The following is a continuation of the previous article, below. For a full appreciation of the themes and configurations in Watt’s astrology, please refer to the article preceding this.
To the casual listener, Alan Watts might well come across as extremely thoughtful, intelligent and insightful, but there is no question that his style was anything but taciturn; his subject matter, which consisted of various facets of esoteric, philosophic and indeed transcendental thought, also underlined his interest in fundamentals and unquestionably his style of discourse was to present an idea and then gradually and systematically to follow the trains of logic which ran out from that starting point to see where they would lead. So then, we have a picture of a communicator, taciturn and methodical in style, one that builds up a picture upon a base supposition and then ultimately reaches a pinnacle insight, usually of a philosophic or spiritual nature; unquestioned in all of this process, is an appreciation of the man’s genius; indeed, I could often feel his frustration at having to hammer home some nuance of his argument to an audience that would clearly be losing the thread of it.
The taciturnity of expression is found in the conjunction of Sun with Mercury in Capricorn. The sign of Capricorn, denoted by the mountain-goat, is profoundly objective focused, it does not have an affinity with frivolity or frolicking, because, like the goat, it sees its world as a hard and often harsh environment where it must be single-minded and determined in order to survive; the food in those lofty realms is scarce, the path is uncertain and treacherous and the drop, no doubt fatal to the distracted. One step after another, the goat makes it way up the mountain, sure-footed, intensely focused on its ascent, driven, but not urgently, driven in a calm, assured way, but driven all the same.
Apply these principles to the Solar principle, Watts’ sense of who he must be are informed by this same driven certainty, and blended with Mercury, he must communicate that sense of self, at all costs. Here also is a measure of his genius because the conjunction with Mercury is so close as to be termed Cazimi, an Arabic word meaning “the heart of the Sun” and it is reckoned by the old-world astrologers to be extremely fortunate, because the principle that is wedded to Sol thus is imbued with the power of eternal life. Mercury Cazimi then gives a power of communication and intellect beyond the pale, beyond the envelope of human norms and this is clear in Watts’ easy discourse on profound matters; actually the most profound matters imaginable, and I shall turn to his subject matter soon enough. Some consider Cazimi to become combust if the conjunction falls outside of 17 minutes of one degree; Watts’ Mercury conjuncts the Sun within 21 minutes; but clearly his genius is absolutely beyond question. This astonishingly close conjunction explains his brilliance, but here, in the sign of Capricorn, it also explains his taciturn manner; his downbeat style, his dolorous, almost flat and unerringly focused approach to the subject in hand. Capricorn describes exactly how he takes a proposition and gradually and undistractedly leads the listener on an ever-ascending journey toward a revelation, a pinnacle, peak, or you might say mountain-top of insight. Then, the first house placement denotes a great energy, it explains his goat-like demeanour and appearance, it resonates with that Mars in the 1st house too, also in its exaltation in Capricorn, where his great energy can build gradually, methodically, to a crescendo of self-expression.
All of which explains how Watts would express his thought processes, but not particularly why, and of course, for an astrologer, the why of a personality is the causal spark, the raison d’etre of incarnation. So then, why did Alan Watts feel such a powerful need to express himself in this way?
The first reason is the Cazimi conjunction of Sun and Mercury that we already understand. Every conjunction between the Sun and the energy of communication, Mercury has to some extent this effect; the self-image is fundamentally a communicating one; the “I” of the ego is an “I” that talks, writes or moves in such a way as to convey meaning. Normally, the wider conjunction gives an element of blindness and often creates a person that talks about themselves a great deal and struggles to talk about much else, but with Cazimi, the communicating awareness is refined and dignified, rather than scorched and obliterated. But this does not explain all of it; after all, Sol and Mercurius can never be more than 28° apart on the plane of the ecliptic, so it is a common association and not many were so driven to explain themselves in this way.
The Quindecile aspect is one that is not much understood in modern astrology, although it has been revived by Noel Tyl, an astrologer of no mean reputation from whom I have learned a great many useful and insightful techniques. For a full discussion of the aspect then read this article. Suffice to say that for the purposes of this discussion at least, the Quindecile (or 165° aspect) has an element of obsessive-compulsive behaviour attached; from the Aries Point, the aspect falls in 15° Virgo and 15° Libra which describes obsession (striving for mental balance and harmony) followed by compulsion (taking a practical step toward the attainment of perfection). This describes the nature of the aspect well, since it is a mental dissatisfaction that provokes a practical fix. The fix rarely actually fixes anything of course, it merely alleviates the imbalance for a time and then it is back to the start, of thinking that something is not quite right and that we had better do something about it.
In Watts’ case we find two separate Qunideciles to that Cazimi conjunction of Sun and Mercury. Looked at in this way we can posit the understanding that his need to express these carefully expounded mental constructs in the form of lectures was the Virgoan solution; it was the fix that he was striving for. The mental imbalance then comes from two separate sources; Saturn conjunct Pluto in the 7th and Neptune on the cusp of the 8th.
Let us consider each of these in turn. Saturn conjunct Pluto is a real soul-destroying aspect; it is back-breaking in effect, because it adds Hadean depth (and you don’t get much deeper than the underworld) to Saturn’s propensity for hard work. Put these together then and you get astonishingly profound limitations, hard work, difficulty, burden and constriction, and in Watts’ case, with Pluto on the Aries Point, and in the 7th, marriage was for him, hard labour. Of course, wherever Pluto is found we have to transform ourselves somehow, but it is the place where we are least able to change, so it is an irresistible force and an immovable object, you know that something has to give, but usually it is ugly and painful even so. Watts went through 3 marriages, and whilst not much is known about the conditions of any of them, there is a between-the-lines intimation that they were far from easy.
Thus, it is entirely reasonable to suggest that the pain and discomfort he experienced in his intimate relationships left him feeling out of balance, and the practical ‘fix’ for that imbalance was to express his ideas in this way.It is almost as though his philosophising about the benign nature of the Universe would assuage the brutality of his marriage experience.
This ties in somewhat with the second Quindecile configured to the Sun Mercury conjunction, from Neptune in the 8th. It is reasonably well-known that Watts had a drinking problem; although he never openly admitted such. When he died aged 58 (at around the time of his second Saturn return – thus Saturn would be transiting the natal Saturn-Pluto conjunction in the 7th) the cause of death was recorded as ‘heart failure’ although it is commonly acknowledged that incipient alcoholism was a contributing factor. This is simply one level at which Neptune might manifest in the 8th, as a contributing factor in the (confusing) conditions surrounding death, also as a motivating obsessive impetus to the compulsion of expressing his spirituality and finally there is the question of talking about death as well, in a spiritual context. Watts frequently spoke about the value of meditating on death, his themes were often uncomfortably Plutonic, his spirituality was all about 8th house ideals of letting go, of non-materialism, of Buddhist ideas about attachment; fundamentally his spiritual DNA was 8th house and he felt compelled to talk it out.
These are not the only Quindeciles in Watts’ chart, he has another from the Dragon’s Head to the Moon which perhaps conveys something about his fated compulsion to bring his ideas before humanity at large, and in this last consideration, he was only partially successful. The taciturn genius pinpointed by his Cazimi Mercury was, like the air the determined goat breathes at the summit of his lonely mountain, always going to be somewhat rarefied and remote for general consumption; his brilliance was of the type of the stars, distant and ethereal rather than the tactile and fawned over diamond of earthly desire, but arguably, it was more precious even so, and will hopefully appreciate with time and contemplation.