“Along the ecliptic is seen a picture of two youthful figures seated
side by side and at rest… Their names in Latin were Castor and
Pollux. In Greek mythology they were called Apollo and Hercules… In
Grecian mythology, Apollo and Hercules, the twin sons of Jupiter were
great heroes and had accomplished great exploits… Here we have a
picture of the dual nature and mission of Christ… They deal with the
divine and human nature… The old Coptic name of this sign Pi Mahi,
signifies ‘The United,’ as united in fellowship or ‘brotherhood.'” –
D. James Kennedy  (872:101-2)

Gemini, the Twins, takes its name from the legend of Castor and
Pollux, but it is also mythographically appropriate following Taurus
and anticipating the transition of the twin-gods, oak king and holly
king.” – The Celtic Druids’ Year (270:170)

“The pillars of Hermes, or those of Hercules, or the so-called Jachin
and Boaz columns of the Cabala, are all symbols deriving from the
great myth of the Gemini… The Gemini represent creative Nature
(Natura naturans) and created Nature (Natura naturata), and this
duality is sometimes illustrated in tales by a being that wears a mask
[cf. sacred marriage rite], or by a Protean capable of turning into a
giant, a man or an animal… At times, two different conceptions of
the Gemini can be distinguished (as in the parallel myths of the
primordial and androgynous being): the ‘Heavenly Twin’, expressive of
opposites, fused together and integrated into Oneness (represented by
the spherical or perfect being); and the ‘Earthly Twin’ displaying the
break, the split (as in two-headed Janus, or tri-form Hecate, etc.),
that is, opposites in conflict or at least in dissidence… According
to the megalithic conception…the mountain of Mars (or Janus) which
rises up as a mandorla of the Gemini is the locale of inversion – the
mountain of death and resurrection; the mandorla is another sign of
the Inversion and of interlinking, for it is formed by the
intersection of the circle of earth with the circle of heaven. This
mountain has two peaks, and every symbol or sign alluding to this
‘situation of Inversion’ is marked by duality or by twin heads.
Two-headed eagles and cocks are also found in this context, the
general symbolism of which is that of alternating contradiction:
positive/ negative, or low/high-pitched. All these are symbols of the
harmonious ambiguity of ‘thesis and antithesis, paradise and inferno,
love and hate, peace and war, birth and death, praise and insult,
clarity and obscurity, scorching rocks and swamps, surrounding the
fountains and water of salvation’.” (48:116)