Heaven Fire Tongren: Confucian-Daoist Dialogue and the Investigation of Ancient Spiritual Origins from a Pre-Qin Perspective

Chapter Seven: Line-by-Line Interpretation (Part II): From Nine Four to Upper Nine

Section 1: Nine Four: Mounting the Wall but Failing to Attack, Auspicious

The line statement for Nine Four reads:

"Mounting the wall but failing to attack, it is auspicious (jí)." (乘其墉，弗克攻，吉。)

The Lesser Image Commentary states:

"Mounting the wall but failing to attack—this is because righteousness forbids it. The auspiciousness comes from being constrained and then returning to the proper way." (乘其墉，义弗克也。其吉，则困而反则也。)

The line statement of Nine Four continues the martial imagery of Nine Three, but the direction of development is completely different. Nine Three was hiding troops secretly; Nine Four is openly attempting to storm a city—"mounting the wall" (shèng qí yōng). However, in the end, Nine Four "fails to attack" (fú kè gōng), yet achieves "Auspiciousness" (jí).

Why is "failing to capture" considered "auspicious"$39

Analysis from Line Position:

Nine Four, a Yang line occupying a Yin position (Four is an even number, belonging to Yin), is therefore "improperly positioned" (bù dé wèi)—possessing rigid strength but in a position unsuitable for its exertion.

Nine Four is also adjacent to Six Two (separated by Nine Three), implying a tendency to approach Six Two. But unlike Nine Three, Nine Four has already entered the upper trigram Qian—he is closer to Nine Five and faces greater pressure.

"Mounting the wall"—climbing the wall in preparation for attack. This "wall" separates Nine Four from Six Two. Nine Four wishes to cross the barrier to approach Six Two, hence attempting to forcibly break through by scaling the wall.

But ultimately, he "fails to attack" (fú kè gōng). Why$40 The Lesser Image Commentary says: "Righteousness forbids it" (yì fú kè yě). It is not a lack of strength, but that "Righteousness" does not permit it. What "Righteousness"$41 It means that forcibly attacking or contending for Six Two is contrary to reason and righteousness—Six Two's proper correspondence is with Nine Five; Nine Four striving for Six Two is an act against the proper order.

The Wisdom of Being "Constrained and Returning to the Proper Way":

The Lesser Image Commentary further explains the reason for "Auspiciousness": "It is auspicious because one is constrained and then returns to the proper way" (kùn ér fǎn zé yě). When one encounters difficulty while acting, the ability to reflect promptly on whether one has taken the wrong path, and to stop immediately upon realizing the action is unrighteous—this is the source of "Auspiciousness."

Nine Four initially intended to attack (to forcibly contend for Six Two), but upon encountering obstruction, he reflected on his action, recognized that "righteousness forbids it," and therefore voluntarily gave up the attack. This capacity for self-correction is precisely the character of the noble man.

Contrast Nine Three and Nine Four: Nine Three "hiding armed men in the brush, remaining stalled for three years"—preparing in secret for a long time, but never daring to act, nor giving up, falling into a dilemma. Nine Four, however, shows more decisiveness: first attempting the attack, and when it fails, decisively giving up and returning to the proper way—although this process is circuitous, the final result is "Auspicious."

The Analects (Zǐ Zhāng) records Zixia saying:

"The faults of the small man are always concealed." (小人之过也必文。)

Conversely, the Analects (Zǐ Zhāng) records Zigong saying:

"The faults of the noble man are like eclipses of the sun and moon. His fault appears, and everyone sees it; when he corrects it, everyone looks up to him with admiration." (君子之过也，如日月之食焉。过也，人皆见之；更也，人皆仰之。)

Nine Four "mounting the wall" was a fault (improper to attack forcefully), "failing to attack" was correction (giving up the forceful attack), and "auspiciousness" was the reward for correction.

From the Perspective of the Way of Tóng Rén:

The story of Nine Four tells us that in the pursuit of Tóng Rén, mistakes might be made—perhaps using the wrong method (coercion, attack) to seek harmony with others. But as long as one recognizes the mistake in time and corrects it, one can still return to the proper Way. The Way of Tóng Rén allows for error, but not for obstinate adherence to error.

Zhuangzi states:

"The mind of the True Person is like a mirror: it neither holds on to the past nor welcomes the future, responding without concealment, thus it overcomes things without being harmed." (Zhuangzi, Responding to Emperors)

The mind of the True Person is like a mirror, responding to what comes and not grasping what departs—not being attached, not forcing things. Nine Four ultimately giving up the attack is precisely this movement from attachment to non-attachment—though it may not be the state of the "True Person," it is a step in the right direction.

Section 2: Nine Five: First Crying Out and Then Laughing, A Great Army is Able to Meet

The line statement for Nine Five reads:

"Gathering in Accord, first crying out mournfully (háo tí), then laughing; a great army is able to meet." (同人，先号咷而后笑，大师克相遇。)

The Lesser Image Commentary states:

"The first step in Tóng Rén comes from centrality and correctness. The great army meeting means they overcome each other." (同人之先，以中直也。大师相遇，言相克也。)

Nine Five is the most complex and dramatic line in the Tóng Rén hexagram. It depicts a tortuous process from sorrow to joy, from conflict to meeting.

"First Crying Out Mournfully, Then Laughing":

"Háo tí" means crying out loudly in grief. "First crying out mournfully, then laughing"—first sorrowful, then turning sadness into joy and laughing. Why would Nine Five experience such an emotional turning point$42

Nine Five, a Yang line in a Yang position (Five is an odd number, belonging to Yang), and also in the central position of the upper trigram Qian—it attains position and centrality, being the most honored and powerful line in the hexagram. Nine Five properly corresponds to Six Two—a relationship where their hearts are connected. However, the problem is that Nine Five and Six Two are separated by Nine Three and Nine Four—two other Yang lines that also wish to approach Six Two. To "accord with Six Two," Nine Five must overcome the obstructions posed by Nine Three and Nine Four.

In the process of overcoming these obstacles, Nine Five endures great pain and struggle—"first crying out mournfully" (xiān háo tí). But ultimately, because the correspondence between Nine Five and Six Two is proper and ordained by Heaven, no obstacle can permanently separate them—thus they eventually meet—"then laughing" (hòu xiào).

"A Great Army is Able to Meet" (Dà Shī Kè Xiāng Yù):

"Great Army" (dà shī) means a large force. "Kè" can mean "able to" (the great army is able to meet) or "overcome" (meeting after overcoming obstacles through battle).

Regardless of the interpretation, the term "Great Army" points to a colossal power—Nine Five mobilized his entire force to overcome the obstacles between himself and Six Two. This is not just military strength but spiritual strength—Nine Five's unwavering conviction and relentless will.

Why does Tóng Rén require such a great price$43 Why cannot the meeting between Nine Five and Six Two be smooth sailing$44

Because true Tóng Rén—the deep unity of hearts—is never easily achieved. In the real world, all kinds of obstacles (prejudice, misunderstanding, conflict of interest, jealousy, suspicion) hinder sincere connection between people. Overcoming these obstacles requires immense effort and enduring great pain.

The Book of Odes (Feng, King Wen) sings:

"My heart is filled with sorrow, my steps falter. Those who know me say, 'My heart is heavy with grief.' Those who do not know me, say, 'What is he seeking$45' Oh, vast Heaven, whom does he seek$46" (知我者，谓我心忧；不知我者，谓我何求。悠悠苍天，此何人哉！)

The gulf between being understood ("those who know me") and not being understood ("those who do not know me") is humanity's eternal sorrow. Nine Five's "first crying out mournfully" perhaps encompasses this loneliness and pain of being misunderstood. But in the end, he "laughs afterwards"—finally finding a true confidant—and that joy is incomparable.

The first line of the Analects (Xué Ér) echoes this:

"Is it not a pleasure to have friends coming from afar$47 Is it not a gentleman who, though men do not recognize his worth, feels no resentment$48" (有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？)

Having friends come from afar—friends who have endured the hardship of a long journey to finally meet—that joy is like Nine Five's "laughing afterwards." And "though men do not recognize his worth, feels no resentment"—not getting angry or complaining when misunderstood—this is the cultivation of Nine Five during the "first crying out" stage.

The Explanation of the Lesser Image Commentary:

"The first step in Tóng Rén comes from centrality and correctness" (tóng rén zhī xiān, yǐ zhōng zhí yě)—Nine Five first experiences suffering because he is "centrally correct" (zhōng zhí)—occupying the center, upright in heart. A righteous person in an unrighteous environment will inevitably suffer more pain. But precisely because he is centrally correct, he can ultimately overcome all obstacles.

"A great army meeting means they overcome each other" (dà shī xiāng yù, yán xiāng kè yě)—the meeting of a great army implies confrontation and overcoming between the two forces. This is not one side annihilating the other, but reaching a reconciliation through confrontation. Like two great armies meeting, the outcome is not a decisive victory, but "meeting"—standing face to face, acknowledging each other's existence and power.

This image of "overcoming each other" (xiāng kè) is very profound. It suggests that true Tóng Rén is not eliminating opposition, but achieving coexistence amid opposition. The conflict between Nine Five and Nine Three/Nine Four is ultimately resolved not by one side eliminating the other, but by "a great army meeting each other"—both sides fully displaying their strengths and then reaching a new equilibrium.

Section 3: Upper Nine: Gathering in the Suburbs, No Regret

The line statement for Upper Nine reads:

"Gathering in Accord in the suburbs (jiāo), there is no regret (wú huǐ)." (同人于郊，无悔。)

The Lesser Image Commentary states:

"Gathering in Accord in the suburbs—the aspiration has not yet been achieved." (同人于郊，志未得也。)

Upper Nine is the final line of Tóng Rén, at the end of the entire hexagram. After the twists involving the door, the clan, war, assault, and alternating sorrow and joy, Upper Nine arrives at the "suburbs."

The "suburbs" (jiāo) are the transitional area outside the city walls—farther than the "door," larger than the "clan," but smaller than the "wilds." In Pre-Qin geography, the suburbs were the transitional zone between the city and the wilds—not entirely public space (wilds), nor entirely private space (clan or door).

Why "No Regret" instead of "Auspicious" or "Success"$49

"No Regret" (wú huǐ) ranks below "Auspicious" (jí) and above "Blame" (jiù) in the Yijing's judgment system—meaning: although there is nothing to regret, there is nothing particularly worth celebrating.

Why can Upper Nine only achieve "no regret" and not "auspicious"$50 The Lesser Image Commentary replies: "The aspiration has not yet been achieved" (zhì wèi dé yě)—the aspiration has not been fully realized. This is a somewhat melancholic judgment. After experiencing so much—from door to clan, from war to assault, from sorrow to joy—finally reaching the suburbs, the aspiration is still unfulfilled. The Way of Tóng Rén does not conclude perfectly here.

Why is "Aspiration Not Yet Achieved"$51

Upper Nine is at the very end, positioned highest. In the Yijing, the topmost line often implies the problem of excess—going too far, too high, and thus detaching from the core. Upper Nine is farthest from Six Two—the core of the hexagram—and has almost no direct relationship. Although he also desires Tóng Rén, his position is too distant, and his capacity is insufficient.

"Gathering in the suburbs" is better than "Gathering in the ancestral temple"—at least he has stepped out of the narrow confines of the clan. But he is still one step short of "Gathering in the wilds"—the "suburbs" are not broad or just enough. Although Upper Nine has gone far, he has not reached the broadest space.

This reminds us of the Great Peng described by Master Zhuang:

"When the Peng migrates to the Southern Sea, it strikes the water for three thousand li and soars upon the hurricane for ninety thousand lǐ... The Cicada and the little dove laugh at it, saying, 'When we fly up, we dash against a mulberry or elm tree and stop. That’s the limit of our flight, and we come down to the ground again. Why should we fly ninety thousand lǐ to the South$52'" (Zhuangzi, Xiaoyao You)

The Peng flies very far and very high, but it is not yet truly "free and unfettered" (xiāoyáo)—true freedom is "without dependence" (wú dài), absolute freedom not relying on any external condition. Upper Nine's "gathering in the suburbs" is similar—he has gone far enough, but it is not yet true "gathering in the wilds."

The Positive Meaning of "No Regret":

Despite "aspiration not yet achieved," Upper Nine has "no regret"—he will not regret taking this path. This is also an admirable character trait. If one pursues the Way of Tóng Rén, even if the goal is not fully realized in the end, as long as the process did not violate righteousness, there is no need for regret.

The Analects (Xian Jin) records Confucius's words:

"He neither blames Heaven nor curses men; he studies what is below the world and penetrates to what is above. Does not Heaven know him$53 Perhaps Heaven knows him!" (不怨天，不尤人，下学而上达。知我者其天乎！)

Confucius pursued the "Way" his entire life, wandering among the feudal states, suffering hardship, and ultimately failed to fully realize his political ideal. But he did not blame Heaven or curse men—he had nothing to regret. This state resonates with the spirit of Upper Nine: "gathering in the suburbs, without regret"—even though "aspiration has not yet been achieved," there is "no regret."

Section 4: A Complete Journey of the Six Lines—The Full Process of Tóng Rén

Now let us review the complete journey of the six lines of Tóng Rén:

1. Nine One "Gathering at the door, no blame"—The Start: Stepping out the door, beginning to interact with others. The posture is open and natural, but the scope is small.
2. Six Two "Gathering in the ancestral temple, regret"—The Limitation: Remaining within the clan, the scope is too narrow. Although safe and comfortable, it is not conducive to a broader Tóng Rén.
3. Nine Three "Hiding armed men in the brush, remaining stalled for three years"—Conspiracy: Attempting to seize the opportunity for Tóng Rén through selfish motives and scheming tactics, resulting in being trapped in difficulty, unable to act for a long time.
4. Nine Four "Mounting the wall but failing to attack, auspicious"—Correction: First attempting attack with force, then voluntarily giving up because "righteousness forbids it" (yì fú kè), reflecting on the error and returning to the correct path amid difficulty.
5. Nine Five "First crying out and then laughing, a great army is able to meet"—Achievement: After experiencing immense suffering and struggle, finally meeting Six Two, achieving true Tóng Rén.
6. Upper Nine "Gathering in the suburbs, no regret"—The Regret: Reaching the farthest point, but the aspiration is not fully realized. Though there is no regret, there is a sense of wistfulness.

These six stages constitute a complete process of "Tóng Rén”—from the start to limitation, from conspiracy to correction, from achievement to regret. The entire process is not a smooth, straight advance but is full of twists, conflicts, and reversals. This is the true depiction of the Way of Tóng Rén in reality—sincere accord between people is never easy.

From another perspective, these six stages can correspond to different levels of "Tóng Rén" experience in life:

• Nine One: Everyday interaction with neighbors and passersby—meeting by chance, associating naturally.
• Six Two: Kinship accord with clan relatives—intimate but possibly partial.
• Nine Three: Trying to win through scheming in competition—a failed method of Tóng Rén.
• Nine Four: Learning self-reflection amid conflict—growing from error.
• Nine Five: Finally meeting a true confidant after arduous struggle—the deepest Tóng Rén.
• Upper Nine: Looking back on the path in later life—though with regret, yet without remorse.

This sequence moves from simple to complex, from shallow to deep, revealing the gradual and winding nature of the Way of Tóng Rén. No one can achieve "Gathering in Accord in the wilds" in one step; everyone must pass through their own door, clan, brush, wall, crying, and suburbs—before gradually approaching that final state of being "in the wilds."