The act ofcreation having found expression in the two attributes sublimity and success,the work of conservation is shown to be a continuous actualization and differentiationof form. Time is no longera hindrance but the means of making actual what is potential. Thus eachstep attained forthwith becomes a preparation for the next. Here it is shown that the way to success lies in apprehending andgiving actuality to the way of the universe, which, as a law runningthrough end and beginning, brings about all phenomena in time. This is indicated in the word success, and the processis represented by an image from nature: "The clouds pass and the rain doesits work, and all individual beings flow into their forms." Applies tothe human world, these attributes show the great man the way to notablesuccess: "Because he sees with great clarity and cause and effects, he completesthe six steps at the right time and mounts toward heaven on them at theright time, as though on six dragons." The six steps are the six differentpositions given in the hexagram, which are represented later by the dragonsymbol. But the Creative furthermore has power to lend form to thesearchetypes of ideas. The beginning ofall things lies still in the beyond in the form of ideas that have yet tobecome real. This power permeates all heaven."For this attribute inheres in the other three as well. The Chinese word here renderedby "sublime" means literally "head," "origin," "great." This is why Confucius says in explaining it: "Great indeed is the generating power of the Creative all beings owe their beginning to it. The specific meanings of the four attributes becamethe subject of speculation at an early date. When an individual draws this oracle, it means that success will come to him from the primal depths of the universe and that everything depends upon his seeking his happiness and that of others in one way only, that is, by perseverancein what is right. THE CREATIVE works sublime success, Furthering through perseverance.Īccording to the original meaning, the attributes are paired. In relation to the human world, it denotes the creative action of the holy man or sage, of the ruler or leader of men, who through his power awakens and develops their higher nature. In relation to the universe, the hexagram expresses the strong, creative action of the Deity. The power represented by the hexagram is to be interpreted in a dual sense in terms of its action on the universe and of its action on the world of men. Thus the hexagram includes also the power of timeand the power of persisting in time, that is, duration. Time is regarded as the basis of this motion. Its energy is represented as unrestricted by any fixed conditions in space and is therefore conceived of as motion. The hexagram is consistently strong in character, and since it is without weakness, its essence is power or energy. These unbroken lines stand for the primal power, which is light-giving, active, strong, and of the spirit. Through these case studies of creative subversion in self-translation, I argue that self-translators destabilise their source texts and invite the possibility for innumerable possible translated iterations.The first hexagram is made up of six unbroken lines. In the English translation of his short story “A Sky Full of Bright, Twinkling Stars/ Man tian li liang jingjing de xingxing 满天里亮晶晶的星星” from his self-translated anthology Taipei People/Taibei Ren (1971), Pai Hsien-yung (1937–) translates character names phonetically to preserve the source text puns, and domesticates the source text for the English-speaking readership by dividing long, cascading sentences into short staccato phrases. Luo di from his 2010 anthology A Good Fall by adding wordplay, aphorisms, and other splashes of creative humour not present in the English language source text. Ha Jin (1956–) augments the Chinese language translated text of his short stories “In the Crossfire/ Liang Mian Jia Gong 两面夹攻” and “A Good Fall”/ 落地 This paper presents cases of un-translation, substitution, and creative augmentation in the self-translated English-Mandarin short stories of Ha Jin and Pai Hsien-yung, ultimately problematizing the un-translatability of humour in literary (self-)translation.
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