#[chants] symbolism symbolism symbolism

[chocomars]

MAY THE 4TH BE WITH YOU ☀️

[diana-andraste]

"Less explicit than ritualized coupling, maypoles are sometimes viewed as phallic, while the ribbons represent fertility. As they twine together, it’s a mingling of masculine and feminine energies."

Love come near, love come fast Love be strong, love be lasting Love be kind, love be true  Love be mine, I welcome you.

Witch's Ladder Love Chant

[kalpeavaris]

chat i am reaching a new level of brainrot where i'm now drawing my drone characters in religious attire corresponding to my own beliefs

like what the actual fuck. there's ties to catholism in this show, so i might as well draw my characters in germanic paganistic regalia and have them wave antlers because fuck you, that's why

who's gonna stop me, the romans?

[averlym]

"now, doesn't that look nice?" [insp]

[feralunar]

So I was inspired by a couple posts in the Chants of Sennaar tag that had birds in them so. Squawks of Sennaar, if you will. Bird species featured: Victoria Crowned Pigeon Devotee, Cassowary Warrior, Indian Peafowl Bard, Carrion Crow Alchemist, Rainbow Lorikeet Anchorite, Congo African Grey Parrot Traveller.

[tls12lessthan3]

which demon do i have to sacrifice to in order to get easily accessible orv merch. im not even asking for an english translation at this point. and by easily accessible im not saying it has to be at target or anything. just findable 🙏 please god

[astrosagga2]

Exploring Rahu in the Third House

Astrology, the ancient science of celestial influences, delves into the positioning of planets and their impact on human lives. One such celestial body, Rahu, a shadow planet or a 'Chhaya Graha,' holds significant sway in Vedic astrology. Though not a physical entity, Rahu's influence is deeply felt, particularly in the house it occupies in a birth chart. This article explores the implications of Rahu in the third house, shedding light on its effects and how it shapes various aspects of an individual's life.

Understanding Rahu

In Vedic astrology, Rahu represents the north lunar node and is considered a malefic planet. It symbolizes desires, obsessions, illusions, and unorthodox thinking. Rahu's nature is insatiable, always striving for more, leading to both breakthroughs and challenges. Its position in a horoscope is crucial as it indicates the areas of life where an individual may experience intense desires and face karmic challenges.

The Third House in Astrology

The third house in a natal chart governs communication, short travels, siblings, courage, and mental fortitude. It reflects how an individual expresses themselves, their immediate environment, and their relationship with siblings and neighbours. This house also influences skills, talents, and the ability to take initiative.

Rahu in the Third House: Key Influences

Enhanced Communication Skills: Rahu in the third house often endows individuals with exceptional communication abilities. They may possess a unique way of expressing themselves, captivating others with their speech or writing. This placement can lead to success in fields such as media, journalism, and public relations.

Innovative Thinking: People with Rahu in the third house tend to think outside the box. They are often unconventional, bringing fresh perspectives and innovative ideas to the table. This can be a significant asset in creative fields, technology, and entrepreneurship.

Restlessness and Wanderlust: The influence of Rahu can make individuals restless and eager to explore. They may have a strong desire to travel, experience new cultures, and engage in diverse activities. Short trips and frequent changes in their environment are common.

Challenges with Siblings: Rahu's malefic nature can lead to conflicts or complicated relationships with siblings. There may be misunderstandings, rivalry, or a sense of distance. However, these challenges also present opportunities for growth and learning.

Courage and Risk-Taking: Rahu in the third house boosts an individual's courage and willingness to take risks. They are not afraid to venture into unknown territories and face challenges head-on. This trait can lead to significant achievements, but also potential pitfalls if not managed wisely.

Mental Agility: The third house's connection to mental fortitude is amplified by Rahu's influence. Individuals may possess quick thinking, sharp intellect, and the ability to grasp complex concepts swiftly. This can make them adept at problem-solving and strategic planning.

Potential Challenges and Remedies

While Rahu in the third house brings numerous advantages, it also poses challenges that need to be addressed:

Overconfidence: The heightened courage and risk-taking ability can sometimes lead to overconfidence. It is crucial for individuals to balance their enthusiasm with caution and realistic assessment of situations.

Restlessness: The constant desire for change and new experiences can lead to a lack of stability. Practicing mindfulness and finding ways to ground oneself can help manage this restlessness.

Relationship Struggles: Navigating sibling relationships requires patience and understanding. Open communication and efforts to bridge gaps can mitigate conflicts.

Karmic Lessons: Rahu's placement indicates areas of karmic learning. Embracing these lessons with humility and a willingness to grow can lead to personal and spiritual development.

Conclusion

Rahu in the third house is a powerful placement that shapes an individual's communication style, mental agility, and relationships. While it brings forth unique strengths and opportunities, it also presents challenges that require mindful navigation. By understanding Rahu's influence, individuals can harness its energy to achieve personal growth, success, and fulfillment.

[carnivalcarriondiscarded]

Hey! I can't remember if you ever found out what the red flower vines on Frank's house could be, but I think I found a candidate! It's called the Red Mandevilla Vine and their meaning is interesting

OHHH THAT'S THE BITCH!!! that's gotta be the bitch!!! i'm stuck between that one and the red trumpet vine, but i think you probably Got It. hopefully... god i'm gonna be chewing on this all night aren't i

if anyone is curious, this ask is referencing This Post i made about neighborhood observations / flower symbolism

[autistic-autumn]

D 𝅇 𝅇 𝅇 𝅇 𝅇 𝅇 𝅇 𝅇 𝅭 𝄀 𝅇 𝇐 𝇕 𝇕 𝅇 𝅇 𝅇 𝅇 𝅭 𝄀 𝅇 𝇐 𝅇 𝇕 𝅇 𝅇 𝅇 𝅇 𝅭 𝄁

Can you guess the Gregorian chant!

[lairofdragonagelore]

Andrastian Design: Tapestry and Tryptich

Even though there is tapestry of each cultural group all over DAI, it’s common to associate tapestry with Ferelden mainly. In game we mostly find in Ferelden houses some of these Tapestries, that like the Stained Glasses of the Chantry, narrate the story of Andraste. 

The main reason why I assume these are Ferelden-made is basically because, 1) we find them always inside houses and castles of Ferelden, and 2) by analysing their frame, they are associated with the Ferelden Wyvern.

The frame

Fist of all, let’s see the details of the frame: They are decorated with a beautiful colourful complex set of patterns: dots, geometrical lines, circles, swirls, half-circles, and star-like figures compound it. 

On the top corners we find two different kind of owls. 

Owls have always been part of Ferelden design because they belong to their alamari heritage, given the important role that the Lady of the Skies [represented as an owl too] have in the alamarri/avvar religion. Since they are also quite close to spirits, I would not be surprised if these owls are also a link to the Elvhenan [we know that a curious pair of birds can be found in the Hidden Armoury [Elven mountain ruins] and there are many owls in Skyhold [specially in the front gates and in the basement library that may or may not be related to the ancient elvhen presence in it] as well as in the Inverted Ward.

In the lower part of the frame, we find a Ferelden Wyvern, which are represented in several places throughout DAI. They are related to a non-official folktale of Andraste that we find in one of the books of World of Thedas. The tale is quite meaningless and shallow [more details in Crestwood]. This detail is the main reason why I think these tapestry are strongly Ferelden made.

The Story of Andraste

1-Unknown Event

The first of all these tapestries is the one most difficult for me to understand. Based on the Chant of Light, it may represent the dark times alamarri were living; most of their territories were invaded by Tevinter, their resources were stolen and their people were kidnapped and turned into slaves. These strange harpy creatures may be a rare representation of Tevinter preying on Alamarri [it’s very strange since Tevinter is always represented with a snake or a dragon]

On the other hand, we see two bridges and a big elevated structure that makes me remember Ostagar, which was a Tevinter structure to keep the Chasind away from the invaded regions of Ferelden.  

Another interpretation is that this may represent the Golden City of the Maker, desecrated with the entrance of the Magisters. We have to remember that Andraste’s Tale comes half a century after the end of the First Blight. Still, it’s a weird representation since it’s not a floating city in the air, but a fortress in an island, with access through bridges, and there is water bellow.

We also know that by that time, Andraste called the Alamarri gods for help, but they remained silent [meaning, neither the Lady of the Sky, nor Korth, nor Hakkon answered her] and this scene may represent the despair that such situation may have caused.

Finally, as a last interpretation, this structure may be Kinloch Hold, where the current circle of Magi of Ferelden is located. The original construction was built by the Avvar with some help from dwarves. It served as a fortress and a watchtower and was long considered impregnable until the Tevinter Imperium drove the Avvar from it in a brutal campaign. Maybe this image represents Kinloch Hold but surrounded by harpies and despair due to the lack of answer of the gods while the avvar were attacked by the Tevinter forces.

In any case, I can’t totally trust 100% any of these interpretation. The drawing is very strange for the lore we were given.

2- The Maker speaks to Andraste

Without the answer of her gods, Andraste roamed the forest of Ferelden until the Maker appeared. Here we can see once more the figure of a man, without face, covered from toe to head, only wearing a crown. He is presented with a glow of green and golden, making his connection to the Fade a bit subtler in this drawing than in the Stained Glasses. 

His veil has a pattern of what I think it’s a rose or a flower with vines, but sadly it’s not easy to see the details. I could not find a better quality image for a decent zoom-in.

Over him, we see the moon with three borders, and I can’t avoid making a connection with the murals of Solas [Murals in DAI] where the Veil is represented with thick borders. This is very curious because in the other tapestries the moon appears like a normal element in the drawing, so this representation emphasises to the Player [not to the people inside Thedas] that there may be some special relationship with the moon. It’s also worth noting that the moon has a yellow/golden border same as the figure of the Maker, and golden decorations are usually related to godhood [at least inside the elvhenan context]. 

This scene represents the verses of Andraste 1 [Chant of Light - Part 1] where the Maker claims that the world has forgotten him, and invites Andraste to join him to the Golden City and leave the sorrow behind, but Andraste asks him to forgive humanity. He accepts, promising his return if his children listen to her.

3- With Maferath, Andraste leads the Exalted March against Tevinter

Here, Andraste and Maferath lead an Exalted March against Tevinter in order to spread the word of the Maker and stop Tevinter oppression all over the alamarri lands. We see in this tapestry several alamarri warriors using a shield with the symbol of the Sun and hilts with wolf/mabari shapes. Again, the mabari is a Ferelden icon, while the Avvar prefer the wolf, since it’s an animal of freedom and not tamed as the hound [A Plea from the Warrior to the Spirits]. Depending on how we perceive the alamari around Andraste, this hilt can be also a subtle elvhen symbol of rebellion. I insist in relating the Avvar/alamari with the elvhen simply because their perception of the world of the spirits gave them similar wisdom than the Elvhenan.

Andraste is also wearing her typical one-spiked crown. Behind her we can see Maferath. She and Maferath wear a common element: a series of golden tiles around their chest or veil to emphasise the link they have: they are the leaders guided by divine words in this “divine” march against Tevinter. 

Also, notice how different the moon is represented in this tapestry in comparison with the previous one. 

4- Andraste fights in Tevinter territory

This seems to be a depiction of a battle close to Minrathous. The background shows typical Tevinter buildings. On the left side of the tapestry we can see Tevinter warriors being killed by arrows [probably a subtle calling of Shartan presence], while Andraste, as a [superheroe] warrior, jumps in the air. 

Behind her, we see a lightning and a dark cloud, suggesting three potential things: when we read about the role of Shartan and the elves, their contribution is usually described as the responsible for creating “dark clouds of arrows that fall upon the enemy”. 

The other interpretation, more andrastian, is that the Maker presence is there, helping them in battle. Finally, in the last interpretation, this cloud may be a representation of Andraste’s magical powers [in DAO we have the icon of Tempest looking similar to this: clouds and lightnings]. There is a glowing circle behind her face similar to the moon in the previous tapestry. These details may reinforce the idea of Andraste as a prophet of the Maker, or as a mage [specially if we read about her childhood with that strange episode of her half-sister dying in a fire, in the middle of the forest, implying that Andraste may have lost control of potential magical powers or was possessed by some spirit; the interpretations of this vague episode can go wild].

On the right side of the tapestry, I can see a statue that I suspect is of Nevarran origin [Egyptian-like design], meaning this battle may have been close to the borders of Tevinter and Nevarra.

Again, like in the post of Stained Glasses,  I don’t find a particular group of verses where Andraste narrates her movement across Ferelden, the Waking Sea, and Nevarra to attack Tevinter lands. The closest verse to this action is in Shartan Verses [Chant of Light - Part 2] but also historical battles are implied in Hymns and Transfigurations [Chant of Light - Part 1] where Andraste prays to the Maker before heading to combat. It is curious that there is no verses about the “travelling” part of Andraste and her armies, not even when crossing the Waking Sea and Nevarra in which land there are some tales going on as we saw in Emprise du Lion: Pools of the Sun with her supposed Nevarran disciple/lover Hector. In fact, in this local tale, the event of the betrayal is placed there, in Nevarra and not in front of Miranthous ready to lay a siege [hence my complete confusion about where exactly this betrayal happened, and if any siege to Miranthous truly happened].

5- Andraste is handed over to Tevinter

In this scene we see when Maferath hands over Andraste to Tevinter. Since in the previous tapestry we see hints of Nevarra, and then we have this tapestry of the betrayal, we can assume that the tapestries narrate Andraste’s story in a way that makes Hector easy to be included [check Emprise du Lion: Pools of the Sun], while the Stained Glasses seem to remove any presence of Nevarra in her story. But the Stained Glasses have the presence of Shartan, which has been completely erased in these tapestries, making me suspect that maybe these tapestries keep the tale of Andraste with a strong Ferelden vision, probably closer to the most ancient versions of her tales [likely before the Long Walk of the free elves to the Dales, time when the tale of Shartan appears as we saw in The Chantry and the Mythology of the Chant of Light].

Here, we see Andraste being held by two Tevinter guys who look very evil. Like in the Stained Glasses, Havard is not here either. According to the Chant of Light, The Aegis Havard was supposed to be here, and unable to fight his Lord Maferath as well as to hand Andraste over to Tevinter, he puts himself in between Andraste and the evil Tevinter and ends up deadly wounded [Chant of Light - Part 2]. 

In the shadows, representing the secret arrangement, we see Maferath giving a handshake to Archon Hessarian. 

Behind them, a snake passes by: it has the tip of the tail golden, continues black, and then it turns out white. I’m not so sure if this means the transition of Archon Hessarian, from worshipping Old Gods, to kill Andraste, and then repent and became an Andrastian follower himself.

In the background, we see more Tevinter buildings with “evil” red glowing windows.

The moon has a similar style to the one we saw in the tapestry with the Maker, but its borders are smudged. The colours seem to be the same ones but desaturated and muddy. 

I’m not sure if this represents some “lack of presence of divinity” since Andraste’s golden tiles are also hidden below her hair, giving the idea that the Maker abandoned her.  She is not wearing her typical one-spiked crown either.

This tapestry represents the verse of Apotheosis 1 [Chant of Light - Part 2].

6- Andraste is killed

In the next tapestry we see the public execution of Andraste in a pyre. The background shows Tevinter buildings, suggesting this is Minrathous.

On the left we see Havard, the avvar warrior who is wearing a klimt-yellow robe. He is looking down, lamenting this situation. He is not “deadly wounded” as the Chant says. It seems that in this Ferelden version, Havard never was in the moment Maferath hands over Andraste, so he appears safe and sound at the moment of her execution.

Close to Havard, we see a woman, kneeling as she cries, that maybe is Justinia, the original one. I guess this because it makes not much sense to add a random woman in this scene; all the characters present in this image have a relevance in the story of Andraste. 

There is also a Tevinter man in black robes who also seems sad about this execution [Is this Trefir? the Archon’s slave who left Tevinter carrying the Sword of Mercy and was supposed to found the Blades of Hessarian?, more details in “The Chantry and the Mythology of the Chant of Light”]. I’m surprised of seeing another “sad Tevinter” considering this is made by Ferelden and one would expect a more anti-tevinter propaganda.

In the centre we see Archon Hessarian, wearing a white robe, the same white that Andraste. This is very unusual given the typical dark outfit of the high hierarchy in Tevinter, so I’m inclined to interpret his figure here as “a purification” that the Archon experienced when he killed Andraste out of Mercy. If Andraste was purified by fire, the Archon was so by his merciful act. Again, a veeery rare representation of Tevinters, specially coming from a Ferelden source. As the Chant claims, he is sinking his sword in Andraste’s heart to give her a merciful death.  

In the pyre, Andraste’s bleeds to death, tingeing her hair of red too. she still wears a minimal line of golden tiles. 

On the right side of the tapestry, we see Maferath, leaving the scene with some facial gesture of regret, while holding in his hand a crown, that may represent the Maker, as if “he removed the Maker influence in this story”, or more likely, to “recover” his leadership of the alamarri. 

I think this crown has one longer spike, so it may be Andraste’s crown, but it’s not the same crown that Andraste uses in previous tapestries, so the interpretation is a bit more loosely. Ferelden art depicts Andrates’ crown in very different ways.

The verse that this tapestry represents is Apotheosis 2 [Chant of Light - Part 2].

7- Andraste ascends

Here we see the ascension of Andraste to the Maker’s side. Also, notice that this tapestry shows a normal moon too.

The background displays two tree, one of them looking a bit like a thorny vine.  There is a sky full of stars.  An intense white light wraps her and makes her raise. She is wearing white, implying how the fire purified her. Below her, we see Maferath and Archon Hessarian, surprised.

The verse represented in this image is the last part of Apotheosis 2 [Chant of Light - Part 2].

8-Havard takes Andraste’s ashes

In the last tapestry, we see Havard, wearing this iconic klimt-yellow robe, carrying Andraste’s ashes in the night, leaving Miranthous/Tevinter. We will know later that he went to the Frostback Mountains to build Haven, founding the Temple of Andraste that later will be developed into the Disciples of Andraste.  

The verse represented in this image is the last part of Apotheosis 2, [Chant of Light - Part 2],  even though it is curious that the Chant claims that Havard was healed by the ashes of Andraste, while we see in the tapestries that he was not even hurt. It’s also curious he looks more like a mage [yellow robe and staff] than an avvar warrior.

Many of these tapestries, including this one, display small lines of green in the scenery as if it were mist, but they give an eerie feeling to the drawing, almost a subtle Fade-y effect.

The Orlesian Triptych

Why do we assume this is Orlesian? Simple: it’s not only over elaborated, it has a Quincunx design in it [more details below] which is present in the Orlesian design of rugs,

 and has the typical triangular face of Orlais, that may represent Andraste [we find it in many sculptures of Orlais], Celene or Drakon’s Heraldry. I cannot point out exactly who is this triangular face, but all these options look reasonable in my opinion.

The Orlesian triptych is focused on the execution of Andraste and her later ascension.

At the top we see three iconic symbols in circles: in the centre, below the Orlesian face [or Drakon’s heraldry, I never know], we find a circle depicting the Golden City. At the right side, the typical icon of the six snakes with that little polygon in the middle, which used to be the typical symbol to represent Tevinter in a more “arcane” way [ check Nation Art: Tevinter]. 

On the left side, we find a simplification of a Ferelden symbol we found in Nation Art: Ferelden, which shows a face crying. I assume this is a representation of Andaste’s face in a Ferelden style or a vestige of a Sun-based religion before the alamarri trinity religion.

As apparently Orlesian design implies, the triptych shows the 3/4 of a Quincunx, completing the fourth circle on Andraste’s heart.  Therefore, the middle of the complete Quincunx would show the face of Andraste wearing her typical spiked crown. The Quincunx has been quite a repetitive element in DAO, being forgotten in later games. In DAI we only see it in Solas’ Tarot Card, and in some Orlesian designs that are seen in the concept art but not inside the game so far I’ve seen.

Below the Ferelden symbol, we see Maferath. He is wearing a crown of three spikes, a bit squared. He can’t see the light that Andraste radiates. Ironically, he is drawn in a more darker and evil way than the Archon, which is surprising for me, since Orlais did not show a strong negative sentiment towards Maferath as Ferelden does [in the Hinterlands, we see in very raw sculptures the strong rejection that Ferelden has towards him in general]. Instead, I was expecting Orlais, headquarters of the Chantry religion, to be more negative towards Tevinter because their Imperial Church.

Below the symbol of Tevinter, Archon Hessarian looks at Andraste, unbothered by the radiance, ready to use the sword as we can see his hand ready, close to the hilt of the sword at his waist.  A white snake is surrounding him, probably as a symbol of his change of heart that gave him some level of “cleansing”.

The two panels are separated by a sword that lays over the burning body of Andraste: this is the Sword of Mercy that we see in many other pieces of art. Curiously, it’s the same sword that the Tevinter Warrior holds in the statues  Female Kossith/ Desire demon /Tevinter Warrior which decorate the columns of the Imperial Highway. This makes me suspect, in combination with such a positive view over Tevinter elements, that maybe this triptych is older than i expected, maybe older than the Schism of the Chantry. However, we have no information to confirm or debunk it, sadly. 

When we open the Triptych, we can see Andraste, purified [wearing white] and the sun behind her.  

This figure is a copy of the tapestry of the ascension of Andraste: I mean, from a design point of view, the designer copy-pasted the same Andraste and altered it a bit, meaning that one of these pieces of art if the copy of the other.

On the left, we see the Ferelden side: Maferath is kneeling down, defeated, regretful, with his crown on his lap. 

The Chantry hierarchy can be easily seen here represented by the three people lamenting Andraste’s death and looking down at Masferath: Sister/Brother and revered Mother. 

Beside Andraste, we see the “white” Divine, the Divine with main residence in Orlais.

On the right, we have the Tevinter side, mirroring the left side: we see  that Archon Hessarian is on the ground, regretful, in similar position to Maferath. He, as well as Maferath, wears a red cord in his head that was not present in Maferath’s head in the previous image. I don’t know what it could mean, since it stands out a lot in the drawing of dark and white colours.

Behind him, we see a group of Tevinters that I assume belong to the hierarchy of the Imperial Chantry. Just by the outfit, we can see a magister, and probably a Revered Father and a sister. 

I assume this one marked in the image is the magister simply because he wears similar to the Magister Erasthenes that we meet in Orlais: Shrine of Dumat.

Beside Andraste, if I’m not mistaken, we can see the “Black” Divine, the imperial Divine. The curious helm he uses reminds me a lot of the mysterious symbol we found in Hinterlands: The Unknown Ruin.

Now, this Triptych is astonishing and mega-surprising for the presence of the Imperial Chantry in equality to the Orlesian Chantry, “Black” Divine included, since he’s considered a “false” divine. So, I think that this triptych, usually seen in Orlesian places, is quite subversive. I’m sad we don’t have much information about who painted it and when, because, again, to place the Imperial church in the same level than the orlesian Chantry, mirroring it no less, it’s very, very strange.

[sonrium]

DP × DC The Power of Names Coffee Shop AU

Coffee shops are notorious for misspelling peoples names to the point that it's a running joke and basically a forgone conclusion everywhere. Everywhere except this tiny coffee shop near Crime Alley. The new hire there, Danny, spells everybody's name correctly without having to ask. Whether it's "Carly" or "Karly," he always gets it right the first time. Heck, people give him their names in Chinese and Arabic, and he swaps to the correct alphabet, no problem (because Danny, being king of the dead, can speak all languages dead and living, so might as well be respectful).

It becomes a bit of a running joke in the community to give Danny the craziest names they can find to see if he can get them right. Some of the Bats even hear rumors about him and give it a go for fun. They make a game out of it to see who can find a language or alphabet that Danny can't get. That is until, while massively sleep deprived from a case involving cults and magic and getting nowhere, Tim accidently says one of the words that he'd been hearing in the cultist chants when he orders. Danny gives him an odd look but shrugs and writes something on the cup. It isn't until Tim has already left the shop that he realizes that the symbol written on his cup is one shown in the cultists scrolls he couldn't decipher.

Tim almost dropped his coffee. Danny wasn't just a human who knew a ton of languages, he must have been a meta with the ability to understand EVERY language. And the Bats desperately needed his help to crack this one before the cultist finished summoning whatever demon or disaster they had planned. But how to get the kid's help? From idle chatter while ordering, the Bats learned that Danny wanted nothing to do with the Gotham vigilantes. And Tim had already given his connection to this case away by spewing that word written on his cup...

(I like to imagine the name Tim gave was something like "corn field" and that's why Danny looked at him funny and not because it's one of the languages of the dead)

[rollforjackass]

something about true detective naming conventions with “hart/heart” + “cohle/coal” and “liz/lilith” + “evangeline/eve”. do we see the vision

[the-cooler-king]

why are they hitting the n*zi imagery so hard in bleach right now... this is not necessary..............

[taniushka12]

i LOVE it when characters have animal motifs and of course............... of course they're a deer and an owl...............

[astrosagga2]

Understanding Rahu in the 8th House: Influences and Cures

Rahu, a significant celestial body in Vedic astrology, symbolizes materialism, illusion, and unfulfilled desires. When Rahu is positioned in the 8th house of a birth chart, its effects can be profound and complex. The 8th house represents transformation, mysteries, longevity, and hidden aspects of life. Let’s explore the influences of Rahu in the 8th house and discover remedies to mitigate its potential adverse effects.

Influences of Rahu in the 8th House

Transformation and Change: Rahu in the 8th house often brings sudden and unexpected changes. These transformations can be both positive and negative, depending on the overall chart. Individuals may experience significant life changes, prompting personal growth and evolution.

Interest in Mysticism: People with Rahu in the 8th house tend to develop a strong interest in occult sciences, mysticism, and spirituality. They may seek answers to life’s deeper questions and explore hidden truths.

Financial Ups and Downs: The 8th house is also associated with joint finances, inheritances, and wealth from unexpected sources. Rahu's presence here can lead to sudden financial gains or losses. It’s essential to handle financial matters with caution and seek professional advice when necessary.

Health Concerns: This placement can sometimes bring health issues, particularly related to chronic illnesses or mysterious ailments that are difficult to diagnose. Maintaining a healthy lifestyle and regular medical check-ups are crucial for individuals with this placement.

Hidden Enemies and Scandals: Rahu in the 8th house can indicate hidden enemies or involvement in scandals. It’s important to be cautious about whom you trust and avoid getting entangled in unethical or illegal activities.

Remedies for Rahu in the 8th House

While the influences of Rahu in the 8th house can be challenging, several remedies can help mitigate its negative effects and harness its positive potential.

Regular Meditation and Spiritual Practices: Engaging in regular meditation and spiritual practices can help calm the mind and reduce the illusionary effects of Rahu. Practices like yoga, chanting mantras, and deep breathing exercises can bring peace and clarity.

Worshiping Deity: Worshiping deities associated with Rahu, such as Goddess Durga or Lord Bhairava, can help alleviate the malefic effects. Regular prayers and offerings can bring spiritual protection and strength.

Charity and Helping Others: Performing acts of charity, especially on Saturdays, can reduce the adverse effects of Rahu. Donating to the needy, offering food, or helping in social causes can bring positive karmic results.

Gemstone Therapy: Wearing a Gomed (Hessonite) gemstone, after consulting with a qualified astrologer, can help balance Rahu's energy. The gemstone should be worn in the correct manner and at the right time to be effective.

Rahu Mantra Chanting: Reciting the Rahu mantra, "Om Raam Rahave Namaha," regularly can appease Rahu and reduce its malefic influences. Chanting the mantra 108 times daily is recommended for best results.

Avoiding Risky Ventures: It’s advisable to avoid taking unnecessary risks, especially in financial matters. Being cautious in investments and avoiding speculative ventures can prevent potential losses.

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[silverspectre51]

Summoning the Boy King

Darkseid was rampaging through Metropolis, Superman was injured, and the Justice League was desperate. As the League hid between fallen skyscrapers, John Constantine prepared a last-ditch effort to save the Earth.

The Hellblazer drew an intricate sigil on the ground; its circular design stretching over six feet in diameter. Most of the symbols within were space-related, while the others were themed to royalty. Batman, one of the few heroes in-the-know, grunted.

"Are you sure this king ghost can help?"

Constantine sighed and pinched his nose.

"He's the High King of the Infinite Realms, Bats, an' he's bloody powerful. He'll stop Darkseid, alright, but what he does afterward is anyone's guess. Believe me, I wouldn't be doin' this if we had a choice."

Batman sighed and glanced at the smoke-filled horizon.

"Alright, get on with it, then. We're running out of time."

Constantine nodded and placed a single offering in the center of the sigil: a squishmallow of Disney's iconic blue alien, Stitch.

"I beg your finest pardon," Batman sputtered, "What on Earth is that?"

Constantine sighed again as he took his position at the edge of the sigil.

"Mate, the book was very specific. Unlike his predecessor, the new king requires a single offering of space or alien theme that is suitable for children. It's bloody strange, but beggars can't be choosers."

Batman just shook his head and looked on. Constantine raised his hands and started the summoning chant. An eerie, green glow spread across the sigil, and light fog gathered above it. Little white orbs floated up from the ground and spiraled together, forming the slowly spinning visage of a spiral galaxy.

"Incredible..." Zatanna gasped, "This summoning is on a level all its own. This king of yours is on the level of Gods."

Finally, something began to form over the small galaxy. Batman's expression quickly softened, much to the surprise of his teammates. It was mere seconds before they understood, as a black blob full of white stars formed into the shape of a boy. The blob had spiky 'bangs' if you could call them that and eerie, glowing green eyes.

The squishmallow floated into the boy's arms and he squeezed it excitedly. At the same time, he took on a far more human form, with pale skin and snowy white hair. His eyes had whites now but still glowed green. He was dressed in black and white, royal attire with green accents, a black crown floating in a green aurora, and a black ring with a green stone. A black cape flowed down his back, its underside looking as if it were cut from a clear night sky.

"Awesome offering, dude! What can I do for ya?"

The voice was a reedy tenor in the throes of puberty, and its owner was more than a little geeky. The boy's smile was infectious, or it would have been were it not for the specific circumstance.

"How old are you?" Batman asked, his tone soft, "We weren't expecting a child."

The boy waved him off like it was nothing.

"No one ever does. And, um... technically I'm fifteen. I know, I don't look it."

Constantine cut in, clearly out of patience.

"Look, this monster Darkseid is destroying our world. We need you to stop him."

The boy turned in the air and took in the destruction around him. Somehow, he seemed to understand the situation immediately.

"Okay, but I gotta get permission first. This'll take a lot of power." He paused, taking a breath, and then yelled in a strange language. "Mom!"

Constantine paled and the other heroes shrank back as a green portal tore into existence. A young woman, barely an adult herself, floated out. She had waist-length blue hair and the same glowing, green eyes. She wore a royal outfit in white and maroon, complete with a glittering, silver tiara studded with rubies.

"What's the matter, Danny? Are you okay?"

Danny nodded.

"Mhmm! These guys need me to take out this Darkseid guy, though. Can I use my full power?"

Constantine snuck a drink from his flask. He did not sign up to deal with the fucking Queen Mother of the Infinite Realms, nor had he known she existed. God, he needed a smoke...

The Queen Mother smiled softly and pressed a kiss to her son's forehead. She spoke whilst taking his new plush.

"Yes, Danny, you may. Let me hold onto this for you so it doesn't get dirty."

Danny nodded and turned away.

"Okay, thanks mom!"

The Queen Mother vanished through and with the portal she had created. Moments later, Danny shot off into the city, with the remaining able-bodied heroes hot on his trail. The young king reached Darkseid rather quickly, engaging him while the Leaguers looked on from cover. Darkseid was foolishly amused.

"A child dares oppose me? Flee, whelp."

Batman tensed as Darkseid unleashed his Omega Effect. Two red beams shot from his eyes, and yet the young king floated firm. Two eerie, green beams shot from his own eyes and, to the shock of everyone, overpowered his foe's. Darkseid shattered into many tiny pieces which then vanished into thin air.

"Man, he really wasn't smart!" Danny grinned, "Who fires a death beam at the king of the dead?"

He received no response, as the heroes were too stunned to speak. Smiling, he saluted the group before tearing open another portal.

"Oh well; villain gone, carry on. Later guys!"

Batman glared at Constantine, but the Brit had already absconded. Heaving a sigh, he resigned himself to this new reality. Darkseid was gone, but there was an incredible new power to worry about.

(Note: My only source of information is DP canon, DP fanon, and the Justice League cartoons from the early '00s. I apologize for any inaccuracies with Batman's or Constantine's behavior.)