Progressing the Ascendant
and Midheaven
(continued)
Dear Friend,
By progressing the angles of our horoscope for 20, 30, and 40 years, we found that the MC did not gain over the ASC more than one degree in three during any epoch. Thus opportunities for spiritual growth will be about the same in all divisions of life; but, mark this: they will be more likely to bring results when the progressed Midheaven aspects a radical planet. The nature and character of the experience will depend upon the nature of the planet aspected, the character of the aspect (sextile, square, or trine), and the house where the aspected planet is located. The same rule would apply in regard to the influence of the Ascendant upon material affairs. Its aspects by progression promote changes which affect our physical existence. The effects of its aspects are not invalidated even though the tendency of the life is towards the spiritual; and in a life where the speed of the Ascendant foreshadows the preponderance of material activities, an aspect to the progressed Midheaven may wake the slumbering soul and a beginning of spiritual activity may be inaugurated.
Right here is one of the most important and fruitful opportunities for service which the spiritual astrologer can find, and although this whole subject of "progression" should follow instruction on reading of the natal figure instead of preceding it, we feel that knowledge of the effect of progression of the Ascendant and Midheaven is of such vast practical value that we have decided to violate that precedent and stay with this subject till it has been made as clear as we can make it. Then you will be able to help others at crises in their lives which may have been unsuspected even by those most anxious to aid.
Have you ever met a mother anxiously seeking advice concerning a wayward girl or a drunken son? Would they mend? How could she best help them? Or was it a wife with a flock of little ones, suffering through the neglect of husband or father? Alas! The world is full of such cases, and any spiritually minded astrologer actuated by compassion for all concerned, must often have sorrowed when he searched vainly for an aspect of the planets that would give a ray of hope. Had he known the elevating potency of aspects to the radical and from the progressed Midheaven, had he known how these aspects produce opportunities to retrieve mistakes and make a new start in life, he might have pointed out the auspicious time when judicious persuasion would have been the most effective in turning the wayward child or weaning the father from the curse of drink; a time when they would have been more amenable to reason than usual. Opportunities must be caught on the wing or they are lost, and lack of astrological knowledge has wrecked many a life.
Therefore, students are advised to always look carefully for aspects of the progressed Midheaven to radical planets, or of progressed planets to the radical Midheaven. Aspects of Sun, Jupiter, and Venus to the Midheaven are of course most powerful, but good aspects of Saturn sometimes accomplish identical results by appeal to the delinquent's manhood and self-respect.
Work for the Student:
(You are welcome to e-mail your answers and/or
comments to us. Please be sure to include the course name and Independent Study Module number
in your e-mail to us. You will find the answers to the questions below in the next Astrology Independent Study Module.)
1. Look at the horoscope we are judging: The Midheaven is Aries 1. When it has progressed to Aries 23, it will be square to Neptune, which is in 23 of Cancer. Turn to our Table of Houses and count the lines from Aries 1 to Aries 23. Each line counts as approximately one year of life. Then progress the angles by the method used in Astrology Independent Study Module No. 28 for the same number of years as there are lines between Aries 1 and Aries 23. If the progressed Midheaven is Aries 23, the number of years used will be the age when the square to Neptune culminates. If the progressed Midheaven is more or less than Aries 23, change the number of years used until the Midheaven becomes Aries 23. Then please determine the boy's age when this square culminates and what you think will result. [optional]
Remember to progress the Midheaven as taught in previous Astrology Independent Study Modules. (optional)
The parents of this child should, first of all, try to make his early environment as pleasant and uplifting as possible. With Neptune on the ASC, the native is very sensitive to conditions about him, and as the early years are so important in developing proper ideals and habits, he should be carefully protected from unwholesome influences.
An effort should be made to encourage initiative (to overcome an unaspected Mars) and the problem of diet will need careful attention. A tendency to excess must be avoided. (Moon opposing Jupiter). Not being of very robust health, he should be taught early to form a taste for simple, nourishing food, and the habit of moderate exercise. Kindness, understanding, and reason in matters of discipline will always accomplish the desired end.
As this child has unusual mental and spiritual tendencies, the parents should endeavor to provide him with the best possible opportunities for developing his inner faculties. Education along literary and dramatic lines should be stressed, as the boy has much talent for both writing and acting. The Sun, Mercury and Venus in Virgo, in the third house, well aspected to Jupiter, Neptune, Uranus and Saturn, would give him a wonderful ability to express, perhaps better through speaking, as Neptune in Cancer on the ASC would cause a reticence at times before the public. This last configuration would also give him much understanding of spiritual truth, and the planets in Virgo would indicate a desire to serve or write for the benefit of humanity. Jupiter in the 5th House would favor publication.
As Neptune and Uranus are in opposition, the child should be trained along positive lines, and taught the dangers of negative spiritual development. The sextile and trine of Saturn, Sun and Venus to the two mystery planets, Uranus and Neptune, should give sufficient ability to withstand any negative influences, provided the will and individuality are developed. Development of will power should be given an important place in his training.
The progression of the angles reveals that there is little difference in the gain of the MC over the ASC during the periods covered. Therefore, opportunities for spiritual growth will be about the same in all decanate (10 year) periods of life up to forty years.
Progressed 20 years
to October 2, 1911:
S.T. for Oct. 1:
12-36-00
Correction:
1-21
Interval:
12-42-00
Correction:
2-07
1-21-28
Nearest S.T.:
1-21-20
MC
ASC
20 years:
Aries 22:00
Leo 09:03
Birth:
Aries 01:00
Cancer 24:33
Travel:
21:00
14:30
In the first 20 years the MC moves 21 degrees and the ASC 14:30 deg. The MC/ASC ratio (21/14:30) = 1:45
Progressed 30 years
to October 12, 1911:
S.T. for Oct. 11:
13-15-00
Correction:
1-21
Interval:
12-42-00
Correction:
2-07
2-00-28
Nearest S.T.:
1-59-17
MC
ASC
30 years:
Taurus 02:00
Leo 16:00
20 years:
Aries 22:00
Leo 09:03
Travel:
10:00
06:57
In the next 10 years the MC advances 10 degrees and the ASC 6:57. The MC/ASC ratio (10/6:57) = 1:44
Progressed 40 years to October 22, 1911:
S.T. for Oct. 21:
13-55-00
Correction:
10-21
Interval:
12-42-00
Correction:
2-07
2-40-28
Nearest S.T.:
2-40-10
MC
ASC
40 years:
Taurus 13:00
Leo 22:48
30 years:
Taurus 02:00
Cancer 16:00
Travel:
11:00
07:48
In the next 10 years the MC advances 11 degrees and the ASC 7:48. The MC/ASC ratio (11/7:48) = 1:41.
The ratio of motion of MC/ASC is about constant in all three periods, with the MC moving faster. When ratio is 1.5 which is 3 to 2, it seems to be regarded an indication for great opportunity. Thus, each period offers about the same proportion of greater opportunities for intellectual and spiritual growth.
Supplemental
Student Material:
Spectrum
"Spectrum" is one of the most important archetypal
words involved in a study of art-expressions; the word, in archetypal or
concrete application, is derived from a Latin word meaning "to look at."
"Emanation" is the process by which the potentials of a thing are made
manifest; "spectrum" is the result — the total of perceptible potentials,
qualities and parts. We usually use the word "spectrum" to designate that
appearance of a ray of light that has been refracted into its component colors
(parts) and this is an excellent example for the purposes of this study
because astrology is, itself, perceived visually. The rainbow is a perfect
concrete example. It is a natural spectrum; but it is more than that — it is a
perfect symbol of "spectrum" as an archetypal — word. The ray of sunlight is
macrocosm, the rainbow is microcosm; the rainbow as a spectrum is macrocosm to
each of its designable colors, its "microcosms;" "Spectrum," as an archetypal
word, applies to each of the colors as "macrocosm" to each of its shades or
gradations or qualities. In other words it is the "offspring" of luminosity
and refraction; its basic characteristics are "designable colors ;"they, in
turn, are qualified by gradations and shadings which can also be designated by
specific words.
As far as our solar system is concerned, the
original spectrum is in the creative imaginations of Father-Mother God. The
Divine Mind, since it is the Source of each archetype (ex: rainbow) manifested
in this system, is the source of all "manifestation-spectrums" (ex: all kinds
of rainbows) and all spectrums-of-manifestation of each manifested archetype
(ex: the total and separate colors, and their gradations, of each rainbow). By
analogy, then, Divine Mind corresponds to the ray of sunlight in our
illustration; one archetype is rainbow (a manifestation of Light); a sub-
archetype is one of the designable colors resident in the rainbow.
The archetypal manifestation of Divine Mind (the
creative imagination of Father-Mother God) is perceived to be our own solar
system. The "spectrum of emanation" would be the gradation of the planets from
the time the first one was emanated until the last one was emanated. The
spectrum of its esoteric qualities would be the evolutionary gradation of the
Planetary Logoi of the system analogous to the differentiated colors of the
rainbow. Color has a spectrum of vibratory rate (specific shades) and also a
spectrum of vibratory quality (relative radiance or dullness). The vibratory
quality-spectrum of the entire solar system would be the sum total gradation
of all inhabitants of this system in terms of "most-to-least" (or "least-to-
most") exercises of spiritualized consciousness. The same classification would
designate vibratory quality-spectrum of the inhabitants of any one particular
planet and, in turn, their grouping by race and/or nation. This analogy is
also applicable to the archetype tone — the essential material of the musical
manifestor and interpreter.
Tone is the archetype of all sound since, by its
nature, it is rhythmic vibration perceived audibly. "Fraternal" with color,
tone has a two-fold spectrum: vibratory rate (low and high) and vibratory
quality; the spectrum of tonal vibratory quality is also twofold: that of
Dynamic (softness and loudness) and Power (dullness and brilliance). The
spectrum of "tonal rate" is the entire manifestation of the tonal scale from
the slowest vibratory speed (lowest) to the fastest (highest). This "total
scale"is divided into "octaves" as the rainbow is divided into "colors."
(Colors are simply the "octaves" in a light-ray. ) As each rainbow-color is,
in itself, a "spectrum of shades" so each tonal octave is a "spectrum." Every
perceptible and designable shade of a specific color, the sum total of which
is the "matrix"of the specific color, is analogous to each overtone of the
musical note, the overtones of a specific musical note in composite, are the
"matrix" of the note just as the etheric envelope of human, animal, plant, or
mineral is its matrix. The tone, in relationship to its overtones, is
"condensed vibratory embodiment" — a specific factor of a musical system.
The dynamic spectrum of color is its gradation
from white to utmost density; the dynamic spectrum of tone is the gradation
representing "softness-loudness." The power spectrum of both color and tone is
the gradation from "least impinging power" (dullness) to "maximum impinging
power" (brilliance of carrying-quality). A great pianist, by a controlling
action of hand, wrist, or finger on the complete depression of the key, can
create a "pianissimo" of delicate softness whose power will carry to the far
corners of the audience-room. Others, less skilled, can play as loudly as
possible and the tones they bring forth will sound hard or lifeless. The
analogy of this to the Astrologer's "dullness" or "brilliance" in interpreting
principles as they are pictured in a horoscope is one of the things to which
you should give considerable thought; the analogy if exact.
The manifestive artist uses a spectrum of media
for his expressions. This spectrum ranges from the most concrete abstract
medium (design) to the most evanescent abstract medium-rhythm. It also
includes the three concrete media: tone, color and substance Line is the
abstract medium between design and rhythm. Line is the archetype-symbol of
"process of manifestation." The drawing of a line can be "spaced"
(rhythmitized) and from line all embodied (enclosed) forms (designs) are
derived; just as the line itself was emanated from its source, the point.
Letter and word; tone and chord; line and design
(two-dimensional embodiment) and mass (three-dimensional design) composite the
artist's means of outpicturing his concepts of archetypes, whether
manifestively or interpretatively. Rhythm, the spacing of sequence, or of
sequential manifestation, is a "common denominator" of all art forms because
rhythm is the archetype of the nature of all movement.
The analogy of "spectrum in Astrology" to
"spectrum in the arts" is fascinating because of its clarity. The archetypal
resource of both forms of interpretation is human consciousness; the
archetypal purpose of both is to interpret the nature of divine archetypes
through manifested concepts of those archetypes the archetypal action of both
is to intensify, vivify, and illuminate man's awareness of himself, other
people and the world around him; the archetypal reaction to both is from the
composite of man's instinctual feeling and instinctual knowing.
The word "artist" is archetypal; its two principle
"emanations" are manifestive (creative) artist and interpretative artist. The
first human being who moved or posed his body in a certain way to give
expression to a specific emotional state was the "first" manifestive dancer.
The first human being who recognized that "the point, the line and the circle"
could he utilized to symbolize the being, the consciousness, and the existence
of humanity — or of a human being-was the "first" manifestive astrologer. (It
might be observed at this point, that the "point, line, and circle" are the
archetypal "ingredients" of the planetary symbols as well as of the structure-
design of the wheel.) The manifestive astrologer-like the manifestive artist —
embodies his concept of an archetype by an originally — conceived symbol; the
symbol is his way of outpicturing the nature, purpose, and objectification of
a cosmic principle. The interpretative astrologer studies and intuitively
perceives the meanings of already manifested symbols; he fulfills his function
by applying his understanding of these symbols to the interpretation of the
horoscope. (For example, the author suggests consideration of the following as
a "manifestive" symbol for the planet Pluto: a circle enclosing the up-
pointing arrow used in the symbol for Mars; the arrow is the energy-
expression-potential; the circle is the collective subconscious of humanity-
the archetypal desire-power as a "frozen fluid" waiting releasement through
expression; it is the author's concept of the meaning of Scorpio's rulership
by Pluto and co-rulership by Mars. (The letter P in an initial).
The archetypal word spectrum has polarity. The
masculine polarity is "spectrum of vibratory quality:" the feminine polarity
is the "spectrum of manifested forms" which is the crystallization of
archetypal design. These two polarities of spectrum are seen in astrology this
way: the masculine polarity (subjectivity) is the entire "vibratory spread" of
the twelve zodiacal signs, from the first second of Aries to the last second
of Pisces. This is the spectrum of consciousness, humanly speaking; it is the
spectrum of cosmic powers, divinely speaking. From the standpoint of polarity
as it is manifested in the attributes of human nature, it is the spectrum of
generic quality — the composite of "activeness" and "reactiveness" of which
every human, male or female, partakes. It composites the essence of our
projectiveness and reflectiveness, our expression and our perception. Since
"polarity" is a composite, we recognize that this "masculine-subjective"
aspect of the wheel is a "spread of points," any one of which is a potential
by which we express according to our perceptions, and we perceive according to
our capacity to express. Expression is the process by which
individuality is manifested; perception is polarity experienced. These
actions occur in time-sequence, but their source is a unity-consciousness.
The "negative" or "feminine" objective polarity of
astrological spectrum is the sequence of the twelve houses, through the
twelfth-counterclockwise from the first. These depict specific experience-
designations in which, and through which, consciousness is both expressed and
perceived. They refer to the"objectivity" of Life. Each house is a
"mechanism"for focalizing (as "parentage" focalizes the identity of a small
child) the expressions of our perceptions of specific life-principles. Each
house is a sub-archetype of the archetype-word "matrix;" it nurtures our
experience and growth as the maternal body nurtures the gestation of the child
internally and the father's power nurtures the welfare of both mother and
child externally. So these twelve experience-patterns "parent" our spiritual
unfoldments in time-space. In congestion (unregenerate expression of
crystallized perception) we remain "bound" to the experience-matrix; through
regenerated expression of decrystallized perceptions, we gain dominion over
environment just as, with maturity, we gain "dominion" over our dependencies
upon our bi-polar matrix: father and mother. Thus we enable ourselves to
function more and more with individualized awareness of principles rather than
in repetitious conformity to the limitation of appearances. Remember that
this"spectrum of houses" is one polarity of the archetype human experience;
therefore no part of it is "bad"or "evil." The houses, in composite, are
materials to be used; they are designations of which we must learn the
principle — just as the study of colors helps us to understand the nature of
light.
The planets are focalizers of the signs which
they rule; they are specifically placed, by the Law of Cause and Effect, in
the two representations of the astrological spectrum-sign and house. Just as
each color has its own gradations and each tone has its oven overtones, so
each planet has a "personal spectrum" of a two-fold nature. One is the
"pattern-spectrum" — all possible aspects with all other planets; the other is
the "focus-spectrum" — all possible placements in signs and houses as
specifications of the significant generic "points" in the individual
horoscope. An unaspected planet is like a "dull" tone in music — it has little
"carrying power." A congestion of a planet 's relationship to another is like
any technical problem in any art — the person has to "learn the principles"
involved just as the artist has to overcome his ignorance or his inadequacies
in order more perfectly to manifest or interpret his concepts of archetypes.
The artist's "overcoming his problem" is analogous to the person with the
congested aspect becoming aware of the principles involved in his particular
experience-pattern and going into action from the basis of extended
consciousness.
The arch-spectrum of "astrological pattern" is
two-fold: the sub-spectrum of the three-fold square (cardinal, fixed, and
mutable) and the sub-spectrum of the four-fold generic trine (fire, earth, air
and water). The three-fold square, in four variations, is the arch-symbol of:
the attribute of Father-Mother God to take form. The four-fold trine in three
variations, is arch-symbol of: the divine potential inherent in every form
(manifestation or identity). The conjunction of two planets is really the
archetypal symbol of marriage; two planets are "fused" for the start of an
entire series of aspect-relationships to each other during the ensuing many
incarnations. (Just as in marriage two individual persons are "fused" for a
series of mutual relationships during the ensuing years. Think about this.) In
other words, the conjunct-aspect is analogous to the central point of the
circle because the central point "emanates" the potentials to the Ascendant;
the conjunction-aspect is going to emanate a series of planetary aspects as
the person progresses through his succeeding incarnations.
All planetary aspects have "spectrum" in this
way: by the significance of "orb" two planets have exact aspect to each other,
they have approximate aspect to each other, or they have no aspect to each
other. This is the spectrum of "aspect-exactitude" — the exactness of an aspect
determines the intensity of its effects, congestively or expressively The
square aspect has polarity in the sense that it, in itself, symbolizes
archetypically congestion of (masculine) expression or congestion of (feminine)
perception. The square, the sextile (alchemy, dynamic regeneration) the
conjunction (fusion of powers), and the opposition (planetary focalization of
a diameter) have spectrum only in the sense that any signs, houses, or planets
can appear in these patterns. The trine-symbol has the two-fold spectrum of
polarity:
We use the equilateral triangle resting on its
horizontal base (the three earth-signs of the Great Mandala) as the symbol for
"trine-aspect." Because the earth-signs are used, and because this is the most
static representation of the trine, this is really the feminine polarity of
the trine; it is the result of having exercised relative love-wisdom in the
past, and this is another way of saying "relative Mastership." The person with
a trine aspect enjoys a certain harmony, or abundance, or integration in this
incarnation because of his efforts in the past. The masculine polarity of the
trine is the fire-trine of Aries-Leo-Sagittarius. This is the dynamic exercise
of spiritualized consciousness and it is the higher octave of the sextile
aspect. Because cause and effect have the same source, we can see that this
two-fold representation of tile polarity of the trine tells us: "Yes, enjoy
the fruits of this aspect but remember that you are evolving; you must also
use the trine as a dynamic power to raise the quality of your relative
Mastership for greater perceptions in the future.
Your horoscope will take on an added "glow"and
"radiance" if you will think of it in terms of spectrum just as your
appreciation of art takes on depth to the degree that you become aware of the
values and beauties of its several attributes and essences. "See" the four
generic trines unfold from the cardinal, fixed, and mutable structure points;
"see" the chemicalization of spirit into objectification by unfolding the four
structure-crosses from the three fire, earth, air, and water signs. Think
spectrum regarding everything that comes to your attention — archetypes, sub-
archetypes, and so forth — for a while. You will unfold, at the same time, a
remarkable scope of perceiving the values of planetary positions and
patterning To "think spectrum"is to think archetypically. To "think
archetypically" is to exercise the mind rhythmically.
Rhythm
In this study of Rhythm we are attempting to
comprehend the nature and essence of the most intangible and evanescent
attribute of cosmic manifestation. We will discuss this subject from as
archetypal a standpoint as possible; it is necessary to do so if we are to
perceive the meaning of this attribute to the essentials of the arts.
Movement is the archetypal word which means the
action of cosmic alchemy. The manifestations of the universe are continually
in a state of change from one form, degree, size, quality, volume, cycle, and
octave to another. No manifestated thing stays exactly the same from year to
year — or even from day to day. Everything responds to the dynamic essence of
evolutionary forces toward the end that inherent potentials will be released
and fulfilled. Your body grows in size and in capacity-to-express or it
deteriorates and lessens in capacity; whatever the direction, you, in your
vehicle, move from one state to another. Your consciousness "moves" from one
state to another and this movement is directly dependent on two things: (1)
your reaction to a specific experience and (2) your succeeding action on the
stimulator of your reaction. When your repetition of a negative reaction is
carried into expression by corresponding action, you set up another negative
cause and you move backward. This is so because experience-patterns manifest
in sequence; if you fail to learn from the previous effect of a specific cause
and put the ignorance into action again, your "lifeline" retrogresses instead
of progresses. A repetition of a negative reaction which is counteracted by
constructive action from the exercise of intelligence moves your evolutionary
direction forward and upward. Think about this in terms of your movement in
consciousness through your incarnation. The complete freedom to move forward
from a specific aspect of a specific experience-pattern means that you have
learned to apply the principle inherent in the experience-pattern in terms of
your cycle-status.
Rhythm is the cosmic law of cause and effect
working through movement. In rhythm, all effects occur in natural timing. By
rhythm, every specific emanation is "born" at the time that is consistent with
its attributes.
The reference to "Cosmic Alchemy" is applicable to
the human body in this way: breathing is the inhalation that makes oxidation
possible; the exhalation is the casting out of the un-needed residue. The
heart-beat makes it possible for the body to inhale in order to feed and
refresh the tissues of the body by the arterial action; the venous action is
the withdrawing of that which is not needed. These two actions of the body, in
addition to the "inhalation" of foodstuffs and the "exhalation" of wastes, are
the primary illustrations of rhythmic action in the alchemicalization of the
body. Though the body is timed for the fulfillment of its needs, we eat and
drink according to conscious action; the breath and heart-beat are directed by
the subconscious — they "go on" automatically. Think a bit about the natural
rhythms of your physical life-alchemy is the purpose which is being fulfilled
by these timed processes. Mankind has other ways of being alerted to the
rhythms of the universe. Let us consider a few examples of the evidences of
rhythm in the natural world:
That metrical indication in music which we call
"two four" rhythm — two full counts to each measure (one-and-two-and) not only
illustrates the polarity of time but it is the archetype of all rhythmic
action. Count one is male-masculine, the "and" is the feminine completion of
the count; count two is female-masculine, its "and" is the feminine
completion. (The masculine-feminine of male-female is cosmic polarity in four-
fold expression-the Universal "Adam-and-Eve. ") Now —
Breathing: count one is the beginning of the
inhalation; "and" is the completion of the inhalation; count two is the
beginning of the exhalation; its "and" is the completion of the exhalation.
Waves: count one-the "inhalation" — is the
"gathering of water-forces" as they recede from the shore; "and" is the
forward surge to the apex of the wave; count two is the down-crashing of the
wave: "and" is the farthest point reached by the forward-action of the wave on
the shore. This illustrates the wave's "breathing," but the music of the wave
is counted by the "pulse" of its sound; count one is the down-beat — the loud
crashing sound; "and" is the forward surge to the highest point on the shore;
count two is the "ingathering noise;" its "and" is the forward surge to the
apex of the wave. The noise of the "crash" is analogous to the down-beat of
count one in the musical measure, the heaviest" accent. "
Days: the spectrum of the days of a year has
rhythmic polarity in several ways. One is the polarity of day-time (conscious
existence) and night-time (subconscious existence). Count one is sunrise; its
"and" is noon; count two is sunset; its "and" is midnight. Seasonally, the
spring equinox — Aries is analogous to sunrise; Cancer, to noon; Libra, to
sunset; and Capricorn, to midnight. (This analogy does not refer to the Great
Mandala, which has Cancer at the midnight-point and Capricorn at the noon-
point; it is an analogy of the powers of sunlight during each day to its
occult significance during the sequences in the year.)
Life-Cycle: a perfect illustration of "two-four"
rhythm; count one is birth; "and" is adolescence; count two is maturity; "and"
is transition. This "process" is, of course, a cosmic pattern; it is the
action of Life manifesting Itself.
Human Love: count one is mutual love-recognition;
"and" is generation; count two is fulfillment of assumed responsibilities;
"and" is realization of principles involved in the experience (fulfillment of
Relationship).
Education: count one is the action which
initiates a study-experience; "and" is the process of learning; count two is
the action of applying that which has been intellectually learned; "and" is
learning through work and/or through applying what was learned intellectually.
If two-four is the rhythmic archetype of time measurement, three-four is the
basic sub-archetype. Two-four and three-four are the metrical indications from
which all other meters are derived. Two-four rhythm is symbolized in astrology
by the archetypal symbol of the cross, four each of cardinal, fixed, and
mutable signs. The cross is alchemicalization of consciousness through
reaction to (or interpretation of)incarnated experience. Three-four rhythm is
symbolized by the archetypal symbol of the trine which is the inherent
spiritual potential; this potential is released and expressed by the sextile
onto — and into — the square, which is the cross congested. The six radii — three
diameters — of the sextile symbol representing the six fire and air signs,
pictures the cardinal, fixed, and mutable of these masculine signs, the male
of which is fire, the female is air. The sextile then, is "two 3's"; each one
of these 3's, in enclosed form, is the equilateral triangle, half of the
double grand trine, the power-love-wisdom of the individualized male or
female. The four points of the archetypal Cross are the basic human
relationships: male and female as "giver," male and female as "taker;" or male
and female as "initiators of causes,"and male and female as "reactors to the
effects of causes." This great symbol pictures the identities of inter-action
and inter-exchange of all human beings with each other. The (enclosed) trine
is potential for individualized spiritual radiation; this potential is the
"fruitage" of that which was "fermented" by the cross congested through fear-
ignorance, decrystallized by the counter-actives of the sextile and resulting
in the pure residue of spiritual power, love and wisdom. The trine is "that
which the soul has kept after the inhalation of experience and the
decrystallization of congestions has been fulfilled. "Think of the analogy
between the physical body and the soul body — each "inhales and feeds"
"alchemicalizes, casts off what is not needed, and retains the essences of
what it requires."
The occult significance of the trine has much to
say regarding the mystical healing power of three-four rhythm. Astrology
illustrates this in the sequence of the cardinal-fixed-mutable signs. Each
sign "enfolds" three decanates and each element "enfolds " three signs. The
generic-element trines are cosmic three-four rhythm expressing from the four
basic identities; this illustrates the "enfoldment"of the horoscopical wheel
as divinity enfolds the universe. Therefore, three-four rhythm conveys to our
instinctual knowing the reminder of the eternal Presence of the Divine. There
is a subtle, almost indescribable, grace and charm in three-four rhythm that
two-four and four-four do not have. The occult significance of the latter two
is structural; even in three-four rhythm, phrases are basically constructed in
groups of two or four measures, thus carrying out the affiliation of trine
with cross. In music therapy, three-four rhythm has been proved to possess a
greater power for soothing and quieting. Three-four rhythm, in the archetypal
structure of four-measure phrases. is divine power in manifestation.
When we apply the occult significances of rhythm
to astrology-in-action we see remarkable things. The basic breathing of
vibratory action is the down-beat and the up-beat of the lunation and its Full
Moon. This action is analogous to the inhalation-exhalation of air by the
human-being; it is the vibratory alchemicalization on the entire archetypal
body, humanity, as oxidation and eating are the composite of individual
physical alchemical processes. According to our consciousness, our bodies
"move" harmoniously or otherwise with the actions of sustenance.
Correspondingly, our souls develop (move) with our responses to the action of
vibration. An extension of "lunation-breathing" is seen in the study of solar
eclipse, which is macrocosm to the microcosmic lunation. A solar-eclipse-
pattern is the stimulation of two signs of a zodiacal diameter by two eclipses
which are six months (six signs) apart. Such a pattern covers one year; a
solar-eclipse-cycle (stimulation twice of the two signs of a zodiacal
diameter) covers a period of two years and is remarkably analogous to a
complete composition of music — in three-four rhythm.
Count one is the first eclipse; counts two and
three of that first "measure" are the succeeding two lunations; count one of
the second measure is the "mid-point" lunation which squares the eclipse;
counts two and three are the lunations which succeed the "mid-point;" count
one of the third measure is the next eclipse; the five lunations which follow
it repeat the sequence of the first two measures: the total of the two
eclipses and their ten lunations comprises a "pattern;" the "cycle" is
completed by the next two eclipses and their ten lunations, making a complete
vibratory composition; the Full Moon of the fourth eclipse of a cycle will
fall approximately conjunct the first eclipse. To sum up: a cycle of two
stimulations of two signs of a zodiacal diameter; each eclipse having its
"mid-point lunation;" this is analogous to, in music, twenty-four measures in
three-four rhythm-two eight-measure-phrases, four four-measure-phrases. The
"and" of each "separate count" is, of course, the Full Moon of each eclipse or
lunation.
Example: eclipse Scorpio 20, November, 1947; mid-
point lunation Aquarius 20, February, 1948; eclipse Taurus 19, May, 1948, mid-
point Leo 13, August, 1946. Lunations in Virgo and Libra, September and
October, 1948, complete the "pattern," first half of the Scorpio-Taurus
"cycle." Eclipse Scorpio 9, November, 1948, mid-point lunation Aquarius 9,
February, 1949; eclipse Taurus 9, May,1949, followed by five lunations to the
eclipse in Libra (Taurus-Libra ruled by Venus — stimulus of one planetary
vibration), October, 1949, which was followed by five lunations to the eclipse
in Pisces 28, in March,1950, which, in turn, inaugurated another "cycle of
vibratory music" entitled "Pisces-Virgo;" this one will carry over into 1952 —
two eclipses in Pisces, two in Virgo with their mid-point lunations. How did
you react to your chart-stimulations under the Scorpio-Taurus cycle? How are
you preparing to meet the conditions represented in your chart by the four
eclipses in Pisces-Virgo? Now (August, 1950) we are just finishing the first
half of the first pattern of this cycle; the second pattern will be initiated
on September 12 by the eclipse in Virgo 19. How are you playing your "music?"
Practicing hard?
In conclusion, a few remarks about rhythm as it
applies to the other arts. Music and dance are the two arts in which the
attribute of rhythm is most obviously and concretely manifested. Music is the
perception of archetypes by intuitive audition and the manifestation of this
perception in tonal contrivances. Dance is the alchemicalization of
archetypal bodily postures through rhythm, as manifestation of archetype-
perception; it is painting (or drawing) and sculpture "mobilized;" it is
sequence of which sculpture is a "frozen point." Painting is manifested,
basically, by lines. We recognize that the line-work which co-ordinates the
basic theme of a picture to its secondary factors is rhythm out-pictured
because line, in a drawing or painting, is emanation of structure-points — just
as it is in astrology. The theme of a picture is, of course, the archetype
which the artist seeks to manifest. Objectively, however,the "down-beat" of a
picture is the focal point of the interpretative expression. The "rhythmic
movement" in a painting is in the gradation of line-directions and the
gradation of color-sharings. Sequence (movement) of inter-related harmonies of
design and vibration composite the essence of "rhythm-in-painting." Dramatic
art has rhythm in the timing of line-reading, exits and entrances (movements
"into-and out-of"), actions on the stage, and the proportionate time-element
in the inter-relationship of scenes (of each act) to each other and of the
acts to each other.Sculpture and architecture have rhythm in pretty much the
same way that painting and drawing have; except that harmony of mass-
relationship, rather than that of color-relationship, is the important factor.
The beautiful illustrations of rhythm in
astrology are seen in the "spacing" of the twelve house-cusps and their
grouping in sequences of quadrants and semi-circles; the "two-four" of
alternate signs and of opposite signs — also of the lunation and Full Moon
pattern; the "three-four" of cusps in each quadrant and of signs in each
trine; the "four-four" of the points of each cross and the great action-
pattern of "conjunction, square, opposition, square" of the progressed Moon
and transiting planets.
There is the "dance" of the Sun each year, and of
the Moon every twenty-eight days, and of each of the planets in its own
"tempo" through the zodiac; the mighty "beats" of day-and-night, of zodiacal
diameter and of planetary dignity — and — detriment.
Mighty Uranus, Neptune, and Pluto conduct the
inflow of great vibratory life-waves of humans incarnating under the entrance
into — and passage through — the zodiacal signs and their decanates by the
rhythmic alchemy of these Master Powers.
There is of course your own rhythmic entrance
into each basic experience-pattern during your incarnation; the "spacing" of
the aspects in your natal chart as they are rhythmically activated from your
birth-time.
Open your eyes and your awareness more than ever
before to the harmonious rhythmic significance of astrological symbology; it
is, in specialized form, the picturing of the beauty of patterned cosmic
polarity in action.
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