Capricorn 05°: Indians on the warpath. While some men row a well-filled canoe, others in it perform a war dance.

22:18, 12/27/2014, Capricorn 05°

p. 232     AN ASTROLOGICAL MANDALA, by Dane Rudhyar (1973)

PHASE 275 (CAPRICORN 05°): INDIANS ON THE WARPATH. WHILE SOME MEN ROW A WELL-FILLED CANOE, OTHERS IN IT PERFORM A WAR DANCE.

KEYNOTE: The mobilization of physical and emotional energies in a spirit of conquest.

War is often undertaken mainly to mobilize the common will and avoid individualistic disintegration. The "Indian chief" in the symbol for Capricorn 01° may find it convenient of necessary to arouse the war spirit—perhaps under a very slight provocation—in order to more firmly establish his authority. The scene presents an extremely dynamic situation. The group (or the nation) affirms its solidarity and unity of purpose by taking the offensive. The group-life demands constant activity and challenges in order to remain healthy.

This is the last symbol of the fifty-fifth sequence. It suggests that AGGRESSIVENESS may be a necessary ingredient in the activation of the potential of growth inherent in any social group.

Girlcapsule's Response:

I don't feel inspired by this symbol. Let's do a kind of cross-comparison for fun...based on the blue-snake image as connected to the number 154 (the page on which in The Red Book the blue snake is located). This might flop, but we must anyway add it to the record. Also, I find I benefit from working in a variety of ways in order to draw out synchronicity's resonance, and playing with numbers is one of them.

I will source two other books—the ones seen in the image here—Joseph Campbell's The Hero With a Thousand Faces, and Arthur I. Miller's 137; Jung, Pauli, and the Pursuit of a Scientific Obsession.

Here's the blue-snake image from Jung's The Red Book.

Ok, from page 154 of Joseph Campbell's Hero there is the following image which is labeled "Androgynous Ancestor (Sudan)". Fascinating resonance with Jung's image—it's like seeing the image of the human figure from two different angles. The feet are standing on some rounded dome-like object in each, and the shape of the golden halo on the head of Jung's Philemon is echoed on the carving below. Where in Jung's image we see wings coming out across the back, there is more of a wing-like cross-section shown which seems also connected with the spine on the carving below. The position of the hands have shifted from about the solar plexus (Jung's) to the root chakra in the Sudanese figure.



From Miller's 137 on page 154  there is a discussion of  the next illustration. This image below is a symbol Wolfgang Pauli received once in a dream. Pauli called it the "world clock". Here's Miller's description:

The World Clock

Then Pauli has a dream that he calls "the great vision—the vision of the world clock." It is an impression of "the most sublime harmony," he tells Jung, and fills him with happiness and peace:

There is a vertical and a horizontal circle, having a common center. This is a world clock. It is supported by a black bird. The vertical circle is a blue disk with a white border divided into 4x8=32 partitions. A pointer rotates upon it. The horizontal circle consists of four colors. On it stand four little men with pendulums and around it laid the ring that was once dark and is now golden...The "clock" has three rhythms or pulses:

1. The small pulse: the pointer on the blue vertical disk advances by 1/32.
2. The middle pulse: one complete revolution of the pointer. At the same time the horizontal circle advances by 1/32.
3. The great pulse: 32 middle pulses are equal to one revolution of the golden ring.

Some things of note: this mandala of Pauli's is three-dimensional, also the blue circle represents time (important to our on-going conversation and the role that blue is playing). Also mentioned is the significant similarity of Pauli's vision to one had by the fourteenth-century Norman poet Guillaume de Digulleville. In the middle of page 154 set off in italic type is the following phrase: Guillaume's vision and Pauli's mandala—the quest for the fourth. 

Here's a quote from page 154 about Pauli's world-clock:

The clock on the blue circle sets the entire process in motion. This, says Jung, is because the Trinity is the pulse of the threefold rhythm of the system, which in turn is based on thirty-two, a multiple of four. The circle and the quaternity interpenetrate so that each is contained in the other: three is contained in the four.

There are many things to notice now, first is a drawing forth of our previous discussion regarding time as being multi-layered as well as mysteriously interrelated in a timeless manner. A revisiting of our suppositions about the function of time seems key to the overall theme of this blog-series. Another thing I have been noticing is a trend in the images I've shared to represent beings in wonky proportion to each other. Also, the idea of holons (whole beings, whole worlds,) dynamically interpenetrating.

Notice again in Jung's image the size of man, wing-span, snake, tree, and building in size relative to each other. The wing-span in Jung's image draws my attention back to the size of the black-bird in Pauli's dream-vision.

What wants to be noticed? I will keep asking this question and include some of my own insight, however unsupportable, to follow the thread that is unfolding through me. I can admit here that when I first saw the spine of the Sudanese androgynous ancestor it struck me that the negative space could represent multiple worlds or portholes-of-passage contained within the figure. Also, to have the term androgynous come up is interesting...suggestive of a slipping away from, or transcending the distinction of opposites, arguably.

To supplement our discussion of all things protean, I believe it is relevant to share the following video of a 3-dimensional holographic projection. Mind-blowing.