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p. 129
An Analysis of Tarot
Cards
OPINIONS of authorities differ
widely concerning the origin of playing cards, the purpose for which they were
intended, and the time of their introduction into Europe. In his Researches
into the History of Playing Cards, Samuel Weller Singer advances the opinion
that cards reached Southern Europe from India by way of Arabia. It is probable
that the Tarot cards were part of the magical and philosophical lore secured
by the Knights Templars from the Saracens or one of the mystical sects then
flourishing in Syria. Returning to Europe, the Templars, to avoid persecution,
concealed the arcane meaning of the symbols by introducing the leaves of their
magical book ostensibly as a device for amusement and gambling. In support of
this contention, Mrs. John King Van Rensselaer states:
"That cards were brought by the
home-returning warriors, who imported many of the newly acquired customs and
habits of the Orient to their own countries, seems to be a well-established
fact; and it does not contradict the statement made by some writers who
declared that the gypsies--who about that time began to wander over
Europe--brought with them and introduced cards, which they used, as they do at
the present day, for divining the future." (See The Devil's Picture Books.)
Through the Gypsies the Tarot
cards may be traced back to the religious symbolism of the ancient Egyptians.
In his remarkable work, The Gypsies, Samuel Roberts presents ample
proof of their Egyptian origin. In one place he writes: "When Gypsies
originally arrived in England is very uncertain. They are first noticed in our
laws, by several statutes against them in the reign of Henry VIII.; in which
they are described as 'an outlandish people, calling themselves
Egyptians,--who do not profess any craft or trade, but go about in great
numbers, * * *.'" A curious legend relates that after the destruction of the
Serapeum in Alexandria, the large body of attendant priests banded themselves
together to preserve the secrets of the rites of Serapis. Their descendants
(Gypsies) carrying with them the most precious of the volumes saved from the
burning library--the Book of Enoch, or Thoth (the Tarot)--became wanderers
upon the face of the earth, remaining a people apart with an ancient language
and a birthright of magic and mystery.
Court de Gébelin believed the
word Tarot itself to be derived from two Egyptian words, Tar, meaning
"road," and Ro, meaning "royal." Thus the Tarot constitutes the
royal road to wisdom. (See Le Monde Primitif.) In his History of
Magic, P. Christian, the mouthpiece of a certain French secret society,
presents a fantastic account of a purported initiation into the Egyptian
Mysteries wherein the 22 major Tarots assume the proportions of trestleboards
of immense size and line a great gallery. Stopping before each card in turn,
the initiator described its symbolism to the candidate. Edouard Schuré, whose
source of information was similar to that of Christian's, hints at the same
ceremony in his chapter on initiation into the Hermetic Mysteries. (See The
Great Initiates.) While the Egyptians may well have employed the Tarot
cards in their rituals, these French mystics present no evidence other than
their own assertions to support this theory. The validity also of the
so-called Egyptian Tarots now in circulation has never been satisfactorily
established. The drawings are not only quite modem but the symbolism itself
savors of French rather than Egyptian influence.
The Tarot is undoubtedly a
vital element in Rosicrucian symbolism, possibly the very book of universal
knowledge which the members of the order claimed to possess. The Rota Mundi
is a term frequently occurring in the early manifestoes of the Fraternity of
the Rose Cross. The word Rota by a rearrangement of its letters becomes
Taro, the ancient name of these mysterious cards. W. F. C. Wigston has
discovered evidence that Sir Francis Bacon employed the Tarot symbolism in his
ciphers. The numbers 21, 56, and 78, which are all directly related to the
divisions of the Tarot deck, are frequently involved in Bacon's cryptograms.
In the great Shakespearian Folio of 1623 the Christian name of Lord Bacon
appears 21 times on page 56 of the Histories. (See The Columbus of
Literature.)
Many symbols appearing upon the
Tarot cards have definite Masonic interest. The Pythagorean numerologist will
also find an important relationship to exist between the numbers on the cards
and the designs accompanying the numbers. The Qabbalist will be immediately
impressed by the significant sequence of the cards, and the alchemist will
discover certain emblems meaningless save to one versed in the divine
chemistry of transmutation and regeneration.' As the Greeks placed the letters
of their alphabet--with their corresponding numbers--upon the various parts of
the body of their humanly represented Logos, so the Tarot cards have an
analogy not only in the parts and members of the universe but also in the
divisions of the human body.. They are in fact the key to the magical
constitution of man.
The Tarot cards must be
considered (1) as separate and complete hieroglyphs, each representing a
distinct principle, law, power, or element in Nature; (2) in relation to each
other as the effect of one agent operating upon another; and (3) as vowels and
consonants of a philosophic alphabet. The laws governing all phenomena are
represented by the symbols upon the Tarot cards, whose numerical values are
equal to the numerical equivalents of the phenomena. As every structure
consists of certain elemental parts, so the Tarot cards represent the
components of the structure of philosophy. Irrespective of the science or
philosophy with which the student is working, the Tarot cards can be
identified with the essential constituents of his subject, each card thus
being related to a specific part according to mathematical and philosophical
laws. "An imprisoned person," writes Eliphas Levi, "with no other book than
the Tarot, if he knew how to use it, could in a few years acquire universal
knowledge, and would be able to speak on all subjects with unequalled learning
and inexhaustible eloquence. " (See Transcendental Magic.)
The diverse opinions of eminent
authorities on the Tarot symbolism are quite irreconcilable. The conclusions
of the scholarly Court de Gébelin and the bizarre Grand Etteila--the first
authorities on the subject--not only are at radical variance but both are
equally discredited by Levi, whose arrangement of the Tarot trumps was
rejected in turn by Arthur Edward Waite and Paul Case as being an effort to
mislead students. The followers of Levi--especially Papus, Christian, Westcott,
and Schuré-are regarded by the "reformed Tarotists" as honest but benighted
individuals who wandered in darkness for lack of Pamela Coleman Smith's new
deck of Tarot cards with revisions by Mr. Waite.
Most writers on the Tarot (Mr.
Waite a notable exception) have proceeded upon the hypothesis that the 22
major trumps represent the letters of the Hebrew alphabet. This supposition is
based upon nothing more substantial than the coincidence that both consist of
22 parts. That Postel, St. Martin, and Levi all wrote books divided into
sections corresponding to the major Tarots is an interesting sidelight on the
subject. The major trump cards portray incidents from the Book of Revelation;
and the Apocalypse of St. John is also divided into 22 chapters. Assuming the
Qabbalah to hold the solution to the Tarot riddle, seekers have often ignored
other possible lines of research. The task, however, of discovering the proper
relationship sustained by the Tarot trumps to the letters of the Hebrew
alphabet and the Paths of Wisdom thus far has not met with any great
EARLY PORTUGUESE CARDS.
From Chatto's Origin and
History of Playing Cards.
In writing of the deck from
which the four cavaliers (jacks) here reproduced were taken, William Andrew
Chatto notes: "Some of the specimens of Portuguese cards given in the 'Jeux de
Cartes, Tarots et de Cartes Numérales' have very much the appearance of having
been originally suggested by, if net copied from, an Oriental type; more
especially in the suits of Danari and Bastani,--Money and Clubs. In those
cards the circular figure, generally understood as representing Danari, or
Money, is certainly much more like the Chakra, or quoit of Vichnou [Vishnu],
as seen in Hindostanic drawings, than a piece of coin; while on the top of the
Club is a diamond proper, which is another of the attributes of the same
deity." Also worthy of note are the Rosicrucian and Masonic emblems appearing
on various mediæval decks. As the secrets of these organizations were often
concealed in cryptic engravings, it is very probable that the enigmatic
diagrams upon various decks of cards were used both to conceal and to
perpetuate the political and philosophical arcana of these orders. The
frontispiece of Mr. Chatto's books shows a knave of hearts bearing a shield
emblazoned with a crowned Rosicrucian rose.
p. 130
measure of success. The major
trumps of the Tarot and the 22 letters of the Hebrew alphabet cannot be
synchronized without first fixing the correct place of the unnumbered, or
zero, card--Le Mat, the Fool. Levi places this card between the 20th
and 21st Tarots, assigning to it the Hebrew letter Shin (ש). The same order is
followed by Papus, Christian, and Waite, the last, however, declaring this
arrangement to be incorrect. Westcott makes the zero card the 22nd of the
Tarot major trumps. On the other hand, both Court de Gébelin and Paul Case
place the unnumbered card before the first numbered card of the major trumps,
for if the natural order of the numbers (according to either the Pythagorean
or Qabbalistic system) be adhered to, the zero card must naturally precede the
number 1.
This does not dispose of the
problem, however, for efforts to assign a Hebrew letter to each Tarot trump in
sequence produce an effect far from convincing. Mr. Waite, who reedited the
Tarot, expresses himself thus: "I am not to be included among those who are
satisfied that there is a valid correspondence between Hebrew letters and
Tarot Trump symbols." (See introduction to The Book of Formation by
Knut Stenring.) The real explanation may be that the major Tarots no longer
are in the same sequence as when they formed the leaves of Hermes' sacred
book, for the Egyptians--or even their Arabian successors--could have
purposely confused the cards so that their secrets might be better preserved.
Mr. Case has developed a system which, while superior to most, depends largely
upon two debatable points, namely, the accuracy of Mr. Waite's revised Tarot
and the justification for assigning the first letter of the Hebrew alphabet to
the unnumbered, or zero, card. Since Aleph (the first Hebrew letter)
has the numerical value of 1, its assignment to the zero card is equivalent to
the statement that zero is equal to the letter Aleph and therefore
synonymous with the number 1.
With rare insight, Court de
Gébelin assigned the zero card to AIN SOPH, the Unknowable First Cause. As the
central panel of the Bembine Table represents the Creative Power surrounded by
seven triads of manifesting divinities, so may the zero card represent that
Eternal Power of which the 21 surrounding or manifesting aspects are but
limited expressions. If the 21 major trumps be considered as limited forms
existing in the abstract substance of the zero card, it then becomes their
common denominator. Which letter, then, of the Hebrew alphabet is the origin
of all the remaining letters? The answer is apparent: Yod. In the presence of
so many speculations, one more may not offend. The zero card--Le Mat,
the Fool--has been likened to the material universe because the mortal sphere
is the world of unreality. The lower universe, like the mortal body of man, is
but a garment, a motley costume, well likened to cap and bells. Beneath the
garments of the fool is the divine substance, however, of which the jester is
but a shadow; this world is a Mardi Gras--a pageantry of divine sparks masked
in the garb of fools. Was not this zero card (the Fool) placed in the Tarot
deck to deceive all who could not pierce the veil of illusion?
The Tarot cards were entrusted
by the illumined hierophants of the Mysteries into the keeping of the foolish
and the ignorant, thus becoming playthings--in many instances even instruments
of vice. Man's evil habits therefore actually became the unconscious
perpetuators of his philosophical precepts. "We must admire the wisdom of the
Initiates," writes Papus, "who utilized vice and made it produce more
beneficial results than virtue." Does not this act of the ancient priests
itself afford proof that the entire mystery of the Tarot is wrapped up in the
symbolism of its zero card? If knowledge was thus entrusted to fools, should
it not be sought for in this card?
If Le Mat be placed
before the first card of the Tarot deck and the others laid out in a
horizontal line in sequence from left to right, it will be found that the Fool
is walking toward the other trumps as though about to pass through the various
cards. Like the spiritually hoodwinked and bound neophyte, Le Mat is
about to enter upon the supreme adventure--that of passage through the gates
of the Divine Wisdom. If the zero card be considered as extraneous to the
major trumps, this destroys the numerical analogy between these cards and the
Hebrew letters by leaving one letter without a Tarot correspondent. In this
event it will be necessary to assign the missing letter to a hypothetical
Tarot card called the elements, assumed to have been broken up to form the 56
cards of the minor trumps. It is possible that each of the major trumps may be
subject to a similar division.
The first numbered major trump
is called Le Bateleur, the juggler, and according to Court de Gébelin,
indicates the entire fabric of creation to be but a dream, existence a
juggling of divine elements, and life a perpetual game of hazard. The seeming
miracles of Nature are but feats of cosmic legerdemain. Man is like the little
ball in the hands of the juggler, who waves his wand and, presto! the ball
vanishes. The world looking on does not realize that the vanished article is
still cleverly concealed by the juggler in the hollow of his hand. This is
also the Adept whom Omar Khayyám calls "the master of the show." His message
is that the wise direct the phenomena of Nature and are never deceived
thereby.
The magician stands behind a
table on which are spread out a number of objects, prominent among them a
cup--the Holy Grail and the cup placed by Joseph in Benjamin's sack; a
coin--the tribute money and the wages of a Master Builder, and a sword, that
of Goliath and also the mystic blade of the philosopher which divides the
false from the true. The magician's hat is in the form of the cosmic
lemniscate, signifying the first motion of creation. His right hand points to
the earth, his left holds aloft the rod of Jacob and also the staff that
budded--the human spine crowned with the globe of creative intelligence. In
the pseudo-Egyptian Tarot the magician wears an uræus or golden band
around his forehead, the table before him is in the form of a perfect cube,
and his girdle is the serpent of eternity devouring its own tail.
The second numbered major trump
is called La Papesse, the Female Pope, and has been associated with a
curious legend of the only woman who ever sat in the pontifical chair. Pope
Joan is supposed to have accomplished this by masquerading in malt attire, and
was stoned to death when her subterfuge was discovered. This card portrays a
seated woman crowned with a tiara surmounted by a lunar crescent. In her lap
is the Tora, or book of the Law (usually partly closed), and in her
left hand are the keys to the secret doctrine, one gold and the other silver.
Behind her rise two pillars (Jachin and Boaz) with a multicolored veil
stretched between. Her throne stands upon a checker-hoard floor. A figure
called Juno is occasionally substituted for La Papesse. like the female
hierophant of the Mysteries of Cybele, this symbolic figure personifies the
Shekinah, or Divine Wisdom. In the pseudo-Egyptian Tarot the priestess is
veiled, a reminder that the full countenance truth is not revealed to
uninitiated man. A veil also covers one-half of her book, thus intimating that
but one-half of the mystery of being can be comprehended.
The third numbered major trump
is called L'Impératrice, the Empress, and has been likened to the
"woman clothed with the sun" described in the Apocalypse. On this card appears
the winged figure of a woman seated upon a throne, supporting with her right
hand a shield emblazoned with a phœnix and holding in her left a scepter
surmounted by an orb or trifoliate flower. Beneath her left foot is sometimes
shown the crescent. Either the Empress is crowned or her head is surrounded by
a diadem of stars; sometimes both. She is called Generation, and
represents the threefold spiritual world out of which proceeds the fourfold
material world. To the graduate of the College of the Mysteries she is the
Alma Mater out of whose body the initiate has "born again." In the
pseudo-Egyptian Tarot the Empress is shown seated upon a cube filled with eyes
and a bird is balanced upon the forefinger other left hand. The upper part of
her body is surrounded by a radiant golden nimbus. Being emblematic of the
power from which emanates the entire tangible universe, L'Impératrice
is frequently symbolized as pregnant.
The fourth numbered major trump
is called L'Empereur, the Emperor, and by its numerical value is
directly associated with the great Deity revered by the Pythagoreans under the
form of the tetrad. His symbols declare the Emperor to be the Demiurgus, the
Great King of the inferior world. The Emperor is dressed in armor and his
throne is a cube stone, upon which a phœnix is also clearly visible. The king
has his legs crossed in a most significant manner and carries either a scepter
surmounted by an orb or a scepter in his right hand and an orb n his left. The
orb itself is evidence that he is supreme ruler of the world. Upon his right
and left breasts respectively appear the symbols of the sun and moon, which in
symbolism are referred to as the eyes of the Great King. The position of the
body and legs forms the symbol of sulphur, the sign of the ancient alchemical
monarch. In the pseudo-Egyptian Tarot the figure is in profile. He wears a
Masonic apron and the skirt forms s right-angled triangle. Upon his head is
the Crown of the North and his forehead is adorned wit the coiled uræus.
The fifth numbered major trump
is called Le Pape, the Pope, and represents the high priest of a pagan
or Christian Mystery school. In this card the hierophant wears the tiara and
carries in his left hand the triple cross surmounting the globe of the world.
His right hand, bearing upon its back the stigmata, makes "the ecclesiastic
sign of esotericism," and before him kneel two suppliants or acolytes. The
back of the papal throne is in the form of a celestial and a terrestrial
column. This card signifies the initiate or master of the mystery of life and
according to the Pythagoreans, the spiritual physician. The illusionary
universe in the form of the two figures (polarity) kneels before the throne
upon which sits the initiate who has elevated his consciousness to the plane
of spiritual understanding and reality. In the pseudo-Egyptian Tarot the
Master wears the uræus. A white and a black figure--life and death,
light and darkness, good and evil--kneel before him. The initiate's mastery
over unreality is indicated by the tiara and the triple cross, emblems of
rulership over the three worlds which have issued from the Unknowable First
Cause.
The sixth numbered major trump
is called L'Amoureux, the Lovers. There are two distinct forms of this
Tarot. One shows a marriage ceremony in which a priest is uniting a youth and
a maiden (Adam and Eve?) in holy wedlock. Sometimes a winged figure above
transfixes the lovers with his dart. The second form of the card portrays a
youth with a female figure on either side. One of these figures wears a golden
crown and is winged, while the other is attired in the flowing robes of the
bacchante and on her head is a wreath of vine leaves. The maidens represent
the twofold soul of man (spiritual and animal), the first his guardian angel
and the second his ever-present demon. The youth stands at the beginning of
mature life, "the Parting of the Ways," where he must choose between virtue
and vice, the eternal and the temporal. Above, in a halo of light, is the
genius of Fate (his star), mistaken for Cupid by the uninformed. If youth
chooses unwisely, the arrow of blindfolded Fate will transfix him. In the
pseudo-Egyptian Tarot the arrow of the genius points directly to the figure of
vice, thereby signifying that the end of her path is destruction. This card
reminds man that the price of free will--or, more correctly, the power of
choice--is responsibility.
The seventh numbered major
trump is called Le Chariot, the Chariot, and portrays a victorious
warrior crowned and riding in a chariot drawn by black and white sphinxes or
horses. The starry canopy of the chariot is upheld by four columns. This card
signifies the Exalted One who rides in the chariot of creation. The vehicle of
the solar energy being numbered seven reveals the arcane truth that the seven
planers are the chariots of the solar power which rides victorious in their
midst. The four columns supporting the canopy represent the four Mighty Ones
who uphold the worlds represented by the star-strewn drapery. The figure
carries the scepter of the solar energy and its shoulders are ornamented with
lunar crescents--the Urim. and Thummim. The sphinxes drawing the chariot
resent the secret and unknown power by which the victorious ruler is moved
continuously through the various parts of his universe. In certain Tarot decks
the victor signifies the regenerated man, for the body of the chariot is a
cubic stone. The man in armor is not standing in the chariot but is rising out
of the cube, thus typifying the ascension of the 3 out of the 4--the turning
upward of the flap of the Master Mason's apron. In the pseudo-Egyptian Tarot
the warrior carries the curved sword of Luna, is bearded to signify maturity,
and wears the collar of the planetary orbits. His scepter (emblematic of the
threefold universe) is crowned with a square upon which is a circle surmounted
by a triangle.
p. 131
The eighth numbered major trump
is called La Justice, Justice, and portrays a seated figure upon a
throne, the back of which rises in the form of two columns. Justice is crowned
and carries in her right hand a sword and in her left a pair of scales. This
card is a reminder of the judgment of the soul in the hall of Osiris. It
teaches that only balanced forces can endure and that eternal justice destroys
with the sword that which is unbalanced. Sometimes justice is depicted with a
braid of her own hair twisted around her neck in a manner resembling a
hangman's knot. This may subtly imply that man is the cause of his own
undoing, his actions (symbolized by his hair) being the instrument of his
annihilation. In the pseudo-Egyptian Tarot the figure of Justice is raised
upon a dais of three steps, for justice can be fully administered only by such
as have been elevated to the third degree. Justice is blindfolded, that the
visible shall in no way influence its decision. (For reasons he considers
beyond his readers' intelligence, Mr. Waite reversed the eighth and eleventh
major trumps.)
The ninth numbered major trump
is called L'Hermite, the Hermit, and portrays an aged man, robed in a
monkish habit and cowl, leaning on a staff. This card was popularly supposed
to represent Diogenes in his quest for an honest man. In his right hand the
recluse carries a lamp which he partly conceals within the folds of his cape.
The hermit thereby personifies the secret organizations which for uncounted
centuries have carefully concealed the light of the Ancient Wisdom from the
profane. The staff of the hermit is knowledge, which is man's main and only
enduring support. Sometimes the mystic rod is divided by knobs into seven
sections, a subtle reference to the mystery of the seven sacred centers along
the human spine. In the pseudo-Egyptian Tarot the hermit shields the lamp
behind a rectangular cape to emphasize the philosophic truth that wisdom, if
exposed to the fury of ignorance, would be destroyed like the tiny flame of a
lamp unprotected from the storm. Man's bodies form a cloak through which his
divine nature is faintly visible like the flame of the partly covered lantern.
Through renunciation--the Hermetic life--man attains depth of character and
tranquility of spirit.
The tenth numbered major trump
is called La Roue de Fortune, the Wheel of Fortune, and portrays a
mysterious wheel with eight spokes--the familiar Buddhist symbol of the Cycle
of Necessity. To its rim cling Anubis and Typhon--the principles of good and
evil. Above sits the immobile sphinx, carrying the sword of Justice and
signifying the perfect equilibrium of Universal Wisdom. Anubis is shown rising
and Typhon descending; but when Typhon reaches the bottom, evil ascends again,
and when Anubis reaches the top good wanes once more. The Wheel of Fortune
represents the lower universe as a whole with Divine Wisdom (the sphinx) as
the eternal arbiter between good and evil. In India, the chakra, or
wheel, is associated with the life centers either of a world or of an
individual. In the pseudo-Egyptian Tarot the Sphinx is armed with a javelin,
and Typhon is being thrown from the wheel. The vertical columns, supporting
the wheel and so placed that but one is visible, represent the axis of the
world with the inscrutable sphinx upon its northern pole. Sometimes the wheel
with its supports is in a boat upon the water. The water is the Ocean of
Illusion, which is the sole foundation of the Cycle of Necessity.
The eleventh numbered major
trump is called La Force, Strength, and portrays a girl wearing a hat in the
form of a lemniscate, with her hands upon the mouth of an apparently ferocious
lion. Considerable controversy exists as to whether the maid is dosing or
opening the lion's mouth. Most writers declare her to be closing the jaws of
the beast, but a critical inspection conveys the opposite impression. The
young woman symbolizes spiritual strength and the lion either the animal world
which the girl is mastering or the Secret Wisdom over which she is mistress.
The lion also signifies the summer solstice and the girl, Virgo, for when the
sun enters this constellation, the Virgin robs the lion of his strength. King
Solomon's throne was ornamented with lions and he himself was likened to the
king of beasts with the key of wisdom between its teeth. In this sense, the
girl may be opening the lion's mouth to find the key contained therein for
courage is a prerequisite to the attainment of knowledge. In the
pseudo-Egyptian Tarot the symbolism is the same except that the maiden is
represented as a priestess wearing an elaborate crown in the form of a bird
surmounted by serpents and an ibis.
The twelfth numbered major
trump is called Le Pendu, the Hanged Man, an portrays a young man
hanging by his left leg from a horizontal beam, the latter supported by two
tree trunks from each of which six branches have been removed. The right leg
of the youth is crossed in back of the left and his arms are folded behind his
back in such a way as to form a cross surmounting a downward pointing
triangle. The figure thus forms an inverted symbol of sulphur and, according
to Levi, signifies the accomplishment of the magnum opus. In some decks
the figure carries under each arm a money bag from which coins are escaping.
Popular tradition associates this card with Judas Iscariot, who is said to
have gone forth and hanged himself, the money bags representing the payment he
received for his crime.
Levi likens the hanged man to
Prometheus, the Eternal Sufferer, further declaring that the upturned feet
signify the spiritualization of the lower nature. It is also possible that the
inverted figure denotes the loss of the spiritual faculties, for the head is
below the level of the body. The stumps of the twelve branches are the signs
of the zodiac divided into two groups--positive and negative. The picture
therefore depicts polarity temporarily triumphant over the spiritual principle
of equilibrium. To attain the heights of philosophy, therefore, man must
reverse (or invert) the order of his life. He then loses his sense of personal
possession because he renounces the rule of gold in favor of the golden rule.
In the pseudo-Egyptian Tarot the hanged man is suspended between two palm
trees and signifies the Sun God who dies perennially for his world.
The thirteenth numbered major
trump is called La Mort, Death, and portrays a reaping skeleton with a
great scythe cutting off the heads, hands, and feet rising out of the earth
about it. In the course of its labors the skeleton has apparently cut off one
of its own feet. Not all Tarot decks show this peculiarity, but this point
well emphasizes the philosophic truth that unbalance and destructiveness are
synonymous. The skeleton is the proper emblem of the first and supreme Deity
because it is the foundation of the body, as the Absolute is the foundation of
creation. The reaping skeleton physically signifies death but philosophically
that irresistible impulse in Nature which causes every being to be ultimately
absorbed into the divine condition in which it existed before the illusionary
universe had been manifested. The blade of the scythe is the moon with its
crystallizing power. The field in which death reaps is the universe, and the
card discloses that all things growing out of the earth shall be cut down and
return to earth again.
Kings, Queens, courtesans, and
knaves are alike to death, the master of the visible and a parent parts of all
creatures. In some Tarot decks death is symbolized as a figure in armor
mounted on a white horse which tramples under foot old and young alike. In the
pseudo-Egyptian Tarot a rainbow is seen behind the figure of death, thus
signifying that the mortality of the body of itself achieves the immortality
of the spirit. Death, though it destroys form, can never destroy life, which
continually renews itself. This card is the symbol of the constant renovation
of the universe--disintegration that reintegration may follow upon a higher
level of expression.
The fourteenth numbered major
trump is called La Temperance, Temperance, and portrays an angelic
figure with the sun upon her forehead. She carries two urns, one empty and the
other full, and continually pours the contents of the upper into the lower, In
some Tarot decks the flowing water takes the form of the symbol of Aquarius.
Not one drop, however, of the living water is lost in this endless
transference between the superior vessel and the inferior. When the lower urn
is filled the vases are reversed, thus signifying that life pours first from
the invisible into the visible, then from the visible back into the invisible.
The spirit controlling this flow is an emissary of the great Jehovah,
Demiurgus of the world. The sun, or light cluster, upon the woman's forehead
controls the flow of water, which, being drawn upward into the air by the
solar rays, descends upon the earth as rain, to drawn up and fall again ad
infinitum. Herein is also shown the passage of the human life forces back
and forth between positive and negative poles of the creative system. In the
pseudo-Egyptian Tarot the symbolism is the same, except that the winged figure
is male instead of female. It is surrounded by a solar nimbus and pours water
from a golden urn into a silver one, typifying the descent of celestial forces
into the sublunary spheres.
The fifteenth numbered major
trump is called Le Diable, the Devil, and portrays a creature
resembling Pan with the horns of a ram or deer, the arms and body of a man,
and the legs and feet of a goat or dragon. The figure stands upon a cubic
stone, to a ring in the front of which are chained two satyrs. For a scepter
this so-called demon carries a lighted torch or candle. The entire figure is
symbolic of the magic powers of the astral light, or universal mirror, in
which the divine forces are reflected in an inverted, or infernal, state. The
demon is winged like a bar, showing that it pertains to the nocturnal, or
shadow inferior sphere. The animal natures of man, in the form of a male and a
female elemental, are chained to its footstool. The torch is the false light
which guides unillumined souls to their own undoing. In the pseudo-Egyptian
Tarot appears Typhon--a winged creature composed of a hog, a man, a bat, a
crocodile, and a hippopotamus--standing in the midst of its own
destructiveness and holding aloft the firebrand of the incendiary. Typhon is
created by man's own misdeeds, which, turning upon their maker, destroy him.
The sixteenth numbered major
trump is called Le Feu du Ciel, the Fire of Heaven, and portrays a
tower the battlements of which, in the form of a crown, are being destroyed by
a bolt of lightning issuing from the sun. The crown, being considerably
smaller than the tower which it surmounts, possibly indicates that its
destruction resulted from its insufficiency. The lighting bolt sometimes takes
the form of the zodiacal sign of Scorpio, and the tower may be considered a
phallic emblem. Two figures are failing from the tower, one in front and the
other behind. This Tarot card is popularly associated with the traditional
fall of man. The divine nature of humanity is depicted as a tower. When his
crown is destroyed, man falls into the lower world and takes upon himself the
illusion of materiality. Here also is a key to the mystery of sex. The tower
is supposedly filled with gold coins which, showering out in great numbers
from the rent made by the lightning bolt, suggesting potential powers. In the
pseudo-Egyptian Tarot the tower is a pyramid, its apex shattered by a
lightning bolt. Here is a reference to the missing capstone of the Universal
House. In support of Levi's contention that this card is connected with the
Hebrew letter Ayin, the failing figure in the foreground is similar in
general appearance to the sixteenth letter of the Hebrew alphabet.
The seventeenth numbered major
trump is called Les Etoiles, the Stars, and portrays a young girl
kneeling with one foot in water and the other on and, her body somewhat
suggesting the swastika. She has two urns, the contents of which she pours
upon the land and sea. Above the girl's head are eight stars, one of which is
exceptionally large and bright. Count de Gébelin considers the great star to
be Sothis or Sirius; the other seven are the sacred planets of the ancients.
He believes the female figure to be Isis in the act of causing the inundations
of the Nile which accompanied the rising of the Dog Star. The unclothed figure
of Isis may well signify that Nature does not receive her garment of verdure
until the rising of the Nile waters releases the germinal life of plants and
flowers. The bush and bird (or butterfly) signify the growth and resurrection
which accompany the rising of the waters. In the pseudo-Egyptian Tarot the
great star contains a diamond composed of a black and white triangle, and the
flowering bush is a tall plant with a trifoliate head upon which a butterfly
alights. Here Isis is in the form of an upright triangle and the vases have
become shallow cups. The elements of water and earth under her feet represent
the opposites of Nature sharing impartially in the divine abundance.
The eighteenth numbered major
trump is called La Lune, the Moon, and portrays Luna rising between two
towers--one light and the other dark. A dog and a wolf are baying at the
rising moon, and in the foreground is a pool of water from which emerges a
crawfish. Between the towers a path
A CARD FROM THE MANTEGNA PACK.
From Taylor's The History of
Playing Cards.
Among the more curious examples
of playing cards are those of the Mantegna deck. In 1820, a perfect deck of
fifty cards brought the then amazing price of eighty pounds. The fifty
subjects composing the Mantegna deck, each of which is represented by an
appropriate figure, are: (1) A beggar; (2) A page; (3) A goldsmith; (4) A
merchant; (5) A gentleman; (6) A knight; (7) The Doge; (8) A king; (9) An
emperor, (10) The Pope; (11) Calliope; (12) Urania; (13) Terpsichore; (14)
Erato; (15) Polyhymnia; (16) Thalia; (17) Melpomene; (18) Euterpe; (19) Clio;
(20) Apollo; (21) Grammar, (22) Logic; (23) Rhetoric; (24) Geometry; (25)
Arithmetic; (26) Music, (27) Poetry; (28) Philosophy; (29) Astrology; (30)
Theology; (31) Astronomy; (32) Chronology (33) Cosmogony; (34) Temperance;
(35) Prudence; (36) Fortitude; (37) Justice; (38) Charity; (39) Fortitude,
(40) Faith; (41) the Moon; (42) Mercury; (43) Venus; (45) the Sun; (45) Mars;
(46) Jupiter; (47) Saturn; (48) the eighth Sphere; (49) the Primum Mobile;
(50) the First Cause. The Qabbalistic significance of these cards is apparent,
and it is possible that they have a direct analogy to the fifty gates of light
referred to in Qabbalistic writings.
p. 132
winds, vanishing in the extreme
background. Court de Gébelin sees in this card another reference to the rising
of the Nile and states on the authority of Pausanius that the Egyptians
believed the inundations of the Nile to result from the tears of the moon
goddess which, falling into the river, swelled its flow. These tears are seen
dropping from the lunar face. Court de Gébelin also relates the towers to the
Pillars of Hercules, beyond which, according to the Egyptians, the luminaries
never passed. He notes also that the Egyptians represented the tropics as dogs
who as faithful doorkeepers prevented the sun and moon from penetrating too
near the poles. The crab or crawfish signifies the retrograde motion of the
moon.
This card also refers to the
path of wisdom. Man in his quest of reality emerges from the pool of illusion.
After mastering the guardians of the gates of wisdom he passes between the
fortresses of science and theology and follows the winding path leading to
spiritual liberation. His way is faintly lighted by human reason (the moon),
which is but a reflection of divine wisdom. In the pseudo-Egyptian Tarot the
towers are pyramids, the dogs are black and white respectively, and the moon
is partly obscured by clouds. The entire scene suggests the dreary and
desolate place in which the Mystery dramas of the Lesser Rites were enacted.
The nineteenth numbered major
trump is called Le Soleil, the Sun, and portrays two children--probably
Gemini, the Twins--standing together in a garden surrounded by a magic ring of
flowers. One of these children should be shown as male and the other female.
Behind them is a brick wall apparently enclosing the garden. Above the wall
the sun is rising, its rays alternately straight and curved. Thirteen
teardrops are falling from the solar face Levi, seeing in the two children
Faith and Reason, which must coexist as long as the temporal universe endures,
writes: "Human equilibrium requires two feet, the worlds gravitate by means of
two forces, generation needs two sexes. Such is the meaning of the arcanum of
Solomon, represented by the two pillars of the temple, Jakin and Bohas." (See
Transcendental Magic.) The sun of Truth is shining into the garden of
the world over which these two children, as personifications of eternal powers
reside. The harmony of the world depends upon the coordination of two
qualities symbolized throughout the ages as the mind and the heart. In the
pseudo-Egyptian Tarot the children give place to a youth and a maiden. Above
them in a solar nimbus is the phallic emblem of generation--a line piercing a
circle. Gemini is ruled by Mercury and the two children personify the serpents
entwined around the caduceus.
The twentieth numbered major
trump is called Le Jugement, the judgment, and portrays three figures
rising apparently from their tombs, though but one coffin is visible. Above
them in a blaze of glory is a winged figure (presumably the Angel Gabriel)
blowing a trumpet. This Tarot represents the liberation of man's threefold
spiritual nature from the sepulcher of his material constitution. Since but
one-third of the spirit actually enters the physical body, the other
two-thirds constituting the Hermetic anthropos or overman, only
one of the three figures is actually rising from the tomb. Court de Gébelin
believes that the coffin may have been an afterthought of the card makers and
that the scene actually represents creation rather than resurrection, In
philosophy these two words are practically synonymous. The blast of the
trumpet represents the Creative Word, by the intoning of which man is
liberated from his terrestrial limitations. In the pseudo-Egyptian Tarot it is
evident that the three figures signify the parts of a single being, for three
mummies are shown emerging from one mummy case.
The twenty-first numbered major
trump is called Le Monde, the World, and portrays a female figure
draped with a scarf which the wind blows into the form of the Hebrew letter
Kaph. Her extended hands--each of which holds a wand--and her left leg, which
crosses behind the right, cause the figure to assume the form of the
alchemical symbol of sulphur. The central figure is surrounded by a wreath in
the form of a vesica piscis which Levi likens to the Qabbalistic crown
Kether. The Cherubim of Ezekiel's vision occupy the corners of the
card. This Tarot is called the Microcosm and the Macrocosm because in it are
summed up every agency contributing to the structure of creation. The figure
in the form Of the emblem of sulphur represents the divine fire and the heart
of the Great Mystery. The wreath is Nature, which surrounds the fiery center.
The Cherubim represent the elements, worlds, forces, and planes issuing out of
the divine fiery center of life. The wreath signifies the crown of the
initiate which is given to those who master the four guardians and enter into
the presence of unveiled Truth. In the pseudo-Egyptian Tarot the Cherubim
surround a wreath composed of twelve trifoliate flowers--the decanates of the
zodiac. A human figure kneels below this wreath, playing upon a harp of three
strings, for the spirit must create harmony in the triple constitution of its
inferior nature before it can gain for itself the solar crown of immortality.
The four suits of the minor
trumps are considered as analogous to the four elements, the four corners of
creation, and the four worlds of Qabbalism. The key to the lesser Tarots is
presumably the Tetragrammaton, or the four-letter name of Jehovah, IHVH.
The four suits of the minor trumps represent also the major divisions of
society: cups are the priesthood, swords the military, coins
the tradesmen, and rods the farming class. From the standpoint of what
Court de Gébelin calls "political geography," cups represent the
northern countries, swords the Orient, coins the Occident, and
rods the southern countries. The ten pip cards of each suit represent
the nations composing each of these grand divisions. The kings are
their governments, the queens their religions, the knights their
histories and national characteristics, and the pages their arts and
sciences. Elaborate treatises have been written concerning the use of the
Tarot cards in divination, but as this practice is contrary to the primary
purpose of the Tarot no profit can result from its discussion.
Many interesting examples of
early playing cards are found in the museums of Europe, and there are also
noteworthy specimens in the cabinets of various private collectors. A few
hand-painted decks exist which are extremely artistic. These depict various
important personages contemporary with the artists. In some instances, the
court cards are portraitures of the reigning monarch and his family. In
England engraved cards became popular, and in the British Museum are also to
be seen some extremely quaint stenciled cards. Heraldic devices were employed;
and Chatto, in his Origin and History of Playing Cards, reproduces four
heraldic cards in which the arms of Pope Clement IX adorn the king of clubs.
There have been philosophical decks with emblems chosen from Greek and Roman
mythology, also educational decks ornamented with maps or pictorial
representations of famous historic places and incidents. Many rare examples of
playing-cards have been found bound into the covers of early books. In Japan
there are card games the successful playing of which requires familiarity with
nearly all the literary masterpieces of that nation. In India there are
circular decks depicting episodes from Oriental myths. There are also cards
which in one sense of the word are not cards, for the designs are on wood,
ivory, and even metal. There are comic cards caricaturing disliked persons and
places, and there are cards commemorating various human achievements. During
the American Civil War a patriotic deck was circulated in which stars, eagles,
anchors, and American flags were substituted for the suits and the court cards
were famous generals.
Modern playing cards are the
minor trumps of the Tarot, from each suit of which the page, or
valet, has been eliminated, leaving 13 cards. Even in its abridged form,
however, the modern deck is of profound symbolic importance, for its
arrangement is apparently in accord with the divisions of the year. The two
colors, red and black, represent the two grand divisions of the year--that
during which the sun is north of the equator and that during which it is south
of the equator. The four suits represent the seasons, the ages of the ancient
Greeks, and the Yugas of the Hindus. The twelve court cards are the
signs of the zodiac arranged in triads of a Father, a Power, and a Mind
according to the upper section of the Bembine Table. The ten pip cards of each
suit represent the Sephirothic trees existing in each of the four worlds (the
suits). The 13 cards of each suit are the 13 lunar months in each year, and
the 52 cards of the deck are the 52 weeks in the year. Counting the number of
pips and reckoning the jacks, queens, and kings as 11, 12, and 13
respectively, the sum for the 52 cards is 364. If the joker be considered as
one point, the result is 365, or the number of days in the year. Milton
Pottenger believed that the United States of America was laid out according to
the conventional deck of playing cards, and that the government will
ultimately consist of 52 States administered by a 53rd undenominated division,
the District of Columbia.
The court cards contain a
number of important Masonic symbols. Nine are full face and three are profile.
Here is the broken "Wheel of the Law," signifying the nine months of the
prenatal epoch and the three degrees of spiritual unfoldment necessary to
produce the perfect man. The four armed kings are the Egyptian Ammonian
Architects who gouged out the universe with knives. They are also the cardinal
signs of the zodiac. The four queens, carrying eight-petaled flowers symbolic
of the Christ, are the fixed signs of the zodiac. The four jacks, two of whom
bear acacia sprigs--the jack of hearts in his hand, the jack of clubs in his
hat-are the four common signs of the zodiac. It should be noted also that the
court cards of the spade suit will not look upon the pip in the corner of the
card but face away from it as though fearing this emblem of death. The Grand
Master of the Order of the Cards is the king of clubs, who carries the orb as
emblematic of his dignity.
In its symbolism chess is the
most significant of all games. It has been called "the royal game"--the
pastime of kings. Like the Tarot cards, the chessmen represent the elements of
life and philosophy. The game was played in India and China long before its
introduction into Europe. East Indian princes were wont to sit on the
balconies of their palaces and play chess with living men standing upon a
checkerboard pavement of black and white marble in the courtyard below. It is
popularly believed that the Egyptian Pharaohs played chess, but an examination
of their sculpture and illuminations has led to the conclusion that the
Egyptian game was a form of draughts. In China, chessmen are often carved to
represent warring dynasties, as the Manchu and the Ming. The chessboard
consists of 64 squares alternately black and white and symbolizes the floor of
the House of the Mysteries. Upon this field of existence or thought move a
number of strangely carved figures, each according to fixed law. The white
king is Ormuzd; the black king, Ahriman; and upon the plains of Cosmos the
great war between Light and Darkness is fought through all the ages. Of the
philosophical constitution of man, the kings represent the spirit; the queens
the mind; the bishops the emotions; the knights the vitality; the castles, or
rooks, the physical body. The pieces upon the kings' side are positive; those
upon the queens' side, negative. The pawns are the sensory impulses and
perceptive faculties--the eight parts of the soul. The white king and his
suite symbolize the Self and its vehicles; the black king and his retinue, the
not-self--the false Ego and its legion. The game of chess thus sets forth the
eternal struggle of each part of man's compound nature against the shadow of
itself. The nature of each of the chessmen is revealed by the way in which it
moves; geometry is the key to their interpretation. For example: The castle
(the body) moves on the square; the bishop (the emotions) moves on the slant;
the king, being the spirit, cannot be captured, but loses the battle when so
surrounded that it cannot escape.
Next: The Tabernacle in the
Wilderness