Yesale'el

Yesale'el accompanies the period from 21 to 26 May and belongs to the Cherubim. Its motto is «My gaze aims high». In this symbolic portrait, qualities called masculine and feminine can meet within the same person without having to be sought as missing parts in someone else. At the heart of the gift is the freedom to recognise what you truly feel.

You may experience desires, affection and the need for closeness differently from those around you. A relationship does not necessarily have to complete you or remedy a lack. You may feel that you already have a rich inner world and want an encounter without making it a condition for feeling whole.

The difficulty begins when you consider this difference a fault. Comparison with people who talk about passions, conquests and relationships can make you doubt your own experiences. You adapt to a role, display feelings that are not yours or try to desire what seems expected of you. The form of the relationship becomes more important than its truth.

This pretence can extend to how you present yourself too. Choices become poses to maintain, and the desire for acceptance occupies the space where you could get to know your preferences. You may feel anxious, uncomfortable and distant from the image you show, or convince yourself that this role is the only way to be with others.

The important step is to recognise yourself without borrowing a ready-made answer. Give preferences time to emerge: in relationships, tastes, work and the small things you choose each day. You do not have to force a desire to prove it exists or give it up to defend an image of self-sufficiency. The same freedom must remain possible when you change or discover something new.

When this acceptance finds space, the portrait describes energy becoming available again for wider aims. Different talents may emerge, with ambition at work and pleasure in showing a work or helping someone become visible. Public presence becomes a way of communicating a personal discovery: there are forms of life and relationship that do not need to fit an assigned part.

Richard Wagner represents the search for an ideal of purity in his works. Queen Victoria evokes the rigidity of a public code that keeps sexuality outside discussion. Bob Dylan brings an opposite direction: the desire for freedom and the questioning of taboos, including in the climate of youth movements. These are different responses to the force social models exert on relationships and morality.

Arthur Conan Doyle, through Sherlock Holmes, offers another image: a character able to expose disguises and adopt them while maintaining distance from the parts others seem to assign him. Yesale'el's talent appears in the possibility of viewing a role from outside without confusing it with your whole identity.

Affection is not excluded by this independence. Love can find more space when it stops being a test of normality and becomes a desired, free and reciprocal encounter. Sexual curiosity can also be explored with respect for your own pace, boundaries and the consent of those involved, without having to uphold a model of purity or intensity.

The portrait places Yesale'el alongside Miyhe'el for a related sensitivity towards encounter and the balance of differences. It is an image of dialogue to bring back to concrete knowledge of the person before you. A bond grows deeper through respect, reciprocity and shared choices, rather than a need to prove a category.

Yesale'el's direction is to know and love without using the other person as a compulsory completion or confirmation of a role. When how you live corresponds more closely to what you feel, you can make room for talents and relationships without first hiding the complexity of your experience.