On December 16, 1770, roughly one Pluto cycle ago, Ludwig van
Beethoven—the quintessential genius and giant of the classical music world, and
an icon of the so-called “Romantic” era in Europe—was born in Bonn, Germany. Despite
near total hearing loss as a young adult, Beethoven—living during the upheavals
and chaos of the Napoleonic era—matured as a musician and composer. Dying in
1827, the artist lived through the horrors of the Napoleonic Wars and several years into the oppressive times that followed
Napoleon’s 1815 defeat in Europe. Two
hundred forty-five years later, we are still moved by this giant’s passion and
his music. More importantly, we might want to pay more attention to the chaotic times in which he lived as well, for they are returning to us, quickly.
But that
was there, this is here, we might think. Astrologically, what
happens in Europe does not necessarily stay in Europe!
In fact, Uranus, Neptune and Pluto know no bounds—their
interactions and cycles forge the outlines of history as they go. As mundane
astrologers like to monitor, history
repeats itself along with these cycles, only with variations—like a great, symphonic piece of music than spans all
time.
As we end this chaotic year of 2015, just two months shy of
Beethoven’s exact Pluto Return (16°+Cap),
I’d like to cast my astrological net backwards—not to post-French Revolutionary
Europe in general (no protracted history lessons here)—but to one significant
event that music historian Harvey Sachs points to for how it encapsulated the
highest aspirations of that Romantic period. The event is the premiere on May
7, 1824 of Beethoven’s final symphony and masterwork—the “Ninth,” and its revolutionary,
aspirational “Ode to Joy” choral finale. (click here to hear a recording
by the Berlin Philharmonic Orchestra and Weiner Singverein Chorus – Herbert von
Karajan conducting).
In the preface to his study of this glorious final Beethoven
symphony and its times, Sachs says:
Thanks to its finale…
the Ninth has become a paradigm for both freedom and joy, although it made its
appearance in the middle of a decade in European history that was characterized
by repression and ultraconservative nationalism, as Bourbons, Hapsburgs,
Romanovs and other terrified dynastic rulers strove to spruce up and enforce
the concept of divine right in the wake of the French Revolution and the
upstart Napoleon’s imperialism. Through this single symphonic movement,
Beethoven was, in effect, serving up a one-of-a-kind counterargument to the
retrograde tendencies of the day… (3-4).
Astrologically it stands to reason, therefore, that the
chart for the Ninth’s debut can provide a window into those times—and as we’ll
see, a window into the perils and possibilities of our present times.
After the revolution…
As Sachs notes and history shows, mass upheavals that threaten
the existing power structures of a society always
inspire a backlash, and a tendency for those feeling threatened to regroup and
reconsolidate their power. We are seeing this dynamic in action in American
politics, which underwent a revolution of sorts in 2008: However we feel about the consequences, against tremendous odds, America
elected its first black president that year, and then reelected him in 2012.
In like spirit, other revolutionary movements followed abroad, including the so-called Arab Spring (beginning in 2010). Unfortunately, both amazing developments have since degenerated into turmoil in American politics (marked by a whole new level of extremism in our politics), and overseas, in downright misery.
In like spirit, other revolutionary movements followed abroad, including the so-called Arab Spring (beginning in 2010). Unfortunately, both amazing developments have since degenerated into turmoil in American politics (marked by a whole new level of extremism in our politics), and overseas, in downright misery.
The uproar caused by the Arab Spring (among other factors,
for sure) left the door open for the accelerated rise of extremism with ISIS
and other groups, and for the catastrophic civil war in Syria.
Yet, the ideals
of the Ninth and its “Ode to Joy” persist in our cultural zeitgeist—the
question is, how will they manifest going forward?
Astro-historical parallels
Both Aries and Capricorn are associated with the highest aspirations
of human societies, and both are represented in the Ode’s enduring call for
universal brotherhood and liberation (Schiller’s original title for this poem
was “Ode to Freedom”). The sobering reality is, the oppressive 1820s were
marked by a new Uranus-Neptune cycle in early Capricorn (March 20, 1821, 3°+Cap – chart below) and
became a prelude to a serious rise of anti-ethnic nationalism in France and in the
1848 revolutions that transformed Europe, sweeping the entrenched absolutist
regimes away.
Echoing that period, we are currently experiencing the first
quarter of the 1993 Uranus-Neptune cycle that began at 19°+Capricorn and became the
launching pad for the sweeping globalization of commerce, industry and trade—a
different, but to many, a no less significant kind of oppressive upheaval, for
its economic and social consequences. Interestingly, both the U.S. and France
have been experiencing the rebirth of anti-immigrant nationalism—in the U.S.,
with the rise of Donald Trump and his anti-ethnic agenda, and in France, with
the rise of the National Front party and ultra-conservative Marine Le Pen.
To provide a bit of background before we examine the chart
for Beethoven’s “Ninth,” let’s briefly consider the 1821 Ura-Nep conjunction
chart (below, set for Greenwich, England) that preceded it :
Uranus-Neptune (3°+Capricorn)
square Pluto-Sun (28-29°+Pisces). Even more dramatic than the ongoing
Uranus-Pluto square we’ve been experiencing in the 2010s, this outer-planet
tour de force in 1821 marked the onset of an aggressive, change-oriented Uranus
and Neptune for years to come. Pluto remained within orb of this Uranus-Neptune
square through its April 1822 Aries ingress—adding its own aggressive voice to
the mix. Importantly, the 1821 square set the tone for the oppressive (in
Europe) 1820s and 30s. As Sachs puts it, “The seething magma of protest in the
German-speaking world would eventually erupt into the revolution of 1848, but
throughout the 1820s and 30s it remained mostly subterranean” (77). In fact, anti-monarchist
revolutions exploded across Europe in 1848, just as Uranus and Pluto were
finishing one cycle and beginning a new one at 29°+Aries.
The events of that tumultuous year certainly fit the extraordinary magnitude of
this configuration.
MC -0-Jupiter-Mercury (Aries) square Uranus-Neptune. This tight configuration suggests the
public was in the mood for freedom and liberation, and we can only imagine that
the underground communication networks (Mercury) were humming. It takes time
and networking to foment a revolution, but the growth of and impetus for those
efforts were seeded here.
Saturn (Aries) opposes the Moon (Libra), conjoins Mercury and widely
squares Uranus-Neptune. The
Saturn-Moon opposition captured the aspirations of the masses for freedom and
justice at the same time it reinforced the more immediate prospects for public
discontent and frustration. Saturn disposes Uranus-Neptune in Capricorn,
deepening the generalized feeling of oppression.
Node-Venus-Mars (12-13-14°+Pisces);
the stellium forms quintile aspects with Uranus and Neptune and semi-sextiles Saturn. These aspects reflect how the inspiration
of Uranus and Neptune manifested in idealistic action (some called it the “Cult
of Liberty”, which made sense with the Pisces energy), and that this action
found ample support when the moment was right. An interesting dispositorship
network exists between these three areas of the chart—Uranus-Neptune are
disposed by Saturn, Saturn is disposed by Mars, Mars and Venus are disposed by
Neptune and so on, creating a sustainable circuit of energy and activity.
The liberatory power
of art—Beethoven’s “Ninth”
There’s no doing justice to the amazing movement-by-movement
description Sachs writes about this incredible, transcendent symphony, but a
short excerpt captures the spirit of his description and ushers us into the
piece’s most memorable movement, the choral “Ode to Joy.” As Sachs says,
We ought to take a deep
breath—symbolically—with the singer, because we have, in a sense, “made it.” We
have survived the first movement’s brutality and despair, participated in the
second’s harsh struggle, and been purified by the third’s glowing acceptance of
life as it is. What Beethoven wants us to experience now is all-embracing joy.
For this is the moment in the work in which Beethoven most unequivocally
declares his aim of helping to liberate mankind through art. (154)
It is the range of emotions, soulful humanity and soaring aspiration
contained in this symphony that is reflected in its debut chart. Please note
that the chart has been cast for 8 p.m. because the records show it was an
evening concert, but I was not able to find the exact time for that debut. With
that in mind, let’s consider the highlights (chart below):
Taurus Sun trine Capricorn Uranus-Node-Neptune. Taurus Saturn widely conjoins
the Sun and both trine Virgo Mars. Aries Venus disposes the Taurus points and
opposes Mars. If 8 p.m. was in fact close to the time Beethoven’s “Ninth”
debuted, the Sun-Uranus-Neptune trine may have been a grand earth trine, with the
Moon and MC in Virgo. Even without this added earthy momentum, however, we can
appreciate in this chart the gravity, humanity, sensuality and artistry of
Beethoven’s message. We can only imagine how witnessing the Ninth for the first
time would have been a total mind-body-soul experience.
Aries Pluto T-squares Cancer Jupiter opposite Capricorn Neptune. The
aspirational nature of Jupiter
opposite Neptune is at its most expansive here, but challenged by Pluto’s aggressive
square from Aries, the aspect evokes an heroic, mythic tone that fits the
magnitude of the Ninth. Sachs captures the spirit of this configuration
perfectly when he points out that—in the wake of the staggering death toll and
destruction of the Napoleonic wars—Beethoven felt that Europe had become “a
vast prison for the human spirit.” As Sachs puts it, “he wanted to help light the way for humanity;
he wanted human beings to realize their high ethical potential….” (87).
The earthy dispositor network at work here (Mars in Virgo
disposes Pluto; Virgo Moon disposes Jupiter; Saturn in Taurus disposes Neptune)
likely accounts for how deeply and thoroughly responsive the audience was to
Beethoven’s work that night in May, 1824, and for its enduring use in events
that celebrate humanity’s transcendent yearnings ever since.
What happens in
Europe doesn’t stay in Europe…
Interesting parallels exist between this tumultuous period
in European and American history. The
1820s in America were occupied with territorial expansion and the consolidation
of continental power, perhaps best symbolized by the December, 1823 “Monroe
Doctrine.” Sachs points out that this attempt to consolidate American hemispheric
sovereignty was actually supported by British King George IV because it
discouraged Spain from continuing to colonize countries in the Western
hemisphere. In fact, banishing Spain from South America facilitated the revolutions
staged by Simon Bolivar and Antonio Jose de Sucre in 1824—the same year the
Ninth debuted with its message of liberation. (78)
Obviously, American expansionism was also oppressive to many—and
a prelude to the vicious turmoil of the Civil War. The northern states leaned
toward industrial development of their economies; the agricultural southern
states built their economies around the availability of slave labor. Clashes
that cut to the heart of American identity arose as westward expansion and the
addition of new states to the Union forced Congress to grapple with whether the
new states would be slave states or free states.
Significantly, the so-called “Compromise of 1850”—a
last-ditch attempt of that Congress to ease those North-South tensions—was
hammered out with great drama during 1850, just two years after the European
Revolutions of 1848 and the same year Uranus and Pluto launched their new cycle
at 29°+ Aries. The
first shots of the Civil War were fired less than 11 years later. In these
polarized times, it seems we are heading down a similar path, updated for today’s
unique challenges.
A work in progress
Seeded in the 1960s Uranus-Pluto conjunction at 17°+Virgo, the disruptive,
revolutionary, transformative effects of the ongoing (2010-2017) Uranus-Pluto
square from Aries to Capricorn are definitely a work-in-progress. The
significant events associated with this square are too numerous to mention, but
we can hardly miss the net aspirational nature
of this powerful first quarter. Even though the news is fraught with torturous
contradictions, divisions and chaos, if we step back a bit from the daily
morass, we can see that overall, American society and humanity-at-large have
struggled for two chief goals during this Uranus-Pluto period—liberation from oppression (both
perceived and real) and a socioeconomic order that is more
humane and sustainable.
perceived and real) and a socioeconomic order that is more
humane and sustainable.
Will Uranus and Pluto ever deliver us to the “promised land”
of freedom and equality in perfect, sustainable societies? Clearly, this duo has
its light and dark sides, and humanity fully embraces both, so the prospects
for Utopia are slim. However, choosing to aspire
higher despite our conflicted natures and times, has perhaps been the
overarching theme of this latest Cardinal square cycle. In pragmatic, problem-solving Cardinal cycles,
issues left unresolved from prior cycles tend to resurface and create havoc, so
they can be recognized and solved. We have no shortage of unresolved
issues—hence, the “work in progress.”
Since 2008, we’ve seen the deepest polarization in American
politics—perhaps since that disastrous 1850 “compromise!” As the aggressive
energies of Uranus and Pluto have taken hold in our public discourse, politics
has been marked by an almost panicky attempt by Republicans to recapture their
glory days, by any means necessary. Unfortunately, if Trump’s campaign is any
measure, they’ve chosen the low road to that end, tapping into people’s darkest
fears and biases to gain poll numbers, instead of choosing to evoke the “high
ethical principles” favored by Beethoven. Does any reasonable person think we can
solve the serious problems facing our nation and the world by sinking into
those fears and biases?
Joy, beautiful divine
spark…thy magic reunites what habit brusquely separates…all men become brothers…
The soaring poetry of the Ninth’s final choral movement—the “Ode
to Joy”—flies in the face of disaster, division and hatred (yes, deep, deep
hatred is poisoning life in this country). It’s easy to forget that the poem
was written by another idealist of that Romantic Era—Friedrich von Schiller,
who, Sachs reminds us, “…believed that humanity needed to achieve freedom
through the experience of art before it could achieve political freedom.” (154)
Chances are, we won’t experience freedom at all until our politicians live to
heal the nation’s inner divisions instead of exploiting them.
Do you fall down, you
millions?
Do you sense the
creator, world?
Seek him above the
starry canopy,
Above the stars he
must live…
Joy, joy drives the
wheels in the great clock of worlds…
Merry Christmas & a Happy New Year to all you star-watchers!
Raye Robertson is a practicing astrologer, writer and former university English instructor. A graduate of the Faculty of Astrological Studies (U.K.), Raye focuses on mundane, collective-oriented astrology, with a particular interest in current affairs, culture and media, the astrology of generations, and public concerns such as education and health. Several of her articles on these topics have been featured in The Mountain Astrologer and other publications over the years. Raye can be contacted by comment here, or at: robertsonraye@gmail.com.
© Raye Robertson 2015. All rights reserved.