The Ballad of 武松 (Wu Song) and 潘金蓮 (Pan Jin Lian)

If you’ve been reading my articles, you’d realize that there are some posts with lines that might have probably sounded cryptic. They were actually intentionally written this way, because I want readers to have some thoughts about them. One of it was posted quite some time back, about reading of “Working Lady”, and what are some of the methods of establishing such hypotheses. It was referred to as “The Ballad of 武松 (Wu Song) and 潘金蓮 (Pan Jin Lian)”. I think some readers might have figured out some connections between these characters and the stars, but perhaps now is time to elaborate on this. Edit.

There is a reason why the Chinese in ancient times associated places of punishment and forlorn as the Autumnal Palace. The basis is that autumn is the time of punishment/period of reckoning which devastates, and since the esoteric tradition associates autumn with Metal, and the element is the enabler of “Kill”, this basis is strengthened. The metaphysical investigation points to 天刑 (Tian Xing; literally meant Heavenly Punishment) is positioned from the You location, and it is a manifestation in the highest peak of Metal essence (Di Wang), which corresponds to sometime in the 8th month in Autumn. The collective set of these three Killing Stars (nothing to with 三杀 of directions) are derived from the San He of Si, You and Chou locations, termed 暗金的煞 (An Jin De Sha; Dark Metal Sha), or otherwise also known as 太白兇星 (Tai Bai Xiong Xin; Malevolent Stars of Venus).

In the Si location, it is the Growth Location of Metal. Because Si is the Ling Guan of Fire, the Chi of Metal is been curbed, with transforms oppression and punishment, therefore giving rise to moaning and the appropriately named 呻吟煞 (Shen Yin Sha; Moaning Sha). In the You location, it is the Waste Location of Metal. Because Metal is at Di Wang, and supported by Xin metal, it will lead to excess and cause fragmentation and bloodshed, thus leading to the term 破碎煞 (Po Sui Sha, Shattering Sha). And lastly, in the Chou location, it is the Grave Location of Metal. Because it is a Kun (Ghost) location, it will cause sorrow and weeping, thus leading to 白衣煞 (Bai Yi Sha; White Clothed Sha). In ZWDS, the Dark Metal Shas are converted into the month stars: Shen Yin Sha to 天巫 (Tian Wu; Yin Earth), Po Sui Sha to 天刑 (Tian Xing; Yang Fire) and Bai Yi Sha to 天姚 (Tian Yao; Yin Water). What we have got here is the Shaman, the Punisher, and the Harlot.

The reason why I refer to certain observations in an earlier post as “Ballad of 武松 (Wu Song) and 潘金蓮 (Pan Jin Lian)” is due to the correlative relationship between Wu Song with Tian Xing, and Pan Jin Lian with Tian Yao. The story of Wu Song and Pan Jin Lian can be found in the classic 金瓶梅 (Jin Ping Mei) and I would not elaborate further on that, except for the very fact that eventually Wu Song killed Pan Jin Lian. Why would I tag these fictional characters to the stars? Because there is a definite relationship between that of Tian Xing and Tian Yao which is closely intertwined.

Tian Xing and Tian Yao by nature are the polar opposites. Tian Xing is stern and merciless and the martial spirit essence of Fire/Tai Yang, whereas Tian Yao is carefree and flirtatious and the wanton spirit essence of Water/Tai Yin. Tian Yao and Tian Xing however are always in the San Fang of each other. Tian Xing at 1-9 relationship will have Tian Yao at location 9, which is the destiny marker of Tian Xing. This can be understood as that the eventual fate of Tian Xing is determined by the presence of Tian Yao which is towards a certain wretchedness. Tian Yao on the other hand is at 1-5 relationship with Tian Xing. The location 5 is a place of transaction. When Tian Xing will punish this location of Tian Yao.

The signs of trouble arise when the negative essence of these two stars are enhanced. There are several basis of observations. The first basis is elemental. When the two stars are in palaces or in proximity of stars that enhance their elemental nature (e.g. Tian Xing Fire and Tian Yao Water), especially relentlessly uncurbed (same Yin Yang influence), all of their essence good and negative will be enhanced and these two stars will have “influence” than mere occurrence in the palaces. The second basis is on magnitude of the stars. Tian Xing is of high Miao Wang magnitude in Yin, Mao, You and Xu locations, and all the rest are dimmed especially in Chou and Wei. Traditional texts depict bright Tian Xing as Tian Xi 天喜. I personally think that this has no effect in reducing punishment, as Tian Xing inflicts damage in consecutive period.  Tian Yao is of high Miao Wang magnitude in Mao, You, Xu and Hai.  All the rest of the palaces will dim it, especially in Chou and Wei. These two stars when at high magnitude, they will have enhanced positive qualities. At low magnitude, Tian Xing will lose its power  and Tian Yao will lose its allure and they will both be punished. The third basis is the nature of stars association. Tian Xing and Tian Yao will be corrupted by presence of violent stars (Qing Yang, Bai Hu, etc), prison stars (Guan Fu, Lian Zhen), amoral stars (Po Jun, Xian Chi), inauspicious stars (Ju Men, etc) and Hua Ji.

All the above are taken into considerations, especially if there comes a period whereby Tian Xing or Tian Yao fall into important palaces like Life Palace. With those above conditions in bad outcome in the specific “hotspot”, there will be punishments associated with debauchery, violence, imprisonment even murder. Of special importance are natives born of Si time, Tian Xing will be in Life Palace, and Chou time, Tian Yao will be in Life Palace. These natives have to be especially careful if there are the above negative factors bringing out the malevolent nature of these associations, because it may have a certain effect throughout the native’s life. For example, a person with Tan Lang meets Tuo Luo and Tian Xing in the natal Life Palace have to be careful with sexual immorality, particularly when the Decade Period crosses into the Career Palace with Tian Yao (maybe meets violent or promiscuous stars) therein. Edit.