclusion as at its beginning. As the Yijing states, reviewing one's path and examining auspicious/ominous signs leads to truly great fortune when completion is achieved with perfection.

Regarding the interpretation of "sinking" (chen): Yin-Qi hides within Yang-Qi, and Yang-Qi likewise conceals itself within Yin-Qi. Though Yin and Yang move in opposite directions, they yearn for mutual convergence during autumn, their shared intention residing in the Mysterious Palace (referring to the profound cosmic origin).

The first line compares ears submerged underwater that cannot hear—symbolizing the loss of moral foundation. This describes petty individuals who delight in secretly eavesdropping ("sinking ears into private chambers") yet remain deaf to the noble person's righteous Dao, akin to ancient rulers using hanging tassels to shield their eyes and jade plugs to block their ears, signaling refusal to see or hear.

The second line explains how submerging in water paradoxically brings clearer self-perception than squinting with one eye. This suggests that during deep contemplation ("sinking home" refers to meditative states), observing through proper methods yields genuine insight. "Miao" denotes one-eyed blindness, while "mian" indicates skewed vision.

In daylight, one should calmly observe the inner self, clearly discerning one's virtuous deeds and wicked thoughts—only then can upright and noble De (Virtue) be preserved. Petty individuals, however, fail at self-reflection, constantly scrutinizing the rights and wrongs of others. Like those with blurred vision who cannot see clearly yet delight in stealing sidelong glances at people.

The third line speaks of how indulgence in sensual pleasures erodes one’s innate integrity. As Laozi said, excessive pursuit of music dulls the ears, while obsession with colors clouds the eyes. Such perceptions distort judgment, rendering one as though deaf and blind.

The fourth line employs the metaphor of a phoenix (wǎn chú) lowering its head to seek food. A nobleman chooses his sustenance as the phoenix selects its meal—preferring hardship while adhering to the Dao (the Way). The phoenix alights only in lands governed by virtue, refusing to eat anything but bamboo seeds, and perches only in auspicious directions.

The fifth line depicts an eagle soaring high yet fixated on rotten prey. Though occupying an elevated position, its mind remains base—like a bird of prey that, no matter how high it flies, still eyes carrion on the ground to fill its belly. Outwardly splendid, inwardly coveting the lowly, it ultimately meets a bitter end.

The sixth line describes grain piled mountain-high, signifying a bright and smooth path. This symbolizes governance that ensures the people’s prosperity—where the Dao of ruling naturally flourishes in clarity.

The seventh line warns against the owl (chī xiāo) snatching raw flesh. Even with vision as sharp as Li Lou (the legendary sharp-eyed man of antiquity), if one acts out of desperate hunger, they will only seize vicious prey. This illustrates the peril of unscrupulous profit-seeking.

The eighth line states that focused vision yields beneficial medicine, aiding progress. Only by single-mindedly seeking the Dao can one attain true deliverance and stride confidently toward illumination.

This scripture primarily examines the relationship between fortune/misfortune and the transformations of Yin-Yang, while also establishing norms for familial ethics.

Regarding textual variations of "seeking profit," it notes differences between the Fan edition, Song-Lu-Wang editions, etc. The phrase "obtaining benefit through timely action (de yao li zheng)" suggests that even in misfortune, one may gain advantage by seizing the opportune moment (during daylight).

The "Top Nine" line employs the metaphor "blood congealing thick upon the forehead" to depict insatiable greed, which ultimately leads to the ruinous outcome of "corpses before and mourning behind." Commentaries across traditions interpret this as rulers draining the people's vital resources (jun min gaoze), amassing wealth like mountain ridges (gangling), thereby inviting self-destruction.

In the Yin-Yang doctrine section, it expounds the dialectical principle: "When Yin departs the interior to reside without, and Yang leaves the exterior to dwell within," signifying how all things transform upon reaching their extremes. Song dynasty commentaries clarify that "ji" (既) here means "exhaustion" or "completion."

Regarding familial ethics:

The initial line emphasizes that household governance requires careful management of marital relations (feipi), as maintaining proper conduct alone ensures domestic peace. It cites the Yi Jing: "When order prevails in the household, regret vanishes," illustrating this principle.

The second line warns that internal disorder (xie qi nei zhu)—such as a wife's moral failings—resembles abandoning the stability of the yellow bed (symbolizing centrality and correctness), resulting in unrest. Commentaries explain "internal ruler" (nei zhu) refers to the matron, while "yellow" represents balanced virtue.

The third line depicts wedding rituals: the bride weeping on the western steps (er yi er bei) expresses sorrow at leaving her mother. Commentaries reference ancient marriage customs, noting the bride's ascent of the western steps carries profound symbolism of assuming her mother's role, hence the poignant emotion.

This scripture primarily elucidates the symbolic meanings behind ancient wedding rituals and marital relationships, along with their associated Yin-Yang philosophy.

Regarding the wedding ceremony: The groom descends from the western steps while the bride descends from the eastern steps (zuò jiē), symbolizing how the new wife will succeed her mother-in-law as mistress of the household. The phrase "dragon descending to the mud" represents Yang Qi descending to unite with Yin Qi, mirroring the ritual where the groom personally welcomes the bride by circling his carriage three times - a ceremonial expression of Yang descending to meet Yin. The term "yōng" (庸) denotes conformity to convention, while "yí" (夷) signifies equal treatment between partners.

Subsequent passages employ metaphors to illustrate marital relationships: The image of birds folding their wings at dusk to return to their nests symbolizes how wives should maintain domestic harmony, with failure in self-restraint leading to the breakdown of marital Dao. Weeds growing on crumbling walls or old men marrying young wives demonstrate nature's tendency toward like attracting like. Should husbands fail to maintain proper boundaries, household and state would descend into chaos, akin to wading into deep waters without foreseeing the dangers.

The text concludes with rainfall as metaphor: Rain falling upon earth must neither cease completely nor flood uncontrollably, representing how benevolence requires moderation. This section belongs to the "Departure" category (三方二州一部三家), corresponding to the "No Falsehood" (Wúwàng) hexagram in the Yijing. Han dynasty scholars interpreted "No Falsehood" as "having no extravagant desires," hence Yang Xiong employed "Departure" as correspondence - encompassing both the meaning of non-errant action and freedom from unrealistic expectations.

Annotations: The character "huò" (皬) is pronounced hú jué qiē, denoting impure white; "yǒu" (莠) refers to weeds; "tí" (稊) indicates tender plant shoots. These metaphors collectively illustrate the natural patterns of development in all phenomena.

When Yang departs from Yin, and Yin departs from Yang, all things fall into chaos and disorder. The term "倜倡" (pronounced "zhāng liú qiè chàng") signifies that Yin and Yang have each abandoned their proper positions, not yet settled, leaving the myriad things in confusion without knowing where to belong. Wang Bi explains that "倜" and "侜" share the same meaning, indicating that all things scatter wildly like madmen.

The first line (初一): Leaving this spiritual abyss, only to go to that parched garden. The prognostic says: Departing from the spiritual abyss shows a lack of humility. Fan Wang explains that the number one represents water, situated at the lowest point, hence called the "spiritual abyss." To leave the low for the high is not the virtue of humility. Xiao Song notes that a "parched garden" resembles a high, dry place. Sima Guang adds that trees in a garden wither precisely because the terrain is elevated and lacks nourishing moisture. The number one represents the beginning of thought, and it is also the time of night (when Yin is dominant). Petty individuals, weary of lowly positions, seek to climb higher, desiring to leave here for there—they are certain to meet with misfortune.

The second line (次二): Leaving that parched garden, returning to the spiritual abyss below. The prognostic says: Returning to the spiritual abyss is the radiance of humility. The number two represents the middle phase of thought, and it is also the time of day (when Yang is dominant). The noble person considers dwelling below others, and thus the radiance of virtue shines forth.

The third line (次三): Raising one's steps to ascend the hall, yet drenched by the dew. The prognostic says: Raising steps and being drenched by dew is the result of reckless action. Fan Wang and Xiao Song's versions write "reckless ascent," while Wang Bi's version writes "peaceful movement." Here, the Song-Lu version is adopted. Dew soaking one's clothes is an omen of disaster and disgrace. The number three represents a settled mind, yet it is the time of night (when Yin is dominant). Petty individuals, seeing high positions, rush to climb, unwittingly falling into disaster and disgrace.

The fourth line (次四): Leaving the son to follow the father, leaving the minister to follow the ruler. The prognostic says: Leaving the son to follow the father is not what was originally expected. Fan Wang's version writes "leaving father and son," but here the Er-Song-Lu-Wang version is adopted. Wang Bi says: Since it is the time of day (when Yang is dominant), the departure is appropriate. Leaving the son to follow the father, leaving the minister to follow the ruler—conforming to the order of high and low will not bring fault or regret. Sima Guang notes that the number four represents the beginning of blessings, and it is also the time of day (when Yang is dominant). Leaving the lowly to gain the noble brings blessings beyond expectation, hence the phrase "not what was expected."

The fifth line (次五): Lifting the hem of one's robe to walk in the courtyard, yet encountering a deer. The prognostic says: Lifting the hem and encountering a deer is also cause for caution. Xiao Song notes that "攓" is pronounced "qiān," meaning to lift. Sima Guang explains: Lifting the hem to walk is because the courtyard is overgrown with thorns, and deer roaming the courtyard are an omen of a lost state. The number five represents fear, and it is also the time of night (when Yin is dominant). A ruler about to lose his noble position and his state—can he not be afraid?

The sixth line (次六): Personally abandoning success, yet Heaven preserves his name. The prognostic says: Personally abandoning success is the act of not claiming merit.

This passage explains the annotations on the "Hui" (Obscurity) hexagram from the Tai Xuan Jing, analyzing the laws governing the transition from brightness to darkness across different levels.

The second level states: When one achieves success and fame, one should know to retreat at the height of glory ("功成身退" - gong cheng shen tui). Only then will the Dao of heaven preserve a good name. Here, the number "six" represents a high position, indicating that those in elevated stations should voluntarily yield.

The seventh level points out: If one abandons moral integrity ("去其德贞" - qu qi de zhen), even multiple deaths will not earn a good reputation. "Three deaths" is a metaphorical expression emphasizing the severe consequences of losing virtue. The commentary adds that the seventh position itself is already overfull and misplaced, like recklessly acting when night calls for retreat—the worst being the loss of one's moral foundation.

The eighth level uses celestial imagery: When the moon hangs high like a bow (first quarter) or when the great fire star (Antares) is about to set, it is unwise to act rashly. Here, the age of eighty is compared to the exhaustion of celestial signs, stressing that in old age one should cultivate stillness, as reckless movement easily leads to error.

The ninth level (top yang line) describes the state when things reach their extreme: Seeking vitality in the northwest (symbolizing the peak of yin energy) proves futile, just as the sun sets in the west and time runs out—illustrating how things cannot endure once they reach their terminal phase.

Finally, the fundamental meaning of the "Hui" hexagram is explained: It is a yang hexagram associated with metal, corresponding to the Yi Jing's Ming Yi hexagram. When yang energy descends and yin energy rises, all things lose their brightness ("物咸丧明" - wu xian sang ming). However, the first level specifically notes: When all others are in darkness ("同冥" - tong ming), those who uphold the correct path ("幽贞" - you zhen) can still maintain unique insight, shining alone in the dark. Here, "one" represents the initial state of contemplation, showing that even in the most obscure circumstances, those who abide by the Dao can preserve inner clarity.

This passage from the Collected Commentaries on the Supreme Mystery Scripture primarily discusses how to navigate the interplay of light and darkness in various circumstances. The first section explains that those at the lowest position can paradoxically perceive subtle truths in broad daylight, like discovering hidden principles independently.

The second part describes those who act blindly without clear vision of the path. Like being lost in nighttime darkness, the more they move, the deeper they sink into obscurity—such reckless action inevitably leads to falls and injuries. Here, "facing night" metaphorically represents unfavorable conditions and mental confusion.

The third segment suggests acting with yin softness while yang firmness follows, ensuring benefit without harm. Just as major undertakings require external initiative, this approach demands wisdom in balancing strength and flexibility.

The fourth section warns that when even inherently luminous objects (the "golden cabinet" symbolizing precious vessels) grow dim—like neglected laws—it signals systemic collapse. If both rulers and subjects dwell in obscurity, merely conforming without principle, the nation's governing structures will crumble. "Facing night" here symbolizes eras of legal deterioration.

The fifth passage advises noble individuals to practice self-restraint even at their zenith, like the midday sun or full moon. When occupying the supreme central position (the harmonized throne), one must guard against excessive display, recognizing that extremes inevitably reverse—thus ensuring the path remains unbroken.

The sixth portion employs the image of the mysterious bird (swallow) grieving in autumn to illustrate nature's inevitable decline. Just as swallows sense seasonal transitions, the wise perceive omens of impending reversal at the peak of prosperity.

The seventh mention of "maintaining luminous awareness" (with variant readings in different editions) emphasizes preserving clear-sighted wisdom. Only thus can virtue be practiced, as bright eyes discern the path. Textual analysis reveals that despite philological variations, all versions underscore the paramount importance of enlightened virtue.

This passage from the Collected Commentaries on the Supreme Mystery Classic elucidates the principle of maintaining inner illumination amidst outer darkness, along with the philosophical transformation between light and shadow.

The first section employs the metaphor of "raising light for self-illumination" — like holding a candle in the dead of night. The number seven represents decline and decay, symbolizing the dark night, while "facing daylight" signifies maintaining daytime clarity even when surrounded by darkness. A virtuous person resembles this candle flame in the night, with others naturally following their guiding light.

The second segment's phrase "seeing not the truth" describes how misperception leads to national ruin. The number eight signifies sickness and depletion, compounded by being in the "facing night" circumstance, thus producing omens of faulty judgment.

The third section discusses the state of "profound obscurity," where nine represents the extreme of darkness yet coincides with the "facing daylight" moment. Here, the noble person should emulate Jizi (the wise Shang dynasty minister from the Book of Changes), preserving upright purpose amidst internal adversity.

The explanation of the character "meng" (meaning "dream") follows, belonging to the Yang aspect of Earth phase. The text describes "outer darkness with inner dreamlike confusion," portraying external obscurity with internal chaos. Yet sometimes apparent inner darkness actually contains hidden brightness, while seeming external brilliance may conceal internal shadows. This mutual transformation of light and dark mirrors the alternating shifts between Yin-Yang and north-south polarities.

The final passage's "dream-filled belly gazing at heaven" depicts empty-mindedness straining to perceive the sky's limits — illustrating how inner confusion prevents true discernment of boundaries and essence. While textual variants exist among editions, all versions fundamentally emphasize the paramount importance of inner awareness.

This commentary on the Taixuan Jing (Canon of Supreme Mystery) explains the meanings of several hexagram lines:

The second line "Bright Belly Gazing at Heaven" describes how when one is in a clear and awakened state (aligned with daytime), observing the Dao (the Way) with wisdom allows one to perceive the fundamental principles of things. Like a luminous abdomen looking up at the sky, it penetrates to the origin.

The third line uses the metaphor of a blind man teaching archery to illustrate how confused leadership (aligned with nighttime) inevitably misses the mark, just as a blind instructor would misguide an archer. Here "tun" (豚) signifies deviation, while "zhun" (埻) represents the target.

The fourth line "Upright Mirror Never Misleads" states that just as a properly aligned mirror doesn't confuse people, a wise ruler governing the state can provide correct guidance for others. "Zi" (资) means to draw lessons or model oneself after.

The fifth line "Turning Away from Light, Facing Darkness" depicts rejecting illumination—holding high position yet indulging in darkness (aligned with yin and nighttime). Like turning one's back to the light source, it ultimately leads to abandonment by all. "Fan" (仮) is the ancient character for "opposite."

The sixth line "Dizzying Confusion" refers to a befuddled state, as when beguiled by beauty (where "xian" 𡛖 denotes slender-waisted beauties), yet the truly centered Dao (the Way) remains unshaken. Though different versions vary in writing this character, all point to external temptations that cause confusion.

The commentary frequently mentions "aligned with daytime" and "aligned with nighttime"—unique concepts in the Taixuan Jing representing clear-minded and muddled spiritual states respectively. Commentators like Fan Wang and Wang Ya interpreted these line statements through their hexagram positions, Five Phases (Wood, Fire, Earth, Metal, Water) attributes, and other symbolic dimensions.

This scripture primarily discusses two aspects: the state of "obscurity" (mental confusion) and the circumstance of "adversity" (exhaustion and hardship).

First, regarding the state of obscurity: It resembles faint flickering light in darkness—though it may emit a glimmer of brightness amidst the gloom, its extreme weakness tends to bewilder. The text employs the character "𡛖" to depict this fragile condition, akin to scattered and disorganized small objects. When one is in such obscurity, the greatest peril lies in mistaking detestable things for preferences, thereby amplifying errors. In this dimness, the moon's radiance proves more dependable than starlight, much like how one should cling to the most tangible hope when facing adversity.

Next, concerning adversity: When Yin energy saturates heaven and earth, leaving no room for Yang energy, all things fall into hardship. Several scenarios may arise: some remain righteous despite adversity ("adversity in adversity, yet the people cherish integrity"), while others appear prosperous outwardly but lack inner rectitude ("not in adversity yet the people lack integrity"). In such straits, contemplating solutions is vital ("adversity prompts one to seek deliverance"), just as students must apply themselves diligently when encountering difficulties. If the land is barren ("earth lacks harmony"), akin to ailing trees ("trees grow gnarled and sickly"), the people will suffer.

Lastly, it mentions that when men lose their hairpins (symbolizing status) and women change their ornaments ("women alter their adornments"), it signifies ill fortune—men may face misfortune while women can only sigh. This passage uses concrete details of daily life to metaphorize the broader decline of society.

This passage from the Taixuan Jing elucidates principles of governance and personal conduct, using metaphors to illustrate how excessive exploitation of the people leads to national peril.

When those in power (petty individuals) occupy high positions, it resembles barren land inevitably falling ill—if the people are driven into poverty, the state becomes endangered. As Confucius said: "How can a ruler truly prosper when the people lack sufficiency?"

Several metaphors further clarify this wisdom: A soup without grains (geng wu san) leaves the belly empty, yet one should still uphold the standards of sages (fan). This represents the optimal attitude in adversity. Just as mountains lose their ridges and waters shed their scales (shan wu jiao, shui wu lin), excessive plundering of natural resources—burning forests for hunting or draining marshes for fishing—may yield immediate gains but ultimately exhausts all resources. Similarly, overexploiting the people incites rebellion, bringing calamity upon the oppressor.

If one acts with integrity (zheng qi zu), even temporary imprisonment (biyu) will be pardoned within three years, demonstrating that adhering to the Dao ultimately transforms danger into safety. But those who overestimate their strength (bu neng zi zheng qi zu) and recklessly brave peril (she yu shuangxue) will find themselves shackled by chains around neck and knees (lei xiang yu xi), struggling to survive.

The gravest scenario (shang jiu) resembles shattered jade tablets (po bi hui gui) and frogs breeding in cooking stoves (zao sheng wa), signaling heaven-sent catastrophe. Here, though the individual’s virtue remains precious (qi ren ke zhen), their fortune has reached its limit, making misfortune inevitable.

This passage describes a state of misfortune and impending disaster. "The time is inauspicious" refers to unfavorable timing and ill fortune. "Calamity reaches its extreme, adversity its limit" portrays how misfortune has peaked and hardship reached its utmost point. "Thus such signs appear" explains that these omens manifest precisely because of such conditions.

The entire passage analyzes the underlying causes behind ominous signs, suggesting that when misfortune accumulates to its zenith for an individual or era, it becomes visibly manifested through certain extraordinary phenomena. This perspective reflects the Daoist concept of "cosmic resonance between heaven and humanity" (Tianren ganying), which posits a correspondence between human affairs and celestial phenomena.