The first line describes the beginning of attachment. Before the parasite can consume the host’s energy, it must enter the host’s domain and establish a foothold. Placing its feet on the tail and inserting a feeding tube express the beginning of this parasitic relationship.

Transformed L1 is Song, Qian above Kan. Qian represents the tiger and the other player; Kan represents injury and concealment. The image suggests concealed injury to the other player.

In Hidden L1, lower Gen, the tail, becomes Li, bond and friendship. Lines one and two form partial Zhen within Gen. Since Zhen represents the parasite’s feet, this means that the focal player extends its influence into the other player’s domain. The lower trigram's change from Gen to Li shows that the other player's attitude shifts from obstacle to friendship. This is the fruit of the cost mentioned in the opening statement: by giving first, the focal player transforms Gen's obstructing energy into a welcoming bond. The creature enters its desired position and establishes a relationship with the host. The entry is successful, but it is a beginning only.

For an inexperienced interpreter, the imagery of Transformed L1 can seem alarming. Transformed L1 is the Song hexagram — a hexagram of disputes — and Hidden L1 is Mingyi, a hexagram of sinking light and suffering injury. One might conclude from these images that the focal player's action invites conflict and causes damage to itself. Qian above Kan also leaves open a question: does Qian suffer the injury represented by Kan, or inflict it? The line statement directly addresses this concern: no adverse factor for the focal player.

The source of Kan’s energy is decisive. Kan develops from Dui, which represents the focal player. Therefore, Kan's energy comes from the focal player, not from the other player. Kan means disguise, concealed action, and injury, so the focal player brings the injury. Lines one through four also form overlapping Li and Kan, a variant of Weiji. In the Weiji hexagram, Kan escapes Li’s scrutiny, and supervision fails. In the context of Song, one aspect of that hexagram is Kan fabricating signals to deceive Qian and obtain benefits. Transformed L1 therefore represents the focal player concealing its intention, avoiding scrutiny, and securing support.

Hidden L1 confirms this result. Li develops from Gen, showing the other player becoming friendly and a relationship taking shape. Partial Zhen appears within Gen, indicating the focal player’s entry into its domain. Therefore, although Mingyi does depict lost light, the light lost here is the other player’s sight and supervision. Kun above Li, darkness and failure above eyes and oversight, depicts a tiger unable to see the parasite. Xun in lines three, four, and five of Transformed L1 should consequently mean the other player yielding and the focal player obtaining benefits. It does not mean the focal player failing. Hence, launching an action carries no fault.

Why is the focal player not blamed for an action that injures the other player? In Transformed L1, lines one and two become partial Gen, the tiger’s tail. The focal player’s action appears to add energy to the tail. Although it causes discomfort, it seems to strengthen the other player. The host mistakes the creature for part of its own energy and accepts it. The focal player gives up its bottom yang line, disguises itself as Gen’s energy, and wins trust. Only then can it enter the other player’s domain and later feed. This initial sacrifice is the price described in the opening statement.

Transformed L1 shows successful disguise; Hidden L1 shows parasitic activity escaping notice. Together they depict the parasite climbing onto the tail and preparing to feed. The first line establishes the relationship on which the later action depends.