Attached is his chart and the header picture is of Frome, England. Who is he we found no clues except that Astrotheme.org cites Jones. If his map is to be trusted, Herschell was a bright fellow with fine taste. His ascendant at 14 Taurus is the same as Annie Besant’s North Node and conjunct the fixed star Alpherax that the Kepler software does not show. Alpherax is supposed to bestow fine speaking abilities and many good friends. His chart shows no fire so that rather helps in being amiable.
The preponderance in the seventh house is similar to von Hindenburg’s but that’s about all they have in common. Herschell is a see-saw temperament and an enigma.
Mary Astor was in many film hits in the 1930’s and early 40’s before her alcoholism took its toll, most notably Dodsworth with Walter Huston and then the Maltese Falcon directed by Huston’s son, John Houston. In her youth, as shown by the picture above, the raven haired actress was quite a beauty with her long locks against her porcelain skin thanks to her Irish-Portguese mother while her immigrant father, Oskar, from Berlin contributed her angular features. It was a striking package.
Mary Astor was born on May 3, 1906 in Quincy Illinois at 7:30 pm giving her a 20 Scorpio Rising that is inconjunct its lord in the seventh house in Gemini. Mars is part of large preponderance in he seventh house of relationships, including some rather pertinent asteroids. From the top, 21.19 Pluto is partile Asteroid Geranium, transforming one flower (geraniums that come from Mexico, and Mary’s second husband was Mexican) to an Aster.
Her Venus at 02.22 Gemini is sextile Asteroid Bridget in Aries that is working as symbol for her role as Brigid O’Shaunessey in the classic, The Maltese Falcon — it is also conjunct her Mercury there in the fifth house. No doubt John Houston made a good choice of Astor for the O’Shaunessey role and one wonders how much the Purple Diaries imbroglio helped in that choice as Brigid and Mary had much in common: using men and sex without a qualm is a major thread in both the flick and the custody court case. Falcon is a quintessential film noir, Astor is the classic femme fatale — duplicitous and manipulative and a murderess. She lies, connives and entreats Bogart who while darkly handsome complete with a trench coat and hat askew, is a bit of an fool falling backwards for Aster and then only at the end realizing his sexual vulnerability led his astray.
Mars and Venus are conjunct the Asteroid Siwa for speech or sound, and here while Mary was quiet as a mouse about her flings, she could not resist writing in her diary her antics. That makes sense as Venus is conjunct the Arabian part of writing, and true enough years later, Mary Astor wrote her own book, The Incredible Charlie Carew, though most would attribute her diary to her major outing which she later released as her autobiography. She did not stop there but ended up writing about a dozen books, staying active long after her Hollywood career had ended.
Her she is in one of her early films with Douglas Fairbanks, sr in Don Q, Son of Zorro. It’s a silent. Mary shows up around the 17 minute mark.
Mary Astor’s Line of Vitality is trine.
Her line of Efficiency is conjunct.
Her line of Motivation is square
Her line of culture is in opposition.
With all four departments of self-ordering found, mary Astor was quite the chameleon and could adapt her exterior personality to whatever environment/opportunity was at hand.
Woody Allen reviews Astor’s Purple Diaries for the New York Times
MARY ASTOR’S PURPLE DIARY The Great American Sex Scandal of 1936
By Edward Sorel
Illustrated. 167 pp. Liveright Publishing. $25.95.
Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to “Moose Murders.” Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. He not only does he then write a terrific book, but illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading?
But why Mary Astor? Just because she happened to be under his linoleum? I mean I liked Mary Astor. I enjoyed seeing her up on the screen, but I never lost my heart to her the way Sorel has, and if it had been my linoleum she surfaced from, I wouldn’t have felt driven to research all the interesting details that have mesmerized the author. To me, Mary Astor was a very good, solid actress but not the exciting equal of, say, Bette Davis or Vivien Leigh. (But then again, who was the equal of Vivien Leigh?)
And when Bogart, in “The Maltese Falcon,” says his murdered partner was too smart a detective to follow a man he was shadowing up a blind alley but then tells Astor, “But he’d have gone up there with you, angel. . . . He’d have looked you up and down and licked his lips and gone, grinning from ear to ear,” I nodded.
The truth is I can think of a dozen other femmes fatales I’d prefer to be lured up a dark alley with to enjoy a beating or violent death. Even Sorel, who is so smitten with this movie star that he wants to see her put on a postage stamp, agrees she never achieved the sensual humidity of Rita Hayworth or Marilyn Monroe.
So what did Mary Astor have that such a good book could be written about her? Well, for one thing, she had a major scandal — and a torrid one at that. And while she may not have projected sex appeal, she did reek of aristocracy, or at least her name, Astor, smacked of the manor, Astoria and the Astor Hotel. Of course she was in no way related to the richest man (Jacob Astor) who went down on the Titanic and it was wasn’t even her real name. She was born Lucile Vasconcellos Langhanke, but that would have sunk the marquee and probably her career with it.
After turning 17, despite her pair of helicopter parents, she was already having a major affair with John Barrymore, who was hugely older than she, infinitely more experienced, a big league boozer and one of the greatest actors on the American stage. A partnering like theirs required clandestine meetings and stolen moments of passion; they met in hotel rooms. The affair, with its close calls and heavy breathing, is chronicled by Sorel with pace and humor.
At first, Lucile Langhanke was doing some small acting, being noticed mainly for her looks. She soon winds up in the film capital and captures the imagination of Jesse Lasky, a studio bigwig who wants to sign her for pictures. Lasky changes her unwieldy Teutonic birth name, and suddenly she is transmogrified into Mary Astor. At first she does small parts in undistinguished celluloid nonsense, but eventually she gains some traction and finds herself a promising actress running with the West Coast party set.
As the affair with Barrymore has petered out, she meets Ken Hawks, the brother of the great director Howard Hawks. Him she marries, and while he proves companionable as a husband, from the get-go she notices a certain sluggish quality to his libido. Red-blooded herself, young Mary begins an affair with a producer who impregnates her. She doesn’t want the baby, but an abortion would be a career meltdown given her Catholic upbringing and the public mindset at the time. She enters some tricked-out joint that advertises what they call “therapeutic treatment” but in fact is a cover for the necessary surgery to send her home appropriately pristine.
Cut back to Ken Hawks, her amiable milchidik bedmate who is directing an airplane epic, and wouldn’t you know it, while shooting a flying scene, his own plane crashes and Mary is a widow.
Mary is sad. Mary drinks and works, eventually meeting Franklyn Thorpe, a jazzy L.A. medic,a doctor to the stars with a celebrated clientele. He and Mary marry, and in time, have a child together, but Thorpe fails the trial by mattress that seems to trip up certain men in Mary’s life.
Sorel notes she makes bad choices, and Thorpe is one of them. But while married life between the percales is again humdrum and the relationship is deteriorating, her career is now ascending, and she lands a choice part in the film version of the hit Broadway play “Dodsworth.” One of the stars is the wonderful Walter Huston, and playing his wife is Ruth Chatterton.
Mary is the third of the illustrious cast, a prestige score for her. At this point she would really like to be rid of her husband, and who can blame her? His practice has fallen off, and he is dependent on Mary’s fame and fortune for status, much the same as her parasitic father.
Dr. Thorpe does not relish the idea of a divorce, and the pair drone on in limbo, paralyzed by those twin gods of failing matrimony, Fear and Inertia. Then comes a trip to New York for Mary, away from her husband. Her hormones tintinnabulating as usual, one senses the critical mass for playing around has been reached.
In New York she is introduced by Bennett Cerf to George S. Kaufman, the most successful comic playwright on Broadway. As much as I love Kaufman and grew up idolizing his inspiration and craftsmanship, I would not rank him Adonis-wise with, say, Clark Gable or Gary Cooper. Despite his brilliant mind and directorial skills, I have to say he was basically a nerdy-looking Jew, complete with standard tribal hooter and the natural blessing of wit. Behind his long, gloomy face and spectacles this man could never be mistaken for a boudoir mechanic.
Kaufman was also a terrified germophobe, and here we see how deep kissing with a hot partner always trumps bacteria. Kaufman swept Mary off her feet. In addition to taking her to empyrean heights in bed, he took her to the theater, to the opera, to “21” and the fabled Algonquin Round Table for lunches alongside Woollcott, Benchley and viper-sharp Dorothy Parker, also Jewish.
Another pleasure of the book that Sorel treated me to is a quote of Dorothy Parker’s I never came across before, and I am a devoted Algonquin fan. Apparently disgusted with the trash the Hollywood studios turned out, Miss Parker quipped that MGM stood for “Metro-Goldwyn-Merde.” He also quotes Jewish Lillian Hellman’s great description of a vacuous actress: “Her face is unclouded by thought.”
When the clock strikes midnight and she must return to California, she presses her husband for that divorce but Thorpe remains intransigent. Opposing lawyers take up arms, and a custody fight ensues for the Thorpes’ only child. The doctor uses the daughter as a weapon to prevent Mary from leaving him. He claims she is unfit as a mother to have possession of their child, and as proof, he says she is a flagrant adulteress. To bear that out, he offers up her diary.
Can you believe this woman committed those four-times-a-night workouts with Kaufman to print and, worse, her husband has somehow secured said raunchy volume? In it are graphic accounts of the sex between this married mother and another woman’s spouse. Yes, Kaufman too was a married man, and as the first accounts of their purple canoodling hit the tabloids, the court fight turns into a blood bath.
Of course it must be said Kaufman and his wife Beatrice had an open marriage, which meant both were free to explore their own romantic adventures without threat to the household. While these ground rules make cheating a nonissue for Kaufman, the public embarrassment of having one’s every fondle logged rhapsodically, even with an A-plus report card, can make a man somewhat self-conscious entering a restaurant.
Now imagine you’re Sam Goldwyn sitting on top of his liability with half a movie in the can and one of the stars is suddenly famously wicked. What would you do? Goldwyn did what any businessman in crisis mode would do. He called a meeting. Should they fire Mary, eat the money already spent filming half a movie, recast and begin again? Do they scrap the whole project altogether and flush away production costs plus the numerous bucks they shelled out to buy the rights?
Meanwhile, as the tabloids ran excerpts from the portion of the diary allowed in evidence, many a celebrity sweated audibly over the nightmare that he might wind up doing a walk-on part in the next installment of Astor’s caloric hanky-panky. Fortunately for all, the judge on the case was into the studio heads for several career favors, and at this point I will bail and refer you to Sorel’s book for an account of how things turned out, which he does much better than I ever could.
It is, of course, common knowledge that Mary did go on eventually to do “The Maltese Falcon” and “Meet Me in St. Louis,” two great American movies, and she was quite effective in the disparate roles. She continued to act, she retired, wrote books that hit the best-seller lists and in a moving finale to this whole mishegas, she gets done in by the demon rum, the ravages of age and the toll of a life lived on an emotional trampoline.
Her last days are spent in an actors’ retirement home, a very lovely one with individual cottages. There is much good companionship available there, but she mostly chooses to dine alone and to be by herself. She dies in bed peacefully.
I believe it was Sartre who said all lives were of equal value and who am I to argue the point, but some lives are so much more fun to read about than others, and Sorel has told Astor’s story with great flair and energy.
Recently I was reading a series of essays, “English Romantic Poets: Modern Essays in Criticism” edited by M. H. Abrams in 1960. One writer, I think it was the poet Donald Davie, mentioned how when he was young and first introduced to the Romantics he loved Shelley to the point of memorizing his poems and quoting him freely. Now writing in 1956 and 25 years after university, he found there were few poems by him he could bare to read, much less quote. I found that hilarious because as a young lit student, I too loved Shelley and like he, here are a few poems by him I can tolerate as I ot older , Ozymandias & Ode to the West Wind being foremost. Vergil’s 4th Georgics that inspired me to read that epic in the original, and raise bees, seems horribly insipid now. There is one or two more poems that are tolerable, but too much Shelley is a horrible wooden harangue, belaboring the points and forgetting the cadence in almost a clap-trap staccato beat. It is a pity; he could be brilliant.
I met a traveller from an antique land
Who said: `Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
And on the pedestal these words appear —
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.’
Now concerning his claim to fame is as the father to his wife’s Mary Godwin Shelley’s Frankenstein. One old version of the flick says Mrs. Shelley wrote it in a contest, Abram’s book mentions that, and it s is attributed to Robert Southey; the essayist does not dispute it as apocryphal, so perhaps it is true.
Looking at his chart created via Matrix Software’s $69.00 program, WinStar Express, we get 04 Sagittarius for his ascendant or the City of Ecbatan at dawn. It encapsulates the idea of a person extending himself into his environment. Thomas Jefferson Hogg, his friend at Oxford, wrote that Shelley’s rooms were filled with:
books, boots, papers, shoes, philosophical instruments, clothes, pistols, linen, crockery, ammunition, and phials innumerable, with money, stockings, prints, crucibles, bags, and boxes were scattered on the floor and in every place. . . . The tables, and especially the carpet, were already stained with large spots of various hues, which frequently proclaimed the agency of fire. An electrical machine, an air pump, the galvanic trough, a solar microscope, and large glass jars and receivers, were conspicuous amidst the mass of matter.
The Abrams article mentioned that “it often remarked that Shelley read with a book held right up to his eyes, lying close to the fire.”
The latter comment makes us wonder if he was nearsighted. This is possible as a Fixed Star Aquila is right near his Ascendant, making his eyesight poor early on. According to Ptolemy gives great imagination, strong passions, and a dominating character. All true if we review his liaisons with Harriet Westbrook and then Mary Godwin, and how much he impressed Lord Byron to the extent of effecting that one’s poetry, as mentioned in the Abrams’ volume, much to the latter’s regret.
Shelley is definitely a see-saw temperament type, almost a perfect prototype. Half of his planets are in the Southern hemisphere and the rest below. There are two angles between them — one a square and the other a sextile. Plus, each half has a corresponding opposition to unite them: Pluto in Aquarius to Uranus in Leo and then Saturn to Neptune in Libra. His Mercury like Chef Bourdain is in a separate house from it’s sun showing Shelley had strong opinions and was an independent thinker. Mars is partile Jupiter showing his prolific poetry in the tenth fulfilling his dreams but also conjunct his Neptune in the eleventh, showing his hospitality to his friends and love of animals.
the second grouping in the Southern hemisphere in the eighth house has Venus partile the Sun and then conjunct Uranus. The first aspect does not bode well for marriage, as Harriet learned, and suggests jealousy and combativeness, as perhaps Mary did. Venus is semi-sextile Mercury that was unfortunate for his son, Charles, who died after being hit by lightning bolt that the mythological Hermes (Greek Hermes; Roman Mercury) used for transport.
Enter the Creature
That’s the Southern half, the public half of his chart. Now the hidden half tilts towards Mary, highlighted by the Part of Fortune in the seventh house of relationships and opportunities that joins the two hemispheres via a friendly and helpful sextile to Saturn.
It is that sextile that changes and transmutes the Poet into the Father of the “Creature,” as Mary calls him in her book. He or is it It? Shows up as Saturn, the old Kronos of the Olympic gods that is Father Time, or in her version, Father Resetting Time as he comes to life again, Prometheus Reborn, in the creative house of offspring of the fifth in Taurus. Could anything be more fitting for the creature created from bits of this and that dug up from graveyard? Mary, is obviously the Part of Fortune at 01.10 Cancer, that is perfect for such a devoted mother (and she was to their sole child Percy Florence, as well). That point, for the Part of Fortune is an Arabian calculation like the ascendant or Midheaven, and not a planet in space, is then square Neptune in the Eleventh, representing the popularly of the “creature” eclipsed for a time his own poetry which led to rumours that Shelley committed suicide and sank the Don Juan (named for his friend Byron’s masterpiece) drowning of all hands aboard the vessel.
To be honest, that last tall tale seems to be a “romanticized” version of his death. There is not much in his chart that suggests suicide, though a lot that supports his lofty ideals (Saturn sextile Moon suggests his vegetarianism that Mahatma Gandhi so admired and Uranus conjunct the Sun-Venus his pacifism), but nothing to suggest suicide. Still it makes for a good tale and as John Ford says in the Man who shot Liberty Valance, “When the Legend becomes Fact, Print the Legend,” and so for Shelley the suicide makes good copy for a “Romantic Hero.”
Jack Dempsey is one of Marc Jones’s notables and comes in at 228. He does not provide the place, but that’s easy enough to fix, he was born in a coal mining town in Colorado. The time Jones has is also on Astro.com but does not work with the known biographical details of his life, so we rectified him to a 4:40 PM birth time for his birthplace Manassa, Colorado. For those using the Sabian Symbols book, both charts are supplied.
Manassa is high in the Rockies, at 7.664 feet or 2,344 meter high. It was founded in 1851 by Mormons who it Manasseh, the son of Joseph of the many-coloured coat.¹ Once the mining went, most of the original settlers did too.
The Dempsey’s were a mixture of Irish & English Jews & Catholics and they came to Manasseh like everyone else for the mining, but shortly after William Harrison, named after the ninth president of the United States, the whole family converted to the prevailing Mormonism. William Harry as he was originally called, got his stage name Jack from his elder brothers who all fought under the “Dempsey” name and bestowed “Jack” to their youngest brother in honor of the Nonpareil 2 himself.
Among several, one reason for the later time is Sirius, the Dog Star, conjunct his Mercury in the eighth house important because Dempsey made another fortune running his nightclub in New York City (liquor and its sales are eighth house Scorpian issues because they are liquid and cause inebriation).
The fixed star Sirius is an old star and it is depicted conjunct to Jupiter in the Dendera Zodiac — the oldest zodiac around. Cleopatra’s father supposedly died in 51 BC when the Sirius-Jupiter conjunction occurred and the great Nile queen herself expired August 12th 30 BC. While the Egyptian calendar was lunar based, each month having about 30 days each, it was timed to the helical 4 rising of Sirius and so important deaths were noted when they coincided with that.
Another star in that vicinity is Canopus, also conjunct Mercury. This one bestows a headstrong nature & subsequent loss through domestic affairs — he was married four times excepting the last most lasting just a few years. Neptune in the seventh is conjunct Fixed Star Rigel, this gives Jack an energetic but cautious, disposition making him a natural diplomat and generous to those less fortunate — he spearheaded a fund for down and out fellow boxer Joe Lewis when the latter fell upon rough times.
Some time later Joseph was told, “Your father is ill.” So he took his two sons Manasseh and Ephraim along with him.,
Genesis chapter 48, verse 1.
Nonpareil Jack Dempsey was actually stage for the original too. His real name was John Edward Kelly and was an Irish-born American boxer and first holder of the World Middleweight Championship in a true international bout against Australian Billy McCarthy. He was nicknamed “Nonpareil” because he was unbeatable and never quit.
Our header shot is from George Bellow’s painting Dempsey and Firpo being on exhibition at the Metropolitan Museum of Art this fall. It memorializes the match between the “Manassa Mauler,” and the “Bull of the Pampas,” held at the Polo Grounds in New York in September 1923 before 82,000 spectators.
Bellows’s print focuses on the moment Dempsey was hoisted back into the ring, the legality of which was later questioned, resulting in controversy. The artist inserted his self-portrait in the lower left corner of the composition, with his attention cast on the most dramatic moment of the action-filled fight.
Sirius, the brightest star in the heavens, travels a helical (helix or spiral) path through space.
The header image is from History Unrevealed, August 2018 issue. His memoriam date is August 23, Julian style, 1305. Since we did Robert the Bruce we felt it was only right to do him as well, plus the magazine attributes to him a great quote.
With modern planets, and a execution time of 12 noon, his lutonian handle gets the Hyperion symbol of a “Mouse sits up to reach a bit of food. ” McClung, an acolyte of Marc Jones, writes that this is an “honest endeavour undertaken for a great result, as the cause is large and its effect is large.” He attributes the keyword of “Striving.” Despite that, we think that 6 am and sunrise is also possible. We recommend you play around with those two times and make your decision. Drop us a line with your findings.
Whatever the time, since Pluto very slow moving, it is is opposite the Sun and the point focus (of this T-Square) is at the North Node hidden in the twelfth house or in the third for 6am. Was he betrayed by a jealous associate? The Sun is sextile exactly to Uranus telling us he was a leader, not always tactful and identified with a Cause; nothing here to substantiate trickery. At 12 noon the Sun conjunct the Midheaven tells us that the English felt that by making him an example they would snuffing out rebellion; obviously that did not work. At 6 am the Sun is square the Midheaven and now suggests that they were using him to build a relationship.
As Uranus is conjunct Neptune, Wallace had an aura of mysticism about him, Gibson in Braveheart picked up on that with Wallace channeling his departed wife’s image at important points in the film, her being an emotional force that was evocative beyond time. This is supported with Uranus teetering on the twelfth house cusp at 29 Libra 59, and an image of a “race car painted green”; the keyword is audacity.” We have to wonder, whose.
Perhaps we need to create a nativity for our Hero and get a better picture of how this happened. There is no known date for Wallace. Most sites and books claim 1270, and that is good enough for us. After a process of elimination, we went with March 21, 1270 at Paisley, Scotland, also a commonly cited birth place. That combination with a sunrise birth gives the following chart.
His ascendant is 17.17 Sagittarius in the first house, a promising sign that if we are not on the mark, we are close, for the ascendant there tells us that he was forward looking. the read lines give close aspects, that we leave for your enjoyment.
The Inconjunct between the Moon and Mars in his death chart, now clearly spotted, tells that there were men around him who were jealous of his popularity and believed that they could fill his shoes.
Mars is square the Sun at 29 Leo, that we know is the fixed Star Regulus, pointing to a royal connection. Gibson in Braveheart believes that Robert the Bruce got rid of a formidable challenger; this chart would say he’s right.
On a modern note, Black Moon Lilith is in the Eighth House of sexual adventure for the accident chart and opposite Neptune in the second house. It would seem that money interchange was the issue for the murderer and he was outraged that he would have to pay for these services.
The Part of Fortune, Leo 28, gets an the symbol of “friends shaking hands” from Carelli where he notes that this is a transaction sans money or any type of commerce. The murderer would agree there — he obviously felt his transaction with the streetwalker was of mutual benefit; she obviously disagreed.
Angry and petulant, he struck out against her insinuations – Neptune is sextile the stellium in the fourth house (her walking her beat) and the fifth house ending with violent Mars semi-sextile the Part of Fortune in the sixth House at 28 Leo conjunct Fixed Square Al-Talhah (here portending violence) & also square Neptune 12 Gemini (ruling seaman) and Pluto (erratic or crazy behaviour).
Interesting is how Alan Leo’s Astrologer’s Magazine noted how the death was met by the house and planets separation.
P.S. While Pluto is depicted on the chart, because the incident occurred in 1893 we are ignoring its impact; it is not on the download chart.