I don’t make as much of a practice of meditating on the geomantic figures as I sometimes feel I should. It’s an important practice, I think, that really opens up some truly amazing doors in the understanding of the geomancer to not just get an intellectual feel for these sixteen symbols of elemental presence or absence, of elemental action, reaction, and interaction, but also to get a truly profound, soul-touching understanding of them. This is crucially important, I claim, for any new geomancer: perhaps even before studying the techniques of geomancy (which are pretty straightforward, really), they should make an effort to truly learn what the figures are, not just what they mean or stand for through rote memorization of correspondence lists or the like. In doing so, we learn more about the figures and how they play out in the world around us.
Back during January, during some of my usual daily prayers, the thought arose to me that maybe I shouldn’t just be meditating on the figures more often than once a year or so, but also to simply consider newer and other ways to understand them. After all, we have all these mathematical ways of understanding the figures, the various operations that can be applied to a figure to transform it into another, but one of the most important for us is addition: the process of taking two figures and combining them mathematically to form a third. This is the fundamental technique that allows us to come up with the Nieces from the Mothers or Daughters, the Witnesses from the Nieces, the Judge from the Witnesses, and the Sentence from the Judge and First Mother. The process of addition can be interpreted in one of three ways:
- Us + Them = Interaction
- Start + End = Transition
- Factor + Context = Conclusion
In all cases, what addition shows us is what happens when you add the symbolism of one figure to the symbolism of another. For instance, consider the two figures Puer + Laetitia = Acquisitio. What could this mean? Well, let’s consider it according to the three models of addition above:
- (Us + Them = Interaction) Our youthful energy, drive, and brazenness is faced with a happy time and people more than happy to uplift us and support us. The combination of like minds, with the enthusiasm of Puer on our side combined with the optimism of Laetitia on the other, yields great gain for us all. However, that gain is only incidental; what matters more is finding people willing to help us as we need to, so that we’re not the only ones striving for something.
- (Start + End = Transition) A stoked start to matters, full of energy and gumption and not a small amount of willingness to step on toes to get our way, is going to indeed get our way and find everything that we seek. It’s this very nature of winning, when all we want to do is win, that will get us to a state of true happiness and bliss. Money isn’t what matters, but it certainly helps us in our overall goals to celebrate the goodness that life has in store for us.
- (Factor + Context = Conclusion) Put a bull in a china shop, and you can expect things to get broken. However, put a bull in a lush field full of other happy cows, and you can expect the bull to be in a happy place, indeed, doing what bulls naturally want to do: eat, sleep, and procreate. When a huge bundle of energy like yourself is put in a situation where it’s own heat and drive is redirected and put to useful ways, all that energy you have goes to natural, proper ends that just works well for everyone in the end, so long as that energy is allowed to do what it naturally needs and wants to do.
With addition, we can expand our notions of 16 geomantic figures to 256 geomantic processes, each of which can be interpreted along the three models above, all of which touch on the same core idea but which can be phrased in different ways appropriate to different models of understanding or different situations in which they appear. This is where the complexity of geomancy truly lies, I feel, and the only way to really navigate these complexities is through having a profound, intuitive understanding of the figures, which only comes about through study, contemplation, and meditation.
To be fair, not all such study, contemplation, and meditation needs to be done sitting on a mat and pathworking or scrying the figures. Sometimes we can take a more logical or synthetic approach as opposed to a mystical one which itself can yield a fertile ground for further meditation, and today, I want to take a new twist on that. We know that addition is an important operation in geomancy that can yield not just new figures but also new understandings of the figures, but we also know that there are 16 figures, which can be reasonably broken down into eight pairs of figures, each pair relating to one of the planets (Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn, and the Nodes). If there’s a pair, then there can be addition:
|Planet||First Figure||Second Figure||Synthesis Figure|
|Sun||Fortuna Maior||Fortuna Minor||Via|
|Nodes||Caput Draconis||Cauda Dracions||Carcer|
What we have here is a table of what happens, what figures result when you add the two figures belonging to the same planet together. Thus, consider the two figures of Mercury, Albus and Coniunctio. If you add them together, you get the figure Rubeus. What might this mean symbolically, not just for the figures of Mercury but for a geomantic understanding of Mercury itself? Remember that the addition of figures shows us what the core themes of interaction, transition, and conclusion are between two forces, but in this case, we’re taking the two sides of each planet and seeing what happens when we synthesize them together.
There are a few observations we can make right off the bat:
- In all cases except for the figures of the Moon, the synthesis figure is both a different figure than either the original figures and also belongs to a different planet than the planet that the original figures belonged to (Jupiter in the case of the figures of Saturn, Mars in the case of Jupiter, etc.).
- Two figures are repeated among the synthesis figures: Carcer (formed from both the figures of the Nodes as well as the figures of Mars) and Via (figures of the Sun and figures of the Moon). Mathematically, this is because these are the only planets whose two figures are inverses of each other, and Via can only result when you add inverses. This suggests that only the figures of the Moon and the Sun are truly opposites of each other and reflect two totally distinct sides of each planet; all the other planets share something in common and show different themes without being complete opposites.
- The synthesis figures are always going to belong to the Moon (Via), Mars (Puer or Rubeus), Jupiter (Laetitia), or Saturn (Carcer or Tristitia). Mercury, Venus, and the Sun do not appear at all in this mix. This is an interesting contrast to the Judges that can result from a geomantic chart, where only Mars is unrepresented as a Judge.
- Saturn has a plurality of synthesis figures with three out of eight, Mars has two, the Moon has two, and Jupiter has one. This is another interesting contrast to the number of figures belonging to the planets for the possible Judges that can form in a chart: the Moon has two possible Judges, the Sun has two, Mercury has one, Venus has one, Jupiter has one, and Saturn has one, with Mars having none at all.
- Three of the four pure-elemental figures (Laetitia, Rubeus, and Tristitia) are present among the synthesis figures, but Albus is left out, the figure of pure Water. Coincidentally, we have the inverse of Albus, Puer, as the synthesis of Jupiter, the figure that has everything but water. In fact, with the exception of Via, all the planetary synthesis figures lack Water entirely as an element.
What we’re building up to is an understanding of a geomantic understanding of the planets (including the pair of Nodes together as a “planet” in its own right, at least for the sake of the model here) by seeing what happens when we add—synthesize—the two figures of a planet. As opposed to simply looking at the different way a planet can express its energy, what we’re arriving at is a geomantic symbol of the core nature or tension of that planet, and how that nature relates to other planets as well.
With that in mind, let’s take a deeper dive into this and see how this plays out for each pair. While I’m sure there’s more to be said than just a simple paragraph about each synthesis pair, this should be enough to get started for the sake of contemplation and meditation on the figures. Note that the focus here is on the synthesis figure, irrespective of the order in which the synthesis takes place (e.g. Albus + Coniunctio and Coniunctio + Albus both add up to Rubeus equally).
Moon: Populus + Via = Via
This one is almost too easy, given that this is the only synthesis of planetary figures that yields a figure of the same planet as its components. However, we should consider why that synthesis figure is Via and not Populus. Via is the figure of change, and that is fundamentally the nature of the Moon: the Moon is in a constant state of flux, never appearing the same from one night to the next in its raw appearance. As the fastest of the seven planets, the Moon constantly shifts between signs and lunar mansions on a scale completely beyond all the other planets, which is why the Moon symbolically has her planetary joy in House III. However, more than that, Via is the one figure that has all four elements present and active; in astrology and astrological magic, the Moon is the planet that gathers up the light of all the other planets and can act as a stand-in for any other planet as necessary. As the lowest of the planets, the Moon is also the closest planet to Earth, the realm of totally manifested reality, and thus the Moon is closest to the realm of the elements themselves. In this light, Via is almost boringly obvious as the figure that relates to the essence of the Moon.
Mercury: Albus + Coniunctio = Rubeus
I suppose it’s super fitting, given that Mercury is generally considered a mutable planet harmonious with the element of Air, that the two Mercurial figures of Albus and Coniunctio add to form the figure whose sole active element is Air: Rubeus. However, Rubeus is generally a hot and dangerous figure, one of deceit, treachery, lies, theft, and confusion—but are these not also things that trickster Mercury is known for? We praise Mercury as being the planet of communication and commerce, travel and trade, language and science, and all this is true, but if a planet can bestow something, it can just as easily corrupt or deny those things, too: if Mercury grants a strong mind, it can also grant a weak or debilitated mind, or one that’s so strong that it becomes a deadly weapon in its own right (cf. “the pen is mightier than the sword”, and spilled ink can lead to spilled blood). Further, we should never ignore the mythological aspects here of Hermēs being the slayer of Argos, in some myths by beheading with a golden sword, in others by bludgeoning with a rock, through with a scheme of trickery and plotting involved in such a thing, and ultimately to rescue (steal) Iō from Hēra. If Albus is the mind at its most refined and noble, then Rubeus is the mind at its most raw and corrupt; it’s perhaps a good thing that Hermēs is the messenger of the gods acting on their behest rather than his own, since if Hermēs were to take his power into his own hands rather than using it on behalf of Zeus and the other gods, as the Homeric Hymn to Hermēs suggests, his greatest inclination is to lie, cheat, steal, deceive, and hoodwink all others endlessly for his own selfish gain. We should remember that the mind is not just a tool but a power unto itself, and without harnessing that power and refining it through wisdom and morality, that power will serve itself more than anything else in ways that are cruel, crude, despicable, and destructive.
Venus: Puella + Amissio = Tristitia
Now this is an odd one: the figures of Venus add up to the figure of Saturn, Sorrow. Off the bat, my first thought is that Saturn has its exaltation in Libra, a sign of Venus, but that’s not saying much about why Tristitia would be the synthesis figure for Venus. There is also the notion that, to me at least, I associate Venus most strongly with the element of Water, and each of the elements has a particular motion associated with it: Air expands and Earth contracts, Fire goes upward and Water goes downward—and Tristitia is a figure of downwards motion, yet that too doesn’t seem to hit on the connection here all that well. There’s something about the raw, simple power of pure Earth that turns the volatile passion of Amissio into the stabilized harmony of Puella: the feeling of having enough, the knowledge that everything is going to be alright, the blessing of experience and memory, the ability to dull or blunt emotional pain (whether one’s own or that of another). All of these things are Earthy, sure, but none of these things strike me as Sorrowful. But there is something here: all these things come about as the result of labor. The fields and the forest may be abundant and fruitful, sure, but what good is all of that if you do not toil in the fields to ensure a harvest, or wander in the fields risking cuts and bites to pluck berries and mushrooms? Venus, in all its splendor, is not a planet known for its labor, but there is a deeper, more profound labor going on behind the pretty face, whether done up for a night out or marred by tears from a bad night: there’s a profound emotional labor going on, either in the process of it that causes emotional volatility or as a result of it that produces emotional stability. Venus, as a primary symbol of femininity, is also a symbol of childbirth, and how arduous and painful can that be, filled with tears and groans and moaning? Tristitia is a profound figure that makes things alright in the end, but the process of that can be hard and long—but always results in pleasure, once the clouds clear from the skies.
Sun: Fortuna Maior + Fortuna Minor = Via
The other synthesis pair of figures that yield Via, it’s somewhat surprising to find that the figures of the Sun synthesize into a figure of the Moon. After all, if Via is all about change, what do we make of this since we know the Sun to be a symbol of perfection and eternity itself? We should still remember that even if the Sun itself is perfect and timeless, how the Sun relates to the Earth is not: the Sun rises and sets and itself marks the most fundamental change in the world, that of the day-night cycle, as well as that of the seasonal cycle as the Sun gradually moves above and below the celestial equator along the ecliptic. Heck, think of the neopagan concept of the Wheel of the Year that discusses the various solar events of solstices, equinoxes, and zodiacal midpoints and how this tells an agricultural story of the birth, growth, triumph, fall, death, and rebirth of the Sun. We should also note the reference in PGM XII.201ff (the Royal Ring of Abrasax ritual) to “yours is the processional way of Heaven”, referring most likely to the starry road of the ecliptic—and what is Via if not literally a road? Rather than Via indicating change itself as it does for the Moon, for the Sun, Via instead indicates the process of change rather than the thing that undergoes change: while the roads we take in life take their toll, the roads themselves remain themselves and do not themselves go anywhere. So too does the Sun show the road that we take, season in and season out, year in and year out, and even though the Sun will always remain the Sun, we constantly change as we follow the Sun throughout the times of life.
Mars: Puer + Rubeus = Carcer
The first of two synthesis pairs that yield Carcer, this pair of the figures of Mars shows a bold hero facing the endlessly tumultuous battle, the stoic soldier fighting against a raving berserker. The notion of Carcer here is that of being locked into battle, a constant and neverending struggle of violence from which one cannot escape. This is the figure that demonstrates the endless drive to break through and break free despite the utter impossibility of doing so (cf. the prisoner unfairly imprisoned who constantly plots and works their way out of prison) as well as the endless anger and frustration of trying to break free from that which binds oneself: we shouldn’t forget that Fire is present in Carcer, too, after all! On top of this, Carcer is the figure of separation, which is the crucial action of Mars: the fundamental purpose of a blade is to cut, which divides one thing from another (whether a rope bridge spanning a chasm or the blood from its body). In struggle, Mars separates one person/side/thing from another, yet the person/side/thing that is separated from the other will always be locked into a struggle with it, whether the struggle of imprisonment, of war, or of life and death itself. While we might consider Puer to be a sword and Rubeus a battleaxe, Carcer would then be a sort of shield, another thing that cuts off one from another without doing much to resolve that separation.
Jupiter: Acquisitio + Laetitia = Puer
Now this is a fun one: the two Jovial figures adding up to a Martial one. Why should two otherwise beneficial figures that lead to happiness—material and financial on the one hand, emotional and spiritual on the other—lead to something that so easily ruins happiness? Crucially, there’s always too much of a good thing, and if any planet exemplifies the idea of “too much”, it’s Jupiter. Jupiter is the planet of expansion, but to expand requires force, and Zeus, as king of Olympos, has all the force in the world to wield, whether for weal or for woe: there is nothing that can withstand the might of Zeus. More than that, when we have good things, we want more good things, and that want, if not tempered by wisdom, can become a corruption of them, as acid (a Martian thing!) dissolves lesser metals. Acquisitio’s desire for wealth can become insatiable greed, and Laetitia’s desire for hope and success can become reckless daring. Jupiter is pure power, and that power is to make things more Jupiter through force, one way or another. After all, how often do kings and rulers in our own world resort to the application of force, oftentimes brutal, whether against their own people or others, in order to satisfy their needs for resources, space, or the fulfillment of their state’s ambitions? If the nature of a king is to rule, then the underlying ability that allows that king to rule is the application of force.
Saturn: Tristitia + Carcer = Laetitia
Just as it’s somewhat surprising to find that the figures of the Sun yield a figure of the Moon, it’s also weird to see the figures of Saturn synthesizing into a figure of Jupiter, doubly so since Laetitia is the reverse of Tristitia. Structurally speaking, this synthesis is a lot like what’s going on with the Mercurial figures (an axial figure plus a pure elemental figure), and in that light, seeing how we took a heavily mythological twist to that analysis, perhaps it’s fitting to bring up that Kronos was once a benevolent, almost Jovial king during the Golden Age when humanity “lived like gods without sorrow of heart, remote and free from toil and grief: miserable age rested not on them…”. It is true that Saturn is the planet is melancholy, depression, toil, labor, old age, decrepitude, and the like, but that’s just its effects from our side: consider that once you strip away everything else that is unessential baggage (a la one’s Saturn return), that which remains is the pure essence of the thing, and this itself is freedom and a kind of joy unto itself, a revealing of truth from the deception of incarnation. Plus, Saturn is the highest of the planets in the heavens, and Laetitia is the figure of upwards motion, indicating Saturn’s top position above all, closest to Divinity and showing the way to true joy where old age and death no longer have any power or presence. The way to such a destination is fraught with endless problems and terrible toil, just as the course of the afterlife in Egyptian thought through the Duat, but so long as you hold true to the course and can survive everything thrown at you, your ultimate destination is a place of eternal joy, not of emotion but beyond all emotion.
Nodes: Caput Draconis + Cauda Draconis = Carcer
The second of two synthesis pairs that yield Carcer, the two figures of the lunar nodes here don’t show the struggle and separation side of Carcer, but rather show the other aspect of this figure as a cycle. Consider the ouroboros, the symbol of eternity of the snake swallowing its tail, an apt symbol for the combination of the Head and Tail of the Dragon: the cycle of beginning and ending is an eternal one, for when one thing ends, another must begin, and where one thing begins, another must have ended. This is the eternal cycle of creation and destruction, the cycle of life and death itself, the cycle of saṃsāra into which we are constantly born time and time again whether as reincarnation or as rebirth. The only way to break out of the prison of the world is to break the world itself; the only way to escape creation is to cease being created and to cease participating in creation entirely. After all, in many religions and cosmologies, the world has a fundamental start point and a fundamental end point, but these are often outside time itself. In this, Carcer represents not just the cyclical creation/destruction of the cosmos, but also the walls that separate that which is inside creation from that which outside it entirely; this is the dragon in the ninth heaven, above the fixed stars themselves within creation but still below the domain of God outside creation.
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