In the majority of horoscopes Saturn appears as afflicted, and through him come most of our heartaches. His position in Taurus and the house of friends is unfortunate in the respects indicated in Self-Study Module No. 29, but his elevation and powerfully good aspect to the Sun, Venus, and Uranus bring out the best qualities of this planet. Mercury is in Virgo, the sign of its exaltation, in conjunction with the Sun, and separating from a trine of Saturn. When a planet having a certain orbital velocity comes into aspect with another heavenly body that is slower and more ponderous, the swifter planet is said to "apply" to the trine, square, or other aspect as the case may be, from the time it comes within "orb" until the aspect is exact. Then it begins to "separate" and though it is in aspect while within the orb of six degrees or a little more, its influence is not nearly so strong as while it is applying. Take as an illustration the relation of Saturn and Mercury in the present horoscope. Saturn is in Taurus 20:9, and Mercury in Virgo 13:13, retrograde. As Mercury travels around the Sun in 88 days, and Saturn requires more than 29 years to complete its circle, it is obvious that Mercury makes and breaks every aspect with Saturn (and indeed with all the other planets except the Moon), repeatedly.
Mercury is getting nearly beyond orb of a trine to Saturn in this horoscope. It is "separating" due to its retrograde motion, but nevertheless its force will be noticeable in the boy's make-up. It will give persistence and balance to the mind which may save him from the affliction of Neptune. Mercury also goes before the Sun. The revolution of the earth upon its axis makes the planets seem to rise and set, and a planet in Virgo 13 (as Mercury) naturally rises before another in Virgo 18 (as the Sun). In that position Mercury, the mystic "light bearer" of the Gods, goes ahead of the spirit, signified by the Sun, with the lamp of reason and intelligence. This is a position much to be preferred to that where the Sun rises first and Mercury follows, for there the mystic light is behind the spirit and it requires a greater struggle to attain illumination than where Mercury precedes.
The sextile of Mercury to Jupiter, the planet of "benevolence," further attests the inherent nobility of mind and strengthens the influence of Mercury in the horoscope.
The Moon is in the highest elevation and in Taurus, the sign of its exaltation, but it is applying to an opposition of Jupiter. Its influence in the horoscope is therefore less than that of Mercury; hence there is every reason to expect that this boy will escape the snares of mediumship and some day knock at the door of the Temple.
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.)
1. We would like to make sure that you understand the principle of "application" and "separation" of planets as explained; also about Mercury preceding and following the Sun. Please answer this: Is Saturn applying to a trine to Uranus or is he separating, in our horoscope? When the Sun is in Cancer 28 and Mercury is in Leo 25, does Mercury rise before or after the Sun?
The gateway which our subject will choose is not likely to be the Moon, or emotion, but Mercury, or reason. Although the Moon, ruler of the ASC is elevated and in the sign of her exaltation: Taurus, she also has a sextile to Pluto and a parallel to Jupiter. The conjunction with the Dragon's Head is not of much importance. A weak opposition to Jupiter tends to lessen her strength.
In contrast to the above, we find Mercury strong and in its own sign: Virgo, in the 3rd house, that of Gemini, which it also rules, and in conjunction with the Sun (ruler of the chart), and rising before him. Furthermore, it is sextile to Jupiter, the ruler of the higher mind, which is in the esoteric sign Scorpio, and in the house of Leo, that of the heart. These positions will give him an intellectual, analytical, and brilliant mind, of an expansive nature, naturally drawn to the higher teachings where in the heart is centered. Thus he will combine the head with the heart.
Supplemental
Student Material:
Shakespearean
Star Portraits
From the resources of his imagination and
knowledge, the playwright chooses those elements of the spectrum of human
personality and experience, which are appropriate to his concept of a theme,
and he organizes those elements into a dramatic form which is to be
interpreted by actors, actresses, and all others who function in the theater.
All forms of art are distilled representations of human consciousness; works
of art, like mirrors, reflect to humanity intensified representations of
itself and its experiences. The playwright deals with human consciousness,
emotion, and experience in terms of humanity's objective expressions; dramatic
themes are presented and interpreted by humans in terms of objectively
recognizable patterns of appearance, personality, activity, and relationship.
Actors and actresses in performance are symbolic microcosms of humanity's own
self — each role performed by an actor or actress is symbolic of a fragment of
humanity's consciousness of identity and existence on this plane.
Therefore, in the creations of a true genius such
as William Shakespeare was (or whoever it may have been who wrote under that
name !) a protean quality of artistic skill and understanding made possible
the dramatic characterizations which reflect the human archetype, localized by
name, sex, period and nationality but which really symbolize universal
patterns of human nature and experience. Sooner or later, we all come face to
face with the Hamlet, the Cordelia, the Othello, the Lady Macbeth, the Romeo,
and the Juliet in ourselves. We weep or laugh by response to these — and
other — characterizations because something in our deep subconscious knowledge
of ourselves is stimulated when we see great acting which interprets the
creative imaginings of a genius play-wright. Our own existence — past or
present — is reviewed to a degree. Old, long-forgotten feeling-memories of
suffering and joy are ignited. Our awareness (consciousness of individualized
self-hood in many incarnations) is reawakened, and what we see on the stage is
ourselves, condensed and focused by the dramatic requirements of the theme
being interpreted. We are man-woman, all professions, all nationalities, all
relationships, all strivings, all failures, all joys, and all sufferings. The
playwright, through the esthetic principles inherent in creative dramatic art,
and the players, through the esthetic principles inherent in interpretative
drama the art recharge our consciousness of our total being, our total
identity as individuals, and our total relationship to all other individuals.
Students of astrology: prepare a copy of the
Great Astrological Mandala, a twelve-housed circle with Aries Ascendant, the
other signs in sequence — thirty degrees to each house; Sun, Moon, and other
planets in the signs and houses of their dignity. Meditate on this mandala a
little as the symbolic composite portrait of humanity. It is from this design
and symbol arrangement that all human horoscopes are derived and it represents
the total of that which is interpreted, creatively or otherwise, in all of the
fine arts. It is the picture of humanity's consciousness of its identities
and experiences. Now, to specialize on dramatic art, "personalize" the Sun,
Moon, and planets as characters in the Drama of Human Life; let your mind
range over the scope of these "personalities" by imagining each planet
(vibratory focalizer) in each one of the zodiacal signs, each one of the
environmental houses, each aspected (by conjunction, sextile, trine, square,
and opposition) to every other one. Add the factors of both sexes, all ages,
all nationalities, all historical periods and you will glimpse the tremendous
spectrum of that which is "grist" for the playwright's mill. You and I are in
this picture — as we are, as we have been, and as we will be as long as our
identity is "human being." You are now playing the role that your
consciousness of life has created. Humans, in their Earth-living, are both
playwrights and performers — each uses his consciousness to interpret life.
The Art of Theater, more directly than does any
other art-form, makes possible the stimulus in human hearts to tears and
laughter. Weeping and laughing are two of the ways by which life makes it
possible for us to decrystallize the solar plexal tensions and congestions.
In response to the contrived agonies, sufferings, longings, and despairs in
dramatic tragedy, we are moved to weep in memory of our own agonies and
sufferings. In response to buffoon-ery, satire, and caricature, our
intellects are "tickled"in such ways that we are moved to shake loose in
laughter in witnessing the reflections of our absurdities, awkwardnesses and
embarrassments. In witnessing romantic drama (of the happy ending kind) we
thrill to intense emotions, deep love, aspirations, efforts, and the
realization of ideals. The esoteric purpose of tragic drama is to induce the
feelings of sympathy for other humans — not the intensification of self pity.
That of comedy and satire is to decrystallize congestions on pomposity self-
righteousness, hypocrisy, and over-seriousness — to "shake us down from our
high horses." Romantic drama has its inner purpose in intensifying our
awareness of the "tone, color, and design" of our living — to spark awareness
of greater capacities for love, devotion, effort, and aspiration. The "happy
ending" of romantic plays is dramatized symbolism of the aspiration of all
humans to realize ideals and evolve through regeneration and transmutation.
The "happy ending" reminds us of the goodness of life.
The poetry and nobility of Shakespearean
dramaturgy holds up an immense mirror in which humanity may see itself. Let
us enjoy a consideration of some of the Shakespearean characterizations as
they represent "focalized points" of human nature and human-experience
patterns correlated with basic, simple astrological symbolism:
Romeo and Juliet: from a reincarnationists
standpoint, this drama would have been much more truly tragic in tone and
effect if the two "star-crossed lovers" had permitted crystallized adherence
into family-prejudice to prevent or disintegrate their love-union. The "Romeo
and Juliet" in each human is that which longs for the total polarization
called the Hermetic Marriage; but this "inner union of the self with the Self
" can be realized only by fulfillment of relationship unions and patterns
through love: The "houses of Montague and Capulet" are the "graven images" of
family prejudice and social position which are represented astrologically by
the diameter Cancer-Capricorn and congested aspects to Moon and Saturn. We
all derive our incarnation from a family pattern to which we are attracted by
the laws of vibratory sympathy and karma. However, each must, in due time,
decrystallize congestions of this pattern, from octave to octave, by more
purely individualized love-expression. Romeo "o'er leapt the walls" to be
with his Juliet; this "o'er leaping" is Uranus decrystallizing or transcending
the boundaries set by Saturn, symbol of "congestion of forms." Personalizing
a little — Romeo and Juliet were timed, evolutionarily speaking, to prove the
power of their love for each other; their challenge was through the enmity,
rivalry, and prejudice of their family groups. Though they died, their
tragedy was ameliorated by their devotion to each other — rather than, in fear,
to the "family-image." We all, at one time or another, have an incarnation in
which we have opportunity to prove the sincerity of our heart's highest
aspirations and ideals. To do this, we have to use the powers represented
abstractly by the diameter Leo-Aquarius to transcend the fixations on Cancer-
Capricorn. To remain fixated on Cancer-Capricorn is to back-track on the
evolutionary powers working for liberation and progress. The luminous poetry
of the Balcony Scene represents the radiant purity of resumption of true
love; Romeo and Juliet loved each other from a past incarnation just as we
love our ideal self through all of our incarnations. The inspirational beauty
of the play — as poetry — typifies the inner radiance that accompanies
recognition of our ideals.
King Lear: This drama is the tragedy of judgment
corrupted by greed for approbation — doubly tragic because when the truth is
perceived, the inner negatives are too deeply etched to be counteracted by
constructive or regenerative effort. The realization of the hypocrisy and
dishonor of the two oldest daughters, whom he had over-valuated, and the
sincerity and fidelity of Cordelia, whom he had underestimated and spurned,
caused Lear to react with such an excess of self-revulsion that madness
ensued. Astrologically, it seemed that Lear is a portrait of "Jupiter
afflicted." He based his favorable estimate of the oldest daughters on their
protestations of devotion and affection — indicative that an insincerity in his
own nature was counterparted by their falseness. Their greed for land and
money and husbands of high position was counterparted by his greed for
approbation. We can — we do — weep in witnessing the heartbreaking tragedy of
the demented lying in his excess of self-loathing because we, too, have been
moved by desire and greed to claim the false and spurn the true. The
realization of such misdirected evaluation causes one of the most terrific
kinds of disillusionment, the kind that can disintegrate our self-control if
we are unable to learn from the disillusioning experience. Lear worshipped
the false image of himself, synchronized in degree with the falseness of his
two daughters. Because we can be Lear, it behooves us to exercise counter-
actives to negative Jupiter-patterns by discrimination, sincerity, and
detachment from subconscious creed-symbols and compensations. Cordelia
personifies sincerity of self-evaluation — the quite-knowing what is true and
real. When we spurn Cordelia, we enslave ourselves to false, betraying
images; when we love and value Cordelia, we refuse the false and cling to the
pure and true.
Othello: This dramatic study of the
destructiveness of jealousy warrants a little psychological consideration. We
are never — in any true sense of the word — jealous of another person. Jealousy
is self-hatred based on an actual or imagined inferiority which, in turn, is
based on some phase of unfulfillment of a potential, or some discolored facet
of self-evaluation. Othello, if we personalize him a little, may have felt
inferiority because of his black skin, particularly in relationship to his
white wife, Desdemona, who truly loved him. Iago symbolizes the craftiness
and duplicity of self-justification — the disinclination to exercise self-
honesty. Othello's murder of Desdemona symbolizes the "murder in
consciousness" that we commit when, goaded by intense negative
rationalizations and justifications, we "murder" true self-evaluation. By
exercise of these negative rationalizations, we ascribe truth to an untruth,
and our feet walk a tangling path until we fall. The qualities of nobility
that Desdemona loved in Othello represent those virtues in human beings which
inspire love and honor; but Othello, blinded by the inner negative, could not
realize and value the truth of himself. Iago, symbol of Othello's enmity
within himself, emphasized the untruth — representing Desdemona as having been
unfaithful. Othello, under pressure of the psychological negative, preferred
to believe the lie. Goaded beyond endurance by the inner pressure, he
murdered the thing he loved most — the truth of his marriage to Desdemona.
Mars as co-ruler of Scorpio, is the destructive — killing action by which we
express our releasements of intensely compressed Scorpionic negatives — the
levels and areas of untransmuted desires and emotional powers. The salvation
of Mars is transmutation by constructive, intelligent expression in action.
Othello betrayed himself twice: by giving ear to Iago's suggestion, and then
putting into action that which represented his desire to "kill out" what Iago
influenced him to believe. A nobleman, worthy of love and honor, had thrown
away all, by focus on his unreal self rather than on his Reality. We "kill"
when we put into action our belief in an untruth about ourselves. A truly
tragic theme.
Cleopatra: The death of Cleopatra by suicide does
not in any way neutralize the power of the play Antony and Cleopatra as
an example of high romantic drama. Cleopatra, as a, woman-character,
symbolizes the combination of Sun and Venus elements in human nature.
According to historical and Shakespearean representation, she was
magnificently endowed with attributes of physical beauty and charm,
intelligence, culture, and skill — a woman so conscious of inner powers that
she lived always in terms of amplitude.
She had enormous wealth — and used it without stint. She had great capacity
for love — and gave herself to love royally and completely. Whatever her short-
comings may have been, there was nothing in her nature that was mean, petty,
sordid, or vulgar. A great actress — such as Katherine Cornell — would project
these qualities of character and personality in such a way that the audience
would experience a recharging of its desire and aspiration to "live bigly" — in
terms of power, wealth, beauty, culture, intelligence, and skill rather than
continuing to live under the ignominy of capture and degradation, Cleopatra
chose to end her life by her own hand; thus symbolizing THAT in human nature
which wants to learn to live in terms of dignity and self-respect. Some of us
crawl from time to time, through fear or feelings of inferiority; but we do
not like ourselves for it and sooner or later we rebel against the inner
negative. The "Cleopatra in us" symbolizes our disdain of the petty and mean;
"she" is that in us which makes us long for vivid experience, met and
fulfilled with courage and confidence in our abilities. We all have talents,
ambitions, aspirations, and longings; the vibration of the Sun — as ruler of
the royal sign Leo — is that which we use as the power of self-determination
uncluttered by the down-draggings of "littleness feelings and thoughts."
Beatrice and Benedict: Much Ado About
Nothing is one of the most delightful and delicious of comedies. It
presents in a sprightly and sparkling way the "old story of the battle of the
sexes" — source of much that has been presented throughout the ages in comic
drama. The posturings, tricks, and devices which men and women display in
relationship with each other are represented by the counter-clockwise turning
of horizontal diameter — Aries-Libra of the Great Mandala. These two signs
represent the polarization of the expressive individuality of humanity — as
"male" and "female." Each of the two signs of this diameter symbolizes facets
of personality which are peculiar to maleness and femaleness, but together
they form one diameter; they appear to be "different" but each counterparts
the other. Cosmic drama, in relationship to this subject, makes it possible
for us to come into a more healthy appreciation of our subjective polarity
through laughter. Humans are innately bi-polar — we have all had much
experience in the sex opposite to that in which we now express. When we
recognize that "opposite sex" is simply our "subjective self " we can enjoy
and appreciate our "hidden selves" as we are portrayed on the comic stage. In
laughter we relax subconscious feelings of tension and when we guffaw, roar,
and shriek at the antics of comedy actors and actresses who are interpreting
the — sometimes — ridiculous interplay of men and women in relationship to each
other, we refreshen our viewpoint toward human polarity. Beatrice and
Benedict are the protagonists of Humanity destined to fall in love and have
experience together — regardless of silly prejudices, false self-esteem, and
"images of disinclination." Life works continually to incline us toward each
other for our mutual development and fulfillment of potentials symbolized by
Aries-Libra. Benedict is Mars who sees the charm and lovableness of Venus in
Beatrice; Beatrice is Venus who needs the "kiss of Mars" to awaken her to a
clear realization of her value as a woman. There is a little of Benedict and
Beatrice in each one of us — we may spat and quarrel for a time but sooner or
later Benedict-Mars and Beatrice-Venus bring the play — of our relationship
experience — to a happy end by their union.
The Faculty
of Intuition
Intuition: our winged inner sense, the magical
perceptive power by which a human after many, many lives of conscious
regeneration, purification, and simplification, is able to effect an
instantaneous realization of spiritual fact or law inherent in any
expression of phenomena, experience, or relationship. The presence of this
perceptive power or faculty in the consciousness of a human is evidence of his
dedicated pursuance of truth and dedicated endeavor to spiritualize his
autonomy (self-rulership) through Love.
Egos who have evolved this faculty have appeared
in many places throughout human history, but they are now incarnating in
greater numbers than ever before. These persons, in degree, represent a
vanguard in the evolutionary preparation for the New Age; they bring in from
their developments in past lives the evidence of the potential of
Intuition possessed by all humans and which all humans are eventually to
develop and express. The present expansion in scientific exploration and
invention externalizes this "New Age advent" because the human's ability to
invent mechanisms and instruments is based on intuitive perception of
principles. Consider for a moment that mechanism which most perfectly
externalizes the intuitive faculty: the electronic calculator. This
mechanism produces, almost instantly, the accurate solution of mathematical
combinations and problems so complicated that highly trained people require
hours to solve them. Recognize, by correspondence, that human intuition in
action is based on the same power of accurate, synthesizing perception that is
externalized by this fabulous machine.
The word "intuition" is directly derived from two
Latin root-words which, together, mean to look into. By the
synchronized action of our two eyes — the polarized physical expression of
visual perception — we look at things. Even the study of an X-ray
picture reveals only that aspect of the physical which is beneath the exterior
surface. It is by the action of the single eye of truthful perception,
externalized in the physical as the pituitary gland, that
we "in-to-it-ively perceive that which is with-in the physical, that from
which the physical proceeds. Every single mechanism ever devised
by humans represents an externalization of an intuitive perception of a
principle of the cosmos. Think of the genius possessed by the
human who first intuitively perceived the principle of the wheel and
reproduced that principle in physical form! Or the principle of the boat, or
the use of fire, or the principle of the radio, or that of motion-pictures;
all of these devices, from the simplest to the most complex, were perceived
as applications of cosmic principles to form and the perception, in each
case, was experienced inwardly as intuitive functioning. It has been
said, with truth, that a human cannot invent a device or mechanism the
principle of which does not have correspondence with an actual or a potential
faculty of the human. The converse can be stated: The inner-power of
humans can discover ways and means to externalize each and every principle
of the cosmos which has correspondence with the human's potentialities.
The old saw holds true: there is nothing new under the Sun; there are
only different ways to externalize what is perceived "under the Sun" and the
perceiving is always some degree of intuitive action.
Only the higher faculties make possible the perception of that which is
"new," and of all these Intuition is the one which most directly gives
evidence of the "regeneration of the self by the Self."
One of the most perfectly pure correlations to be
found in the entire realm of Astro-philosophy is that of the faculty of
Intuition with the planet Uranus. There is complete correspondence in every
point of this two-fold identification. Uranus is the liberative principle
in the cosmos. Intuition is the most completely liberated faculty of the
Ego; Uranus is the principle of synthesis, the faculty of Intuition
provides the Ego with the most complete synthetic perception of things under
consideration; Uranus symbolizes the purity of impersonal love,
Intuition is that clear power of the Ego when it is completely free of the
biases of prejudice — personal approval and disapproval; Uranus, in the realm
of generic consciousness, symbolizes the perfect polaric balance of the
true androgyne (man-woman). Intuition is that power of the Ego to draw
on the deeply-hidden resources of knowledge and understanding derived from
snaky past incarnations as finale and as female; Uranus, as ruler of
Aquarius, symbolizes the apotheosis of the consciousness of fraternity;
Intuition makes it possible for a human truly to perceive the similarities
and correspondences between his own experiences and those of another
human; Uranus symbolizes the Un-bound and un-binding
apperception of Love; Intuition is the un-bound and un-binding
apperception of truth inherent in any phase of phenomena or experience.
Of all the planets in our solar system, Uranus represents that tendency to
act, or to affect, with maximum speed- the transcendence of the
limitations of time; Intuition acts with a speed that is designated as " time-
less " — when it arises in consciousness to fulfill the requirements of
directed attention it "just happens" and there are not words in our
language that can describe the "instantaneousness" of its action. Only the
experience itself can serve to "describe" it. Intuition, as the
spiritualization of love united with the apperceptive power of the
mind, can reveal all things, just as Love fulfills all things.
The study of a natal horoscope with regard to
determining intuitive power or inclination must include a correlation of
Uranus, the symbol of the faculty itself, with the mental equivalents
of other planets in terms of aspect-pattern and dispositorship. All planetary
points have mental equivalents, just as they have physical, astral, and
spiritual equivalents; each planetary point designates a certain "kind of
thinking" because each one depicts kinds of things upon which a human's
mental attention can be focused, whether it be some object in the
material world, a personal environment, an event, or a relationship.
Of the nine other planetary points, three are
specifically representative of mental faculties, the other six may be
understood, in terms of mental equivalents, to represent mental
attributes. The three "mental faculty planets" are Moon, Mercury, and
Neptune. The Moon symbolizes the instinctual mind, the reservoir of
memories from past lives, the production mechanism of the mental
faculty. Mercury symbolizes the conscious mind, the correlation between
the brain and the sensory perceptions by which the human gains information of
the exterior world, the mental power to identify specifically, to compute, to
analyze, to study, and to communicate by speech and writing. Neptune
symbolizes the faculty of the inspirational mind; it is the special
mental principle which characterizes the creative and interpretive artist, it
is the subtle mental faculty by which a human receives and apprehends
communication from Higher Planes. These three planets may be considered to be
the mental triad which characterizes communicative action: the Moon, as
the instinctual mind, communicates the secrets of the past to the awareness of
the present by producing effects which correspond to the stored-up
memories; Mercury as the conscious mind, communicates the secrets of the
external world to the mental awareness of the person and represents inter-
communication between persons; Neptune, as the symbol of the inspirational
mind, is the mental faculty which identifies channelship between the
relatively higher to the relatively lower.
Referring to the trine aspects as representing the
relative fulfillment of intuitive development,
Moon trine Uranus identifies the intuitive awareness of needs and their
fulfillment, the awareness of how the progress of human groups may be
furthered, the "new age" consciousness of the principles of home- life,
provision and protection; more than any other one aspect, Moon trine Uranus is
the planetary insignia of the "emancipation of women," the liberating of mass-
consciousness from ignorance, prejudice and crudeness, the electrifying
reformation of the personal instinctual consciousness by internal
apperception.
Mercury trine Uranus, more than any other aspect,
identifies the intuitive knowledge of the scientific genius; it is the basis,
in the mental body, for that which makes possible all discovery and invention.
Children with this aspect very often reveal great ability in their studies at
school. It is evidence of specialized knowledge brought over from
studies and inquiries in past lives. These persons have exercised great
independence of spirit in their intellectual pursuits in the past. They often
reveal great ability in foreign languages, in which case the evidence is shown
that in their present studies they are really recapitulating — "bringing to the
surface" — much knowledge of languages gained in the past.
The Uranus-Neptune aspects have to be evaluated by
correlation with the entire chart; these aspects are cyclic or "epochal" in
nature and only by a careful analysis and synthesis with the basic tendencies
of the chart as a whole can the predominance of intuitive or
inspirational mental abilities be determined. All humans who come in with
the aspect of Uranus trine Neptune comprise a life-wave who are, in a general
sense, more at-tuned to the effects of higher forces. They, as a universal
group, represent a cyclic emphasis of relatively progressive and
spiritualizing consciousness. The most highly evolved of these people —
regardless of historical timing of incarnation — make a. great contribution,
through their revelatory and inspirational powers, to the
progress of the race. Those highly developed who come in when Uranus is
square or opposition Neptune are evolutionary transposers, their timing
of incarnation brings them in when dissolution of that which is outmoded
and crystallized is needed by the race. These timings are always
characterized by conditions of upheaval, revolution, terrific tension and
conflict, but the Uranus factor of the highly evolved persons
identifies them as "workers for the future." They have the apperception of
that which is to be and, having intuitive enlightenment, they work to
initiate those steps, methods, and procedures which will result in the new
manifestations which characterize the future.
There are three other planets which, when
correlated to Uranus, represent marked intuitive characteristics: Jupiter,
Saturn, and Venus. Uranus correlated with Jupiter, or the ninth house
influence gives a high degree of interpretive artistic genius, is intuitional
and imaginative, spiritual qualities possessed by the Guru, the Teacher, the
spiritual-law Interpreter and, in large degree, the Healer. Uranus trine
Jupiter gives evidence of higher development of the abstract mind, the
intuitive apperception of symbolism and principle. Uranus-Saturn identifies
clairaudience and that quality of intuition which makes possible
necessary reforms in the social, political, and business life of humanity.
Uranus-Venus, one of the insignia of creative or interpretative artistic
genius, is intuitional apperception particularly directed toward the
comprehension of relationship; Uranus trine Venus gives evidence of the power
to perceive the impersonal values of relationship and the ability to respond
to a very high quality of spiritual affinity in relationship; it is one of the
insignia, perhaps the principal one, of "biune love" or "soul-marriage."
Considering Mars as the co-ruler of Scorpio —
action which releases the Scorpionic resources of desire-power — we may
consider the aspect of Uranus trine Mars as being primarily an evidence of
great capacity for action by which intuitive tendencies are directed for
the fulfillment of enterprise. Mars "thinks" in terms of "how, what,
where, when can I do;" Uranus trine Mars, therefore, could well be
understood to represent an intuitive perception of right action. If
Pluto may be considered as the planetary ruler of Scorpio, then Uranus trine
Pluto indicates the intuitive faculty to be "backed up" by an enormous
resource of desire-power and emotional force. This aspect is one which could
be understood to be a "planetary insignia" of a magician-black or white. In
the chart of a highly evolved, spiritually- minded human, Uranus trine Pluto
could represent one whose reformative power is tremendous, both as
regards his own personal regeneration and the power he may direct toward
regenerating or transforming another individual or society at large.
Externalized, this aspect could be thought of as the explosion of the first
atomic bomb, opening up a new era in human experience regarding the knowledge
and use of newly-perceived octaves of power.
Regarding Uranus and Sun we will give special
consideration because the Great Astrological Mandala (the twelve-housed wheel,
Aries Ascendant, the planets in the signs and houses of their dignity) gives
us the clue to the essential evolutionary root and spiritual meaning of the
faculty of Intuition, as a potential possessed by all humans. The Great
Astrological Mandala is the abstract astrological significance of earthian
humanity and any point of faculty or experience which humans have in
common can be studied from this design. Create a copy of the Great
Astrological Mandala, intensify the diameter Leo-Aquarius, draw straight lines
connecting the cusps Leo-Aries and Aquarius-Scorpio.
No sign of the zodiac can be fully comprehended
without a consideration of its opposite, just as two humans of opposite sex
become aware of their subjective polarity by intimate relationship in strong
magnetic attraction. To "know Aquarius" we have also to "know Leo," the fire
sign ruled by the Sun, symbol of will, purpose, radiation, and individual
autonomy. If the Sun is the radiation of love, Uranus is the
liberative, transforming quality of love-radiation; if the Sun is the
power of the Mind, Uranus is that form of individualism by which
independence of thought has been evolved; if the Sun is the potential
of Mastery, Uranus is that potential realized in and through all
relationships by an increasing spiritualization and regeneration of the
emotional nature. Aquarius, as spiritualized love, polarizes and "redeems"
the egotistical love of unevolved Leo: Aquarius, through its ruler Uranus, as
intuition, polarizes and redeems the "self-centered" mind of unevolved Leo.
When Sun and Uranus are considered in their exaltations — Aries and Scorpio
respectively — we see the symbolic apotheosis of the human as a Son of
God and the human's potential to realize his spiritual identity through
internal regeneration the "divine magic," the "creative alchemy," the
transmutation by which the dross of the personal Ego is transformed into the
White Light of the Spiritual Being. The unequivocal pursuit of Truth, the
self-directed discipline and refinement of emotional and mental faculties,
the expansion of Love-power through impersonalization, and the ever-more-
clarified realization of true spiritual identity are seen to be the steps by
which the Master Power of Intuition is focalized, evolved, and perfected in
human consciousness. The astrologer looks at the symbols and numbers
of a horoscope, but he intuitively looks into the chart to apprehend the
truths of the person's consciousness. Astrological study for serviceable
use and human enlightenment is one of the principle modes by which the
Faculty of Intuition is developed in the human being.
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