Myth is the game of the creative imagination enlightening the divine in the human

René Antoine Houasse (1645-1710) – The dispute between Minerva and Neptune over the name to be assigned to Athens – Musée National des châteaux de Versailles et Trianon

Italian version

The theme of planetary mythological attributions has always been considered an essential element for understanding the personal meaning that the planet expresses for the individual. Unfortunately, however, the data lacks any information enlightening us on what links the Olympic events to the procession of the planets.

The study of mythology cannot fail to take into consideration the etymology of the word itself, the μῦϑος, narration or word handed down orally. According to Plato, the myth reveals us an approximation of reality but made out of necessity to render in a poetic, symbolic and aesthetic way what exceeds human vision’s possibilities. We indeed cannot dwell on the derivations and historical borrowings which Greek mythology is bound to – think of the Indo-European origin of many linguistic roots. But what is essential to observe is that a culture that bears the title of ‘traditional’ has constantly developed a series of tales, in agreement with his specific way of expressing himself, which all refer to making available most of those concepts going beyond immanent experience. Greek mythology is no exception, and for obvious historical and geographical reasons, it is the one that has emerged in a leading way on the horizon of Western thought.

A conception of astrology trying to demonstrate its scientific accuracy does not go far towards the solution of our topic since it assumes a separation between the observer and the phenomenon, making objective a fact that is instead an integral part of a unitary, one-way process. Astrology bases itself on the pure intuition of a reality in which tangible vision – in this case, the celestial sphere as it appears from the earth observatory – and subjective perception combined with mental processes contribute to building the foundations of our experiential reality. Then it becomes possible to affirm that heaven (what is above) is nothing other than our internal organisation (what is below), appearing outside because we live in a dualistic environment. It does not mean that there is no reality, but that the observer’s awareness is an integral part of reality itself.

The astrological sky is made up of rhythms and relationships between the different planetary players. And it is precisely such dance that, far from having a meaning in its own, becomes the show on which our interiority, supported by the creative imagination, weaves the plot of divine adventures, plays in giving the world a meaning formed of relationships embodied in the Olympic events. Myth, with its range of celestial representations, finds in astrology an ordering principle that allows it to project itself – and therefore to unite in essence – to the contents of our consciousness. Thus astrology becomes a sign, a symbol – a fabulous tale – which explores reality no longer in a distinct and one-sided way but as part of a representation of which we are both interpreters and creators.


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