#Husband wife problem solution by black magic

[babaji12]

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Constant quarrels with your husband can take a toll on your emotional well-being and strain the bond you share. It's disheartening when the love and companionship that once brought you joy turn into a source of frustration. However, it's important to remember that conflicts are a natural part of any relationship, and there are effective ways to address and resolve them. This article aims to provide you with practical strategies to find peace and harmony in your relationship, minimizing daily quarrels with your husband. 

Know the story of a woman from Delhi who was very upset due to daily fights with her husband.

That woman was very upset due to the quarrels in the house, she could not see any way out. Then he called our astrologer Pandit Rohit Sharma ji and got the solution to his problem.

I live in Uttam Nagar, Delhi. I am a housewife. There used to be fights everyday. My husband used to quarrel with me everyday without any reason, I came to know that there is a woman in his life, due to which my husband quarrels with me everyday, I called Pandit Rohit Sharma ji and told my problem to him. Then he told me some such remedies, by doing which my husband is with me today. Now I am very happy in my life. I heartily thank Pandit Rohit Sharma ji who saved my married life from destruction. He is very kind and humble and his remedies are always effectfull. 

Maintaining a healthy and harmonious relationship with your spouse is crucial for a fulfilling and joyful life together. However, it's not uncommon for couples to face challenges and conflicts along the way. This article aims to provide you with effective strategies and solutions to overcome husband-wife relationship problems and nurture a strong and loving bond.

Communication is Key:

Open and honest communication serves as the foundation of a successful relationship. It is essential to create a safe and non-judgmental space where both partners can express their thoughts and feelings. Active listening, empathy, and mutual respect are vital components of effective communication. Regularly engage in meaningful conversations to address concerns, share aspirations, and understand each other's perspectives.

Prioritize Quality Time:

Amidst the hustle and bustle of daily life, it's crucial to prioritize quality time together. Set aside dedicated moments for shared activities, such as date nights, weekend getaways, or even simple walks in the park. Fostering a sense of togetherness and creating lasting memories can help strengthen the emotional bond between you and your spouse.

Nurture Emotional Intimacy:

Emotional intimacy is the glue that holds a relationship together. It involves being vulnerable, expressing love and affection, and supporting each other through both triumphs and challenges. Make a conscious effort to understand your partner's emotional needs and provide them with the support and reassurance they require. Regularly express love, appreciation, and gratitude to deepen your emotional connection.

Respect Individuality and Boundaries:

Each partner in a relationship has their unique needs, aspirations, and boundaries. Respecting each other's individuality is crucial for a healthy and balanced relationship. Encourage personal growth and provide space for pursuing individual interests. Set clear boundaries and communicate them effectively, ensuring that both partners feel valued and respected.

Address Conflict Constructively:

Conflict is a natural part of any relationship, but how you handle it determines its impact on your bond. Instead of avoiding or escalating conflicts, approach them constructively. Use "I" statements to express your feelings and needs, focusing on the issue at hand rather than attacking your partner. Practice active problem-solving, seeking compromises and win-win solutions. Consider seeking professional help, such as couples therapy, if you find it challenging to resolve conflicts on your own.

Build Trust and Honesty:

Trust and honesty are the pillars of a strong marital relationship. Be transparent with each other, avoid secrets, and foster an environment of trust and reliability. Follow through on commitments and be accountable for your actions. Trust is earned through consistent behavior over time, so make trust-building a priority.

Seek Support When Needed:

Sometimes, resolving relationship problems may require external support. Don't hesitate to seek guidance from trusted friends, family members, or professional counselors. Marriage or couples therapy can provide valuable insights and tools to navigate challenges effectively. Remember, asking for help is a sign of strength, and seeking support can lead to significant breakthroughs in your relationship.

Conclusion:

Every relationship has its ups and downs, but with dedication, effort, and the right strategies, you can overcome husband-wife relationship problems and cultivate a deep and fulfilling connection. By focusing on effective communication, quality time, emotional intimacy, respect, conflict resolution, trust, and seeking support when needed, you can create a strong foundation for a lifelong partnership filled with love, understanding, and mutual growth.

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Kala Jadu The ArgumentAn important point to keep in mind is that all Jadoo is kala jadu, and there is no such matter as evil jadu or very good jaduu. In the modern world, kala jadu still appears to get connotations of evil for people who may be Christian or Muslims. In regards to real magic, the response is no. kala jadu or Black magic is widely thought to be accountable for fights, barrenness, illness, and sometimes even death. It has a long and storied history and is a part of many religious dogmas and customs.Kala Jadu The Argument If you prefer to learn such a kala ilm , there are particular factors which you ought to think of. Magic doesn’t work like that. kala jaduu even played a sizable part in the job, Macbeth. More frequently than not, you hear the expression black magic employed by non-Pagans to describe any kind of magical working in any way.Astonishing Details Regarding Kala Jadu ExposedA lot of individuals well-known folks, strongholds and mechanical concerns are profited from these Tantras. Furthermore, usually, it’s found that you’ve got business enemies for wrong explanations. Along with, it shouldn’t be harm to anybody with no reason. Ergo, if anyone would like to remove these sorts of effects on their entire body, then they may use the kala Jadoo Amliyat service. Solution and treatment were given below:

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[adarkrainbow]

The Tale of Tales movie analysis (4)

Finally, we reach the last (well, actually the first) of the three fairytales. It is an adaptation of Basile's "The Enchanted Doe" - but I always hesitate to call this segment by this name because the titular enchanted doe was completely cut out. In fact, of the three fairytale adaptations, this one is the one that changes the most the original material.

This story is the "Mother" segment, and fittingly the obsession it depicts is the obsession of a mother for her child - and to reflect the "bad father" figure of "The Flea", here we have to deal with the "antagonistic mother", turned into the "monstrous mother"

And this monstrous nature is heavily insisted upon by the very first changes the movie performs to Basile's story. In the Pentamerone, the king, by advice of the "wise and knowledgeable old man", slays the sea-dragon (well, his servants do) and brings back the heart, and it is all surrounded by comical sequences (such as the king shooting everybody that comes near his castle because he is tired of charlatans, or the heart's cooking-vapors making the FURNITURE pregnant). Of course, all the joke elements were removed but a further change was made - the king dies when slaying the dragon. In fact, this whole segment is fascinating in that it already sets from the get-go the entire story. The king, entirely devoted to his wife, goes to slay a dragon so that she can have her dream of being pregnant - but in the process he dies, killed by the dragon, literaly destroying himself for the happiness of his wife. But the queen? She clearly does not care that her husband died. When she arrives on the grounds, while she goes briefly take care of him, all her focus and attention is on the dragon's heart - and she does not shed a tear. We see here how this woman is so obsessed with having a child she is willing to get rid of her own husband ; even worse is that this obsession is not just destructive as in, it led the king to his death, but it is also shown as causing unecessary actions of cruelty. The sea-dragon is here... not at all a monstrous and frightening being. It is just a big, old, sleepy water-animal, living in a very beautiful area, that apparently didn't cause any trouble or damage to anybody, and ultimately looks more like a big axolotl or newt than a real dragon. All for one's woman obsession with pregnancy, a peaceful animal is cruelly killed out of nowhere, and a king is led to his death.

But as the necromancer said, "A life for a life" - there is always a price to pay for life-giving magic, and this price is death. Let us take a brief look at this character - explicitely referred to as "the necromancer" in the credits, another departure from Basile's tale where the character is just a wise, knowledgeable old man that happens to pass by. Here, it is a necromancer that purposefully arrives in the dead of the night to the king's palace, magically bypass the guards, and specifically comes to solve the king's problem before disappearing again... And then, when the queen is in great distress, he appears again out of the palace's shadow to offer his help unprompted. The necromancer was clearly designed to be a parallel to the "witch" of The Flea segment, and both belong to the same type of supernatural characters: both are gaunt and skinny, older-looking supernatural humanoids, who appear out of nowhere to bring magical help (but a help that always has a catch to it), and both are even dressed in similar black and hooded outfits. However, what does the choice of the title of "necromancer" tells us here? Necromancer is someone who invokes and speaks with the dead, which is not truly what this sorcerer does here... But necromancer in general has been expanded to any magical user who deals with death, in one way or another - and in this angle, this is precisely what the necromancer does. He offers magical solutions that always require the sacrifice of a life, he makes it clears magic needs death as a payment - his very appearance as a tall and skinny old man in a dark hood evokes the Grim Reaper - and if it wasn't enough, the two people he directly speaks to and offers his advice, the king and queen, both end up dying by enacting his plans... The necromancer is here clearly a figure of death. And by extension, his function as a male counterpart to the Witch of The Flea can also be read when you recall that in medieval and Renaissance literature, "necromancer" was synonym with "warlock" or "witch", because "necromancer" was mis-written/misunderstood very often as "negromancer" or "nigromancer" - aka a practicioner of dark arts, a master of black magic.

And so while Basile's story opened with farcical situations of an angry king shooting everyone from his tower and chairs giving birth to baby-chairs, the movie opens with a woman's anguish at her sterility, the senseless death of an animal and a king, shadowy advices from a Grim Reaper-like figure, and finally a grandiose funeral... where nobody really mourns the king. The queen's obsession is driven here again during the funeral scene - while she is in the funeral procession, the queen only has eyes for the baby she holds in her arms... And already before, the scene of the queen eating the dragon's heart established her nature and future revelation as a monstrous and bestial character: she doesn't eat it like a human being, with forks and knives... She devours it with her bare hands and with her mouth plunged in the blood. Her obsession to have a baby turns her into a monster.

The monster parallel is even more insisted upon when we see her first interaction with her son the prince: both are playing a game of hide-and-seek. But this is all a perverse game. The queen is dressed in a blood-red outift, and she chases her son through a maze... A labyrinth. She is clearly meant to be reminiscent of the minotaur hunting down its prey. Meanwhile the prince is fleeing from her, doing his best to avoid her - but he clearly is not happy, and truly looks exhausted. He only can escape when his... let's say "heart twin" saves him by allowing him to climb over the wall and escape the labyrinth, leaving the queen all alone in the maze while the two boys ride away on a horse. Everything is established in this very scene, everything is said and announced.

The queen is a monster. Not only was she ready to sacrifice all the lives she could to obtain her child, but now she is shown to become obsessively possessive and controlling towards her son. This was already very clearly present in Basile's original tale, where the queen's hatred came from an intense jealousy because her son loved more his "false twin" than her. But the movie pushes this even further by depicting the queen's obsession under a frightening light, borderline incestuous - she recognizes that the false-twin is not her son because of his smell, and she is shown to have a secret passageway allowing her to spy... on her son's bedroom. This all makes her desire to kill the false twin even more disturbing than it already was - and prepares what we will see by the end, her transformation into a pure monster.

Speaking of the false-twins, the movie adds a fascinating dimension to the characters - an aspect that highlights why they are so close and loving to each other, and why there is such a gap between the prince and his mother. The movie decided to truly and entirely make them the sons of the sea-dragon, more than the sons of their human parents. The twins are depicted as albino, with white hair and red eyes - the same colors the sea-dragon was. They enjoy escaping the castle ground and spend their time swimming under-water and hidden in the river where the dragon was slain, entirely naked - and with hints that they can hold their breath unnaturaly long. Finally, of the two magical items meant to indicate their good health, the myrtle is removed so that only stays the water stream... Their life is tied to a water they can magically summon. Everything shows and indicates that they are truly belonging to the supernatural world, to the world of the sea-dragon, and thus dooms from the start the queen's relationship with her boy, as they clearly do not belong to the same world and will never be able to fully understand each other.

The third act of the story is where things are completely changed and take a full twist.

In Basile's story the son of the servant girl ends up marrying a princess and living in a castle, making him the equal of his "false-twin". Here, not at all - the son of the servant does find love and a wife, but is among poor folks and common people. Not only is it a purposeful avoidance of the traditional fairytale cliches (you don't have to be royalty to be happy - especially in this movie where all royalty is fucked up in one way or another), but it also serves for another one of the changes of the movie: in the end, the two "dragon-heart-brothers" do not reunite and do not live happily together. They stay divided and split up until the very end. Yes, the prince saves his best friend, but in the end he has to leave and return to his own world. There is a mix here of the reminding of strong class divide of medieval and Renaissance times (no matter how hard, a peasant cannot become a king - in fact, hat pushes the queen over the edge is when the son of the servant pretends to be the prince), and a rational look at the logical consequences of the two boys growing apart and one of them finding his own love and his own new, caring family. No happy ending for the two boys, but a bittersweet one - they know each one is alive and well, and the prince saved his brother in distress, but ultimately they will stay apart and belong to different worlds. This is a complete change from the beginning of the story, when the two boys formed their own little bubble split apart from the rest of the people around them - and maybe we can read this as a comment on twin relationships. The two boys grew so close to each other and so split apart from everybody else they started to fuse and confuse their identities, replacing one another - but they had to pay for this, and a lot of suffering led them to realize they should each have their own life, their own family, and develop their own identities. The monster rises up its ugly head when the boys start planning on switching their identities, becoming one and the same - but the defeat of the monster results in the two of them splitting away and accepting that they each have their individual life.

But we can also read this lack of conclusive reunion and happy ending as another hint of what the movie is really about: women. This movie has its female characters as the main ones, while the male characters are merely secondary ones - and so, while it looks like this story is the tale of the two boys, in truth it is the tale of the mother-queen.

The other obvious change is the one I evoked above - the removal of the titular "enchanted doe", aka the removal of the ogre. In Basile's story, the "dragon-brothers" fall prey to a shapeshifting ogre that turns into animals to lure humans in his grotto, then traps them there to fatten them up and eat them. Here, the ogre is half-gone half-replaced. The movie, as we saw before, takes a "realistic" approach to its magic and supernatural - many magical elements are moved, the supernatural relies within strange human and tertiary characters, the ogre of The Flea becomes more of a wild man... A shapeshifting ogre would have been too much, it would have broken this diminished and realistic aesthetic for the supernatural. So instead, the son of the servant simply fell down a system of underground passageways and broke his legs - the supernatural danger becomes a natural one, he simply suffered a typical hiking accident. Yet, the story demands for the prince to slay a monster and save his "false-brother" - and so this monster appears, but as a wild beast. A sort of gigantic, monstrous bat-like creature clearly meant to evoke a more fantastical wildlife, but still a caricature and exaggeration of actual animals. The same way the dragon didn't look like a dragon but a gigantic version of actual river-animals, the monster here simply could be a prehistoric or deformed bat, fitting the boys' entrapment within a system of caverns and grottoes.

And yet this monster isn't just anybody because, as we learn by the end - this monster is none other than the queen herself, that agreed to become a monster to kill the servant-boy and have sole ownership of her boy's heart.

We find here the return of all the typical but also deepest fairytale motifs - and we also find back one of the oldest motifs of the ogre-myth. The ogre is the monstrous parent, the destructive father, the abusive mother, and as a result it is very fitting to have the obsessive and possessive mother becoming a monster replacing the traditional "ogre". At another level, beyond revealing who the real monster of the story is, it is also a literal illustration of the true struggle and the true battle of this tale. In French we have an expression, "tuer le père", "kill the father - here it is kill the mother. Literaly. The prince can only be happy and be free and save his loved ones by slaying his own mother when she becomes a monster ; and in return the mother is punished for being so controlling, so jealous, so unsatisfied and allowing her dark side to take over - she is punished by being killed by the one she wanted to love so much.

And thus the movie illustrates perfectly the original moral of Basile's tale: "Unhappy the one that punishes himself". The queen literaly brought the destruction of her own happiness. She killed her husband to have a child, she gave her son a desire to escape her by trapping him, she drove her child away by trying to kill the one he loved, and ultimately she destroyed herself by trying to have her son return to her. In a way, the queen here forms a parallel or mirror of the older sister in The Flea, who for her own happiness sacrifices her sister, and yet dooms herself because once the witch-gift fades away she will be lonelier than ever.

[omshivaram]

Astro Shiva Ram is globally renowned as a distinguished astrologer, hailing from a Vedic lineage that nurtured his innate talent. With years of dedicated practice, he has risen to prominence as the premier astrologer in Australia. Having delved into Vedic astrology since childhood, he has cultivated a unique perspective informed by his deep study and personal insights. His expertise and distinct approach make him the top astrologer in Australia, sought after for his unparalleled guidance and wisdom. love

[kashishjikhan]

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[trishuljyotish]

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