by The balance of forms
The planetary symbol of Venus facilitates the harmonisation of vital, emotional, and social structures. As a first distinction, it is essential to differentiate between the nocturnal Venus of Taurus, characterised by its substantial and formative nature, and the diurnal Venus domiciled in Libra, which influences behavioural aspects. Following the zodiac’s seasonal sequence after the spring equinox, Venus, accompanied by Martian impulsiveness, serves as a receptacle of creative power, offering substance and fertile potential. Conversely, the period preceding the autumn equinox, when crops ripen, represents a Venus attuned to the needs of the new seasonal phase, completing its evolutionary cycle. In Greek mythology, this dual role is embodied by the figures of Aphrodite and Astarte, as well as the Sumerian Ishtar.
The myth
According to Hesiod’s Theogony, Aphrodite’s origins trace back to the foam (άfρóς) created by the severed genitals of Uranus, which were thrown into the sea by his son, Kronos Saturn. In the Homeric Iliad, she is portrayed as Zeus and Dione’s daughter, with speculation on her lineage as Titaness or Oceanid. Plato’s Symposium suggests that these origins represent Aphrodite Urania (pure and celestial) and Aphrodite Pandémia (associated with all people and skilled in seduction and physical love), respectively. During the Hellenistic period, Aphrodite became linked to the Egyptian Goddess Isis. Over time, she assumed numerous roles, including protector of the dead and the pharaoh, mother goddess, Goddess of magic and wisdom, and defender of the nations. The ancient Romans identified Aphrodite with Venus, originally the Goddess of agriculture, vegetation, and spring.
Since the Bronze Age, Astarte, the Hellenisation of Ashtoreth or Ishtar, has been widely revered in Semitic and Mediterranean cultures. She took various names and forms across different societies. Her origins can be traced back to the third millennium BC with the Sumerian Inanna, regarded as the primordial goddess of the planet Venus. During the eighteenth dynasty in Egypt, she was remarkably esteemed in her warrior guise, a role equated with the goddess Anat. Initially associated with fertility, sexuality, and war, her character evolved in Greece during the Hellenistic period and continued to merge with that of Aphrodite in Roman times. Notably, Venus, revered by the Romans as the goddess of beauty, love, fertility, and seduction, also assumed the role of protector of victories and military strategies under the name of Minerva, the Roman equivalent of Athena.
However, these necessarily sketchy notes on the myth of Venus underscore the symbolism associated with the planet’s nocturnal and diurnal aspects. In its nocturnal manifestation, Venus is linked to Aphrodite Pandémia and the Egyptian Isis. She is almost a lunar image, with the difference that here, the aspect of gestation does not prevail but that of mater-materia (the mother and material substance), which welcomes the creative spark of Mars, providing the substrate for the subsequent development of life. Venus embodies the archetypal interplay between seduction and attraction, giving rise to mechanisms contributing to the birth of new forms. In this capacity, the goddess takes on characteristics of a chthonic deity, utilising Earth’s substance to shape life’s structures for natural manifestation.
The diurnal aspect of Venus no longer reveals the sensual forms of the nocturnal side. Instead, it demonstrates the desire to achieve balance by applying law and intellect (Mercury), giving rise to beauty and harmony. Astarte, or Aphrodite Urania, completes this recognition process by reconciling opposites, paving the way for new vital expressions resulting from this harmony. In mythology, as well as in horoscope interpretation, this dual role is never entirely separate except for dialectical convenience. Refocusing on Astarte’s significance, the normalisation of opposites holds significance both at an individual level and through the intimate experience of emotional reconciliation. Subsequently, this approach extends to the social structure, establishing a body of regulations and laws that uphold collective equilibrium.
Even the goddess’s association with military triumphs is purposeful. Balance requires continual adjustments to adapt to evolving circumstances and changes in the world. War, with its resulting shifts in power, is an extreme example. Instead of Mars’ one-sided force aimed at dominating the battlefield, the reconstruction of social order according to new mandates resulting from conflict is observed.
The Hesiodic myth, often interpreted from a psychological or analytical perspective as a castration allegory entailing the loss of the sensual dimension and the pain stemming from its renunciation, harbours more profound esoteric implications that warrant exploration. Tracing the tale to its origins, we find that Uranus, symbolising the celestial vault, begets the Titans through union with Gaea, Mother Earth. Subsequently, fearing overthrow, Uranus conceals the Titans within Gaea’s womb. Gaea facilitates the rescue of Cronus, known as Saturn in Roman mythology, who then emasculates his father by casting his genitals into the sea.
The rest of the story is known to us, but let’s see it from another perspective: why does Uranus fear his children? In Greek etymology, the Titan, according to the Greek etymology of the term (τιτανίων), is characterised as one who endeavours, expands, and disrupts the cosmic order, prefiguring humanity’s disconnection from the universe. Cronus-Saturn, who severs Uranus’ creative authority by castrating him, signifies the ultimate severance between Heaven and Earth. Aphrodite, born from the sea foam, embodies the consequence of this division. In the impending imperfect world, the goddess serves as a patron, harmonising the constituent parts of a fragmented cosmos. She acts as the intermediary that unifies what was once undivided.
The symbolism
The dual planetary domicile of Venus, along with that of the other planets, serves to elucidate the celestial and terrestrial aspects of the heavenly body, contributing to a more nuanced understanding. While unique, the planetary entity manifests in ways resembling higher or lower notes, depending on the context. Aphrodite Pandémia conveys the Venusian experience closest to instinct—a passive embrace of emotional sensibility or spontaneous, sensual pleasure to which one surrenders completely. Aphrodite Urania represents the “harmony of the spheres,” epitomising an awareness of earthly existence resonating following cosmic principles. Consequently, this is reflected on a collective level of human experience, influencing social organisation, the laws governing coexistence, and art as a representation of an objective reality mediated through intimate subjectivity. Beauty, indeed, arises not solely from the object itself but from an internal awareness of achieved harmony with the observed object. We posit that a certain degree of alignment between humanity and creation— a prelude to integration—defines what we consider “beautiful.” This notion applies to all realms of experience, transcending cultural and historical boundaries, which at most serve as guiding principles. In astrological analysis, there is no clear distinction between the two Venusian manifestations; instead, one or the other will be prevalent based on the zodiac and domification placements and the aspects of the planet.
In heliocentric astronomy, Venus expresses its meaning inasmuch as the second planet within Earth’s orbit. Being “surrounded” by the Earth, Venus conveys its capacity for welcoming and distributing material substances, thereby shaping a homeostatic organic system that sustains interconnected vital functions. This propensity extends to expressing emotional, social, and relational aspects, portraying a cohesive “macro-organism” that seeks to align individualities to restore a harmonious whole. As the innermost planet, Mercury verbally articulates the solar impulse, serving as an intermediary between pure solar energy and dualistic representation through the principle of communication. Venus, in turn, acts as a mediator, translating Mercury’s connections into emotional impacts and responses by adapting individuals and substances to suit the environment. Essentially, Venus serves as nature’s harmonising function.
Venus Hesperus – Venus Lucifer
Another distinction exists between “Venus Hesperus” (the western star) and “Venus Lucifer” (the bringer of light), representing the evening and morning stars, respectively. From an astrological perspective, when Venus is Hesperus, its ecliptic longitude surpasses that of the Sun, whereas, in its Lucifer phase, the planet’s longitude is lower than that of the Sun.
Because it rises before the Sun, Venus Lucifer’s character is marked by an impulsive and somewhat immature pattern of affection, as described by Dane Rudhyar. This gives the impression that interactions with people and situations occur within a compassionate atmosphere, with a level of anticipation that suggests one’s very existence depends on them. That implies an almost intuitive understanding and a spontaneous ethical assessment of relationships, a “feeling” that precedes logic and action.
In contrast, Venus Hesperus prompts a retrospective assessment of actions, wherein emotions drive the need for an aesthetic, almost judicial, evaluation of past events. This standpoint indicates a higher level of maturity in relationships. It does not represent an emotional detachment but rather a propensity to conceal or grapple with one’s feelings.
Venus retrograde
Rudhyar posits that Venus, functioning as a formative principle, undergoes a phase during the retrograde motion where it opposes organic and relational needs, exhibiting a dominance of the ascetic spirit in its resistance to temptations.
Aspects with the Sun
In addition to the conjunction aspect, Venus can form two minor aspects: the semi-sextile and the semi-square, with a maximum elongation of 47°. It is essential to consider the morning or evening rising in addition to the meanings of the aspect itself. For instance, the Venus Lucifer semi-sextile to the Sun would enhance emotional spontaneity, while the emphasis with Venus Hesperus would be on evaluative aspects. Conversely, the semi-square influences the dynamic qualities of spontaneity and evaluation within a framework of moderate resistance or inhibition in emotional manifestation. The conjunction leads to the pursuit of harmony and perfect union, or it directs towards an artistic and aesthetic expression of existence, provided there are no concurrent negative aspects.
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