(33) The Circuit does not go by chance but under the Reason-Principle of the living whole; therefore there must be a harmony between cause and caused; there must be some order ranging things to each other's purpose, or in due relation to each other: every several configuration within the Circuit must be accompanied by a change in the position and condition of things subordinate to it, which thus by their varied rhythmic movement make up one total dance-play.

In our dance-plays there are outside elements contributing to the total effect- fluting, singing, and other linked accessories- and each of these changes in each new movement: there is no need to dwell on these; their significance is obvious. But besides this there is the fact that the limbs of the dancer cannot possibly keep the same positions in every figure; they adapt themselves to the plan, bending as it dictates, one lowered, another raised, one active, another resting as the set pattern changes. The dancer's mind is on his own purpose; his limbs are submissive to the dance-movement which they accomplish to the end, so that the connoisseur can explain that this or that figure is the motive for the lifting, bending, concealment, effacing, of the various members of the body; and in all this the executant does not choose the particular motions for their own sake; the whole play of the entire person dictates the necessary position to each limb and member as it serves to the plan.

Now this is the mode in which the heavenly beings must be held to be causes wherever they have any action, and, when. they do not act, to indicate.

Or, a better statement: the entire kosmos puts its entire life into act, moving its major members with its own action and unceasingly setting them in new positions; by the relations thus established, of these members to each other and to the whole, and by the different figures they make together, the minor members in turn are brought under the system as in the movements of some one living being, so that they vary according to the relations, positions, configurations: the beings thus co-ordinated are not the causes; the cause is the coordinating All; at the same time it is not to be thought of as seeking to do one thing and actually doing another, for there is nothing external to it since it is the cause by actually being all: on the one side the configurations, on the other the inevitable effects of those configurations upon a living being moving as a unit and, again, upon a living being thus by its nature conjoined and concomitant and, of necessity, at once subject and object to its own activities.

(3) The “Thirty-six,” who have the name of Horoscopes, are in the [self] same space as the Fixed Stars; of these the essence-chief, or prince, is he whom they call Pantomorph, or Omniform, who fashioneth the various forms for various species. The “Seven” who are called spheres, have essence-chiefs, that is, [have each] their proper rulers, whom they call [all together] Fortune and Heimarmenē, whereby all things are changed by nature’s law; perpetual stability being varied with incessant motion. The Air, moreover, is the engine, or machine, through which all things are made—(there is, however, an essence-chief of this, a second [Air])—mortal from mortal things and things like these.

(12) As long as the heart has not attained complete peace, it cannot move itself. One moves the movement and forgets the movement; this is not movement in itself. Therefore it is said: If, when stimulated by external things, one is moved, it is the instinct of the being. If, when not stimulated by external things, one is moved, it is the movement of Heaven. The being that is placed over against Heaven, can fall and come under the domination of the instincts. The instincts are based upon the fact that there are external things. They are thoughts that go on beyond their own position. Then movement leads to movement. But, when no idea arises, the right ideas come. That is the true idea. If things are quiet and one is quite firm, the release of Heaven suddenly moves. Is this not a movement without purpose? Action in inaction has the same meaning.

(13) As to the beginning of the poem, the two first lines refer entirely to the activity of the Golden Flower. The two next lines are concerned with the mutual interpenetration of sun and moon. The sixth month is the adhering (Li) fire. The white snow that lies, is the true darkness of polarity in the middle of the fire sign, that is about to turn into the receptive. The third watch is the abysmal (K'ari) water. The sun's disk is the one polar line in the sign for water, which is about to turn into the creative. In this is contained the way to take the sign for the abysmal and the way to reverse the sign for the adhering (ire Li). The following two lines have to do with the activity of the pole of the Great Wain, the rise and fall of the whole release of polarity. Water is the sign of the abysmal; the eye is the wind of softness (Sun). The light of the eyes illumines the house of the abysmal, and controls there the seed of the great Light. " In Heaven " means the house of the creative (ChHen).

(4) The Book of Successful Contemplation (Ying Kuan Ching) says: The sun sinks in the Great Water and magic pictures of trees in rows arise. The setting of the sun means that in Chaos (in the world before phenomena, that is, the intelligible world), a foundation is laid: that is the condition free of opposites {wu chi). Highest good is like water, pure and spotless. It is the ruler of the Great Polarity, the god who is revealed in the sign for that which greatly disturbs, Chin (19). Chen is also symbolized by wood, wherefore the image of trees in rows appears. A sevenfold row of trees means the light of the seven body-openings (or heart-openings). In the norlii-west is the direction of the creative. When it moves on one place farther, the abysmal is there. The sim which sinks into the Great Water is the image for the creative and abysmal. The abysmal is the direction of midnight (mouse, Tzu% north). At the winter solstice the thunder (Chin) is in the middle of the Earth quite hidden and covered up. Only when the sign Chin is reached, does the Light-pole come over the earth again. That is the picture representing the row of trees. The rest can be correspondingly inferred.

(5) Heaven and earth do not act from (the impulse of) any wish to be benevolent; they deal with all things as the dogs of grass are dealt with. The sages do not act from (any wish to be) benevolent; they deal with the people as the dogs of grass are dealt with. May not the space between heaven and earth be compared to a bellows? 'Tis emptied, yet it loses not its power; 'Tis moved again, and sends forth air the more. Much speech to swift exhaustion lead we see; Your inner being guard, and keep it free.