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  #1  
Unread 01-07-2017, 10:03 AM
GlenLove GlenLove is offline
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Compare the twins

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Last edited by GlenLove; 02-04-2017 at 05:00 PM.
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  #2  
Unread 01-07-2017, 10:21 AM
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Bina Bina is offline
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Re: Compare the twins

Only Uranus changes house position, 7th and 8th, you can read up on this:

https://cafeastrology.com/articles/uranusinhouses.html

The Ascendant only changes by 5 degrees, the Midheaven by 7 degrees, this means some of the aspects of the planets to the angles will be more or less strong in either chart.
Really there is very little difference between the 2 charts, you must be very alike?

You can check out the degree symbols for both your Ascendants and Midheaven on the following page:

http://www.mindfire.ca/An%20Astrolog...20Contents.htm
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Unread 01-07-2017, 10:49 AM
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Bina Bina is offline
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Re: Compare the twins

I think you are very alike in your personality, but due to the different Ascendant and Midheaven degrees, outer planet transits to these will happen at different times for both of you. This would mean that some major life events, such as important relationships, marriage and events pertaining to your education and career will happen at different times.

In Ryan's chart the Asc/Des axis is aspected by Venus and Neptune; he may be more idealistic, perhaps also unrealistic, about relationship and love issues.
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Unread 01-07-2017, 01:44 PM
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Phoenix Venus Phoenix Venus is offline
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Well for starters, the ascendant is the WHO of the chart, who you identify yourself to be. The specific degrees are about five degrees apart. This means that ALL your arabic parts will be different as well.. (for example your part of fortune, part of soul, part of destiny, part of astrology, etc.) So you might have personality similarities but your life paths and mission will remain unique.

Heres the degree for the ascendant of the first chart:

"CANCER 15°): IN A SUMPTUOUS DINING HALL GUESTS RELAX AFTER PARTAKING OF A HUGE BANQUET.

KEYNOTE: The need that exists at an early stage of human growth to materialize the concept of fulfillment.

This may be considered a curious symbolic scene following the preceding, for it pictures a scene of fulfillment - consciously or unconsciously - only in terms reminiscent of the Mohammedan picture of paradise, a place filled with all the good things earthly life provided, only more sparsely. It may also be that the symbol is a reference to the fact that what in European countries is seen rather broadly and spiritually as ‘plenitude of being’ is usually related in the United States to the idea of ‘plenty’. We are hypnotized today by the ideal of physical abundance. Perhaps physical abundance is less mind-haunting than deprivation, and there may at times be a need to ‘turn to superficial things for self-strengthening’. This is the via negativa (negative way) already mentioned. Through satiety a person learns to appreciate and desire asceticism; after months of boredom the modern teenager in an ultramodern ‘progressive’ school is often ready to accept disciplined work.

This is the last of the five symbols in the twenty-first sequence. It ends this part of the quest for individuality and the process of ‘decision’ - making on a note which indicates a phase of only temporary fulfillment. The darkness in the northeast may have been too much for the consciousness at this stage of the great cycle. The mind yearns to translate what it has seen in purely physical terms. This is perhaps the keynote of American life: the MATERIALIZATION OF THE SPIRITUAL."


Compared the the ascendant of the second chart:

"CANCER 20°): VENETIAN GONDOLIERS GIVING A SERENADE.

KEYNOTE: Happiness as an overtone of social integration and conformity to custom.

Venice can be considered the symbol of a social consciousness risen directly from the unconscious urges of human nature — because the city emerged out of the sea, just as the lotus flower floats on top of the lake, its roots implanted in the bottom mud. The serenading gondoliers "float" over the water, their songs raised to the balconies where the "flower" of consciousness, the beloved, may make her appearance. This play of basic human drives toward acceptance by the consciousness housed in the structures of the ego is performed according to social tradition. Everything plays its part, and man experiences social happiness and a sense of fulfillment.

This is the fifth of the twenty-second sequence of five symbols. The urge for individual integration represented in the first — integration through meditation on ancient traditional forms — is now reflected in the drive for social integration through the elegant and standardized play of acceptable emotions. The Keyword might be FESTIVITY."
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