Everyone who has engaged in astrology has noticed that in the two-dimensional chart there is always a third (hidden factors of the horoscope) and a fourth (time) dimension. Often it seems that the mandala of the horoscope is voluminous, like a painting, sculpture, or symphony. Astrology is synthetic, connected with all the arts, philosophical and mystical. And true mysticism always reveals unknown perspectives. A little ant crawling along a branch thought that the entire universe was just this branch. To its sacred horror and wonder, it turned out that the branch was a tiny part of a giant tree growing from the past into the future, from roots deeply plunged into silent darkness, to the crown rustling under sun and rain, up to the tender young leaves reflecting the starry universe.
In the good Old World, there is a certain tradition of philosophical-mystical understanding of man, which casts its shadow upon astrology. It is interesting how one or another philosophical (aesthetic) system influences seemingly narrow professional questions. “The gloomy German genius” appears in the research of Ebertin the younger; A. Witte’s studies resemble gazing into a mystical mountain landscape; Ebertin the elder’s books form an interlocked system, perfectly functioning from countless quanta of information, akin to masterpieces of German machine or instrument engineering; the individualistic constructions of the British are rational, precise, and scrupulous, often refined, their mysticism more “daylight”; Spanish works resemble a duel with countless precise sword thrusts, sometimes reminiscent of a Gothic cathedral; Russian works compel one to recall either a Dostoevsky novel, a Pushkin poem, or the grand delirium of system-building (the author implies no one in particular! Heaven forbid! And he himself is guilty of this).
In Russia, there has been enthusiasm for translating American sources, and this is natural. American astrology is practical, realistic, has great experience, and is quite altruistic. Yet, reading American astrological works, it is difficult to shake off the feeling that something is missing. Of course, one cannot judge the entire American tradition this way. It includes very serious and profound works, including in the first half of the 20th century. But often one wishes for a deeper analysis—or perhaps understanding—of the hidden springs of human psychology, the hidden factors of the horoscope. Recall how often in Hollywood films heroes crawl through ventilation shafts, elevator shafts, not to mention sewer tunnels. Thus cinema symbolically reflects the hidden connections of the world—powerful, invisible, yet often decisive. They dominate the subconscious, and they are extremely strong in the horoscope. In domestic literature, works have emerged that deepen and systematize the understanding of the horoscope as an integral four-dimensional system. Perhaps this is connected with the tragic depth of our historical experience. Or with reading masterpieces of psychological prose. Or with the stagnation of practical activity, turning us inward.
Creating a map of energetic, informational, and meaningful flows that form any structure from within, transforming it into a process—this is how humanity today understands the world. This manifests everywhere. In chess, resistance to hidden positional forces marked Nimzowitsch’s style. In music, there has been a revival of polyphony. In great painting, composition has never been static: it has a beginning, climax, and goal. In martial arts, aikido has replaced karate. In football, the team with the best organization and most accurate passing wins. In astrology, an example of a structural approach is the system of horoscope field interactions developed by S. Shestopalov, encompassing psychological and professional formulas, as well as events and illnesses. These formulas are summaries of energetic-meaningful interactions linking the houses. Strangely, however, S. Shestopalov disregards aspects to cusps, which his teacher S. Vronsky considered quite important. Experience shows that in these interactions, not only major aspects but also aspects of the 8th and 9th harmonics are significant. Another approach to cognition is holographic-esoteric, where the part reflects the whole and vice versa. In astrology, this is, for example, the study of the 1st house as a symbol of the entire radix.
Finally, the third approach, passionately and broadly presented by Radjar, is cyclical, where the radix frame again becomes part of a filmstrip. The movement of any planetary pair can be viewed as a cycle, and such a view enchants like an endless rising of layered voices in choral polyphony. In Russia, Radjar’s approach has been successfully developed by O. Lomakina.
A person’s fate is by no means entirely laid down in childhood. Research by R. Moody, S. Grof, and B. Ebertin revealed the immersion of human subconsciousness into past incarnations and dependence upon them. B. Ebertin described specific combinations characteristic of burdensome karmic heritage—usually involving interactions between heavy (from Saturn) and personal planets. This depth of time may open upon viewing the horoscope. Such a karmic view of astrology is characteristic of European and Indian traditions and of the deep currents of the American astrological Mississippi. The future of astrology clearly lies in the synthesis of different traditions and their new interpretation based on extensive statistical material. For example, harmonics came to Europe from India but gained new interpretation—though sometimes without fundamental Indian knowledge. O. Podvodny’s system of interpreting minor and superminor aspects is also a development of the Indian harmonic tradition. And the idea, which hovered in the air and was systematically presented by O. Podvodny, that different horoscopes work for different levels of personality, came not only from scientific psychology but also from psychological upbringing.
The thought that problems from past incarnations may often be noticeable in the structure of karmic aspects (9th harmonic) probably belongs to P. Globa, and this is also a development of the Indian tradition. S. Shestopalov’s system is a broad development on an entirely new level of Morin de Villefranche’s principle of local planetary determination, whose classical work deserves study. Also, S. Shestopalov’s system remotely resonates with the principle of yogas in Indian astrology. Yogas can be loosely compared to planetary changes.
Finally, last but not least, a rather mystical method of rectifying the first marriage came to Russia from the Hamburg School. Obviously, in the learning process and in practice, it is worthwhile to synthesize all these approaches. Further analysis illustrates some of them, as well as four more:
- Exact aspects to cusps in the Koch system;
- “Power places”—degrees repeatedly aspected; their role is known, yet research does not mention karmic and creative aspects to them; planets, fictitious objects, and cupids may also serve as power places;
- Construction of the “tree of midpoints” (if possible), where from a “root” planet-midpoint two “shoots” branch out, each becoming the root of the next bifurcation; this allows significantly deepening the understanding of the “root” planet; in S.’s horoscope, the Sun and Moon are examined this way;
- Planetary formulas, the horoscope formula overall—here I apply a freer approach than S. Shestopalov: all tense and karmic aspects are considered, as well as cusps not only of angular but also of other houses (in this case, XVIII); these formulas are less functional, more holographic-meaningful.
But first—a brief description of the method of rectifying the first marriage. This is part of a brochure on rectification to be published by “Urania”. Marriages are contracted in the heavens: MC in rapid progression at 30 degrees/year (or 360 degrees over 12 years) in the local chart on the wedding day forms an aspect, a multiple of thirty degrees, with the marriage significator.
The Hamburg School believes the significators are clearly defined. This is the Sun for women born during the day and Mars for those born at night; Venus for men born during the day and the Moon for those born at night.
However, with such a fixed approach, birth time often shifts significantly compared to the officially registered one, important contacts of directions and transits with angles occur, and rectification does not account for personality peculiarities. The method (in its strict variant) does not work in the horoscopes of many celebrities—for example, Princess Diana and Margaret Thatcher. To make the method more flexible, marriage significators are varied, using the ruler of the 7th house, Jupiter, the Moon, Venus. It is best to use this method for refining birth time (BT), taking different marriage significators. The range of possible BTs is easily determined by MC profections in the rectification block of the latest Almagest versions. But it is desirable to verify everything manually. O. Kolesnikov believes one can also use the professional movement of the Ascendant at one sign per year. S. Vronsky, who used this method, indicated it works in its canonical variant when the bride and groom are virgins and marry on the same day they wed. If there were close relations with the future husband/wife or (especially) with another person before marriage, the first marriage method may not yield definite results. The more significant the marriage, the better this rectification method works. Thus, in cases of two marriages, it often turned out better to use the date of the second, stronger, and “fruitful” marriage for rectification. There are also exceptions when the planned but unconsummated marriage can be taken as the professional date. Possibly, the first marriage method will not work when there was no choice in selecting the wedding date, for example, in military cases. It is not excluded that MC in professions on the wedding day makes aspects to other planets not traditionally considered marriage significators. Or if the relocation chart does not work at all, profections should be viewed from the radix.
The method often works with the following significators: Moon, Venus, Jupiter—universal significators for men and women. Possibly, Saturn and Neptune can be added—this requires research. For women, add Sun and Mars. MC’s progression to the marriage significator allows arriving at a horoscope where, in various predictive methods, event moments are emphasized by cardinal points. But often horoscopes rectified by profections to different significators, giving different BTs, have approximately equal predictive strength. Each contact of the professional MC on the wedding day with one of the marriage significators marks a very significant moment in time during the first day of life. This moment may even compete in significance with the officially recorded actual BT. If the native was not married, the most probable birth time is shown by MC’s progression on the day of receiving a foreign passport in the local chart to Jupiter, or to the ruler of the 9th house, or to a planet in it.
The formula for calculating the event angle (the number of degrees to subtract from the ecliptic longitude of the marriage significator to obtain the MC value in the local chart) is:
EA = [DS + VS/24 – (DR + BTa/24) + LD] × 4.9281
where EA is the event angle, DS is the wedding date, regardless of the year (day number in the year), VS is the event time (all taken in Greenwich time), DR is the birth date, regardless of the year, BTa is the approximate birth time, LD is the number of leap days passed in the current 12-year period up to the event moment (since MC moves at 4.9281’—the MC movement speed in the 12-year profection).
S., an aesthetics teacher, was born on 02.09.1954 in Kharkiv around 16:00 GMT. Marriage on 25.11.1977 in Kharkiv. The nearest time gives MC’s progression to Venus—16:01 GMT, yet progression to another marriage significator, Jupiter, at BT 15:45:15 GMT yields more pronounced results. Let us verify this BT.
Marriage 25.11.1977: SD MC = 60 = Moon = 120 = Sun. Tr Neptune = 0 = MC. Tr Saturn = 0 = Dsc. All quite strong.
Daughter’s birth 26.10.1980: Pr Dsc = 0 = Venus (note the possibility of Descendant contacts at children’s births: this is like the appearance of a new character; in progressions, MC moves at one degree per year), Tr Uranus = 90 = Asc. Tr Vesta = 0 = Dsc.
Father’s death 25.06.1984: SD IC = 40 = Pluto, Pr Sun = 0 = XVIII. Practically separated from husband by this time—S Uranus = 0 = Dsc. (S means Solar Arc, SD means Symbolic Directions).
Second marriage in May 1989 (relocation to Kyiv): Tr Pluto = 90 = Asc (this was a difficult time psychologically); Pr Dsc = 60 = Mars. In the radix, Tr Jupiter = 0 = IC, S Jupiter = 0 = Dsc.
Divorce occurred in October 1990. During this period, Pr Dsc passed conjunction with Saturn. The time appears quite justified. In the Hamburg methodology, the marriage significator would be the Sun, giving two possible BTs: 14:52:30 GMT and 17:01 GMT. With these BTs, the first marriage is also seen quite clearly, with angles strongly involved. However, the father’s death is weakly reflected in both “Hamburg” BTs. Moreover, BT 17:01 should be excluded, since with MC in Capricorn conjunct Mars, administrative abilities should have manifested. MC in Sagittarius fits better: S. is a teacher. In both “Hamburg” horoscopes, arc aspects to angles show weak activity at key life moments. We stop at BT 15:45:15 GMT.
Emphasis on the western hemisphere implies giving oneself to others. Jones figure—cup without a handle. The geometric center of the cup (the real problem)—cusp of the 8th house: deep research, karmic problems, self-immersion. The absent “handle” (possibly false application of strength)—cusp of the 2nd house. There have always been financial difficulties. A cup without a handle usually implies inner dissatisfaction, though it hinders achievement (C. Deneuve, L. Valens, B. Clinton).
The strongest houses are VII and VIII. The chart is clearly divided into two structures: the biseptile Sun—Mars—Moon/Saturn and the square Venus/Neptune—Jupiter/Uranus with two resolutions to the 7th house through sextiles to Mercury and Pluto. The biseptile (in this case) is associated with stability, energy, willpower, suppression of emotions, inner depression, and the image of a man. The biseptile rests upon the internally depressive, emotionally restrained Moon/Saturn conjunction. Saturn in Scorpio sometimes (as in this case) indicates forced asceticism, structuring (and suppression) of deep and secret emotions and desires. This is caused by early separation from the father. The Moon/Saturn conjunction also reflects the mother’s depressed state in S.’s childhood years. The ideal of a man (Sun, Mars, Pluto, since it is on Dsc.)—meticulous, methodical, practical, noticeable (famous), socially active, stable, bright, theatrical, lover-friend, leader. Given S.’s strong idealism, it is understandable that such people may not exist. Hence disappointment, loneliness. This is karmically determined, since the 8th house is involved. The conjunction of Sun and Moon implies a need for emotional control, sense of self-worth, deep psychological research, interest in paranormal (extreme) spheres, supported by methodicalness, thoroughness, precision, brought to the surface. Ascendant in Aquarius adds a tone of independence and unpredictability, but together with Aries, this is only a shell enclosing Pisces locked in the 1st house.
One of the most important points in any chart is the midpoint of Sun/Moon. In this case, Sun/Moon (Black Moon) = Mercury/Venus = XVIII. This is the main formula of the horoscope. XVIII is a “power place” in the chart, the hidden focal point of this horoscope. Symbolically, this is refusal of “man-woman” relationships and thoughts about love. The midpoint of luminaries: Sun = Venus/Neptune = Uranus/Neptune: a romantic combination. Weak sense of reality. Erotic imagination, secret love.
Moon = Jupiter/Pluto: richness of feelings, ability to influence the public by appealing to emotions. A good psychologist. All this is important for a teacher.
Together with Sun and Moon sound Venus, Jupiter, and the outer planets. Here, romanticism with a rock tint. The Sun/Moon midpoint is saturated with idealism. But the 8th house in Scorpio with Saturn in it will develop this idealism to an extreme degree and test it in extreme situations, after which idealistic defensive structures either completely shut out reality or dissipate and give way to Saturn.
Why? For what? We will never understand the answer in its full depth. It is clear that this is working off debts related to Scorpio issues, and in this incarnation, sublimation of the unsatisfied Moon through sextiles (aspects of conscious action) to Sun and Mars is necessary. Wisdom cannot be attained without loss of illusions: much knowledge, much sorrow.
S. was born into a cultural family, parents connected with art, theater, music. Both are figures of Sagittarian type. The 10th house in Sagittarius better describes the father, a major functionary. The father left the family when S. was 5 years old (S Jupiter = 0 = Uranus). The stepfather (also a cultural official) entered S.’s life at age 14 and deeply influenced her (S Pluto = 0 = Sun at 14 years: transformation of the father’s image, the male image in general, change in life orientation). Later, the stepfather became closer than the father, yet the psychological trauma remained. S. was married twice, raised a daughter. Since 1990, practically alone.
The feminine essence, sexuality (strong, emotionally charged, fatal—Moon conjunct Black Moon, in Scorpio, in the 8th house) may be suppressed. Likely illnesses, probably in childhood (Moon, VI, conjunct Saturn, XII in the 8th house, forms an illness formula; indeed, S. was very ill until about 16 years old). Later, possible illnesses of sexual organs, possibly resulting from asceticism, refusal of emotional (sexual) life. Unconventional, willful behavior colored by strong idealism (Uranus, I, conjunct Jupiter and square to Venus and Neptune). Social and love relationships, mind composition—idealistic, spiritualized, likely infatuations and relationship breaks, platonic, unusual relationships (Venus in Libra conjunct Neptune and square to Uranus; Venus in III). Hidden sacrifice, mysticism (Neptune rules enclosed Pisces in the 1st house). Spiritual dimension indicated by septiles Mars–Asc and Neptune–MC, trine of Venus and Neptune to Asc. Instead of submitting to a partner, she subordinates her students (Pluto on Dsc).
As expected, the 7th harmonic chart (romanticism, idealism) is strong, with four conjunctions: Mercury/Mars on Asc—liveliness of thought, communication, argumentation; Moon/Uranus—inner freedom and unpredictability, electrified emotions; Jupiter/Saturn conjunction does not include personal planets, but in connection with other aspects of this harmonic, it is important; Neptune/MC—ideal goal. With a strong 7th harmonic chart, prediction is difficult, especially in youth.
S. teaches culturology and aesthetics at school. She is well-regarded and beloved by students. Teaching activity indicated by MC in Sagittarius and MC ruler Jupiter in the 5th house. The idealistic square Jupiter-Neptune has two resolutions to the 7th house: sextiles to Pluto and Mercury, and in the same house, the Sun transmits Saturn’s energy in Scorpio. Three planets in the 7th house form the external image: theatrical, authoritative, scrupulous, detailed, competent demonstration of romanticism, depression, emotional control. Interestingly, this is the reverse side of the male ideal. In behavior, there is a tendency to avoid her femininity. Strong 7th house—sublimation of inner tensions. The 5th and 7th houses form many connections with other houses. S. has actress talents, no wonder theater strongly attracted her in school years. Consider her “solar” and “Jupiterian” roles, while the “lunar” is hidden and suppressed. Career notions are blurred, advancement unpredictable (Jupiter, on MC, square to Neptune and conjunct Uranus). Unlikely high social status (10th house empty, no strong aspects to MC; Saturn in nonagon to MC). Deep study of culture, art (connections of I, III, and IX houses), but scientific work does not succeed (no connection between IX and X houses).
S. deeply feels hidden life patterns, experienced altered states of consciousness, deep depression, feared for her mind (strong 8th house containing Neptune and Saturn conjunct Moon; Neptune square to VI/XII axis and to Uranus on VI cusp; I, III, VI, VIII, XI, XII involved with Uranus, giving suicidal tendencies; here is also the formula for mental illness (III-VI-VIII-XII & Uranus, Jupiter, Neptune). S. often takes a passive position, feels lack of energy for practical action, though spiritual life is rich. Probably, this is the effect of the absence of tense aspects to Sun, Mars, Moon’s restraint, and the strong idealistic square Jupiter/Uranus—Venus/Neptune. Absence of tense aspects to masculine planets, a consequence of idealizing the father’s image, weakens motivation. Weak personal motivation also indicated by the empty first quadrant.
Uranus, Ascendant ruler, is multiply aspected but weak by sign. It forms a quincunx to Asc, nonagon to IC, square to Venus and Neptune, septagon to Saturn (which is in nonagon to MC, forming configuration IC = 40 = Uranus = 140 = Saturn = 180 = MC) and conjunction with Jupiter on MC. Uranus is another “power place”. Progressive, directional, strong transiting aspects, especially conjunctions with Uranus, should cause various consequences due to unpredictable personal actions. This may relate to romantic infatuations, “absence of unconsciousness,” strong idealism, change in self-awareness, unexpected events in home (unconscious) and career. The nonagon from Uranus to IC is very important: this is an unusual home, sudden collapse of home/family, domestic freedom, club house, etc. (This all corresponds to reality). Three motivational complexes converge on Uranus. This can be written as Uranus = Venus/Neptune + [Saturn + MC] + Jupiter. Here idealism (Venus/Neptune) and steadfast, even fanatical attitude to profession (Saturn in nonagon strengthens, though restrains, MC in Sagittarius with sublimated energy) interact. The tense interaction of Uranus and Saturn should lead to rebellion against tradition, restrictions, etc., but Uranus is weak by sign. Part of Uranus’ energy goes to the IC point, like a lightning rod, part is sublimated to Jupiter on MC, and another part goes to Venus. Uranus’ influence on IC manifests as the marriage broken and the home free (Uranian). Venus/Neptune’s romantic idealism fades with age, Saturn’s steadfastness and Jupiterian desire to enlighten remain. Thus, we can write the formula of “adult” Uranus as: Uranus(IC) = Saturn(MC) + Jupiter(V, MC). That is, the home is Uranian, but there is work and happiness/calling in children. But in event manifestation, the formula without Jupiter is more accurate, since in progressions, directions, and most transits to Uranus, Jupiter will not be involved: they are 4 degrees apart. Then the result is: absence of home—yet persistence (and novelty) in work, i.e., Uranus (IC) = Saturn (MC). This is quite a sad formula for a woman.
The picture is supplemented by a list of midpoints. Aries point = Saturn/Pluto: a strong combination, which may take on a gloomy character, but in this case, it is softened by idealism. Persistence, steadfastness, self-discipline, refusal, meticulous and deep solitary research, process of spiritual and mental growth. Jupiter/Asc = Moon: warm and kind nature, kindness, compassion. This combines with Jupiter in Cancer and the overall romantic profile.
Sun/Venus = Mars: desire to love, wish to have children. Creative energy. Jupiter/MC = Saturn: limitations and difficulties, unrecognized talent, love of solitude. Venus/Neptune = Uranus: a strong idealistic combination. Vulnerability, strong desire for love, susceptibility to temptation, even despair, sometimes extravagance, unexpected separations.
Jupiter/Uranus = Neptune: lack of prudence and foresight. Mercury/Saturn = Mars/Jupiter = Node: desire to conduct philosophical discussions and short trips to company. Good cooperation with other people. Sun/Mercury = MC: development of own mental concepts, intellectual worker. Moon/Jupiter = MC: kind-hearted, religious, socially-minded person, popularity. — Happy mother. Saturn/Uranus = MC: rebellion, challenge, provocation, separation. Echo of Asc in Aquarius. To realize this desire, tense aspects are lacking.
Thus, the main contradiction is connected with karmically determined refusal of idealized desire for love. Sun/Moon = Mercury/Venus = XVIII—this is the archetypal formula for S. The 8th house, in K. Dilyanyan’s words, is “a prison for emotions.” The Sun/Moon midpoint is the focal point of the incarnation. The vector of S.’s life evolution is directed from romantic illusions, from interest in theater and bohemia (Venus/Neptune in Libra in the 8th house) through a series of strong infatuations (Moon in Scorpio, Venus/Neptune = Uranus) to inner concentration and sublimation through research and teaching work. A similar process of coming to understanding one’s mission is also indicated by the second horoscope formula: Uranus (IC) = Saturn (MC). These two formulas together give a third, since the two “power places” of the chart are connected by an exact quintile: Uranus = 72 = XVIII. This is the summary formula. Uranus is the sublimation outlet for energy focused on XVIII. In youth, this led to unexpected and unpredictable behavior. Then the quintile became more civilized and went deeper. Symbolically, of course, this is a very rich quintile. Imagine: a transiting or progressive planet hits XVIII and the entire horoscope resonates.
S. loves extreme emotional situations—not action situations, since there are no tense aspects to yang planets, but “abysses gloomily on the edge” or something unusual. Cataclysms are somewhat grounded by Sun in Virgo and turned inward, where transformation energy accumulates.
Explicit and Hidden Factors of the Horoscope
In the 20th century, the number and variety of forces acting on personality greatly increased. Hence, human reaction became more mediated, life events less predictable. The person themselves became more complex. How to reflect this astrologically? One way is accounting for the hidden factors of the horoscope, its undercurrents.
Explicit factors of the horoscope can be listed approximately in this order:
- General structure of the cosmogram: planet distribution in hemispheres, quadrants, zones (three consecutive divisions of 4 signs);
- Expression of elements;
- Expression of qualities (cardinal, fixed, mutable signs);
- Planet signs, primarily the septenary, and major aspects;
- Aspect patterns;
- Planet Rex aspectarius (ruler of aspects) and planet without aspects;
- Eastern planet (rising before the Sun);
- Stelliums.
- General horoscope structure: planet distribution in hemispheres, quadrants, zones;
- Jones figures;
- Trines of houses;
- Crosses of houses;
- Sun, Moon, and Ascendant conjunction—”basic chord” of the horoscope by M. Thiel;
- MC sign;
- Status and aspects of rulers of 1st and 10th houses; planets in angular houses;
- Aspect patterns considering planet positions in houses.
All this gives us an abyss of information—but we want more and more. To satisfy this legitimate and progressive desire, we consider hidden factors. Hidden factors include any internal connections in the horoscope not visible “to the naked eye.” These are:
- Combinations of house elements resulting from position, rulership by sign or exaltation, and aspecting;
- Planet links in mutual receptions by rulership and exaltation;
- Aspects to cusps;
- Minor aspects and harmonic charts;
- Midpoints and lots (Arabic parts).
The Horoscope as a Reflection of the Process of Energy Transformation
If we consider astrology as an art, the natal chart is closer to painting, i.e., spatial art, while its unfolding in time is closer to music, i.e., temporal art. Music, developing in time, draws a spatial graph of emotion (what we hear, we involuntarily visualize in space; thus music is one of the visual arts). Similarly, astrological predictive techniques can be represented as an infinitely developing graph. This is well illustrated by graphical ephemerides, where three-dimensional planetary interaction cycles are projected onto a plane. But even the seemingly static natal chart has a hidden dimension of development, connected with the process of energy transformation (I speak not of “frozen” and potentially existing cycles in the chart, but of the chart as an energetic circuit, like an electrical circuit).
In reflecting the process of energy transformation—there is similarity between the horoscope and any spiritual product. Works of art, a philosophical treatise, a masterpiece of a medieval potter or an ink drawing on rice paper—and any result of conscious aesthetic activity—reflect the process of illuminating matter, its approximation to the Absolute. For example, an artist outlining the main compositional contours of a future painting often views it as a process. The painting develops, remaining motionless. Even in landscape and still life, internal development is reflected. Often the line of this development is outlined, for example, a diagonal from the lower corner to the opposite upper corner (this is one of the simplest examples), or a spiral, or horizontal layering into different color saturations of space. Contrasting colors and forms create inner tension. It may resolve, for example, in the appearance of a bright colorful accent at the upper resulting end of the compositional diagonal. This accent will be perceived by the viewer as a qualitative leap and result of development. The resolution may be entirely different, as in P. Bruegel’s painting “The Blind,” where the carrying compositional line, formed by the characters’ hands, unites them all and ends in a pit. Taken as a whole, a musical work is also some spatial form, in which movement is perceived by inner vision as going from left to right. Musical themes contrast with each other, develop, often transform into their opposites. In music, there are qualitative leaps, for example, when the development of sonata form leads to recapitulation (repetition) of the work’s main themes, sounding anew. Architecture most often leaves the impression of development from bottom to top. This is especially evident in the Gothic style. The vertical direction may combine with others, going, for example, from center to periphery.
Often art reflects the process of transforming psychic energy from its coarser forms to finer and elevated ones. L. Vygotsky writes about this in his wonderful book “Psychology of Art.” However, it may also deal with dead-end processes moving in a closed circle, like the books of the Marquis de Sade, or with degradation processes, like Camus’s “The Stranger.” But this is a negation of the main principle, so to speak, its proof by the opposite. The natal chart is also a work of art (more precisely, a symbolic description of the unity of two creations—the Solar System and ourselves) and can be presented as a reflection of the general process of energy transformation. In this case, even without applying predictive techniques, it acquires inner development and depth.
Energy transformation can lead to bright external manifestations, and we speak of event formation. But moving to the mental level, even tense interactions may yield inner growth. Of course, stagnation in development, leading to stagnation and degradation, is not excluded.
Transformation, illumination, purification of psychic energy Freud called sublimation and considered it the main engine of creativity. If a person remains only at the level of purely physical or sexual expression of energy, they will not develop. The more complex their activity, the finer energy it requires. In each of us lives an animal, but our task is to transform, refine, sublimate the animal energies of aggression, fear, procreation into creative energy. Sublimation is the energetic basis of creativity and self-improvement. The process of sublimation has been mastered by yogis, Taoists, martial arts masters, tantrics, ascetics. In the East, there is a developed practice and theory of sublimation. Alchemy as a spiritual practice is also based on sublimation.
Eastern esoteric teachings (e.g., Chinese Taoist guides, Indian yoga) indicate that sublimation is a long and complex process requiring serious self-discipline. Upon accumulating a large amount of energy, generated primarily by moderation, a person may not withstand the temptation of bodily life and burn out in pleasures. But without such accumulation, some paths will be closed to them. In essence, they will be two-dimensional: all force will go “downward.” Sexual energy in the horoscope can be expressed by tense interactions of planets having direct (ruler, exaltant on cusp, planet in house; here one must look carefully which planet and in which sign) or symbolic (Mars, Pluto; probably in this case) relation to the 8th house, as well as strong Scorpio, powerful Pluto, tense interaction of 5th and 8th houses. Often Sun participates in these combinations, frequently joined by Jupiter and Saturn. Although limiting and structuring Saturn has no direct relation to sex, in some cases it may give greater strength to planets interacting with it, playing the role of a “lid” over boiling passions. Uranus is exalted in Scorpio, and its conjunctions and stress aspects are energy-saturated, and in tense aspects with Venus, it may indicate sexual excitement. Tense interactions of these planets are a reservoir of power for event creators. Indeed, many bright personalities possess heightened sexual appetite and barely cope with the energy raging within them.
Problems a person works on throughout life are indicated in the horoscope by squares, oppositions, conflicting conjunctions, karmic aspects (sometimes aspects of the 7th harmonic; sometimes even 11th, 13th, and 24th—this issue was raised by M. Thiel in his materials on the quindecile aspect). T-square. Here activity rages or complexes solidify. Interestingly, Freud associated this process with suicidal tendencies and aggression (echoing the Buddhist view on strong desires). This is an energy reservoir. But one is not enough. There must be interaction of several horoscope points, i.e., formation of patterns.
In event formation, several houses always participate. It is precisely patterns that ensure their coordinated action. Ability to form events is indicated by closed patterns, especially (according to some Russian astrologers) quadrilateral ones, since four is associated with material plane realization. They may be formed by aspects up to the 9th (and sometimes 11th, 13th, 24th) harmonic and septagon (the most common aspect of the 18th harmonic, combining properties of “karmic” and “creative” aspects—360:18 ≈ 20). Inner tension demands outlet, energy processing, sublimation, a process often reflected by semisquare, sextile, quindecile, quintile emanating from the problematic chart point. Sometimes inner contradiction may discharge through tense aspects (squares and karmic aspects). If a tense configuration is resolved through a tense (or karmic) aspect, obstacles are probably more noticeable, but energy is greater. The planet or angle (most often MC: profession, career) to which the configuration resolves will show the result of applied sublimated energy. However, together with MC, IC always works, often leading to family difficulties. At least balancing the manifestations of the vertical axis becomes difficult. But the “sublimation” aspect partially resolves inner tension and, when processed, leads to achievements and creativity. Sometimes in youth
