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Possession, the Gatherer Ahead and the Same Four Quarters

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Possession, the Gatherer Ahead and the Same Four Quarters

This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.

The Juxtaposition Cross of Possession is named here for Gate 45 and Gate 26. Its first article reads Gate 45 as the gatherer, the voice that holds and distributes a group's resources, now the more exposed gate, and Gate 26 as the persuader, a willed salesmanship that can market and, unchecked, exaggerate. What it does not trace is where the four gates sit on the wheel itself, the Human Design mandala's division of its sixty four gates into four Quarters, and by that measure this cross draws one gate from each of the four.

Gate 45, the personality gate here, falls in the Quarter of Civilization, purpose fulfilled through form. Gate 26, its personality partner, falls in the Quarter of Mutation, purpose fulfilled through transformation. Behind them, Gate 36 falls in the Quarter of Initiation, purpose fulfilled through mind, and Gate 6 falls in the Quarter of Duality, purpose fulfilled through bonding.

So the gatherer's voice and the market persuasion the first article reads on this cross's surface answer to the arcs of form and transformation, while the new turbulence and the guarded intimacy beneath them answer to the arcs of mind and bonding. The same pair, exchanged, is this cross's own reversal, the Juxtaposition Cross of the Trickster, and, held instead in the Left Angle family, the Cross of Confrontation, both orderings; the Right Angle family carries the identical pair too, as the Cross of Rulership, both orderings. Four gates, four different Quarters, no pair sharing an arc: this cross draws its whole reading from every corner of the wheel's own purpose rather than concentrated in one.

Cross-Tradition Connections

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Source The Human Design SystemRa Uru Hu (Alan Robert Krakower)
Sources
The Human Design System
Ra Uru Hu (Alan Robert Krakower), Human Design America, 1992View the Source
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