Showing posts with label YVEC. Show all posts
Showing posts with label YVEC. Show all posts

Friday, July 31, 2020

Astrology of A Vision IV: Blending the Phases of the Moon with Astrology—Natal Astrology


George Yeats's book of horoscope ("map") templates,
from the National Library of Ireland's exhibition
Did the Yeatses try to square astrology with the system's phases of the moon? And if so, how?

Yes, they did try to match the system's phases to the skies, but whether and how varied according to the type of astrology they were doing.

Types of Astrology

Traditionally there are four types of astrology—
horary astrology, which asks a question and looks at the skies of that moment for an answer;
inceptional or catarchic astrology, which looks at the timing of something to predict its character, or may even choose to start a venture at particular time to favour its future (electional);
natal or genethliac astrology, which looks at skies for the birth-time of a person to discern their character and potentials in life;
mundane astrology, which sees the cycles of the planets as corresponding with the trends and events of nations and the world at large.

A horary, "What will result of letter to Eamon De Valera be? April 16 1922", with judgments by GY and WBY on the verso, opposite another question "What will happen to Ireland in the near future" (May 7. 1922).
[GY's judgment]
I do not think this letter will cause DeValera to change his plan of campaign but I do think that it will cause him to modify it, changing from militarist factors to political strategy. I do not think WB will enter into public relations in the matter at all, but will probably be in communication privately & in personal relations with De V. & his party. The approach of [Venus] to [square Neptune] seems to me to indicate that it would be inadvisable for WB to take public part, as I take [Neptune] to be the <people> Country, then [square] of [Venus] to [Neptune] shows I think that <it> such action would <be> partly interfere with his creative power though I think the [sextile Jupiter Saturn] to [Neptune] indicates he would have personal success if he did take a public part (April 17)
Judgement by WBY
Writer to send letter & will have effect though indirect. No present practical effect ([Moon] going to [square Saturn]). [vis-matia?=?vis-major] or unknown causes ([Saturn] in XII) prevent. Should lead to some friends contact with recipient or others later on ([Moon] going to [trine Venus]). Figure powerful ([Saturn Jupiter] on asc[endant] & triple trine of [Neptune Mars Mercury]) & as [Venus] or radical [Neptune] & [Moon] & [Mars] on radical Jupiter impulse [Mars] write was well judged. (April 17)

The Yeatses' papers include examples of all four types, but they treated horary and inceptional as purely astrological and only natal and mundane are related to the phases of the moon and even then only experimentally and relatively unsatisfactorily. And the methods used for natal and for mundane astrology are very distinct. There is a movable scheme for people's birth charts, which involves aligning the horoscope's Ascendant with the phase of Will (initially at the beginning of the phase, later at the centre). In contrast, mundane astrology entailed a fixed correspondence of the phases to the zodiac, but seems to have been marked particularly by stars, so has strong sidereal elements. This post will examine Natal Astrology; Mundane Astrology will follow.

Natal Astrology

For individuals, the Yeatses aligned the zodiac with the phases by placing a person's Ascendant at the assigned phase, so the alignment varies and it also means that the chart per se cannot be used to give the phase—you need to know a person's phase to know where to locate their Ascendant. The first scripts seem to place it at the beginning of the relevant phase, while later on it is stated that it is the centre, so Yeats's Aquarius ascendant is placed at the centre of Phase 17, while George's Scorpio ascendant is placed at the centre of Phase 18.

If the fictional writer Giraldus was given W. B. Yeats's face in the portrait by Edmund Dulac, he was given George Yeats's Phase, and possibly horoscope. In one of the earlier drafts, Michael Robartes explains the diagram he is showing that includes Giraldus's birthchart:
Because Gyraldus, considered that he had himself been born was in the 18th incarnation of his cycle—it is his horoscope that is in the center. [?For] According to this astrologic system the ascendant of a horoscope is always placed before it & judged directly under the middle point of the phase of the native, & all the aspects are & planets are studied in relation to the phases at which they are placed. (YVP4 79; cf. 24)
Yeats was writing this early draft in 1918 and it seems that they were experimenting with these techniques from January 1918 for some months. Sometimes at least, they appear to have cut the chart out of a loose sheet version of the chart, in order to place it in a phase circle or alternatively to place phase attributions in the window left by cutting the chart out.

Iseult Gonne's horoscope, cut-out centre, and chart with window.
(Though both for Iseult, these are actually different charts, one being natal and the the other progressed.)

As Colin McDowell notes, because the Yeatses used a form of horoscope diagram in which the mundane houses have a fixed width and the degrees of the zodiac are written in, this can lead to some distortion of the circle (see '"Shifting Sands": Dancing the Horoscope in the Vision Papers' on pages 194–216 of Yeats's 'A Vision': Explications and Contexts available for free download). In Yeats's chart, for instance, with the Ascendant in the first degree of Aquarius and the Midheaven is at 4 degrees of Sagittarius, the distance between them is approximately 56 degrees, and the Ascendant's distance from the Nadir (4 degrees Gemini) is 124 degrees, yet both these quadrants are presented as a 90-degree right angle in the chart, and placed as such according to the phases.

Examination of my horoscope with the 28 phases!

WBY's chart in the centre, with phases around. WBY's ascendant is
placed pointing to Phase 17, where his Will was.
WBY's ascendant is placed at about 2 o'clock in the diagram to the right (the "usual" position of Phase 17). From the comments made about planets' positions (as well as cut-outs like the ones above), it seems that the Yeatses were using a circular house-based format of horoscope (where the the angle from Ascendant to Midheaven or Nadir is always 90 degrees, however many zodiacal degrees there are), with the planets placed in the corresponding phases. However, the analysis that arises from the Yeatses' own horoscopes, the only ones that they went into any detail on, provide little illumination of either horoscope or phases (see Colin McDowell, “Shifting Sands: Dancing the Horoscope in the Vision Papers,” YVEC 202–4).

This alignment, though distorted, corresponds more or less with what the Yeatses explored in the automatic script presented below. Going anti-clockwise from Phase 1: Mars is at Phase 3 or 4; Saturn at Phase 6 or 7 (along with the Moon's North Node); the Midheaven is at Phase 10; Jupiter at Phase 13; the Ascendant at Phase 17; the Moon is at Phase 18; Neptune at Phase 20; Venus at Phase 22; Mercury at Phase 24 (along with the Part of Fortune); the Sun is at Phase 26 or 27, close to Uranus, more clearly at Phase 27.
      In terms of the Phases, Yeats's Will is at Phase 17 and his Mask at Phase 3, while his Creative Mind is at Phase 13 and his Body of Fate at Phase 27. The key points of contact therefore are the opposition of Mars and Moon along the Mask-Will axis, and Jupiter with Sun and Uranus along the Creative Mind-Body of Fate axis.
      The Yeatses explored WBY's chart in a document that is listed in the Critical Edition of 'A Vision' (1925) (intro page xx), but, for some reason, not included in Yeats's 'Vision' Papers (see McDowell, 201–2). The script appears to date from January 1918 and the questions seem to indicate that this was one of the first times that they were trying to interpret the planetary positions of the chart through the phases.
      The questions and answers are on separate sheets, but put together here. Because it was only the second or third month of the automatic script, early versions of terms are used, such as "Ego" for Will, "Creative Genius" for Creative Mind and "Persona of Fate" for Body of Fate, and I have given the equivalents in square brackets. And where the Yeatses used symbols for the planets, I've put the names in square brackets. (Incidentally, one of the less explicable oddities of Yeats's idiosyncratic spelling/handwriting is his repeated writing of "begging" for "beginning".)
Examination of my horoscope with the 28 phases!

(1). Does one place As[cendant] always at begging [=beginning] of phase?
1. Yes

(2). Does take each planet with phase at which it happens to be.
2. Yes.

(3). Would you care to chose planet & phase on which you will comment?
3.  [Moon opp Mars] mask & ego [=Will]
[Sun Uranus] PF [=Persona of Fate, i.e., Body of Fate]
[Jupiter] Creative Genius & Evil Genius [=Creative Mind and False Creative Mind]
[Venus] 22


(4). How do [Sun Uranus] influence P[ersona of] F[ate]

Suddenness of loss mainly in romantic ways  Strange turns of fate but always bringing luck to creative genius whether by people or artistic production

(5). Is lack to C[reative] G[enius]  because [Jupiter opp Sun Uranus]
5.  Yes

(6). How does [Mars] effect Mask?
6.  Inclines strongly againts [sic] mask of intensity

(7). Why?
7   Because it is opposition [Moon]

(8) Is tendency to dispersal from [Moon]
8.  Yes  [Moon] in ascendant strong but acting against dispersal
Mars against [Moon] dispersal primary dispersal

[9 —no question or answer]

(10).  would [Mars] without [Moon] be for despersal
10 Intensity of passion

(11) [Moon] & [Mars] both separately against dispersal  together for?
11   Yes because acting against each other for the same thing

(12) Define their separate operations?
12  [Moon] anti passion & intensity [Mars] emotional passion & intensity

(13) are [Moon] & [Mars] always anti & P[rimary].
13  No  passion only primary here because in a primary phase

(14)  How does [Jupiter] effect EG & CG?
14  [Jupiter] gives richness to niative [sic] & passion & intensity obscurely though opposition [Sun] passion [Uranus]
Evil through the dramatisation of the evil genius [=False Creative Mind]

15.  Why does [Jupiter] give dramatization?
15.  [Jupiter] the actor [Jupiter opposition Uranus] [?crossed out?]

16.  Why does [Sun] give obscurity?
16   because it is in bad aspect it gives difficulty in clarity because it gives such varying images

17.  Is not that rather from [Uranus]
17   No with [Sun] merely phantasy

(18).  How does [Sun] apart from [Uranus] effect PE [=False Mask].
18 you cant take them separately

(19).  What is solar element in effect
19  The bring of luck through enforced loss

(20).  Luck from [Sun]?
20 Yes

(21).  What is effect of [Venus] at 22?
21.  That is I think quite clear enough

(22) With horoscope & phase could you find my proffession?
(23).would you consider phase?
22. Ascendant & aspects
      Of course first of all.

23.  Do you consider aspects among planets as bring on bringing out qualities of phase at which planet is?
23.  Yes

24. What does [Saturn] at 6 mean?
24. affects [Moon] by giving some of quality of 6

25. do you consider place of M.C.
25. no only if tenanted

26.  How does [Mercury] at 24 effect me?
26. work with 24
[Moon] at 18

27.  How has my choice of a wife been effected by phases?
27  Mars going to 4 mask of 18
But that is most clearly shown in the dmns[=Daimon's] horoscope in phases
[on the back of the question page in WBY's handwriting]
Mask implies love lure of saught
PF implies love of seeker
18 loves yourr[??]
17 mask it is your [Uranus] again
[Uranus] gives love being your]
28.  What has softened [Mars] in VII.
28  No only phases.

29. Do you consider planets of second circle?
[No answer]

30.  What is effect of [Neptune] in [Aries] at 20.
30  PROPAGANDA

                 [back of page] Is aireffect

31.  Is Neptune [Neptune] propaganda?
31  Mystically psychically so
twas taking [Saturn] [Neptune] main effect

32.  You mean give to [Neptune] self assertion
32  Yes yes yes

33.  Which I notice you dislike?
33   Yes

34.  Define effect of [Saturn] at 6
34  Interest in mystical also steadies [Moon] & [Uranus]

35.  are connections between houses & phases important?
35  Yes very

36.  How 26 27 & 28 effect V House matters?
36.  Only from to when planets

37.  Do take [Mars] in connection with both 3 & 4?
37  When planet is halfway take both
it happens to be mediums mask
it no that comes from combination

38.  How do 3 & 4 effect choice of wife?
38  [Moon] & [Mars]

39.  Disposition generally.
39  No she will never be at place of planet but it will be at her creative genius or mask or PF[=Body of Fate]

(40).  When a woman is symbolized by a planet will she be primary if planet at primary phase?
40 [long answer in mirror writing and crossed thru]

(40) [bis]  Georges Mask M[aud] G[onne] PF[=Body of Fate] what is distinction.
[no answer]

yes
yes wait
yes

[mirror writing cancelled]

Vth house

Better go on tomorrow

[mirror cancelled]
which you what is two words before
yes writing
re ther bad number

???
goodbye
[wavy lines & spiral circle]      (NLI 36,256/25)

As Colin McDowell notes, this "analysis . . . is hardly inspirational or incisive", and can be summarized as stating that having Body of Fate in connection with Uranus, associated with the unexpected and eccentric, may give suddenness of loss, while having the fortunate planet "Jupiter at Creative Mind will bring good luck through other people or in creative work".  Furthermore Moon close to the Will, and opposite to Mars close to the Mask "gives dispersal by acting against intensity in the Mask. Yeats asks what is the effect of having Venus at Phase 22, and is told in no uncertain terms that he did not need to ask the question. Mercury at Phase 24 allowed him to work with Lady Gregory, whose Phase that is, whereas his Mars going to Phase 4 is correlated with the fact that Phase 4 is the Mask of Phase 18, which is George’s phase" (YVEC 203).

Whose horoscope? Georges

The treatment of George's horoscope a day or two later is little more revealing (18 January 1918, YVP1 272, and summarized YVP3 352). Because of the time of day she was born, there is slightly less distortion to the chart (the angles are 74 and 106 degrees).
George Yeats's chart, with the Ascendant aligned with Phase 18.
The Ascendant is placed at Phase 18, the position of George Yeats's Will. This means that Jupiter aligns with Phase 1; Neptune with Phase 6; the Midheaven is at Phase 11, and the Moon and Venus at Phase 11 or 12; Saturn is at Phase 14; the Sun is at Phase 15 or 15, and Mercury at Phase 16; Uranus at 17, and Mars, at Phase 25, along with the Nadir. For her, the Will is at Phase 18, the Mask at Phase 4, the Creative Mind at Phase 12, and the Body of Fate at Phase 26.

          9.  What planets do you select?
          9.  Primary planets [Mars Jupiter]
              Anti [Uranus Sun Moon Venus]

          10.  What is effect of [Jupiter] at 1
          10.  [Jupiter] and [Sun] mediumship & clairvoyance

          11.  Why?
          11.  At phase one & 15
                No only because at 15
                Yes always
                There being conjunction [Uranus] it is accentuated

          12.  Do you especially connect [Sun] with clairvoyance
          12.  Yes  especially with no opposition

          13.  Is [Sun] a great image maker
          13.  [Jupiter]

          14.  Does [Uranus] always accentuate image making power?
          14.  in this case [Jupiter] at one— [Sun] at 15

          15. [Sun  Uranus] in my case causes shifting of images?
          15.  different and from 12th to 6th house

          16.  Why?
          16.  Because in position of medium both planets are in phase of spirits
          17.  Does [opposition] effect result badly?
          17.  No  opposition strengthens by giving to the mediumship & clairvoyance—[Sun] alone clair[voyance]
          18.  How is mediumship affected by its being [Jupiter]
          18.  other planets give psychism combination— [Sun] at 15 [Jupiter] at one as I said  before—now go on

          19.  What is the [Jupiter] quality in this medium [Jupiter] in [Aries]?
          19.  unity vigour philosophy intensity etc

          20.  Does [Mercury conjunct Sun] [Mercury] at 17 affect result?
          20.  Clairvoyance image giving but mainly it does not affect
          [Sun] but [Sun] affects it—being in a luring phase it is stronger than [Sun]

          21.  What do you mean by luring phase?
          21.  Fifteen and one are spirit phases

          22.  It is stronger than [Sun] & so [Sun] effects it  Why?
          22.  Yes  because it attracts [Sun] instead of reverse

          23.  How does [Uranus] at 18 effect things
          23.  The only primary strength in horoscope

          24.  Yet you put [Uranus] among anti planets?
          24.  Yes  but it is the only planet which can act primarily because [Mars] is at 24— [Jupiter] at one [Sun] at 15 [Moon Venus] 13 & 12 between

          25.  What quality of strength does [Uranus] give?
          25.  objectively can use [Mercury] —mostly it goes to [Mars] & [Venus Moon] antithetically but should be used primarily

          26.  What quality will P[rimary] use give?
          26.  Astrologically you can judge it with [Mercury] at 17—  I need not do that

          27.  give quality of [Mercury] at 17?
          27.  It would be artist or literary but strength of [Uranus] rather stunts it

          28.  Can that stunting be prevented?
          28.  If [Mars] is strengthened

          29.  Will strengthening of [Mercury] interfere with mediumship.
          29.  Yes

          30.  what do you advise?
          30.  This will be finished

          31.  I think of asking medium to help with plays etc.  If so should I postpone it?
          31.  Not good—not enough constructive ability

          32.  Do you mean she cannot design costumes Etc.?
          32.  not well done
                  yes--yes

          33.  Will you speak of [Moon Venus]
          33.  She cant do anything till this is done—no good trying plenty of activity but we use it all

          34.  Can you show how I come into horoscope.
          34.  At her evil & creative genius [False and True Creative Mind]

I had better go into something else--  I am getting no help

          35.  What does her [Mars] signify.
          35.  [Venus] at your Creative & Evil G[enius] or [Moon]? 
[Mars] where your [Jupiter] is

          36.  Can you define my relation to that self suppression.
          36.  In her case self suppression because at 24

          37.  Could you go on with Maurice [=Iseult Gonne] here?
          37.  You are too unwell—better go on another day do you think
no  it is not regular work & is disturbing

          38.  Would her mere presence interfere.
          38.  No  I would rather not & it will be better for a rest—next week I will take all circles
(YVP1 272–74) 
Again, what is clear here is not particularly informative or revealing, while what is unclear seems confusing or confused, with contradictory elements that are never really resolved here or elsewhere. Colin McDowell explores the subject of primary and antithetical planets fully in his essay, yet at the end of the analysis the Yeatses don't seem to have gained any sense of how a primary planet operates differently from an antithetical one or what effect these had on the expression of a phase.

Though neither version of A Vision includes this astrological element, there is a sense that the two systems do work alongside one another. Yeats comments that Phase 20’s creative multiplicity gives to the man of action “the greatest possible richness of resource where he is not thwarted by his horoscope” (AVB 152-53); George Russell was diverted from the natural “abstract opinion” of Phase 25 towards the “ideal conventional images of sense” of his art, “because of the character of his horoscope” (AVB 176). Even in the supernatural incarnations, where it is unclear what the process of birth entails, the stars have a role, so that, in order to see how the specifics of the being’s nature will manifest at Phase 1, we must also take into account “cycle and horoscope” (AVB 183-84). And this aspect is particularly significant in making character and the details of a person's traits the functions of the horoscope, not the Faculties which are rather fundamental biases and drives expressed through the temperament delineated by the birthchart.



see also

Astrology of A Vision I

Astrology of A Vision II

Astrology of A Vision III

Astrology of A Vision V
















Saturday, November 3, 2018

An Astrology of A Vision I

A Vision is grounded in the esoteric and occult traditions. For many literary scholars and readers of Yeats, it is their only acquaintance with this complex area of thought and publishing. For quite a few occultists it is their only brush with the work and life of W. B. Yeats, though most read a little further into his work and interests.
The problem for both groups is that A Vision is a highly atypical work — atypical of occult writing and atypical of Yeats — but quite characteristic enough of whatever is "the other side" to be weird and off-putting. Literary students who are out of sympathy with this aspect of Yeats's interests can generally get by with a limited understanding of the gyres and the cycles of history, drawn from digested summaries and extracts. Those with occult interests are quite likely to meet the material in digested form too, as a diluted form of lunar astrology and, if they broach the original work, to find that it does not really present the system they expected, at least not in a way that they are familiar with. It makes few connections with other occult traditions, and anyone who pays attention to what Yeats says will realize fairly early on that, for all its talk of sun and moon, there is no actual link with the movements of sun and moon in the heavens.

If we are looking at A Vision's affinities with other more traditional areas of occultism and possible applications of its system in other fields (astrology, tarot, Cabala, oracles, I Ching, etc.), the book itself offers few leads. The automatic script gives a few brief possibilities—an exchange about the Cabalistic Tree of Life on the wheel, mention of the Mansions of the Moon, a question about numerology, a possible reference to the tarot—but these do not lead much further.

This should be surprising. The Yeatses had both been involved in the huge syncretic enterprise of the Golden Dawn / Stella Matutina with its emphasis on bringing all aspects of magical knowledge into a single system with elaborate schemes of correspondence, linking all fields particularly through the central symbol of the Tree of Life. Yet the Yeatses do not seem to have spent much time seeking associations between the system that was emerging from their collaboration and the traditions they had studied. It is not as if such links didn't matter to them: Yeats went so far as to invent two elaborate contexts that his system derived from, one in Renaissance Europe and another in the Caliphate of Baghdad. And the revised edition of A Vision opens the book proper ("Book I: The Great Wheel") with appeals to more than twenty different names within the space of three pages.

Some of those who study A Vision become convinced that there must be lost or destroyed material, and it is certainly possible that some schemes have disappeared. What the automatic script also makes very evident is that the Yeatses talked about many aspects of their system between themselves, and it is possible that some things were so evident to them that they did not bother setting them down. There are enough tantalizing comments and references to indicate that they had a far broader range of applications than appears in the published book, or in their papers — planetary, talismanic, and ritual references, comments on scents, tarot, horary charts of the heavens. It is also clear that they treated astrology in particular as a parallel system—there were numerous points of intersection but this did not mean that they sought to make their system into a form of astrology.

Yet Yeats himself notes that his instructors:
insist that a man of, let us say, the seventh cycle married to a woman of, let us say, the sixth cycle will have a certain type of child, that this type is further modified by the phases and by the child's position in time and place at birth, a position which is itself but an expression of the interaction of cycles and phases. Will some mathematician some day question and understand, as I  cannot, and confirm all, or have I also dealt in myth? (AVB 213)
This "position in time and place at birth" is of course expressed in the birth chart, implying that Yeats (or his instructors) foresaw a more complete system where everything was integrated. The mathematician, then, might be the one who would discover the patterns underlying the apparent whimsy in the Yeatses assigning people to their phases. So Yeats himself definitely foresaw that there should be some way of creating a more complete picture, but he could not do it.
 Image result for bob makransky great wheel
Indeed, the Yeatses saw the position of the planets and heavens at birth—the horoscope—as providing the character or temperament of the person, while the symbolic "phase of the moon" was a more fundamental bias of purpose or what the soul was seeking in a particular lifetime. They even drew distinctions between the horoscope of conception and of birth, devised a way of aligning an individual birthchart with the phase of the moon, and set up a more permanent alignment for examining mundane astrology. They went to significant lengths to try to find astrological patterns behind the Moments of Crisis, part of the system that they decided was too personal and too imperfectly understood to include in A Vision. (Colin McDowell examined some aspects of these in his essay "Shifting Sands" in Yeats's "A Vision": Explications and Contexts and I shall be looking at them further later on.) But the fact that they don't seem to have expended much energy on finding an astrological way of assigning the phases probably indicates that they saw it as a non-starter.

However, there are at least five books that have applied the descriptions to the moon phase at birth and based an exploration on these correspondences. The debate between the various books has been on how exactly to calculate the divisions between the phases, but none has seriously questioned the premise of using the moon's phase at birth. I'll examine these in the next posts on astrology, but I want to deal here with the implicit attitude of dismissal towards, or decision to ignore, the Yeatses' astrological abilities in order to explain why they ignored such an obvious application of the system. To suggest that this couple would not have twigged fairly quickly if a person's Phase in the system could be ascertained by a glance at their birth chart shows ignorance of the Yeatses or unwillingness to drop a pet idea.

Up until twenty, even ten years ago, the mathematics involved in drawing up a birth chart was astrology's first hurdle. The arithmetic was rather convoluted, usually involving logarithms, sexagesimal calculations, and benefited from having sense of which operations were appropriate. From what we can see in his papers, Yeats seems to have had problems with all of these. Yet he did do them, and in the end the astrology is often quite forgiving of minor inaccuracies.

George meanwhile went far further, assembling a broad collection of astrological material and charts, and drawing up spreadsheets of data on planetary positions for various professions and skills, relying no doubt on Alan Leo's 1001 Notable Nativities, which included a large selection of data for precisely this kind of study. GY's plotting of the planets by zodiac sign may seem rather simplistic to more modern researchers, but she was persevering and skilled in her approach, and it is the type of research seen in Charles Carter's Encyclopaedia of Psychological Astrology.


Yeats may not have been a great mathematician, but his comments do indicate that, if there is a way of connecting the system of A Vision with traditional astrology, it is not going to be an obvious one. And even if neither of the Yeatses had had the wherewithal to do some basic checking or analysis, they had a friend, Frank Pearce Sturm, who searched through some three hundred charts to see how they related to the Yeatses' phases (again no doubt resorting to 1001 Notable Nativities). Sturm wrote to Yeats in disappointment and confusion because the phases he calculated didn't match the ones that he'd seen Yeats use, and he was told that the "phases of the Moon in the symbolism I told you of have nothing to do with the horoscope, but with the incarnations only" (April 1921; FPS 80). Sturm obviously would not let the matter drop entirely, since Yeats was still writing five years later: "You will get all mixed up if you think of my symbolism as astrological or even astronomical in any literal way. . . . [Sun] is a symbol of one state of being, [Moon] of another, that is all" (January 1926; FPS 88).

These books all speak to a desire to find a way to allot phases to people not included in the Yeatses' select group—A Vision gives no mechanism beyond intuition. Those with a psychological bias might prefer a form of questionnaire or analysis, such as those used to type people in various pseudo-scientific systems such as Myers-Briggs or Enneagram, or the slightly more respectable Big Five or Hexaco. People with a bent for astrology are liable to choose something related to the heavens and take the "lunar metaphor" as an actual fact.

However, these books are the introduction to A Vision for a significant number of readers, and the authors have invested more time and effort in understanding the system than almost any other readers, so I aim to look at them seriously, as a group and individually, in a series of posts over the next months.

see also

Astrology of A Vision II

Astrology of A Vision III

Astrology of A Vision IV

Astrology of A Vision V











Saturday, June 30, 2012

Illustrating A Vision 


When we were thinking about a cover image for the book of essays Yeats's "A Vision": Explications and Contexts, the editors were casting around for a suitable picture that would not incur too much copyright payment. Though the obvious image would be Dulac's illustration of the Great Wheel, it has been used quite a few times already and probably appeals more to the symbolically minded—one of the editors found that type of image off-putting, though I recognize that I myself am a sucker for a mandala! However, there is separate problem here, that Dulac's estate, handled through a publishing company, has been slow to process requests for other writers, and of course we had left the matter slightly late... There is also the Charles Ricketts (1866-1931) plate of hawk, unicorn, fountain and moon that was used for the pastedown on the inside boards of Macmillan editions during the 1920s.

In part this appeals to my sense of the importance to Yeats of the unicorn for the symbolism of A Vision—as I noted in an earlier post, he had originally placed a unicorn at the centre of the Great Wheel.

Publishers regard the most commercial option as a portrait of W. B. Yeats himself, as a more instant form of "branding" and this has plenty of virtues, though we would have wanted a picture of both George and W. B. at the very least. In the end, there were not so many of these that appealed, and we started looking at the work of other artists who had worked with Yeats.

One was W. T. Horton (1864-1919), whose work is out of copyright, in particular his Book of Images, for which Yeats wrote the introduction, and The Way of the Soul, which echoes the fictional title of Kusta ben Luka's work, The Way of the Soul between the Sun and the Moon. A few seemed quite possible, though a little stretched perhaps.
The moon presiding over a split landscape—primary and antithetical?—seemed possible, as did the rocky path to the moon, both from The Way of the Soul, but I also have a certain reluctance to emphasize the moon's place in the system more than it already is. It is such a potent symbol that it slightly overwhelms the concepts it represents, as much for Yeats as for us readers.
Images with sun-moon imagery are visually very appealing, but they also tend to run the risk of feminizing the moon—something that Yeats certainly does in his poetry, but actually goes against to some degree in the system. (Though the Graeco-Roman imagery that dominates Western understanding makes sun masculine and moon feminine, and tends to be viewed as "natural," Germanic, Middle-Eastern, Japanese and other mythologies have a male moon and female sun, and in A Vision the antithetical lunar Tincture, is the one associated more with the masculine.)
John Trinick's designs for A. E. Waite's meditation Tarot, at the British Museum
(I realize that I am taking advantage of a kind of apophasis—including all these images by saying that I couldn't include them...). We considered other artists who had collaborated with Yeats or been associated with him such as Althea Gyles (1868-1949) whose work features in the excellent section on Crafting the Book in the National Library of Ireland's online exhibition on Yeats (and there is also a Japanese gallery featuring her work). Here, there did not seem to be an eminently suitable image, and the situation with her estate was unclear.

To get to this section of the National Library of Ireland's online exhibition,
you need to get to the appropriate part of the exhibition "floor":
probably the simplest way is by Searching on "Crafting the Book,"
then going to "view": this display is on the left-hand side.

This led to Thomas Sturge Moore (1870-1944) who created book covers, book plates and other designs for the Yeatses. His work is in copyright, but with clear family holders, and we hoped that it would not be too expensive. In this case, we ended up favouring the plate created for George Yeats, which is directly inspired by elements associated with A Vision as well as a range of other Golden Dawn associations. In many ways the slightly mandala-ish rose on the cover of Per Amica Silentia Lunae might have been the most appropriate, but it has been used by the Yeats Annual, so might have led to some confusion.


Both of the Yeatses' book plates are rather gnomic, and the big question is whether either of them would attract a browsing reader, or please a reader who had a copy of the book. Yeats's book plate is particularly cryptic, including heraldic elements (the goat's head and the gates=Yeats) as well as personal emblems such as the candle in the waves.


George's is more striking and memorable. Though it is not immediately connected with A Vision, it is relevant to anyone who is interested: I've already commented to some extent on the unicorn and I shall go into the symbolism more in the next post.


Sturge Moore's estate, two grand-daughters, was very generous in giving us permission to use the images for a small sum, and we are all very pleased with the outcome. That said, someone involved in publishing criticized it to me as confusing, for including the name of George Yeats on the cover, and as unlikely to attract any readers. I, for one, am delighted to have George's name on the cover, albeit in an odd way, and do not really think that this is the type of book someone is going to stumble upon--if you come upon it, you are probably looking for it or at least have an interest in A Vision and the Yeatses. But I may be wrong, or at least thinking rather uncommercially: I'd love to hear any comments one way or the other, for future reference, and of course I'd be delighted to hear any further suggestions that anyone might have, either for a later edition of this book, or more likely for the next one on A Vision.