Transference & Countertransference for Coaches

The psychological realty is that both coaches and their clients come into a session with personal agendas that will feed into the session for better or worse.

One aspect of this is what is known by therapists and psychologists as transference/countertransference, something they are trained to spot as well as to deal with it. Usually, however, coaches do not benefit from such training and hence may mistake transference/countertransference for any number of things.

De Haan reminds us that unspotted transference/countertransference can lead to serious client/coach misunderstandings, mistakes, the gradual deterioration of the coaching relationship, as well as unconscious collusion and/or abuse of power. The thing to keep in mind is that transference/countertransference is perfectly normal as well as, for the most part, completely unconscious. The best that a coach who is not trained to deal with this can do is to spot it when it’s happening and seek appropriate help and/or supervision.

 Jung was convinced that it was not only personal material that could be the subject but also archetypal (Main, 2004, p. 24) This opens the way for astrology, which reflects the archetypal patterns at work both for a single individual or between two persons. As Liz Greene (1997, p. 172) reminds is, projection often has to do with unresolved parental issues (mother and father) on both sides and chances are pretty good that these will show up in both the client’s and coach’s separate and joint horoscopes.

According to Greene (1997, p 177) when a client looks to his coach as mother figure, he wants the coach to make him feel wanted and protected for who and what he really  is – i.e. the client needs the coach to validate for him that it is OK for him to be alive. Astrologically, this generally invokes the Moon and/or Venus Although complexes of the kind that are ripe for projection/transference/countertransference are often shown by hard aspects (squares, oppositions, and sometimes, conjunctions), in reality any aspect (or even a single planet) can form such a complex.Unknown

Father complexes usually involve the Sun and/or Saturn but of course could involve any number of potentialities including difficultly aspected (or otherwise ‘afflicted’) planets in the 10th/4th houses. Also, remember that any/all planets in the 7th house are ripe for projection – being farthest away from the 1st house (essential sense of self).

Also, don’t forget that synastry (planetary aspects between coaches and their clients) will also play an important part in all this, especially in regards to how the coach responds to his client (Greene, 1997, 9. 179). The point is that powerful, unconscious, cross aspects with the client can be played out in any number of covert ways; the client may refuse to look the coach in the eye, ‘accidently’ spill coffee over the carpet, or ‘forget’ to pay at the end of the session. Liz reminds us (1997, p. 181) that whenever coaches find themselves reacting ‘blindly’ to a client, it’s probably an instance of countertransference. Something the client said or did triggered some unresolved complex in the coach/astrologer’s own chart

The following is based on some typical patterns of transference highlighted by Early (2013) as well as a brief suggestion of some the of usual astrological suspects that might underpin them.

For those coaches without astrological experience, consider gaining some. Carl Jung said that all therapists should be astrologers because if they aren’t they are missing important clues although many coaches aren’t therapists, in many respect their relationship with their client’s parallels that of therapists in many, many ways.

Please do suggest any that you think I’ve missed or forgotten!

Pattern Transference


Some Potential Astrological Significators


Client sees coach as either a mother/father figure and becomes overly dependent upon coach if he is seen by the client as meeting his needs, he may become too dependent upon coach but if you’re seen as failing to meet his needs, he will feel angry or hurt.

Either coach becomes overly involved with caring for his client (perhaps because of coach’s own dependency needs) or coach become angry and disturbed with the client because of his excessive needs.






Over emphasis of water element (Cancer, Scorpio, Pisces) in the chart especially when there is little air to counterbalance all this raw emotion.

Libra also has a tendency toward co-dependency.





Client tries to take care of the coach, picking up on clues about coach’s personal issues, struggles, and insecurities.

Either coach allows the client to take care of him more than is appropriate or he takes so much care of the client in return that the client loses interest in (or is unable to) take care of himself.

Emphasis of either: Leo,Cancer, or Pisces

Neptune aspects to Sun, Moon, or angles.


Client refuses to cooperate in sessions and/or picks fights and criticizes coach’s approach.


Either coach feels ineffective/incompetent and/or hurt by client’s behaviour. Coach may also become frustrated with the client and engages in arguments and/or power struggles with him.





Emphasis of Aquarius or Aries in the chart




Emphasis of fire element in the chart especially if accompanied primarily by air (air fans the flames of fire).


Client experiences coach as pressuring them to do something. The client expresses desire to change but fails to do so over and over and over again. This is his way of expressing anger as well as to defeat the coach’s efforts to control him.

Either the coach feels frustrated with the client for failing to progress or else feels ineffective/incompetent. Anger or frustration might be overly or covertly expressed, for example by being late for sessions, double-booking, or otherwise failing to remain attentive to the client.


Mars in Libra


Venus in Aries

Mars in Scorpio

Mars or Mercury in Pisces

Combination of Aries/Libra planets

Saturn in Aries

Moon in Libra

Mars in Cancer


Client complains about his miserably impossible situation (poor me, the world is against me, why do I always have such bad luck) attempting to offload the responsibility for finding solutions on the coach rather than taking personal responsibility. Equally, client may blame the coach for his problems and/or inability to undertake effective change.

Either the coach fails to see what’s going on and constantly tries to reassure client all will be fin or he becomes angry/frustrated with the client for not taking responsibility for undertaking necessary change. The coach may also  fail to take responsibility for his own mistakes when challenged by the client, instead choosing to blame the client for being difficult.

Emphasis of planets in Pisces

Pisces rising




Neptune tight with any of four chart angles.



Mars in Cancer or Libra



Full 7th house

Full 6th house

Full 12th house


Client avoids emotional/personal relationship with coach or denies that this is happening.

Either the coach allows client to remain distant even if it impedes progress or he pushes too hard to force a connection resulting in the client back off even further. Equally, the coach may feel that client relationships ought not to have any personal connection and remains aloof from the client.


Emphasis of planets in Aquarius or Virgo – standoffish.





Lack of water in the chart makes connecting with emotions difficult.

Cancer rising can be shy.

Emphasis of planets in Gemini can be flighty.

Emphasis of air in the chart (stays in their heads).



Client feels coach is critical and judgemental or otherwise doesn’t like them.

Either the coach becomes too involved in making the client feel liked or he is completely turned off by the client’s insecurities. Equally, the coach may constantly seek reassurance the client likes him or just enjoys the client’s concerns because it boosts his ego.



Saturn in Fire (Aries, Leo, Cancer, or Sagittarius)

Emphasis of planets in Virgo, Libra, or Pisces.






Client insists upon being in control of the therapy.

Either the coach gets into a power struggle with the client or otherwise stamps out the client’s attempts to deviate from his instructions/suggestions.




Emphasis of planets in Scorpio, Capricorn, or Taurus especially Moon, Mars, and Mercury.

Saturn in Capricorn or Aquarius.

Pluto in tight aspect to any of the angles.

Scorpio rising.




Remember that for transference to occur, it only takes the client (and his own natal chart) but if the entire pattern of  transference/countertransference plays out, it takes two to tango so look at the synastry between the client/coach (astrologer) as well as the composite chart (mapping the nature of their relationship as a separate entity).

Finally, don’t automatically assume that transference/countertransference is negative or unproductive, however. Main (2004, p. 81) reminds us that Jung believed that transference/countertransference could be synchronistic, in the sense that it is a ‘meaningful coincidence’ that bears further investigation.



Burke, J and Greene, L ((1997). The Astrologer, the Counsellor and the Priest. Chippenham: Antony Rowe Ltd.

De Haan, E. (2011). ‘Back to basics How the discovery of transference is relevant for coaches and consultants today’, International Coaching Psychology Review,6(2). Pp. 180-193.

Earley, J. (2013). The Pattern System: A Periodic Table for Psychology. Larkspur, Pattern System Books.

Main, R (2004). The Rupture of Time: Synchronicity and Jung’s Critique of Modern Western Culture. Hove: Brunner-Routledge.

Love’s Alchemy – Stage I – The Purification process or Calcinatio

Alchmey‘So as above then as below’ is a basic tenet of all occult work.

That inherently there is both good and bad in all things created is a tenet underlying the work of alchemists and Jungian psychologists alike.

Put these two tenets together, and you get an incredibly elegant step-by-step formula on how to create ‘gold’ from your unperfected self.

The heroine, Judith Shakespeare, of my new novel, Love’s Alchemy, has long been interested in both psychology and alchemy. Whilst still a teenager, she’d concluded that it was possible to change, perfect, and redeem  Picture 1herself by marrying psychology with alchemy through astrology.

Jung (himself a competent astrologer) believed that the ‘great work’ or magnum opus of alchemists was akin to the process he coined as individuation – whereby one deliberately works against the natural order of things to create the ‘Self’, an internal structure that will provide a ‘feeling of standing on solid ground, on a patch of inner eternity which even physical death cannot touch.’

The alchemists start with the elusive ‘first matter’, or Prima Materia in Latin. This is the most confusing concept in alchemy and even alchemists find it difficult to define it. Luckily, however, in regards to astrology determining the Prima Materia is easy; it’s your birth chart ! Like alchemists with their Prima Materia, your goal is to take each piece of your natal chart apart such that it can be purified, transformed, and reunited again into a perfect whole.

The first part of the process commences with the ‘Black Phase’ or Nigredo and the first stage of Nigredo is known as calcinatio.

Calcinatio is a fiery, burning process governed by Aries/Mars during which the dross is burned off to purify rather like the process during which diamonds are formed.

Psychologically, this is accomplished by frustrating your natural desires and passions (i.e. deliberating frustrating your EGO) so that you no longer are able to get your own way). It was never going to be easy to recognise (much less eliminate) your childish beliefs that everything wrong in your life is the fault of someone else.

As you become increasingly unable to blame others (i.e. project your own frustrations outside yourself) and are forced to look inside for the answers, you are literally stewed in your own ‘juices’ – frustrated and trapped – until the fire that lit your anger burns itself out.

alchemy lab 7Hence this stage in the alchemical process is often depicted as wolves with their paws cut off (instincts frustrated), serpents devouring themselves, lions eating suns, or the King being boiled alive

Needless to say this is a dark time of life and is often characterized by feelings of guilt, worthlessness, and depression – as you finally give up your egoistic struggle and slow down long enough to take that all important look inside.

Judith addresses The Black Phase or Nigredo in the first few chapters of Love’s Alchemy when because her Mars is so strong (with Scorpio rising, Mars is her chart ruler which is then also found in the zodiac sign of Scorpio which it rules by sign and triplicity), she finds herself more trouble than she’s ever known.

Like I said, this never was going to be easy.

Comparison and Contrast Using Jungian (Archetypal) Literary Criticism of Extracts from Eliot’s The Mill on the Floss and Forster’s A Passage to India



UnknownIn the context of Jungian (Archetypal) Literary Criticism, I suggest that both these pieces are structured using the archetypal motif of a journey toward individuation. But while Forster’s piece makes significance progress by grappling with the conflicting psychological tensions presented, Eliot’s piece never gets off the ground.

One of the primary purposes of Jungian Literary Criticism is to uncover the unconscious dynamics underpinning the work so as to gain a better understanding of their function (Dawson, 277). Hence Jungian Literary Criticism often begins with the question: “What psychological factor (whether image or complex of concerns) might have been responsible for this text?” (Dawson, 274).

Both pieces are structured as important, personal journeys through the countryside which, by the very nature of journeys, provides passage from one point to another; Eliot uses the highly personal and inclusive first person narrative point of view through which to invite us to join her narrator’s journey and although Forster uses the more distancing third person narrative point of view, the piece remains so highly subjective that readers are encouraged to believe they are privy to his narrator’s most personal thoughts and observations.

One explanation of the psychological factor (whether image or complex of concerns) responsible for such journeys might be that which was coined by Jung as the archetype of ‘individuation’ (also known as the Hero’s Journey) – the process by which the unconscious (collective and personal) is brought into consciousness (Jung, Symbols, 301). Individuation suggests the fullest possible awareness of the disparate or conflicting parts comprising one’s personality. Furthermore, it is achieved only by steady, honest, and demanding self-discipline (Hart, 91). It is worth noting that true wholeness such as that required by individuation is never achieved unconsciously, but only in the context of becoming conscious of those conflicting elements making up one’s psyche (Hart, 94).  images

With individuation, the goal is to “overcome the monster of darkness”; to experience the “triumph of consciousness over the unconscious” (Jung, Archetypes,167). Dark, fertile, moist things (especially those found in nature) are often used to represent the unconsciousness (Jung Archetypes, 27, 82), while consciousness is often suggested through religious symbology (Ualnov, 279). Thus for a successful journey toward individuation we should expect to find imagery suggestive of both.

At least in part, we are not disappointed for the archetypal motif of water, the most common symbol of the unconscious (Adams, 114), is employed in both pieces – and not just any water – but the running water of a river suggesting the flow of libido or psychic energy (Salman, 69). While the libido runs freely, the process of individuation is underway. However, when the free flow of the libido is checked or inhibited (suggesting conflicting psychological tensions) the process of individuation is stopped or even reversed (Salman, 69). Hence we might expect both pieces to evidence restricted libido (for the process of individuation is never easy).

Again, we are not disappointed for immediately upon setting out with Eliot’s narrator along her river on its way to ‘the sea’, symbol for the collective unconscious (Jung, Dreams, 122), the ‘broadening Floss hurries’ straight into the ‘impetuous embrace’ of the ‘loving tide’, which ‘rushing to meet it’, immediately ‘checks its passage.’ On this ‘mighty tide’ are also borne ‘black ships’ – black symbolizing the unconscious (Jung, Archetypes, 185). These ships – perhaps suggesting safe passage from one shore to another – (Fontana,112) – are on their way to ‘red-roofed town’ of St Ogg’s or the reality of the material world (Fontana, 174). That these ships may carry something of value is recognized; ‘fresh-scented fir-planks’,  ‘rounded sacks’ bearing ‘seed’,  or the ‘dark glitter of coal’ (diamonds being, like coal, constructed of carbon crystal – Jung, Dreams, 292). Yet no attempt is made to reach the ships. Indeed they and their cargo remain ‘distant’ – perhaps so ‘distant’ it is not even possible to really see (much less smell) what they carry? Likewise St Ogg’s is kept similarly at bay; Eliot’s narrator chooses not to see it directly but only through its ‘soft purple’ (watery) reflection.  Instead, she luxuriates in the reality of her own unconscious as suggested by numerous ‘loving’ references to fertility (‘rich pastures’ and patches of ‘dark earth’ made ‘ready for the seed’). Indeed, the only ‘living companion’ wanted is the river which, not surprisingly, is ‘deaf’ thus ensuring that no uncomfortable questions need be answered.

Likewise in Forster’s piece, the river does not flow freely. It is ‘scarcely distinguishable’ from the ‘rubbish’ it leaves and the very wood of the buildings lining the river seems made of ‘mud’ – a mixture of water and soil, which are both symbols of the unconscious (Fontana 114). This suggests impeded – but not checked – progress (i.e. the mud remains ‘moving’). Not only is the Ganges not holy here, but it might ‘be expected to wash the excrescence (i.e. morbid, abnormal or disfiguring outgrowth, OED, n. 3a) “back into the soil”. This reference intensifies the sense that this libido’s progress endangered. Luckily, Forster’s narrator is able to see his city (i.e. the reality of the material world) of Chandrapore more realistically than did Eliot’s narrator her St Ogg’s. For although the ‘streets are mean’ and the ‘temples ineffective’, suggesting blighted spiritual striving (Fontana, 77), there are still a ‘few fine houses’ that are ‘hidden’ away in ‘gardens’ (perhaps suggesting the Garden of Eden – Fontana, 105).  Make no doubt about it; in Chandrapore, bad things do happen (‘houses do fall’ (into the river) and ‘people are drowned and left rotting’. Luckily, however, the ‘general outline of the town persists’ and life goes on (even if ‘low’, it is ‘indestructible’). Although Eliot’s narrator is unable to bear witness to any conflicting psychological tensions encountered during her journey (all remains ‘lovely’ and ‘dreamy’), Forster’s narrator does and thus keeps moving.

When in Eliot’s piece, a ‘stone bridge’ (suggesting fixity) is reached, the tone changes dramatically; no longer is everything ‘lovely’ and ‘dreamy’. Now there are ‘threatening’ clouds and we are ‘far in the afternoon’ (darkness is about to fall). Despite the initial promise of fertility, it is now ‘leafless’, ‘chill’, and ‘damp’. It would appear that this bridge – symbolic of dangers on the path of psychological or spiritual development (Fontana, 77) – represents a serious unarticulated threat. Eliot’s narrator ‘must stand’ there ‘a minute or two’.  Will she summon the courage and cross it?

It would seem not.  Instead, she allows the ‘rush of the water’ to bring a ‘dreamy deafness ‘like a great curtain of sound shutting one out from the world beyond’. ‘I am in love with moistness’. She ‘envies’ the ‘white ducks’ – suggesting virginity (Fontana, 52, 67) – as they ‘dip their heads far into the water’ and remain ‘unmindful’ of their ‘awkward appearance’ in the ‘drier world above’. Only the horses – the subhuman or animal side of the psyche (Jung, Dreams, 107-108) – cross the bridge. Yet even they are reluctant to do so and require the ‘crack’ of whip’.

Meanwhile, Forster’s narrator moves ‘inland’ (to the ‘drier land above’, which made Eliot’s ducks seem so ‘awkward’). As the river is left behind, the ground continues to ‘rise’ and another ‘garden’ is encountered. Because gardens are symbols of nature under the control of the human soul, which like the garden, must be cared for and cultivated (Fontana, 105), we get the impression this libido has been purposefully directed toward higher ground – perhaps all the way to the Garden of Eden – because it is only through nature – the work of God, (the ‘toddy palms’, ‘neem trees’, and ‘mangoes and pepul’) that heretofore was ‘hidden’ behind the ‘bazaars’ (the work of man) that hope survives. ‘Endowed with more strength than man or his works’, nature reaches beyond the ‘disillusionment’ of man.

At the end of Eliot’s piece, we discover the whole of our narrator’s journey was accomplished as she ‘dozed off’ and sat ‘dreaming’. Although in Jungian terms, dreams can be highly revealing, it is only through steady, honest, and demanding self-discipline that this is achieved (Jung, Dreams, 3-7). We see no evidence of such an attempt here. When this narrator wakes, she is aware only that her arms are ‘benumbed’ and that she had been planning to reveal what others (Mr. and Mrs. Tulliver) had been talking about as they sat in front of their ‘bright fire’ of consciousness (Fontana, 110-111).

By contrast, while Forster’s piece begins and ends with those ‘caves’ – ‘fists and fingers thrust up through the soil’ – perhaps associated with the consciousness sought in Plato’s allegory of the cave (Kugler, 78).  Instead of being trapped in a cave of ignorance taking the shadows on the wall as ‘truth’, Forster’s narrator seeks the sunlight – ‘strength comes from the sun’, which symbolizes the unity and divinity of Self (Jung, Dreams, 157).  This lofty ideal is further suggested by caves being located in the Marabar Hills, which, like mountains, symbolize the meeting place between heaven and earth – consciousness and the unconscious (Fontana, 114). Not only that, but the ‘sky settles everything’. Perhaps this is a reference to heaven and with it, spiritual consciousness, as the ultimate prize? It is most certainly possible, reinforced as it is by more religious imagery – ‘glory’, ‘benediction’, ‘prostrate’ and blessings from heaven in the form of ‘rain’ (Fontana, 113).

In summary, Jungian (Archetypal) Literary Criticism asks what psychological factor (whether image or complex of concerns) might be responsible for this text. The primary purpose being to uncover the unconscious dynamics underlying the work. In regards to the two pieces by Forster and Eliot, I suggest that the image responsible for both is that of a journey toward individuation.

Further, I suggest that Eliot’s narrator fails to complete her journey because she is either unwilling or unable to grapple with the conflicting psychological tensions represented by that stone bridge. However Forster’s narrator makes the transition from the waters of the unconscious to higher ground because his is both willing and able to deal with his conflicting psychological tensions (‘mud’, ‘disillusionment’, ‘ineffective’ as well as ‘unconsidered temples’, ‘gardens’, ‘fine houses’, ‘mean streets’  and ‘rotting’ bodies).




Adams, Michael Vannoy. “The Archetypal School” (101-118). The Cambridge Companion to Jung. ed. Polly Young-Eisendrath and Terence Dawson, Cambridge: Cambridge University Press, 2008.

Dawson, Terrence. “Jung, Literature, and Literary Criticism” (255-280). The Cambridge Companion to Jung. ed. Polly Young-Eisendrath and Terence Dawson, Cambridge: Cambridge University Press, 2008.

Fontana, David. The Secret Language of Symbols: A Visual Key to Symbols and their Meanings. London: Piatkus, 1997.

Hart, David L. “The Classical Jungian School” (89-100).  The Cambridge Companion to Jung. ed. Polly Young-Eisendrath and Terence Dawson, Cambridge: Cambridge University Press, 2008.

Ulanov, Ann. “Jung and Religion; the opposing self (276-313). The Cambridge Companion to Jung. ed. Polly Young-Eisendrath and Terence Dawson, Cambridge: Cambridge University Press, 2008.

Jung, CG., The Archetypes and the Collective Unconscious, trans. RFC Hull. New York: Princeton University Press,1990.

Jung, CG. Dreams, Crucial Texts on the Meaning of Dreams by One of the Greatest Minds of Our Time. trans. RFC Hull. New York: MJF Books (1974).

Jung, CG. Symbols of Transformation: An analysis of the prelude to a case of schizophrenia, trans. RFC Hull. New York: Harper & Brothers (1962).

Kugler, Paul. “Psychic Imaging” (71-86). The Cambridge Companion to Jung. ed. Polly Young-Eisendrath and Terence Dawson, Cambridge: Cambridge University Press, 2008.

Salman, Sherry. “The Creative Psyche” (52-70). The Cambridge Companion to Jung. ed. Polly Young-Eisendrath and Terence Dawson, Cambridge: Cambridge University Press, 2008.

The Makings of a Good Character – Point of View – Belief

BeliefEPoint of view shades and colours the way we see the world.

Have you ever heard or reacted to phrases like: “Life is unfair,” “You can’t fight City Hall,” “ All life is a game of chance,” “ You can’t teach an old dog new tricks”?   These are all points of view. –  Syd Field – The Screen Writer’s Workbook.

As Carl Jung said, physical reality is just one kind of reality.  In this respect, if someone holds a belief (however possible of physical manifestation) then that belief  it is as real as anything else.

Character POV is that belief.

Your character’s point of view may be that the indiscriminate slaughtering of dolphins and whales is morally wrong because they are two of the most intelligent species on the planet, maybe smarter than men. Your character supports that point of view by participating in demonstrations and wearing T-shirts with Save the whales and dolphins on them. That’s an aspect of characterization. Syd Field – The Screen Writer’s Workbook.

Although there are many astrological aspects contributing to one’s POV, I suggest that the most powerful and accessible is through Jupiter.

Jupiter is our personal connection with the “divine plan”. – Liz Greene

Jupiter is the fire that connects you to the larger picture. – Darby Costello

Jupiter is the desire to view facts and events within a wider framework. – Karen Hamaker-Zondag

  • Jupiter in Aries – is on a crusade – save the world – save the whales – save everything – beliefs are passionate and held with such courage and conviction that it’s virtually impossible to persuade them elsewise.  You’re likely to find this character marching through the streets with placards or making a fiery speech in favour of Occupy Wall Street.  “I can and will fight city hall.”
  • Jupiter in Taurus – trusts in the beauty and abundance of the material world– especially when hard work and personal enterprise are concerned – good with finances – beliefs are unadventurous and must lead to tangible results – you may find this character a successful homemaker or helping start up businesses or organizing fundraisers for an art gallery or opera house.  “Beauty is in the eyes of the beholder.”
  • Jupiter in Gemini – believes in the power of words and ideas – the only problem is that while gathering the evidence to support his beliefs, he has a tendency to get distracted.  Beliefs are aimed at furthering connections or  imparting information.  You’re likely to find this character as a stand-up comedian or award winning journalist or even a blogger who has an opinion on everything.  Beliefs tend to be idealistic and not necessarily intended to be realised.  “You won’t believe this one.
  • Jupiter in Cancer – believes in history and tradition.  Beliefs are aimed at preserving the family unit – giving help to those within the ‘extended family’ and receiving help in return.  The emphasis is on closeness – the shared experience.  This character is likely to be found in the caring professions – nursing, social work, or a family court judge.  Equally she may be a chef or even a nun. “Have some more – it’s good for you.”
  • Jupiter in Leo – is pulled toward anything that brings joy and meaning to others as well as to self – beliefs likely have a philanthropic bent – they aim to bring out the best in everyone – especially self.  You’re likely to find this character running a charity or campaigning for better schools in his neighbourhood or even selling ice cream at the sea shore. “Give and you shall receive.”
  • Jupiter in Virgo – concentrates on the little things – believes reward is not to be found in the big picture, but in the detail.  Beliefs tend to be reduced to a sense of duty, which must not be shirked.  You’re likely to find this character as the tiresome civil servant or tax collector who leaves no stone unturned.  Equally this character may an overseas relief worker or missionary schoolteacher.  “Take care of the little things and the big things will take care of themselves.”
  • Jupiter in Libra – is polite and politically correct – beliefs tend toward that which will bring beauty, justice, and harmony – the focus is the other – never on the self.  You’re likely to find this character as the wise judge, the diplomat smoothing over troubled waters in order to avoid war, or as a reformer advocating social improvements to bring some modicum of fairness to a world that is (regrettably) inherently unfair.  “There are two sides to every story.”
  • Jupiter in Scorpio – has an extraordinary depth of understanding of human nature which (sadly) may not always be used to the best ends – beliefs tend toward anything that gets to the bottom of things. Yet this character is likely to be very secretive and unwilling to share.  Thus this character will likely be found in solitary pursuits such as research or detective work or even as a psychologist or occultist.  “There’s always more than meets the eye.”
  • Jupiter in Sagittarius – is philosophic and idealistic – believes in man’s ability to move mountains through faith and hope – vision, trust, and intuition are the keys to a better life. You’re as likely to find this character in the hallowed halls of academia, a noted author, or a highly revered spiritual leader.  “Tomorrow- tomorrow – there’s always tomorrow.”
  • Jupiter in Capricorn – is constrained and conservative – beliefs (which tend to be dogmatic) must incorporate goals that aim toward achievement of something ‘real’ and of lasting worth.   Because of the always present need for maintaining social position and garnering respect, this character is likely to be highly visible in the business community or politics or church.  “Nothing a little elbow grease won’t fix.”
  • Jupiter in Aquarius – is focused on understanding through logic and science – beliefs (which are almost always dogmatic) are naturally idealistic and forward thinking – and usually aimed at improving humanity.  You’re likely to find this character as a political reformer, scientist, or mathematician.  He is the consummate absent minded professor or zanny individualist.  “There must be a better way.”
  • Jupiter in Pisces – has a penchant for spirituality and is easily influenced by dogma and piety.   Beliefs tend toward the expansion of universal values – peace on earth – good will toward men – compassion for those less fortunate – turn the other cheek.   They say the road to hell is paved with good intentions and this might be the by-word for a character with this placement.  She is likely to be found as a healer, psychic, well-meaning campaigner for the poor. Belief system may be hazy – hard to pin down much less exemplify.  “Please, let me help you.”