They teamed up at the time of Broadway and Hollywood’s Golden Age of Musicals and garnered thirty-four Tony Awards, fifteen Academy Awards, the Pulitzer Prize, and two Grammy Awards. Among their collaborations are many well-known songs. From 1943, Oklahoma; Oh, What a Beautiful Mornin’, People Will Say We’re in Love, and Oklahoma! (which became the state song of Oklahoma). From Carousel; If I Loved You and You’ll Never Walk Alone. From South Pacific; Some Enchanted Evening. From The King and I; Getting to Know You and Shall We Dance. From The Sound of Music; The Sound of Music, Climb Ev’ry Mountain, Do-Re-Mi, and Edelweiss, a song that is often mistakenly thought of as the Austrian national anthem.
Richard Rodgers put the melodies to the lyrics of Oscar Hammerstein. The lyrics were embued with creative messages that crossed racial and religious divides during a time when America was struggling with its identity. South Pacific and The King and I were written about cross-cultural and ethnic differences, pointing to the conclusion that there are ultimately no barriers too vast that can’t be overcome with love. Carousel grappled with the forces of good and evil, and showed the way to the redemption of the soul if only one realized the error of their ways. The Sound of Music was based on the real-life drama and trauma of a performing, musical family’s escape through the Alps when caught in the clutches of WWII. Although meeting and working briefly years earlier, the two talents began collaborating in 1943 for their first hit, creating the eventual award-winning Broadway play and Hollywood film, Oklahoma! The musical was inspired by the book and play, Green Grow the Lilacs, by Lynn Riggs. It had emotional depth and psychological complexity, and was the first film using the widescreen Todd-AO 70 mm process.
What were the astrological endowment and planetary cross-ties that brought these collaborators the great fame and fortune they so well deserved?
COMPARISON OF HOROSCOPES
Usually, the focus is on planets that are in Conjunction and/or Opposition, within 1 degree of orb allowance. However, there is an aspect between the two charts that is often described in Uranian Astrology. It is the midpoint dynamic. The green line connecting the charts shows Rodger’s Mars pointing to the midpoint between Hammerstein’s Pluto/Neptune Conjunction. This is an example of the power of planetary energies from one person’s chart, as it influences the other person’s midpoint between planets. Here is where Rogers was excited by, and lent excitement to, the significant power of words, that were inspired by the outermost planets, Neptune and Pluto in Hammerstein’s chart.
The reason for including this midpoint structure is because of the auspicious nature of the planets and their Sabian Symbols that point to the powerful potentials between these two gifted men. The Symbols quite literally express the indication of a musical career, as the planets point to the depth of conceptual thinking behind the ideas stimulated through exceptional writing ability.
Rodger’s Mars, from the outer wheel, is rounded to 15 degrees Gemini. The Sabian Symbol is Two Dutch children talking. This symbol refers to the unique language that these gentlemen would have to create to understand each other from across the divide of emotional musical expression and the intellectual contribution of words. A union of sorts that makes cryptic the exchange between the partners.
But the most extraordinary and literal Sabian Symbols are seen in Hammerstein’s Pluto and Neptune’s Symbols. Although Hammerstein was the man responsible for the concepts of the songs that tell the storyline, he is the one with the planet Pluto on the degree better describing Rodgers, who was literally A great musician at his piano. But the writer’s Neptune on the degree of The head of health dissolved into the head of mentality, is very fitting for a man who delighted in bringing out the advantages of intellect as opposed to a reliance on rhythm alone to convey meaning. Rodgers’ Mars directly stimulates Hammerstein’s planets of Significance and the two go down in musical history as the best that the entertainment world has to offer in terms of greatness of contribution to society.
Both men were born while Mercury was in retrograde motion (shown with pink circles). This feature, they shared in common, is the indicator of the similarities of their intellectual orientation that brought their differing talents into alignment. In this way, they were truly able to understand each other without much struggle and misunderstandings. This allowed them a cloistered perspective where they would work in harmony, and for which the world outside would ultimately reap the benefits.
Often the elements of one partner’s chart seem to interchange with the other’s chart and experience, so that it is unpredictable who is the one with the actual Sabian degree. Each individual can achieve gratification by this apparent sharing of potentials that lasts as long as the interaction between the two is in actuality or in memory. An example of the combined potentials and exchange of personal characteristics can be gleaned from Hammerstein’s Pluto degree. Although in the chart of the lyricist, the actual manifestation came through the talents of the musician. Rogers took on the role in literal fashion, that the Symbol in Hammerstein’s chart dictated.
Pluto, GEMINI 15, A great musician at his piano This is a symbol of individual artistry as the property of all, with its expression both its strength and the means whereby others are encouraged to like accomplishment. Here is experience at a climax on the side of self-refinement in skills and talent, and at a peak in its gratification and its promise of continuing effort and sharing of rewards. A continually expanded dimension of being becomes the constant revelation of man’s true estate. The keyword is ACHIEVEMENT. When positive, the degree is the creative assurance which contributes enduring overtones to human understanding, and when negative, self-defeat through a delight in momentary attention or superficial adulation.
Rodgers’ Sun in the expansive and emotional sign of Cancer is directly connected by cross-Conjunction to Hammerstein’s Mercury, the indicator of words and mentality. This is the Sabian degree of 6 Cancer, Game birds feathering their nests. The keyword of the Symbol is METICULOUSNESS. It is a give-away clue of the intent toward perfection the two gave to their work.
At times, one can allow a greater than 1 degree orb in a cross tie if there is sufficient and observable indication in the lives of the individuals represented by the charts. Here it is shown by the blue line crossing the chart and connecting Hammerstein’s Neptune to Rodgers’ Uranus. cross-oppositions are always welcome between individuals in partnership because its magnetic qualities create a strong psychological attraction toward each other even when the two are far apart. There is a morphogenetic dynamic at work in this regard, akin to telepathy. The cross-conjunctions work best when those in relationship find themselves often in the same location, face to face. The interaction between Neptune and Uranus, the planetary pair of Significance, proves once again that destiny afforded these creative greats a profound impact on their generation and those to come, thanks to a direct link between astrological indicators and earthly events.
COMPARISON OF ELEMENTS
The Suns and Moons of both gentlemen share the same sign, Cancer, and are very compatible with regards to Wills and Feelings. The necessary stimulating point in the partnership is shown by the Ascendants which are incompatible in elements, and this relative breach draws these men together because of their variant life skills; the one contributing the concepts and lyrics, and the other the melodies and heartfelt emotions. Each brings to the other, the missing skill that is needed for well-rounded success. Two pairs are compatible by sign, with one pair not in harmony, creating the ideal elements for the partnership to flourish. Both natives have prominent Moons in Pisces; one is the handle of a Bucket in High Focus, and the other a Moon in Point Focus of a T-Cross. The Moon in Pisces is sympathetic and deeply sentimental and otherworldy. Their music-making reflects this poignant potential to connect and hold the heartstrings of audiences worldwide.
Also ideal, is the triad of Mars, Venus and Mercury, as these produce the compatibilities for the initiation, the progress, and the culmination of all events and projects undertaken. The While Mars and Venus are compatible, the Mercuries are incompatible by element, leaving a gap or need in the relationship that each must fulfill for the other with their unique contribution of genius.
Their combined magic is enhanced by several Sabian Symbols that relate to the song and dance in their charts. In addition to both men having the Moon in Pisces, there is an additional ethereal essence at play; it is Rodgers’ Saturn in the Elfin Sabian degree (pg. 317, Essentials of Astrological Analysis, Marc Edmund Jones), at 26 degrees Capricorn. The original Symbol is most revealing: In a little glade never trod by the foot of man, and in the mist of a waterfall dances a carefree water-sprite. Opposite Rodgers’ Saturn, but not close enough to take into account as a cross tie, is Hammerstein’s contribution to the two masters of swooning. It is through a unique mention of song by his Sun degree at 20 degrees Capricorn. The original Symbol is, During the celebration of some fete the canals of Venice are crowded; in a gondola are serenaders merry-making. It is notable as well, to mention that his Venus degree mirrors the icon of one of their collaborative and iconic stories, Carousel. Rounded at 6 degrees, Venus in its original Symbolism is, Children’s voices, and the smiles of elders; it is a merry-go-round with blatant music and unrestrained joyousness.
How fascinating it is, to see Sabian imagery, give credence to the human talent that brings to life its latent potentials.