The Sabian Symbols by Degree: A Word History

by S t a r l i n g D a v i d H un t e r s t a r l i n g d a v i d h u n t e r @ g m a i l. c o m

Starling Hunter 2011

p. 1

H e wh o wo u l d t ra ck l a n gu a ge t o i t s lai r wo u l d i n de e d end a s o m n i s c ie n t . A u t ob i o g r a p h y o f a Y o gi

Starling Hunter 2011

p. 2

Table of Contents
ABOUT THE AUTHOR PREFACE PART I: INTRODUCTION & OVERVIEW DEFINITION & DESCRIPTION ORIGINS & HISTORY MIMEOGRAPHED & OFFICIAL INTERPRETATION & ANALYSIS KEYWORDS & PHRASES WORD ORIGINS & HISTORY WORDING & REWORDING METHODS & SOURCES

PART II: ANALYSIS & COMMENTARY ARIES TAURUS GEMINI CANCER LEO VIRGO LIBRA SCORPIO SAGITTARIUS CAPRICORN AQUARIUS PISCES

PART III: SUMMARY & CONCLUSION APPENDICES BIBLIOGRAPHY

Starling Hunter 2011

p. 3

About the Author

S t a r l i n g w a s b o r n i n C a l i f o r n i a a n d r a i s e d i n t h e we s t e rn U n i t e d S t a t e s. H i s h i g he r e d u c a t i on w a s ob t a i n e d a t A r i z o n a S t a t e U n i v e r s i t y , w h e r e h e e a r n e d a B S i n E le c t r i ca l E n g i n e e r i n g , a n d D u k e U n i v e r s i t y, w h e r e h e e a r n e d b o t h a M a s t e r s o f Bu s i n e ss A d m i n i s t r a t i o n a n d a P h . D. i n M a n a g e m e n t . H i s p r o f e s si o n a l e x p e r i e n c e h a s b e e n d i v i d e d b e t w e e n industry and academia. Starling worked as an electrical engineer at the B o e i n g C o mp a n y i n S e a t t l e a n d a s a c om p e n sa t i o n a n a l y st a t E x x o n C h e m i c a l. H i s a ca d e m i c p o s t s ha v e b e e n a t t h e M a s s a c h us e t t s I n s t i t u t e o f T e c h n o l o g y , T h e A m e r i c a n U n i v e r s i t y o f S h a r j a h , a n d C a r n e g i e M e l l on U n i v e r si t y i n Q a t a r . S t a r l i n g h a s p u b l i s h e d , r e v i e w e d , a n d e d i t e d n u m e r o u s a ca d e m i c p a p e r s on t h e s t ra t e g i c us e a n d o r g a n i z a t i o n a l c o n s e q u e n ce s o f ma n a g e m e n t i n f o r m a t i o n s y st e m s. H e ha s c o m p le t e d f i v e o f s e v e n p l a n n e d v o l u m e s o n t h e l i n g u i s t i c s o f t h e Gr e a t I n v o c a t i o n . T h e s e r i e s i s e n t i t le d T h e C o mp a s s of L i g h t . T hi s i s S t a r l i n g s f i r s t b o o k o n t h e li n g u i st i c s of t h e S a b i a n S y m b ol s .

Starling Hunter 2011

p. 4

Preface

Starling Hunter 2011

p. 5

Part I: Introduction & Overview

Starling Hunter 2011

p. 6

Origins & History

T h e S a b i a n S y mb o ls a r e a s e t o f 3 6 0 s h o r t w o r d p i c t u r e s o r v i g n e t t e s c o r r e s p o n d i n g t o t h e 3 6 0 d e g r e e s o f t h e Z o d i a c. O n t h e w e b s i t e o f t he S a b i a n A s s e mb l y , on a p a g e e n t i t l e d T h e O r i g i n a n d H i st o r y o f t h e S a b i a n S y m b o ls , Di a n a R o c h e w r i t e s a b o u t h o w t h e y c a m e i n t o b e i n g : On some unrecorded date in 1925, the Sabian symbols were brought into manifestation in the span of a day in Balboa Park, San Diego, California through the combined efforts of Marc Edmund Jones and Elsie Wheeler.1 D r . M a r c E d m u n d J o n e s ( 1 8 8 8 - 1 9 8 0 ) w a s t h e f o u n di n g ch a n c e l l o r o f t h e S a b i a n A ss e m b l y a n d w a s m o s t w i d e l y k n o w n f o r t h e m a n y b o o k s he p u b l i s he d o n a s t r ol o g y a n d o c c u l t p hi l o s o p h y . H e c a m e t o t h i s w o r k b y a n u n u s ua l r o u t e . After dropping out of high school to go into business, he later completed his Ph.D. in philosophy from Columbia University in 1948. In his early days, he was a Hollywood screen writer, and was instrumental in founding the Screen Writers' Guild. In 1935, he received his Bachelor of Divinity degree at the San Francisco Theological Seminary at San Anselmo, California and was ordained as a Presbyterian minister. He served as a pastor in Esparto, California for five years.2 M s . E l si e W he e le r w a s a s t u d e n t o f Dr . J on e s w h o e a r n e d h e r l i v i n g a s a m e d i u m . B o t h c r i p p l e d b y a r t h r i t i s a n d c o n f i n e d t o he r w h e e l c h a i r, M s . W h e e l e r p o s se s s e d a d e t e r mi n a t i o n t o d o s o m e t h i n g m o r e w i t h h e r c l a i r v o y a n t a b i l i t i e s t h a n p r o v i d e a n sw e r s t o t h e a v e r a g e r u n o f q u e s t i o n s t h a t s h e g o t f r o m h e r c l i e n t s . 3 A s i t t u r n s o ut , h e r s k i l l s , e x p e r i e n ce , a n d d e t e r m i n a t i on w e r e a n i d e a l ma t c h f o r Dr . J on e s l on g s t a n d i n g i n t e r e st i n c r e a t i n g a m o r e u n i v e r s a l , m o r e ge n e r a l l y a p p li c a b l e , a n d l e ss m o r a li z e d se t of d e g r e e s y m b o l s. 4 A c c o r d i n g t o R o c h e a l s o a n a u t h o r o f a b o o k on t h e S a b i a n S y mb o l s t h e w o r d i n g f o r a l l 3 6 0 w a s o b t a i n e d i n a s i n g l e d a y i n 19 2 5 , a n d i n on e

1 2 3 4

http://sabian.org/sabian_symbols.php http://sabian.org/marcedmundjones.php http://sabian.org/sabian_symbo ls.php ibid. Starling Hunter 2011 p. 7

f e l l s w o o p . 5 O n t h e d a y i n q ue s t i o n , Dr . J on e s t o o k M s. Wh e e l e r t o a r e l a t i v e l y s e c l u d e d s e c t i o n o f Ba l b o a P a r k i n S a n D i e g o, C a l i f o r n i a . H e h a d p r e p a r e d i n a dv a n c e s o me 3 6 0 wh i t e , u n li n e d, 3 x 5 i n d e x ca r d s , e a c h h a v i n g o n e a st r o l o g i c a l d e g r e e w r i t t e n o n o n e si d e . R o c he c o n t i n ue s d e s c r i b i n g t h e d a y s e v e n t s : Because he realized there could be interruptions he decided to break up the session into quarters. A quarter of the cards were taken at random for each session and the cards were shuffled continuously during the process. Each card was placed face down before Elsie and "she reported on the picture she saw by inward vision." Neither of them knew which degree was being dealt with during the time she was describing the picture. Marc hurriedly wrote down the brief description on each card as she described the image. As Marc later described it, the cards reflect, "the simple few words in which Elsie Wheeler described the picture that she saw in the fleeting seconds that she had to describe it and I had to write the notes down."6 A f t e r c o m p l e t i n g t h e f i r s t 9 0 c a r d s, w e a r e t o l d t ha t t he y t o o k a b r i e f b r e a k b e f o r e w o r k o n t h e n e x t 9 0 c o mm e n c e d . A f t e r a d r i v e i n t o t h e c o u n t r y s i d e a n d a le i s u r e l y l u n c h , w o rk r e s u m e d a t t he sa m e sp o t i n B a l b o a P a r k . Gi v e n t h a t n e a r l y t w o h ou r s w e r e r e q u i re d t o c o m p le t e t h e f i r s t 9 0 s y m b o l s, t h e e n t i r e se t o f 3 60 s y m b o l s w e r e p r o b a b l y c on v e y e d a n d r e c o r d e d i n 8 h o u r s a r a t e o f a b o u t o n e s y m b o l e ve r y 8 0 s e c o n d s .

Mimeographed & Official

D e s p i t e t h e c on s i de r a b l e p l a n n i n g a n d e f f o r t t h a t we n t i n t o o b t a i n i n g t h e 3 6 0 d e g r e e s ym b o l s , D r. J o n e s w a s n o t i n i t i a l l y e n t h u s i a s t i c a b o u t t h e i r p o t e n t i a l c o n t r i b u t i o n o r a p p l i ca t i o n t o hi s w o r k . A s R o c h e i n d i c a t e s, A f t e r t he s e s si o n , M a r c p u t t h e c a r d s a w a y i n a t r u n k , t h i n k i n g t h a t t h i s t y p e o f w o r k w a s t oo f a r a f i e l d f r o m t he k i n d o f s c i e n t i f i c w o r k i n w h i c h h e w a s i n t e r e s t e d. 7 S o me f i v e t o s i x y e a r s la t e r h e t y p e d u p t he r e s u l t s o f t he d a y s w o r k a s a m i m e o g ra p h l e s s o n s e t f o r t h e b e n e fi t o f hi s m a n y i n t e r e st e d s t u d e n t s.

5 ibid. 6 ibid. 7 Ibid. Starling Hunter 2011 p. 8

That version expanded the description of the images and included a little story or vignette with each image. The initial response was so encouraging that he worked out the mathematical structure that he had discovered in them and put the whole thing together as a mimeographed astrological lesson series entitled Symbolical Astrology.8 T h i s mi m e o g r a p he d v e r s i on o f t he s y m b o l s w a s p u b l i s h e d b e g i n n i n g i n 1 9 3 1 a n d i t d i f f e r s i n a t le a s t t h r e e i m p o rt a n t r e sp e ct s f r o m J o n e s l a s t a n d o f fi c i a l v e r s i on p ub l i s he d i n 1 9 5 3 i n h i s b oo k T h e S ab i an

S ym b o l s i n A s t ro l ogy . T h e m o s t i m m e d i a t e l y ob v i o u s d i ff e r e n c e i s le n g t h
a s m e a s u r e d i n t h e n u m b e r o f w o r d s . I n t h e m i me o g r a p he d s e t , t he s y m b o l s a v e r a ge ov e r 1 8 . 6 w o r d s m o r e t h a n t h r e e t i me s t h e 5 . 4 w o r d a v e r a g e o f t he o f f i c i a l v e r s i o n s. S e c on d l y , a l l o f s y mb o ls i n t h e m i m e o g r a p h v e r si on a r e g r a m m a t i c a l ly c o r r e c t s e n t e n c e s : t h e y c o n t a i n b o t h s ub j e c t a n d p r e d i c a t e . I n ma r k e d c o n t r a s t , i n t he of f i c i a l v e r si o n t h e s y m b o l s a r e g i v e n a s p h r a se s t ha t t y p i c a l l y c o n v e y a c t i on w i t h p r e s e n t p a r t i c i p l e s i . e . ve r b s t e r m i n a t e d b y t h e s u f f i x i n g w h e n a c t i on i s co n v e y e d a t a l l. T a b l e 1, b e lo w , c o m p a r e s t he w o r d i n g f o r f i v e S a b i a n S y m b o ls a s g i v e n i n t h e 1 9 3 1 m i m e o g r a p h s e t a n d t h e 1 9 5 3 o f f i c i a l ve r s i o n .

8 Ibid. Starling Hunter 2011 p. 9

T ab le 1 : Co mp ari son o f Wo rdi ng o f t h e Mi meo gr aph ed an d O ffi c i a l V ersi o ns o f Fi v e S ab i a n Sy mbo ls

Symbol Aries 02 Gemini 15

Mimeographed version [word count] A comedian is entertaining a group of friends. [8] Two Dutch children in their immaculate native costumes are studying their lessons together. [13] A perfect rainbow forms slowly in the summer rain as the sun begins to break through the rather thin cloudbanks. [19] A beautiful gem of a lake set high in the mountains is revealed in the silvery bathing light of a full moon. [22] The convent lies between gnarled old trees as a very picture of peace and a woman approaches this sure haven. [20]

Official version [word count] A comedian entertaining a group. [8] Two Dutch children talking. [14]

Leo 26

A rainbow. [2]

Scorpio 08

The moon shining across a lake. [6]

Capricorn 24

A woman entering a convent. [5]

T h e t h i r d a n d m o st c o n s e q u e n t i a l d i f f e r e n c e c o n c e rn s t he t e n o r a n d t h e i n t e n t o f t h e mi m e o g r a p he d v e r s i o n s s o m e t h i n g t ha t c a u se d D r . J o n e s t o e v e n t ua l l y r e j e ct t h e m : He later became disenchanted with this version, however, as he felt he had done precisely what he sought to avoidmoralize the symbols in terms of the "white-AngloSaxon culture of [his] upbringing." And he became so disenchanted with that version that he asked his students not to use it. After going back to the original, brief, penciled descriptions and reworking the commentary and formula for two years, he published his "official" and last version of the symbols as The Sabian Symbols in Astrology. In his foreword, he describes the book as "the fruition, for the present lifetime of its author, of a project in astrological research which has occupied him for more than three decades."9 W h e t h e r w e u se t he t e r m m o r a l i z e o r t h e g e n t l e r e di t o r i a l i z e m a t t e r s n o t : t he m i m e o g r a p h e d v e r si on s a r e n o t on l y l o n g e r a n d p o ss e s s a d i f f e r e n t g r a m m a t i c a l st r u c t u r e , t he y a r e a l s o q u a l it a tive l y d i f f e r e n t i n w a y s t h a t ma t t e r f o r o u r u n d e r s t a n d i n g o f t h e s y mb o l s .

9 Ibid. Starling Hunter 2011 p. 10

Interpretation & Analysis

B o t h i n D r. J o n e s o r i g i n a l mi m e o g r a p h v e r s i on s a n d i n t h e l a t e r o f f i c i a l v e r si o n s, e a c h o f t h e 3 6 0 s y mb o l s w a s f o l l o w e d b y a n i n t e rp r e t a t i on o r co m m e n t a r y o f a p p r o x i m a t e l y 1 0 0 w o r d s . A l t h o u g h t h e i n t e rp r e t a t i on s d r a w h e a v i l y o n J o n e s v a s t k n o w l e d g e o f o c c u l t a n d a n c i e n t p h i l os o p hi c a l t r a d i t i o n s, t h e i n t e r p re t a t i o n s h a ve a d i s t i n ct l y p s y c h o l o g i c a l f o c us . T h a t i s t o s a y, t he y a r e p r i n c i p a l l y c o n c e r n e d w i t h w h a t m o d e r n p e r s on a l i t y p s y c h o l o g i st s r e f e r t o a s c o gni ti o n ( t h i n k i n g, m e n t a l s t a t e s) , a f fe c t ( f e e li n g , e m o t i o n s , a t t i t u d e s) , a n d b e h a vi o r ( d o i n g, a c t i on s , s k i l l s, a b i li t i e s ) . E v e r y o n e o f t h e c o m m e n t a ri e s i n t he o f fi c i a l v e r s i o n o f t h e 3 6 0 s y m b o l s m a k e s r e fe r e n c e t o on e o r mo r e o f t h e se a s p e c t s o f p e r s on a l i t y , o ft e n a l l t h r e e . T h o u g h J o n e s w a s t h e f i r s t , h e w a s b y n o m e a n s t he o n l y c o m m e n t a t o r t o e m p ha s i z e p e r so n a l i t y - a n d p s y c h o l o g i c a l - l e v e l i n t e rp r e t a t i on s . I n f a c t , i t w a s D a n e Ru d h y a r s 1 9 3 6 b o o k e n t i t l e d T h e A st ro l o gy o f

P e rs o na l i t y t ha t fi r s t i n t r o d u c e d t h e S a b i a n S y m b o l s t o a w i d e r a u d i e n ce .
As Jones states: The Sabian Symbols happened to fascinate Dane Rudhyar and I gave him permission to present them in the frame of, in his way today of explaining it, his different or "special social psychology and abstract philosophy" and in his abridgment they gave a redoubled indication of their validity. His The Astrology of Personality and articles in the magazines at the time were very largely responsible for bringing my contribution out in the open or to first broad public notice.10 E v e r y s e t o f i n t e r p r e t a t i o n s b e f o r e a n d s i n c e ha s e mp h a si z e d t h e p e r s o n a l o r p s y c h ol o g i c a l , t h e so c i a l -p s y c h o l o g i c a l, a n d / o r t h e p h i l o s op h i ca l a sp e c t s o f t he s y m b o l s i n v a r y i n g d e g r e e s . I n h i s la t e r w o r k e n t i t le d A n As t ro l o gi c a l M a n da la , R u d h y a r g a v e p e r h a p s t he b r o a d e s t , m o st p hi l o s o p h i ca l i n t e rp r e t a t i on t o t h e s y m b o l s , p o s i t i o n i n g

10 T h e S a b i a n S y m b o l s i n A s t r o l o g y . A r d e n , D e l a w a r e : T h e R o b e r t s S t u d i o P r e s s , 1 9 5 3 c f . R o c h e , 1 9 9 7 . Starling Hunter 2011 p. 11

t h e m a s a c o n t e mp o r a r y A m e r i c a n I - C h i n g a n d e mp h a si z i n g t h e i r o r a c u l a r u s e a n d i n t e r n a l s t r u c t u r e . 11 O t h e r c o m m e n t a t or s e m p h a s i z i n g t h e p e r s on a l a n d p s y ch o l o g i c a l l e v e l o f a n a l y s i s i n c l u d e L y n d a H i l l ( 360 D e gre e s o f Wi s do m ) , D i a n a R o c h e ( T h e S a bi a n S ym b ol s : A S c re en o f P rop h e c y ) , a n d B l a i n B o v e e ( T he

S a bi a n S ym b o ls a nd A s t ro l o gi c a l A n a lys i s ) . O n t h e m o r e a b s t r a ct a n d
p h i l o s op h i ca l e n d o f t h e sp e c t r u m i s E r i c S c h r o e d e r s p o s t h u m o u s l y p u b l i s he d w o r k , Z odi a c : A n A n a l ysi s of S ym b o l i c De gre e s , w h i c h a t t e mp t e d t o s y n t he s i z e n o t on l y J o n e s S a b i a n S y mb o l s b u t a l s o t h e s y m b o l s s e t s o f M a u r i c e W e m y s s, C h a r u b e l , a n d S e p ha r i a l . 12 D e s p i t e w h e re t h e se c o m m e n t a t o r s a n a l y s e s fa l l o n a c on t i n u u m f r o m p e r s o n a l t o p h i l oso p h i c a l, a l l o f t he i r i n t e r p r e t a t i o n s s ha r e o n e i m p o r t a n t c ha r a c t e r i s t i c : n o n e o f t h e m s y s t e m a t i c a l l y a n a l y z e t h e w o r d s o f t h e s y m b o ls a s wo rds . N o n e r o u t i n e l y t a k e a s t he s t a r t i n g p o i n t o f t h e i r i n t e rp r e t a t i on s e i t h e r t he d e f i n i t i o n , t he s t r u c t u re ( m o r p h o l o g y ) , o r t h e o r i g i n ( e t y mo l o g y ) o f t h e w o r ds c o m p r i si n g e a c h s y m b o l . I t i s p r e c i se l y t h i s g a p i n t h e e x i s t i n g b o d y o f w o r k o n t h e S a b i a n S y m b o ls which the present work is intended to fill.

KEYWORDS & PHRASES

D e s p i t e t h e la c k o f s p e ci f i c f o c u s on t h e w o r d s o f t h e s ym b o l s t h e m s e l v e s , t h e r e i s o n e d i s t i n c t i ve l i n g u i s t i c c h a r a c t e r i s t i c c o m m on t o e v e r y s e t o f i n t e r p r e t a t i o n s t h e u se o f k e y w o r d s , k e y p h r a s e s, a n d / o r k e y n o t e s. T h e se a p p e a r i n t w o f o r m s. E v e r y a u t h o r li s t e d a b o v e , a s w e l l a s s e v e ra l n o t m e n t i o n e d , h a s e i t h e r b e g u n o r c on c l u d e d e a c h s y m b o l s c o m m e n t a r y w i t h e i t h e r a s i g n i f i c a n t o r d e s c r i p t i v e w o rd a keywordor one or more short phrases to represent the central idea o f t h e s y m b o l. T h a t s a i d , t h e r e i s n o t hi n g a p p r o a c hi n g u n a n i m i t y a m o n g

11 M c C l u n g . G K . T h e P r o p h e t i c S a b i a n S y m b o l s , h t t p : / / w w w . k h a l d e a . c o m / a r t i c l e s / p s s _ g k m 1 . s h t m l 12 I b i d . Starling Hunter 2011 p. 12

k e y w o r d s t h a t v a r i o u s a u t h o r s h a ve se l e c t e d . N o r d i d a n y e v e n d e s c r i b e t h e p r o c e s s b y w h i c h t h e y a r r i v e d a t t h e k e y w o r d s o r p hr a s e s. T a b l e 2, b e l o w , p r ov i d e s t h e k e y w o r ds g i v e n b y v a r i o u s a u t h o r s f o r t h e f i r s t f i v e S a b i a n S y m b o l s ( A r i e s 1 - 5 ) . A s ca n b e r e a d i l y s e e n , t h e v a r i a t i on i s c o n si d e r a b l e . N ot a b l y, J on e s c h a n g e d s o m e o f h i s o w n k e y w o r d s a s s o c i a t e d w i t h t h e s e s y mb o l s b e t w e e n t h e p ub l i c a t i o n o f t h e m i m e o g r a p h e d a n d o f t h e o f f i ci a l v e r si o n s p u b l i s h e d t w e n t y - t w o y e a r s l a t e r. N o t s u rp r i si n g l y , R o c h e , w h o fo r m a n y y e a r s w a s a d i r e c t o r o f t h e S a b i a n A s s e mb l y , w a s t h e m o st f a i t h fu l t o J on e s i n t e r p re t a t i o n s a s e v i d e n c e d b y h e r us e o f t he s a me k e yw o r d s . R u d h y a r e m p l o y e d k e y p h r a s e s i n s t e a d o f s i n g l e w o r d s a n d t h e y b e a r li t t le o r n o r e s e m b la n ce t o e i t h e r s e t o f J o n e s . H i l l a n d B o v e e a ls o o p t f o r p h r a se s r a t h e r t h a n single keywords. The second way in which keywords or key phrases have been used is i n d i s c u ss i o n s o f t h e i n t e r n a l o r g a n i za t i o n a n d st r u c t u re o f t h e S a b i a n S y m b o l s. J on e s, R ud h y a r , B o v e e , a n d S c h r o e d e r a l l d e ve lo p e d f r a m e w o r k s f o r v i e w i n g s y m b o l s w i t hi n m o r e c o mp r e h e n s i v e a n d m o r e a b s t r a ct f r a m e s o f r e f e r e n c e . R u d h y a r, w h o l i k e n e d t h e S a b i a n S y m b o l s t o t h e c la s si c I - C h i n g , m a y h a ve g o n e f u r t h e s t i n t hi s e f fo r t , d e v e l op i n g a n a l y t i c a l f r a m e w or k s f o r c l a s s i f y i n g t h e s y m b o l s i n t o b o t h n u m e r i c a l / g e o m e t r i c a l s t r u c t u re s i . e . s y mb o l s se p a ra t e d b y 1 8 0 d e g r e e s ( op p o s i t i on ) , 9 0 d e g r e e s ( sq u a r e s ) , a n d 7 2 d e g r e e s ( s t a r s) a n d s e r i a l st r u c t u r e s, i . e . se q ue n c e s o f 5 , 1 5 , 9 0 , a n d 1 8 0 s ym b o l s . 13 A s s h o w n i n Ta b l e 3 , b e l o w , t h e fi r s t a n d s e c o n d h e m i c y c l e s w e r e g i v e n t he k e y p h r a s e s T h e P r o c e s s o f I n d i v i d u a l i z a t i on a n d T he P r o c e s s o f C o l l e c t i v i z a t i on , re s p e c t i v e l y.

13 h t t p : / / m i n d f i r e . c a / T h e % 2 0 S a b i a n % 2 0 S y m b o l s / A n % 2 0 A s t r o l o g i c a l % 2 0 M a n d a l a % 2 0 - % 2 0 C o n t e n t s . h t m Starling Hunter 2011 p. 13

T a b l e 2 : C o m p a r i s on o f K e y w o r d s a n d P h r a s e s Gi v e n t o F i v e S a b i a n S y mb o l s ( A r i e s 1 - 5) b y F i v e D i f f e r e n t Au t h o r s
Symbol Jones (1931) Jones (1953) Rudhyar (1974) Bovee (2004) Hill (2004) Roche (2010)

Aries 1 Aries 2 Aries 3 Aries 4 Aries 5

Realization Examination Experience Enjoyment Zeal

Realization Release Exploitation Enjoyment Zeal

Impulse to be. Objectivation of consciousness. Participation in a greater life. Polarization. A new dimension.

Focus Awareness of. Maintaining. Challenge. Creative genius.

Cycles starting. Seeing the funny side. Observing ones limitations. Walking loves path. Inspiration and zeal.

Realization Release Exploitation Enjoyment Zeal

Starling Hunter 2011

p. 14

T h e f i r s t h e mi c y c l e w a s f u r t h e r d i v i d e d i n t o t w o A c t s e n t i t le d D i f f e r e n t i a t i o n fo r A r i e s 1 - G e m i n i 3 0 a n d S t a b i l i z a t i o n f o r C a n c e r 1 - L e o 3 0 . Th e s e c on d h e m i c y cl e w a s s i mi l a r l y d i v i d e d w i t h t h e n a m e s G r o u p In t e g r a t i o n a n d Ca p i t a l i z a t i o n b e i n g u s e d t o d e s i g n a t e t he t h i r d a n d f o u r t h A ct s , r e s p e ct i v e l y. F i n a ll y , e a c h o f t h e f o u r A ct s w a s f u r t h e r s u b - d i v i d e d i n t o si x u n n a m e d S ce n e s c o n s i st i n g o f t h e f i r s t o r l a s t f i f t e e n sy m b o l s o f e a c h s i gn . F o r e x a m p l e , A c t 1 w a s c o m p r i se d o f S ce n e 1 ( A r i e s 1 - 1 5 ) , S c e n e 2 ( A r i e s 1 6 - 3 0 ) , S c e n e 3 ( Ta u r u s 1 - 1 5 ) , S ce n e 4 ( T a u r u s 16 - 3 0 ) , S c e n e 5 ( G e m i n i 1 -1 5 ) a n d S c e n e 6 ( Ge m i n i 1 - 3 0 ) .

Starling Hunter 2011

p. 15

T a b l e 3 : R u d h y a r s I n t e r n a l S t r u ct u r e o f t h e 3 6 0 S a b i a n S y m b o l s

H e m i c y c le 1 : T h e P r o c e s s o f I n d i v i d u a l i z a t i on Aries 1 Virgo 30 Act 1: Differentiation A r i e s 1 G e mi n i 3 0

Scene 1 Aries 1-15 Scene 4 Taurus 16-30 Scene 2 Aries 16-30 Scene 5 Gemini 1-15 Scene 3 Taurus 1-15 Scene 6 Gemini 16-30

H e m i c y c le 2 : T h e P r o c e s s o f C o l l e ct i v i z a t i o n L i b r a 1 - P i s ce s 3 0 A c t 3 : G r o u p - I n t e gr a t i o n Libra 1 Sagittarius 30
Scene 13 Libra 1-15 Scene 16 Scorpio 16-30 Scene 14 Libra 16-30 Scene 17 Sagit 1-15 Scene 15 Scorpio 1-15 Scene 18 Sagit 16-30

A c t 2 : S t a b i li z a t i on Cancer 1- Virgo 30
Scene 7 Cancer 1-15 Scene 10 Leo 16-30 Scene 8 Cancer 16-30 Scene 11 Virgo 1-15 Scene 9 Leo 1-15 Scene 12 Virgo 16-30

A c t 4 : C a p i t a l i z a t i on Capricorn 1 Pisces 30
Scene 19 Capric 1-15 Scene 22 Aqua 16-30 Scene 20 Capric 16-30 Scene 23 Pisces 1-15 Scene 21 Aqua 1-15 Scene 24 Pisces 16-30

Starling Hunter 2011

p. 16

A l t h o u g h R u d h y a r g a v e n o e xp l a n a t i on s f o r h i s w o r d c h oi c e s, i t i s a p p a r e n t t h a t g r a mm a t i c a l a n d r h e t o r i c a l c o n s i d e r a t i o n s w e r e n o t fa r f r o m t h e s u r f a c e . Co n s i d e r, f o r e x a mp l e , hi s w o r d i n g f o r t h e t w o h e m i c y c l e s T h e P r o c e s s o f I n di v i d u a l i z a t i on a n d T he P r o c e ss o f C o l l e c t i v i z a t i on . F i r s t w e m i g h t n o t e t h a t t he t w o p h r a se s e x h i b i t g r a m m a t i c a l p a r a l l e l i s m : a d e fi n i t e a r t i c l e ( t he ) , f o l l o w e d b y a n o u n ( P r o c e s s ) , f o l l o w e d b y a p r e p o si t i on ( o f ) , a n d t h e n t h e o b j e c t o f t ha t p r e p os i t i o n ( I n d i v i d u a l i z a t i on , C o l le ct i v i z a t i o n ) . A ls o n ot e t h a t t he n o u n s se r v i n g a s ob j e ct s o f p r e p o s i t i o n s e x e mp l i f y t he rh e t o r i c a l t r o p e k n o w n a s a n t i n o m y, i . e . c on t r a d i c t i o n , o p p os i t i o n , o r a n t i t h e s i s : I n d i v i d u a l i z a t i on i s o p p o s e d b y C o l le c t i v i z a t i o n . A s i mi la r p a t t e r n o f o p p o si t i o n i s e v i d e n t i n t h e n a mi n g o f t h e f i r st a n d t h i r d a c t s Differentiation and Group -Integration. T h i s p a t t e rn o f op p o s i n g c o n ce p t s w a s n o t c a r r i e d o v e r i n t o t he k e y w o r d s a n d p h r a s e s t ha t a c co m p a n i e d R u d h y a r s i n t e r p r e t a t i on s o f i n d i v i d u a l s y m b o l s. T a b l e 4 , b e l o w , co n t a i n s a r a n d o m se l e c t i o n o f si x s y m b o l p a i r s a n d t h e k e y p h r a se s a s si g n e d t o t h e m i n Ru d h y a r s A n

A s t ro l o gi c a l M a n dal a . A s ca n b e c le a r ly o b s e r v e d t h e re i s n o o b v i o us
o p p o si t i o n o r an y c l e a r r e l a t i on s h i p f o r t h a t m a t t e r b e t w e e n t h e p a i r s o f k e y p h r a s e s f o r o p p o si n g s y m b o l s . T h i s l a c k o f a n o p p o s i t i on a l st r u c t u r e i n R u d h y a r s a n a l ys i s i s n o t a c c i d e n t a l. A s B o ve e n ot e s, D a n e R ud h y a r f l a t l y s t a t e d t h a t h e f o u n d i t d i f f i c u l t t o r e c o g n i z e t h e c o mp l e m e n t a r y t h e m a t i c o f op p o s i n g d e g r e e s , t h e v e r y a p p r o a c h t h a t J o n e s u t i li z e d i n h i s f i n a l w o r k o n t h e s u b j e c t . 14

T a b l e 4 : Ke y w o r d s a n d P h r a se A s s i g n e d b y D a n e R u d h y a r t o S i x O p p o si n g P a i r s o f S a b i a n S y m b o ls

14 B o v e e , L o c a t i o n s Starling Hunter 2011 p. 17

Symbol Pair

Key Phrase: Symbol 1

Key Phrase: Symbol 2 Hope Cooperation Protectiveness Dynamic Interchange The Natural Progression of States of Consciousness Differentiation

Aries 8/Libra 8 Taurus 3/Scorpio 3 Gemini 18/Sagittarius 18 Cancer 21/Capricorn 21 Leo 12/Aquarius 12

Protective Forms and Sensitivity Natural Fulfillment Insulation The Price of Success Sophistication

Virgo 29/Pisces 29

Root Knowledge

I n h i s b oo k e n t i t le d T h e S ab i an S ym bo l s a n d A s t ro l o gic al A n a l ys i s , B o v e e a n a l y z e d t h e 3 6 0 s y m b o l s a s 1 80 p a i r s o f o p p o s i n g d e g r e e s . H i s c o m m e n t a ri e s ma t c h t h e m i r r o r i n g se n s e o f e a c h p a i r t h r o u g h t h e u s e o f c a r e f u l l y s e l e c t e d k e y w o r d s a n d sh a r e d m o t i f s. T h e l a t t e r t e r m , s h a r e d m ot i f , i s a n o t h e r w a y o f sa y i n g s y n t h e si s , p a r t i c u l a r l y a s i t i s u n d e r s t o o d i n H e ge l i a n d i a l e ct i c s, i . e . t h e s i s a n d a n t i t h e s i s r e s o l ve d t h r o u g h s y n t h e si s . A p p l i e d t o B o v e e s a n a l y s e s , on e s y m b o l w o u l d r e p r e s e n t t h e t h e si s , i t s op p o si t e w ou l d b e t h e a n t i t h e s i s a n d t he s h a r e d m ot i f , i . e . t h e i r c o m m on c h a r a c t e r i st i c o r t h e me s , w o u l d r e p r e s e n t t h e i r re so l u t i o n o r s y n t h e si s . B o v e e i s a l s o t h e on l y a u t h o r t o d a t e t o a t t e n d t o b o t h t h e m e a n i n g s a n d t h e e t y m o l o g i ca l o r i g i n s o f t h e w o r d s . N o f e w e r t h a n 8 0 t i m e s d o e s h e r e f e r t o t h e L a t i n o r G r e e k r o o t s o f t h e s y m b o ls w o r d s a n d / o r p la c e t h o s e w o r d s w i t hi n t h e c o n t e x t o f G r e e k m y t h o l o g y o r o t h e r h i st o r i c a l p e r i o d s. A l t h o u gh t h e u s e o f e t y m o lo g y w a s n o t u n d e rt a k e n i n t h e a n a l y s i s o f e v e r y sy m b o l , h e c l e a r l y a n t i ci p a t e d a n d r e co g n i z e d t h e benefits that doing so could bring: Simple etymological research reveals reservoirs of meaning that reaches (sic) the world over, tapping into every major language, expressing universal themes of the human collective throughout time. By following the root energies of the words used in the Sabian Symbols,
Starling Hunter 2011 p. 18

a vibrant sense of world cultures begins to be uncovered from what perhaps seemed at first to be very culturally specific.15 T h e p h i l os o p h y m ot i v a t i n g m y a n a l y t i c a l a p p r o a c h i s q u i t e s i mi l a r t o B o v e e s. T h e r o o t s o f w o r d s a r e i n d e e d a n i mp o r t a n t s o ur c e o f i n f o r m a t i o n f o r i n t e r p r e t i n g t he S a b i a n S y m b o l s, s y mb o ls w h i c h a r e fi r s t a n d f o r e m o s t w o r d p i c t u re s . T h a t ha v i n g b e e n sa i d t he s p e ci f i c s o f m y a p p r oa c h d i f f e r i n s e v e r a l i mp o r t a n t w a y s , a s t h e n e x t se c t i on m a k e s clear.

WORD ORIGINS & HISTORY

A s n o t e d e a r l i e r, t h e S a b i a n S y m b o l s a r e c o m p ri s e d o f wo r d s w o r d s a r r a n g e d i n t o s h o rt p h r a se s a n d o c c a s i o n a l l y, c o mp l e t e s e n t e n c e s . F r o m t h e d o z e n s o f r h e t o r i c a l , l o g i c a l, g r a m m a t i c a l, p o e t i c a l, a n d l e x i ca l p r o p e r t i e s t h a t t h e s e w o r d s p o s se s s, I h a v e c h o s e n t o f o cu s p r i m a r i l y on etymology, the study of the history of words, their origins, and how t h e i r f o r m a n d m e a n i n g h a v e c h a n g e d o v e r t i m e . 16 M y u s e o f e t y m o l o gy d i f f e r s i n t w o i mp o r t a n t r e sp e ct s f ro m t h e m a n n e r i n w h i c h i t w a s a p p l i e d b y B ov e e . M o st i mp o r t a n t l y , I u s e a d i f f e r e n t a n d m o r e c o m p r e h e n s i v e s e t o f e t y m o l o g i c a l r o o t s . W he r e a s B o v e e r e l i e d p r i n c i p a l l y o n G re e k a n d L a t i n r o o t s , I ha v e s e l e ct e d I n d o E u r o p e a n r o ot s a s p r o v i d e d i n s e c o n d e d i t i on o f T h e A me ri c a n H e ri t a ge

D i c t i on a ry o f In do -E u ro p ea n R o ot s ( AH D I E R) . Re v i se d a n d e d i t e d b y
C a l v e r t W a t k i n s, t he V i c t o r S . T h o ma s P r o f e s s o r o f L i n g u i s t i c s a n d t he C l a s s i c s a t H a r v a r d U n i v e r si t y a n d a le a d i n g e xp e r t i n I n d o - E u r o p e a n s t u d i e s, t he A H D I E R t r a c e s o v e r 1 3 , 00 0 w o r d s t o t h e i r o r i g i n s i n P r ot o I n d o - E u r o p e a n , t h e p r e h i st o r i c a n c e s t o r o f E n g l i s h t h a t w a s s p o k e n b e f o r e t he a d v e n t o f w r i t i n g . 17 T h e d i c t i o n a r y i t se l f i s or g a n i z e d a r o u n d o v e r 1 3 5 0 r e c o n s t ru c t e d r o o t s a n d t he w o r d s d e r i v e d f r o m e a c h. I n t hi s

15 B o v e e , L o c a t i o n ` 1 1 3 , 3 4 8 , K i n d l e E d i t i o n 16 h t t p : / / e n . w i k i p e d i a . o r g / w i k i / E t y m o l o g y 17 W a t k i n s , C . ( 2 0 0 0 ) , T h e A m e r i c a n H e r i t a g e D i c t i o n a r y o f I n d o - E u r o p e a n R o o t s , H o u g h t o n M i f f l i n Harcourt; 2nd Ed. (September 14, 2000). Starling Hunter 2011 p. 19

s t u d y I t r a c e d n e a rl y e v e r y w o r d i n e ve r y s y m b o l b a c k t o i t s I n d o E u r o p e a n r o ot i f i t h a d o n e a n d b a ck t o i t s o t h e r r o o t s G r e e k , L a t i n , O l d E n g l i s h, e t c . i f i t d i d n ot . A n o t h e r i mp o r t a n t d i f f e r e n c e s c o n ce r n h o w I u s e t he i n f o r m a t i o n a b o u t a w o r d s o r i g i n s . In t h i s s t u d y I p l a c e e a c h w o r d i n t h e s y m b o l i n t h e c o n t e x t i t s p a ro n y m s , i . e . t h e w o rd s t o w h i c h t he w o r d i s a l li e d b y d e r i v a t i on f r o m t he s a m e r o o t . F o r e x a m p l e , J on e s o r i gi n a l w o r d i n g o f s y m b o l A r i e s 2 4 i s A n op e n wi n d o w a n d a n e t c u r t a i n b lo w i n g i n t o a cornucopia. Bovee notes that the word curtain descends from the L a t i n c o rt w hi c h me a n s co u rt a n d t h a t t h e w o r d i s a ki n t o c o r t e x , t he g r a y m a t t e r o f t h e b r a i n . I n c o n t r a s t , m y i n t e rp r e t a t i on o f t h i s s y m b o l b e g i n s b y n ot i n g t ha t t h e w o r d c u r t a i n d e s c e n d s f r o m t h e I n d o E u r o p e a n r o ot gh er - 1 w h i c h m e a n s t o g r a s p , e n c lo s e . T h e w o r d s t o w h i c h c u r t a i n i s a k i n a r e i t s p a r o n y m s , i . e . a l l o t h e r s t h a t a ls o d e s c e n d f r o m gh e r- 1 . T h e s e i n c l u d e gi rdl e , gi rt h , o rc h a rd , ya rd , ga rde n ,

h a n ga r , co u rt , co h ort , c a ro l , c h oi r , a n d c h o ra l e . N o t e t ha t co r t e x i s n o t
c o u n t e d a m on g t h e m . T h e s e c o n d s t e p i n m y a p p r oa c h i s t o s e p a ra t e l y li s t t h e p a r o n y m s o f e a c h w o r d a n d t he n t o f i n d t h e i r s h a r e d m o t i f s o r c o mm o n t h e me s . T h e s e t he m e s a r e e v i d e n t i n a w i de v a r i e t y o f s e ma n t i c, rh e t o r i c a l, a n d logical relationships including:

H y p er n y m s : Y i s a h y p e r n y m o f X i f e v e r y X i s a ( k i n d o f ) Y . F o r e x a m p l e , canine is a hypernym of dog, because every dog is a member of the larger category of canines. H y p on y m s : Y i s a h y p o n y m o f X i f e v e r y Y i s a ( k i n d o f ) X . F o r e x a m p l e , dog is a hyponym of canine. C o or d i n at e t er m s : Y i s a c o o r d i n a t e t e r m o f X i f X a n d Y s h a r e a hypernym. For example, wolf is a coordinate term of dog, and dog is a coordinate term of wolf. H ol on y m s : Y i s a h o l o n y m o f X i f X i s a p a r t o f Y . F o r e x a m p l e , building is a holonym of window. M er o n y m s : Y i s a m e r o n y m o f X i f Y i s a p a r t o f X . F o r e x a m p l e , window is a meronym of building.

Starling Hunter 2011

p. 20

T r op on y m s : t h e v e r b Y i s a t r o p o n y m o f t h e v e r b X i f t h e a c t i v i t y Y i s doing X in some manner. For example, to lisp is a troponym of to talk. E n t a i l m en t : t h e v e r b Y i s e n t a i l e d b y X i f b y d o i n g X y o u m u s t b e d o i n g Y . F o r e x a m p l e , t o s l e e p i s e n t a i l e d b y t o s n o r e . 18

O t h e r l i n g u i st i c re la t i o n s h i p s i n c l u d e s yn o n ym s ( w o r d s w i t h s i m i la r m e a n i n g s ) , an t on ym s ( w o r d s w i t h op p o s i t e m e a n i n g s ) , h e t e ro n ym s ( i d e n t i ca l s p e l l i n g s b u t d i f f e re n t me a n i n g s a n d p r o n un c i a t i o n s ) ,

h o m o n ym s ( t w o o r m o r e w o r d s t h a t ha v e t h e s a m e s o u n d a n d o f t e n t h e
s a m e sp e l li n g b u t d i f f e r i n m e a n i n g ) , a n d t h e t o pi c s o f in ve n ti o n , e . g . c a u s e - a n d - e f f e c t , a n t e ce d e n t -a n d - c o n s e q u e n c e , g e n us - a n d - s p e ci e s, a n d s u b j e c t - a n d - a d j u n ct r e l a t i o n s hi p s . 19 W i t h o u t e x c e p t i o n , a ll o f t h e s ha r e d m o t i f s a n d c o m m o n t h e me s d e s c r i b e d i n t h i s s t u d y a r e o b t a i n e d v i a t h i s m e t h o d . A t n o p o i n t d o I r e l y o n a n y t hi n g e v e n r e m o t e l y r e s e m b li n g f r e e a s s o c i a t i on . 20

WORDING & REWORDING

S i n ce t he 1 9 5 3 p u b l i c a t i o n o f J o n e s Th e S ab ia n S ym b o l s i n A s t ro l o gy p e r h a p s a d o z e n o t h e r s e t s o f i n t e r p re t a t i o n s o f t h e s y m b o l s h a v e b e e n p u b l i s he d . B o ve e ha s n o t e d w i t h s o me d i s m a y a n a s s u mp t i o n m ot i v a t i n g m o s t o f t h o se w o r k s t h e b e l i e f t h a t t h e w o r d i n g o f t h e sy m b o l s n e e d s t o b e u p d a t e d, e d i t e d , o r t i d i e d up . T he se a s s u mp t i on s a re n o t w i t h o ut p r e c e d e n t . D a n e Ru d h y a r , f o r e x a m p le , t h o u g h t t h e S a b i a n S y mb o l s i n n e e d o f r e f o r m u l a t i o n . 21 I n i t i a l l y , e v e n J o n e s hi m s e l f w a s n o t i m m u n e t o t h i n k i n g t ha t r e -w o r d i n g w a s s u p e ri o r t o t he w o r d s h e f i r s t r e c o r d e d on the note cards in 1925:

18 h t t p : / / e n . w i k i p e d i a . o r g / w i k i / W o r d N e t # D a t a b a s e _ c o n t e n t s 19 h t t p : / / r h e t o r i c . b y u . e d u / C a n o n s / I n v e n t i o n / T O P I C S % 2 0 O F % 2 0 I N V E N T I O N / T O P I C S . H T M ; s e e a l s o Joseph, Miriam, Shakespeares Use of the Arts of Language , Columbia University Press, 1947, New York. 20 h t t p : / / w w w . m e r r i a m - w e b s t e r . c o m / d i c t i o n a r y / f r e e + a s s o c i a t i o n 21 B o v e e , L o c a t i o n s 7 2 - 7 5 Starling Hunter 2011 p. 21

Correcting, expanding, interpretively enhancing, is exactly what the so-called mimeograph version attempts to do. The mimeograph version handed out to the students of Marc Edmund Jones attempted to expand on the original cryptic penciled notes.22 A s n o t e d p r e v i o u s ly , R o c h e t e l l s u s t ha t J on e s la t e r b e ca m e d i s e n c h a n t e d w i t h t h e m i me o g r a p h s e t a n d r e q ue s t e d t h a t h i s s t u d e n t s n o t u s e t h e m. A c c or d i n g l y , i n t h i s s t ud y I h a v e o p t e d f o r t h e o f f i c i a l w o r d i n g o v e r b o t h t h e o r i g i n a l w o r di n g o f t h e n o t e c a rd s ( c . 1 9 2 5 ) a n d t h e m i me o g r a p h e d v e r s i o n s ( c. 1 9 3 1 ) . T h i s c h o i ce i s m ot i v a t e d b y t h e f a c t t h a t t he o f fi c i a l w o r d i n g r e p r e se n t s t h e c u l mi n a t i o n o f d e c a d e s o f w o r k a n d t h o u g h t b y J o n e s w o r k w h i c h i n v o l v e d ca r e f ul r e c o n s i d e r a t i on o f h i s o ri g i n a l p e n ci l e d a n n o t a t i on s a n d h i s u n e q u i v o ca l r e j e c t i o n o f h i s mi m e o g r a p h e d v e r s i on s.

METHODS & SOURCES

A s i s r e a d i l y a p p a re n t a b o v e , I o f f e r i n t h i s b o o k a ra t h e r n o v e l a p p r oa c h f o r a n a l yz i n g t h e S a b i a n S ym b o l s . T hi s a p p r oa c h i n c l u d e s c o n c e p t u a l v o ca b u la r y a n d t h e a p p l i ca t i o n o f me t h o d s t ha t a r e d o u b t l e s s l y u n fa m i l i a r t o b u t n o t b e y o n d t h e k e n o f m a n y r e a d e r s. I n o r d e r t o i n c r e a s e t h e e a se o f c o mp r e he n s i on o f t he a n a l ys e s , I h a v e d o n e t w o t h i n g s. F i r s t , I h a v e m a d e e v e r y e ff o r t t o k e e p sp e ci a l i z e d t e r m i n o l o g y t o a mi n i m u m. I n s t e a d o f u s i n g u n f a mi l i a r t e r m s l i k e h y p e r n y m , t r o p on y m , e n t a i l m e n t , a n d h e t e r o n y m, I j u st de s c r i b e t h e r e l a t i on s h i p s t he y c o n v e y i n p l a i n la n g u a g e . S e c o n d l y, I h a v e a d o p t e d a n u m b e r o f f o r m a t t i n g a n d n a mi n g c on v e n t i on s w h i c h I de s c r i b e i n d e t a i l below. F i r s t , I u s e t h e t e rm k e y w o r d i n a di f f e r e n t s e n s e t h a n a l l p r e vi o u s a u t h o r s . As n o t e d e a r l i e r, k e y w o r d s a n d p h r a se s h a ve b e e n u se d i n S a b i a n S y m b o l s t ud i e s t o s u m m a r i z e o r r e p r e se n t t h e k e y f e a t u r e s o f t h e s y m b o l . I n t h i s s t ud y , I u s e t h e t e r m k e y w o r d t o d e s c r i b e t he ke y wo rds i n t he s y m b o l, i . e . t h e n o u n s, a d j e ct i v e s , v e r b s , a d v e r b s, a n d s o m e
22 I b i d . , L o c a t i o n s 9 0 - 1 Starling Hunter 2011 p. 22

p r o n o u n s. T h e s e wo r d s a r e t h e o n e s i n t h e s y m b o l w h o se r o o t s a re t r a c e d a n d w h o se p a r o n y m s a r e i d e n t i f i e d a n d t h e ma t i ca l l y l i n k e d . S e c o n d l y, t h e b o d y o f e a c h e n t r y b e g i n s w i t h a n e t y m o l og i c a l a n a l y s i s o f t h e s y m b o l s k e yw o r d s , e a c h a p p e a r a n c e o f w h i c h i s h i g h l i g h t e d i n b o l d , b l ue t e x t , e . g . w at e r . A l l p a r o n ym s o f t h e se k e y w o r d s a r e h i g h l i g h t e d w i t h i t a l i c s, e . g . wet , wa sh , wi nt e r , h ydra n t , h ydro u s ,

wh i s ke y , vo dka , a n d h ydro p s y .
T h i r d , i n t h e b o d y o f t h e a n a l y s i s , a l l r o o t s a r e p l a ce d i n b o l d t e x t . I n d o - E u r o p e a n r o ot s a r e t e r m i n a t e d w i t h h y p h e n s , e . g . ghwi bh - , o r b y a c a r d i n a l n u mb e r p r e c e d e d b y a h yp h e n , e . g. ma n -1 . L a t i n , G r e e k , a n d o t h e r r o o t s a r e b o ld - f a c e d b u t h a v e n e i t h e r a t e r m i n a l n u m b e r n o r h y p h e n , e . g . seo lh . F o u r t h , f o l lo w i n g t h e d i s c u s si o n o f t he r o o t s a n d p a r o n ym s o f e a c h k e y w o r d i s a s e c on d s e c t i on i d e n t i f y i n g t h e i r c o m m on t h e m e s a n d s h a r e d s e m a n t i c r e la t i on sh i p s. T h i s s e c t i o n i s c l e a r l y d i s t i n g u i sh e d f r o m t h e f i r s t b y t he b o l d - f a c e d w o r d T H EMES . T h e t h e m e s t h a t a re i d e n t i f i e d t h e r e i n a p p e a r i n b o l d c a p s, e . g . PH YSI OLO GY . F i f t h , t o i n c r e a s e t h e o b j e c t i v i t y o f my a n a l y s i s, I r e l y e x c l u s i v e l y o n o p e n a n d w e l l - r e sp e c t e d s o u r c e s f o r i n f o r m a t i on o n t h e w o r d s m e a n i n g s . I a l s o d oc u m e n t m y u se o f t h e s e s o u r ce s w i t h fo o t n o t e s , t h e o v e r w h e l m i n g m a j o r i t y o f w h i c h a r e t o t h e f o l l o wi n g s ou r c e s :
Information on Indo-European roots comes from the second edition of T h e Am e r i c a n H e r i t a g e D i c t i o n a r y o f I n d o - E u r o p e a n R o o t s ( A H D I E R ) . Most information on Greek, Latin and other roots was obtained from the O n l i ne E t ym o l o g y D i c t i o n a r y w h i c h i s e d i t e d b y D o u g l a s H a r p e r . T h e f i r s t c h o i c e f o r m o s t d e f i n i t i o n s o f w o r d s i s T h e Am e r i c a n H e r i t a g e D i c t i o na r y o f t h e E ng l i s h La n g u a ge . I n f o r m a t i o n o n s y n o n y m s w a s m o s t l y t a k e n f r o m R o ge t s 2 1 s t C e n t u r y Thesaurus as it appears on the web portal Thesaurus.com.

F i n a l l y , a n i ma g e co r r e s p o n d i n g t o e a c h S a b i a n S y m b o l a p p e a r s i n t he u p p e r ri g h t h a n d co r n e r o f t h e f i r s t p a r a g r a p h . T h e y s om e t i m e s a c c o m p a n y t h e c om m e n t a r y a s w e l l . T h e i m a g e s c o m e fr o m a w i d e

Starling Hunter 2011

p. 23

v a r i e t y o f s o u r c e s : p a i n t i n g s ; s t i l l - li f e p h o t o g r a p h s ; a n i m a t e d c a r t oo n s ; b o o k , m a g a zi n e , a n d a l b u m c o v e r s ; mo v i e p os t e r s ; st a mp s a n d p o st c a r d s ; p r o d u c t l o g o s a n d a d v e r t i s e me n t s ; v i d e o g a m e s ; t e x t b o o k s ; a n d e v e n sp o r t s ma s c o t s . T h e i m a g e s a r e i n t e n d e d t o b ot h e n l i v e n t he presentation of the text and to render visually some of what words can n e v e r f u l l y c o n v e y. T h e i m a g e s a r e n ot , h o w e v e r, t he u n i t o f t h e a n a l y si s a n d t h e y a re v e r y r a r e l y r e f e r r e d t o di r e c t l y .

Starling Hunter 2011

p. 24