Aspect Patterns

ASPECT PATTERNS

About the Author Stephanie Jean Clement, Ph.D. (Florida) has practiced astrology for thirty years and is a board member of the American Federation of Astrologers. She has a degree in transpersonal psychology and has written several books on astrology and counseling.

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ASPECT P AT T E R N S e What They Reveal & H o w T h e y A r e Tr i g g e r e d S T E P H A N I E J E A N C L E M E N T, P h . D .

Llewellyn Publications Woodbury, Minnesota

Aspect Patterns: What They Reveal & How They Are Triggered © 2007 by Stephanie Jean Clement, Ph.D. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever, including Internet usage, without written permission from Llewellyn Publications except in the case of brief quotations embodied in critical articles and reviews.

First Edition First Printing, 2007 Series design and format by Donna Burch Cover art © PhotoDisc, © DigitalStock Cover desgn by Ellen Dahl Edited by Andrea Neff Llewellyn is a registered trademark of Llewellyn Worldwide, Ltd. Chart wheels were produced by the Kepler program by permission of Cosmic Patterns Software, Inc. (www.AstroSoftware.com) Library of Congress Cataloging-in-Publication Data Clement, Stephanie Jean.

Aspect patterns : what they reveal & how they are triggered / Stephanie Jean Clement.—1st ed. p. cm. — (Special topics in astrology) Includes bibliographical references and index.

ISBN-13: 978-0-7387-0782-2 ISBN-10: 0-7387-0782-1 1. Aspect (Astrology). I. Title.

BF1717.2.C55 2007 133.5'3044—dc22

2006052003

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Llewellyn Publications A Division of Llewellyn Worldwide, Ltd. 2143 Wooddale Drive, Dept. 0-7387-0782-1 Woodbury, MN 55125-2989, U.S.A. www.llewellyn.com Printed in the United States of America

Other Books in Llewellyn’s Special Topics in Astrology Series Chiron, by Martin Lass (2005) Vocations, by Noel Tyl (2005) Eclipses, by Celeste Teal (2006) Houses, by Gwyneth Bryan (2006) Venus, by Anne Massey (2006) Aspects, by Robin Antepara (2006)

To Cassiopeia, a constant source of visual and emotional inspiration.

And to Robert Whitehouse and Lynn Ward White, who opened my mind to great possibilities.

And to Ambyr, Lynda, and Terry.

Contents List of Illustrations and Charts . . . ix Acknowledgments . . . xiii Introduction . . . xv

chapter one—the psychology of chart patterns . . . 1 chapter two—the bundle: concentrated energy . . . 25 chapter three—the locomotive: i know i can . . . 37 chapter four—the bowl: search for self-containment . . . 51 chapter five—the bucket: focus on the handle . . . 67 chapter six—the fan: focus on the bundle . . . 79 chapter seven—the seesaw: balancing act . . . 93 chapter eight—the splash: ultimate diversity . . . 105 chapter nine—the splay: focused diversity . . . 123 chapter ten—other aspect patterns . . . 135 chapter eleven—practicing pattern identification . . . 149 Conclusion . . . 167 Appendix One: Pattern Assessment Guide . . . 169 Appendix Two: Pattern Definitions . . . 171 Appendix Three: Aspect Pattern Index . . . 179 Glossary of Pattern Terminology . . . 187 Bibliography . . . 189 Index . . . 191 Blank Chart Wheel . . . 194

Illustrations and Charts Introduction 1. Hand-Drawn Chart Illustrating One Pattern . . . xvii 2. Henry Mancini, Houses Spaced Equally . . . xviii 3. Henry Mancini, Aries Rising, Equal Houses . . . xix 4. Henry Mancini, Signs Spaced Equally, Unequal Houses . . . xx

Chapter One 5. Bowl T-Square . . . 2 6. Splash . . . 3 7. Splay . . . 4 8. Locomotive . . . 4 9. Bundle . . . 5 10. Bowl . . . 5 11. Bucket . . . 6 12. Fan . . . 6 13. Seesaw . . . 7 14. Robert Jansky . . . 8 15. Example of Occupied Area, Open Area, Leading Planet, Trailing Planet, High-Focus Planets . . . 11 16. Geometry of the Mandala . . . 13 17. Chart with Grand Trine . . . 18 18. Harmonics . . . 19 19. No Triangle Example Chart . . . 21

Chapter Two 20. Benito Mussolini . . . 27 21. Paul McCartney . . . 31 22. Abdul Al-Biruni . . . 35

Chapter Three 23. Dalai Lama XIV . . . 41 24. Dalai Lama XIV, Kite and Mystic Rectangle . . . 43 ix

illustrations and charts

25. Edie Custer . . . 46 26. Dale Earnhardt Sr. . . . 48

Chapter Four 27. Stephen Erlewine . . . 57 28. Caroline Kennedy . . . 58 29. Caroline Kennedy, Angel Wings . . . 60 30. Harry S. Truman . . . 62 31. Biwheel of Harry S. Truman and the Bombing of Hiroshima . . . 63 32. Roy Horn . . . 65 33. Roy Horn, Chart Relocated to Las Vegas . . . 66

Chapter Five 34. Albert Schweitzer . . . 72 35. J. K. Rowling (Rectified Chart) . . . 74 36. Reinhold Ebertin . . . 76

Chapter Six 37. August 29, 1987 . . . 80 38. August 29, 1987, Second Kite . . . 83 39. George Wallace . . . 84 40. Meryl Streep . . . 86 41. Alan Leo . . . 88 42. Salvador Dali . . . 89 43. Dean Martin . . . 91

Chapter Seven 44. Simon Bolivar . . . 97 45. Celine Dion . . . 99 46. Hoagie Carmichael . . . 101 47. Anwar Sadat . . . 103

Chapter Eight 48. Henry Mancini . . . 109 49. Isaac Asimov . . . 111

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50. Isaac Asimov, Irregular Triangle . . . 112 51. Paula Abdul . . . 115 52. Paula Abdul, Mystic Rectangle . . . 117 53. Paula Abdul, Quintile Pattern . . . 119 54. Marion March . . . 120 55. Marion March, Triangles . . . 121

Chapter Nine 56. Maggie Nalbandian . . . 128 57. William Butler Yeats . . . 130 58. Elbert Benjamine . . . 132

Chapter Ten 59. Carl Jung . . . 138 60. Abdul Al-Biruni, Pentagram Pattern . . . 140 61. Elbert Benjamine, Pentagram Pattern . . . 142 62. Caroline Kennedy, Angel Wings . . . 144 63. Celine Dion, Quadrangle . . . 146 64. Paula Abdul, Quadrangle . . . 147

Chapter Eleven 65. Example 1 . . . 151 66. Example 2 (Using the Angles) . . . 153 67. Example 3 . . . 155 68. Example 4 . . . 157 69. Example 5 . . . 159 70. Example 6 (Wider Orbs) . . . 161 71. Example 7 . . . 163 72. Example 8 . . . 164

APT E R ONE CH

Acknowledgments My hat is off to Andrea Neff and Donna Burch. These ladies have done a fine job yet again to make my words look great on the page and to catch my errors. I know I have improved my skills as a writer and astrologer because of them.

Also, compliments to Ellen Dahl for making the outside of the book as delightful as the inside!

Without the very fine work of Marc Edmund Jones and Robert Jansky, both of whom I quote and paraphrase liberally in this book, I don’t think I would have the deep understanding of chart synthesis that I have gained from examining arrangements and combinations of planets for the past thirty-plus years.

My students have been a constant inspiration to me as an astrologer. It was a group of them who convinced me to examine “irregular” aspect patterns in a whole new way.

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Introduction

Human fascination with patterns has provided the foundation for the construction of buildings, the creation of works of art, behavioral analysis, and scientific exploration of the atom and of DNA. The development of language itself was an outgrowth of the need to establish a system of communication that followed accepted patterns. From predicting the weather to understanding the stock market, we search for the patterns inherent in everything.

Astrologers are no different. We seek to understand the planets and the cycles of their movement through the zodiac. We compare charts, searching for factors that correspond to the similarities or differences among individuals. In order to forecast events, we must establish the patterns at work in astrology.

Previous works about patterns in the astrological chart have broken the ground for this present work. It has long been understood that certain harmonics activate energy relationships that are then reflected in the lives of individuals, organizations, and even nations. An astrological harmonic is determined by dividing the 360째 circle by a whole number. This book considers aspect patterns, both regular and irregular in form. The aspects consider the harmonics of the numbers one, two, three, four, five, six, eight, and twelve. The focus is on the aspects themselves and how they reflect the interaction of planetary energies.

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xvi introduction

Planetary Patterns Astrologers also use a second kind of pattern that describes the overall shape of the figure described by the planets in the chart. For example, if all the planets fall in one half of the chart, this is called a Bowl pattern. I will be referring to this kind of pattern as I introduce the harmonic patterns because certain harmonic patterns are found within planetary patterns. For example, the Bowl pattern will very often contain a T-Square pattern (an opposition to define the lip of the bowl, each forming a square to a third planet). Another example is the 60°-120°-180° (y e w) triangle, as seen in chart 1.

Chart shapes and harmonic patterns occur together in every chart. Harmonic patterns indicate planets that work together in a particular way. This relationship reflects basic situational and event patterns in the individual’s life. The harmonic pattern shows where the individual is positioned vis-à-vis the energies of the planets in the pattern. The planetary pattern, or overall shape of the chart, considers all the planets, and this shape reflects the basic psychology of the individual. It reflects the individual’s characteristic response to the world.

When the overall planetary pattern contains one or more harmonic patterns, we can define the life situation and the character in terms of each other. The picture pattern reveals general personality tendencies, while specific aspect patterns indicate the natural ways these tendencies unfold in character development, career and partnership choices, and other life decisions. Combining the two kinds of patterns is one way of achieving chart synthesis.

Lack of Harmonic Patterns If the overall chart lacks a defined harmonic pattern, then we have an individual who must define his or her own path without the support of the sympathetic vibrations of planets in patterns. Such individuals have to find their guides or angels for themselves. I will provide at least one example of this kind of chart. Most charts have several aspect patterns involving three or more planets, and a chart with no harmonic pattern is quite rare.

Your Chart In the following chapters, example charts are used to illustrate the planetary patterns, which are then described in terms of how they manifest in our lives. To explore your own chart, obtain a printout that includes the aspects listed in chapter 1. Be sure you have

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an aspect grid, as some of the aspects may be hard to sort out. As you gain experience, you will find the patterns more easily. If you have astrology software, you may be able to change the aspect sets so that only the aspects you want appear as lines in the wheel. I have listed the planets in examples of aspect patterns so you can trace the patterns visually. If you can’t change the aspect sets, I also recommend drawing separate charts to illustrate the pattern you are considering.

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Chart 1—Hand-Drawn Chart Illustrating One Pattern: A Triangle Composed of a Sextile, Trine, and Opposition, as Seen in the Grand Trine Chart on Page 18 (Chart 17)

xviii introduction

Charts in This Book Because the identification of patterns is subjective, let’s take a look at some different chart styles. I have used Henry Mancini’s chart in these examples. An analysis of his chart can be found in chapter 8.

Chart 2 is a standard chart, with the Midheaven at the top and the Ascendant at the left. In this chart are three empty houses and nine occupied houses. Because the Midheaven is 108° from the Ascendant, the sizes of the houses are somewhat distorted. This chart shows the house distribution of planets in the chart. I prefer the Koch house system, and use it in this book. Charts using other house systems may move some of the planets to adjacent houses.

Chart 2—Henry Mancini, Houses Spaced Equally

introduction xix

Chart 3 has 0° Aries rising. In this example there are ten occupied houses, as the ten planets are each in different signs. The two empty houses are not consecutive. You would get the same effect by using a whole sign house system.

To identify the planetary pattern in a chart, the 0° Aries or whole sign house method shows you the sign distribution of the planets, separates the signs into different houses, and arranges the planets in their angular relationships on the 360° wheel. This makes it much easier to identify the planetary pattern, and it also makes it easier to identify harmonic patterns.

Chart 3—Henry Mancini, Aries Rising, Equal Houses

xx introduction

Chart 4 has unequal houses. The Midheaven is to the right of the vertical position in this example. In this chart the planets are in their proper positions on the 360° wheel, and they are also in their proper houses. The positions of the Sun and Saturn, roughly 90° from the Ascendant, are more correct geometrically than in the standard chart. I have chosen to use this chart style throughout the book.

Chart 4—Henry Mancini, Signs Spaced Equally, Unequal Houses

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Layout of the Chapters How does one approach such a wealth of patterns? When taken from the point of view of harmonics, the aspect patterns follow a logical formula. When taken from the perspective of the planetary patterns, a different logic applies. I have chosen to organize around the planetary patterns, including appropriate aspect patterns, in each chapter. In appendix 2 you will find a table that lists the harmonics in order and includes brief definitions of picture and aspect patterns.

You will find that it is often easier to identify harmonic aspect patterns than planetary patterns. This is because aspects are mathematically defined. Either aspects are there or they are not, based on the orbs you choose. Picture patterns are often a matter of judgment, based on what the chart feels like as a whole and what you know about the individual. Again, this book is organized around the planetary patterns.

APTE R ONE CH

The Psychology of Chart Patterns

Astrologers are always seeking to understand patterns in charts. They look at the birth chart; they consider progressions, transits, and other techniques, all with the aim of seeing the larger pattern of the universe (macrocosm) and understanding the place of society or the individual (microcosm) within that pattern. Aspect patterns in birth charts provide a harmonic picture of the individual’s life. They reveal how the person approaches different areas of life, and they also reveal ingrained behavioral patterns.

Aspect patterns begin to reflect your life almost as soon as you are born. Feedback from the parents of infants indicates that tiny babies respond to the world in just the ways we would expect from looking at their birth charts. The charts are reflections of their individuality and character.

This book considers two types of chart patterns. One type is based on the arrangement of the planets in the signs and houses. This method considers the appearance of the planets themselves. For example, when all the planets are in one half of the chart, they form a Bowl pattern.

The second type of pattern is formed by connecting planets that form aspects to each other. For example, planets at 1° Aries, Cancer, and Libra form a triangle—a T-Square— when connected. The T-Square aspect pattern is often found within the Bowl pattern.

Chart 5 includes both the Bowl planetary pattern and the T-Square aspect pattern.

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The charts in this book show the signs equal in size. The houses may vary dramatically in size. This kind of chart shows the aspects in proper proportions. Regardless of the actual order of the aspects within a pattern, for the sake of identification all patterns in appendix 3 list the aspects in order of size from smaller numbers of degrees to larger (i.e., square-square-opposition for the T-Square). Examples in each chapter list the planets in their order of flow within the pattern.

Chart 5—Bowl T-Square

the psychology of chart patterns

How Patterns Work The two kinds of patterns—planetary and aspect patterns—reflect specific types of character and behavior. In planetary patterns, we are looking at a picture of the whole chart and deriving meaning from what we see. Marc Edmund Jones, in his book The Guide to Horoscope Interpretation,1 identified several factors within various patterns. The central theme is that each pattern is made up of empty space and filled space. Anyone can look at charts, identify the patterns, and match them to the pattern descriptions. The names of the patterns indicate the most basic character and expression of the patterns. Planetary patterns have fundamental meaning that is independent of the location of specific planets. Identification of prominent points within the pattern further elucidates the way the patterns function. Jones cautioned the astrologer to use only the Sun, Moon, and planets when identifying patterns, excluding the nodes, Ascendant, Midheaven, and other angles.

Throughout this book I have adhered to this rule, with one or two examples that include the Ascendant and Midheaven.

Planetary Patterns Tripolar Patterns A tripolar pattern can easily be seen to contain three focal points, relatively evenly spaced in the chart, and often defining a Grand Trine. Four of the planetary patterns are tripolar in nature:

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Chart 6—Splash

Splash Ideally, there are ten planets in ten different signs; the planets are evenly spread around the 360° circle. The empty signs are not adjacent or opposite each other.

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Chart 7—Splay

Splay (Tripod) Jansky calls this pattern a Tripod, because the planets tend to be clustered around three points, the center of each approximately 120° from the others.

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Chart 8—Locomotive

Locomotive Two-thirds of the chart are evenly occupied, while one-third is empty.

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Chart 9—Bundle

Bundle (Wedge) One-third of the chart is occupied, while two-thirds are empty.

With the exception of the Bundle, a Grand Trine is possible in these tripolar patterns, and the Bundle tends to define the opposite point of the Grand Trine, even though that point is empty.

Bipolar Patterns A bipolar pattern is defined by the polarity in the chart. The four ideal bipolar patterns are defined by oppositions:

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Chart 10—Bowl

Bowl This pattern contains a rim (brim) opposition; in addition, there is empty space opposing occupied space.

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Chart 11—Bucket

Bucket There is a rim opposition in a bowl of nine planets, with a core opposition from the tenth planet (handle planet) to a planet near the midpoint of the bowl.

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Chart 12—Fan

Fan This pattern is a concentrated version of the Bucket. The handle forms an opposition to one or more planets in the bundle portion.

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Chart 13—Seesaw

Seesaw (Hourglass) Two bundles of planets, with leading and trailing planets, form oppositions to their counterparts in the opposing bundle. There are alternating empty and occupied spaces of 90° each.

Define a Tripolar Pattern Whenever Possible Robert Jansky stated this axiom: “Whenever there is a rather clear choice to be made between two or more patterns, always select a Tripolar over a Bipolar pattern.”2 Why lean in favor of the tripolar pattern? Jansky doesn’t tell us specifically, but here are some thoughts on the subject.

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I f there is a Grand Trine in a chart, the chart can automatically be defined as tripolar in nature, regardless of other factors.

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J ansky mentions self-adequacy as the hallmark of tripolar patterns.3 He says this sure-footed quality is based on the trine. Because of the strength of the self-sufficient personality, we might be well-advised to emphasize this trait over others.

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owever, the Grand Trine can occur within the Bucket chart, where the bowl and H handle are also clearly defined. The Grand Trine is also possible in a Seesaw pattern when the planets on one side are spread about 120° apart.

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Chart 14—Robert Jansky October 25, 1932 / 5:02 a.m. EST Hackensack, New Jersey / Koch houses

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In the end, it seems the preference for tripolar patterns may be personal. If you, the astrologer, have very strong trine configurations in your chart, you may prefer tripolar patterns.

If you have dynamic oppositions, you may look for bipolar patterns.

Jansky’s Chart Let’s take a look at Janksy’s own chart. At first glance, my preference tip seems not to work. Jansky clearly has a Bucket pattern. Saturn and Pluto form a rim opposition for a bowl that is almost entirely in the eastern hemisphere of the chart. Uranus stands alone in the seventh house, clearly squaring both Saturn and Pluto. The orb of the Saturn-Uranus square is a bit wide for my taste, but Jansky said they are square. The same can be said for the orbs of the squares between Sun-Pluto and Sun-Uranus, necessary to complete the Grand Square pattern in the chart. Aside from the issue of orbs, Uranus standing alone at the Descendant convinces me of the Bucket pattern. I would not extend orbs to 12° in order to define the Grand Square.

Patterns within Patterns So, I ask, why does Jansky so clearly state his preference for tripod patterns? The answer may lie in the aspect patterns in his chart.

One of the closest harmonic patterns is sextile-sextile-trine of d ; f. The orbs here are closer than those for the squares—less than 3° for the sextiles and 6° for the trine. This pattern draws attention to the stellium in Virgo, which reflects Jansky’s strong research ability and meticulous attention to detail.

Another pattern, ; f j, involves a trine of less than 8°, an opposition just over 5°, and a sextile under 3°. While the trine has a relatively wide orb, the other two aspects help to establish the pattern. The emphasis on the signs of Cancer and Virgo is repeated here.

A third pattern of k g f (trine-semisextile-quincunx) has very tight orbs—right at 1°.

In his discussion of the Bundle pattern, Jansky mentioned that the square with the closest orb becomes the “trigger,” or the source of the individual’s motivation. I believe the closest square in any chart represents the driving force of the personality. The closest square in Jansky’s chart—Uranus to Pluto—drives all patterns I have mentioned, because either Uranus or Pluto is part of each pattern. This means that any time there is a significant transit to either Uranus or Pluto, the three patterns are energized, and we can expect action along

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the lines they define. Therefore, even though the planetary pattern is so clearly a bipolar Bucket, the personality dynamics reflect the nature of aspect patterns involving trines.

The high focus on Pluto and Uranus makes sense. Robert Jansky was an astrologer and author. Before he took up astrology, he was a biochemical and bacteriological researcher.

He was also involved in the Mercury and Apollo space programs from 1961 to 1965. All of his careers strongly reflect the nature of the two outer planets. He merged his careers in his work and writing about nutrition. The Uranus-Pluto square accurately reflects Jansky’s impulse to action, and the three trine configurations reveal the depth of his research and interest.

No Distinctive Pattern Some charts defy definition as a picture. They may meet most of the definitions for more than one planetary pattern, or they may lack factors that would define them more clearly.

In addition, the individual may demonstrate traits of one pattern, even though the chart tends to define a different pattern altogether.

Additionally, some people will not fit a personality type clearly. Consider Jungian psychology, which defines eight personality types, based on the primary and secondary roles of the four personality functions: intuition, feeling, sensation, and thinking. Occasionally, there is a person who makes such balanced use of the four types that no primary function can be identified. Another possibility is the individual who, in spite of a primary function defined through testing, actively portrays another function as being dominant.

Astrology can take a page from the Jungian book here. Not all charts have defined planetary patterns, just as not all people follow the indications of personality in their charts. In addition, there are individuals who alternate between two personality styles that may be defined by two different planetary patterns. For most birth charts, the planetary pattern reveals a key ingredient in the personality. For the remaining few charts, aspect patterns will carry more relevance because they indicate stress points that can be triggered by progressions and transits. However, aspect patterns also may not reflect the personality for some individuals.

the psychology of chart patterns 11

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e Op Trailing planet; also high-focus planet

Chart 15—Example of Occupied Area, Open Area, Leading Planet, Trailing Planet, High-Focus Planets

Defining Points in Planetary Patterns Planetary patterns in charts have a number of focal points. These are pointed out in the coming chapters about each pattern, and are listed here with brief definitions to get you started in identifying patterns. Patterns are defined by the signs and houses that contain planets.

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Occupied Area The occupied area defines areas of life in higher focus.

Open Area Open areas are used to help define patterns. The empty signs and houses usually represent areas of life that are less important to the individual. However, the midpoint of any open area can become the focus of an individual’s goals and drives.

Leading (Cutting) Planet The leading planet is the first planet in the pattern to rise above the Ascendant, going in clockwise motion, even though it may have risen before the birth time. In chart 15, Neptune was the first planet in the pattern to rise, approximately eleven hours earlier. The leading planet defines the first impulse or effort. Action tends to unfold in a way described by the rest of the planets, in order through the zodiac. This is true for any chart pattern that has a clear leading planet, so it applies to the Bundle and the Bowl in very obvious ways, and in lesser ways to other patterns.

You have to be able to identify the leading planet in order to identify the starting point.

In the example, Neptune comes at the end of the large open space. If there is no leading planet, then there is no single, consistent starting point for thought or action. The Seesaw pattern has two leading planets, one in each group. The Bucket may have two leading planets—one the “handle” and the other the leading planet in the bucket or bowl portion of the pattern.

The Locomotive, Bowl, and Bundle each have one distinctive leading planet, so the individual typically begins any and all activities from the same perspective. The order of the thought process tends to be the same, and the end result is analyzed in terms of the last (trailing) planet in the pattern. The typical order of thought processes can be described by delineating the planets in their zodiacal order in the chart.

High-Focus Planets High-focus planets are those where the energy of the pattern tends to flow. The high-focus planet can be the leading planet, the trailing planet, a planet midway through the pattern, or the handle of a Bucket. In a Seesaw and other patterns, any planet outside the ideal groupings is in high focus.

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Chart 16—Geometry of the Mandala In geometry, three points define a circle. In this chart, points A, B, and C are equidistant from a fourth point, D, which is the center of a circle on which the first three points can be found.

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Focal Point in a Pattern Most patterns have a distinctive focal point, which will be discussed in the coming chapters. Sometimes the focal point is outside the pattern, in the empty segment of the chart.

The Splash pattern is notable for its lack of a focal point.

Aspect Patterns I’ve mentioned aspects as components of planetary patterns. Now let’s turn to patterns that are defined by the aspects themselves. In the second type of pattern, we are looking for connections between specific planets. An aspect pattern connects three or more planets so that energy flows from one planet to another to complete a closed circuit. The aspect patterns found within planetary patterns further describe the way the planetary patterns are expressed. An aspect pattern can be made up of any of the planets. I do not include the Ascendant, Midheaven, or other points in aspect patterns. Jansky only used planets to identify patterns, as did Marc Edmund Jones.4 The particular planets color the expression of the pattern. There are several principles at work within aspect patterns: 1. P atterns show the flow of energy through the mandala. When figures with three, four, or more sides form, they indicate planets that are connected in an energy pattern to amplify the aspects between the planets involved. Instead of having a single aspect between two planets, one where the energy can go back and forth along the same line of energy, multiple planets reinforce each other to create a consistent, directed process. As the figure on the preceding page illustrates, planetary patterns define the circle—the outer edge of the mandala—and reflect potential movement through it. They also define the center—the individual.

2. I n aspect patterns, astrologers often draw lines to connect the related planets. In these patterns, lines passing through or close to the center indicate aspects (energy relationships) that touch the core of one’s being. They indicate how (or the activity through which) the individual contacts or is contacted by the world. For example, the opposition aspect passes directly through the center of the chart. This aspect brings awareness of two or more energies that are opposite in the sky but perhaps not so opposite in nature. The energy reflected by the opposition aspect passes through the heart of the individual, bringing awareness of an outer condition and its impact on the inner person. Other aspects that share this quality to some

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degree include the 165° quindecile (reflecting obsessive thought patterns), the 150° quincunx (bringing adjustment in the person or personality), the 144° biquintile (reflecting the internalized processes of talent and creativity), the 135° sesquisquare (reflecting internal agitation), and, to a lesser degree, the 120° trine (reflecting a condition of understanding and acceptance).

3. L ines passing closer to the circumference of the circle indicate energy relationships that have less personal impact in general—that is, those aspects do not touch the core of our being, although they have outer material impact. These aspects include the 30° semisextile (growth through pain), the 45° semisquare (tension), the 60° sextile (opportunities in the outer world that we must grasp), the 72° quintile (the material expression or potential for our talents and creativity), and the 90° square (challenges and events in the outer world that affect us directly in a material way).

4. A spects form patterns (triangles, quadrangles, and such) that describe complex energy relationships. There often is a mix of aspects that indicates where energy flows through and around us. The aspects indicate fundamental ways of meeting the world and understanding the inner self. They often are indicative of personal style that pervades all of our activities. The order of the planets and aspects in a pattern is significant.

5. T he initial examination of each pattern includes the planets involved and the aspects they make. To identify patterns, it is sometimes helpful to “lift” the planets out of the chart and draw them in an empty circle. Once the individual pieces have been considered, you need to synthesize the individual processes into a full expression of the pattern within the chart. As mentioned previously, the pattern is more than the sum of its parts. It becomes the stage upon which major parts of life are acted out.

It also becomes the container for personality traits that build over a lifetime, with aggregate importance to the individual.

The aspect patterns most frequently examined by astrologers include aspects that share a harmonic vibration. They function together in a harmonic way, although sometimes the results are not harmonious. Let’s consider the T-Square. It is composed of 90° and 180° aspects, both of which are part of what is called the fourth harmonic (aspects composed of 0°, 90°, and 180°). The T-Square often causes irritation within an individual. Outside

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forces are constantly brought into one’s awareness, and at the same time challenges and obstacles impede one’s movement. However, these aspect energies do work together. Over time you learn to anticipate the bumps in the metaphorical T-Square road and avoid them or smooth them out.

Occasionally, patterns are formed by aspects from different harmonics. These patterns reflect very subtle personality traits and modes of operation. Often the individual is unaware of the pattern or has to learn to allow energy to flow more smoothly in order to express it well.

Many modern astrologers work only with aspects of even 30° increments, and it was some time before the 30° and 150° aspects were included. Some ancient systems calculated aspects by sign, such that any planet in Aries would trine any planet in Leo. A few patterns have been identified as being significant: the Grand Square, the Grand Trine, and the TSquare are the most notable of these.

In addition to their interrelationships, all the planets in the chart share a relationship to the center—the individual. They reflect certain vibrations at the birth time, based on their unique energies and the signs they occupy. However, planets that also form part of geometric patterns in the chart share harmonic vibrations with each other as well as with the zodiac and the individual. Therefore, harmonic patterns, in addition to describing the nature of the planets, also describe a harmonic relationship between or among the planets that reflects the natural energetic tendencies of the individual. Such definitions are significant to astrology because we tend to act on this kind of harmonic relationship.

People’s personalities and actions are generally consistent with the harmonic relationships indicated in aspect patterns. When planets work together in a pattern, they create a flow of energy that becomes familiar to the individual. We tend to choose existing energy flows rather than create a new one. For example, children tend to select familiar foods and are often reluctant to try anything new. Astrologically, we tend to utilize energies pictured in our charts, and we choose not to try something different. Triangles that link compatible energies in compatible ways will provide us with smooth sailing; triangles that link less compatible planets in less compatible ways will provide challenges. Even so, we still tend to follow the flow of energy through the patterns because it is easier than developing a new style of response.

Astrology offers a way to understand the nature of the available choices. If your goal is to maximize the positive choices, ameliorate the influence of less positive ones, or find

the psychology of chart patterns 17

a way to turn difficult situations into more positive outcomes, then the consideration of astrological chart patterns will be very useful.

Each astrological pattern has its own style of expression. The following chapters contain descriptions of many significant aspect patterns, along with examples of them at work in the charts of people, nations, and events. In addition, there are charts cast for future dates, with delineations of the potential events associated with the charts.

Thus far I have described patterns that are formed among planets that aspect each other. The aspects (harmonic distances between planets) that we will consider are listed in the following table.

Aspect

Harmonic Number of Degrees Orb5

Conjunction

All

0

Opposition

2

180

12

Trine

3

120

10

Square

4

90

10

Quintile

5

72

3

Biquintile

5

144

3

Sextile

6

60

7

Semisquare

8

45

3

Sesquiquadrate 8

135

3

Semisextile

12

30

3

Quincunx

12

150

3

Quindecile

11/24

165

2

The conjunction (0°) can be a participant in all harmonics. Two planets close together in the chart can also be part of any pattern. An example of a simple harmonic is the Grand Trine. This pattern is made up of three planets that form 120° aspects to each other. When they are connected by drawing lines between them, the result is an equilateral triangle, as shown in chart 17.

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Just as 0° is the root of every pattern, a smaller number (lower harmonic) can be part of a pattern involving a higher harmonic (see chart 18). For example, the opposition (second harmonic aspect) is also part of the fourth and eighth harmonics.

Chart 17—Chart with Grand Trine

the psychology of chart patterns 19

First Harmonic: 360° Divided by one

Second Harmonic: 360° Divided by two 180

Third Harmonic: 360° Divided by three 120

240

Fourth Harmonic: 360° Divided by four 90

270

180

Fifth Harmonic: 360° Divided by five 144

72

288

216

Sixth Harmonic: 360° Divided by six 180

120

60

240

300

Eighth Harmonic: 360° Divided by eight 45

135

90

225

180

270

315

Twelfth Harmonic: 360° Divided by twelve 30

60

90

120

150

180

210

240

270

300

330

Chart 18—Harmonics

How to Identify Triangle or Other Figures 1. Begin with one planet in a chart.

2. V isually trace each aspect line from the starting planet to the next planet, along the aspect lines, observing connections as you go. For example, in Robert Jansky’s chart (page 8), begin with Mars. Follow the aspect line (t) from Mars to Venus. Then follow the line (y) from Venus to Mercury. Finally, follow the line (r) from Mercury to Mars. You have traced a t y r triangle.

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3. I f the lines lead you back to your starting planet, you have identified a closed circuit of flow through the chart—an aspect pattern.

4. T he flow can include three or more planets. If there are only two planets (if there is no third planet to complete the connection), then the energy does not flow around the chart. It only flows back and forth between the two planets.

5. Proceed around the chart, considering the aspects for each planet.

6. Color the lines to help identify patterns.

7. S ometimes the same planets are involved in several aspect patterns. For example, in Jansky’s chart, there is a triangle of Saturn, Uranus, and Pluto. There is also a quadrangle of the Sun, Saturn, Uranus, and Pluto.

No Triangles In chart 19, using narrow orbs, we find no triangle pattern. Initially, you may think this means there is no flow of energy. However, a close inspection of the oppositions from the Moon and Saturn to the Sun, Mercury, and Uranus reveals that there is active flow back and forth across the chart in this order: Saturn, Mercury, Moon, Sun, Saturn, Uranus, Moon, Sun. The flow involves only oppositions, so the energy involves only the qualities of one aspect, but the flow among more than two planets is there.

Another synergy occurs in the stellium of planets in Aquarius. Here again, you must allow an orb of more than 8° to consider the Sun-Mercury conjunction. There are three other conjunctions in the chart that have very tight orbs. Thus the energy of the conjunction is prominent in this person’s life.

Exercise Using your own chart, consider the list of planetary patterns in this chapter.

1. Does your chart fit one of the brief definitions closely?

2. Are there two or more options that seem to fit?

3. Do you fail to find a planetary pattern that matches your chart?

Even at this early stage, many charts are easily identified. Some are not so easy. For example, the Bowl and Bundle are obvious, because the planets are grouped together in one-half or

the psychology of chart patterns 21

Chart 19—No Triangle Example Chart

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one-third of the chart. Other patterns, like the Splay and Splash, are harder to determine, because most charts differ from the exact definition. The rest of this book is designed to help you identify and interpret planetary and aspect patterns quickly and easily. In the process, you will learn how to integrate the many details you find in any chart.

In working with clients, it is often helpful to interview with the intention of identifying tendencies toward one pattern or the other. Clients often speak of their lives using terminology of the astrological patterns. Here are some examples of client comments associated with different patterns.

Bundle: “I like to really focus my energy on something intensely.”

Locomotive: “Don’t even try to stop me once I get rolling. But if I ever stop, I may never move again!”

Bowl: “I just get everything figured out, and then it falls apart.”

Bucket: “My whole life is geared toward fulfillment of my objectives, and I am rarely off track.”

Fan: “I mean exactly what I say, right up ’til I change my mind.”

Seesaw: “I like situations where I can go back and forth between tasks. That way I see both sides, and I don’t get bored.”

Splash: “I have many diverse interests, and I can keep them all going.”

Splay: “Don’t give me too many choices! It makes my a little crazy.”

No Indentifiable Pattern: “Even I have a hard time figuring me out. I act very differently in different situations.”

Summary In the following chapters, we will take a look at patterns recognized by most astrologers.

You will also find details about several patterns that are not found in other books. In studying both the planetary patterns and the aspect patterns, you will learn how to see the whole chart as a functioning unit, identify specific patterns within the whole, and understand and work with both the constructive and less productive sides of each pattern. In appendix 3 you will find a listing of aspect patterns, along with the chart names and page numbers where examples of each pattern can be found.

the psychology of chart patterns 23

I often find it helpful to use a blank chart wheel and enter only the planets in a particular pattern. See the last page of this book for a blank wheel that you can copy, or use the blank wheel in your astrology software for this purpose.

For both planetary and aspect patterns, we will consider the ideal pattern, as well as some example charts that approach or fall away from the ideal. Each chapter discusses one of the planetary patterns and examines some of the aspect patterns found in the example charts.

1. M arc Edmund Jones, The Guide to Horoscope Interpretation (Wheaton, IL: Theosophical Publishing House, 1974).

2. Robert Jansky, Planetary Patterns (Venice, CA: Astro-Analytics, 1975), 2.

3. Ibid., 35.

4. Jones, 7.

5. T he orbs listed here are those used by Robert Jansky in his book Planetary Patterns. My personal preference is to use rather narrow aspect orbs. We will see examples throughout the book that could be interpreted differently if narrower orbs were used.