hiii, what are the indicators of meeting the person you will marry on the solar return chart?☺️✨
solar return chart observations (marital edition)
i would like to first state that NO TWO CHARTS ARE THE SAME. what I am about to list out does not mean you will for sure need these exact things (or all of these things) to find your person. if you don’t understand my thought process feel free to comment with questions!
let’s begin :).
indications of meeting your person
any couple asteroids that aspect from the 1h based on who you are trying to attract; if you are the feminine, your masculine would be in the 1h or vice versa. EXAMPLES OF MARRIED COUPLES OF MYTH:
- juno (3) - JUPITER
- kleopatra (216) - caesar (18458)
- heracles (5143) - dejanira (157)
- orpheus (3361) - eurydike (75)
venus at 0°, 2°, 7°, 14°, 19°, or 26°
a partner represented asteroid (listed above) at a fame/success degree (1°, 2°, 17°, 28°, 29°)
jupiter with venus attributes (ruled by libra or taurus or at those degrees (2°, 7°, 14°, 19°, or 26°))
jupiter at a fame/success degree (1°, 2°, 17°, 28°, 29°)
sun-jupiter, venus-jupiter (typically a trine), and mars-jupiter; i can’t explain why it’s always this trio in the solar returns i am looking at - maybe its because sun is the male, jupiter is the husband, venus is passion, and mars is desire.
indications of a proposal
mercury (gemini or virgo) ruled 7h - no, i wouldn’t count degrees in this. oddly, what i have noticed is virgo 7h solar returns lead to broken off engagements? perhaps not always but oftentimes ya lol.
7h mars; mars is both ambition and assertion with passion both are generally found in proposals.
mercury-saturn and/or jupiter-saturn; it’s giving “til death do we part vibes” also saturn is fidelity so these two aspects are good indicators that the proposal with be that of long-term commitment.
orpheus (3361) - eurydike (75); in all the charts i looked at of married couples they have a positive aspect between these two asteroids the year they were proposed to. it’s hyper specific but makes sense when you read the myth.
indications of getting married
moon-saturn positive aspects
pluto-asc or pluto-mc; this is a good thing, you want to see a change in your appearance/status in society.
1h chiron or chiron-asc; to me this could make you appear as someone who dotes on others (aka the husband).
juno (3) - asc
please use my “ask me anything” button if you want to see a specific asteroid god/goddess next or if you’d like to see another solar return indicator edition!
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And Eurydice was a young girl
But she'd seen how the world was
When she fell, she fell in spite of herself
In love with Orpheus
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laudna and imogen temult as joseph paelinck’s orpheus and eurydice
forgive me for the orpheus and eurydice parallel with these two but I can’t help but see it. these recent episodes have destroyed not just my pussy (sorry) but also my heart and soul. I had to paint something angsty and moon-washed and sad, so here you go!!! complete with some close-ups on their faces. I love them, I miss laudna, I am very excited for the coming episodes.
if you want a digital commission or just wanna support my art then here’s the link to my ko-fi:
Hob, Dream, and their dead sons
I keep coming back to the fact that both Hob and Dream had a wife they loved and lost and a son who died as a young man.
And you can see that Tom Sturridge as Dream knew that, knew the full story of Dream, because it's there in his eyes in the scenes with Hob. It's there in his performance when Hob first shows the tiny portrait of his wife and son in 1589. For most of that scene, you can tell Dream's distracted, even repelled by Hob's excesses in favor of Shaxberd's poetry. The one time he pays undivided attention to Hob is when he brings out the portrait of his family and you see--not jealousy--but perhaps fear, or fearful anticipation of the pain he knows Hob will go through as an immortal in a few short decades at most. Dream does not warn Hob--I don't think Hob would have listened anyway-- but he knows what's coming.
In 1689, when Hob has lost everything, it's not until he talks about losing his wife and son that Dream's expression goes from concerned to grief-stricken.
"My boy Robyn, died in a tavern brawl when he was twenty, I didn't go out much after that..." Hob says. That is when Dream begins to see himself in the tragedies of Hob's life. It's not a stretch to imagine that Dream became a recluse after Orpheus's death* when he also separated from his wife Calliope because of the grief they felt.
That's what makes Hob's next declaration so stunning for Dream. He has hated every second of the last 80 years and so Dream asks him, "So, do you still wish to live?"
There are tears in Dream's eyes when he asks this. He thinks he knows the answer because he has been exactly where Hob is now. And one gets the sense that were he not one of the Endless, he would have ended it back then. It's clear the grief nearly destroyed him, that he still carries it, visibly, in every part of him.
But instead, Hob says, "Are you crazy?" And Dream frowns in surprise. "Death is a mug's game. I got so much to live for!"
Dream is stunned. Impressed. Thoughtful. I don't think it's a stretch to wonder: is this what Death intended when she introduced Dream to a man with such a strong will to live? For this exact moment when, weighted by the inevitable tragedies of trying to live as a normal man while immortal, Hob shows Dream how to continue on, how to choose life over and over again, not out of obligation or duty, but because he by just being alive has so much to live for?
And one final note on the loss of their sons, the revelation paints nuances into the picture of Roderick Burgess begging that Dream bring his son back to life. Not only does he ask for what is not Dream's to give, he asks for what Dream, the brother of Death, could not even give himself.
(*Calliope refers to Orpheus as dead in the show. The comic does complicate this statement somewhat, but for the purpose of this meta, I'm separating the tv show canon from comic canon as they are different stories.)
Go ahead and lay the blame
Talk of virtue, talk of sin
Wouldn't you have done the same?
In her shoes, in her skin
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