The One and The Many
(Copyright (c) 1999 C.J. Lofting)
The fundamental concept regarding the I Ching is that there are potentially billions of
them, not just one. The one is more of a template and as such consists of
line symbols and a generic name that captures the general 'feel' associated to the symbol.
The line and judgement texts can be ignored to a degree where, if you make-up your own,
they will still reflect concepts as those made by King Wen and his son, the Duke of Chou.
This template emphasis exists as part of the text of the I Ching (or Yijing) where:
"The character jing is normally translated as 'classic', hence the title Jijing
is often given as the Classic of Change. But jing literally means 'a warp
thread', ie. the threads that run from top to bottom of a fabric" p11 Fancourt, de
W., (1997)"Warp & Weft: In search of the I Ching" Capall Bann
In this sense, every person on the planet could create their own I Ching, and when
compared we would find similarities that reflect the species-based categorisation system
that we use to structure our communications. This structure is tied-in to our
neurology/psychology in the form of processing ANY information by making the fundamental
distinctions of objects (whole-parts) and relationships (static/dynamic) [ these pairs are
called dichotomies] and these
are then combined into text/context partnerships that go to manifesting a 'whole'
experience. (see the 'brain' sections on this site for more details on this.)
The experience is then encoded, symbolised, and this method of information processing,
what we call metaphorcation
, is where we transfer meaning to a 'carrier' of it, allowing for general and particular
sharing of information where the metaphors/symbolisms elicit emotional resonance. The
ultimate form of this manifest as words where the words act like stones in that, thrown
into the pool of emotion that we all share, creates waves of meaning; also manifest in the
expression of 'hitting the right chord'. Another analogy is to a holographic system where
the word act as a reference beam that when 'shone' on the holographic film we have of our
lives 'in here' acts to bring-out a particulatr image and that image can itself act like a
reference beam to bring-out more images and so on. The interference patterns on the film
are linked with emotions and so we can get 'flash backs' where we vividly recall something
and even project onto the current environment.
To demonstrate multiple I Chings I have taken sets of categorisations from a couple of
areas including an online drama book
that makes the distinctions of characters and plots and their use in creating
plays. Within these distinctions are used pairs (dichotomies) to emphasise relationships
and utilising the dichotomy template I have refined these categorisations to show
relationships across all of them; the many reflect the one.
This gives us 6 "I Ching"s to compare and detect the underlying common pattern
of meaning -- the template I Ching, the I Ching of Characters, the I Ching of Plots, the I
Ching of Themes, the I Ching of the MBTI. the 'traditional' I Ching of China. These last
two, MBTI and traditional I Ching, are
presented elsewhere at this site and so only summarised here.
The ease with which I have been able to do this is due to the manner in which the
original categorisations were unconsciously made using the proposed template and the
discussion on the template I leave until last since it is an abstract concept that,
without having any 'filling' can seem 'meaningless'.
The CHARACTER I CHING.
This I Ching deals with persona types (as well as such Jungean distinctions of
ego/shadow/anima/animus etc etc). What we see here is the fusion of (a) The I Ching
trigrams (b) fundamental types of the MBTI(R), and (c) the generic character
categorisations used by Melanie Anne Phillips & Chris Huntley in their on-line book
mentioned above. With this fusion so we also pick up some subtle misconceptions in the
orginal categorisations which, upon resolution, go towards clarifying them.
Phillips and Huntley start by making the distinctions of 'drivers' and 'passengers' where
the former are the main personas in the drama and the passengers...well, they are there
for the ride. This pairing reflects other dichotomies such as leader/follower and so a
more cooperative emphasis than rigidly oppositional.
Phillips and Huntley lay out these distinctions thus (see chapter 6 of their online book
for Phillips and Huntley's details on behaviour):
This compass format has protagonist at north, guardian at west, contagonist at east,
and antagonist at south. The common link is the "driver" emphasis which is
captured in the I Ching/template as an unbroken bottom line emphasising a 'yang' bias.
This emphasis forces the antagonist to not be so 'extreme' as 'pure negation' (all yin)
but more of an anoyance. As we shall see, this also forces 'pure yin' to become
cooperative in the form of the devoted sidekick.
The Passengers diagram is laid out thus (in one chapter the reason/emotion dichotomy is
reversed but in all others the following is used and the template enables us to 'refine'
these distinctions and possibly 'correct' a perceptual error):
Here we have the same compass format but with the sidekick at north, emotion as west,
reason as east, and skeptic as south. The common link is the "passenger"
emphasis captured in the I Ching/template as a broken line emphasising a 'yin' bias.
Analysis of these patterns, using the template as a guide, has led to the creation of a
corresponding pair of diagrams linking I Ching trigrams with the compass positions:
In this compass, reflecting the 'driver' compass, the trigrams are ordered as heaven is
north, fire is west, lake is east, and thunder is south.
In this compass, reflecting the 'passenger' compass, the trigrams are ordered as earth
is north, water is west, mountain is east, and wind is south.
The third set of compasses comes from combining Myers-Briggs Type Indicator(R)/Keirsey
Temperament Checker. The MBTI tags are in brackets following the Keirsey Temperament name.
Note that the MBTI tags start with an X where the Introvert/Extravert dichotomy is not
differentiated at this level but the next:
In this compass, reflecting the 'driver' compass, operators (xstp) are north,
organisers (xntj) are west, players (xsfp) are east, and engineers (xntp) are south. These
definitions can be added-to with the operators/players being deemed sensation seekers and
the organiser/engineers being solution seekers/problem solvers and this includes the
creation of problems to 'try things out'.
In this compass, reflecting the 'passenger' compass, advocates/disciples (xnfp) are
north, conservators (xsfj) are west, mentors (xnfj) are east, and monitors (xatj) are
south. These definitions can be added-to with the advocates/mentors deemed identity
seekers and the conservators/monitors being security seekers.
The fourth set of compasses comes from the template. Firstly we need to make the
distinctions of objects and relationships. We then distinguish two types of objects, those
we label as wholes and those we label as parts, recognising that context can affect this
labeling process where a whole is a part when viewed from a different level of analysis.
Next we distinguish two types of relationships, static and dynamic. We then add the
dichotomy of text (foreground, drivers) and context (background, passengers). We note that
drivers are expansive whereas passengers are more contractive, they pull inwards or
contain rather than push outwards. To add to these distinctions, my analysis of how we
describe things suggests that we take the elements of each dichotomy and weave them
together, or mix them and we can use mixing terms to describe the general 'feel' for each
- Wholes -- feeling of blending, being or becoming 'one'
- Parts -- a feeling of bounding, distinction of 'this' from
- Static Relationships (invarient) -- a feeling of bonding, establish
a bond and so an eternal 'tie'
- Dynamic Relationships (varient) -- a feeling of binding, retain
independence but form a relationship over time, e.g. a contract
Using the contract/expand distinction, so we have contractive blending and expansive
blending and so on. Here are the compasses:
Compass 1 (Emphasis on 'facts', expansive) AND Compass 2 ( Emphasis on
The concept of blending is north for both compasses, bounding is west for both, bonding
is east for both, and binding is south for both. We see here the 'generic' nature of this
where the same patterns operate for both compasses but, using the I Ching reference, the
bottom line makes a difference. The other compasses have words that make the distinctions,
my emphasis is to show the 'root' of it all, the 'one' from the 'many'.
When we analyse the other compasses in their own contexts it is possible to pick up
these generic distinctions in each and in doing so we realise that ALL of the compasses
are 'talking' about the same GENERAL patterns in a very PARTICULAR way. Realising this, we
can in fact 'entangle' the compasses to help refine categorisations within each compass by
making analogies to the others and I suggest that this is how we can make analogies, the
blend, bond, bound, bind distinctions are patterns of emotion that resonate when 'touched'
by a word and so generates a sense of 'meaning'. Furthermore, the above formats can be
moved about to show other patterns that can generate meanings.
Uniting these compasses, those of the characters with those of the traditional I Ching
and the MBTI associations enable us to make the following associations in the context of
the Characters I Ching:
Generic sensation seekers, they just like driving. Yang bias. Problem solvers
(guardian/antagonist) develop out of this - they have had accidents and want to avoid them
in the future so they make maps etc paths to follow. They are the passanger elements
within the driver set):
Protagonist - Trigram of The Creative. Heaven (air) Sensation seeking. Operator
types. To out-do. To 'win'.To become 'one'. to entangle text with context. Expansive Blend
emphasis. From perseverence comes singlemindedness. Good troubleshooters/negotiators;
samurai warriors. Get off on the buzz of achieving 'harmony' etc. (hexagram 11); this is
the dividend for the singlemindedness applied to achieving a goal.
Contagonist - Trigram of The Joyous. Lake. Sensation seeking. Players. To
play/entertain (includes enticement). to bond with but not blend with.Expansive bonding
emphasis. From self-reflection comes intensity. Play to an audience. Get off on being
accepted, deferred-to. (Hexagram 19) - treading on the tail of the tiger without fear of
Guardian - Trigram of The Clinging. Fire. Solutions seeking (problem solving)
Organisers/Planners/Strategists. To bound, enclose, make maps to guide and establish
direction. Expansive bound emphasis. From guidance comes direction (ideology). Get off on
uncompromising; thinking they know the way, (hexagram 36) Goal is loose associations. The
Dramatica term 'guardian' is slightly misleading; I think this is more the 'political'
officer -- the guardian of the ideology; the map maker-setter-follower-holder.
Antagonist - Trigram of The Arousing. Thunder. Solutions seeking (problem
solving) Philosopher/Architect. To bind. Expansive binding emphasis. From enlightenment
comes awareness. In the context of drivers so this type distracts or is easily distracted
and goes off on many side roads (which they get off on - hex 24) and is also prone to
emphasising disentanglement; break free or pull back from... The protagonist is
'traditional' and conservative. Antagonist is anti this or a threat to it in that it has
the skill to introduce something that overthrows things, symbolised in 'thunder' so this
is the source of disturbance, the 'mad' scientist or the 'paradigm' shifter.
Each of these types have eight hexagrams that capture their general 'range' of being,
and each hexagram has sixty-four variations on the theme. All to be described later.
Generic identity seekers. They are on a journey to seek identity. Yin bias. They lack
the precision skills of the drivers but have qualitative skills -- value oriented. They
will bitch about the chairs, windows, colour of the vehicle etc etc The Security seekers,
(emotion/skeptic) develop out of this in that they have experienced problems and see
threats in the form of a loss or a corruption of established identity):
Sidekick - Trigram of The Receptive. Earth. Identity seeking. Advocate/Disciple
types. To become 'one' through drawing something 'in'. Contractive blend emphasis. From
devotion comes dualmindedness. Your vanilla disciple. Goal is the ability to parry all
criticism to the 'one true way' -- see hex 12. When betrayed can be very critical, and
'lost'. Benefit it 'pure' receptivity.
Reason - Trigram of Keeping Still. Mountain. Identity seeking. Mentor types. To
bond with one and so still keep some identity. Contractive bond emphasis. From
self-restraint comes discernment. I think Phillips and Huntley have made an error here in
using the term 'reason'; I think they are using the term in a qualitative way which is
reflected in the concept of discernment. E.g. the hexagram 15 called modesty deals with
being 'reasonable' as in avoiding highs and lows, levelling things out. This is
qualitative rather than quantitative. Reason in the engineering/logic sense is more the
domain of the antagonist/guardians. Recall all of the 'reasonable' but insane antagonists
where everything is planned out but also anti-everything 'normal'.
Qualitative 'reason' has a goal of trickary e.g. false retreats to draw the enemy in or
to enable one to fight another day. (hex 33). Reason makes you run 'logically'.
Emotion - Trigram of The Abysmal. Water. Security seeking.
Protectors/Conservators. Moralists. To bound. Contractive bound emphasis. From containment
comes control. A subtle error here by Phillips and Huntley in that we find 'illogical'
control here. This is thus not what they see as uncontrolled, it is more 'qualitative'
biased control which can appear 'wacky' at times. In the I Ching we see an emphasis, for
example, on education purely for the sake of establishing control (hexagram 4); rote
learning without question. Gets off on hex 07 -- establishing a degree of uniformity
through the goal of hexagram 06 - enforcing compromise; use of legal avenues.
Skeptic - Trigram of The Gentle. Wind. Security seeking.
Monitors/Umpires/Auditors. (no trust). To bind. Contractive bind emphasis. From
cultivation comes influence. Included in this group are both persuaders and excess as well
as sources of nourishment and corruption fighting. Umpires and Auditors are manifestations
of skeptic thinking in that you are seen as being unable to 'honestly' do things or
achieve anything without their 2c worth of supervision/commentary etc etc. Get off
on persuasion/seduction and so being influencial (hex 44).
When we drop a few levels so all of these eight types interact and have qualities of
the others as part of their psyche, they just have a preferred persona.
For example, the skeptical aspect of the protagonist is manifest by hexagram 9 (skeptic
trigram over protagonist trigram) which deals with making small gains and singlemindedly
building on those to gain influence. There is thus a lack of trust/faith in 'going for
The PLOT I CHING.
This maps directly onto the same trigram sets as for characters and so
creating a 'plot I Ching' Phillips and Huntley diagram plots as:
Driver plots (tonic emphasis, single context, totalist):
Goal -- (Protagonist link) -- The Creative -- the goal is to blend. Eight basic
goals, 64 variations per goal.
Requirements -- (Guardian link) -- The Clinging -- the aids in the form of
planning, logistics, ideology - bound
Forewarnings -- (Contagonist link) -- The Joyous -- self-reflection, intensity -
bond (this also links to theme and past/future)
Consequence -- (Antagonist link) -- The Arousing - bind
Passengers plots (harmonics emphasis, multicontext, relativist):
Dividends -- (Sidekick link) -- The Receptive (Trust, devotion, faith,
confirmation, celebration, foresight) - blend
Preconditions -- (Reason link) -- Keeping Still (Discernment, qualitative 'this
from that' and so a bond, wave like)
Prerequisites -- (Emotion link) -- The Abysmal (socialisation, education, to
mask, persona) - bound
Costs -- (Skeptic link) -- The Gentle (Penetrating) loss of innocense, exposure
to or becoming corrupt, excess, to become entangled - bind
COMBINATIONS AND FEEDBACK
When we combine these "I Chings" so we can see that:
- The goal of the skeptic is hexagram 44 -- persuasion, seduction.
- The goal of the emotion is hexagram 06 -- compromise
- The goal of the reason is hexagram 33 -- retreat/trickary (ensure we fight another day)
- The goal of the sidekick is hexagram 12 -- neutralise opponants and so confirm faith
- The goal of the antagonist is hexagram 25 -- disentanglement, stand-out, say one's piece
- The goal of the guardian is hexagram 13 -- form loose associations with the likeminded
- The goal of the contagonist is hexagram 10 -- treading the correct path
- The goal of the protagonist is hexagram 01 -- singlemindedness; precision
Phillips/Huntley state that "Requirements are the essential steps or circumstances
which must be met in order to reach the story's/character's goal" and when we include
the other I Chings so we can see developmental patterns where the given hexagram meanings
etc do suggest these requirements are needed for the above goals:
- The requirements of the skeptic is hexagram 50 -- 'proper' cooking; transformation.
- The requirements of the emotion is hexagram 64 -- missequence, make an error
- The requirements of the reason is hexagram 56 -- restrained journeying (loyalty to the
cause even if far away)
- The requirements of the sidekick is hexagram 35 -- progress, firming ideology
- The requirements of the antagonist is hexagram 21 -- biting through, chew-over a problem
and generate an algorithm, rule.
- The requirements of the guardian is hexagram 30 -- guidance/establish a sense of
- The requirements of the contagonist is hexagram 38 -- obstructions/mirroring -
- The requirements of the protagonist is hexagram 14 -- central management, directing
Phillips/Huntley state that "Consequences are dependent upon the goal [previous
section]...consequences may be expressed as what will happen if the goal is not
achieved.." Again, adding-in the other I Chings we see that can easily establish
- The consequence of the skeptic is hexagram 32 -- commitment
- The consequence of the emotion is hexagram 40 -- loosen the structure (tension release)
- The consequence of the reason is hexagram 62 -- protraying/acting (over exagerate)
- The consequence of the sidekick is hexagram 16 -- foresight/enthusiasm/celebration
- The consequence of the antagonist is hexagram 51 -- enlightenment/awareness
- The consequence of the guardian is hexagram 55 -- overflowing/abundance (eg. of
- The consequence of the contagonist is hexagram 54 -- immature (wasting energy)
- The consequence of the protagonist is hexagram 34 -- motivating
Phillips/Huntley state that "Forwarnings appear as a signal that the
consequences[previous section] are imminent"
- The forewarnings of the skeptic is hexagram 28 -- excess, go beyond what is required
- The forewarnings of the emotion is hexagram 47 -- exhaustion, enforced
- The forewarnings of the reason is hexagram 31 -- restrained stimulation
- The forewarnings of the sidekick is hexagram 45 -- congregating/assembling
- The forewarnings of the antagonist is hexagram 17 -- following/believing
- The forewarnings of the guardian is hexagram 49 -- unmasking, revealing the 'truth',
- The forewarnings of the contagonist is hexagram 58 -- intensity
- The forewarnings of the protagonist is hexagram 43 -- seeding, spread the word
Phillips/Huntley state that "Dividends are benefits accrued on the way to the
- The dividends of the skeptic is hexagram 46 -- entanglement. pushing upwards
- The dividends of the emotion is hexagram 07 -- uniformity but therefore hierarchy,
- The dividends of the reason is hexagram 15-- modesty, levelling-out, to even out, equal
- The dividends of the sidekick is hexagram 02 -- devotion/absolute trust
- The dividends of the antagonist is hexagram 24 -- returning to the path, come back to
the fold, and yet explore other ways
- The dividends of the guardian is hexagram 36 -- uncompromising, 'know it all', the
- The dividends of the contagonist is hexagram 19 -- approach/defer, can tread on the
tiger's tail without fear
- The dividends of the protagonist is hexagram 11 -- harmony/balance/peace
Phillips/Huntley state that "Costs function much like negative dividends. They are
the detrimental effects of the effort to reach the goal."
- The costs of the skeptic is hexagram 57 -- cultivation/influence (where the goal is to
pull away, seduce)
- The costs of the emotion is hexagram 59 -- dispell illusions (where illusion is a
fundamental element of emotion in the form of bluff)
- The costs of the reason is hexagram 53 -- maturing, refinement (at odds to levelling
- The costs of the sidekick is hexagram 20 -- admiration, setting an example (for the
sidekick this should be aimed towards the protagonist, not them)
- The costs of the antagonist is hexagram 42 -- augmentation
- The costs of the guardian is hexagram 37 -- rigid structuring
- The costs of the contagonist is hexagram 61 -- yielding/sympathising
- The costs of the protagonist is hexagram 09 -- making small gains
Phillips/Huntley state that "Prerequisites determine what is needed to begin
meeting the requirements"
- The prerequisite of the skeptic is hexagram 48 -- foundations, a source (the well)
- The prerequisite of the emotion is hexagram 29 -- containment/control
- The prerequisite of the reason is hexagram 39 -- obsticles, get around them
- The prerequisite of the sidekick is hexagram 08 -- attracting, uniting
- The prerequisite of the antagonist is hexagram 03 -- difficult beginnings
- The prerequisite of the guardian is hexagram 63 -- 'correct' sequencing, establish a
'proper' order of events
- The prerequiste of the contagonist is hexagram 60 -- standardisation
- The prerequisite of the protagonist is hexagram 05 -- waiting/serving (bide one's time,
serve one's dues)
Phillips/Huntley state that "Preconditions are non-essential steps or
items that become attached to the effort to achieve the goal through someone's
- The preconditions of the skeptic is hexagram 18 -- correcting, removing corruption
- The preconditions of the emotion is hexagram 04 -- masking (youthful folly, rote
education for social control)
- The preconditions of the reason is hexagram 52 -- discernment
- The preconditions of the sidekick is hexagram 23 -- pruning, cut-back, remove chaff from
wheat to reveal the 'pure'
- The preconditions of the antagonist is hexagram 27 -- hungering
- The preconditions of the guardian is hexagram 22 -- facading (beauty, make-up)
- The preconditions of the contagonist is hexagram 41 -- concentrate (lit & met)
- The preconditions of the protagonist is hexagram 26 -- hold firm
We can see from this that not only is this useful for plays etc but for all
psychological, and sociological, pathwork, in fact for ANY dichotomy-based catgorisation
system. Develop the compasses and you will find that the same methods have in fact been
applied to apparently 'diverse' disciplines.
We also notice that the same patterns apply at all levels such that, for plots so the
goals set 'in the north' but within each element we also find goals as shown in the list
above where, for example, the skeptic has a goal (hex 44) other than that for the story as
Reflection on the above patterns show that the compasses apply to the ordering of the
hexagrams in a binary format around the circumference of a circle. The compasses then fit
into the middle of the circle and can be rotated to give variations on the themes.
This is done based on the ability to refine the 'base' trigram compasses into hexagram
compasses by mearly doubling each trigram. From this we can easily see the compass format
which serves as a 'template' and the hexagrams on the circumference offer variations on
the theme. For example, the 'standard' template in linear form is:
protagonist - contagonist - guardian - antagonist. Using the binary numbering, with a
base of 1 and the traditional number in brackets, this manifests hexagram 64 (01) - 55
(58) - 46 (30) - 37 (51). This gives us an algorithm where, given any position we can
determine the archetypal natures of the other positions in that contagon is 9 positions
less that the protagonist, 18 higher that then antagonist. The guardian is 18 lower that
the protagonist and 9 higher than the antagonist.
When we view the 'passenger' template this way so we have:
Sidekick-reason-emotion-skeptic. Which become 1 (2) - 10 (52) - 19 (29) - 28 (57). This
is the 'template' archetypal pattern and placed into the center of the circle again gives
us the variations on a theme. What links the two compasses this way is that the sidekick
is the structural opposite but behavioural complement to the protagonist, and we in fact
find that when combine the two compasses we get a position list of 1-10-19-28-37-46-55-64
which then loops back onto 1. Thus positions 1 & 64 are next to each other,
protagonist with sidekick and the distance between all of the rest is 9 positions.
The order is
There is a 'flaw' in this in the form of terminologies and that is the associations of
reason and guardian. I think these terms should be swapped since the reason brings out the
'direction' setting of the fire trigram and the guardian brings out the gatekeeper
manifest in the mountain trigram in that the gatekeeper is discerning and decides who
passes and who does not. This discernment element is 'reasonable', emphasising qualitative
We can in fact create ONE I Ching compass that reflects all of this:
This reflects the structural sequence of Fu Hsi, aka the binary senquence, but rather
than show it as a linear oppositional format, introduces a circular cooperative format
where the ends of the linear form are brought together to form the circle. This gives us
two methods of analysis, one that is struturally symmetric and so 'pure' but also sterile,
or else one that is slightly skewed due to the coopertive emphasis, where the skew is the
joining of the ends to make a circle and in doing so make the strutural opposite of yang a
complementary partner. This I call a sexual categorisation system as compared to the
structurally symmetric asexual categorisation system where pure yin and pure yang are in
If we swing the far right end, down and around next to the left end, we form the
compass format of the trigrams.
When the trigram compass is converted to a hexagram compass, where each trigram
initially maps to its hexagram (giving us the traditional numbering clockwise,
1-58-30-51-57-29-52-2. Note 2 seems to oppose 1 which is the asexual format. Link the ends
and we get the cooperative, sexual format) so we can use it to determine variations on a
theme. For example, traditionally, the archetypical protagonist is 'the creative',
hexagram 1 (binary 64). Shift this two positions clockwise on the binary circle and we
have hexagram 14 (binary 62) as 'protagonist'. This gives us hexagram 43 (binary 63) as
the 'sidekick' but seen in the 'light' of the archetypal hexagram, hex 2. This also gives
us hexagram 03 as the 'antagonist', the full sequence being: 14-54-37-03-18-07-12-43.
We can also convert the plot compass set to this one compass.
What this means is that EVERY hexagram manifests properties of EVERY compass point but
to bring that out requires relational patterns to set a context that can support such
expression both positive and negative.
Holographic mapping: Reference and Interference
Reflecting on what has been said so far, we are dealing with archetypal forces , 'pure'
forms (tai chi) with which, once determined, can be aspectually analysed (yin/yang) and
the resulting form can become 'tai chi' in their own right and so themselves can be
aspectully analysed. This is 'holographic' in that the 'one', the Tai Chi, acts as a
reference beam, and the many, yin/yang, the interference patterns.
This allows us to use the SAME patterns at all levels of analysis and this is
demonstratable using the goal set to determine a story line. The goal set acts as the
reference beam and when combined with the interference beam give us the set of elements
within the goal set. In the archetypal format of the compass so we see a hexagram sequence
that captures the archetypal plot (note that I have skewed this. The circle form puts the
dividend to the left of the goal but I wish to assert the goal first and so follow with
the dividend to emphasise the relationship):
- Goal - hexagram 01 (also the role of the protagonist)
- Dividend - hexagram 02 (also the role of the sidekick)
- Forwarnings - hexagram 58 (also the role of contagonist)
- Requirements - hexagram 30 (also the role of guardian)
- Consequence - hexagram 51 (also the role of antagonist)
- Costs - hexagram 57 (also the role of skeptic)
- Prerequisites - hexagram 29 (also the role of emotion)
- Preconditions - hexagram 52 (also the role of qualitative reason)
This archetype plot(role) serves as the seed for all others. I have listed these below
in the above order (if we swap the first two so the list can be overlaid onto the compass
with the second position as 'north'. The other choice is to put the sidekick last
manifesting opposition, the asexual format. The sexual format forms the circle and so
brings the once opposite around to being the sidekick emphasising cooperation where the
5-6 positions now reflect opposition but also the source of motivation/instigation):
01 02 58 30 51 57 29 52 (the archetype plot)
43 01 38 55 42 48 04 15 (variations on the theme)
14 43 54 37 03 18 07 12
34 14 61 63 27 46 33 45
09 34 60 22 24 06 31 35
05 09 41 36 44 47 56 16
26 05 19 25 28 64 62 20
11 26 13 17 50 40 53 08
10 11 49 21 32 59 39 23
58 10 30 51 57 29 52 02 interesting sequence, a shift of the archetype with a replacement
of 01 with 10.
38 58 55 42 48 04 15 01
54 38 37 03 18 07 12 43
61 54 63 27 46 33 45 14
60 61 22 24 06 31 35 34
41 60 36 44 47 56 16 09
19 41 25 28 64 62 20 05
13 19 17 50 40 53 08 26
49 13 21 32 59 39 23 11
30 49 51 57 29 52 02 10 further degradation of the archetype, a further shift and a
replacement of 58 with 49
55 30 42 48 04 15 01 58
37 55 03 18 07 12 43 38
63 37 27 46 33 45 14 54
22 63 24 06 31 35 34 61
36 22 44 47 56 16 09 60
25 36 28 64 62 20 05 41
17 25 50 40 53 08 26 19
21 17 32 59 39 23 11 13
51 21 57 29 52 02 10 49
42 51 48 04 15 01 58 30
03 42 18 07 12 43 54 55
27 03 46 33 45 14 61 37
24 27 06 31 35 34 60 63
44 24 47 56 16 09 41 22
28 44 64 62 20 05 19 36
50 28 40 53 08 26 13 25
32 50 59 39 23 11 49 17
57 32 29 52 02 10 30 21
48 57 04 15 01 58 55 51
18 48 07 12 43 38 37 42
46 18 33 45 14 54 63 03
06 46 31 35 34 61 22 27
47 06 56 16 09 60 36 24
64 47 62 20 05 41 25 44
40 64 53 08 26 19 17 28
59 40 39 23 11 13 21 50
29 59 52 02 10 49 51 32
04 29 15 01 58 30 42 57
07 04 12 43 38 55 03 48
33 07 45 14 54 37 27 18
31 33 35 34 61 63 24 46
56 31 16 09 60 22 44 06
62 56 20 05 41 36 28 47
53 62 08 26 19 25 50 64
39 53 23 11 13 17 32 40
52 39 02 10 49 21 57 59
15 52 01 58 30 51 48 29
12 15 43 38 55 42 18 04
45 12 14 54 37 03 46 07
35 45 34 61 63 27 06 33
16 35 09 60 22 24 47 31
20 16 05 41 36 44 64 56
08 20 26 19 25 28 40 62
23 08 11 13 17 50 59 53
02 23 10 49 21 32 29 39
One:many feedback, hierarchy, and music.
The initial distinction of whole:relationships is captured in the I Ching as Tai Chi :
yin/yang. In the eight positions in the archetype compass, 1-2-3-4-5-6-7-8 we find that
there is a relationship of 1-2, 3-4, 5-6, and 7-8. This is then generalised thus:
1-2, 3-4, 5-6, 7-8
(1-2) - (3-4), (5-6) - (7-8)
((1-2) - (3-4)) - ((5-6) - (7-8))
We can refine these relatioships further, thus the oppose/cooperate emphasis is
qualified by the blend, bond, bound, bind relational methods inherant in the template 'underneath' the I
Ching. We have this created eight more I Chings for each created in that the full I Ching
of 64 can be interpreted as manifesting oppositional bounding or cooperative binding etc.
What is noteworthy here is that this base 'template' is related to music, in the form
of the archetypal scale of C (pure, no sharps, no flats) Here we see that the semitone
positions manifest 'close' relationships and we find that these positions are linked to
the protagonist/sidekick relationship (1-2), and the 'shadow' form of this in the
antagonist/skeptic relationship (5-6)
Musically we have:
position - note
- C (octave higher)
This is the archetypal scale; the 'pure' form.We can then apply the SAME process we
applied above with the hexagrams to note relationships. In this we have note as text and
note as context i.e.:
- C in C
- B in C
- A in C
- G in C
- F in C
- E in C
- D in C
- C in C (octave)
We next include the same archetype for modes:
the Dramatica Theory Home Page
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