Writers

Emile Zola

2 April 1840 - 29 September 1902

• novelist of class conflict, revolution, social discontent, exploitation, violence, abuse

  • themes of political-social change

  • Ketu in bhava 11 (social progress movements, economics)

  • Rahu in bhava 5 (individual empowerment, royalty, politics)

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  Emile Zola was a literary genius who was able to portray in brilliant narrative that is as engaging today as it was when he first wrote it. Zola told stories (2) of crime and exploitation (6) in 19th century France of the Second French Empire.

  His intensive collection of brilliant graha in bhava-6 show a literary focus upon topics of:

  • terrible animosity and dehumanizing acts (6)

  • exploitation of labor and police brutality(6)

  • class conflict and abuse of trust (6)

  • involuntary servitude and prostitution (6)

  • alcoholism and domestic violence (6)

Although his widowed mother wanted him to pursue a law degree, Zola wanted to write. To ensure his choice of profession, Zola intentionally failed the Baccalaureate examination (prerequisite to law school.)

• 1847 age 7 = death of father

• 1858 age 18 - family moves to Paris

• 1865 age 25 = publication of Zola's "sordid autobiographical novel "La Confession de Claude" attracted police attention and got him firedfrom his day job with a prominent publisher [lagnesha Shukra + Rahu]

• 1867 age 27 = first major novel, Thérèse Raquin

• 1867-1868 age 28 = plans the entire life-work literary series =Les Rougon-Macquart

• 1868 begins writing the set of 20 novels called Les Rougon-Macquart

• 1877 age 37 - beginning of significant wealth from writings.

• 1885 = Germinal

• 13 January 1898 = Dreyfus Affaire = "J'accuse"

• 1898 convicted of treason, flees to London

• 1899 returns to Paris to witness the collapse of the government

• 29 September 1902 = Zola died of carbon monoxide poisoning caused by a stopped chimney.

Success Markers for

Story Writing and Publishing

Four mutually friendly graha in the career-positive ari bhava (9th-from-10th)

• many bhukti periods will produce creative literature. He wrote productively and profitably, acclaimed works, throughout life.

• Densely creative company of 4-graha in the 6th bhava of accusations allowed Zola to very effectively personalize (Surya + Chandra + Budha) the world of Ari Bhava made violent via marakesha Mangala.

• L-2 + L-7 Mangala (wealth, alliances, death)

• L-11 Surya (networks, gains, populism)

• L-10 Chandra (government, central elite, leaders)

• L-9 + L-12 Budha (back-room deals, sanctuary, prison)

Mangala in bhava-6

Mangala in Meena

Atmakaraka Mangala =

• L-2+L-7 = Mangala + Budha + Surya + Chandra (!)

  L-2 = Story-Telling, Historical Knowledge, Cultural Lineage Values, the "voice" ; Mangala adds a fast-moving, warlike quality to the stories

  • Most of the social conflict about which Zola writes involves revolutionary change in wealth distribution rules and a radical new interpretation of lineage French social tradition.

    • bhava-2 = agencies of capital acquisitionand banking. Capital includes "cultural capital" = knowledge-assets handed down through the social-class lineages

  • L-7 = marriage, alliances, contracts including (per Rousseau) "The Social Contract" between an individual and society

    • Mangala adds an active, bloody, even warlike quality to the struggle for new contracts

    • bhava-7 = lawyers , diplomats, goods traders and brokers

• Atmakaraka Mangala in bhava-6 = underclass, working class, class wars, aggressive competition for resources, argumentation, litigation, jail, social unrest, fighting, illness, lies, theft, household violence, broken promises

• Regardless of the negative associations of bhava-6 (such as his imprisonment for treason or broken employment contracts) the auspicious Chandra-Mangala yoga along with the same Atmakaraka Mangala in 10th navamsha insures that he would have wealth resulting from his material endeavors.

• Zola enjoyed a comfortable income his literary works, a great rarity in his generation of aspiring but often impoverished literati.

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  Although Zola's Kuja is certainly an agent of creative and prolific writing, Mangala also generated for him some backstabbing (12) partners-turned-enemies due to Kuja L-7 partners in 6 = 12th losses from swakshetra.

  • He was a genius of describing class warfare (6) (example: Zola's novel: Germinal) the misery of poverty.

  • He understood the capitalistic "collectors" mentality which formed the engine of dehumanization (6)

  • he understood the violent rage of the oppressed who occasionally rise up in triumphant rebellion -- only to lack the leadership skills to sustain the victory, and collapse again via alcohol and self-hatred into the next victim cycle.

Guru in bhava-1

Guru rules 5 graha in radix

Guru = dispositor of eight bhava-pati = considerable control of

1. L-2 Mangala

2. L-4 Shani

3. L-5 Shani

4. L-7 Mangala

5. L-9 Budha

6. L-10 Chandra

7. L-11 Surya

8. L-12 Budha

Guru = lord of 10th navamsha (shows the career) = L-3 = in lagna = social-personality identity

Several pointers indicate a Teaching career; Mangala + Budha in 10th navamsha = teaching via writings (Budha) and treatment of subjects like bloody fights (Mangala) and sudden, new (Kuja) criminal accusations (Kuja + Budha reside in radix 6)

• L-3 = craft of writing

• L-6 = social and personal conflict; poverty and usury; exploitation, accusations, and fighting

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Also: L-3 from Chandra = Shukra in 5 creative literature + Rahu

Counted from Thula lagna, Guru becomes quite an awful graha = lord of mental-tasking 3 and blaming-arguing 6.

During His Vimshottari periods, Brihaspati is capable of breaking all promises ever made to the native , destroying agreements, and enforcing conditions of severe hostility, even slavery.

Guru periods for the Thula native typically cause new enemies to come out of the woodwork at every recurrence of Guru as bhukti-pati.

Shani in bhava-3

yogakaraka Shani L-5 in bhava-3 = for Thula lagna = Jyotisha geometry for success in educated literary writing

• L-4 = schooling, homeland security, patriotism, root-culture

• L-5 = creative output

L-5 = Genius, Creative Intelligence, intellectuality, authentic authorship, center-stage celebrity, Performance Art.

L-5 from Chandra = Chandra

Chandra provides the creative performer with core intuition, compassionate understanding of other

Budha in bhava-6

Budha = karaka for Merchants

• drama of exploitation of consumers by the merchant class = a dominant theme in Zola's ouvre

L-9 = religion, orthodoxy, priests

• Zola wrote extensively about the rather unsavory role of the Church and its entitled priesthood during the era of violent social revolution in France (Budha + Mangala in bhava- 6)

• many characters identified with Church and Established (state-protected) Religion

L-12 = foreign lands, distant cultures, imagination

• for Thula, when L-12 Budha is well-disposed, the native 's writing may draw upon the infinite reserves of the psychic imagination

• novelist of grief and loss (12) via the collapse of religious (9)

Rahu in bhava-5

• Lagnesha + L-8 Shukra + Rahu in 5

• Shukra = karaka for wealth

• Rahu = karaka for ambition, self-promotion, sudden desire-powered acts

= novelist of self-elevating (Rahu) luxury-loving (Shukra) revolutionaries and agents of sudden, forced changes, those who rise to extreme levels of secret *8) wealth and pleasure through self-promotion (Rahu) and consorting with underclass

revolution (8) and sudden upheaval (Shukra-8) of the aristocracy (5) and its entitlements (5).

Ketu in bhava 11 = Rahu in bhava 5

• Ambivalence (Ketu) toward economic gains and social networks - Zola was an observer and recorder of the massive upheavals of social revolution -- NOT a participant, NOT an activist

• Desire (Rahu) to be recognized as a politically intelligent performance genius

Chandra in bhava-6

• L-10 Chandra in 6 = ' a criminal government'

• L-10 = centralized government

• bhava-6 = "problematics" = broken contracts, imbalance, fighting, exploitation, poverty, crime

• many characters identified withproblematic central government

Surya in bhava-06

• L-11 Surya in 6 = ' a criminal social-progress movement'

• L-11 = lateral social networks, de-centralized social movements, economies, universes

• Zola details ways in which the purported social-revolutionary leaders are as greedy and corrupt as the Ancien Regime which they claim to be helping to topple

• L-11 Surya in 6 = novelist of abuse and exploitation via agencies of economic structures and social mass-movement

Shukra-Meena in bhava-5 self-creativity + Rahu desire-excitement-risk

novelist of violent upheavals (8) and brilliant (5) excitement (Rahu) of revolution (8)

(Rouge et Noir)