42. Line 2: The Hermit

Speaker A: 00:00:00

When a hermit or a natural is presenting information to you or sharing a talent with you, it's who they are, right? It's their natural thing. It's their natural intuitive way of engaging with something versus the investigator.

The thing being shared might not feel like as personal because it's information, it's foundation. With the hermit, there's this sensitivity to yes, I have a natural gift, but it's so natural that it doesn't have the same kind of foundation to it.

It doesn't have the same kind of girth to it that the 1 or the 3, when we get to the 3, will have about what they know.

Speaker A: 00:00:46

Welcome to the Living Your Design Podcast. I'm your experimentor, Kelsey Rose Tortorice.

This podcast is an audio only release of the full length in depth Human Design Foundations course I've been teaching over the last several years.

It is a no bullshit, comprehensive, embodied introduction to the human design system that will challenge your ego mind and support you in your process of reuniting with the unique wisdom of your body.

In episode one, I speak a bit about the process that led me to releasing this course for free in podcast form, and I offer a few notes that might be useful to contextualize and clarify what you'll hear in this episode and beyond.

I recommend giving that short intro episode a listen if you haven't yet the Lyd podcast is part of a larger living body of work, a growing archive of my teachings about consciousness through the languages of astrology and human design, hosted in an online community space where I stay in orbit with my students, mentees, alumni, peers and collaborators.

For more information about how to connect with me and tune in to my archives and ongoing live teachings, including how to access the original LYD course, complete with videos and slides. So stay tuned to the podcast or check out patreon.com/KelseyRoseTort.

Thank you for tuning into my transmission of Living Your Design. It's a deeply personal and somewhat vulnerable share that I feel honored, humbled and excited to release into the world. I hope that it helps you remember and come home to yourself.

Speaker A: 00:02:12

Line 2, the hermit. Establishing where are we in this evolutionary sequence from 1 to 6 and within the different patterns that we have explored within these six principles and six lines. With the two we're still in the lower trigram.

We're still in the process of establishing something for the self, but by the time we get to the second line, the foundation has already been built, evaluated, investigated, and we're now at the next layer or the next level of this process of taking in, for the purposes of understanding something, the word that IHDS uses to orient to the part of the process here is projection. I'm gonna say a lot more about projection for both the two and the five in the house metaphor. The second line is the. The first floor window.

So everything in the lower trigram is happening on the first floor of the house. And then the upper trigram takes us to the second floor of the house.

In this picture, you can see in the second line, guy, he's playing guitar inside of the house. And you can see very clearly what's happening from outside of the house because the light's on.

And so there's not really much getting in the way of being able to see what this hermit is up to. However, the Hermit themself is not necessarily performing or practicing guitar for the sake of those who are watching.

They're in their own house, in their own process, doing their own thing. However, they're able to be seen. And this is kind of where projection comes up. But I'll say more about that on the next slide.

And along with line one, line two is also splenic binary. These are the two parts of the six principles one and two that belong to the splenic binary.

So still the themes of protection and security, we're in the lower trigram, still a personal process, taking information in and learning. But now we have the info, We've built the foundation.

In the second line part of the process, we're practicing, we are letting what was investigated now marinate, become internalized, become more natural. In our own process, we're integrating it. We're synthesizing the word. The natural is something that shows up a lot when talking about the second line.

For me, as a second line, I resonated much more with the idea of the natural first. And it took me a while to kind of feel into how that was connected to the Hermit and that I also am the Hermit.

The idea behind the natural is if the first line is learning, like the finger positions of the guitar chord, they're just kind of looking up, how does a guitar work? What are. What's the information about how to do this? Then? The second line is practicing it.

So they already know the shape of each chord on the guitar. They already know where to put their fingers, how to place their hand on the neck of the guitar. The first line process offered that information.

In the second line part of the process, it's not about looking it up. It's about finding the natural way of engaging with different Information.

Within each of these binaries of the six principles, 1 and 2, splenic 3 and 4, Ajna, 5 and 6, solar plexus, there's a binary, there's a polarity. For instance, the 1 is the Yin line of the splenic binary. The 2 is the Yang line of the splenic binary.

So line two in a way, is a polarity to line one. This is a RA quote where the first line studies a need to find, needs to find a foundation. The second line is a natural.

It's a natural in the sense that there are gifts inherent that can be called out. The one, the yin line of the selenic binary is taking in information, receiving reception, yin in order to build a solid foundation.

The two is also still kind of playing its safe in its own process, protecting itself by hermiting. But in the second line there's not. It's not as much about receiving information to build a sense of security.

Instead, the two is in its own process, feeling safe in its hermit process. But it's projecting its gift or its natural gifts or ability out into the world.

So it's natural in the sense that there's inherent gifts within the two that can be called out. So others are watching and able to see what the second line is good at. As the second line is in its own just sort of marinating process.

And that's the Yang piece here. The second line is projecting out its gift, its nature, what it's naturally able to do. And it's not a conscious thing for the second line.

The second line is lower trigram. It's not really orienting to what's happening out there or the relational realm, but it's putting out it's Yang.

It has this light, this gift emanating out of it that others can see. Right. Again, that's that first floor window. I'm not performing to the outside world, but the outside world can see me.

So because of this, there, there tends to be this association with being, with being called or having the calling for the second line. Second lines tend to have a natural gift and kind of need to be in their own energy, doing their own thing, hermiting for those gifts to blossom.

And often there's this element of other people needing to do the calling for the second line to notice what it is that they're natural at and called towards. For second lines, the gift or the talent can be so natural that they don't realize that it's a gift. Right.

And so having other people be able to see what you're Doing in your own process. And it's kind of crucial to how things work for the second line. Because someone has to point out often to the second line, hey, you're good at this.

You're a natural at this. Because it's so natural for the second line. We don't always realize, we take for granted that this is a gift or something that is.

Is actually being called upon. Hey, people seek that you can do this. They see this special thing in you. Perhaps you should offer it, Right? So that's the idea of the calling here.

Like the first line. Second lines can be so involved with their personal practice.

Not so much investigation, but practice again, just in their own process, being a hermit, keeping to themselves that they're not tuned into the outside world, but they are in fact being noticed and watched for their natural gifts.

So when you hear about projection through the lines, it tends to be talked about more for the fifth line, which we will explore when we get to the fifth line. But there is an element of projection always happening with the second line as well.

But it has less to do with second lines necessarily receiving projections. The fifth line is a yin line. So receiving projection, the second line is projecting out these gifts, but not intentionally can be.

Second lines can be. Sometimes some like a joke comes up for second lines where they can't see their own asses.

Because second lines aren't paying attention to what people are seeing in me. At the. At the distilled version of what the second line is about. Second lines are in very. In their own process. They're hermiting.

But then they can be called on to offer. Think of even like the hermit card and tarot. The hermit's all up in their own world, in their own energy.

But then they can be called on to come out of the cave and offer their light, offer their lantern, offer their gift.

And that gift has to do with what's happening during the second line's very personal process most of the time and in most of their life, which is what's happening when they're alone and when they're just kind of exploring what they're naturally called to explore. So education can also be very important to a second line, but it's less about getting all the information.

It's more about developing the already existing gifts.

Therefore, when things don't come naturally to the second line, there's often not a lot of tenacity to continue or learn second lines, like speaking from experience. For me, a lot of times things like astrology and human design are so natural to me.

That when I came into these systems and these languages, there absolutely have been phases and continue to be phases where a little like rabbit hole, investigative parts of my process come in where it's like, time to go learn more about this thing.

But overall, it's often like I do a little bit of investigating and it just really kind of clarifies and reassures something that it felt like I already knew. And then there's this very natural ability to engage with the languages that hasn't necessarily required a ton of research on my part.

And so thinking about like one versus two here, we're not necessarily saying that like, second lines are better at the thing than the first line because, for example, learning from a first line, their foundation is going to be so solid that they're going to be able to answer the questions with, with really good foundational information, whereas a second line myself might not be able to provide like as solid of the why, why, why, why, why all the time? Because it's just this natural thing that we feel into the second line feels very intuitive in the way that it learns and engages.

And so again, coming back to this idea of this is an evolutionary process that repeats itself, repeats itself, repeats itself.

We can think about the second line of any gate as embodying the next step after the first line, which means that four second lines, perhaps the reason why it is natural is because they, as a being, already have the information from the first line process because that's what got them to the second line, right?

So the transit that this person embodies, wherever the sun was when they were born, it had already completed the first line part of the process, Right?

And similarly speaking for first lines, they're embodying a transit that had recently finished the sixth line part of the process, which was the completion of something. And the sixth line tends to be associated with wisdom, right?

And so there's a wisdom to the first line, but it's understanding that I'm really digging into this new thing now. But when we get to the second line, the digging in has already happened.

And so, for example, me as a second line, it's not as important for me to have all the facts necessarily as it is to come into my natural orientation, my personal natural orientation.

And this last piece here, if I'm coming into something and I'm researching it and there isn't that just sort of natural intuitive ping right away, I tend to become very disinterested very quickly, whereas that might not be the case for a first slime who's constantly trying to build that solid foundation. And I'm orienting towards the information perhaps more than the personal ability to grasp it.

So if we transfer this second line principle into second color here we're looking at taste determination, either open or closed determination. There's a theme of selectivity to the second line.

So again, thinking about the hermit up in their cave being called out to offer some wisdom, to offer their natural gift. The hermit is not always out there like hey, who wants to hear what I have to say, right? The hermit is most of the time hermiting.

And then there can be a selectivity to with whom and when do I actually want to show these natural gifts? Because splenic binary, there's orientation towards security.

And the way that the orientation towards security shows up for the second line is in acknowledging the sensitivity of the natural gift, the vulnerability of the natural gift. When a hermit or a natural is presenting information to you or sharing a talent with you, it's who they are, right? It's their natural thing.

It's their natural intuitive way of engaging with something versus the investigator. The thing being shared might not feel like as personal because it's information, it's foundation.

With the hermit there's this sensitivity to yes, I have a natural gift, but it's so natural that it doesn't have the same kind of foundation to it. It doesn't have the same kind of girth to it that the 1 or the 3, when we get to the 3 will have about what they know as a second line.

Who's not a 1 or a 3? No, second lines have a 1 or a 3 in their profile, for the record. And so 1 and 3 to me are like the bookends of the learning process.

And the one is again that foundation. The three is where you really secure what you know. And the two in between those things because the gift is natural.

Again it like it kind of lacks the stability or lacks. There can be a lack of a sort of confidence maybe in, in what the gift is and what the knowing is.

Because it didn't come through a learning process one or a trial and error process three. It's just natural, it's just intuitive. So that's where I see the splenic binary showing up for two is.

It's like there's a sensitivity and a vulnerability to the gift that needs to be nurtured. And it can be scary for the second line to let other people see it. So there is this selectivity to who gets to see my, my gifts.

Cuz my, my life as a second Line is about engaging with and nurturing these natural gifts. And they're not just for anyone. So there's this selectivity which brings me to taste determination. Open or closed taste.

These are people who best digest what tastes good to them. And it has sort of like a seasonal orientation to it. And again, I don't want to get too into it, but there's a selectivity.

I'm either open to trying new things, but I have kind of my set way that I eat or closed determination. I'm not really open to trying new things for this period. This is what I eat. So again, the natural. What's my natural orientation? Right.

I said here that what's not natural to a second line? We're not going to probably like buckle down and really learn and study the way that a first line or even a third line would.

So same thing here with like taste. I'm not going to eat what doesn't taste good to me kind of thing. And I'm not really interested in trying new things necessarily.

Markets, environment, kind of similar. The idea with markets environment is at a market, you can. You can kind of go up to a booth or one version of markets is external markets is.

You're going up to booths, you're selecting where you go. And internal markets is. You kind of are the. Your home is the market, your own home environment is the market.

And you get to open the doors and people can come and see you or not. So again, that kind of selectivity, hope motivation, motivated to conceptualize according to what could happen.

And again, kind of that sensitivity, that vulnerability, like carrying the hope and possibility view kind of similar. You see what's possible. There's so much more on that. But I have to be mindful not to turn this into a color lesson.

So, yeah, just kind of again, giving you the opportunity to sort of build those connections. Something I notice a lot. I first started noticing it with how I was orienting to my second line friends.

And then I started to notice that it happens to me as a second line too. I tend to assume that my second line people are fine like the second line people in my life.

I notice that I'm always like, oh yeah, they're good, they're fine. Because that's what's just naturally, again, not intentionally being projected out from the second line.

It's like you see what they're good at, you see what they're natural at, and you want to call that out in them. You're so good at this. You're. This is so special about you. That it can be easy to miss the other stuff. Right?

So again, the house metaphor, say you're looking in at what looks to you from the street level like someone just really like, wow, what a beautiful living room. And look at that family having dinner together or look at that party happening in through that first floor window.

And you're just like, make you, you fill in a lot of holes about, oh, that looks so nice, their life looks so nice, whatever it is. But you don't actually know what's happening there, right? You don't actually know the details of that person's experience.

So that's kind of the feeling of projection that I feel into when I think about projection. As it, as it is with the second line is there's a projection outward of the gift, but there's more to that person than that natural gift.

And oftentimes it can be tricky for people to see beyond the specialness that's being projected out by second lines. There's also something called bonding strategies, which every profile line has.

I want to bring it up because I think it adds an element to the second line's experience in nature that I don't think I really hit here.

There's like this, I'm being noticed, I'm projecting something out that's being noticed, but I don't necessarily want that to be seen because of this sensitivity, vulnerability, splenic binary. And the bonding strategy for the second line is shyness and boldness. So again, the selectivity, the doors are open or closed.

The second line tends to have sort of a shy demeanor or when it's being called out and it's choosing to lean into that when the gift is being seen and there's this orientation towards, yeah, let me share my gift, let me share my talent. There's a boldness to the second line. So shyness, boldness, second lines kind of alternate between that.

But then a lot of times people still see that in you, but you, you're kind of hiding, you're hermiting, you don't really want to be seen.

And lastly, sort of placing the second line in context in its four potential profiles, we've got the 24 and the 2 5, in which the personality is the hermit. And so for people with these profiles, the person probably thinks of themselves as having these second line characteristics.

And then we have the 5:2 and the 6:2, in which case the design, the body is the hermit. These characteristics are the qualities of the form unconscious to the personality. I'm a 5:2, and for me, my personality is very transpersonal.

It wants to be out in the world doing the fifth line thing. So as I decondition, I'm just constantly being more and more surprised, astounded really, at how much I actually want to be alone.

I did not think of myself as a hermit when I first came into human design, and through deconditioning and realigning to the needs and the orientation of my form, my body, I'm seeing how much my personality or mind tried to pull me out of my hermit needs for so much of my life. So just something to orient to. And again, we'll look at each of these profiles as we get to the second number, but just something to orient to.

process, is conscious in the: 2425

Speaker A: 00:24:23

Thanks for listening to the Living Your Design podcast. Stay tuned for the rest of the curriculum. New batches of episodes are released every Tuesday. For immediate complete access to the full course.

And to explore other perks like learning and community, extracurricular, astrology and human design workshops, and meeting with me face to face, go to patreon.com/KelseyRoseTort. You can also listen to me on my other podcasts, the Maia Games and Conversations with The Zodiac, and find me on Instagram @kelseyrosetort.