Rectification — Let us examine the reflection of events from Mozart’s life in the arcs and progressions and adjust the birth time. In January 1762, Wolfgang’s first journey begins; he leaves Salzburg for the first time. The corresponding aspect is clearly the square of the Sun’s Midheaven to Uranus. This aspect is exact by solar arcs at 19°54′. The next most important contact of the vertical axis in solar arcs is the conjunction of the Sun’s Midheaven with the Moon and Pluto. By solar arcs, this occurs in late autumn 1766, but at that time there were no dramatic events corresponding to Pluto’s nature. However, in September 1765 – February 1766, Mozart suffered a severe inflammation of the lungs. If the Sun’s IC is conjunct Pluto during this period, then the solar arc must be at least 19°55′.
The next conjunction of the vertical arc axis with Mars, the ruler of the 6th house, becomes exact by solar arcs at 19°55′ in February 1779. Mozart’s mother died on 3 July 1778. The conjunction is within a 35′ orb. On 4 August 1782, Mozart married Constanze Weber. The progressed Moon reaches the IC, but there are no other progressed aspects involving the cardinal axes. Let us trust the solar arcs: the Descendant is in sextile to Mercury, the ruler of the 1st house, giving the combination Asc+1, but we would also like to see a trine from the Descendant to Neptune, the ruler of the 7th house. The orb of this aspect remains at 4′. Let us move the birth time slightly forward, to 19°55′30″. At this time, by solar arcs, the personal axis forms harmonious aspects with its rulers — Mercury and Neptune — at the time of the marriage.
Mozart’s first child was born on 16 June 1783. By then, the Sun’s Moon and Pluto had passed the IC and exceeded a 1° orb by 2′ and 4′, respectively. To preserve this aspect, we must shift the birth time a little further forward — to 19°56′. In this case, in August 1782, at the time of conception, the Sun’s Moon and Pluto are in close conjunction with the IC, and the Sun’s Jupiter is still in sextile to it.
Further — aspects of this birth time (see Chart 31). The square of the Sun’s Midheaven to Uranus at the time of the first trip and the conjunction of the Sun’s IC with Pluto during the illness remain valid.
1787 — a turning point in Mozart’s life. The year begins happily. In January, Wolfgang spends time in Prague with his wife, conducting several performances of The Marriage of Figaro, an opera that achieved enormous success in that city. In progressions, the Ascendant is trine the Sun, Venus is sextile the Midheaven. But on 28 May 1787, Mozart’s father dies. By the end of the year, Mozart’s financial situation deteriorates, health problems begin, and his thoughts are increasingly colored by deep pessimism. The Sun’s Neptune reaches the Ascendant, and the Sun’s Mars (ruler of the 8th house) forms a novile (28 May 1787 — with zero orb) to the Ascendant. At the same time, the Sun’s Mars is in opposition to Saturn and sesquiquadrate to the Moon/Pluto conjunction, closing a configuration with the radical semisquare Moon/Pluto = 45 = Saturn. Thus, aspects involving Mars form in the arcs as both parents depart this life. Additionally, the Sun’s Pluto = 80 = 8th house, and the Sun’s 8th house = 100 = Saturn.
The final years pass in frenzied work and material deprivation. Mozart is tormented by forebodings.
In late 1790, as he accompanies Haydn to London, he weeps bitterly, repeating: “We shall never meet again.” In 1791, Mozart creates The Magic Flute, the Clarinet Concerto, The Little Masonic Cantata, and brings the grand and tragic Requiem to the middle (sketching the harmonic development and melodic and bass lines, which allowed Süßmayr to complete it). His creative genius and mastery rise to an unattainable height. In Prague, where he was always popular and recognized at the highest level, the premiere of the coronation opera La clemenza di Tito takes place. But in Vienna, he is met with coldness. His strength is exhausted. He fears poisoning. In August (three months before his death), he writes in a letter: “I feel in every way: my hour has struck. I am ready to die. I have finished before I could make use of my talent. Life was so beautiful, the career began under such happy omens, but one cannot change one’s own fate.”
We will see humility before fate in Mozart’s chart. On 20 October 1791, Mozart took to his bed and died on 5 December. In the arcs, we see both his final creative success (Ascendant = 0° = Jupiter) and the end of his earthly path (Mars, ruler of the 8th house = 180° = Sun, and Saturn = 90° = Midheaven; 8th house = 100° = Sun).
Progressions are strong in the radical chart and describe the event:
Ascendant = 100° = Mars: 1st # 8th — the main death formula;
Sun = 0° = Uranus = 150° = North Node: North Node # 7th and 8th # North Node — the formula of illness and betrayal by partners (twice); but this is a release aspect;
Moon and Venus from the 8th house = 90° = 11th house: 8th # 11th twice — part of the suicide formula; but this is also death at the hands of “friends” with the involvement of a woman;
8th house = 90° = Neptune in the 11th: 8th # 11th — either suicide or death at the hands of “friends”; can be seen as an indication of poisoning;
1st house = 150° = Uranus: 1st & Uranus — another accentuation of the 1st principle of release.
Additionally, the long-term aspect (due to Mars’ slow speed) Mars = 40° = 12th house — secret circumstances of death.
On the other hand:
Sun = 120° = 11th house — joy of creativity and release.
Moon and Venus (from the 8th house) = 120° = 12th house: 8th + North Node — dissolution.
The aspect of Venus, ruler of the 9th house, also gives the combination of a distant journey 9th + North Node; since the Moon in the radical chart is in the 4th house, we also get the formula of a “long journey” 4th/9th + North Node — however, the path passes through the 6th house…
12th house = 72° = Mars — a very interesting aspect linking the 6th and 12th houses in the nature of active and final (Mars, ruler of the 8th house) improvisation (quintile).
Thus, as a result of rectification, I slightly shifted the birth time back — to 19°56′ local time (19°04′ GMT). It might seem that nothing has changed, but this is not the case. With the refined birth time, the angles of the chart shifted slightly, and now the bright fixed star Aldebaran falls on the Midheaven (the point of mission and goal), and on the Descendant — the point of “You,” where we interact with the world — another bright fixed star, Achernar. Their rays illuminate Mozart’s fate from the darkness of the past, and the theme of his life sounds in an unexpected tonality and orchestration — just as he loved to do in the developments of his symphonies.
Was Mozart poisoned? Or was it illness? There are also suggestions that Mozart took his own life. In Mozart’s chart, there is an indication of a tendency toward suicide and emotional instability: the formula 3rd # 8th # 11th is formed by the square of Uranus to the conjunction of the Moon and Pluto. However, as far as I know, he never spoke or wrote about a voluntary departure from life. Additionally, the rite of extreme unction was performed over him.
The illness formula is represented several times: the opposition of the Sun and Mercury to Neptune gives twice 6th # 8th (the Sun is the first ruler of the 8th house, and Mercury is the second; Neptune is the second ruler of the 6th house). The squares of Uranus to Pluto and Venus to Lilith twice create the combination 6th # 8th.
Do they indicate danger from other people? Mercury rules the 1st house. Mercury represents Mozart. Of course, not entirely, and not the deepest, true Mozart — since it is only the ruler of the 1st house, symbolizing the body and personality — but not always the essence. Mercury is in opposition to Neptune, the ruler of the 7th house of open enemies, and is cazimi the Sun, the ruler of the 8th house of secret enemies. Mars, ruler of the 8th house of death, afflicts Neptune by novile (6th # 8th: the formula of enmity; but also 8th # 11th: part of the suicide formula). Mars (8th) sends an impulse to Neptune (6th), and the opposition Sun/Mercury (1st/12th) — Neptune (7th) is activated.She describes the opposition to open enemies and “burning” by secret enemies (as well as “consumption” in the fire of creativity — the conjunction of the Sun and Mercury). The danger, however, is only indirect, since it does not affect the elements of the 1st or 10th houses. Let us consider the opposition between the conjunction of Mercury/Sun and Neptune. Neptune … ) open ( … ruler of the North Node in the house … ) and secret enemies, known people.
298 РЕКТИФІКАЦІЯ
( … and burned by the Sun, representing known people, the ruler of the South Node in the house).
Mozart — Aldebaran, a very active star of Martian nature, indicating success in new ventures, leadership, but also envy and hostility from competitors. This star may also indicate that the purpose of incarnation will not be achieved. If we speak of earthly goals — wealth, health — then Mozart did not achieve them. Fame and glory were hard-won for him in Vienna, but in Prague he was famous. If we speak of full creative self-expression, then, of course, Mozart’s flight was cut short. Therefore, on the eventful plane, Aldebaran indeed played a negative role. But it was necessary for the mystery of Mozart’s fate, as we shall see later.
Aldebaran acts in accordance with the position and rulership of Mercury, the ruler of the Midheaven and the 1st house. Thus, Aldebaran acts through (and on) Mozart’s personality and his social status, indicating the life goal (MC). Mercury is in the 5th house, meaning Aldebaran manifests through 5th house events (loss of children, but also creativity). Mercury is burned by the Sun, the ruler of the South Node in the house, so Mozart is subjective, prone to destruction, and invites trouble from secret enemies. On the other hand, the conjunction of Mercury with the Sun indicates constant creative thinking, so the energy of Aldebaran manifests in this. The motivations of Mercury and the result of its action are described by its dispositor Uranus at the Descendant, the point of interaction with the world: a desire for freedom, independent, nonconformist behavior, and a break with the environment. Indeed, Mozart was a difficult person in communication, spoke very sharply about other musicians, was not inclined to compromise, and in Vienna had a very limited circle of friends (Uranus in the North Node affects the Moon, the ruler of the 11th house).
On the other hand, Mozart’s innovation (Uranus) led to the fact that he was appreciated by the world (a higher planet in the North Node house) in the future (Uranus).
Aldebaran also acts in accordance with the position and rulership of Mars (since it is a star of Martian nature) and its dispositor (the planet ruling Mars). Mars rules the 8th house of danger. Thus, Aldebaran is extremely unfavorable for Mozart. Reckless behavior, caused by complexes and very noticeable (Mars in fall in the 10th house), affects his reputation and even leads to his death. Mars is governed by the Moon in the 4th house, the ruler of the 11th house of friends: Mozart’s death was governed by a friend and his wife (Moon) in his own house. Moreover, the wife and friend were governed by money (Moon under the influence of Jupiter in the 2nd house). Problems in the house, mental instability (the Moon affected by Uranus …) lead to inadequate behavior that threatens death (… governs Mars in fall).
The “grounded” interpretation of Aldebaran is negative. The dispositors of Mercury and Mars — Uranus and the Moon — are in square. Thus, Aldebaran is ultimately connected with a certain conflict. This is a conflict between the motivation for activity (the Moon, ruler of Mars) and the main personal motivation (Uranus, ruler of Mercury). Between the foundation of personality, upbringing, home situation (4th house) and the desire for independence and entry into the wider world (Uranus in the North Node house). At a higher level, this is a desire for liberation from the environment and indeed from the “sublunary” world.
300 РЕКТИФІКАЦІЯ
Thus, Aldebaran liberates. A very important star from the point of view of tradition, the rising star at birth, i.e., in paran with the Ascendant: it appears over the horizon in the east simultaneously with the newborn’s entry into the world, and is actually visible; this star greatly influences his fate. At Mozart’s birth, Denebola was rising, a star that gives independence, sometimes even asociality, and indicates the possibility of an attempt on the native (A. Imširagić). Some other stars in parans: the Sun culminates with Menkar (Alpha Ceti) — at the culmination of light, Mozart is devoured; sets with Spica. Mercury rises with Algol. The most harmful star along with the chart ruler. Mars sets (completion) as Facies and Aculeus rise. Facies is the archer’s eye. People with this star seem to be “under the crosshairs.” Aculeus gives problems with vision and pessimism, especially manifesting in connection with the house it rules — in this case, the 8th. Antiscia and contra-antiscia of the stars. The Sun is in contra-antiscia with Algol. What is the result? Only the symbolism of the planets indicates poisoning. The formula of premature death is formed twice in the variant VIII # X (Mars in the 10th house and the Moon, the second ruler of the 10th house, in conjunction with Pluto). Stars indirectly indicate the possibility of an attempt on his life. There are sufficient indications of a serious illness. There are also indications of suicidal tendencies (though this does not mean that Mozart necessarily took his own life).
301
Opinions of doctors who studied the symptoms of the illness were divided. Some specialists allow the possibility of poisoning; others cite various diseases and speak of improper treatment. Progressions also do not give an unambiguous result, except for indicating liberation through destruction (VIII # XI) and acceptance of final dissolution.
Let us consider this detective plot from the point of view of Uranian, or Hamburg, school of astrology, founded by the great German astrologer Alfred Witte in the first third of the 20th century. Here are the Hamburg School formulas that can help in our investigation. In formulas involving two planets, their midpoint is taken. In formulas involving three or more planets, the positions of the planets on the zodiac (their ecliptic longitudes) are added or subtracted, and the resulting sensitive points have their own meaning, synthesizing the values of the planets*:
- “poison”: Neptune/Admet — located at 18°43’ Libra (point a),
- + at 22°41’ Sagittarius (point b),
- “unusual death by poison (as well as death by murder)”: Mars + Hades — Neptune — at 2°57’ Virgo (point c),
- “victim of murder”: Uranus + Admet — MC — at 3°42’ Asc — at 0°38’ Leo (point e),
- “poisoning”: Neptune/ Hades — at 10°56’ Virgo (point d).
* See formulas in the book: D. Kutaev, K. Arev. Essays on Uranian Astrology. Moscow: Mir Uranii, 2003, p. 2.
303
REKTIFICATION ~ Chart 31-1. Solar arcs in Mozart’s chart for December 5, 1791
- “murder”: Hades/Vulcan — at 25°24’ Sagittarius (point g)
The points a), b), etc. are in the thoughts. To find out whether they are activated in December 1791, when Mozart passed away, we move the solar arcs not only of the planets but also of these sensitive points a, b, c, d, e, f, g and assess the interactions. They describe a quite definite picture of events.
Besides the defeat of the Sun (the giver of life) by Mars, the malefactor and ruler of the 8th house, and the square of the Sun to Saturn on the vertical axis, we see the following combinations:
Sun = Asc = a = d = c; in the Hamburg School, Asc represents the environment, but in tradition it is the point of personality, the body; the combination “I = a = c” needs no commentary; simply reread the meanings of a and c;
Sun b = d = Uranus — unexpected death by poison coming from outside (from Uranus to the 7th house);
Sun/Moon (the central point of any chart, the unity of soul and spirit) = d (victim);
d = 90 = Neptune (poison), as well as aspects of the 8th harmonic to the midpoints Node/Cronos, Asc/Cronos (significant, authoritative people in my environment), MC/Hades (bring me suffering).
e = 90 = MC;
Neptune, Asc/Cronos, MC/Hades = e;
f in contra-antiscia to Asc and in antiscia to Uranus;
g = tr = Saturn.
Especially striking are the major aspects involving points a, d, e. This is enough to conclude: Mozart was poisoned. He became a victim, which fully fits the symbolism of Neptune.
It is obvious that this was done by someone who pretended to be a friend, who had access to the house, apparently with the support or guidance of some influential people in Mozart’s circle. In principle, it no longer matters who it was. Progressions indicate that Mozart fully understood what was happening. Perhaps this explains his desire to leave Vienna, which intensified in the last two years of his life. But he could not do it and went into music instead. Now let us return to where we began.
304 RECTIFICATION ~ On fixed stars in Mozart’s chart and the myth of his fate
The Moon and Pluto in conjunction with the star Atria (Alpha Trianguli Australis). Atria emphasizes mysticism, a love for secret knowledge, and points to secret societies and Masonic lodges. Mozart was a mystic and a Freemason. But it is not this star that is most important in his chart. At the Midheaven, the point of mission, is Aldebaran. Aldebaran is a warrior star. Mozart’s music is fire that burns away musical mediocrity, a sword that cuts off vulgarity. Let us not forget the ethical richness of his work, especially the *Requiem*. Aldebaran is a star of Martian nature. Mars is the *almuten* of the chart (according to traditional views, the most important planet in the horoscope) and the highest planet (closest to the Midheaven). But it is retrograde and in its fall (thus weak and “malefic”) and rules the 8th house (meaning danger). From a mundane perspective, Aldebaran and Mars are unfavorable. The dispositor of Mars, the Moon, shows both the emotional motivation and the true goal and result of its action. It is in conjunction with Pluto (deep, intense emotions as motivation; transformation as the true goal), in sextile to Jupiter in the 2nd house, the ruler of the 4th house (a fortunate house, money, popularity as “earthly” motivation; healing, returning home as the true goal); in square to Uranus (freedom both as motivation and as a goal). Aldebaran, in its destructive power, ultimately liberates.
* The term introduced by R. Böer and refers to the planet that has the greatest number of essential dignities in a series of important chart points.
305 ~ ALEXEY AGAfonov
This star has a sacred meaning. Aldebaran is a royal star, one of the four guardians of the sky, the Guardian of the East, the star of the Archangel Michael — the Archistrategos of the Heavenly Host. It is significant that, from the perspective of medieval methods of chart interpretation, Mozart, by his horoscope, belongs to the caste of warriors — a rather unexpected conclusion, is it not? Tradition often reveals what is not visible to the naked eye. But Mozart participates in earthly battles (retrograde Mars). He is a warrior of light. His weapon is music, and his battlefield is the souls of people. Mozart as a man was weak, but as a musician he was powerful. This power is shown by Aldebaran, which manifests through Mercury — Mozart’s personality. As a musician, a professional (Mercury is the ruler of the 10th house), Mozart was more than human. Or not human at all. “As if some cherub, he brought us heavenly songs…” Salieri says of Mozart in Pushkin’s work. For Salieri — a “star of the second magnitude” — Mozart’s appearance was ruinous. Mozart simply burns him away — as well as everything secondary in music. Despite the fact that Salieri was popular and influential in his lifetime, today we remember him only because of his connection to Mozart’s fate (though the real Salieri was probably innocent of poisoning the genius). Pushkin does not call Mozart a cherub by chance. A cherub is an angel of the highest celestial hierarchies, who carries human prayers to God. The expression “who sits upon the cherubim” regarding God is found repeatedly in the Bible. A cherub is the embodiment of power, the support of the heavenly throne.
In the Book of Genesis, the cherub, armed with a flaming sword, guards the entrance to the Garden of Eden.
The star Achernar (Alpha Eridani) at Mozart’s Descendant is also called the Angel with a Sword (again, power!). It indicates a higher mission. Achernar points to distant journeys (both real and in the inner realms), spirituality, and an elevated perspective throughout life (it was only in the 20th century that someone truly saw Mozart as a philosopher), symbolizing the mouth of an underground river flowing into the ocean — that is, an exit from the abyss and dissolution into infinity. Achernar speaks of great karmic experience associated with old souls. It purifies, regenerates, and spiritualizes, indicating the completion of karma, personal or ancestral*. The motif of completion and salvation is further emphasized by the fact that Achernar is in conjunction with the South Node.
The influence of Achernar is evident in the fact that Mozart’s music was and remains one of the most powerful remedies for the psychotherapy of all humanity; it dissolves aggression, melts sorrow, brings joy, and draws one closer to God. But redemption may require the sacrifice of the body for the liberation of the spirit. The dispositor of the Descendant (and the South Node in conjunction with Achernar) is Neptune, the planet of sacrifice, at the 10th destructive degree of Leo. On the earthly plane, this signifies external enemies, poison. On a higher level, it is dissolution into the All. The dispositor of Neptune is the Sun. On the earthly plane, this is the ruler of the 12th house of secret enemies and self-destruction. On a higher plane, this house is associated with self-sacrifice. It manifests through the house where the Sun is located — the 5th house of creativity.
* Interpretation by A. Imshirgich. See his book “Pillars of Fate: A Study Guide to Fixed Stars.”
307 ~ ALEXEY AGAfonov
Self-sacrifice and creativity are the motivation for dissolution, for emerging into the world, into the ocean. Achernar is a star of Jupiterian nature. On the earthly plane in the chart, Jupiter represents income (in the 8th house). In its elevated sense, it signifies self-respect (the theme of the 8th house). Jupiter also represents the result, returning home (it rules the 4th house). Aldebaran is the mission. Achernar is the result, liberation, return. The dispositors of the stars — Mercury and Neptune — are in opposition. Mercury (ruler of the 1st house, personality, body, limited human mind) opposes Neptune (ruler of the 12th house of dissolution into the world). Neptune shows how this exit occurs — through sacrifice, dissolution of the personality and body into the All. Mozart dies — but what was incarnated in his mortal shell is liberated. The result is shown by the dispositors of Mercury and Neptune. These are the Sun and Uranus. But the Sun, Uranus, and Neptune are in mutual reception and together form the final dispositors of the chart. As a result, Mercury disappears, but the Sun appears. Creativity (Sun), renewal (Uranus), and dissolution (Neptune) remain.
Another star sounds like a bright overtone in a high register after the powerful trumpet of Aldebaran and the chorus of Achernar. In the closest (and by no means accidental!) conjunction with the star of liberation and return — Achernar — is Ankaa, Alpha Phoenicis. The Phoenix is a magical bird, resembling an eagle, with a magnificent coloring of red-gold and fiery hues. The Phoenix lives for a very long time, then burns and rises from its ashes. The star signifies the longevity of what it is connected to in the chart — in this case, the Descendant: those who listen to Mozart. The Phoenix is an ancient symbol of renewal and resurrection. According to Ovid, the Phoenix dies inhaling the aromas of herbs, but from its seed a new bird is born, which carries the body of its father to Egypt, where the priests of the Sun burn it. According to Herodotus, the Phoenix carries the ashes of its father in myrrh eggs. The Phoenix is the star of rebirth after burning (Mercury is combust!) and immortality. It often signifies problems with the father, and only liberation from something — a house — brings development (as was the case with Mozart: despite his father’s wishes, he left the secure service in Salzburg to become independent and reach creative heights). But there is also a motif of reverence for the father. Essentially, the Phoenix and its father are one being. Let us recall the parable of the prodigal son who knelt at his father’s feet, and its hidden meaning. The outcome of the journey is return. The outcome of incarnation is reunion with the Father.
Alpha Eridani and Alpha Phoenicis at the Descendant — the point of exit into the World — affirm that, dissolving into the World and returning to the Father, Mozart finds immortality.
and he left us, shining afar like a comet,
And his light merged with the eternal heavenly light.
J.W. Goethe
Er glänzt ins All, wie ein Komet entschwindend,
Unendlich Licht mit seinem Licht verbindend.
* Amadeus Joannes Chrysostomus Theophilus — thrice beloved by God and golden-mouthed! Nothing is accidental.309 ~ ALEKSEI AGAFONOV Code, or Briefly About the Main Thing Once again about the sequence of actions.
1. Collect the data and carefully record it in chronological order.
2. Paint the image of the person with astrological colors.
3. Examine the possible correspondence of their horoscope to the horoscopes of their parents (spouse).
4. Examine the arcs of all planets and the transits of heavy planets to the angles, as well as the arcs of the angles to the planets, finding correspondence with childhood events and the most important events of adult life: moving, marriage, loss of a father, serious changes in social status.
5. Find reflections of all major events in arcs, directions, and transits.
6. Check the relocation chart.
7. “Tune” the horoscope by setting the average arithmetic of the orbs.
8. Check the correspondence of the aspects of progressive cusps to events.
9. Check the correspondence of solar return charts to events.
10. Make a precise tuning using the profection of the Midheaven to the significator of marriage (it may not work) or any other methods of rapid unfolding of the horoscope.
RECTIFICATION ~ The sequence of actions may vary slightly. For example, you can first check all the values of the profection of the Midheaven to all marriage significators on the day of the marriage; or consider possible values of the Trutina of Hermes to narrow the interval of uncertainty. You can take one event and achieve its convincing reflection in all methods of retroforecasting—but then you must also check other events. You can consider progressions and arcs in parallel, keeping in mind that the same event will be reflected in them differently, and similar events in symbolism but different in time may be reflected by similar aspects.
Astrologers are creative people, so you will try different methods of rectification, and with growing skill, you will develop your own method. Each case of rectification can bring its own surprise. Sometimes transits do not clearly show the beginning of a relationship. In other cases, it is impossible to achieve precise transit aspects on the date of the event, although arc aspects correspond well to the most important changes in life. Sometimes two, or even three, charts built for close birth times describe events, passing the baton to each other. Or, having established a symbolically vivid correspondence to almost all events in various methods of retroforecasting, we do not see some character traits of the native in the chart (although we clearly see others), and one or two events still slip away or are not as clear as we would like.
Sometimes arc aspects are strong but characterize the event from an unexpected side. For example, in a woman’s horoscope, obtaining an apartment is described by the square of the Sun to Neptune to the personal axis and the simultaneous conjunction of the Sun Moon to the Ascendant and the Sun Venus to the Descendant (in the radix, the Moon, Venus, and Neptune form a T-square). Some time later, this woman meets a man, her future husband, and the Sun Saturn reaches the IC. It is clear that obtaining an apartment is connected with emotional openness, romantic illusions, etc. It would seem that such feelings should have been caused by meeting her future husband—but by shifting the birth time by several minutes to obtain the conjunction of the Moon with the Ascendant at the time of the meeting, we lose most of the aspects found for childhood and early youth events. We have to conclude that the apartment is emotionally more attractive than the man. Incidentally, the man’s character is indeed complex and domineering.
There are also pleasant surprises. Sometimes one symbolically corresponding aspect allows us to arrive at a possible birth time. But it still needs to be checked against all major events. For example, in the horoscope of Catherine the Great, such an aspect was the transit of the Sun IC to Jupiter during the move to Moscow (see “Predictive Astrology,” vol. 1). In the charts of Churchill and Saint-Exupéry, it was the conjunction of the Sun Moon with the Ascendant in the year of marriage. In Pushkin’s chart during his illness, romantic infatuation, and first trip to the sea, it was the conjunction of the Sun Neptune with the Ascendant (but I checked all the events described in his biography).
When rectification nears completion, you experience creative excitement and even sacred awe. As in Mozart’s case, the mystery of fate sounds in a laconic and refined melody. But the creator of the music is invisible. There will always be astrologers who are not satisfied with your rectification. Moreover, you yourself may doubt it. Returning to the rectified horoscopes, you can change the found birth time.
In astrology, there is also the principle of uncertainty, which many sciences discovered in the 20th century. This principle in rectification can manifest in two ways: either one method of retroforecasting does not give a final result, or two methods give each their own birth time. The first reason for this is probably the wave-like nature of space and time: they slightly “blur” any coordinates. We can assume that the flow of time is uneven and depends on the involvement of the observer. Subjective time somewhat accelerates when, for example, a trans-Saturnian transit planet conjuncts our Sun and more events occur in a unit of time in life.
The second reason may be that events tend to accumulate in chains. Often we find a sequence of aspects in different forecasting methods that form a symbolic series lasting several years.
The third reason: transits and progressions related to the physical and astral worlds may show foreshadowing of events or reactions to them. Perhaps that is why transits in some charts give a slightly different birth time than progressions or directions. But this approach complicates the problem of rectification too much, and we will leave it to those who wish to delve deeper into this issue.
The fourth reason may be the imperfection of our predictive methods.
Another, perhaps the most important, reason for the ambiguity of rectification is the presence of several moments of the strongest impressions on the first day of the native’s life, which determine competing birth times, with one of these moments possibly occurring even before the first breath.
As in any modern science, in astrology, the interaction of the researcher and the object is manifested. It is especially noticeable in interpretation and forecasting but no less significant in rectification. We see what is within us, and we develop along with what and depending on what we study. And it only seems to us that we are establishing the birth time. In reality, we are guessing it based on clear or barely discernible hints. Logic and intuition go hand in hand. In the best moments, when it seems you have managed to approach understanding the intent, you feel that everything is “Love that moves the Sun and the other stars”:
1 ‘amor che move il sole e l’altre stelle.*
* The last line of Dante’s “Divine Comedy.”
314 ~ RECTIFICATION ~ Appendix Astrological Alphabet / Aries. Mars. Individuality in action. Vital energy. Initiative. Independence and autonomy. Self-awareness.* Places associated with fire, struggle.
/ L Taurus. Venus. Material reliability. Persistence and steadfastness. Resources, money (cash, pocket money), values. Sensuality. Abilities. The beauty of the material world and the desire for possession. Aesthetically designed nature, orchards, expensive restaurants.
III. Gemini. Mercury. The structure of the mind. Learning. All forms of information exchange: communication, mediation, trade. Close relatives, except parents, children, and spouse. Acquaintances. Short trips. Roads and transport of any kind.
* Self-awareness is the result of the work of many houses (perhaps all of them), but, first of all, it is associated with the 1st house; the planets that shape it are primarily the Sun, which is exalted in Aries.Everyday work. Service sector. Health. Places of everyday work or medical institutions, grain and dairy storage facilities.
* The Sun symbolizes the masculine principle and is not associated with childbearing. Tradition holds that the Sun in the 5th house may hinder conception. However, aspects of the Sun to the Moon, Venus, Neptune, or a Cupid in progressions (directions) are often observed during the birth of a child. Creativity (an attribute of the Sun) is linked to the 1st principle and may manifest, for example, in raising children. The 5th house is associated with children and in the vast majority of cases is active in predictive techniques during conception and childbirth. In female charts, the birth of a child is often linked to the Moon and Jupiter, so they can be attributed to this principle.
** Venus (at least in the modern understanding of the mythological symbolism of this planet) is not directly associated with rivalry, though it may relate to jurisprudence and legal proceedings. However, one of the meanings of the 7th house is open, overt enemies. Interestingly, in Vedic astrology, partners are associated with the 7th house, while competitors are linked to the 6th house. Yet, since in Vedic astrology the 7th house is considered one of the dangerous houses, it may also be associated with open confrontation.
*** Since at marriage, in a male chart, the Moon is often active, and in a female chart, the Sun (they interact with the axes in arcs or progressions), these planets can be attributed to the 7th principle according to the native’s gender.
316 РЕКТИФІКАЦІЯ ~ V/I. Taurus. Venus. Partnership and rivalry. Harmony as the unity and struggle of opposites. Marriage
Popularity. Prestige. Aesthetics. Aesthetically designed places.
V/I/. Scorpio. Pluto (Mars). Extreme situations, danger, and death. Transformation. Deep immersion. Sex for procreation. Intensity. Others’ resources. Business. Mafia. Crime. Law enforcement agencies (along with the 8th and 8th house principles). Massiveness and scale. Secrecy. Abandoned, contaminated, dangerous places that flood. Dungeons.
/ X Sagittarius. Jupiter. Expansion. Distant travels — imaginary and real. Higher education. Court. Law. Religion, philosophy, ethics. Establishment. Rituals. Adventurism. Overcoming boundaries. Records.
Capricorn. Saturn. Career. Profession. Status. Prestige. Ambitions. Higher authorities. Power. Restrictions. Structure. Declared goal or true mission
**** The concept of mission depends on worldview, so the need for a mission is shaped in the 9th house, while its realization is in the 10th house. In elevated, religious natures, the mission may be linked to the 11th house principle. Depending on the chart and life task, the mission can also be associated with other houses.
XI. Aquarius. Uranus. Connection with the Higher Mind. Freedom. Surprise. Independence. Rupture. Personal events. Friendship. Voluntary union with distant goals. Group activity. Humanitarian and inventive work. Altruism. Luck and misfortune. Advanced technologies. Space (as progress toward the future, group activity, and testing new technologies; as an expansion of horizons, space belongs to the 9th principle; as a meeting with the unknown and a place of isolation, it belongs to the 12th). Outdoor places. Airfields. Places near computers.
XII. Pisces. Neptune. Impersonal service. Mercy. Self-sacrifice. Restrictions and isolation. Inspiration. Comfort. Poetry. Music. Illusions (cinema). The ocean of the unconscious. Mysticism. Loss of individuality. Deception. Alcohol. Drugs. Oil. The sea. All that is secret and hidden. Espionage. Very distant places. Isolated places. Poetic places. Prisons, hospitals. Secret organizations. Final dissolution.
The astrological alphabet is a flexible, mobile system. It should be interpreted creatively, not by one principle but by their combination. For other possible additions to the astrological alphabet, see “Prognostic Astrology,” Vol. 1.
Conditional designations
# — tense interaction of house elements
Tr — transit
Pr — progression
SD — direction (degree/year)
S — arc (at the speed of the progressed Sun)
K1 — ?
KVNT — combinations of celestial influences
VR — time of birth
SV — solar return
n — natal
