Date: Mon, 13 Nov 2000 12:19:34 -0600
Subject: CZ118, Frankenstein, and Eros

In my notes on the discovery of the tomb of Tutankhamen I dealt with one aspect of the orbital symbolism of the scattered disk objects, comparing them with "resurrected mummies". Since the transneptunian world has a symbolic affinity to the world of the dead, I thought it would be interesting to check again the aspects in the chart of Mary Shelley, the author of Frankenstein.

There is a lot of material on her in the Web. Her "Frankenstein" is usually considered the masterwork of gothic literature, and it is usually explained that she conceived the story during a summer she spent in 1816 in Geneva, especially after the events that started June 16 and ended 6 days later in her vision of the monster. The details of these events are treated by Ken Russell in his film "Gothic" (1986).

I found the following details in (remember Mary was born August 30 1797 at 23h20m according to her mother --from the Zodiacal Zephyr's database):

The Summer of 1816
Mary Shelley spent the greater part of the summer of 1816, when she was nineteen, at the Chapuis in Geneva, Switzerland. The entourage included her stepsister, Claire Clairmont, Shelley, Lord Byron, and John Polidori, Byron's physician. Lord Byron rented the Villa Diodoti on the shores of Lake Geneva, which John Milton, the author of Paradise Lost, had visited in the 1600's . Rousseau and Voltaire had also resided on these shores. Mary considered the area to be sacred to enlightenment.
The weather went from being beautiful and radiant to melodramatically tempestuous. Torrential rains and incredible lightning storms plagued the area, similar to the summer that Mary was born . This incredible meteorological change was due to the eruption of the volcano, Tambora, in Indonesia. The weather, as well as the company and the Genevan district, contributed to the genesis of Frankenstein.
All contributing events that summer intensified on the night of June 16th. Mary and Percy could not return to Chapuis, due to an incredible storm, and spent the night at the Villa Diodati with Byron and Polidori. The group read aloud a collection of German ghost stories, The Fantasmagoriana. In one of the stories, a group of travelers relate to one another supernatural experiences that they had experienced. This inspired Byron to challenge the group to write a ghost story.
Shelley wrote an forgettable story, Byron wrote a story fragment, and Polidori began the "The Vampyre", the first modern vampire tale. Many consider the main character, Lord Ruthven, to be based on Byron. For some time it was thought that Byron had actually written the story but over time it was realized that Dr. Polidori was the author. Unfortunately, Mary was uninspired and did not start writing anything.
The following evening the group continued their late night activities and at midnight Byron recited the poem, Christabel by Samuel T. Coleridge. Percy became overwrought during the reading and perceived Mary as the villainess of the poem. He ran out of the room and apparently created quite a scene.
This incident undoubtedly affected Mary, leading to feelings of guilt that contributed to the story ideas she later developed. For the next couple of days Mary was unable to begin her story. The poets dropped theirs but Mary persisted in her creative endeavor. She felt that her ambitions and her value were at stake and attempted to turn the pressure and frustration into creative energy.
On June 22nd, Byron and Shelley were scheduled to take a boat trip around the lake. The night before their departure the group discussed a subject from de Stael's De l'Allemagne: "whether the principle of life could be discovered and whether scientists could galvanize a corpse of manufactured humanoid". When Mary went to bed, she had a "waking" nightmare: I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, then, on the working of some powerful engine, show signs of life...His success would terrify the artist; he would rush away...hope that...this thing...would subside into dead matter...he opens his eyes; behold the horrid thing stands at his bedside, opening his curtains...
The next morning Mary realized she had found her story and began writing the lines that open Chapter IV of Frankenstein - "It was on a dreary night in November"- She completed the novel in May of 1817 and is was published January 1, 1818.

So everything started that "terrible" night of June 16. If I take the time as 24h GMT, the Sun appears in

Sun = 25,36 Gemini

and if I check the position of CZ118 the day Mary Shelley died (1 Feb. 1851, precession-corrected to the night of June 16):

CZ118 at death = 25,50 Gemini

So what we have is the Sun of that night illuminating CZ118 at Mary's death. This needs not be the monster itself... it may be the gothic atmosphere, or simply Mary's immortality, but one cannot but associate the sdo with the "Golem" monster created from the parts of different corpses and "resurrected" back to life...

But there is more. The account says that she had the vivid dream of the monster the night before June 22. So I take June 22 at 0h GMT, and find:

CZ118 = 18,48 Gemini
Venus = 19,25 Gemini
Lunar Node at Mary's birth = 19,39 Gemini
Chiron at death = 19,47 Sag

We have here a sort of "artistic or intimate completion" (Venus) of the Franskenstein vision, marked by 1999CZ118, and by Chiron at the time of death. The natal Lunar Node adds emphasis to the significance of this.

Now let's go back to the position of CZ118 at death in 25,50 Gemini. It is in opposition with Venus in 27,43 Saggittarius, which makes it look as the genesis of the "intimate or artistic vision" (June 16, conjunction) reaching maturity or "coming out" the day she died (opposition).

We also know that the night of June 21-22 1816 was the Summer solstice, and that the days from June 16 to June 22 which marked the birth of Frankenstein (written later in 1817 and published January 1 1818) the Sun moved from 25 Gemini to 30 Gemini, illuminating the CZ118 and Venus opposition at death, but also:

natal Moon = 28,06 Sagittarius
tr. Eros the night of the vision = 27,40 Gemini
(Venus at death = 27,43 Sagittarius) etc.

which strongly suggests the erotic/sexual biographical overtones of the genesis of her story. For example, she had eloped with Shelley 2 years before when she was 16, the 28th of July 1814:

CZ118 = 18Ge42
Eros = 19Ge29
Moon = 20Sa01

We also find Venus in 27Ge47 that day. These positions repeat pretty well those of June 1816 and those at the time of death.

What do you think Frankenstein has to do with Venus and Eros? Could it be because it came out of the soul of a 19 year-old girl in love? What are the erotic overtones of the story of Frankenstein?

At the following address, you will find a wonderful essay that explains this, apparently written by Minister Todd Eklof (its a wondeful site!):



Date: Wed, 15 Nov 2000 11:41:35 -0600
Subject: Re: CZ118, Frankenstein, and Eros

I would like to try present some thoughts for your consideration about the difference between the scattered disk objects and the centaurs.

As we know, the centaurs are thought to be scattered disk objects that have been "captured" and have entered the region of the higher planets. Normally, by definition, sdo's never come closer to the Sun than Neptune. Neptune is their gravitational barrier, so we may think of them as "external", "outer", "alien", or in general, "non-human", i.e., more "cosmic".

Their unique orbits connect them with the farthest, really unfanthomable depths and distances that no other regular solar system object has ever been even conceived to reach until just 4 years ago, when the first of them was found to the surprise of astronomers. Only the once-only comets with "infinite" orbits from the hypothetical Oort cloud have been known to do this, but the sdo's are a different type of objects altogether, more planet-like (diameters of hundreds of kilometers) and a clear --though odd-- and independent "solar system type" of orbit around the Sun.

If you take a look at the material collected on 1996TL66, you will see that it seems to act as a "dissolver" or destroyer of form, a concept we are familiar with when dealing with Neptune and Pluto. My perception is that TL66 does this in a very intensified way, much more intense than Pluto/Neptune. It is, indeed, like the explosion of the Atom Bomb in Hiroshima and Nagasaki.

Other sdo's don't have to replicate this. They probably have their own individual characteristics, but it is not unreasonable to assume that they all deal in one way of another, and in a very intensified way, more intense than the regular planets, with issues having to do with death and the beyond, the unknown, the "uncharted territory" of human existence. The preliminary observations dealing with the tomb of Tutankhamen, and now with the history of Mary Shelley's "Frankenstein", give some confirmation to this idea.

The story of Frankenstein is particularly interesting because it can help us understand better the difference between the sdo's and the centaurs, considering that we have held the idea that it is a sort of archetype of Nessus. The essay I quoted in my last message from one of the "morning talks" of Todd Eklof can help us to achieve this understanding. Let's see:

My interest in Mary Wollstonecraft Shelley grew from reading Frankenstein and the deep compassion she managed to stir in me for her fictional monster.

--This is centaurean. This is Nessus.

I've often imagined that she must have experienced some deep rejection in her life, perhaps from her parents or her society.   What other kind of  imagination could produce a monster whose narcissistic wounds run so deep that its unfulfilled yearning for love, sympathy and companionship turn it into a raging murderous demon?

--These lines look like the ones I wrote in "The Redemption of Nessus". But perhaps in the shift from human being to a "raging murderous demon" we may have a clue about the sdo's.

With this I don't mean that the sdo's are all terrible and destructive. But I do think that the farther we go into the realms of Neptune, Pluto, and beyond, the hardest it is to integrate thiose experiences and make them really human. This "making them human" is exactly what the centaurs are...

... in a very strange way, the story of Frankenstein seems to somewhat mirror, not her past, but the future she would have...

--This phrase is the key to understanding the meaning of the chart of death.

... Frankenstein, who attempts to make himself a god by creating a new kind of man...

--The sdo's and Kuiper belt objects, the "creation deities"...

... finds himself emotionally tortured, not by god, but by his own monstrous invention as it systematically destroys everyone he loves.

--The centaur Nessus.

In the process of his creation, it is Frankenstein who first abandons everything and everyone he loves, representing his emotional world.  Like so many wanting to avoid the pain and sorrows of life, he retreats into his head where the unpredictability of life can be safely, painlessly calculated.  There he won't have to face the potential loss of those he loves.

--Nessus. The potential loss is not only others but himself. Imagine, for example, a victim of repeated rape in childhood, or a black slave brutally treated in the past century... Now, this is part of a psychological dynamics present in all of us and constantly at work in our lives, only perhaps not so physical... that's why we often identify and suffer with the tragic stories from literature or from real life that have not happened to us.

There in his cold emotionless rationalism he will conquer death by discovering the secret of life, not realizing the secret of life is intimately connected to the mystery of death.

--Yes! Now we are reching the realm of Pluto...

Just as our technology bulldozes forward without a thought for what lies in its path ahead, Frankenstein says: "No one can conceive the variety of feelings which bore me onwards, like a hurricane, in the first enthusiasm of success.  Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world..."

--These are the prophetic sdo's of Mary Shelly's genius speaking... but how destructive and painful the result was! Out of the darkness of death and the mysteries of life (the sdo's), he created Nessus, and gave him a destiny of pain.

... by the way, remember the parody film "The Toxic Avenger"?

... Frankenstein...  leaves the warmth of life for the coldness of ideas, represented by dead disconnected body parts he begins piecing together to create the perfect being.  When those who love him attempt to reach him-his friends, his father, his fiancee-he ignores them by closing himself in his laboratory, the workshop of his mind.

--this is a great description of the psychodynamics of Nessus.

In the same way, when any of us retreat into our heads, to escape the pain of living, we are unable to deal with those who are truly alive.  We are more at home with cold ideas, mental structures, problems and puzzles to be solved, dead things.

--and now we are in the freezing and smashing world of Pluto. We loose ourselves in the creative power of obsession and passion, and identify with the process, thinking that we are that power, flirting with the sdo's like the sorcerer's apprentice, not knowing that we are living very close to death, or just simply we have become living dead.

... Although he was already married with one child, and his wife Harriet was expecting another, Mary, at age sixteen, eloped with Percy Shelley.  Their scandalous life together became the subject of great controversy, as it might even by today's standards.

--Eloping is the ultimate centaurean trespassing. It always includes a price: it becomes the enemy of marriage. Passion and love --or lust--  over-run the socially sanctioned morality, and society decrees and requires that you pay a price for it: you will become an outcast. Love, passion, or lust, will grow untamed as elemental forces of nature, but like Pholus and Nessus leaving the world of Saturn into the Neptune and Pluto realms, they will grow until they fuse with death. This is society's revenge for the insult, for having trespassed what was tabu.

It is here where the sdo's begin. It is easy to make the parallel now between young Mary's soul and Frankenstein.

... Mary Shelley, on the other hand, whose intellectualism caused her to question the constructs of society, chose to herself become the monster, not divorcing herself from her feelings, but honoring them.  Damn society!

--Yes! This is the challenge of the centaurs!

... People she loved and trusted would stick daggers in her sensitive heart by spreading controversial rumors about her.  Others threatened to blackmail and extort money from her if she wanted them to keep her secrets.  To the world, Mary's liberal lifestyle made her a monster to be ridiculed and scorned.

--and feared... ("ridicule and scorn", btw, are Pylenor things...)

Mary had an intimate, though tragic, relationship with death from moment she was born.  Her mother, Mary Wollstonecraft died due to complications from Mary's birth.  Although her father soon remarried, Mary spent a great deal of her life fantasizing about her dead mother, trying to build a relationship with her from beyond the grave. ... It seems the loss of her mother at the moment of Mary's birth was merely an omen of the tragedies to come.

--Now we have come to the world of the sdo's...

I won't list all the tragedies, that you can read by yourselves. From the death of her infant daughter all through the death of her beloved lover and husband, it is as is the sdo's had become "avengers". The sad verse her husband Shelley had written to her is a good expression of sdo's symbolism in its negative sense:

My dearest Mary,
wherefore hast thou gone,
And left me
in the dreary world alone?
Thy form is here indeed
-a lovely one-
But thou are fled,
gone down a dreary road.

The sdo's "take away"...


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