Mars in Aries (I)

In George III Mars appears as obstinacy. The Moon and Uranus square him, making the king deluded and stupid; hence his loss of the American colonies through sheer mismanagement. But Mars is on the cusp of the tenth house, very powerful; so that the ultimate issue of England’s war with Napoleon, who had Saturn in the midheaven, could never have been in doubt to any enlightened astrologer. Gambetta, who “stamped his foot amid the ashes of the glory of France, and sparks of manhood sprang armed to life at his summons”, has the Sun and Mercury very near conjunction to Mars, with Venus and Uranus semi-sextile, and Neptune sextile. In literary men, artists, and musicians, this position of Mars seems to imply great mastery of technique, great power of execution. It further seems to mean much brilliancy and energy; even originality is enhanced where Uranus is well placed and favorably aspected. Among novelists, for example, Zola and Dickens may be fairly classed together. Their pugnacity and propagandised is all decidedly characteristic of Mars in Aries. Zola’s Mars is exceedingly strong, with Mercury conjoined, the Sun and Moon not far off, Uranus semi-sextile, Neptune sexttte, and Saturn trine. Dickens had not nearly so powerful a Mars as this, and it is in the fifth house, confining his pugnacity to his art. It would never have occurred to Dickens to placard London with a violent political squib, as Zola did in Paris. He had to work indirectly through hi novels. Compare now the virile, forceful Baudelaire with the dreamy and gentle Maeterlinck. The latter only has Uranus sextile to Mars which is in the fifth house; it is good enough to win out, but the force is hardly strong enough to be called revolutionary. Baudelaire has Mars in a tremendous complex. Neptune and Uranus conjoined, are square to him hence, his eventual paralytic insanity ; the Moon stands apart; but all the other five planets are in conjunction with him. Here is overwhelming force indeed; and we understand how his passion for the Infinite yet bums in those words of his that seem to corrode the soul like acid! Albrecht Dürer has Mars culminating in the ninth house. There is no particular support, so the effect is limited to craftmanship, especially in working upon metals or with them. Mars, incidentally, is a very angry, passionate, impatient planet when excited to the full ; the student will do well to contrast carefully the extremes as presented by Dtirer and Baudelaire. In music we have two more great originators of superb technique ; Chopin and Richard Strauss. The former has Neptune trine and the Sun semi-sextile; Saturn, too, is close to Neptune ; and all this tends in a way to modify the fire of Mars, and lead him into subtle channels. Yet in his “Polonaises” the essential force of the spirit is well represented, as well as the general firmness and conciseness of his technique. Strauss has Venus sextile, Saturn in opposition, Neptune in conjunction; this is a somewhat great excitation of Mars, who, moreover, is in the tenth house, dominating the horoscope. Hence, we may judge, come the wrath and fury of his “Electra” and his “Salome”, and the violent perfections of his technique; the conjunction of Neptune obviously accounts for their eccentricity. Havelock Ellis, to conclude, another militant person, has this same position of Mars. Venus is square, Saturn trine, Uranus sextile on one side and the Moon on the other. It is a strong but not a violent complex, and fairly descriptive of his method.

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