Mars in Leo (I)

Here Mars was rising, alone in the horoscope without any important aspects. There is no complex of importance in the whole heaven; Mars was therefore free to rule the life; and here we must argue that Leo only brought obstinacy and haughtiness into the method. The Sun, lord of Leo, is in Scorpio, badly aspected by a conjunction of Neptune and a square of the Moon; and, as Leo is rising, the influence is all the more evil. The vivid warmth and generosity of Turner’s method of painting is also very characteristic, though, happily, of this position. Here Mars is square to the conjunction of Jupiter and Venus, and this appears to have given the force and directness which is the wonder of his technique. Benjamin Disraeli is a great example of this Leo effect on Mars. His eccentricities were all of a gorgeous order ; and he made them part of his career, of his method of influencing his contemporaries. Mars being also lord of the Ascendant, of course made this tendency inevitable. Lord Wolseley is a case of the exuberance of this position of Mars. He was too good-natured and too popular to become a Napoleon. Neptune, too, is in opposition, which would tend to thwart the material benefits of Mars. The strength of the Mars of Madame Steinheil is enormous. It is not only semi-sextile to Uranus and sextile to the Moon, but also trine to the Sun, Neptune, Mercury and Venus on the one hand, and to Saturn on the other. Here is a tremendous complex of eight planets, which stamps her with the very hallmark of success. But the Leo influence still shines in her method; whatever she might do, she would give a sunny smile, and “get away with it”. One is at first heartily surprised to find Robespierre in this long list. But a little investigation soon clears away the difficutly. Mars is in the sixth house, conjoined with Neptune, and square to the Sun. The trine of Jupiter seems here merely to make him effective. Now, Saturn rising and lord of the Ascendant is, with his aspects, the key to the horoscope, and there is no relation between him and Mars. So we see that, after all, the method of the man was totally distinct from his purpose. And what was that method? Leo all over! Big, frank, open talk, generous sentiments, noble aspirations, the phraseology of a Mazzini or a Lincoln! It is an admirable illustration of the “mask” in astrology. Had Saturn and Uranus aspected Mars, all these sentiments would have been genuine. Rosa Bonheur is excellent for our purpose. Mars rising, trine with Saturn, is a great influence upon her for masculinity and force. But see how Leo operates to make this generous and frank and noble. In Aries, we should have had a person of far more push and with no qualities so lovable. For one does not class her as a “mannish woman”, but as a great-hearted, loyal comrade and friend. Much geniality is evident in the method of the late J. Pierpont Morgan. He was indeed the Napoleon of finance; there was nothing underhanded, sly or treacherous about his ways; and he was interested in many things beyond Ms business. The conjunction of Jupiter accentuates this tendency. Similarly genial, but not so effective, is the Mars of W. B. Yeats. Here Neptune is trine, and Venus square, neither of great help to the practical side of Mars. It is an admirable picture of the easy openness of his method, both in art and in life. With Saturn trine, instead of Neptune, he might have been as austere as Blake, and as successful as Maeterlinck. The glow and riot of Swinburne’s early verse is also to be attributed to this position of Mars. Once again we must insist that we refer to the actual technique, not to the matter or the manner. With Jupiter conjoined, Mercury and Venus trine, and Neptune in opposition, we can well explain the rhythms with which he enriched the English language.

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