The Astrology Masterclass in Mulholland Drive | Part 1
The opposition between pride and higher rationality
“The beauty of astrology is that it gives a completely coherent intellectual model; the modern mockery of astrology is nothing but a random pastiche.”
— The Real Astrology by John Frawley
Mulholland Drive seems to have generated more confusion than any other movie in cinema’s history. It is a topic of discussion online (and even a whole website) in the search for its hidden meanings. However, the difficulty in understanding it should come as no surprise since the knowledge of traditional symbolism has been marginalized in Western culture to a certain extent. In this series of posts, we will make the case that the key to understanding the narrative is found in the deep symbolism of planets in astrology and also attempt to show why Lynch has chosen to do a film on that subject.
The term 'planet,' originates from the Greek word 'planētēs,' meaning 'wandering star’. As portrayed by ancient civilizations, we can see that these stars' light, position, and movement have a unique essence. The luminaries, with their distinctive light, position, and swift movement as of the Moon's (known in astrology as a planet just as the Sun) monthly orbit, offer a tangible connection to the chaotic nature of the material world.
At the same time, Saturn stands as a sentinel on the opposite end of the moving bodies, with its yellowish-dimmed light and sluggish movements evoking associations with old age, decay, and the boundaries of existence. In ancient cosmologies, Saturn was perceived as the ultimate limit of the cosmos, marking the final layer before the realm of the fixed stars known as the 'firmament.'
Despite the discovery of Pluto, Neptune, and Uranus, the symbolic significance of Saturn as the cosmic boundary remains since it is rooted in the innate human experience and perception of the natural world.
From that reference point, we can decipher the apparent symbols in our lives and narratives. Also, since Lynch has mentioned the bible as a source of understanding of his first film ‘Eraserhead’, there will be references to the bible that can illuminate symbols in Mulholland Drive.
Saturn
By looking at Saturn’s top surface, we can see a hexagon, which, in two dimensions can be seen also as a representation of a cube. So in a way, the transition between the ‘firmament’ and Saturn can be represented in geometrical symbolism as that from a sphere to a cube. An explanation for the symbolism in that transition can be found in a chapter from Rene Guenon’s “The Reign of Quantity and the Sign of the Times”:
From Sphere to Cube
Now that a few ‘illustrations’ have been given of what has been called the 'solidification' of the world, there remains the question of its representation in geometrical symbolism, wherein it can be figured as a gradual transition from sphere to the cube. Indeed, to begin with, the sphere is intrinsically the primordial form because it is the least 'specified' of all, similar to itself in every direction, in such a way that in any rotatory movement about its center, all its successive positions are strictly superimposable one on another. The sphere, then, can be said to be the most universal form of all, containing in a certain sense all other forms, which will emerge from it by means of differentiations taking place in certain particular directions; and that is why the spherical form is, in all traditions, that of the 'Egg of the World', in other words, the form of that which represents the ‘global integrality’ in their first and ‘embryonic’ state, of all the possibilities that will be developed in the course of a cycle of manifestation. It is as well to note in addition that this first state, so far as our world is concerned, belongs properly to the domain of subtle manifestation, inasmuch as the latter necessarily precedes gross manifestation and is its immediate principle. This is why the form of the perfect sphere, or that of the circle corresponding to it in plane geometry (as a section of the sphere by a given directional plane) is in fact never realized in the corporeal world.
On the other hand, the cube is opposed to the sphere as being the most 'arrested' form of all, if it can be so expressed; this means that it corresponds to a maximum of 'specification'. The cube is also the form that is related to the earth as one of the elements, inasmuch as the earth is the 'terminating and final element' of manifestation in the corporeal state; consequently, it corresponds also to the end of the cycle of manifestation, or to what has been called the 'stopping-point' of the cyclical movement. This form is thus in a sense above all that of the 'solid', and it symbolizes 'stability' insofar as this implies the stoppage of all movement, and it is evident that the equilibrium of a cube resting on one of its faces is in fact more stable than that of any other body. It is important to note that this stability, coming at the end of the descending movement, is not and cannot be anything but an unqualified immobility, of which the nearest representation in the corporeal world is afforded by the minerals; and this immobility, if it could be entirely realized, would really be the inverted reflection at the lowest point of the principal immutability of the highest point.
Immobility or stability thus understood, and represented by the cube, is therefore related to the substantial pole of manifestation, just as immutability, in which all possibilities are comprehended in the 'global' state represented by the sphere, is related to the essential pole; and this is why the cube also symbolizes the idea of 'base' or 'foundation' which again corresponds to the substantial pole. Attention must also be drawn to the fact that the faces of a cube can be considered as being oriented in opposite pairs corresponding to the three dimensions of space, in other words as parallel to the three planes determined by the axes forming the system of coordinates to which that space is related and which allows of its being 'measured', that is, of its being effectively realized in its integrality. It has been explained elsewhere that the three axes forming the three-dimensional cross must be looked upon as being traced through the center of a sphere that fills the whole of space by its indefinite expansion (the three planes determined by these axes also necessarily passing through the same center, which is the 'origin' of the whole system of coordinates), and this establishes the relation that exists between the two extreme forms, sphere and cube, a relation in which what was interior and central in the sphere is so to speak 'turned inside out' to become the surface or the exteriority of the cube.
Two main points can be taken from this text, which later will be perfectly married to the more mainstream views on Saturn’s symbolism: it appears both as the representative of the substantial against the ideal realm of forms, i.e., matter versus form, as the 3D reference point for any directional manifestation in the material. Saturn represents the principle of matter, first as its primordial substance, and second as the infinitesimal predefinition of the three dimensions. So it is no surprise that it is the first moving body, after the firmament.
It is also impressive to see how well correlated this is with Saturn's Greek myth on the planet’s origins: Saturn would eat his children in fear of being dethroned, just as that bound to a material form has a fundamental tendency to decay with time. One day Hidra has a beautiful child from Saturn, who she decides to save, and instead, serves a stone rolled in blankets for the father to devour. For being replaced by a stone, Jupiter gets to grow and give origin to the lower planets, or ‘gods’, below him. So the stone (or the cube, or mineral) is still in Saturn’s stomach.
We can see the same principle in Saturn’s and Jupiter’s hieroglyphs. From the semicircle (representing the origin in the firmament), Saturn grows into a cross, just as the 6-point cross that serves as the starting point of any material manifestation. Jupiter, as an opposite, originates in the cross and then manifests above the semicircle: Jupiter's beneficence wants to transcend back to the perfect sphere, as in rebellion or opposition to its origin in the big malefic.
It could also be pointed out that since Saturn is a symbol for the pre-determination of the three dimensions, Jupiter is the symbol for filling these dimensions into quantitative space, getting to the common notion that Jupiter has to do with expansive things, long-distance travel, large animals, etc. In contrast, Saturn is the restrictor that keeps all in 3D.
The close-up image of the planet’s surfaces also implies that notion. Saturn’s surface is composed of multiple lines, having its rings around it. Jupiter has curved shapes, opposing the locked-up position in the three dimensions.
But what does that have to do with the movie? In the traditional zodiac, Saturn rules two signs: Capricorn and Aquarius. Capricorn is the beginning of earth, or, cardinal earth, easily associated with the cube aspect of Saturn, and this is known as the harshest sign where Saturn has a domicile: the beginning of winter comes as a difficult start. Aquarius is fixed air, mature thought. Aquarius is the domicile and the triplicity of Saturn, a brighter place. Here winter has already settled, and understanding comes from the previous harshness of winter. Aquarius is associated with reason and higher thought: a ‘reference point’ aspect of Saturn.
Luminaries
Opposed to the signs ruled by Saturn, there are those ruled by the luminaries. The Sun and Moon represent together more vital matters, for the natural association between their proximity and manifested life. In short, the Sun is primordially associated with the ego and the Moon with imaginative faculty. The Sun is masculine, the Moon is feminine.
The Sun’s movement throughout the year, recorded at the same time in the day will form an infinity symbol. In contrast, the Moon doesn’t show a closing shape, implying a deeper instability and fickleness in its symbolism. On top of that, the Moon has its light dependent on the Sun, and as a result goes through four phases, each with its own ‘temperament’.
The fact that we only see one side of the Moon is also consistent with its symbolism. The imaginary is bi-dimensional, a creation of an important but lower aspect of the mind.
In Mulholland Drive, Diane has four phases in her dream of being an actress. The Hollywood industry feeds the dream, represented by Adam, the director. After her second phase, there’s the look, the end of the ascending trajectory of the Moon, the eclipse. The two subsequent phases are colder, and life starts to vanish.
The four phases of the Moon are as follows:
Waxing Crescent: hot and humid, symbolically equivalent to spring.
Waxing Gibbous: hot and dry, symbolically equivalent to summer.
There's an eclipse between waxing gibbous and waning gibbous, if there’s a conjunction between the Sun, the moon, and the nodes. This is represented in the look between Diane and Adam, an important aspect between the characters.
Waning Gibbous: cold and dry, symbolically equivalent to autumn.
Waning Crescent: cold and humid, symbolically equivalent to winter.
We see in William Lily’s “Christian Astrology” that the Moon was called ‘Cynthia’ and ‘Diana’, in ancient civilizations.
Adam takes part in the business scene, in a masculine setup, with Sun-like light, where multiple egos clash. This scene defines him as the Sun's representative, and dealing with his ego and pride is his only challenge.
Adam and the cowboy
Back to the relationship between Saturn and Jupiter: it can be seen as the dual essence of material manifestation. The infinitesimal pre-determination of the three dimensions and quantitative space must always go together. This symbolic duality is portrayed in literature in multiple forms, some popular ones being the duality between an old man and the sea, or a boat and a fish or whale. The old man and the boat are saturnine elements in the story, the first for old age, the second for being a wooden structure, whose main purpose is always to remain dry, self-defining, as Saturn is cold and dry. The fish and the sea are Piscean elements, first obviously for the fish being a Piscean animal, and the second as the terminating stage of the water cycle, as Pisces is the last water sign. So, the sea is the manifestation, in nature, of Pisces.
In other words, this represents Saturn-Jupiter through the Capricorn-Pisces duality. But another common way of representation is the Aquarian-Sagittarian duality: humans and horses, the perfect interaction between the knight (or cowboy) and the horse. The expansive movement of a large animal that can travel abroad has to be limited and guided by a restrictive rational creature. The perfect combination of these characters creates a journey, just as the boat and the sea.
That is why the cowboy exists in the movie, he is the Aquarian, rational feature of Saturn. While that feature complements Jupiter’s symbolism, it opposes the ego represented by Adam, as we can see in the traditional zodiac.
The cowboy scene seems to be the movie’s highlight, for how directly and humorously it illuminates these symbols.
The first thing to note is the Cowboy's slow speech. Saturn is the slowest of planets, the old man: there is no rush. Then, the Cowboy establishes a basic fact of life:
“A man’s attitude goes some ways the way his life will be”
The notion that we must pay for our mistakes is central in saturnine symbolism: the big malefic ‘will charge’ for any lack of responsibility, work, effort, and structure in one’s life. Being the planet associated with the linearity of time, Saturn rules the routine and all that is boring and difficult, but that ultimately will take one’s life into a productive outcome. The same goes for reasonability and common sense.
Third is the cowboy calling for a deeper reflection on the part of Adam: when put at a crossroads, our minds have different paths to follow, and the planets can relate to aspects of those paths just as they can represent metaphysical principles, plants, and animals. When put at a crossroads, we could associate Saturn with the deepest introspection: one who comes to the harshest realizations by confronting his consciousness with the limits of reality. As the movie progresses, there is a suggestion that confronting and abiding by those harsh realities is a determining factor in a person’s life success. So Adam is called to let go of his pride and be more introspective: he has no reason not to obey the demands of the producers in choosing an actress.
Fourth, the saturnine cowboy is not calling to a realization anymore, but establishing itself in a power position: Saturn is above all other planets in the cosmos, so it ‘rules’ over and ‘judges’ them.
Cowboy: ‘How many drivers does a buggy have?”
Adam: “One.”
Cowboy: “So let’s say I’m driving this buggy, and if you fix your attitude, you can ride along with me.”
Finally, a reference to the Saturn return, a transit that indicates a restriction: when one is well-behaved, it tends to resolve well. When one doesn’t behave, it will bring consequences.
“You’ll see me one more time if you do good. You’ll see me two more times, if you do bad.”
If the character does well, the cowboy will only reappear when he’s around 60. If not, he will reappear once again around his 30s to charge him for his mistake, and a second time in his 60s as another transit. Adam will not live to his 90’s.
So Saturn, the symbol of the infinitesimal predefinition of the three dimensions, represents the center through which the possibility of measurement exists. Returning to the center here, then, is in geometrical symbolism a specific reorientation of the ego towards reason, where the Sun (self-centered egotistic perspective), dispersed in a complete revolution marking the partition of the yearly seasons, with their particularly unique temperament, showcasing the diversity of lower manifestations, reorders itself to the last layer, more stable and firm, before the perfect sphere of the firmament, as if looking up in search of transcendence.
In the scene’s specific story, it is a precondition in the reenactment of a situation, in which you get out of your perspective and can evaluate reality through its core. Adam obeys the order: the ego is conquered, and rationality wins. This could be represented as a Saturn-Sun conjunction in Aquarius, where the Sun is exiled and Saturn is in its domicile. The planets meet each other as if holding hands, but the Sun is in Saturn’s house, it abdicates itself in favor of Saturn, which here has all of its virtues, in its place of domicile and its place of triplicity. So Saturn is as always the big malefic, but we see that many malevolences can come for the good.
A similar association could be done to a Saturn-Sun opposition, in a chart where Saturn has the most essential and accidental dignities, stronger than the other that meets it on the opposite side.
A similar depiction of this symbol can be seen in the story of Samson in the Bible: between a series of events Samson kills the lion, the most solar animal, and sees a swarm of bees grow from it.
5 Then Samson went down with his father and mother to Timnah. When he came to the vineyards of Timnah, suddenly a young lion roared at him. 6 The spirit of the Lord rushed on him, and he tore the lion apart barehanded as one might tear apart a kid. But he did not tell his father or his mother what he had done. 7 Then he went down and talked with the woman, and she pleased Samson. 8 After a while he returned to marry her, and he turned aside to see the carcass of the lion, and there was a swarm of bees in the body of the lion, and honey. 9 He scraped it out into his hands, and went on, eating as he went. When he came to his father and mother, he gave some to them, and they ate it. But he did not tell them that he had taken the honey from the carcass of the lion. (Judges 14:5-9 NRSVCE)
The hexagonal shape formed by the swarm of bees seems like the most obvious saturnine trace, but also the way bees get together, with extreme cooperativity and hard work, a depiction of what a saturnine collective looks like. The amount of work bees put into making honey and how evenly they seem to distribute their burden implies the perfect coordination, cooperation net, trust net, or equality that mainstream astrology associates with the sign of Aquarius, and that can also be seen in the sign hieroglyph, with the perfectly parallel lines changing direction without affecting coordination.
It’s also interesting that honey (once extracted) is often considered a solar food, just like gold is a solar metal. So the work of bees consists of taking the sugar of flowers, digesting them into a solar product, and expelling them into a saturnine exterior structure. The process of transfiguration already contains all of the symbols talked about: a temptation (Venus) goes to the heart (Sun) and is finally submitted to the exterior structure of reality (Saturn).
We can see subtle references to the symbols also in the Psalms.
1 The heavens are telling the glory of God;
and the firmament proclaims his handiwork.
2 Day to day pours forth speech,
and night to night declares knowledge.
(…)
10 More to be desired are they than gold,
even much fine gold;
sweeter also than honey,
and drippings of the honeycomb.
(…)
14 Let the words of my mouth and the meditation of my heart
be acceptable to you,
O Lord, my rock and my redeemer. (Psalm 19 NRSVCE)
John Frawley points to the Sun-Saturn relationship in charts of traditional astrologers in his article “What is the Tradition in Astrology?“, on his website.
(…) What struck me when I was looking at this is that all the living astrologers associated with traditional astrology whose charts are published here have close Sun/Saturn oppositions. While those fluffy little creatures who frolic in the Sun-drenched fields of modern astrology have…. things like planets in Libra! And most of them don’t have Saturn in their chart at all.
(…)
It is for this reason that the words with which ibn Ezra began his textbook are the most important words ever written on astrology: The beginning of wisdom is fear of the Lord. It is this that is the heart of the western astrological tradition.
Because this is the basic geographical alignment: up there is the Creat-or; we are his creat-ures – and therefore there a necessary relationship between us. This is the fundamental ‘You are here’ of the astrological map. It doesn’t matter how elaborate we make this map, how many new planets we throw in, or how many old techniques we unearth: if we don’t have the ‘You are here’, the map is useless.
Going back to the cowboy and the horse, we can see in the spiritual practice of ‘candomblé’ that a person incorporated by a ‘spirit’ is called a ‘horse’. And that’s why in Twin Peaks, moments before the possession of the father, there is a white horse as a symbol for that passage, Saturn being the ‘door’ that is now open to the entrance of a spirit into material manifestation, and the horse, the one that’s carrying it.
So we see how symbols are precisely just that, not angels, demons, nor any other spiritual concept, but aspects of reality that might be associated in multiple ways with manifestation.