#Doing the Thinker archetype

[stiwfssr]

[n4rval]

FUN VALUE 62: The Eccentric Genius

Isn't it odd how firsts are seconds? As in, should we consider the order of exposure by FUN value or follower number? Though I suppose goners are not meant to be linear at all. This is why all of the Followers reiterate that central piece of the story, yet, each of them offer an unique perspective that helps us piece together not only Dr. W.D. Gaster's current condition, but who he is as a character.

No, there is no typical way to look at a character who defies the very notion of a written script. To be atypical among the already strange, to fit right in yet feel so obviously alien, the sole lump of hard coal among shiny gems.

It makes sense why ASGORE took so long to hire a new Royal Scientist.

After all, the old one... Dr. Gaster. What an act to follow!

They say he created the CORE.

Coal that burns the most effectively and brings light to all around him, in more ways than one. Impossible only until someone steps forward and makes it possible, to pursue the most absurd of ideas and be stared at with either unease or awe, to make it an act to follow.

From the occasional inconvenient property damage, the unecessarily bulky gadget that looks like it came straight out of a cartoon ...

... to the grand opening speech nobody got a single word of but applauded for the flashy lights anyway.

However, his life... Was cut short.

One day, he fell into his creation, and...

Will Alphys end up the same way?

This bit can be particularly misleading at first glance, alluding to the idea of an accident or, possibly, a suicide of sorts. We already know how this bit played out, however, the mention of either instance is purposeful in a way the ideas complement each other.

To be special is to be strange, and loneliness is often the price of brilliance. It can be difficult to escape feelings of alienation when people seem to get along so naturally without having to make a conscious effort to understand and be understood. This parallel with Alphys isn't only due to their shared position, but the taxing demand for excellence that comes with it in exchange for belonging.

It wouldn't be a absurd to speculate that, possibly, Alphys would one day have a manic episode that would both be her greatest stunt and her last breath in this earth. Ah, but this is where they deviate, isn't it?

Beloved Dr. Wacky Dingus, too in love with life to leave it, yet never satisfied not to risk it - who continues to offer mystery and wonder, once through light, now through dark.

[arijackz]

PICK A CARD: How You Hypnotize

❤︎ "People are afraid, very much afraid of those who know themselves. They have a certain power, a certain aura and a certain magnetism." - Rajneesh

Disclaimer: This is a general reading, take what resonates. This is a gender-neutral reading, change any pronouns to apply to you.

p1 → p2 ↙︎ p3 → p4

✿ Pile One (5oW, Strength, 8oC, Judgement)

Do you have Mula (Sagittarius), Magha (Leo), or Ashwini (Aries) placements? You’re giving off some serious last-one-standing energy. Mula is particularly known for its ability to defy all odds, taking down a “beast” that seems far stronger through wit and quick resolve. It embodies the Belle archetype—well-read, gentle, and kind—able to reign in even the most formidable challenges. This energy suggests a remarkable strength in navigating difficult situations, using intelligence and empathy to emerge victorious.

Life has tried you, pushed you to the brink, and dangled you over a cliff. All while a crowd of people whooped and hollered, rooting for your demise.

But guess what… you’re the one sitting pretty on top of a mountain while everyone else is where?… oh, AT THE BOTTOM OF THE FUCKING CLIFF!

I didn’t plan this reading to be so… boastful? But you deserve to puff your chest out, babe.

You’ve had enemies. Honestly, this isn’t common. When the average person hears about somebody having a lot of “haters” they brush it off and assume that person just has a big head. However, that’s your reality. Your energy triggers people so they consider you a threat to whatever they have going on. For some of you, this could be your own family or closest friends. 

There’s a quiet, obsessive intensity behind your eyes. The fire element is prominent in this reading, indicating a deep, aching desire to consume, burn, and clear everything in your path. While you may feel exhausted from a lifetime of battles, your soul thrives on challenges, igniting a fierce determination within you. This duality fuels your passion, pushing you to confront obstacles head-on, even when the struggle feels overwhelming. Embrace that fire; it’s not just a source of exhaustion, but also a wellspring of resilience and transformation.

🎵YOU KNOW WHEN TO HOLLLDDD ‘EM, KNOWW WHEN TO FOOLLDD ‘EMM, KNOW WHEN TO WALLKKK AWAY, KNOW WHEN TO RUUUUUNNNNNN! 🎵

Your intelligence transcends mere book smarts and common sense, creating an incredibly hypnotic aura around you. Your situational awareness allows you to navigate social dynamics effortlessly, running circles around people, and leaving them tangled in their own webs of thought. You’re scarily smart, a strategic thinker who sees layers others miss. There’s a striking contrast between your physical appearance and the cunning nature beneath the surface; you may look like a doll, seemingly delicate and innocent, but there’s a fierce and dangerous intellect at play. This duality not only captivates those around you but also keeps them guessing about your next move. You also possess incredible endurance—not just in a physical sense, but in your ability to withstand a remarkable amount of bullshit that would have caused most people to tap out long ago.

People look at you and think, “How?” How are you still standing, and how did you manage to come out on top? This aura of resilience draws some people in, compelling them to want to learn your secrets. However, not everyone’s interest is innocent; for some, it morphs into a dark obsession, pushing them to challenge your resolve and see if they can crack your thick skin. This dynamic creates a complex dance around you, where admiration and envy intertwine.

P.S. Even if you’re not Ketu dominant or a Mula native, please watch Claire Nakti’s, The “Final Girl” Astrological placement research video, you will definitely resonate. If you comment, tell them AriJackz from Tumblr sent you!

Okay bye, MUAH 💋

✿ Pile Two (Knight of Pentacles, 2oS, Strength, 7oC (S?), The Star, Judgemental, Short, Melancholic, 4oP)

“HEART BEEN BROKE SO MANY TIIMMESSS

I DON’T KNOW WHAT TO BELIEVEEE

MAMA SAYS IT’S MY FAULLT, IT’S MY FAULLTTT

I WEAR MY HEART OF MY SLEEEEVVVEEEE!”

It’s not your fault, baby! Bitches are just greedy 🙄

This is straightforward, you’re a star! You have that undeniable je ne sais quoi, ¿Cómo se dice… “Everyone wants to be them” energy. As a multi-faceted individual, you possess countless layers that draw people in. Each aspect of your personality holds a unique appeal, making it so that there’s a piece of you that everyone desires. This captivating nature not only sets you apart but also invites beggars who benefit from being near your energy. 

You’re not consciously aware of this power and that’s what makes it great; it’s not manipulated or curated, you just are. In your younger years, you were like a fairy prancing around with a basket of love, giving away pieces of your heart to anyone who looked your way with sad little-kicked puppy eyes. 

However, the world is full of greedy hands that have no intention of giving as much as they receive. You were born with a heart of gold and encountered these all-consuming energies quite early in life, prompting you to spend your adolescence developing discernment and better judgment to avoid getting burned again. This journey has shaped you into someone who values authenticity and reciprocity, allowing you to navigate relationships with a keen awareness of what truly nurtures your spirit.

Even if you don’t feel you have anything explicitly special about you, everyone else sees that you do! In a world where many feel boring and unoriginal in their own skin, your vibrant energy can be a source of irritation for those who struggle with their own identity. Your unique shine serves as a reminder of what they lack, sparking feelings of envy or frustration.

Although, that doesn't mean they won’t play nice in your face while robbing you blind behind your back. You learned this the hard way. 

“There's an old saying in Tennessee — I know it's in Texas, probably in Tennessee — that says, fool me once, shame on — shame on you. Fool me — you can't get fooled again.” - George W. Bush

YOU DON’T PLAY. You hold your magic close to your chest and are very weary of possible leeches. This guardedness reflects your hard-won wisdom; you know how precious your energy is and are selective about who gets to share in it. THIS IS HYPNOTICCCC.

Your presence is exclusive; not just anyone gets to brush shoulders with you. This rarity makes people eager to be seen as special enough to get close to you. You have options—a variety of choices in friends, partners, lovers—and that selectivity only heightens the allure. People yearn to be among the few you hand-select to join your inner circle, hoping to share in your energy and insights. This creates a magnetic pull, as they aspire to earn a place in your life.

If you didn’t know this, I’m telling you now. Look back on your social interactions and the slick words said to you, probably people accusing you of thinking you’re the shit (you are), and you’ll see just how much of a star you are. 

P.S. Some of you are tiny little spitfires. I don’t think that’s important, but I felt inclined to mention it. If so, that adds to the allure. 5 foot nothing but your attitude is 10 feet tall.

Okay bye, MUAH 💋

✿ Pile Three (Knight of Pentacles, 2oS, Strength, 7oC (S?), The Star, Judgemental, Short, Melancholic, 4oP)

You’re a storm, baby. I know I got some Adra natives in the cleerrb!

A few days ago, my 59-year-old neighbor and I were walking around the park, it was eerily quiet- no children were playing in the field and the trees were the stillest I had ever seen. Breaking the silence, she told me about a belief in ancient Hindu folklore that on days when the sky is framed in dark, dense clouds and the winds are still- not a single gust rustling the trees- the Earth is waiting with weighted breath for the outcome of a long-withstanding battle against good and evil.

She said that when I woke up the next morning, to check the news and see if a famous politician or some powerful person behind the scenes had died- thus being defeated. I checked; a few notable names had passed but the stand-out thing that happened was a vision I saw in a dream where an ex-friend sent me a letter in the mail admitting to some harmful actions I had growing suspicions about. This finally put my mind at ease and reaffirmed my gut intuition. 

I don’t know how to say this without sounding so… metaphorical/poetic, but you’re the person divine consciousness sends to represent the light’s grand victory. You are the embodiment of a prevailing soul. With all ten swords in your back, you’ll get up again and again. 

You’re not sent to the world as the Universe’s sparkling trophy because of luck; no, you’re highly regarded because you walked the same path, you’re no stranger to going to war and coming out with more than a few bumps and scrapes. 

This is not a flashy victory. Not like in the movies where you get ganged up on by bullies, pull out karate moves, whoop some ass, and come out looking like an underdog. This war consists of consecutive, painstaking setbacks and challenges slowly chipping away at your character, leaving behind a shell of a person for you to pick the pieces up and rebuild stronger. It’s a series of quiet battles fought within, where the scars aren’t always visible but the growth is profound. Every moment of doubt, every instance of perseverance, shapes you in ways that aren’t always glamorous but are deeply transformative.

You have scars that manifest as art, each one a mark of survival. Artistic souls look at you and see a single tree still standing after a hellish storm—roots deep in resilience, branches reaching for the light. Each scar is a testament to your journey, a story etched into your skin, reminding the world that even after the fiercest winds, life is reborn with greater tenacity to endure and thrive. 

You carry a thick atmosphere with you, whenever you’re coming the Earth seems to hold its breath to await you. You’re not abrasive or stand-offish, conversely, you’re quite soft, well-balanced, and can even be romantic at times. But that only emphasizes the sharp, heaviness of your presence. 

Yea, we all go through shit but do we all come out the other end with an open heart and willingness to live life optimistically? Fuck no 😭😭.

Somehow... you do and that’s hypnotic as fuck, my love! It’s like, hOW?! Even if people didn’t see the wars you fought, your backbone poses itself like a warrior’s. The way you carry yourself speaks volumes; it imprints on the minds of others far more than words ever could. Your presence is magnetic, a silent testament to your strength and resilience. Talking is just the bare bones of communication; it’s your spirit, your aura, that truly captivates. 

LMAO you’re the type to say less than five words to someone and they’re running back to their friends telling them you’re different from everyone else.

P.S. Your key to bagging anyone you want is your eyes, learn to flirt with your eyes. 

Okay bye, MUAH 💋

✿ Pile Four (The Emperor, Ace of Wands, 3oS, Judgement, The Fool, courageous, Spiritual, Observant, Self-assured, Thirsty, Aimless)

Hmmm, you’re a playboy, stay far away from my easily attached heart, DEMON 🫵.

I’M PLAYING. But for real, you knew the answer to this question before you chose the pile LMFAO.

You’re just plain sexy! That’s it! You’re vivacious and a smooth talker; you like to razzle dazzle your way into people’s minds where your imprint overstays its welcome, making them sick with their lack of permanent access to you.

You’re a social butterfly, flying from person to person, pollinating them with the attention they yearn for, and then flying off to the next adventure, leaving them dizzy with the need to catch and keep you in a cutely decorated mason jar with poked holes up top. Of course, this would kill you, so stay how you are, beautiful!

This might be a bit explicit, but you have a unique way of stirring people’s desires. You don’t need to be overtly sexual; it’s your rare lack of fear of rejection that draws people in. At least, that’s how others see it. In a social world laced with fear, you seem to have an optimistic mentality where, “Every shot you don’t take, you miss.” So you are one of the few humans who aren’t riddled with worries about how you’re perceived and people’s judgments of your character. What is rare is wildly hypnotic.

People thirst over you, like foaming-at-the-mouth rabid dog ARFF ARFF BARK BARK type of thirst… in silence. You are actually way too intimidating to approach. Male or female, socially, people perceive you as high quality and assume you get a lot of attention that the everyday person can not compete with, so they only daydream from afar. 

You’re arm candy. Throughout writing this I pictured famous videos of celebrities like Angelina Jolie, Jhene Aiko, and Chris Evans seducing and unnerving the interviewer through subtle actions. Like the other piles, your aura is the dominant communicator and it doesn’t take much for you to get a mf barking. 

People fear you’ll break their hearts, but funnily enough, you’ve entertained one or two losers in the past and left relationships with a few scars and stories you have to sniffle through to tell. But that’s okay; those experiences teach us how to discern who deserves to be in our lives and who doesn’t. You only let them in because you try not to discriminate, and truly just have a deep passion for connection with anyone and everyone you encounter. Never change, you’re the flame the rest of us moths flock to.

P.S. Discernment and trusting your judgment is a lifelong study; don’t beat yourself if someone who you thought had your best interest at heart, doesn’t in reality. Count that towards your research, dust yourself off, and try again. You’re too brave to let a liar stop your ability to enjoy human company. 

Okay bye, MUAH 💋

[sludgeguzzler]

finished disco elysium last night

[lactoseintolerentswag]

Rise Characterizations Pt. 3!!!

Now that Leo and Raph are done, it's Donnie's turn for character analysis as a writing reference. So without further ado,

Donnie Character Notes

Language Habits:

Straight up talks like a redditor who hasn't touched enough grass (affectionate)

Oscillates between very scientific paper polished, sometimes adding a dazzle of shakespearean for dramatics, or abbreviations/a shorter version of a word with a more fun connotation (i.e. "brekkie" instead of breakfast)

Uses food as surprised exclamations or curses, "oh my peaches and cream", "banana pancakes!"

Emphasizes each syllable of a long word when he's excited or trying to make a point. Conquered becomes con-qu-ered

Either exaggerates his speech or speaks in deadpan

The science terms he uses as battle cries aren't chosen at random, but rather are related to the action/subject at hand, i.e. yelling "fibonacci" when throwing his spinning tech-bo

Will overly describe an item or a situation, and often gets caught up in these observations before processing what just happened

Will repeatedly yell "help!" when he's distressed and/or outnumbered

Refers to Mikey as "Michael"

Refers to his brothers as "brethren" or "gentlemen"

Refers to splinter as either "father", "papa", or "dad" depending on the weight of the situation

Refers to his tech as his "babies"

Answers the phone with, "You're conversing with Donatello"

Uses "gesundheit" instead of bless you

Personality:

The fixer, he supplies the family with tech and resources. He always has a trinket made for the situation at hand and/or offers his knowledge/data collected. He's always prepared to help. Even with outside resources, he likes to feel useful in solving their problems (i.e., building Todd that dog park)

The theater kid, in a similar vein to leo, Donnie has his own style of dramatics. He often uses shakespeare-like language, is mentioned to regularly recite the jupiter jim musical soundtrack, and has a music mode for his battle shell. He belongs on a stage, or at least thinks he does

Not good at lying, despite the glamour he can put on in the spotlight. This may be due to the side of himself that over explains his thoughts

An over-thinker, who really tends to over-complicate things. His first theory or idea will always be the most extreme buck-wild concept. After some filtering, he still word vomits

A dreamer/big idea guy. He does have big ideas and goals. A lot of these he's able to put into place, although some go a little haywire (see Albearto). He doesn't do things in halves, and puts everything into a project

Meticulous, someone who's very detail oriented. As mentioned before he tends to over-complicates things. This may be impacted by his love for data and collecting information (he does record Everything for a reason)

Always on the edge of violence, which is surprising. Donnie's not known as being the angry archetype of tmnt, but he can get a little violent in his fighting style and does often cite his desire to use lethal force

Low empathy, which is mainly due to his issues processing and recognizing emotions. He's been pegged as unemotional, but in canon he's rather emotional and expressionate, just lacking the skills to process such emotion (he's just like me fr)

Praise motivated, as seen with his interactions with Splinter. Also desires the praise of his brothers, who he doesn't feel understand him with all the teasing that's sent towards his direction. This also pushes him to seek validation and acceptance in other groups (i.e. the purple dragons), to feel a sense of security or belonging

Ignores his own mistakes, and will often pretend like they didn't exist or ever happen. This most likely has to do with his desire for praise, so he feels bad when he fails. If he never made a mistake, he never has to feel bad

Miscellaneous:

Fourth to unlock mystic powers

Uses "Bootyyyshaker9000" as most of his usernames and passwords, with his alt. username being "Alpha-Bootyyyshaker9000"

Has a fear of bees, spiders, and of course beach balls

Breaks the fourth wall the most

Loves the smell of pineapple, hates the texture

Has a hobby of rooting around in the junkyard and dumpster diving

Uses cheat codes in video games

Mikey's next of course :)

[starsandsuch]

Aries through the houses: where are you self-made?

Aries is ruled Mars. The planet that represents our ability to be independent and self sufficient.

The Aries archetype in our charts shows where we are bold, independent and take self-initiated efforts to achieve something.

Where as Aries’ opposite sign: Libra, is how we collaborate with others to achieve something. Aries is about how we do it on our own.

———————————————————————-

Check your see where you have Aries in your chart!

*Can work for tropical or sidereal chart*

ARIES 1H: self made in terms of your lifestyle. Choosing your life path based on your own mind vs the hive mind of society. Gaining independence is a key life theme for you. Being your own person, being authentic and expressing that to the world. Developing your identity independently. You’re not influenced by the masses, you influence the masses. A leader with an independent mind.

ARIES 2H: self made with your finances. Gaining financial independence because of your own efforts. Not having anything “handed to you”, but having to create wealth on your own. Your journey leads you to being self sufficient financially.

ARIES 3H: self made with your thoughts and ideas. Having your own opinions formed from doing your own research. You don’t rely on what you’re told, but you do your own investigating and question tradition. You’re a independent thinker.

ARIES 4H: self made amongst your family. Learning how to be self sufficient at a young age. Raising yourself, being your own parent. The first in your family to go to college, achieve success, break toxic patterns, own a home etc. Independent approach to parenthood, being single parent. Owning property independently.

ARIES 5H: self made when it comes to your creativity. Expressing your creativity boldly and uniquely. Creative talents that are so authentic to you they can’t be mimicked. Instead of being influenced by others creativity, you influence other’s creativity. Pursuing passions independently and assertively.

ARIES 6H: self made in terms of your work ethic. Being extremely hardworking until you achieve your goals. Choosing to be self employed and have your own business. Becoming a leader/boss due to your own efforts. Self made with health and routine. Following your own health habits instead of society’s norm. Independently overcoming obstacles and enemies.

ARIES 7H: self made in terms of business partnerships. Defending oneself in partnerships. Setting boundaries, and maintaining them. Looking out for your own self interests in partnerships. Negotiating in a way that you always come out on top.

ARIES 8H: self made in terms of shared resources. Having enough of your own resources so that you aren’t dependent on others, but they’re dependent on you. Independent when it comes to your sexual power. Having strong boundaries s3xually. Self made approach to occult knowledge, doing your own research independently instead of accepting mainstream information.

ARIES 9H: self made in terms of your spiritual beliefs. Deciding your destiny on your own. Holding your own spiritual beliefs you discovered through self initiated efforts. Discovering knowledge on your own. Being your own “guru”. You are your own spiritual teacher. You have an independent mind that is not influenced by others.

ARIES 10H: self made with your career. Owning your own business, being self employed, being your own boss. Self-made with your reputation. Building a name for yourself from the ground up. Being a leader to others. Independently achieving your long terms goals.

ARIES 11H: self made with your goals and desires. Achieving them through your own efforts. Independently gaining success in life. Your dreams and aspirations are unique to you and your authenticity. Creating your dream life despite what is considered the mainstream for your socioeconomic status/demographic. Fulfilling your dreams on your own.

ARIES 12H: self made with your subconscious mind. Creating your own thought patterns not influenced by anyone else. Independent approach to spirituality and interacting with the spiritual world. Implementing your own spiritual practices without a guru. Your psyche is your own creation, you’re not easily brainwashed or psychologically manipulated.

-starsandsuch✌️💕

[frailsituation]

Tips to write a unique, multi-layered antagonist

1. Let them embody the theme

• Instead of just making your antagonist oppose the protagonist—make them challenge the core theme of your story

• How? Align their goals and actions with the story’s deeper meaning. They should feel like a necessary force, not just an obstacle.

• Example: In a story about freedom, the antagonist believes chaos is the price of liberty, forcing the hero to balance order and individuality.

2. Flip the classic antagonist roles

• Subvert common archetypes to keep readers guessing. Take a role that’s traditionally a “heroic” one and twist it.

• How? Make a healer who turns people into devoted zealots or a charismatic leader who rules with subtle manipulation.

• Example: A priestess sacrifices morality for the “greater good,” believing her dark deeds will save the world.

3. Give them creative limitations

• Unique antagonists aren’t all-powerful. Their flaws or restrictions should make them more compelling, not weaker.

• How? Build their power on a fragile foundation—a ticking clock, a dangerous ally, or an emotional blind spot.

• Example: The antagonist must steal memories to survive, but in doing so, they slowly forget who they are.

4. Make them disrupt the protagonist’s world

• A brilliant antagonist challenges not just the hero’s goals but their entire worldview.

• How? Have their actions or beliefs directly unravel something the protagonist holds sacred.

• Example: The antagonist reveals a hidden truth about the protagonist’s family, forcing them to reevaluate their loyalty.

5. Let them change the rules of the story

• A unique antagonist reshapes the story’s structure or tone just by existing. Their influence changes how the plot unfolds.

• How? Give them a method or ability that bends the rules of your fictional world in a way no one else can.

• Example: The antagonist can rewrite reality with each encounter, leaving the protagonist questioning what’s real.

6. Tie their motives to something unusual

• Go beyond revenge or greed. Let their motivations stem from a bizarre, haunting, or poetic source.

• How? Draw from abstract concepts like time, memory, or legacy for a truly unique drive.

• Example: The antagonist seeks to destroy art because they believe beauty traps people in the past.

7. Break the power dynamic

• Don’t just pit a strong antagonist against a strong protagonist. Experiment with how their power and influence compare.

• How? Make the antagonist physically weaker but intellectually unmatched—or socially untouchable but emotionally vulnerable.

• Example: The antagonist is a powerless figure in exile, but they manipulate others into doing their bidding.

8. Make their downfall a seed for something new

• A unique antagonist’s defeat should feel like a beginning, not just an end. Their legacy should echo long after they’re gone.

• How? Tie their vision to the protagonist’s final decision or the story’s resolution in a meaningful way.

• Example: After their defeat, the antagonist’s ideas inspire a new generation of thinkers who reshape society in unexpected ways.

Follow for more!

[literaryvein-reblogs]

Hey, I wanted to ask, do you have any tips for numbers and their meanings, For example: what does the number 5 represent?

Writing Notes: Symbolism of Numbers

In symbolism, numbers are not merely the expressions of quantities, but idea-forces, each with a particular character of its own.

The actual digits are, as it were, only the outer garments.

All numbers are derived from the number one (which is equivalent to the mystic, nonmanifest point of no magnitude).

The farther a number is from unity, the more deeply it is involved in matter, in the involutive process, in the“world.”

The first 10 numbers in the Greek system (or twelve in the oriental tradition) pertain to the spirit: they are entities, archetypes and symbols.

The rest are the product of combinations of these basic numbers.

Below are the most generally accepted symbolic meanings of each number.

ZERO

Non-being, mysteriously connected with unity as its opposite and its reflection; it is symbolic of the latent and potential and is the “Orphic Egg.”

From the viewpoint of man in existence, it symbolizes death as the state in which the life-forces are transformed.

Because of its circular form, it signifies eternity.

ONE

Symbolic of being and of the revelation to men of the spiritual essence.

The active principle which, broken into fragments, gives rise to multiplicity, and is to be equated with the mystic Centre, the Irradiating Point and the Supreme Power.

Stands for spiritual unity—the common basis among all beings.

Guénon draws a distinction between unity and one, after the Islamic mystic thinkers: unity differs from one in that it is absolute and complete in itself, admitting neither two nor dualism.

Hence, unity is the symbol of divinity.

Is also equated with light.

TWO

Stands for echo, reflection, conflict and counterpoise or contraposition; or the momentary stillness of forces in equilibrium; it also corresponds to the passage of time—the line which goes from behind forward; it is expressed geometrically by two points, two lines or an angle.

It is also symbolic of the first nucleus of matter, of nature in opposition to the creator, of the moon as opposed to the sun.

In all esoteric thought, two is regarded as ominous: it connotes shadow and the bisexuality of all things, or dualism (represented by the basic myth of the Gemini) in the sense of the connecting-link between the immortal and the mortal, or of the unvarying and the varying.

Within the mystic symbolism of landscape in megalithic culture, two is associated with the mandorla-shaped mountain, the focal point of symbolic Inversion, forming the crucible of life and comprising the two opposite poles of good and evil, life and death.

THREE

Symbolizes spiritual synthesis, and is the formula for the creation of each of the worlds.

Represents the solution of the conflict posed by dualism.

Forms a half-circle comprising: birth, zenith and descent.

Geometrically it is expressed by three points and by the triangle.

The harmonic product of the action of unity upon duality.

The number concerned with basic principles, and expresses sufficiency, or the growth of unity within itself.

Associated with the concepts of heaven and the Trinity.

FOUR

Symbolic of the earth, of terrestrial space, of the human situation, of the external, natural limits of the “minimum” awareness of totality, and, finally, of rational organization.

Equated with the square and the cube, and the cross representing the four seasons and the points of the compass.

A great many material and spiritual forms are modelled after the quaternary.

The number associated with tangible achievement and with the Elements.

In mystic thought, it represents the tetramorphs.

FIVE

Symbolic of Man, health and love, and of the quintessence acting upon matter.

Comprises the four limbs of the body plus the head which controls them, and likewise the four fingers plus the thumb and the four cardinal points together with the centre.

The hieros gamos is signified by the number five, since it represents the union of the principle of heaven (three) with that of the Magna Mater (two).

Geometrically, it is the pentagram, or the five-pointed star.

Corresponds to pentagonal symmetry, a common characteristic of organic nature, to the golden section (as noted by the Pythagoreans), and to the five senses representing the five “forms” of matter.

SIX

Symbolic of ambivalence and equilibrium, six comprises the union of the two triangles (of fire and water) and hence signifies the human soul.

The Greeks regarded it as a symbol of the hermaphrodite.

It corresponds to the six Directions of Space (two for each dimension), and to the cessation of movement (since the Creation took six days).

Hence it is associated with trial and effort.

Shown to be related to virginity, and to the scales.

SEVEN

Symbolic of perfect order, a complete period or cycle.

Comprises the union of the ternary and the quaternary, and hence it is endowed with exceptional value.

Corresponds to the seven Directions of Space (that is, the six existential dimensions plus the centre), to the seven-pointed star, to the reconciliation of the square with the triangle by superimposing the latter upon the former (as the sky over the earth) or by inscribing it within.

It is the number forming the basic series of musical notes, of colours and of the planetary spheres, as well as of the gods corresponding to them; and also of the capital sins and their opposing virtues.

Corresponds to the three-dimensional cross.

The symbol of pain.

EIGHT

The octonary, related to two squares or the octagon, is the intermediate form between the square (or the terrestrial order) and the circle (the eternal order) and is, in consequence, a symbol of regeneration.

By virtue of its shape, the numeral is associated with the two interlacing serpents of the caduceus, signifying the balancing out of opposing forces or the equivalence of the spiritual power to the natural.

It also symbolizes—again because of its shape—the eternally spiralling movement of the heavens (shown also by the double sigmoid line—the sign of the infinite).

Because of its implications of regeneration, eight was in the Middle Ages an emblem of the waters of baptism.

Corresponds in mediaeval mystic cosmogony to the fixed stars of the firmament, denoting that the planetary influences have been overcome.

NINE

The triangle of the ternary, and the triplication of the triple.

It is therefore a complete image of the three worlds.

The end-limit of the numerical series before its return to unity.

For the Hebrews, it was the symbol of truth, being characterized by the fact that when multiplied it reproduces itself (in mystic addition).

In medicinal rites, it is the symbolic number par excellence, for it represents triple synthesis, that is, the disposition on each plane of the corporal, the intellectual and the spiritual.

TEN

Symbolic, in decimal systems, of the return to unity.

In the Tetractys (whose triangle of points—four, three, two, one—adds up to ten) it is related to four.

Symbolic also of spiritual achievement, as well as of unity in its function as an even (or ambivalent) number or as the beginning of a new, multiple series.

According to some theories, ten symbolizes the totality of the universe—both metaphysical and material—since it raises all things to unity.

From ancient oriental thought through the Pythagorean school and right up to St. Jerome, it was known as the number of perfection.

ELEVEN

Symbolic of transition, excess and peril and of conflict and martyrdom.

According to Schneider, there is an infernal character about it: since it is in excess of the number of perfection—ten—it therefore stands for incontinence; but at the same time it corresponds, like two, to the mandorla-shaped mountain, to the focal point of symbolic Inversion and antithesis, because it is made up of one plus one (comparable in a way with two).

TWELVE

Symbolic of cosmic order and salvation.

It corresponds to the number of the signs of the Zodiac, and is the basis of all dodecanary groups.

Linked to it are the notions of space and time, and the wheel or circle.

THIRTEEN

Symbolic of death and birth, of beginning afresh.

Hence it has unfavourable implications.

FOURTEEN

Stands for fusion and organization.

And for justice and temperance.

FIFTEEN

Markedly erotic.

Associated with the devil.

OTHER NUMBERS

Tarot

Each of the numbers from sixteen to twenty-two is related to the corresponding card of the Tarot pack; and sometimes the meaning is derived from the fusion of the symbols of the units composing it.

There are two ways in which this fusion may occur: either by mystic addition (for example, 374 = 3 + 7 + 4 = 14 = 1 + 4 = 5) or by succession, in which case the right-hand digit expresses the outcome of a situation denoted by the left-hand number (so 21 expresses the reduction of a conflict—two—to its solution—unity).

These numbers also possess certain meanings drawn from traditional sources and remote from their intrinsic symbolism:

24, for example, is the sacred number in Sankhya philosophy, and

50 is very common in Greek mythology—there were fifty Danaides, fifty Argonauts, fifty sons of Priam and of Aegyptus, for example as a symbol, we would suggest, of that powerful quality of the erotic and human which is so typical of Hellenic myths.

Repetition

The repetition of a given number stresses its quantitative power but detracts from its spiritual dignity.

So, for example, 666 was the number of the Beast because 6 was regarded as inferior to seven.

Contained within a multiple

When several kinds of symbolic meaning are contained within a multiple number, the symbolism of that number is accordingly enriched and strengthened.

Thus, 144 was considered very favourable because its sum was 9 (1 + 4 + 4) and because it comprises multiples of 10 and 4 plus the quaternary itself.

Lastly: Dante, in the Divine Comedy, has frequent recourse to the symbolism of numbers.

Sources: 1 2 3

More: On Symbolism

Hope this helps, would love to read your writing if it does!

[yamayuandadu]

From Shinoda Myōjin to Sakaki no Mae: the history of Kuzunoha (and a few others)

Abeno by Shūhō Yamakawa (public domain; via wikimedia commons)

A few months ago I asked a more or less representative group of potential readers how familiar they are with Kuzunoha. Save for a single tongue in check response, "that's the Devil Summoner guy with the sideburns, right", the results were fairly uniform: most people are aware that she is a fox and the mother of Abe no Seimei - but not much beyond that. 

Kuzunoha is simultaneously probably the single most famous Abe no Seimei-adjacent literary character today, overshadowing even actual historical figures. She arguably changed the Abe no Seimei “canon” in a way few other works did. Even with the “onmyōdō boom” still in full swing in modern popculture, many characters from earlier Seimei tradition remain obscure - but Kuzunoha is arguably equally as famous as her son.

This prominence lead to a variety of misconceptions, most notably to viewing the story according to which Seimei was the son of a fox as considerably older and more integral to his fame than in reality. In particularly disreputable online sources you might even see it being presented as THE fox romance story, an archetype example from the dawn of history of Japanese literature. However, despite stories about foxes and onmyōji both being a mainstay of popular entertainment through the middle ages already, Kuzunoha was only invented in the Edo period - and in the case of most of the major developments pertaining to her we can pinpoint the exact sources. 

Read on to find out how the story of Kuzunoha arose and changed through the Edo period, whether the character was always known under this name, what she had to do with Kamo no Yasunori, and more. An excursus will also introduce you to the works and life of Kamo no Yasunori no musume, possibly the most unique thinker of the Heian period. That’s not all you will be able to learn, though.The second half of the article goes beyond Kuzunoha, and introduces a selection of other characters from broadly understood Seimei literature - from Seimei’s wife to an immortal Chinese disciple of the bodhisattva Monju. It was initially intended as a standalone sequel, but I figured it would be preferable to publish both halves in one go. Is listening to gossip a form of divination? How many bones do you need to resurrect a person? What do eclipses have to do with board games? Answers to all these questions - and more - await under the cut!

Before Kuzunoha: introductory notes on foxes in medieval and early modern Japan

Before discussing the development of the story of Kuzunoha, it’s necessary to briefly summarize the history of foxes in Japanese literature. It arguably starts with one of the earliest Japanese chronicles, the Nihon Shoki (720). However, foxes only really appear there as omens. The relevant entries are very brief and essentially boil down to reporting an unusual (for example albinistic) fox was sighted somewhere, or alternatively that a regular fox acted in an unusual way. It’s hard to really call them “stories”. They also don’t really indicate that foxes were regarded as shapeshifters just yet, in contrast with contemporary Chinese sources. The oldest example of a Japanese story involving a fox shapeshifting into a woman - arguably the most famous and widespread subgenre of ���fox literature” - appears in the setsuwa collection Nihon Ryōiki (日本霊異記), dated to the early ninth century. This motif, like many other stock elements of fox tales, originates in China. Due to space constraints it is not possible to discuss the development of this genre on the mainland, but it will suffice to say that the literary image of foxes was already fairly solid by the Tang period. A good example of a classic Chinese fox story of a similar sort as the Nihon Ryōiki one is The Tale of Miss Ren from the late eighth century. In both cases, the disguise eventually comes undone, and the true identity of the fox character comes to light, which forces her to leave her human life behind. This remained a mainstay in later periods.

An illustration from Tamamizu Monogatari (Kyoto University Rare Materials Digital Archive; reproduced here for educational purposes only)

The importance of foxes in Japanese literature grew considerably in the “middle ages”, the Kamakura and Muromachi periods. The popularity of stories about animals acting like humans in general increased, in no small part due to the growth of new ideas about the nature of enlightenment. The Tendai school of esoteric Buddhism advanced the view that every living being possessed an innate Buddha nature, and could thus attain enlightenment. A good example of a medieval fox story is Tamamizu Monogatari. It combines elements already present in these discussed earlier, though they are reconfigured in unexpected ways; furthermore, the eponymous fox character’s religious considerations are a fairly major part of the plot.  It is worth noting that the story of Tamamo no Mae, Kuzunoha’s main competitor for the title of most famous fox character in the history of Japanese literature, first developed in the middle ages too. However, it is somewhat unconventional in that the original story is just a really weird twist on Sutra of Humane Kings - the fox theming is ultimately somewhat superficial.

The newfound popularity of fox tales never really declined afterwards, and many new ones arose through the Edo period in a variety of mediums, including but not limited to novels, puppet plays and kabuki. The old material was often reinterpreted in new, unexpected ways to suit the evolving taste of the audience. This is the environment in which Kuzunoha arose.

The evolution of Kuzunoha, from Hoki-shō to kabuki

The oldest prototype of Kuzunoha appears in the Hoki-shō (簠簋抄; “The ritual containers, annotated”), an early seventeenth century commentary on one of the most famous medieval religious treatises, Sangoku Sōden Onmyō Kankatsu Hoki Naiden Kin’u Gyokuto Shū (三國相傳陰陽輨轄簠簋内伝金烏玉兎集, “The Book of the Gold Crow and the Jade Rabbit, Secret and Exposed, of the Round Vessel and the Square Vessel, the Wheel and the Wedge, the Yin and the Yang, Transmitted Through the Three Countries” - the title is basically a long enumeration of various dualities representing yin and yang; as you will soon see, various fictional tomes present in stories about Seimei reference it) or Hoki Naiden (簠簋内伝) for short. Its compiler (or compilers) collected multiple, often contradictory, tales about the source of Abe no Seimei’s supposed supernatural powers - many of which were seemingly adaptations of completely unrelated folk tales.

One of them states that Seimei’s mother wasn’t a human, but donned a human guise before giving birth to him. At the age of three Seimei was abandoned by her, but as a parting gift he received a poem explaining that he will be able to meet her in the Shinoda forest in the Izumi province. Many years later, Seimei recalled the poem and decided to travel there to pray at a local shrine. Its deity, known simply as Shinoda Myōjin (信太明神; Myōjin, “bright deity”, is a common historical title of local deities, cf. the likes of Shinra Myōjin or Sekizan Myōjin), appeared to him in the form of an old fox, and told him she is his mother. It’s not Seimei’s only “origin story” collected in this volume, though - elsewhere it states that he was a being from the Dragon Palace (龍宮, Ryūgū). This seemingly didn’t catch on, and we have yet to see a modern work bold enough to make him some sort of fishman.

Hoki-shō does not explain why Seimei’s mother left him, but another likely contemporary collection of short tales, Tsuki no Karumo Shū (“Seaweed gathered in the moonlight”), provides a hint: here Seimei’s mother composes the poem and leaves because his father cheated on her. She is later encountered first by her ex, and then by Seimei, in the Shinoda forest, in both cases taking the form of a fox, much like in the Hoki-shō. She also provides her son with a jewel which lets him understand animals - an item which also appears in other legends about him, though not necessarily in the same context. Curiously, outside of this supernatural episode, this work generally follows historical information about Seimei. It correctly relays that his father was a low ranking court official and that he studied under the famous onmyōji Kamo no Yasunori.

A breakthrough in the history of Kuzunoha occurred with the publication of Ryōi Asai’s Abe no Seimei Monogatari (安倍晴明物語; “The story of Abe no Seimei) in 1662. Various disconnected legends collected in the Hoki-shō and similar sources came to be forged into a single narrative for the first time ever, which turned out to be a successful approach. Seimei, while never really forgotten, became a favorite of Edo period audiences, and a “Seimei boom” of sorts occurred, with numerous new works focused on his life and exploits being published.

Young Seimei meeting Otohime, as described in Abe no Seimei Monogatari(public domain, via National Archives of Japan Digital Archive; all illustrations from this novel included in this article have been sourced from these scans; another set can be found on the website of the Waseda University Library)

It would be unfair to say that Abe no Seimei Monogatari is just a direct adaptation of Hoki-shō, though. It is an innovative work in many ways, and in some cases rewrites completely unrelated legends with Seimei as the protagonist. For instance, Seimei at one point visits the dragon palace to help Otohime in what is obviously a novel twist on the tale of Urashima Tarō (though it might very well be an echo of his second origin story from the Hoki-shō) - just without any of the repercussions for the protagonist. Seimei was, presumably, built different, to put it colloquially.

Innovations are also present in the section of the story dealing with Seimei’s mother. In contrast with the sources discussed above, Abe no Seimei Monogatari also provides his father with a name - Abe no Yasuna (安倍保名). He is introduced as a farmer living in Abeno, a village near the Shinoda forest (in earlier legends Seimei was said to hail from Nekoshima, located near Hitachi). The reason why the mother leaves is curiously not provided. The novel simply states that one summer day she abandoned her family - and that’s really it for her relevance. 

It is not certain if Abe no Seimei Monogatari was a direct influence on the next major work dealing with Seimei's origin, the 1674 puppet play Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō (しのだづまつりぎつね并あべ晴明出生; “The Shinoda wife, fox trapping and the birth of Abe no Seimei”). While such a connection is not impossible, it might have alternatively depended on a now lost sekkyōbushi (説経節), a type of Buddhist ballad accompanied by shamisen and puppet performances. However, no direct evidence for the story of Kuzunoha ever being adapted in such a form exists.

Regardless of whether there is a connection or not, the play does follow Abe no Seimei Monogatari when it comes to the identity of the eponymous character’s father. It additionally establishes that Yasuna owns the mystic tome Hoki Naiden, here described as a family heirloom passed down since the times of Abe no Nakamaro (more on him later). Most importantly for the topic of this article, many new details regarding the marriage of Seimei’s parents emerge here for the first time.

Actor Nakayama Bun'emon as Ishikawa Akuemon (ukiyo-e.org; reproduced here for educational purposes only)

A new character shows up in the relevant part of the story, Ishikawa Akuemon (石川悪右衛門), a brother of Dōman, Seimei’s rival from Abe no Seimei Monogatari and a variety of other sources. While Dōman is most likely based on a historical person (though one with no real relation to Seimei - more on that in a sec), Akuemon is entirely fictional. Through Dōman’s influence he received a government post near the Shinoda forest. His modus operandi is to obtain the liver of a white fox, since his brother told him it can be used to heal his ailing wife. Yasuna encounters him during a hunt, and saves a fox from him. This leads to a fight in which he almost ends up killed, until another fox intervenes. By disguising himself as a priest serving in Akuemon’s family temple he tricks him into sparing Yasuna’s life.

Some time later, Yasuna saves a woman from drowning, and subsequently marries her. He has no choice but to live with her in the Shinoda forest, since through a complex string of events resulting from Akuemon killing his father Abe no Yasuaki (安倍泰明) he had to kill him (and is effectively an outlaw, as I understand). He and the woman eventually have a son.

When the son - who is, obviously, Abe no Seimei - is seven years old, his mother accidentally reveals to him that she is a fox who took human form. She becomes so enchanted by blooming chrysanthemums that she loses grasp of her disguise. Kid Seimei is horrified by this revelation, and his mother decides she has to leave. She leaves a letter for him in which she expresses her sadness about this turn of events, and another for Yasuna, in which she reveals that she was the fox he saved, and that everything that happened between them since was an elaborate way to repay that favor.

It might be worth noting that the idea that foxes were particularly fond of chrysanthemums was a well established trope. It goes back to a poem by Bai Juyi, who in turn influenced a host of classic Japanese poets, including but not limited to Miyako no Yoshika, Ki no Haseo, Shimada no Tadaomi, Ono no Takamura and Sugawara no Michizane. By the Edo period, it was essentially common knowledge, so the scene was less surprising to contemporary audiences than it might be for us.

Despite all of the innovations in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, its author felt no need to provide Yasuna’s wife with a name. That wasn’t exactly unique, though it’s worth stressing once again that the first version of this character from Hoki-shō for all intents and purposes did have a name, Shinoda Myōjin.

The name Kuzunoha appears for the first time in the kabuki play Shinodazuma (信太妻) from 1699. However, its origin lies in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō. A poem in the letter Seimei receives from his mother in it ends with the line “the kudzu leaves whose backs are visible” - urami kuzunoha (うらみ葛の葉). This phrase appears fairly common in waka poems. Here it serves as a wordplay - hiragana is utilized because depending on the kanji used, urami can refer not just to the underside of a leaf (裏見) but also to bitterness or resentment (怨み or 恨み). According to Cody M. Poulton, the poem actually originates in a story unrelated to Seimei which circulated in the Izumi province. Its protagonist is a hunter who saves a wounded fox, who then takes the form of a woman and marries him; the similarities are otherwise very vague, as no onmyōdo elements are involved, and the fox commits suicide in the end, after leaving behind the poem.

Naming Kuzunoha was not the only innovation of Shinodazuma. It also makes Akuemon the central villain, eliminating Dōman altogether. His villainy reaches truly cartoony heights - before starting the fox hunt already present in the earlier play he actually tries to pressure a priest at a shrine whose kami uses these animals as messengers to procure a white specimen for him.

Some more focus is given to his wife. In the earlier play, not much is said about her other than that she is sick and Akuemon is convinced he knows how to remedy that. She doesn’t even receive a name. In Shinodazuma she is called Satsuki no Mae. Furthermore, we learn that she secretly hates her husband and is only feigning an illness to avoid him. Her real love is a certain Mitani no Zenji, a retainer of Abe no Yasuna. This character already appears in a very minor role in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, but there he is a retainer of Yasuna’s father, not Yasuna himself.

Zenji’s relevance doesn’t end there. Kuzunoha is actually saved by him, not by Yasuna. However, the conventional romance nonetheless happens, though with a twist. Kuzunoha must reveal her true form because Yasuna has an evil younger brother, Dakaku no Suke, who shows up near the end to  try to force Kuzunoha to have sex with him. To achieve that he threatens that he will kill kid Seimei. In response, his mother reveals that she is a fox, and flees. Kuzunoha returns one last time in the final scene of the play after Seimei manages to find her in the Shinoda forest with the help of another new character, a cook named Kisuke. This role was apparently added entirely to accommodate the comedic actor Yamatoya Jinbei II (大和屋甚兵衛).

Elements of Shinodazuma and its earlier partial namesake were both incorporated into yet another play, Shinoda no Mori Onna Urakata (“Female Diviner in the Shinoda Forest”), which in turn influenced the single most famous portrayal of Kuzunoha, commonly referred to simply as, nomen omen, Kuzunoha. It dates to 1734, and was originally the fourth act of a five act play, Ashiya Dōman Ōuchi Kagami (芦屋道満大内鑑; “A Courtly Mirror of Ashiya Dōman”) by Izumo Takeda (竹田出雲) II. However, the full version is rarely performed today.  As you can probably guess from the title, Ashiya Dōman Ōuchi Kagami puts Dōman, here also referred to as Ashiya no Hyōe Michitaru (芦屋兵衛道満), back into the spotlight, reversing the trend of making Akuemon more prominent. The plot is essentially a succession struggle between him and Abe no Yasuna, with a variety of unexpected twists. Both of them are portrayed as students of Kamo no Yasunori (here written as 加茂保憲 instead of the expected 賀茂保憲), who passes away prematurely without designating an heir from among his disciples. This is quite troublesome, not least because the legitimate heir will gain control over the mystical tome Kin’u Gyokuto Shū (金鳥玉兎集), which originally belonged to a Chinese sage named Hakudō (this is not the last time you’ll see him in this article) before being passed down to Yasunori. Various factions in the court aim to secure control over it to effectively control the country with the mystical divinatory knowledge contained within.

Sakaki no Mae (Minneapolis Institute of Art; reproduced here for educational purposes only)

While most characters are unaware of this, Yasunori intended to have his adopted daughter Sakaki no Mae (榊の前) marry Yasuna, and to give him Kin’u Gyokuto Shū. However, as he failed to do so in time, and only provided his daughter with a key to the secret spot where the book is hidden, a plot is set in motion by his wife. She hides the book and accuses Sakaki no Mae of stealing it to give it to Yasuna against her father’s wishes. Sakaki, who is innocent and in fact refused to open the hiding spot of the book (not that it accomplished much since her stepmother illicitly prepared a copy of the key), decides to put the blame entirely on herself to protect Yasuna and then commits suicide. However, when Yasuna learns about that he is overcome by grief and disappears.

Meanwhile, the widow’s brother Jibu no Tayū (治部大輔), who is also her co-conspirator, meets with his son-in-law Michitaru to give him the stolen Kin’u Gyokuto Shū. He orders him to use the book to divine how to make sure Miyasudokoro (御息所; not the Tale of Genji character), one of crown prince Sakuragi’s (桜木親王) concubines, who belongs to the same courtly faction, will be the first to conceive an heir. Michitaru states that the best way will be the dakini no hō (荼枳尼の法) a secret ritual which requires the liver of a white fox. Jibu no Tayū’s minion Akuemon, who as far as I can tell is not a relative of Michitaru/Dōman here, is tasked with procuring it, since he comes from an area where white foxes can be easily found.

It should be noted here that Michitaru is himself not necessarily portrayed as malevolent in this scene. While he is a participant in this scheme, and even performs rituals meant to help Akuemon with killing Rokunokimi (六の君; also not the Tale of Genji character), the concubine favored by Jibu no Tayū’s rivals, he only acts under the threat of losing both Kin’u Gyokuto Shū and his wife Tsukubane (築羽根).

All of the soap opera-worthy courtly drama forms the first act of the play. Kuzunoha only appears in the second. As we learn, she is the younger sister of Sakaki no Mae, and looks exactly the same as her. Yasuna encounters her when he reaches the Shinoda forest. Due to lacking clarity of mind, he at first assumes that he got reunited with Sakaki no Mae. However, Kuzunoha manages to help him overcome his grief, and explains she is not who she assumes she is. Yasuna is nonetheless still smitten, and asks her parents (it would appear Kuzunoha was not adopted by Kamo no Yasunori unlike her sister), Shinoda no Shōji (信太庄司) and his wife Shigarami (柵), to let them get married. 

Alas, it turns out this is impossible, because Kuzunoha’s parents already promised her to her cousin… Akuemon. Following the universal principle of “speak of the devil and he doth appear”, Akuemon promptly appears, chasing a white fox to complete the mission he was entrusted with earlier. He is instantly thwarted by Yasuna and his attendant Yokanbei (与勘平). The latter then leads Kuzunoha and her parents to safety, but Yasuna apparently doesn’t notice this, and for a moment he fears that she was kidnapped. However, his worries soon disappear, as she appears again out of nowhere. In the culmination of the second act, the two then decide to hide for some time in a remote village, Abeno (the same one as in Abe no Seimei Monogatari).

What follows sounds almost like a comedy of errors. Long story short, it turns out that Michitaru has in fact saved Rokunokimi from Akuemon and hid her in his house. When Jibu no Tayū learns about this, he orders her to be killed (again), which triggers a chain reaction. Michitaru by accident kills his father, who had no part in the plot, but tried to take the blame to shield his son from Jibu no Tayū’s wrath. Michitaru’s wife then kills her father, as she has learned about his nefarious intentions and about pressuring Michitaru into helping him. In the aftermath of all of that, Michitaru realizes he has had enough and should go back to honest onmyōdo practice he was supposed to engage in as a student of Kamo no Yasunori full time. He takes the new name Dōman to signify his transformation.

Seimei and Dōman, as depicted by Hokusai (wikimedia commons)

As I already pointed out earlier, the play doesn’t follow Dōman’s usual characterization. Quite the opposite, it’s pretty much a conscious reversal - that’s where the “mirror” in the title actually comes from. Other fictional portrayals of Dōman make him a villainous counterpart of Seimei, and Edo period audiences were well aware of that. There was no shortage of works focused on their rivalry. It’s explored in detail in Abe no Seimei Monogatari, but also for example in the 1792 novel Abe no Seimei Ichidaiki (安倍晴明一代記, “Abe no Seimei’s Life Story”).

It’s worth noting that Dōman’s villainy might have a vague historical basis. It generally assumed that he was inspired by a certain, nomen omen, Dōman (道満), known from the Seiji Yōryaku (政事要略). He was reportedly employed by Takashina no Mitsuko (高階光子) in 1008. He is described as a hōshi onmyōji (法師陰陽師), literally “ priest onmyōji” - a designation for an unofficial onmyōji, basically. Such individuals were seemingly particularly commonly hired by courtiers to curse their rivals (something a regular onmyōji was legally prohibited from engaging with). A reference to a hōshi onmyōji being accused of that is preserved in Fujiwara no Sanesuki’s diary, the Shōyūki (小右記), for example. It is not entirely uncertain if the historical Dōman was involved in similar activities, it is clear that his fictional derivative is based on the curse specialists. 

The connection between history and fiction should not be overestimated, though. The kinship between the historical and fictional Dōmans is ultimately quite vague, and the former didn’t really have anything to do with Seimei; their rivalry is an entirely fictitious invention. In particularly it’s worth pointing out it’s basically the standard to portray Dōman as older than Seimei, while the only references to his historical counterpart postdate Seimei’s death by three years - and considering he was unusually long-lived, it’s easier to assume they had nothing to do with each other than that Dōman was somehow even older than him.

Putting the historical Dōman aside, the third act was essentially custom tailored towards the tastes of contemporary audiences, but surprisingly failed to leave a lasting impact. It is instead the fourth act which became the most famous part of the play, and the most famous portrayal of Kuzunoha. It starts with a timeskip: as we learn, Yasuna and Kuzunoha got married and had a son, who is now five years old. However, it turns out that his mother is in fact not the real Kuzunoha. This is revealed when she appears with her parents to visit Yasuna - she’s been bedridden for years in the aftermath of the escape, and only recovered recently. Her parents decided to let her and Yasuna get married. However, they don’t find him at home, since he left to journey to a number of religious sites to pray for his family. They only encounter his wife. As you can probably guess, it turns out that the “Kuzunoha” Yasuna spent the past half a decade with is in fact the fox he saved from Akuemon. When this comes to light, she bids farewell to her son, and tells him to treat the real Kuzunoha as his mother instead from now on. 

When Yasuna returns, and learns what happened from the real Kuzunoha, he decides that they need to find the fox Kuzunoha. His son and the real Kuzunoha decide to assist him. Like in every other version involving a search, they eventually manage to find the fox Kuzunoha in the Shinoda forest. She shows herself to them in her true form, that of a century old white fox, and reveals that while she has cast away her earthly attachments, she plans to nonetheless still protect her son. However, to that end she had to cast away her human disguise anyway, as a fox who falls in love with a human will eventually lose all supernatural abilities otherwise. This idea is an invention of the author (had this been an established motif earlier, Tamamizu Monogatari’s namesake protagonist would have no inner dilemmas to struggle with, arguably).

After this matter is settled, the protagonists encounter Dōman. Since they are not aware of his recent deeds, they initially assume that his visit is part of some new scheme. They also accuse him of engineering the theft of Kin’u Gyokuto Shū. However, he explains that he was a tool in an evil plot before, but had a change of heart. He admits the theft accusation is not unfounded, but also that he is not responsible for Sakaki no Mae’s suicide. To atone for his past deeds, he gives the book to Yasuna. However, he says that he is too old to use it, and Dōman should instead pass it on to his son (this is probably another intentional subversion - as you’ll see later, in another story Dōman crafts an elaborate scheme to steal this book from Seimei). When the kid receives the book, he is instantly able to interpret its title. He explains that it refers to a rabbit who lives on the moon and a crow who lives in the sun, and that the book contains knowledge necessary to understand everything on earth and in heaven. Dōman praises Yasuna for teaching his son well, but he clarifies that the boy must have inherited the talent of his biological mother, who was a white fox.

Dōman is aware of a case of a supernaturally gifted kid born to a human-fox couple in China (I’m not sure if this references a specific story, also note this is not an universal motif - in at least one Tang period tale children from a similar relationship die prematurely), and therefore to verify Yasuna's claim decides to test his son’s skills. The boy effortlessly answers all of his questions. Dōman is so impressed he bestows the name Seimei upon him - he was simply referred to as Dōji (童子, “boy” - not exactly a creative name) before. To celebrate, Yasuna and Dōman decide to visit the Shinoda shrine, leaving Kuzunoha and Seimei behind.

Nakamura Utaemon III as Yakanbei, Sawamura Kunitarō II as Kuzunoha, and Arashi Rikan II as Yokanbei (Museum of Fine Arts Boston; reproduced here for educational purposes only)

Since things are evidently going too well, Akuemon suddenly appears once again, accompanied by a group of thugs. He confronts the protagonists and tries to kidnap the real Kuzunoha, but his plan is foiled by the intervention of Yokanbei and an associate of fox Kuzunoha, another white fox, who turns into a copy of him. He calls himself Yakanbei (野干平) - a pun on Yokanbei’s name and the term yakan (射干; from Chinese yegan), which could refer either to a fox-like legendary animal, a jackal, or simply a fox. The scene is intentionally comedic, and it actually takes Yokanbei a while to realize there’s a copy of him running around. In some stage adaptations the sequence was extended further with the appearance of a female servant who is yet another fox in disguise. 

After the successful rescue yet another timeskip happens. The final act shows Seimei at the age of eight. His parents decide to finally take him to Kyoto. He is already renowned for his skill, and the crown prince mentioned in passing earlier wants to meet him. However, after arriving in the capital Yasuna temporarily leaves his family, and through an unlucky twist of fate ends up killed by Akuemon, who is busy with a new scheme to curse Rokunokimi. Thankfully, when he later arrives in the court, carrying a crate which contains both a doll meant to be utilized to that end and Yasuna’s corpse, the plot is revealed through a joint effort of Seimei and Dōman. Seimei then resurrects his father, while Akuemon is executed… and that’s where the story ends (with no foxes in sight).

In the end, it might appear at first glance the play regarded as the most famous take on Kuzunoha doesn’t contain all that much Kuzunoha - not the fox Kuzunoha, at least. It’s really a play about Dōman and Yasuna in the end. Kuzunoha actually comes across as sort of expandable and forgettable in dry summaries of the play, and I don’t think mine really gives a different impression. To be fair, it’s actually a genuine theory that the apparent disposability of female characters in this case served as a criticism of the low position of women in Tokugawa society.

Regardless of whether this is true or not, it was ultimately Kuzunoha, and not Dōman, who made the play famous - and that’s why, as I briefly mentioned earlier, it’s uncommon to see the whole play on stage. It’s typically reduced just to act IV - which does actually revolve around Kuzunoha (or, to be more precise, Kuzunohas). There are two reasons behind that.

For starters, the scene of a mother parting with her child emotionally resonated with Edo period audiences to a greater degree than anything else Ashiya Dōman Ōuchi Kagami had to offer. Sure, it might be short, especially compared to the lengthy sections dealing with multi-layered courtly intrigues - but it had something they lacked: it was relatable. Making sure plays resonate with audiences, which consisted largely of commoners - often commoners who represented relatively historically recent social strata molded by changes in economy in the Edo period at that - was a common concern of playwrights. While many dealt with the distant past - especially the Heian period and the tumultuous transition into the middle ages - conscious effort was often made to incorporate contemporary elements, or to emphasize down to earth concerns, precisely to that end. The results weren’t always successful, and in some cases end up heavenly-handed and unintentionally comedic, but Takeda Izumo II evidently pulled it off. It worked so well that the rest of the play became basically unnecessary.

Furthermore, whether adapted in the form of a puppet play (as originally intended) or kabuki, the role of Kuzunoha was considered suitable for showcasing the skills of performers. Special effects, and in particular transformations from one character into another, were incredibly popular - that’s why so many plays from the Edo period have plots involving shapeshifters, doubles, mistaken identity or a combination of some or all of those elements. Foxes naturally provide a great venue for that - and Kuzunoha isn’t even the only time Takeda Izumo II capitalized on it (you will likely get to see another famous example on this blog in a few months).

Kuzunoha writing her parting poem with a brush held in her teeth (wikimedia commons)

When it comes to puppet plays, the greatest accomplishment of Kuzunoha was arguably facilitating the invention of a complex type of puppet requiring three people to operate, utilized for the first time in the scene involving her, Yokanbei and Yakanbei. In kabuki adaptations, Kuzunoha’s shapeshifting between human and fox forms is reflected by rapid change of costumes - basically the default way to measure an actor’s skill. Sometimes this is boosted further by speech quirks also used for other fox characters in kabuki. Furthermore, the actor playing her is often expected to write the poem she leaves before abandoning her family holding a brush in his (it’s an onnagata role, ie. a female character played by a man) teeth, cradling a prop representing infant not-yet-Seimei in both hands. A Meiji innovation making the role even more challenging was to have one actor play both Kuzunohas - which, naturally, required even faster costume changes. In some cases, a hat with a fox mask hidden in it is used to make it particularly rapid. Through this combination of factors, Kuzunoha, initially a minor addition to a corpus of legends about a popular protagonist which grew so large it started to absorb unrelated stories, eventually actually managed to outshine Seimei himself. Of course, it wasn’t that straightforward; Seimei’s disappearance from public consciousness didn’t just boil down to a specific kabuki attaining unexpected levels of renown. It’s also important to bear in mind that onmyōdō as a whole largely vanished from public consciousness after the Meiji reforms - and that even before them, the term didn’t necessarily invoke the image of a Heian period court official anymore (see my previous article dealing with relevant matters for more context). Even though Seimei, an at least vaguely Heian-inspired idea of onmyōdō, and the traditional villainous Dōman all made a comeback after the classic sources were “rediscovered” by new authors starting with the 1980s, Kuzunoha remains a fairly major component of what I earlier described as an “informal Seimei canon” - to the point it’s probably not hard to find people convinced she was a part of it from the very beginning. In that capacity she is a remarkable outlier. Most of the other Edo innovations are now forgotten, and Konjaku Monogatari and other early collections once again define Seimei just as they did for late Heian and early medieval audiences. And yet, the story of the most famous onmyōji being born as the son of a fox and subsequently abandoned evidently continues to resonate with new audiences.

Nothing like Kuzunoha: an excursus about the real daughter of Kamo no Yasunori

There’s an argument to be made that Seimei isn’t the only historical figure who ended up existing in the shadow of Kuzunoha, or more broadly of Ashiya Dōman Ōuchi Kagami. While Kuzunoha and Sakaki no Mae are both fictional characters, the historical Kamo no Yasunori actually did have at least one daughter. It’s safe to say she didn’t influence the creation of any of her fictional “siblings”, though. For all intents and purposes, she went down in history only as Kamo no Yasunori no Musume (賀茂保憲女), “the daughter of Kamo no Yasunori” - her real name is unknown. I personally think that in absence of any information about her name perhaps it would be preferable to use the epithet she used to refer to herself - Kamo uji naru musume, “a woman of the Kamo clan” - but I am not going to tell you to ignore the consensus, obviously. Since referring to her as “Kamo no Yasunori no musume” would get a bit cumbersome quickly, I hope you don’t mind here I will simply refer to her as “ms. Kamo”, though.

The sum of our knowledge about ms. Kamo’s life and career comes from just a single source - but what a source it is! At some point between 993 or 998, at the age of forty or so, she compiled her own poetry collection, today referred to simply as Kamo no Yasunori no Musume no shū (賀茂保憲女集) - “Kamo no Yasunori no Musume’s poetry collection” (hardly the most creative of titles). The uncertain dating reflects the fact that the only clear evidence in the work itself are references to an illness she at some point contracted, which might have been either smallpox (an epidemic occurred in 993) or measles (an epidemic occurred in 998). A lot is up to interpretation, though the illness at least for a time negatively impacted her eyesight, which seems to point at the second option.

The collection resulting from her efforts has the form of a sequence of around 240 poems accompanied by an autobiographical prose preface. This is not unusual in itself - similar collections consisting from a hundred to three hundred poems were fairly common in the later centuries of the Heian period. They were pioneered by Sone no Yoshitada around 960 or so. Depending on the exact dating of ms. Kamo’s sequence, she was either the first or second woman to contribute to this trend, though. Her contemporary Minamoto no Shigeyuki no Musume (源重之女; as you can probably guess, the daughter of Minamoto no Shigeyuki) compiled a hundred poems long sequence around 994.

While common, the hundred (or more) poem sequences were what can be described as an example of avant garde or outsider approach to poetry. In the Heian period most poems were composed during official competitions or for commemorative purposes in the imperial court. In contrast, the long sequences were typically the work of people who didn’t have opportunities to partake in official poetic events, for example lower ranking bureaucrats. Furthermore, the topics were more personal. It was fairly common to complain about unrecognized skills and slow progression in the chosen path of career, for example. This was an universe many lower ranked courtiers, as well as provincial bureaucrats, were familiar with - the Heian court was dominated by the powerful Fujiwara clan, and few people who didn’t belong to it managed to advance to the most prestigious positions (and those who did, like Sugawa no Michizane, could still end up exiled or worse as potential threats to the Fujiwa hegemony). However, in contrast with ultimately fairly formulaic complaints about stalled professional careers, ms. Kamo’s collection is essentially an outlier among outliers. It has an even more distinctly personal character. Of course, part of it is that the experience of a woman was fundamentally different from that of a male courtier. Ms. Kamo had to become a unique author in part simply because she had no models to pattern her poems on. She acknowledged herself that it was viewed as preferable for a woman to remain silent and unseen.

The life ms. Kamo wanted to document was sad and lonely - as she remarked to herself, “there is no one whose circumstances are as unhappy as mine within these islands”. The catalyst for writing was the life-threatening illness she survived, but which pretty clearly took a heavy mental toll on her. In a self-depreciating passage she described herself as "inferior in all ways to others, but better than others in getting an illness". On top of that, she felt isolated and was apparently concerned that she has failed to attain proper maturity, possibly due to remaining single - she only makes vague references to a possible failed past relationship. She apparently blamed her parents, and in one of her poems compared herself to an egg that has already putrefied before even hatching.

While I don’t necessarily think it’s incorrect to speculate that she might have felt this way due to failing to enter a relationship or forming a lasting one, it does seem that she was generally concerned about her life being stagnant, and about being confined in the same place for its entire duration. In some of her poems, she is saddened by own inability to see various wondrous phenomena and partaking in assorted pastimes (she admits she’s not even sure what was in the vogue among other noblewomen). Interestingly, she recognized that her position gives her a degree of freedom she would lack if her poetry conformed to courtly standards, though.

A further peculiar aspect of ms. Kamo’s work is her focus on social inequalities. She devotes some space to explaining why she doesn’t see class as an indication of merit. As she outlines, a virtuous and talented person might nonetheless have an unremarkable career and fail to move up. Furthermore, a humble person won’t necessarily be valued as much as they should. It was apparently a major concern for her overall that success is determined by wealth and family connections more than skill and virtue. That’s tragically a pretty timeless issue.

Some degree of opposition to the prevailing model of stratification of society was not entirely unheard of in the Heian period. Miyako no Yoshika’s uncle Miyako no Haraaka (都腹赤) famously believed that what we would by modern standards define as higher education should be available to all as opposed to hereditary nobility, for example. This was doubtlessly influenced by his own experience - his family background was unremarkable, and he managed to attain a degree of renown only thanks to a then-recent system of civil service examinations. His nephew, whose life followed a similar trajectory, purportedly opposed the encroachment of the Fujiwara clan upon educational institutions because it would limit the already not particularly plentiful opportunities people from more humbled backgrounds had. Ultimately the Chinese-style bureaucratic apparatus which enabled that collapsed, though, and even before that it obviously never managed to become the great equalizer people like Haraaka seemingly wanted it to be (it didn’t even accomplish that in China in the first place, to be fair).

Yoshishige no Yasutane (wikimedia commons) Most importantly, social inequalities are addressed in depth in the Chiteiki (池亭記), the magnum of opus of ms. Kamo’s uncle Yoshishige no Yasutane (慶滋保胤). He might have been an influence on the worldview of his niece, though unlike him she didn’t see the lack of adherence to Confucian teachings as the source of all ills. As a social critic she is ultimately without an exact parallel among her contemporaries. As cliche as that might sound, it would perhaps be most apt to say she was ahead of her times. Rather unusually for her era, she even believed romantic relationships should not be determined by social class, but rather by genuine feelings. She attributed the instability of romances among courtiers to this, even. I will refrain from speculation if this might have anything to do with the references to her own possible failed relationship.

Given the avant garde character of ms. Kamo’s works, it probably comes as no surprise to you to learn that they never had a wide circulation. She did hope for an audience - in the preface she even speculates how people in the future will imagine her based on the content of her poems. However, she never really found it.

Evidently someone had to be aware of her pursuits and kept her up to date with new trends in poetry, though. A possible candidate is, once again, her uncle Yasutane. Furthermore, some of her notes indicate she seemingly was sending at least some of her poems to someone, though whoever that was, they evidently didn’t opt to recommend her as a participant in any events focused on poetry held in the imperial court (or didn’t hold a position which would let them do so). Her poetry thus failed to captivate any larger audience, and didn’t enter the literary canon.

The only pre-modern exceptions are the inclusion of a small handful of her poems in the Shūi Wakashū (拾遺和歌集, “Collection of Gleanings”; 1006; 1 poem), Shin Kokin Wakashū (新古今和歌集, “New Collection of Ancient and Modern Poems”; 1205; 1 poem), Fūga Wakashū (風雅和歌集; “Collection of Elegant Poems”; 1348; 2 poems) and Shinshokukokin Wakashū (新続古今和歌集; “New Later Collection of Ancient and Modern Poems”; 1439; 1 poem). However, in the first two of these anthologies the author is left anonymous, presumably since she was not exactly famous and lived outside the imperial court. In the other two she is identified only as Kamo no Yasunori no musume. 

Something that bugs me a lot is that there are multiple weird unsourced claims on English wikipedia severely overestimating the esteem she enjoyed in the Heian period and beyond. Kamo no Yasunori’s entry calls her an “acclaimed poet” (and similarly without a source asserts she was his second daughter; in reality she is his only female relative we know about). Her own article asserts she was renowned for her talent, despite later citing a researcher who correctly points out she was largely overlooked through history.

I would argue that in addition to being incorrect, these bizarre descriptions are disrespectful, seeing as much of her work is centered on frustrations stemming from not only not being perceived as important, but lacking any venue giving the slightest glimmer of hope for attaining that. I’m not exactly sure if the intent was to be feminist, but I personally think it would in fact be a more feminist approach to stress what motivated her to write, and to honestly report the lack of pre-modern reception. These factors are what makes ms. Kamo unique as a poet.

Sadly even the modern reception of ms. Kamo’s work is limited at best, which is part of why I decided to include her in this article. There are at least two annotated editions of her works aimed at academics in Japanese and a handful of articles, including a single one in English which you can find in the bibliography, but not much beyond that. Ultimately it is probably fair to say her fictional counterparts sadly outshine her, which arguably adds an extra layer to this tragedy. Obviously, Edo period playwrights weren’t deliberately trying to do so - odds are decent they weren’t even aware she existed - but it saddens me a bit that no attempt was made to find room for her in any modern adaptations of stories involving fictionalized portrayals of her father. An argument can even be made that ms. Kamo had some familiarity with onmyōdō. While it is not a major theme in her poetry, and she never referenced yin, yang and related concepts directly, she was evidently familiar with Chinese literature and philosophy to some degree. She references the Book of Changes and the well known (at the time, at least) story of Su Wu, for instance. It might also be worth noting that she was aware it was believed certain ascetic practices can extend the lifespan - for example consuming pine needles. It’s actually fairly likely that some of her familiarity with Chinese literature came from overhearing her brothers’ lessons - we actually know this must have been the case for some women in the Heian period. For instance, Murasaki Shikibu de facto received informal education this way. There’s even a proposal in scholarship which has gained some support that part of ms. Kamo’s bitterness might have come from perceiving herself as equally capable of learning as her brothers, but never really receiving opportunities to prove it.

Beyond Kuzunoha: other figures of note in Seimei narratives

After the largely historical excursus, let’s go back to fiction. As I mentioned earlier, many once popular recurring characters from stories about Seimei - from early legends to Edo period novels - largely languish in obscurity today, even though Seimei himself arguably regained his prominence. I figured it is only fair to discuss some examples I consider particularly interesting as well.

Rika

While Abe no Seimei Monogatari is notable for being one of the earliest works which feature (a prototype of) Kuzunoha, it also provides Seimei with a further fictional female relative, a wife named Rika (梨花). And she is, quite unexpectedly, an antagonist who aids Dōman.

The historical Seimei presumably did have a family, but as far as I am aware no source mentions anything about the identity of his spouse. He definitely had children, most notably Abe no Yoshihira (安倍吉平; 954–1026), which does indicate the existence of a ms. Abe (or at least a mistress whose child was legitimized, I suppose). I won’t dwell much Yoshihira here, as he is largely irrelevant for the matters this article focuses on, though it’s worth noting that he famously managed to enact an onmyōdō takeover of hanshi (反支; from Chinese fanzhi), formerly handled by court physicians. This procedure was supposed to determine if anything inauspicious might happen during the birth of a child.

I’m only aware of a single source predating Abe no Seimei Monogatari which would mention Seimei’s wife at all, and it is similarly a literary text rather than a historical document. However, she is left nameless in it, and her characterization differs considerably. Rather unexpectedly, it’s not strictly speaking a Seimei story, but rather the fourteenth century Genpei Jōsuiki - an extended version of the Heike Monogatari. In the passage in mention Taira no Tokiko performs hashiura (橋占), an unusual form of divination. Instead of the movement of celestial bodies, it required listening to the conversations of passersby on a bridge. She chooses the Ichijō-modoribashi (一条戻 橋) in Kyoto, where she encounters a group of twelve unusual children, who all repeat the same prophecy. She quickly realizes they’re actually shikigami, and not just any shikigami at that, but rather manifestations of the Twelve Heavenly Generals (十二神, jūnishin).

Why are the Twelve Heavenly Generals there, instead of performing the Medicine Buddha and engaging in other typical Heavenly General pursuits? That’s where Seimei’s wife comes in. It is revealed that Seimei sealed the Generals under the bridge because his wife was capable of seeing supernatural beings, including them, just like he was, but was afraid of them. As a result of Seimei’s ritual, hashiura performed there was guaranteed to result in receiving prophetic messages from the Twelve Heavenly Generals, even if they used passersby to convey it. The reference to supernatural powers is certainly interesting - in other literary texts a similar ability is enough for the protagonist to be granted the right to study onmyōdō (a good example is a Konjaku Monogatari story about Kamo no Yasunori’s childhood) - but the topic is not explored further.

Ichijō-modoribashi in 2005, with the shikigami statue on the left (wikimedia commons)

It’s worth noting that the story seemingly had a degree of influence on the surroundings of Ichijō-modoribashi bridge. Today there’s a statue of a shikigami next to it. However, he’s not one of the Twelve Heavenly Generals, but rather an anonymous critter who appears in medieval portraits of Seimei as his personal shikigami. Compare the two depictions below, courtesy of wikimedia commons:

As for Abe no Seimei Monogatari, as thrilling as the summary of Rika’s character sounds, she sadly receives very little spotlight. We don’t learn how she met Seimei, where she came from, or the circumstances of their marriage. No information from the Genpei Jōsuiki episode is referenced, either, and I think it’s safe to say the two takes on Seimei’s wife are independent from each other - though it’s not hard to find people treating them as the same character online. To be fair, it’s not like these sources are impossible to reconcile with each other.

Rika and Seimei are already married when she is mentioned for the first time, when Seimei leaves to China to study under Hakudō Shōnin. In his absence Dōman, who after losing a bet had to become his disciple earlier, conspires with Rika (to be fair, Seimei for whatever reason entrusted him with taking care of her in his absence). His goal is to gain insight into two books Seimei owns: the Kin’u Gyokuto Shū, written by Hakudō Shōnin, and the Hoki Naiden, brought to Japan by Kibi no Makibi. She shows him a box in which Seimei keeps them. He wastes no time and after figuring out how to open it studies both books and copies them.

When Seimei returns, Dōman offers him a wager. He claims that the books were revealed to him in a dream by the bodhisattva Monju, and suggests that he can prove it. Seimei, who does not believe in dream visions, and remains blissfully unaware of Rika’s actions in his absence, agrees, and says that Dōman can kill him if he really does have the books - that’s how implausible this scenario is to him. To his shock, his rival-turned-apprentice reveals the copies he prepared, and in accordance with their agreement kills him. Dōman then gets rid of everyone else in Seimei’s household by turning them into pieces of straw and wood - the only exception is Rika. The two become a couple; the narrator notes this is something he has desired for a long while already, though as far as I can tell the novel doesn’t mention it at any earlier point. We don’t really learn anything about Rika’s views on the matter, sadly.

Dōman’s triumph is short-lived. Through an omen, Hakudō Shōnin learns that Seimei has died and arrives in Japan to resurrect him and let him avenge his death. He visits Dōman and, in a mirror of the trick he played on Seimei earlier, gets him to agree that he should be killed if it turns out Seimei is alive. Seimei, alive and well thanks to Hakudō Shōnin’s magical abilities, promptly appears to complete this wager. Rika attempts to hide behind a curtain to avoid a similar fate, but this proves to be unsuccessful. While she doesn’t make a similar bargain with Hakudō Shōnin, the narrator states that this is ultimately a just outcome. Both conspirators are then buried near the bank of the Gojō River, and that’s basically it for their role in the story. Neither portrayal of Seimei’s wife gained much notoriety in later works. I would assume the fact that through the Edo period ultimately it was the story of his parents that captivated the audience was a factor (it would be hard to explore his own relationships if most new stories had him as a 5-year-old), but this is entirely speculative.

As for modern authors: Yumemakura Baku, whose novels about Seimei contributed towards the development of the “onmyōdō boom” in popculture, acknowledged in an interview that the historical Seimei presumably did have a wife, but said he has no plans to explore this topic.

Makuzu (bottom left) from Okano's adaptation of Yumemakura's novels (MELODY; reproduced here for educational purposes only)

This being said, the manga adaptation of his works by Okano Reiko apparently did introduce a character loosely based on her Genpei Jōsuiki portrayal named Makuzu (真葛). The reception of this addition appears to be mixed, but as I haven't read this series I won’t pass judgment. This being said, if the Makuzu subplot really does involve Seimei learning they’re the reincarnation of a pharaoh and his wife out of blue, let’s just say I think I’d rather stick to Yumemakura’s prose version.

I was also able to find a single modern work which actually features Rika: Onmyōji Abe no Seimei - Saishū Kessen (陰陽師 安倍晴明ー最終決戦; “Onmyōji Abe no Seimei - Final Battle”) a very loose stage play adaptation of Abe no Seimei Monogatari by the troupe Gesshoku Kageki Dan (月蝕華撃團). A recording from 2021 can be found on their youtube channel:

Additionally there are numerous photos of the costumes on their social media (a selection of my favorites: 1, 2, 3, 4, 5). Parts of the plot seem… very avant garde compared to the original, but I do like the actress portraying Seimei, Shiranaga Ayumi  (白永歩美), a lot. Note that Seimei isn’t supposed to be a woman here, though (this remains an idea largely exclusive to Fromsoft’s Kuon); this troupe’s performances pretty commonly involve actresses playing male roles, as I understand. Whether intentional or not, in this case it ends up as a neat parallel to men traditionally playing Kuzunoha in the Edo period and beyond.

Hakudō Shōnin

An illustration of Hakudō Shōnin from the Abe no Seimei Monogatari 

Given that I already brought up Hakudō Shōnin (伯道上人; sometimes translated as “Saint Hakudō”) multiple times, I don’t think it’s particularly shocking that I consider him another character who warrants more spotlight. At least one Edo period source, Jinrin Kinmō Zui (人倫訓蒙図彙; “Illustrated Dictionary of Different Kinds of People”) from 1690, seems to treat him as a historical figure. The entry on diviners (占師, uranaishi) states that Kamo no Yasunori brought Chinese divination methods originally invented by Fuxi to Japan, but also that Abe no Seimei was taught them by Hakudō Shōnin.  In reality, not only is Hakudō entirely fictitious, he didn’t even originate in China. In theory his name would be Bodao Shangren in Chinese - but no Chinese source actually mentions him. He is essentially a representation of the Japanese idea of what a Chinese Buddhist sage slash Daoist immortal (he is described as both simultaneously) would be like. In art he is seemingly generally portrayed in the garb of a monk. I’ve seen a single more unique depiction recently, but I was unable to verify its provenance:

It’s fair to say that in literature Hakudō Shōnin is portrayed as part ascetic, part onmyōji. This might seem unusual - after all, the historical Heian period onmyōji were essentially government officials not too different from other mid-level courtiers. However, Hakudō’s portrayal is not particularly outlandish - it reflects ideas about is onmyōji widespread in medieval sources. The fact that divinatory techniques associated with onmyōdō were often transmitted by shugenja - mountain ascetics - in this period is doubtlessly related, but I won’t pursue this point further here. 

As far as literature goes, the merging of onmyōdō and asceticism is evident in legends about the legendary sage Hōdō Shōnin (法道上人, Sanskrit Dharmamārga) or the historical Tendai monk Jōzō (浄蔵). In the Kojidan (古事談), compiled by Minamoto no Akikane (源顕兼) around 1212-1215, even Seimei himself is described as a hermit who gained mastery of onmyōdō by leading an ascetic life in in Kumano (a particularly favored location for such activities) for a thousand days.

Given that this image of Seimei doesn’t really reemerge in later sources, I’m admittedly curious if perhaps Hakudō wasn’t created to offer an indirect way to incorporate it into broader informal “Seimei canon” - so that instead of Seimei gaining knowledge through asceticism, he instead acquired it from an ascetic? This is entirely speculative on my part, though. Note that there might very well be older sources mentioning Hakudō than those I am aware of, which depending on date could instantly sink this proposal.

Stories involving Hakudō were already in circulation in the fourteenth century. An early example appears in the preface to Hoki Naiden. It describes him as a disciple of the bodhisattva Monju who after attaining enlightenment received the scroll Monju Sesshū Butsurekikyō (“Sutra of Buddha Calendar Assembled by Monju”) from him. He then brought it with him to China, where he came up with a new title for it, Hoki Naiden Kin’u Gyokuto Shū . Many years later Seimei learned about it from him, and made it the to-go point of reference for fellow onmyōji in Japan under its full title. It should be noted here that another tradition had Seimei himself as the author, though. In reality it was most likely only composed in the fourteenth century by a hitherto unidentified descendant of the historical Seimei (or at least someone who saw association with him as a source of own credibility), though.

The Hoki Naiden preface also states that Hakudō arrived in Japan after Seimei’s death to resurrect him. To that end he collected all his bones - “12 big bones and 360 small bones altogether” - and performed a special ritual. Noriko T. Reider notes that this passage resembles a number of legends involving a historical figure either trying to create a new living being out of bones or other body parts (Minamoto no Morofusa and Saigyō in two separate tales from the Senjūshō), or encountering a person created this way (Ki no Haseo in Haseo Zōshi). The difference is obviously that Hakudō brings a specific dead person to life instead of creating a new living being, and that the deed is portrayed firmly positively. Still, given that all of these stories have been composed roughly in the same time period, it does seem fair to say we’re dealing with different takes on the same motif.

It’s worth noting that while Hakudō Shōnin is essentially absent from modern Seimei media - presumably since Seimei is, true to historical sources, usually portrayed as a disciple of Kamo no Yasunori (or, alternatively, his father Kamo no Tadayuki) - in the middle ages he was famous enough to even be referenced in at least one variant of one the most famous medieval Japanese works possible, namely in the Ōeyama Ekotoba (大江山絵詞), a Muromachi period illustrated version of the Shuten Dōji legend. It puts a peculiar twist on the connection between him and Seimei, though. It is revealed that instead of being a disciple and a master, respectively, they are two incarnations of Ryūju Bosatsu (龍樹菩薩) - the bodhisattva form of the early Buddhist philosopher Nāgārjuna, venerated in Japan by the Shingon school. 

Hakudō encountering the bodhisattva Monju Both of the Hoki Naiden legends mentioned above were incorporated into Abe no Seimei Monogatari. An entire section of this novel is additionally dedicated to Hakudō’s early career and the origin of the Hoki Naiden. It states he was born during the reign of the Zhou dynasty (so he’s over a thousand years old - possibly nearly two thousand years old - by the time he meets Seimei), and that he initially lived in Jingshan. He tried to master yin, yang, earth and haven, but failed to do so. This prompted him to go on a journey, during which he encountered a supernatural youth - an incarnation of the bodhisattva Monju -  who informed him that his approach was wrong. He let Hakudō become his disciple on Mt. Wutai (however, in the Hoki-shō his studies take place in India instead). 

Under Monju’s guidance Hakudō managed to learn all of the mysteries he wanted to know, becoming a master of divination in the process. He also attained the rank of an arhat. He later returned to Jingshan, where he compiled the teachings of the bodhisattva revealed to him in 160 volumes.

Donfang Shuo (wikimedia commons)

Through the following centuries, Hakudō secretly revealed small snippets to various rulers and sages, including Jiang Ziya, Fan Li, Zhang Liang, Kong Anguo and Heshang Gong. The scrolls were eventually gifted to emperor Wu of Han, whose courtier Donfang Shuo (a veritable Han dynasty reneissance man) managed to become a great sage just by studying them (remember this detail, it will be relevant later).

As you can probably tell, the passage dealing with Seimei’s resurrection inspired the section of the story involving Rika, which I already summarized above.

Hōdō Shōnin in Abe no Seimei Monogatari As a side note, it’s worth pointing out that Abe no Seimei Monogatari also features Hōdō Shōnin in a small capacity. Somewhat confusingly, he is described both as a Daoist immortal and as a monk from India. Dōman claims to be his disciple to make himself appear greater than in reality, but in reality he merely inherited a book written by ancestor Ashiya no Suguri Kiyofuto (藍屋村主清太; as far as I know, a character invented for this novel), who encountered Hōdō Shōnin around 300 years prior to the events of the story. While this sounds like setting up further intentional parallels between him and Seimei, as far as I can tell it’s not implied that Hōdō and Hakudō were rivals, and the former otherwise appears chiefly in legends unrelated to Seimei - most commonly ones dealing with the foundation of Buddhist temples. It also needs to be noted that since this is a work following the traditional negative portrayal of Dōman, the narrator makes it clear that despite claiming to be Hōdō’s disciple and even dressing up like a monk (a possible allusion to the term for unofficial onmyōji I’ve already discussed, I assume?) he was impious and even committed unspecified crimes. Hakudō Shōnin also makes an appearance in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō. In this play Seimei meets him when he is ten years old. Hakudō gives him the Kin’u Gyokuto Shū. It is also revealed that in the past he met Seimei’s ancestor Abe no Nakamaro when the latter acted as an envoy in China. His resurrection ritual is also referenced: when in the final act of the play Dōman’s subordinates kill Seimei’s father Yasuna, he has to be resurrected using Hakudō Shōnin’s bone-gathering method. While as I already summarized earlier Yasuna’s final fate is quite similar in Ashiya Dōman Ōuchi Kagami, no reference is made to any Chinese sages - it’s just one of the many abilities young Seimei has already mastered.

Kibi no Makibi (and Abe no Nakamaro)

An Edo period portrait of Kibi no Makibi (wikimedia commons)

Unlike Rika, who you can at best call semi-historical (in that the real Seimei probably did have a wife) and Hakudō Shōnin, who is entirely fictitious, the final figure I’d like to introduce you to in this article, Kibi no Makibi (吉備真備; 695-775), was a real person. His accomplishments and postmortem career as a literary character would honestly be enough for a separate article - here I will only limit myself to a small handful of sources due to space constraints. Makibi famously traveled to China twice, first as a student and then as an ambassador, and between these two journeys spent around 20 years (around one fourth of his life!) on the mainland. He was considered unusually erudite, and was one of the foremost Japanese scholars of his era. Due to his renown he also held a number of prominent positions in the court, including the incredibly prestigious role of minister of the right (右大臣, udaijin); the only other scholar to ever attain this rank was Sugawara no Michizane.

Next to Seimei and Kamo no Yasunori, Makibi is also probably one of the most famous onmyōji in history - which is quite a feat given that he actually had next to nothing to do with onmyōdō in life. Early sources, such as Shoku Nihongi (797) and Miyoshi no Kiyoyuki’s (三善清行; 847-919) Iken Fūji Jūni Kajō (意見封事十二箇条, “Statement of Opinion on Twelve Matters”) agree that he was unusually skilled, and that in China he mastered many arts, including but not limited to Confucian classics, history, arithmetic, music, poetry, and calligraphy, but they don’t link him with onmyōdō at all.

It’s hard to tell when and why the shift in the perception of Makibi’s knowledge occurred, but he is already described as not just an onmyōji, but the founder of onmyōdō in Fujiwara no Akihira’s (藤原明衡; 989-1066) Shin Sarugōki (新猿楽記, “Account of the New Monkey Music”). Another example can be found in the Konjaku Monogatari, where Makibi is portrayed using his onmyōdō skills to pacify the vengeful spirit of Fujiwara no Hirotsugu. By the twelfth century, regarding Makibi as an onmyōji was common. This is evident in the works most relevant to this article, namely fictionalized accounts of his journey to China. The oldest of them, Kibi Nittō no Kan no Koto (吉備入唐の間の事, “Kibi’s Adventures in China”), is preserved in Ōe no Masafusa’s Gōdanshō (江談抄). A more vague account can be found in the Fusō Ryakki (扶桑略記, "Brief History of Fusang"), though it is likely a derivative of the Gōdanshō one.

Makibi (in black robes) and Chinese officials (all images from this scroll have been taken from the website of the Museum of Fine Arts Boston; reproduced here for educational purposes only)

Masafusa’s account of the journey also inspired the illustrated scroll Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, “Illustrated Adventures of Minister Kibi in China“), which was most likely commissioned by emperor Go-Shirakawa between the late 1170 and early 1180s. Like other similar contemporary works, Kibi Daijin Nittō Emaki has very little to do with historical reality. It relays that after arriving in China, Makibi was imprisoned by local officials, who feared that due to being exceptionally skilled he would make them look inept in comparison. To regain his freedom he had to overcome a series of trials.

Distinctly oni-like vengeful Nakamaro

Makibi's only ally is the vengeful spirit of Abe no Nakamaro (阿倍仲麻呂; 698-770). He is described as the previous ambassador. After a similar ordeal he died in captivity.

In reality, Nakamaro traveled to China alongside Makibi in 716. However, he was not an envoy, but merely a student who was allowed to join an official delegation. What is true is that he never returned to Japan. This was not the result of any nefarious plot, let alone premature death, though. He successfully completed the Chinese civil service exam and became an official. He did try to return to Japan in 735, but a storm left him shipwrecked at the coast of Annam (a part of modern Vietnam which at the time was a Chinese protectorate), and he opted to return to his career. He also attained some renown as a poet, and was on friendly terms with the poetic superstars of his times, Li Bai and Wang Wei. All around his real life was most likely happier than the story would indicate - though based on his surviving poetry it is safe to assume he did feel homesick in some capacity.

Nakamaro longing for home in Abe no Seimei Monogatari

Obviously, Kibi Daijin Nittō Emaki is a particularly extreme example of reinterpretation of Nakamaro’s life in literature postdating him. However, portrayals focused on his longing for a return home are quite common, and appear as early as in the Tosa Nikki (土佐日記, “Tosa Diary”) by Ki no Tsurayuki, completed around 935. It should be noted that by the tenth century or so, even venturing beyond the capital was commonly described as a daunting task, and dying in exile was one of the greatest fears for courtiers. Based on these developments, it can also be argued that the fictionalized portrayal of Nakamaro is an example of a phenomenon derived from these fears - the belief that people who died far away from home would return as vengeful ghosts. He could thus be considered a peer of the likes of Sugawara no Michizane or prince Sawara. The possibility that someone would move to a far off land voluntarily, and die there peacefully of natural causes, would probably be hard to grasp for late Heian audiences. 

Pacified Nakamaro (right) talking to Makibi (left)

Anyway, back to the story. Makibi’s captors are actually convinced that Nakamaro, who became a vengeful spirit and haunts the tower where the new envoy ends up imprisoned, will kill him. However, even though Nakamaro appears to Makibi in a fierce oni-like form, he ends up pacified through what might be an unusual ritual. Makibi informs him that he is in the presence of an official envoy, and as such needs to take a suitable form. This evidently works - through the rest of the scroll Nakamaro, now a staunch ally of Makibi, is depicted in the attire of a Japanese official, just with an unconventional distinctly orange skin tone. Makibi also learns that Nakamaro is concerned about his relatives, and reassures him that his entire clan is doing well.

Makibi and Nakamaro flying After surviving the encounter with Nakamaro, Makibi is informed that his trials are set to begin. The first of them involves learning the Wen Xuan (文選, “Selections of Refined Literature”). He is not familiar with this anthology, but using a secret art enabling him to fly he manages to secretly reach the imperial palace to listen to scholars reading it. In the illustrated version he masters flight himself, which is presumably meant to show he is in full control of the situation, and there is no genuine threat in his temporary captivity. However, in Masafusa’s forerunner it is Nakamaro who can fly, and Makibi relies on his help. Either way, the aerial journey is successful, and when a Chinese official appears to question Makibi, he reveals a copy of Wen Xuan he prepared in secret based on what he heard, thus completing the first challenge.

Makibi playing go The next day, Makibi is set to face a master of go. This might seem random, but playing it was a fairly standard part of diplomatic visits, and in fact in at least some cases envoys were selected based on their go skills. Makibi is unfamiliar with it, though, and has to learn the rules from Nakamaro. He quickly comes up with an ingenious, if unconventional, strategy. Initially neither side gains an advantage, but eventually Makibi notices an opportunity to use his secret gambit arises He swallows one of his opponent’s pieces, which lets him attain victory. A diviner informs the Chinese officials about this, and they tell Makibi to take a purgative to prove he was cheating, but he manages to counter its effects with his esoteric knowledge.

Makibi’s success infuriates the officials, and they decide that to hinder him they’ll try to starve him. He manages to overcome this hardship with the help of Nakamaro, who secretly brings him food every night. This continues for months, but eventually the time of another challenge comes.

A statue from Saiō-ji depicting Baozhi revealing his nature as an incarnation of the bodhisattva Avalokiteśvara (Kyoto National Museum; reproduced here for educational purposes only)

As it turns out, the officials decided to seek the help of a virtuous Buddhist monk, the Chan master Baozhi (宝志禅师; he actually lived during the reign of Wu of Liang, some 250 years before Makibi’s journey), who prepared a barrier meant to prevent supernatural beings from entering the palace where Makibi will be tested. This means that for the first time he will have to manage without any help from Nakamaro. His new task to interpret a complex poem, Yabatai (邪馬台). Its contents aren’t discussed in the story; it was a purported prophecy according to which Japan will undergo division and ultimately perish after the reign of the hundredth emperor. Needless to say, following the traditional order which includes mythical and legendary emperors, the prophecy evidently didn’t come to pass - Go-Komatsu was #100, Naruhito is #126. Makibi initially cannot even decipher a single sign. In despair, he prays to Sumiyoshi and Kannon of Hasedera. A spider miraculously appears, and moves across the text to help him read it properly. The gathered officials, as well as the Chinese emperor, are in awe. However, they don’t let Makibi return home, and once again lock him in the tower.

Shortly afterwards, Makibi is reunited with his ally Nakamaro, and enlists his help once more. He asks him to find a century old set of sugoroku paraphernalia. With the help of these tools, he causes an eclipse. The emperor learns about its cause from his diviners, and has his officials question Kibi. He claims that the only way to end the eclipse is to let him return to Japan. This time, they oblige, and the story ends. The forerunner preserved by Masafusa indicates that Makibi was also credited with bringing the Wen Xuan, the Yabatai and the game of go to Japan. In reality, go and Wen Xuan were already known in Japan before his journey. Meanwhile, according to the Edo period philosopher Hayashi Gahō Yabatai was most likely a hoax composed in Japan in the Heian period, even though it was held to be the work of Baozhi.

It is commonly assumed in scholarship that the story was meant to reflect somewhat xenophobic attitudes towards China or more broadly towards foreign lands prevalent at the time of its composition. While in Makibi’s and Nakamaro’s times sending envoys to China was relatively common, and Japanese emperors actively sought contact with their Chinese counterparts (though occasionally diplomatic correspondence could end up awkward as both sides aimed to present themselves as superior), with time similar journeys became less frequent, and started to be perceived as increasingly dangerous (to be fair - the risk of getting shipwrecked was genuinely fairly high). It might be significant that formal diplomacy resumed during the reign of Go-Shirakawa, though. It is distinctly possible that he saw this success as a parallel to Makibi’s legendary deeds, and commissioned an illustrated edition to basically congratulate himself.

An alternate proposal is that Kibi Daijin Nittō Emaki arose as a part of an onmyōdō feud between the Kamo and Abe clans. For what it’s worth, it does seem that despite earlier successful arrangements meant to guarantee a division of positions in the court both the Abe and the Kamo would be satisfied with, tensions arose between them during reigns of emperors Toba and Go-Shirakawa, so roughly at the time of its composition. However, the interpretation of the story as a product of this conflict rests on the argument that Makibi is portrayed as more clever and skilled than Nakamaro. This sort of power level discussion is not entirely rooted in the primary sources, where the two clearly work as a team. There are further problems with this interpretation, too.

An obvious issue is that while the link between Abe no Nakamaro and the Abe clan is self-explanatory, it is not exactly evident in which way Makibi would be a representation of the Kamo. It is sometimes claimed in scholarship that the Kamo clan claimed descent from him, but this appears to be an Edo period misconception. It’s most likely a result of confusion between Kamo no Kibimaro (鴨吉備麻呂), a member of the Kamo clan who also traveled to China (his journey occurred earlier, during the final years of the reign of Wu Zetian), and Makibi. No reference to a relation between Makibi and the Kamo can be found in the fourteenth century genealogical treatise Sonpi Bunmyaku (尊卑分脈; “Genealogical Branches of the High and the Low”), though. Kamo no Yasunori is essentially treated as the founder of this lineage. A further problem is that there’s no good reason to doubt that the scroll was prepared for emperor Go-Shirakawa - who himself favored the Abe clan, as evidenced by the esteem Abe no Yasuchika (安倍泰親) enjoyed in his court.

Kibi Daijin Nittō Emaki wasn’t commonly copied in the Kamakura and Muromachi periods, but portraying Makibi as an onmyōji only became more entrenched in literature over the middle ages. He was supposedly responsible for transmitting rituals focused on Tenkeisei (天刑星, “Star of Heavenly Punishment“; this deity was held to be a master of all shikigami, for more info see my previous article) alongside Kamo no Yasunori. In a local tradition from Mount Hiromine, he was credited with enabling the enshrinement of Gozu Tennō by making a pact with him during his journeys to China.

While the examples cited above were essentially new, the specific story illustrated in Kibi Daijin Nittō Emaki evidently wasn’t forgotten either. It regained popularity in the Edo period, as evidenced by its various new adaptations. These include works from various genres, such as Koikawa Harumachi’s novel Kibi no Nihon Jie (吉備能日本知恵, “Japanese Kibi’s Ingenuity”) or the kabuki play Kibi Daijin Shina Tan (吉備大臣支那譚, “Story of Minister Kibi in China”). However, from the perspective of this article what matters the most is that it was incorporated into Abe no Seimei Monogatari, thus firmly becoming a part of Seimei’s origin story.

A personification of Mars, as depicted in Sōkan’s Iconographic Drawings of the Secrets of the Nine Luminaries (public domain; via Metropolitan Museum of Art)

The novel introduces Abe no Nakamaro first, and reveals that he was the reincarnation of Dongfang Shuo (remember him?) and by extension of the planet Mars (sic). Since Dongfang Shuo was incredibly loyal to his country, it was only natural the same was true for his reincarnation. However, as Nakamaro was born in Japan, and not China, this was less than optimal in the specific situation he found himself in. After arriving in China as an envoy, he was imprisoned - as described in earlier works - because his actions were perceived as disrespectful. He dies in prison shortly after.

A year after Nakamaro’s ill fated journey, Kibi no Makibi arrives in China as the next envoy. The Chinese emperor, Xuanzong, is infuriated that the tribute he presented was inadequate, and considers executing him, but decides to give him a way out. If he can complete a series of trials, he will be allowed to return to Japan instead (inadequate tribute be damned). These overlap with the earlier versions, though the order is changed.

Makibi playing go in Abe no Seimei Monogatari

The first of the trials involves go. Makibi is set to face a master of this game, a certain Xiandang (玄東; Gentō in Japanese) in it. His opponent actually doesn’t have a name in any of the early accounts of his adventures in China; it seems this was an innovation of an abbreviated version from the Hoki-shō.

The fateful go match, as imagined by Kunisuda Utagawa; note the inclusion of Xiandang's wife (Egenolf Gallery; reproduced here for educational purposes only) The name evidently caught on, though, since in addition to Abe no Seimei Monogatari it also pops up in other Edo period works, such as the 1852 kabuki play Kin’u Gyokuto Wakoku no Irifune (金烏玉兎倭国入船, “The Golden Crow, the Jade Rabbit, and the Ship that Arrived from Japan”). The resolution also differs somewhat: Makibi learns go by secretly observing Xiandang, who plays it regularly with his wife at home. He wins two matches against him fair and square, without the need to eat any of the pieces.

A spider helps Makibi

The Wenxuan trial is next; it essentially goes the same as in Kibi Daijin Nittō Emaki. The Yabatai trial is altered slightly, though. For starters, Bao Zhi is not physically present - he is only referenced as the poem’s supposed author. The emperor selects it specifically because it’s uniquely difficult, and he can’t read it himself. Nakamaro learns about this, and tells Makibi the best solution might be to pray, which he promptly does. No reference is made to Sumiyoshi, but Kannon of Hasadera gets a more prominent role. Makibi’s devotion to this figure is stressed over and over again. The spider whose help lets him read Yabatai is explicitly identified as a manifestation of this bodhisattva, as well. Reading Yabatai is presented as a grand feat. The entire court cheers (a far cry from the excessively villainous portrayal of courtly officials in Kibi Daijin Niitō Emaki). Even the emperor is deeply moved by Makibi’s skill, and instead of simply letting him go back home as he initially intended he tells him that he can stay as long as he wants in China in order to study. This seems like an attempt at reconciling fictional portrayals of Makibi’s journey with historical reality - I must say I think it works pretty well.

In any case, Makibi accepts the offer, and spends a long time studying various arts in China, much like he did in real life. When he finally decides to return to Japan, Xuanzong bestows various gifts on him, including a variety of literary texts, musical instruments, relics of the Buddha, a robe made from the hide of a “fire-rat” (火鼠, huoshu in Chinese, kaso in Japanese; Makibi could thus complete at least one of the trials of princess Kaguya if he only met her) and, most importantly, the Hoki Naiden (presumably passed down from emperor to emperor, though the story doesn’t state it explicitly). He also ordered a thousand monks to pray to guarantee his voyage back home would be safe.

The Abe no Seimei Monogatari account of Makibi deeds doesn’t end here, in contrast with Kibi Daijin Nittō Emaki. He safely returns to Japan, and the emperor bestows prestigious positions upon him as a reward for his accomplishments in China. Many years later, as an elderly man, he starts feeling like he essentially ended up with a life that should’ve been Nakamaro’s, though (somewhat confusingly, Nakamaro makes no physical appearance after the trials), and decides to find his family. He is unsuccessful, and ultimately writes in his will that he wants his own descendants to seek Nakamaro’s to give them the Hoki Naiden. As it later turns out, they have fallen into poverty, and have no real use for this tome. It ends up hidden until the birth of Abe no Seimei many years later.

The same events are described differently in the Hoki-shō. Makibi acquires the Hoki Naiden basically through the same means as in Abe no Seimei Monogatari, but after returning from China he gives it to young Seimei, who is introduced as a descendant of Nakamaro. In reality, despite sharing the same family name Nakamaro and Seimei were not directly related, though (Abe no Seimei Monogatari approaches this issue slightly differently, by having Seimei be a reincarnation of Nakamaro,as revealed by Hakudō). Furthermore, comparing the dates of Makibi’s journey and Seimei’s birth makes any encounter between them chronologically awkward.

It seems in at least some other works Makibi had one more role to play in setting up Seimei’s career: supposedly Kuzunoha (or, at the very least, Shinoda Myōjin) could be portrayed as his reincarnation. The problem is, while I have no reason to doubt the authenticity of this tradition, I can’t pinpoint its original source for now - this is in part why this article took so long to release. 

More than once I’ve seen an assertion that it comes from a sekkyobushi, but as I outlined earlier, it seems no actual evidence for the existence of such an adaptation is available. Furthermore, the most prominent online source of this claim is seemingly a blog on which I also found posts uncritically discussing Hotsuma Tsutae and JJCAT - which doesn’t exactly fill me with optimism. In the article Kitsunenyōbō Ni Miru Ikai ― Futari no Kuzunoha Ga Deau Koto ― Atsuko Katō states that the notion of Shinoda Myōjin being a reincarnation of Kibi no Makibi comes from Abe no Seimei Monogatari, but either this is a mistake, or for some strange reason a scene was omitted in Nana Miyata’s recent German translation (Die Erzählungen vom Leben und Wirken des Divinationsmeisters Abe no Seimei); unless the reference is actually to be found in the supplement to Abe no Seimei Monogatari which had the form of a divination manual, which is left out of the translation. Finally, the Kuzunoha article from Japanese Wikipedia gives the source as Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, relying on an anthology of Edo period puppet plays from 1965, edited by Shigeru Yokoyama. Sadly, I can’t consult the full text of this work to verify. I’ll update this article if I ever manage to solve this conundrum. Until then, though, it must end on a slightly unsatisfying note. Bibliography Tumblr for some unfathomable reason didn't let me include a bibliography here, so sadly you have to visit a google doc to access it. I'm sorry.

[mraquamoon]

🪴🌙ASTROLOGY OBSERVATIONS - cardinal moon sign edition

♈️🌶️ARIES MOON: this is a very emotionally expressive moon sign. Aries moons emotions come to them so quickly and it can be manifested as a burst of anger or frustration that ends up winding down shortly after. Aries moons really benefit from working out or doing some type of physical activity when going through an emotional crisis. Aries moons want to be left alone to process their emotions. They will most likely reject any type of help or assistance when they are bothered initially. The best thing to do to deal with this is to give them space and let them process. Aries moons get along with other fire moons best as well as Gemini and Aquarius moons. They are very independent thinkers. Their mother influenced their drive and ambition in life in a positive or negative way. Their experiences with their mother shaped their outlook to be independent.

♑️👔CAPRICORN MOON: this moon sign is not super emotional on the surface at all. They will use dry humor more often than not and that can hint at some emotions they are feeling internally. They are very hard to open up with how they truly feel even with people that are super close to them. They might have had a hard time growing up such as parent being away from home a lot so they had to step up and take responsibility for things in the household. They could have lost a parent or a parent could be physically around but not emotionally. Capricorn moons benefit from having people around who give them the space to process their emotions and give them a positive perspective on life compared to how things make seem to them sometimes. Capricorn moons will be more inclined to open up to you if they began to respect you in some way. They appreciate people who understand the value of hard work and determination like themselves. Capricorn moons are very good to be with in relationships as well as they will take responsibility on ensuring the relationship has a well thought out future and things that you wouldn’t normally been keen on taken care of. They will plan dates, they will spoil you, they will give you money to take care of you in some cases especially when they really are loyal to you and understand your value. They do not invest in things that does not seem worth it long term. Capricorn moons get along generally with earth moons scorpio and Aquarius moons.

♎️💕LIBRA MOON: this is the social moon sign. Libra moons love relationships and beauty of all types. They are very much the types to romanticize their lives. Libra moons are happiest when all relationships in their lives are balanced and especially when they have a partner to share their life and ideas with. Libra moons are very aware of their appearance and makes sure to invest a lot of their mental energy into their self care routines. They love shopping to ease their emotions. Libra moons also love talking about relationships of all types with others. They are great with relationship advice for all types and they genuinely love hearing and comparing perspectives. Libra moons struggle with being truthful emotionally sometimes just because they want to keep the peace. They do care about upsetting people still like the typical Libra archetype so they may tip toe around what they truly feel emotionally or become indecisive. This is not always a terrible thing because it helps them make the right decision. They prefer doing activities with others such as going to the store or grabbing food together. This makes them feel at ease emotionally. Libra moons are very sensitive to energy so they are always able to sense the shifts that goes on in a room. They become very uncomfortable around discord of any kind. Libra moons get along best with other air moons Sagittarius and Leo moons.

[astra-ravana]

The Practice Of Demonolatry

Demonolatry, the communion, summoning, and worship of demons, is a complex and often misunderstood practice with roots in ancient history. While it's difficult to pinpoint the exact origin, early forms of demon work can be traced back to pre-Christian cultures, where spirits and deities were often associated with both positive and negative aspects of the natural world.

In the Abrahamic traditions, demons are typically portrayed as fallen angels or evil spirits, often associated with temptation, sin, chaos, misfortune, and death. However, in some occult and esoteric practices, demons are viewed as powerful beings who can grant knowledge, power, and protection to those who understand how to work with them. The word "demon" comes from the ancient Greek "daemon" which literally meant "divine entity" or "minor god". Many demons are, in fact, disgraced pagan gods who met with the limited understanding of early Christians. Due to events such as the crusades and prevalent witch hunts throughout history, information pertaining to demons was likely supressed or destroyed entirely.

The Renaissance period, however, saw a resurgence of interest in demonology, with figures like Johann Weyer and Reginald Scot challenging the prevailing view of demons as purely evil entities. These thinkers argued that many cases of demonic possession could be attributed to mental illness or other natural causes. In the 19th and 20th centuries, demonolatry experienced a revival within certain occult and esoteric circles. Figures like Aleister Crowley, Anton LaVey and other practitioners of Satanism and Theistic Satanism incorporated demonic entities into their rituals and beliefs. These modern forms of demonolatry often emphasize personal empowerment, self-reliance, and the exploration of darker aspects of the human psyche.

Modern demonolaters such as S. Connolly, Michael W. Ford, and Satan and Suns are now helping transition demonaltry from obscure occult practice to every day magick. It is a diverse and multifaceted system, with a wide range of beliefs and practices. There is much to be gained when interacting with these powerful, otherworldly energies. Some practitioners view demons as literal entities, while others interpret them as archetypes or psychological forces. Regardless of their specific beliefs, demonolators often share a fascination with the occult, the supernatural, and the darker side of human nature (or the shadow).

Demonolatry as a practice or magickal rite is an almost unmatched catalyst for change, transformation, growth, knowledge, magickal ability and more. A connection to the demonic divine is a portal to the universe and understanding the true nature and origins of life. Doing your research is key, but there is no better teacher in this case than experience. Its hard to understand how natural and comforting demonic connection can feel without actually feeling it first hand. Letting go of preprogrammed fears and expectations to leap bravely into the dark may not be easy and it's not for everyone, but it is one of the most freeing and enlightening experiences one can have. So... What are you afraid of?

[paleworldstranger]

Beady Game Boy Thinker archetype is done. Sensitive is here. Just got to do Physical.

[hymn-to-mercury]

✨🪐Astro Notes and Observations #2🪐✨

These observations are all based off my own personal experience and are mostly generic - don't take it to heart if you disagree <3

✨Since I realised how much Mars influence translates into a persons physical appearance, I’ve been looking for evidence of this in other signs and planets, and I’ve namely found it in people with a lot of Moon influence in their chart! I’ve noticed they tend to have big, round features - especially in the face, think big, round eyes. Elsewhere it could mean a round body shape or big belly, even a decent bunda or pair of boobs tbh 😂 but that’s not a total given. There’s just something about them that’s quite… smoooooooooth, and soft looking.

(Zawe Ashton, Princess Diana, and Lana Del Rey are all Cancers!)

✨I find Taurus placements NOTORIOUS for giving unsolicited advice - what sucks most though is that 99% of the time it’s usually quite helpful so it’s hard to complain 😭

✨I know Aquarius’ are often seen as the activists of the zodiac, but in my experience a lot of them aren’t really all about that life. They might be quite forward thinkers, but they don’t usually care to argue - they’re not going to try and convince you about their opinion if they don’t think you’ll actually listen. They are probably willing to have a civil conversation, they’re GREAT conversationalists, but as soon as there’s any heat? They’re out. 

✨If you struggle to identify with your birth chart, try calculate it in Whole Signs according to traditional rulership, as opposed to Placidus with modern rulership! I switched recently, and it’s been a total game changer for me. I resonate with my house placements so much more now. 

✨Cancer Moon and Mars get the biggest ick from rudeness; the quickest way to get on these guys bad side is by being ill mannered. They are ALLL about good manners.

✨Scorpio and Leo in a chart together makes for the least mysterious scorpios ever LMAO just all the angst and non of the mystery - plus they reallyyyyy like to bask in their own misery, and trust, you will hear about it. 

✨Taurus stellium are always putting other people’s needs before their own, truly the mother of the friend group. 

✨Cancer and 4th house placements as the homebody nurturing mother archetype is suchhhh a lazy and reductive take - just because someones got cancer placements doesn’t automatically mean they want to be a parent and launch babies out their vagine till it doesn’t work anymore. Why does no one ever point out the way that Cancers absolutely do NOT play about their parents or their siblings? Or how much Cancers take pride in their home/living space? How inseparable they are with their pets? Or that they’re just as much foodies as Taurus! Especially with sweets, anything from Haribos to pastries. Cancers are more than just breeders.

[celestialalignments]

Aries In Astrology: A Comprehensive Analysis Of Aries Placements

Aries, the first sign of the zodiac, is known for its dynamic energy, assertiveness, and bold, pioneering spirit. Individuals with significant Aries placements in their natal chart are often seen as leaders, innovators, and individuals who take charge of their lives and destinies. Aries is ruled by Mars, the planet of action, and this fiery influence drives those with Aries in their chart to approach life with courage, passion, and a sense of urgency. In this article, we will explore how Aries influences each of the planetary placements—such as the Sun, Moon, Mercury, Venus, and beyond—offering a deeper understanding of how Aries' characteristics manifest in different areas of life, from relationships and career to personal growth and emotional expression. Each placement adds a unique layer to the Aries archetype, revealing how this bold sign shapes the individual in ways both empowering and challenging.

Sun In Aries

The Sun represents the core of our identity, our ego, and how we express our individuality. With the Sun in Aries, individuals are characterized by their energetic, independent, and assertive nature. Aries is the first sign of the zodiac, ruled by Mars, which means these individuals are natural leaders, pioneers, and doers. They approach life with a sense of urgency and enthusiasm, always eager to take the initiative and forge new paths.  

People with the Sun in Aries are often courageous and unapologetically themselves. They possess a strong sense of self and tend to focus on their goals with determination, sometimes even impulsively. Aries Sun natives can be competitive and driven, pushing themselves to be the best in whatever they do. However, this can also lead to impatience or a quick temper if things don’t go according to plan. Their vitality and self-confidence can inspire others, making them magnetic figures in their personal and professional lives.  

Moon In Aries

The Moon represents our emotions, instincts, and subconscious reactions. With the Moon in Aries, individuals experience their emotions intensely and immediately. Aries is a fire sign, and this placement brings a passionate, sometimes impulsive approach to feelings. These individuals are quick to react to emotional stimuli, often expressing their feelings with enthusiasm and directness.  

People with the Moon in Aries are courageous in their emotional expression, not afraid to act on their instincts or desires. They may crave excitement and independence, which can sometimes lead to restlessness or impatience. However, they also have an innate ability to bounce back from emotional setbacks quickly. The Moon in Aries individuals are emotionally resilient and often thrive in fast-paced or high-energy environments. Their challenge is to temper their reactions and learn to handle emotions with greater awareness, avoiding rash decisions or impulsiveness.  

Mercury In Aries

Mercury governs communication, thought processes, and intellect. With Mercury in Aries, individuals are quick thinkers who prefer to get to the point without beating around the bush. Aries is known for its directness and decisiveness, and this energy infuses their thinking and communication style. These individuals are often quick to speak their minds and express their opinions with clarity and enthusiasm.  

People with Mercury in Aries are mentally sharp and tend to have a strong desire to take immediate action based on their thoughts and ideas. They have a keen ability to make quick decisions, though sometimes these decisions may be impulsive. They can excel in situations that require fast thinking or problem-solving, but they must be mindful of their tendency to be overly blunt or impatient in communication. Their challenge is to balance their quick-fire thoughts with careful consideration, ensuring they don’t alienate others in the process.  

Venus In Aries

Venus represents love, beauty, and harmony. In Aries, Venus takes on a bold, passionate, and independent energy. Individuals with Venus in Aries are dynamic in their approach to relationships and love, often seeking excitement, adventure, and a sense of freedom. They love with intensity and aren’t afraid to take the initiative in matters of the heart.  

People with Venus in Aries are attracted to partners who are independent, energetic, and confident. They seek relationships that bring passion and excitement but can become impatient if things feel stagnant or too routine. In love, they can be direct and assertive, and they enjoy the thrill of the chase. However, they may also struggle with impulsiveness, sometimes rushing into relationships without fully considering the consequences. Their challenge is to balance their desire for excitement with the need for deeper emotional connection and longevity in relationships.  

Mars In Aries

Mars, the planet of action, energy, and drive, is most at home in Aries, its natural ruling sign. Mars in Aries individuals are energetic, assertive, and highly motivated. These people are fearless in pursuing their goals and are driven to take immediate action. They are pioneers, often preferring to dive headfirst into new endeavors rather than wait or plan excessively.  

With Mars in Aries, individuals have boundless energy and a strong need to assert themselves. They thrive on competition and challenge, and they are often the first to take initiative in any situation. However, their impulsive nature can sometimes lead to conflicts or a lack of patience. While they may act quickly, they must be mindful of being overly rash or headstrong in their pursuits. Mars in Aries individuals are natural leaders, but they must learn to temper their fiery energy to ensure they don’t burn themselves out or alienate others.  

Jupiter In Aries

Jupiter represents growth, expansion, and higher knowledge. In Aries, Jupiter brings a strong desire for personal growth through action, independence, and new experiences. These individuals have a fearless approach to life, often taking risks and seeking out challenges that can help them expand their horizons. They are enthusiastic, optimistic, and driven by the pursuit of adventure.  

People with Jupiter in Aries are confident in their ability to succeed and often believe that taking bold actions is the key to unlocking opportunities for growth. They are natural entrepreneurs, always looking for ways to push boundaries and explore new possibilities. However, their tendency to take risks without fully considering the consequences can sometimes lead to overconfidence or reckless behavior. Their challenge is to balance their desire for freedom and expansion with the need for careful planning and foresight.  

Saturn In Aries

Saturn represents structure, discipline, and responsibility. In Aries, Saturn pushes individuals to develop their personal strength, discipline, and independence through challenges and obstacles. These people may face initial struggles in asserting themselves or taking leadership roles, but with time, they learn to become more focused, strategic, and resilient.  

Saturn in Aries individuals may experience delays or difficulties in pursuing their ambitions, but these challenges serve to help them grow stronger and more self-reliant. They are driven to succeed but may have to learn patience and perseverance along the way. Their challenge is to channel their assertive energy in productive ways, avoiding impulsive or reckless decisions that could hinder their long-term goals.

Uranus In Aries

Uranus governs innovation, individuality, and sudden changes. In Aries, Uranus brings a bold, inventive, and rebellious energy. Individuals with this placement are often drawn to pioneering ideas and revolutionary causes. They are independent thinkers who are willing to challenge the status quo and take risks to create new possibilities.  

These individuals are trailblazers in every sense, seeking to break new ground and forge new paths in their personal and professional lives. They are fearless in their pursuit of originality and are often ahead of their time. However, their need for independence and novelty can sometimes lead to erratic behavior or a tendency to avoid commitment. Their challenge is to use their innovative ideas in ways that also allow them to work collaboratively with others, embracing new ideas while remaining grounded.  

Neptune In Aries

Neptune represents dreams, spirituality, and creativity. In Aries, Neptune brings a fiery, passionate vision for the future. Individuals with Neptune in Aries are idealistic and driven by a sense of purpose, often seeking to make their dreams a reality through direct action and bold pursuits. They are inspired by the idea of freedom and personal empowerment, using their creativity and imagination to push boundaries.  

These individuals are motivated by a desire to break free from limitations and chart new territory. However, they may sometimes struggle with illusions or a tendency to be overly optimistic about their ability to achieve their goals. Their challenge is to ground their visions in reality and avoid impulsively jumping into situations without considering the full picture. By tempering their idealism with practical planning, they can achieve great things.  

Pluto In Aries

Pluto represents transformation, power, and deep psychological change. In Aries, Pluto brings a forceful, transformative energy that drives individuals to take control of their lives and pursue their desires with intensity. These individuals are passionate and determined, often going through significant personal changes as they fight to assert their independence and achieve their goals.  

Pluto in Aries people are powerful, self-willed, and often assert themselves in transformative ways. They may encounter intense battles for power or control, but these struggles ultimately lead to profound personal growth and transformation. Their challenge is to channel their intense energy into constructive actions, avoiding becoming overly domineering or driven by the need for control.  

Chiron In Aries

Chiron represents wounds and the potential for healing. In Aries, Chiron brings a wound related to self-assertion, identity, and independence. Individuals with Chiron in Aries may struggle with feelings of inadequacy or a sense that they are not able to assert themselves as strongly as they desire. These individuals may have experienced early wounds around their sense of self-worth or their ability to take initiative.  

Healing for Chiron in Aries involves learning to embrace their own identity, to take bold action, and to trust their own instincts. Through this process of self-empowerment, they can heal and become a source of strength for others who struggle with similar issues.  

Ceres In Aries

Ceres represents nurturing, sustenance, and care. In Aries, Ceres brings a nurturing energy that is independent, energetic, and direct. Individuals with this placement may have a strong desire to take care of others in bold, assertive ways. They are often self-reliant, preferring to offer their care through action rather than words.  

These individuals may find it fulfilling to nurture others by helping them take initiative or assert themselves. However, they may struggle with patience and may sometimes overlook the more subtle, emotional needs of others in favor of immediate, practical solutions.  

Pallas In Aries

Pallas represents wisdom, strategy, and intellectual creativity. In Aries, Pallas brings a sharp, strategic mind combined with a bold, fearless approach to problem-solving. These individuals excel at coming up with quick, decisive solutions to challenges, and they have an innate ability to see opportunities where others might see obstacles.  

People with Pallas in Aries are natural leaders and are often able to inspire others with their vision and determination. However, they must be careful not to act too impulsively or allow their confidence to cloud their judgment. Learning to channel their mental clarity into long-term strategies will allow them to maximize their effectiveness.  

Vesta In Aries

Vesta represents dedication, focus, and devotion to a higher cause. In Aries, Vesta brings a strong desire to dedicate oneself to personal independence, new endeavors, and pioneering efforts. Individuals with Vesta in Aries are passionate about their pursuits and are highly committed to following their own path, even if it means breaking away from tradition.  

They are devoted to carving out a space for themselves in the world, driven by a sense of purpose and inner fire. However, they may struggle with a tendency to be too focused on their own independence, leading to challenges in building relationships or finding balance.  

Juno In Aries

Juno represents commitment and partnership. In Aries, Juno seeks a relationship that is dynamic, exciting, and full of passion. These individuals are attracted to partners who are independent, assertive, and adventurous. They value personal freedom and need a relationship that allows them to maintain their sense of individuality.  

Juno in Aries people may struggle with compromise, as they prefer to act quickly and decisively, even in relationships. They are fiercely loyal but need a partner who can keep up with their energy and assertiveness.  

Lot of Fortune In Aries

The Lot of Fortune represents where we can find success, luck, and fulfillment. In Aries, this point suggests that individuals may experience fortune through assertive action, courage, and independence. These individuals are likely to find success when they take risks and lead the way, especially in fields that require initiative, self-reliance, and boldness. They are most likely to find joy and rewards in new beginnings and situations where they can assert their autonomy.  

People with the Lot of Fortune in Aries often have a knack for seizing opportunities, trusting their instincts, and pushing forward with unwavering confidence. They thrive in competitive environments and are often happiest when they are actively pursuing their goals with passion and drive. However, they must be careful not to rush into situations impulsively or neglect the value of long-term planning. Their fortune lies in balancing their boldness with strategic foresight, using their inner strength to propel themselves toward success.  

Black Moon Lilith In Aries

Black Moon Lilith represents the wild, untamed, and often repressed aspects of ourselves. In Aries, Lilith brings a raw and powerful energy to self-expression, independence, and assertiveness. Individuals with Black Moon Lilith in Aries may have a deep-seated desire to break free from societal constraints and assert their will without fear of judgment. They are unafraid to stand out and act according to their instincts, even if it challenges traditional norms.  

This placement can manifest as a defiant spirit, an inner drive to assert one’s desires, and a fearlessness in expressing personal power. However, these individuals may also experience an inner conflict or tension between their need for independence and societal expectations. Black Moon Lilith in Aries can reveal the hidden power of self-assertion but may also bring up feelings of frustration when others fail to recognize or respect their strength. Embracing and fully owning their inner power allows them to break free from inhibitions and tap into a deeper, more authentic expression of self.  

North Node In Aries

The North Node represents our soul’s purpose and the lessons we are meant to embrace in this lifetime. In Aries, the North Node calls for individuals to develop a sense of personal courage, independence, and self-empowerment. They are meant to step into leadership roles, make decisions based on their own desires, and act in ways that assert their individuality.  

With the North Node in Aries, these individuals must learn to prioritize their own needs, take risks, and break free from codependency or self-doubt. Their path involves embracing their inner warrior and courageously pursuing their personal desires, regardless of what others think. The challenge lies in overcoming the fear of confrontation or failure and instead stepping into their true power. By learning to trust themselves and their instincts, they will find greater fulfillment and a sense of purpose. 

South Node In Aries

The South Node represents the habits and patterns we bring from past lives or earlier stages in life. In Aries, the South Node indicates that these individuals may have past-life or early life tendencies toward acting impulsively, relying on quick actions without considering the consequences, or avoiding confrontation. They may have a tendency to act alone or be self-reliant to the point of isolation.  

With the South Node in Aries, these individuals may struggle with being overly competitive or headstrong, or they may resist collaboration in favor of pursuing personal desires. The challenge of this placement is learning to move away from a purely self-centered approach and instead embrace the lessons of the North Node (in Libra) by learning to cooperate, share, and build balanced relationships. By fostering mutual understanding and compromise, they can develop a sense of inner peace and harmony.  

Ascendant In Aries

The Ascendant, or rising sign, reflects how we present ourselves to the world and how others perceive us. With Aries on the Ascendant, these individuals come across as confident, energetic, and dynamic. They are often seen as bold, direct, and assertive, with a natural ability to take charge in any situation. People with Aries rising are often the initiators and leaders of the group, always ready to take action and make decisions quickly.  

Aries Ascendant individuals project an image of self-sufficiency and strength, often commanding attention with their energy and enthusiasm. They are likely to be physically active and may come across as spontaneous or impulsive. However, this placement can also make them prone to impatience or frustration if things don't move at the pace they desire. Their challenge is to learn to balance their assertiveness with patience, and to allow time for relationships and projects to develop at their own pace.  

Midheaven In Aries

The Midheaven represents our career, public image, and ambitions. With Aries on the Midheaven, these individuals are likely to be drawn to careers that require independence, leadership, and decisiveness. They thrive in roles where they can take charge, make quick decisions, and push forward with bold ideas. They are often at their best when they are pioneering something new, whether in business, technology, or creative fields.  

People with Aries on the Midheaven are often seen as trailblazers and can excel in competitive or high-energy environments. They have the courage to take risks in their careers, and their direct, no-nonsense approach to work often leads to success. However, they may struggle with authority figures or systems that limit their freedom and independence. The challenge lies in cultivating patience and strategic planning while maintaining their drive and passion for innovation.  

Imum Coeli (IC) In Aries

The Imum Coeli, or IC, represents our roots, home life, and inner emotional foundation. With Aries on the IC, individuals are likely to have a strong desire for independence and a pioneering spirit when it comes to their family and home life. These people may have grown up in an environment where they had to assert themselves or fight for their independence, or they may have experienced a home life that was active, energetic, and focused on self-sufficiency.  

Individuals with Aries on the IC are likely to value personal freedom and independence within their home life. They may not be interested in following traditional family structures or may prefer to create their own version of home and family. However, they may also struggle with issues of emotional vulnerability or a sense of needing to be strong at all times. The challenge is to balance their need for independence with the nurturing and supportive elements of family life.  

Descendant In Aries

The Descendant represents our approach to relationships and the qualities we seek in a partner. With Aries on the Descendant, individuals are attracted to partners who are dynamic, assertive, and independent. They value energy, passion, and action in their relationships, and they are drawn to people who are confident and unafraid to take the lead.  

People with Aries Descendant often seek partners who challenge them and bring excitement into their lives. They thrive in relationships that are full of spontaneity and adventure. However, they may also struggle with partners who are overly passive or dependent. The challenge for these individuals is to learn to balance their desire for excitement and independence with the need for collaboration and compromise. Relationships for them are most fulfilling when both partners can be independent and supportive of one another’s goals.  

Conclusion

These are the additional placements of Aries across the astrological chart, each reflecting unique characteristics and challenges. Each Aries placement infuses energy, assertiveness, and boldness into different areas of life, whether it be in personal identity, relationships, career, or emotional foundations. The journey of individuals with strong Aries placements lies in embracing their courageous, pioneering spirit while learning to temper impulsivity with patience, cooperation, and strategic action.

[hildegardladyofbones]

Another poll because I need to gauge the average opinions of this fandom

I went with sensitive for my first playthrough because that one said that he might begin to go insane. I want nothing else for that old man.

Elaborate in the tags. Reblog for a bigger sample size. Yk, the usual

[markerofthemidnight]

I’ve seen a lot of people compare Pomni to a cat over the years, and like… I agree to an extent, but don’t you think that’s not a perfect label for her?

Let’s recap what we know about Pomni:

She’s skittish

A quick thinker

Selfless when it counts, but ultimately isn’t keen to choose others over herself

Completely fucking feral when driven to her breaking point

So, what to do? She’s too nice to be a(n archetypical) cat, and too skittish to be a(n archetypical) dog. She’s feral, but in a way that very much fits a dog more than a cat. And dogs aren’t portrayed as smart as often as cats are.

With all this in mind, hear me out:

Fox.