Tarentula cubensis condenses the animal ferocity of pain with the syphilitic destruction of tissues: a septic drama played out in the cellular spaces. The lesion is the stage—dusky, glossy, oedematous, studded with black points and “cribriform” openings—and the actor is pain: burning, boring, knife-like, unbearable under the lightest touch yet momentarily appeased by hard, continuous pressure and by rubbing. This paradoxical tactile polarity is the patient’s language: they strap, bind, knead, lean, and pace the floor—a predator circling its wound. The mental picture is not the theatrical faintness of Moschus nor the meticulous anguish of Arsenicum, but a driven, irritable restlessness whose sole purpose is to smother the burning with pressure and to force the ichor to run. The systemic state is one of adynamia and putridity—offensive sweats, small rapid pulse, chill-heat waves—proportionate to the local tissue death. When drainage or slough separation occurs, the entire patient “turns the corner”: pain ebbs, pulse steadies, delirium abates—Tarent-c. is timed to the opening of the outlets [Hering], [Allen], [Clarke], [Boger].

Miasmatically, the remedy stands in the syphilitic night: black decay, gangrene, bloody ichor, and destruction that advances by stealth under a glossy, livid skin. Yet there is a psoric motor—itch-burn restlessness—and a sycotic tendency to indurations around old foci that the remedy can soften later. The kingdom signature (Arachnida) appears in hyper-reactive pain, predatory pacing, sudden strikes of stabbing pain, and an almost sensory hunting for pressure that neutralises the allodynia of light touch [Tyler], [Farrington]. The polarities are crisp: night vs day (after-midnight worse), light touch vs deep pressure, closed pent-up pus vs free drainage, cold/damp vs heat, collapse vs driven motion. Prescribing hinges on recognising the colour (dusky–violaceous, blue-black), the pain quality (burning/boring > pressure), the odour (rank fetor), and the behaviour (rubs, presses, binds), together with the clinical trajectory (either aborts early phlegmon or hastens clean suppuration). Among the gangrenous remedies, Tarent-c. is uniquely kinetic: it moves the case by compelling flow; when the ichor runs, the remedy has spoken [Hering], [Clarke], [Boericke], [Boger].

Tarentula hispanica embodies the spider archetype of swift cunning, sensory thrill, and the transformation of chaos by rhythm. The psyche is hungry for stimulus yet paradoxically offended by the lightest, irregular touch—a nervous system tuned to “on/off,” incapable of idle equilibrium. From this polarity spring its cardinal gestures: mischief, jealousy, deceit, destructiveness, and the irrepressible compulsion to move fast—to dance, to work with speed, to tear, to drum. In Tarentula, movement is not mere discharge but a medicine: when set to music, the same fury that tears and bites becomes dance and nimbleness; palpitations find cadence; headache yields to the beat; pruritus fades under firm, rhythmic rubbing; and the will, previously fractured into cunning fragments, recollects itself into playful action [Hering], [Kent], [Clarke].

The signature sensitivity is hierarchical. Gentle, unpatterned inputs (a light touch, a sudden clatter, being quietly observed) aggravate; strong, coherent inputs (hard pressure, driving rhythm, bright but pleasing colours) ameliorate. This mirrors the spider’s loom: taut lines, quick strikes, patterned motion. Pathophysiologically, the picture suggests unstable cortical-striatal circuits and sympathetic overdrive; the patient lives on the edge of chorea, where voluntary and involuntary movement blur, and meaning (music) rescues motion from chaos [Hughes], [Allen].

Relationally Tarentula demands and performs: attention must be won, rivals eliminated, the stage set. Jealousy is a spur, not a wound: it provokes theatre—lies, tricks, tearing—until rhythm returns. Children in this state are brilliant and naughty: they break what they love, bite in anger, then dance and become affectionate once the drum begins [Tyler], [Kent]. Women show ovarian storms and hystero-epileptiform states tied to the cycle; dancing, pressing the ovary, or hard work brings relief—exact echoes of the modalities [Hering], [Clarke]. Men may display rapacious desire alternating with impotence of exhaustion, again improved by movement and occupation [Phatak]. The whole remedy breathes tempo: give it rhythm and it heals; deny it, and it destroys.

Thus the essence: a jealous, mischievous, hyper-sensitised organism whose sufferings are transmuted by rhythm, music, pressure and purposeful speed. Prescribe Tarentula when you see the dance waiting to happen—when headache, palpitations, itching, insomnia, and rage all promise to yield if only the patient can move to time. In differentials it stands apart from Theridion by loving music, from Hyos. by craft rather than silliness, from Stram. by play rather than terror, and from Lach. by dance rather than speech. Its essence is a choreography: organise the beat and the spider weaves order from frenzy.

Ther. condenses a vivid arc: stimulus (especially sound/vibration) → vestibular storm (vertigo, nausea) → spinal and cephalic reverberation (cervico-dorsal soreness, headache). The hallmark perversity is that closing the eyes—the usual refuge—worsens seasickness and vertigo; only by keeping the eyes open and fixing on a stable horizon can the patient steady the world [Allen], [Clarke], [Boericke], [Boger], [Kent]. The second keynote is the auditory–dental–gastric conduction: noises penetrate the teeth, set them on edge, and turn the stomach; music is not a delight but a projectile. This portrait explains the behaviours that secure cure: insistence on silence, soft steps, no crockery clatter; seating with head–neck support; no reading in motion; eyes open during travel; cool fresh air without ear-draught. The differential hinges on this triad—noise, eyes shut, vibration. If icy collapse and open-air craving dominate, give Tabacum; if loss of sleep and general prostration lead, think Cocculus; if throbbing and gas distension rule with hyperacusis, China may follow. Many modern cases are post-viral or post-labyrinthitis hypersensory states, or musicians/engineers whose work enforces vibration exposure; when their symptoms obey Ther.’s law, the remedy has proved singularly apt [Tyler], [Morrison], [Shore], [Vithoulkas]

Trombidium presents a tight, practical picture: intestinal catarrh with umbilical-centred cramp and unrelenting tenesmus, stools of white-to-yellow jelly-like mucus sometimes blood-streaked, and a thermal–postural pattern—worse at night and from the least food, better with warmth, pressure, and bending double. The patient is driven by the bowel: mind and mood rise and fall with the temporary relief after each evacuation. The anus burns and is raw; the margin itches; yet the deeper keynote lies higher—at the umbilical ring, where cutting pains compel the sufferer to clutch and press. This arachnid remedy’s “signature” descends from observations of mite-related dysentery: a sycotic surplus of mucus, an irritable rectum that will not let go, and a cyclical nocturnal worsening that breaks sleep and saps strength [Clarke], [Hering], [Allen], [Boericke].

It differentiates from the usual dysenteric triad as follows: Merc-cor. is bloodier, more shredded, and more collapsed; Nux-v. is more purely spasmodic and choleric, with scant stool and less mucus; Aloe shares a jelly-mucus keynote, but there the centre is rectal incompetence and sudden urgency, while Trombidium centres on umbilical cutting pains and the pressing-for-relief reflex. Coloc. matches the posture (better bending double), yet lacks the persistent tenesmus with copious mucus that stamps Trom. The precise meal-triggered urging (especially before breakfast/after the least food) narrows the choice further, and the autumnal/damp aggravation rounds off a portrait that is compact and reliable in practice. Where this pattern is present, Trombidium often converts a harassing, fruitless night of paroxysmal urging into a quieter morning with a freer mucous stool—after which convalescence can proceed, sometimes with an allied remedy to settle fissural soreness or residual rectal weakness [Clarke], [Hering], [Allen], [Boericke].