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Solar Cross Examples

 The Oracle of the Solar Cross is an oral work, with the Images spoken aloud. But we realize it is some benefit to our readers to be able to explore an example on how to work with an Image, hence this paper by the creator of the Oracle. Enjoy! Other examples can be found in the Free Articles section. 

The Oracle of the Solar Cross in the Case of Antonin Dvorák

By David Tresemer, Ph.D.

Prologue

What exactly happens at the meeting of the newborn with the cosmos? The body has the greatest trauma that it ever faces – going from dark, warm, quiet, nurtured and protected to bright, cold, noisy, and exposed. Suddenly air becomes all important. What happens at that first breath? We hear that the astral body is breathed in at that moment. We hear that the whole starry world imprints our brain, indeed our every cell, at that moment. This is the fundamental question of astrology – how do we understand better the imprint at birth on the life?

In my work with this question, I have created the Oracle of the Solar Cross. Each of the following sentences is a premise for this work:

* Extraordinary human beings have walked the earth.
Their births, their deaths, and the deeds that they have performed are imprinted into the starry worlds.
* This impression is strongest through the amplifier of the Sun, setting the pattern of the event into the specific place in the zodiac in front of which the Sun lies.
* When the Sun returns to that location, the cosmic memory of that deed resonating in the heavens focuses back through the Sun.
* The memory becomes available as resource and inspiration to all those who are sensitive to it.
* Our most sensitive moment is the moment of our birth, and we carry these sense impressions from our birth with us through our lives, potently remembered on our birthdays.

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The Oracle of the Solar Cross presents the most important events of that area of the sky (one degree out of 360 degrees in the whole zodiac) in the form of an Image derived from research and meditation on what lives in that particular place, especially in the events of Jesus Christ, Mother Mary, Mary Magdalene, John the Baptist (whom I term the Water Initiator), and others. The explanation of how and why I chose these characters can be found at the “Origins” paper in the Research section.

This brief article works with two historical personalities born with a certain image imprinted into their being. For someone born near September 7 or 8, these would be Star Brothers, showing how one can handle the Image that shines through that particular place in the heavens.

Tracing the birth moment into the life

Because of a recent U.S. tour of two combined eurythmy troupes with full symphony playing The New World Symphony, I became very interested in the life of the composer, Antonin Dvorák, in relation to his birth moment. (Dvorák is pronounced Duh-VOHR-shock.) When Antonin Dvorák took his first breath on the 8th of September, 1841, in a part of Bohemia (now the Czech Republic), the Sun lay in the astronomical position of just over 23 degrees of Leo, The Lion. At this degree we find the following Image from the Oracle of the Solar Cross:

The mother's grown children roll back the heavy stones guarding the cave of her burial and find her body vanished. Prayers of mourning turn to awe. Glory! Consummation! Heaven trembles and opens. Glory! Angels increase in number, depth, sound – circles of angels, the closest with the faces of infants. They receive every particle of the physical body turned to light. Glory!

 

Dvorák took his first breath when the Sun lay at the zodiacal degree where Mother Mary rose into heaven. Mary’s rising has been variously termed the Assumption or the Ascension or the Consummation of her body into divine realms, that is, the complete spiritualization of her physical body, a demonstration of what awaits all those who develop themselves on paths of spirit. Other factors determine what goes into an Image, though Mary's ascension is the main one in this degree. Given the abbreviated explanation here, we can simply suggest that this notion be taken as a hypothesis.

When working with this material, we then ask, "How did this Image, impressed in heavenly substance, focus through the Sun into the being of Antonin Dvorák at the moment of his birth? How did it guide or affect his life?" We seek soul-themes, and they can be found in many different aspects of a life. Dvorák was the eldest son of a butcher, needed by his father to work in the butcher's shop, and he would have remained there, had his musical talents not been noticed by an uncle who then arranged education for him in Prague. We can pause here to admire that the eldest son of a butcher would be encouraged to play the violin after hours, and realize that this is part of European culture at that time and Waldorf School culture today. The young man took a post as an organist and choir master, then dared to become a composer, a creator of beautiful music.

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After he was noticed by Brahms, and after his Slavonic Dances were a big hit, he was embraced as a composer and began travels to many other countries. One biography states that Dvorák was "the happiest and least neurotic of the late Romantics … the healthiest of all composers." We could look at his other works, especially the Stabat Mater, meaning, "Mother (Mary) stands (at the foot of the cross)," which he wrote after losing three of his infant children – one can see the faces of infants around the composer, as in the Image. Dvorák took the Stabat Mater beyond its usual end—to visions of paradise. It ends with the choir singing strongly the words, "When my body shall die, Grant that my soul be given, The glory of paradise." Dvorák knew these realms from his first breath. In his Stabat Mater, he called for a choir numbering in the hundreds to sing these phrases with tremendous power.

Other people did indeed expect him to take them to the glory of paradise. Listen to this remark by Dvorák himself about his time in America, from 1892 to 1895: "The Americans expect great things of me and the main thing is, so they say, to show them to the promised land and kingdom of a new and independent art." We hear themes of his birth Image here. Dvorák is best known for his New World Symphony, opus 95, his ninth symphony. At its first performance at the newly completed Carnegie Center in New York, the audience was so enthusiastic that they rose in a long standing ovation between the movements! Sometimes today people clap between movements because they don't know when the piece has ended. In New York in 1893, at Carnegie Center, they knew – and nonetheless were overcome with passion for what they had heard.

Because it was understood that he based the composition on Negro spirituals and stories of American Indians, especially the sing-song cadence of Longfellow's Song of Hiawatha, performances have often been directed to be jaunty and cowboy-like. However, let's look into this further. Which of the Negro spirituals was prominent for Dvorák?

Swing low, sweet chariot, comin' for to carry me home.            

Swing low, sweet chariot, comin' for to carry me home.

I looked over Jordan and what did I see, comin' for to carry me home.

A band of angels, comin' after me, comin' for to carry me home.

Doesn't this give us the exact picture of his participation in the image, now shared with his audiences?

Here's another stanza from that folk song, an imagination of what the infant Antonin might have said to Mary as she opened the gateway between heaven and earth:

If you get there before I do, comin' for to carry me home,

Tell all my friends I'm comin', too, comin' for to carry me home.

In this vein, we can imagine that the divine feminine, in this case as Mother Mary, speaks a version of this to every newborn: "Here is your home. I have come here with full awareness, and know you—I watch you and know you. We are waiting for you, and will carry you home." Those receiving this picture most poignantly are those born with the Sun in this degree of the heavens.

Now let's look at the Song of Hiawatha (pronounced, according to Longfellow's own notes, "Hee-ah-WAH-tha"). We can look at the beautiful death of Hiawatha’s wife, Minnehaha or “Laughing Waters,” whose death was as beautiful and full of glory as what we find in the Image for the composer’s birth degree. And we can also look at the very end of the long poem, especially in the light of the Oracle of the Solar Cross Image:

Thus departed Hiawatha,

Hiawatha the Beloved,

In the glory of the Sunset,

In the purple mists of evening,

To the regions of the home-wind

Of the Northwest-Wind, Keewayhin,

To the Island of the Blessed

To the kingdom of Ponemah

To the land of the Hereafter!

This ending has all the beauty of what we might find in the Image. We find no wonder that Dvorák was attracted to this poem.

 

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This recounts the departure of the extraordinary god-man, Hiawatha, to heavenly realms. The poem pictures to us how Hiawatha's canoe drifts into heavenly realms. From our point of view, Dvorák was enamored of this poem because of his birth experience. He then put it into music. Noting the connections with Negro spirituals and the traditions of the American Indian, one commentator said about The New World Symphony: "It is, all of it, an elegy for a dying race." Based on our understanding of the Solar Image that he breathed in at his birth, we could rephrase this completely: The symphony is a remembrance of openings between heavenly and earthly realms brought from his birth; it transcends the limits of death; it links the dying and the dead with the living, in continuity.

Thus its most appropriate realization comes from matching it with the divine art of eurythmy. "Eurythmy isn't dance," says Marke Levene, performer and producer of Making Music Visible, the name of the tour with The New World Symphony at its core. "With dance, you focus in on the physicality of the movement. With eurythmy, you're looking as much at the space around the person as [at] the person itself." With flowing silk veils of many different colors and saturated stage lighting of changing colors, you are invited to participate in swirling hues as much as in individual dancers. Eurythmy as a form of movement was pioneered by Rudolf Steiner, philosopher and educator (and much else) in the early part of the 20th century. Eurythmy creates the very picture that Dvorák was born into – a glimpse into the heavens and the swirling activity of the angels.

Returning to Dvorák, most biographies speak only of music, overlooking the fact that Dvorák was a devout Catholic, even in progressive times, something to which he may have felt inspired from his birth. A curious feature of Dvorák's life – he loved trains. He would go often, sometimes daily, to the train station, to hear the trains. He loved this "trembling" and could identify each type of engine and sometimes the individual engine from the rumbling and roar that it made. Was he hearing some memory of the tremor and roar of the whole heavens opening, sounds that he had heard at his birth? It seems that he tried to recreate this great sound in the loud and tumultuous parts of his work, especially the Slavonic Dances, his Othello music, the "Gloria in Excelsis Deo" from his Mass in D, and, of course, The New World Symphony?


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Here I will add another observation from Harold Schonberg’s biography. Listen to these words as if Dvorák were hearing the chorus of youthful angels pictured in his birth Image: "Nothing stagnates, for Dvorák's ear was fully alive to every voice in the harmony."  Dvorák heard every voice in harmony with every other voice. None of the hundreds of angels that he viewed in his birth moment was lost to him, and he spent his life recreating aspects of this first experience of his own first breath. 

We can ask if music became the way for this "healthiest of all composers" to meet the experience of the ascension of the Divine Mother? Holding this question in one's heart can increase the beauty and impact of the wonderful performance as made more visible through eurythmy. When you listen to The New World Symphony, you can participate in this celebration of the New World. Perhaps it is about America—the experts argue over Dvorák's comments on this—and perhaps it is about the truly and ever new world that only opens occasionally for us, the veils parting between earth and heaven, with the Divine Mother completely present among the artists, and through their artistry, among us.

 

Other Historical Personalities

Dvorák was not the only one born on this day. In the Solar Cross work, we look at others. For reasons of space, let's look at one other – Louis XIV, the Sun King of France.  What possibly could link Antonin Dvorák and Louis XIV? Their birth image.

King Louis XIII and Anne of Austria had been childless for twenty-two years. This worried everyone for the sake of the political stability of France, racked by wars on all sides. Saint Fiacre then had a dream that, were the Queen to sponsor three nine-day prayer ceremonies ("novenas"), then she would indeed bear the next king. Another dream came, in which the Virgin Mary herself appeared with a crying baby in her arms, saying, "Don't be afraid, I am the Mother of God, and the baby that you see is the Prince which God wants to give to France." Two hours later, Mary reappeared alone, giving Fiacre a sign in the form of a clairvoyant vision of the exact interior of the distant church at Our Lady of Graces in Cotignac, Provence. Reporting this vision to his superiors who had visited that place (Fiacre had not), a comparison could be made, and the veracity of his capacity for vision thus confirmed. Brother Fiacre began these nine-day prayer sequences in the Queen's name, and the day of their completion, December 5, 1637, turned out to be exactly nine months prior to Louis XIV’s birth. Moved by these events, the pregnant Queen convinced King Louis XIII to make a public vow dedicating the whole of France to Mother Mary. "We have declared and we declare that, taking the very holy and glorious Virgin Mary as special protectress of our kingdom, we particularly consecrate to her our own Self, the State, our Crown and our subjects."

At his birth Louis XIV was nicknamed God-given ("Dieudonné"). Given by God – and by Mother Mary – Louis proceeded to create the world as a heaven on earth, and demanded to be saluted as a visible divinity. A passage from his memoirs can be understood best in terms of the Image into which he was born: "In my heart, I prefer fame above all else, even life itself." Yes, one can see this in the bellicosity of his regime. One can see this in the glory that the Sun King created in his court and country. And one can see it in the glimpse of heaven found at his birth. For him, "fame," or, in French, “gloire” – glory, the glory of the gates of heavens opened up in his birth vision—did indeed transcend the conventional boundaries of death and life.

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His memoirs go on:

"Love of glory has the same subtleties as the most tender passions. … In exercising a totally divine function here on earth, we must appear incapable of turmoils which could debase it."

He obviously felt that his presence on earth was borrowed from the truer glory of his heavenly home, and felt a responsibility to recreate that glory. Louis became King at four years old. During his youth the country was actually controlled by Mazarin, the Prime Minister chosen by his mother. When Mazarin died, Louis, throwing off the tradition that would have kept him welldressed, well-fed, and in the corner, took the reins of government, setting up a dictatorship by divine right. He viewed himself as God's representative on earth.

Look at how this desire to recreate the fact experienced by him at his birth manifested itself. He tried to control everything, from court etiquette which he elaborated tremendously, to troop movements in the field, to road building, to theological disputes. He lured all the squabbling nobles to his court, with threats of confiscation of property if they did not. He corrupted them with gambling, emphasis on favors and privileges, and endless ostentatious entertainments where alcohol flowed freely. The nobles were entrapped in a counterfeit image of heaven, unable to return to their homes, many succumbing to alcoholism and sexual excesses.

The Palace at Versailles was meant to evidence this heaven on earth, with its thousands of paintings and sculptures, the very gardens setting a standard for Nature tamed and made beautiful. Do we see in its geometric hedges hints of what Louis knew existed in the heavens from his experience of the heavens at his birth?

Thus the notion of "sum" (from the Image) can be broken down into its parts, all the pieces that add up to the sum. Louis wanted to control every detail, every part. And he wanted to be on top, the "consummation" of all the parts that he controlled. (The notion of sum at the top – as in “summa” and “consummation” comes from Roman times when an addition of a column of numbers was given not at the bottom but at the top.) Who else could claim participation in the ascension of Mary, seeing heaven open up in its splendor—Louis XIV’s birth Image? Who else could say, extending the birth Image, that Mary had held his infant self in her arms in heaven, as seen by Saint Fiacre?

You can see here how birth into this Image could create extraordinary beauty and also a distortion of reality. At the human level, this mundane life isn't the same as heaven, isn't filled with singing and tremulous angels, isn't permeated with glory, glory, glory. Louis XIV had the resources to try to make earth into heaven, and in the end created an extraordinary appearance of heavenly truth. He convinced many people then and many more in recent times – nearly six million people visit the palace and fifteen million visit the grounds every year, seeking the sense of heaven come to earth. However, Louis XIV’s vision had a very potent dark side. Having a glorious birth Image can thus have challenging side effects.

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Each biography – Dvorák and Louis XIV – complements the other, so that we can perceive how the Image coming from the Sun, imprinted by the "consummation" of Mary, works on the individual life. When a modern person is born into this degree (or it appears on one of the four arms of the Solar Cross related to the birth), then a study of historical personalities can help one discover the ways to realize the terrific resource coming from the zodiacal beings who maintain these resources for us in trust.

Other examples abound in David Tresemer’s writings, especially the Signature of Saturn and Signature of Pluto free articles in Research & Resources.