Unless living in continental Europe and knowing what to look for and where, it is only since the nineteen-eighties that images from older decks became easily accessible with Kaplan’s first volume of his now four volume (and I hear soon-ish to be five) Encyclopedia of Tarot. Even with the first two volumes available by 1990, historically oriented decks were themselves scarce. It’s only with the advent of the internet that the last ten years has made a reasonably large number of early images readily available for those of us in search – yet without the proper research means – of early models and what these may possibly have meant or intended. This does not of course mean that many books were not also earlier available: to be sure, they were, and provided much to whet the mind’s imaginative faculty.

Grimaud (c. 1930)		Conver (c. 1760)

‘simplified’ though typical tympanum showing Christ and four evangelists

It’s in this context that what has always been apparent (at least to me) is twofold: on the one hand the obviousness of the Christian basis and Christian content of the imagery of the trumps; and on the other that decks to which I had access to simply seemed to be ‘missing’ the one image that it seems ‘ought’ to be there in this context, namely that of Christ. It seemed of course obvious that the Grimaud Marseille, and the 1760 Conver on which it is based, bore direct iconographic similarities to the ubiquitous cathedral tympanum carvings showing Christ amongst the four evangelists. The obvious and ‘problematic’ connection being, of course, Christ’s and the World card’s contrasting depicted gender: whereas Christ is obviously masculine, the World, in those cards, is unquestionably depicted with feminine attributes.

This does not negate in any manner the way in which tarot has also, especially since the development of the neo-Pagan revivalism of the 1980s, been appropriated and modified to reflect numerous world-views: from those that suggest more jungian concepts to others that incorporate Buddhist, Australian Dreamtime, Native American, Aztec, Wiccan, or indeed harken to ancient and modern myths and sagas from those of Ancient Egypt or Greece to the Kalevala and modern literary giants such as Tolkien’s Lord of the Rings. All these, of course, irrespective as to what I personally consider the merit or otherwise of any specific examplar, and omitting another huge range of decks that are essentially artistic templates or ‘frames’ (from Dali to the hundreds of perhaps lesser known, but in some cases incredibly talented artists).

Having before us a deck such as the Grimaud that reflected in so many ways the central trunk of tarot’s diversity, and finding that this deck was essentially unmodified since the 1760s, the type of deck was very fast, for myself at any rate, the core upon which an understanding of tarot as a whole needed to be mapped to or, perhaps by better analogy, anchored. Even more so when it is realised that most twentieth century tarot themselves derive in large part via the works of either Wirth, Waite, Crowley, Falconnier, or Etteilla, and that each and all of those are based, at least for their trumps, on first and foremost the Marseille-style.

It is also apparent, however, that as we look back into history, the earliest of known decks differ from the Marseille-type. Of most obvious differing form are the Visconti-type decks, individually hand-painted and gilded in the 15th century. Also, differences arise in what appears to be a number of possible orderings (not only were the earliest decks un-titled and un-numbered, but when numbering did start to make an appearance, variations occurs, with, for example, the Hermit numbered XI). In terms of imagery, the Visconti-Sforza, Cary-Yale, anonymous Parisian (due to the publishing house’s name having been carved out of the woodblock prior to the imprint that has survived), and Vieville, each pre-1700 decks yet the second pair dating two centuries later than the first, display significant enough differences:

Visconti-Sforza (c. 1450)		Cary-Yale Visconti (c. 1450)
anomynous Parisian (c. 1650)		Vieville (c. 1650)

Each of those decks include elements that have important symbolic references, many of which slowly being re-discovered by the tarot community. In the decks above, for example, the Visconti-Sforza may display, as suggested by both Moakley and more recently by Berti and Gonard, the Heavenly Jerusalem; in contrast the Cary-Yale and the Parisian seem to suggest Fate or Fortune over the fate of lands and the Earth. In the Vieville, we find the closest overall iconographic image to the Marseille-type earlier shown. Yet this quite late depiction is not the sole of the period or earlier as both the card found in one of the Sforza castlelets and the Noblet bear important resemblances:

Sforza Castle well card (c. 1500)		Noblet (c. 1650)

The Heavenly Jerusalem of the Visconti-Sforza is, to be sure, conceptually very closely related to the Vieville in that this city is deemed as the heavenly abode of the eternal Christ as presented in especially mediæval and renaissance Christianity. That he appears more ambiguously feminine in the Noblet does not diminish the intent as Christ. Apart from any other considerations, numerous mystical works exist that speak of Christ in feminine terms and, specifically, with reference to his bosom suckling his children – ie, us.

Amongst a couple of other examples I also include in my Reading the Marseille Tarot is a quote from Lia Moran and Jacob Gilad’s ‘From Folklore to Scientific Evidence’ [International Journal of Biomedical Science Dec. 2007], who remind us that:

Contrary to modern days, Jesus Christ has been often portrayed as having feminine qualities in medieval times. This includes both having physical feminine attributes such as lactating breasts as well as religious ones, such as Christ lactating his believers, reversing the role of Mary and Christ-child to Mother Jesus and the child-like soul. Others have connected the wound in Jesus’ side and breasts full of soul-sustaining milk or used breast milk symbolism to illustrate ideas of the motherhood of Christ versus the fatherhood of God.

That there is a ‘natural’ transformation of a figure that earlier clearly represented Christ surrounded by the four evangelists to that same figure as (initially) ambiguously feminine and over time ever less so makes sense in this context – as long as the concept of Christ with feminine attributes remains something that is alive to the mystical life of the community. Once this aspect is lost, so too does the figure’s original reference become somewhat forgotten and eventually transformed to something else that can be meaningfully re-considered. In our case, a figure that increasingly becomes simultaneously removed and present as tentative steps are taken to gain anew what a ‘Spiritu Mundi’ may mean.

In a sequence of cards that clearly bears a Renaissance Christian worldview – albeit one infused with neo-platonic and neo-aristotelean elements – it ‘makes sense’ to have its highest figure alive in the realm of the spirit yet at once both reachable and ineffable. The perfected Man, the second Adam, into which not only as breath been breathed (the ‘A’–air into the blood formed out of earth–DaM), but also, for the Christian, the Fires of Life (Shin) descended within humanity, and at once also showing a metamorphosis of Yahweh to Jeheshuah.

Allow me a little to explain the above.

Let’s first take a couple of steps back.

If the Hebrew alphabet has had any organising influence of the ordering of the trumps (and also have a small impact on minor details), then it is unlikely to have been in the order that was imposed on the cards by late 19th century views – though these in turn have of course had an impact on how decks that adopt views from the derivative orders of the three main ‘traditions’ will include details to match the preference.

In my personal view, I still consider it highly likely that some simple influence assisted in getting the trump sequence and its iconography stabilised between its creation around the first half of the 15th century and the time it became ‘canonised’ by what we now call the Marseille-type in the mid-17th century. Something like an ordered alphabetic sequence, due to its simplicity, certainly has appeal. This in itself does not make it correct, of course. What is interesting is that the letters’ ordinal values reflect well the Marseille-type’s numbered trumps, with the un-numbered Fool placed where only he can be: last, yet wherever he pleases.

If this sequence has any meaning, then each and every card, without much effort, would need to in some extent or other reflect an alphabetic consideration. Some more ‘obvious’ visual ones are Alef and the Bateleur, Lamed and the Pendu, Ayin and the Tower, Tzaddhi and the Moon, Kof and the Sun; some become ‘as obvious’ with a little reflection on the similarity of meanings of the letter-as-word or its import, such as Beit and the Papess, Samek and the Devil, and Resh and Judgement.

With Shin (or Sin – excuse the pun that only works in English and could not resist in the title of this piece), what we have is the twenty-first letter, so some aspect to its relation to Christ needs to be found if the methodology is to yield feasible or plausible results. Fortunately, this is one of the easiest upon which to reflect as long as some of the common practices of the times is known.

Yahweh, or the unpronounced name of God in the Torah, is written with four letters: YHVH, and these are themselves found commonly enough in especially high places enclosed within a triangle in numerous Cathedrals – though at times it is obvious that the carver knew no Hebrew but was instead merely copying script he or she was not able to ‘read’:

YHVH rendered in typically poor Hebrewl

One of the views that gained some prominence (and a means used in attempts to convert Jews – when more brutal means were not at play), was to claim that God the Father becomes God the Son in the ‘insertion’ of the Holy Spirit (who has tongues of flame, as does Shin) within the tetragrammaton (tetra means four in Greek, hence ’4-lettered name’). In other words, YHVH→YHShVH Yahweh is Yeheshuah (Jesus).

YHShVH (as read from right to left)

In the context of the card image, this can be brought to reflection as the central figure is seen to be embedded within the four living creatures said to be at the Throne of God.

Within the religious context and mysticism of the times, the image, its placement, and even its possible Hebrew letter become understandable, and a redemption of the World in its eternal call towards Holy Jerusalem something that, for the person wishing to reflect on the imagery as religious art, a feasible reflection.

Of course, these reflections do not mean that the trumps necessarily developed in quite the way here mentioned…

Similarly, that the central image has come to be first and foremost feminised beyond its likely earlier pointing to Christ reflects the mores of the times that change with the spiritual strivings within cultural shifts. Nonetheless and in my personal view, the grounding of the image needs to also be recognised.

In looking through various decks and reading across a reasonably broad variety of books on tarot, divergent claims are made for trumps and various correlations. One of the most persistent is the claim that somehow trump cards and letters of the alphabet have correlations.

If the earliest extent tarot cards have any such letter attributions intended by the artists, woodcarvers or publishers, then these have not come down to us, and correlations or attributions have become well masked. The strongest case I have seen to suggest that trump design may have been influenced by letters is Mark Filipas’s Alphabetic Masquerade. Therein, Mark shows how woodcut decks from the 17th and 18th centuries bear some resemblence, and what could be some evidence, for deck design to have been modified as an abecederium – basically, the images have been influenced by considerations that continue to be popular in children’s picture-books (A is for Apple, B for Bear, etc.), though in tarot’s case, the letters are suggested as Hebrew letters, and their associated words often somewhat removed from the obviousness of the apparent image (see Newsletter #4 for an example from Mark).

For those amongst us who normally attribute Hebrew letters to the trumps of the tarot, it is apparent that whatever preference we have is not shared by others who prefer attributions at varience with our own. And then, we also at times come across attributions which seem so far at odds with the more common ones. If there are numerous variations that are in existence, three dominate. Below is a minor modification of a webpage originally prepared in order to discuss with Sitsky his attributions (to which I shall return shortly). As can be seen from the table, there is no unified view on the matter.

Let’s briefly go through these columns in the order presented.

Filipas

This is one of the three most common or popular version. It appears in the late 19th century with the works (and deck) of Falconnier. If I ‘head’ that column with Filipas’s name who wrote his work in 2001, it is only because if his idea of an alphabetic abecederium is correct, then it indicates the earliest likely influence on tarot design: the 17th century decks commonly referred to as ‘Tarot de Marseille’ (irrespective as to whether they originate from Marseille or other regions).

The ordering is quite simple and to the point: the numbers on the cards are taken as ordinal (1st, 2nd, 3rd, etc, with the last un-numbered), and the alef-bet (Hebrew alphabet) is similarly taken in its ordinal value. What emerges is a very straightforward relation between, for example, card XVII and the seventeenth letter.

de Mellet

De Mellet’s essay is the first historical instance in which some kind of direct relation is made between letters and trumps. The essay, available (in part) in a previous ATS Newsletter (#56), was originally published in De Gebelin’s Monde Primitif, vol VIII, 1781. Therein, he lists the trumps in descending order from XXI through to I, after which he places the un-numbered Fool. This implies that in his view, as later authors and card designers have similarly done, that this card is ‘numbered’ zero.

He also mentions:

These twenty-two first cards are not only hieroglyphs, that placed in their natural order retrace the story of the earliest times, but they are also as much letters [footnote: the Hebrew alphabet is composed of 22 letters], that combined differently, can form many sentences; as well their name (A-tout) is only the literal translation of their general use and general.

So here there is a clear implication that the ordering that he had just enumerated reflects in some manner the Hebrew letters as presented in the second column.

Levi

Alphonse Louis Constant, better known through his Hebraïsed name as Eliphas Levi (Zahed), is undoutbedly the individual most influential in bringing Hebrew letter attributions to tarot. His works span a few decades with a locus around the 1850s. It is also from his view that the ensuing column (of the G.D.) indirectly stems, as he showed his correlations to Mackenzie, one of the founders of the GD, over twenty years prior to the latter’s establishment.

The difference between the Filipas attributions and his own is that the Fool is placed between cards XX and XXI, thereby attributing it Shin. No ‘obvious’ reason is given for this, but it is interesting that in the game of tarot, gamblers establish specific orderings that are likely passed on from generation to generation: if one holds the Fool in one’s hand, it is placed next to last in the sequence of trumps in one’s hand, as a simple mnemonic to preclude it being played last (the only play which loses the Fool for the player, it being deemed as one of three singularly important cards for scoring purposes). This attribution of Shin remains important even on decks that otherwise attribute it as does the GD. For example, a Shin is still found on the Waite-Smith and BOTA Fools, despite their GD influence.

G.D.

With the Hermetic Order of the Golden Dawn [G.D.] formed in 1888, numerous decks incorporate their preference at times without, it seems, understanding how the attributions were derived.

In the first place, the proposal by Levi became a preliminary working model by the GD’s founders. In addition, the early Kabbalistic Sefer Yetzirah, in which is given elemental, planetary and zodiacal correlations to the letters, is considered. To make attributions in a manner they considered more apt, not only was the Fool placed as heading the sequence (for them numbered zero), but the two cards that appeared to be ‘out’ of what then follows as astrological sequence were interchanged (so VIII Justice and XI Strength become 8 – Justice and 11- Strength).

In addition, though this does not affect the letter attributions, the planetary attributions to the letters differ to the various versions of the Sefer Yetzirah. It should be noted, however, that these do differ in various versions of the book, unlike the consistency found for the elemental and zodiacal attributions.

In looking at the list in the fourth column, what should be apparent is that reading down the list the trumps are simply listed in (revised) order, as they are for each of the previous three columns (with obvious differences).

Crowley

Aleister Crowley’s attributions takes its basis that of the GD, save that he had to reconcile an insight during a working whilst in Egypt that ‘Tzaddi is not the Star’. After a number of years, he found a method that satisfied his general acceptance of the GD attributions together with that lingering ‘problem’: by placing the cards in a double lemniscatory form, not only was the interchange from the longer established ordering of Justice and Strength ‘justified’, but, interestingly, the Emperor and the Star now also ‘interchanged’.

The difference between Crowley and the Golden Dawn is that he generally maintains (apart from adding zero to the Fool) the numbering of the more traditional order (ie., VIII is Justice), but allocates Hebrew letters according to the GD with the further addition of the interchange of the Emperor and the Star.

Sitsky

Since 2005 when I mentioned his Twenty-Two Paths of the Tarot Piano Concertos during an interview on national radio, Larry Sitsky’s attributions had remained a ‘bother’. Of course I could ‘rationalise’ the differences by any number of possibilities, but it was not until this year (2009) that I finally contacted Larry to simply ask him.

In final analysis, his rationale is quite as straightforward as any of the others so far mentioned: he begins from a tarot ordering, and following these attributes the letters in order. Amongst his more detailed communication, he summarises it thus:

The order of the Tarot in my piece came from Ouspensky’s little book on the tarot, and the music was the result of meditating on each of the cards.

Ouspensky’s little book, Symbolism of the Tarot, in general follows the ordering of the GD, except that he positions the Fool last (strictly, Ouspensky also interchanges the Pope [or Hierophant] and the Chariot, but Sitsky follows the normal numbering for these).

Gray

I’ve included Gray’s attributions more as an example of something that at first hand appears far more complex and even, at mere listing, apparently irrational.

Strictly speaking, William Gray prefers his own version of ‘Anglo-Saxon’ letters. Still, he does make suggestions for card placements on the Kircher version of the Tree of Life with, importantly, Hebrew letters there allocated. These, though obviously taken from the GD attributions, are thereby ‘mismatched’ in a manner that nonetheless ‘makes sense’ (though I personally consider it rather contrived).

The overall rendition, taken from combing his Concepts of Qabalah (Cf esp. pp 146 & 223), gives rise to the listing given.

In writing about Hebrew letter attributions to tarot trumps, it should not be forgotten that many amongst us also see that none are intrinsic to the cards, but rather extraneous ‘intrusions’ into a deck that may originally bear no rapport with any kind of alphabetic or Kabbalistic thought.

Yet, I am personally lead to consider that that even if the earliest created decks had no such direct influence, it is possible the Hebrew letters were ‘incorporated’ very early as the deck settled to the canon with which we have become familiar. Later still, further reflections on cards and letters have certainly, and repeatedly, made their mark on various developments.

First published on Mary’s blog: marygreer.wordpress.com

I am delighted to provide this previously unpublished text, which is from a hand-copied manuscript of Sub Spe [John Brodie Innes] I apologize to those who will find many of the references difficult, but the information can help greatly in understanding the Golden Dawn approach to the Minor Arcana and also the Rider-Waite-Smith and Crowley’s Thoth decks.

General Scheme:

The Breath of God passes down through the Four Worlds of the Qabalah from the purely Spiritual to the absolutely material. In each world there is a Tree of Life and the Breath passes down from Sephira to Sephira from Kether to Malkuth and thence to the Kether of the new lower World.

Atziluth, Yetzirah, Briah, Assiah (Wands, Swords, Cups, Pentacles).

Thus in Atziluth the Archetypal World it passes from Eheieh the Creative Breath to Adonai Malekh. This gives its impulse to Kether of Briah the Archangelic World, and in this plane it passes from Metatron the Male Kerub to Sandalphon the Female Kerub. This in turn gives its impulse to Kether of Assiah the Astral Plane where it is received by Chaioth ha Qadesh. The Holy Living Creatures, i.e. the Zodiac which is a wheel or Vortex and goes down to Ashim the Souls of Fire. The work of this Plane being to disintegrate the Astral Form that it may pass through the veils of Negative Existence and be reborn on the Material in Kether of Assiah. Here it is received by Rashith ha Gilgalim the Primum Mobile or Lord Kelvin’s “Vortex ring” and passes down to Cholem Yesodoth. Material Wealth. Malkuth of Assiah.

Thus we have four Trees one above the other containing 40 Sephiroth; i.e., the 4 Aces & 36 small cards of the Tarot arranged in 4 suits corresponding to the Worlds,

each attributed to a Planet in a Decanate, and ruled by 2 Angels of the Shemhamaphoresch. This allocation of symbols gives the meaning ascribed to each card.

[The results and names of the cards are arrived at by combining the meanings of the numbers, with the meanings of the suits and interpreting by the Kabbalah. I have added clarifying material from other sources in brackets [ ]. Tarot card illustrations are from the Golden Dawn Whare Ra deck. —mkg]

Meaning of Numbers:

2. unites the Forces of the Positive and Negative, the King and Queen of the suit. Hence it signifies a beginning or Initiation.

[Unites forces of King and Queen, Fire & Water, Postive & Negative = reflection, love, pleasure, harmony. Chokmah is exalted above every head. Sphere of Wheel of Change and the Zodiac.]

3. produces the Prince. The Resultant of that union. A spiritual card.

[Produces the Prince (resultant (perfect manifestation) of union of King and Queen). Saturn = steadiness and restraint.]

4. produces the Princess. The Realization making the matter fixed or settled. Often taken as a new beginning. A material card.

[The Princess. Realization (4) of Power (Jupiter). Makes the matter fixed and settled. Chesed = the receptacle of all the Holy Powers and from it emanates all the Virtues).]

5. compounded of the first odd and the first even numbers denotes Opposition.

[Sphere of Mars. 5 = opposition, strife. Geburah = severity. Unites Wisdom and Knowledge.]

6. called by Nichomachus the form of form and by the Pythagoreans the Perfection of Parts, is taken to imply Accomplishment.

[Sphere of Sun = power, rank, rule. 6 = Accomplishment. Tiphereth = Mediating Intelligence for it causes that influence to flow into all the Reservoirs of Blessings.]

7. in Hebrew called ShBV Shibo or abundance unites the spiritual 3 to the material 4 and signifies a Supernal Force, also a possible result to be obtained by skill and courage.

[Sphere of Venus = external (outer) splendour. Netzach = the Refulgent Splendour of all Intellectual Virtues. Force transcending the material plane.]

8. The first cube of energy and the only evenly even number in the decade. Signifies material success, but sterile – not heading further. Solitary successes.

[Sphere of Mercury = Genius. Hod = Solitary Successes. 8 = Feeble Force, lacks initiative. Martial force without restraint.]

9. The triple Three, the first square of the odd number, of the Spiritual three. No further elementary number is possible hence it is like the horizon. All other numbers are bounded by it. Hence it implies Fundamental Force.

[Sphere of the Moon which governs the Waters of earth, the feminine & negative. 9 = a strong fundamental force. Yesod - the Path of Pure Intelligence.]

10. The beginning again of the decimal scale. Completed Force.

[Sphere of the Elements/Earth. Fixed and completed force. Power exercised in material things only.]

The 4 Aces are always the Roots of the Powers of their element. For other meanings see “Extracts from Book T., given in Ritual N.”

Note:

YOD-HE-VAU-HE is the Supreme God of the Plane of Earthly life governing material, mental and psychic forces by immutable laws. The “God” of the Old Testament.

ELOHIM = the Guiding Spirits who under YHVH sway the material forces. Always used collectively and usually translated Lord.

The ELOHIM contact humanity. YHVH does not – directly.

ADONI = the Planetary God of Earth. To a certain extent answers to Christ when looked at from his Human aspect, but recognising His Divinity. YHShVH is His Divine Aspect.

WANDS – The Tree of Life in Atziluth

Ace of Wands: (Kether of Atziluth, Root of the Powers of Fire) Eheieh is the Creative Sigh, the Divine outbreathing – the Eastern Hamsa. The Greek _?_. The Spirit of God in Genesis. By this Divine Life first enters the Kether of the highest of the Four Worlds and penetrates to Malkuth of the Lowest. In the Tarot this influence comes from the Keys to the Ace of Wands.

Two of Wands: (Chokmah of Atziluth, Lord of Dominion, Mars in Aries) Unites forces of King & Queen. The Union of Fire & Water. The Spirit of Yod [Jehovah] on the face of the Water. Chokmah is exalted above every head. Mars in Aries representing the decanate is absolutely powerful. Hence influence over others. Good or bad according to dignity.

Three of Wands: (Binah of Atziluth, Established Strength, Sun in Aries) Produces the Prince. Resultant of union of King and Queen. Here the union of the Earth God Yod-He-Vau-He with the Lords of Creation Binah Elohim is the basis of Primordial Wisdom. The forms of Faith and its Roots. Amen. Sun the center of Power to the Earth in the fiery Aries give realization of hopes of energy = Established Strength.

Four of Wands: (Chesed of Atziluth, Perfected Work, Venus in Aries) Produces the Princess making the matter fixed and settled. EL is the definite article. The absolute. Chesed is the receptacle of all the Holy Powers and from it emanates all the Virtues. Venus in the fiery Aries has her full fruition. Hence have we perfected work.

Five of Wands: (Geburah of Atziluth, Strife, Saturn in Leo) Opposition. Elohim Gebor is the Lord of Severity [and battles]. He intensifies opposition. Geburah is itself severity. It unites Wisdom and Knowledge. Here gloomy Saturn dulls the light of Leo hence we get Strife. Ultimate success or failure is otherwise [elsewhere] shown.

Six of Wands: (Tiphareth in Atziluth, Victory, Jupiter in Leo) Accomplishment. The dual influences of the Earth God and the Directing Lords of Creation Elohim [Jehovah Aloah va Daath] directed to NETZACH or Knowledge give absolute success to skill and courage. Jupiter power in the shining light of Leo completes the idea. Tiphereth is the Mediating Intelligence for it causes that influence to flow into all the Reservoirs of Blessings. Hence is Victory after Strife.

Seven of Wands: (Netzach in Atziluth, Valour, Mars in Leo) A possible result. A force transcending the Material Plane. Mars in Leo gives this a martial direction. Jehovah Tzabaoth the Earth God of Hosts shows terrific force but restrained. Netzach is the Refulgent Splendour of all Intellectual Virtues. The sum of all these gives Valour.

Eight of Wands: (Hod in Atziluth, Swiftness, Mercury in Sagittarius) Solitary Successes. The Name is the Lord of Armies Elohim Tzabaoth. Martial Force without restraint. Mercury in the fire of the Sagittarius Centaur also gives the idea of too much force suddenly applied. Swiftness of the horse but running nowhere. Success but leading to nothing.

Nine of Wands: (Yesod of Atziluth, Great Strength, Moon in Sagittarius) Strong fundamental force Shaddai el Chai = the Vast & Mighty One. Both are of the same character but less fierce than the 10. The gentle Moon somewhat restrains the fire of the Centaur Sagittarius – it giving great strength but benignly used. The Sephiroth is the Path of Pure Intelligence.

Ten of Wands: (Malkuth of Atziluth, Oppression, Saturn in Sagittarius) Fixed and completed force. Adonai Malekh = The Power of Earth as a King. The two give to the Fire of Wands an overpowering Force which = Cruelty. Gloomy Saturn rides but does not control the fire of the Centaur Sagittarius which is the Airy Fire. Such fierce blast of Fire whirls to the Male Kerub, Metatron, in Kether of Briah. [The Divine Impulse … by growing materially powerful becomes sheer cruelty and oppression.]

CUPS – The Tree of Life in Briah

Ace of Cups: (Kether of Briah, Root of the Powers of Water) The Right Hand Male Kerub [Metatron] receives the influences from Adoni Malekh. See Key Table for further information.

Two of Cups: (Chokmah of Briah, Love, Venus in Cancer) Unites the King and Queen. Positive and Negative forces of Love and Pleasure. Ratziel the Archangel of the forces of a Vortex or wheel gives Power. Venus in Cancer is especially Venusian. All the Ideas tend in the same way to the unmodified and uncombined ideas of Cups – Love.

Three of Cups: (Binah of Briah, Abundance, Mercury in Cancer) Produces the Prince. = Abundance resulting from Love. Tzaphkiel has to do with forces of Saturn giving the steadying quality to Mercury, the versatility which qualify the overstrong cup-action making it fruitful.

Four of Cups: (Chesed of Briah, Blended Pleasure, Moon in Cancer) Produces the Princess. Realisation. Tzadkiel is the power of Jupiter so far good, but Moon in Cancer gives change and instability. Happiness approaching an end. Too passive to be perfectly complete.

Five of Cups: (Geburah of Briah, Loss in Pleasure, Mars in Scorpio) Opposition neutralises the force of Cups. Khamael is the Archangel of the Mars forces. Quarrels and fighting – the antithesis of Love. Mars in Cancer = the stirring up of stagnant water. All intensify the idea. End of Pleasure. Sadness. Deceit. Treachery in Love.

Six of Cups: (Tiphareth in Briah, Pleasure, Sun in Scorpio) Accomplishment. Raphael is the Archangel of the Sun. United influence brings to pass what is wished – e.g. on the material plane. Sensual Pleasure. The influence of Sun in Cancer is enervating breeding corruption. If Sun is strong – vanity, etc.

Seven of Cups: (Netzach in Briah, Illusionary Success, Venus in Scorpio) A possible success. The Supernal Forces Haniel is the Archangel connected with the Venus forces. Success is only outward. Supernal forces bring it to nothing. Nogah the sphere of Venus represents external splendour. Venus in Scorpio the gleam on stagnant water. All repeat the idea.

Eight of Cups: (Hod in Briah, Abandoned Success, Saturn in Pisces) Solitary Success. Michael the Archangel of Fire is too strong for the feeble force of the 8. Saturn in the airy Pisces gives indolence and dispondency. The whole shows temporary success abandoned as soon as gained.

Nine of Cups: (Yesod of Briah, Material Happiness, Jupiter in Pisces) Strong fundamental force. Gabriel is the Archangel of Water on the material plane. He presides over birth and generation. Hence he was announcer of the birth of Christ and of John the Baptist. More material than Sandalphon as 9 is less complete than 10. Jupiter is not such a perfect combination with Pisces as Mars, so this card is almost perfect happiness.

Ten of Cups: (Malkuth of Briah, Perfected Success, Mars in Pisces) A fixed and Completed Force. Sandalphon, the Female Kerub, an Archangel yet Chief of the Angels. Showering influence of Chaioth ha Qadesh [Kether] – being the Female Kerub receiving its influence from above and transmuting it to the Zodiac, the Wheel of material creation. Mars gives the balance of Fire; Pisces that of Water. Hence this is an extremely good and fortunate card.

SWORDS – The Tree of Life in Yetzirah

Ace of Swords: (Kether in Yetzirah, Root of the Powers of Air) The Holy Living Creatures [Chaioth ha Qadesh], represent the Zodiac itself as Chokmah of Assiah represents its sphere. Hence a vortex receiving the influence through the veils of the negative from Malkuth of Briah which is Perfected Happiness.

Two of Swords: (Chokmah of Yetzirah, Peace Restored, Moon in Libra) Unites King and Queen thus producing Harmony. Auphanim is the Wheel of Change. Thus the Angels of the Revolving Symbolism restore peace. The gentle influence of Moon on Libra fiery air, restores and pacifies.

Three of Swords: (Binah of Yetzirah, Sorrow, Saturn in Libra) Produces the Prince. = The beginning and ending. Giver of Death. Aralim called Thrones more properly. Heroes intensifies the Prince. Hence Sorrow. Gloomy Saturn in fiery Air repeats the idea.

Four of Swords: (Chesed of Yetzirah, Rest from Strife, Jupiter in Libra) Realization. Chasmalim = a brillant metal, perhaps gold or silver. The Angels characterised by brightness [Shining Ones]. The realization of Brilliance. Thus = Rest after Strife. Jupiter Power in Libra fiery Air. Holds its heat restrained. This repeats the idea.

Five of Swords: (Geburah of Yetzirah, Defeat, Venus in Aquarius) Opposition. Strife. Seraphim = Angelic Beings whose character is burning or Fire [fiery serpents]. There is nothing to modify the fiery heat of strife which must bring defeat. Venus in the soft nature of Watery air succumbs to any Force.

Six of Swords: (Tiphareth in Yetzirah, Earned Success, Mercury in Aquarius) Accomplishment. Malachim – King Forces & those who obtain success by commanding it. Hence success not by luck but by effort. Mercury = Genius. Versatility acting on the plastic material of watery Air strives for and obtains success.

Seven of Swords: (Netzach in Yetzirah, Unstable Effort, Moon in Aquarius) Forces transcending the material Plane. Elohim = the idea of strength; hence effort but Supernal Forces overcome & render it unstable. Aquarius – Watery Air acted on by the inconstant Moon increases this result.

Eight of Swords: (Hod in Yetzirah, Shortened Force, Jupiter in Gemini) Solitary Successes. Beni Elohim = Sons of God. A lower and inferior order of Angels. Not able to prevail against the restrictions of the number 8. Jupiter = Power, but having only the Airy Air of Gemini as a basis, cannot exert Power to the full.

Nine of Swords: (Yesod of Yetzirah, Despair and Cruelty, Mars in Gemini) 9 = A strong fundamental force. Cherubim = Sphinxes compounded of the Elements. The supporters of Diety who fly with a swooping or circling motion, the beginning of a whirl, outcasting answering to Rashith ha Gilgalim [Kether’s First Swirlings]. The strong force tending to break up, appears like cruelty & despair. Mars has his full unmodified sway in the Airy Air of Gemini.

Ten of Swords: (Malkuth of Yetzirah, Ruin, Sun in Gemini) 10 = a fixed & completed force. Ashim = the Souls of Fire. These complete their work, which is to break up, disintegrate and ruin the Astral form that it may pass through the negative veils to be reborn in Kether of Assiah. Sun = very fiery energy, destructive unless it acts on very solid material & is modified. Acting on Gemini the tenuous or most Airy Air it is destructive. Compare the deadly arrows of Apollo. [Here the ideas take form, but the Astral Shells are broken up in Ruin by the Souls of Fire that the forms may be reborn in the Material.]

PENTACLES – The Tree of Life in Assiah

Ace of Pentacles: (Kether in Assiah, Root of the Powers of Earth) All Aces are the roots of the Powers of their Element. The Primum Mobile [Rashith ha Gilgalim] Beginning of Whirlings = Primary Vortex Ring. This is the Germ of all Matter (vide Lord Kelvin).

Two of Pentacles: (Chokmah of Assiah, Harmonious Change, Jupiter in Capricorn) Unites King and Queen. The Sphere of the Zodiac counter charges all. All forces acting on Earth. Jupiter = Calm Power on Capricorn = Barren Earth. Gives Harmonious Change but no product.

Three of Pentacles: (Binah of Assiah, Material Works, Mars in Capricorn) Produces the Prince = The perfect manifestation of the forces of Earth. The Sphere of Saturn [Shabathai= rest] restrains his influence. Mars shining on Capricorn the barren earth brings about material works and no more.

Four of Pentacles: (Chesed of Assiah, Earthly Power, Sun in Capricorn) 4 = Realization. Sphere of Jupiter = Power [Tzadekh = righteousness]. Thus the realization of Power. Sun = Power and force on Capricorn = a barren and desert land. Dominates, but leads to nothing beyond.

Five of Pentacles: (Geburah of Assiah, Material Trouble, Mercury in Taurus) 5 = Opposition & Strife. Sphere of Mars [Madim = vehement strength] accentuates this. Mercury = Genius but etherial and erratic. Quite unable to deal with the dull heavy earth of Taurus.

Six of Pentacles: (Tiphareth in Assiah, Material Success, Moon in Taurus) 6 = Accomplishment. Sphere of Sun = Power, Rank, Rule [Shemesh = Solar Light]. These give abundant success. Luna in her exaltation of Taurus. The Mistress of the Floods. Breaking up the dull heavy earth under the influence of Sun = Great fertility.

Seven of Pentacles: (Netzach in Assiah, Success Unfulfilled, Saturn in Taurus) Force transcending the material Plane. Nogah = Sphere of Venus = External Splendour. The outside fair, but Supernal Force destroys the promise. The gloom of Saturn on the heavy dull earth of Taurus gives no success in farming.

Eight of Pentacles: (Hod in Assiah, Prudence, Sun in Virgo) Solitary Successes. Sphere of Mercury = Genius [Kokab = The Stellar Light]. This when only ocasionally successful is over careful. Sun = prudence and punctuality in Virgo the fertile earth gives success in farming. Mercury unrestrained by the forces of 8 lacks initiative energy.

Nine of Pentacles: (Yesod of Assiah, Material Gain, Venus in Virgo) 9 = A strong fundamental force. Levanah = Sphere of the Moon which governs the Waters of earth. A force which governs the feminine & negative is usually termed luck. This = gain. Venus the generative power in Virgo the fertile earth = material increase.

Ten of Pentacles: (Malkuth of Assiah, Wealth, Mercury in Virgo) 10 = Fixed and completed force. Sphere of the Elements [Cholem Yesodoth] = Power exercised in material things only . Mercury extremely versatile genius employed in Virgo = the fertility of the earth. Therefore successful completion of material gain = Material Wealth. Malkuth of Assiah. There is nothing human below this. [The acme of worldly prosperity and progress.] (Hereafter it must take an upward curve or pass out to The Qlippoth.).

[Note: the following zodiacal attributes relate to the elemental qualities of the decanates and the cards associated with those decanates. mkg]

Aries: Ascending Flames. A Great and Ruling Force.

Leo: Rushing Flames. A Force Wise.

Sagittarius: Darting Flames. A Force Great and Potent.

Taurus: Fertile land in a valley. A Force Exalted.

Virgo: Undulating land and low hill. A Force Just.

Capricorn: Precipitous, rocky and barren land. A Force Strong and Mighty.

Gemini: Cirrhous and flecked cloud. A Powerful Force.

Libra: Cumulo-stratous clouds. A Force Illustrious.

Aquarius: Rain descending from clouds. A Force Manifesting and Manifested.

Cancer: Eddies of swirling water. A Force that renders Powerful.

Scorpio: Undulating surface of water. A Wisely Dispensing Force.

Pisces: Breaking waves of the sea. A Force Avenging.

[The Major Arcana of the Whare Ra Golden Dawn deck can be seen at www.hermetic.com/gdlibrary/tarot/whare_ra/. The closest version you can buy is the Classic Golden Dawn Tarot (highly recommended) - mkg]

by Jean-Michel David

In two previous Newsletters, I have discussed some aspects relevant here. The first of these was for issue 22, titled ‘Kabalah and Tarot‘, in which I looked more at the Tree of Life in its various forms – though also mentioned the Hebrew alphabet; the second was for issue 28, titled ‘the Golden Dawn’s Attributions‘.

In addition, a number of other past Newsletters have picked up aspects of Tarot and Kabbalah, including Waite’s ‘The Great Symbols of the Tarot’ (issue 17); Stephen Mangan (kwaw)’s ‘The Fool, Alef and Orion’ (issue 38); and Dovid Krafchow’s ‘Kabbalistic Tarot: Hebraic Wisdom in the Major and Minor Arcana’ (issue 52) – For a general and full list, see the newsletter archive.

What I am here more concerned with is to present, in this written form, what some have undoubtedly heard me present before – either during various courses over the past twenty years, online in condensed form, or at the 2005 International Tarot Conference.

I make absolutely no claims that this has any historical basis – in the sense that similar connections were perhaps made in the 17th century. Any more, for that matter, do any of the other correlations made by others over the course of the past 150 years. At most, it is possible that once the trumps were developed, a further influence may have played into refining some of the imagery, and possibly even providing a fixed ordering, by considering them as abecederium (Mark Filipas’s presentation on this has done much to lend credence to this as possibility – Cf Filipas’s ‘A Lexicon Theory of Tarot Origin’ (issue 4).

What follows is a three-step process, based on several reflections: firstly, the cards themselves which are, in this instance, paired; secondly, their ordinal (or sequential) value and the Hebrew letter equivalent; and thirdly, considering their progression as a reflection of ascending towards the sublime pinnacle of manifestation.

It should be apparent that, for this at any rate, a foundational view of the world as essentially spiritual is propounded. This does not mean that the model cannot be re-interpreted in alternative ways, but rather that in order for it to make sense in the first place, this aspect provides its basis.

Firstly, let’s consider the Atouts on their own. For myself, it was in seeking to consider the cards in isolation of the overlays others had made that I came to consider their pairing as fundamentally useful – and that irrespective of further correlations.

pairings

When laying out the sequence in order, what is apparent (when using a foundational deck such as a Marseille-type) is that their numbering is in Roman numerals (additive style, ie, four is written as IIII). This provides an immediate visual connection between III and XIII, or VI and XVI. It also ‘suggests’ that neither X nor XX have ‘numerals’ after what appears to be symbolic of inversion (by looking at the ‘X’ itself, and the image). So we have, in order, a sequence of I & XI, II & XII, III & XIII, etc.. This provides a first step that, however, does not in any manner take away from its full simple sequence from I through to XXI and beyond. Rather, a ‘mnemonic’ is suggested as to what inner qualities or aspects are required or suggested for the ‘outer’ manifestation to occur.

The bateleur displays an inner strength (I and XI), etc.. Cards X and XX show, respectively, a ‘turn to the inner’ and ‘re-turn to the outer’, culminating in the final pair of XXI, often showing its outer face as mere Fool. Below is the Noblet in that paired sequence:

(click to enlarge)

progression and journey

This pairing provides not only a useful aspect to considering cards, but also shows a progression towards integration – whether the process be considered psychologically, alchemically, or Kabalistically. And here is where considerations of models from the Tree of Life also become useful.

If one takes to heart the Sefer Yetzirah, there is no suggestion that the letters are to be placed as ‘paths’ between Sefirot. In specific regards to the Tree of Life, we have what are ten emanations outpouring in sequence from a fount of unlimited being – or Ein Sof.

This sequence gains ever more density until resulting in the weavings underpinning the material world, or Malkut.

As we view this graduated emanation, we begin from this final position on Malkut (at the ‘bottom’ of the Tree of Life) and face the ultimate spiritual source. Our path, our journey, thus travels back, or inwards and metaphorically upwards, into ever remote worlds.

If the essence of the Tree of Life is one representing the world in its ongoing emanation, tarot may conversely provide us with a means by which to signpost our journey of return within the chambers of emanations we successively enter.

Let’s therefore look at a model of the Tree of Life – one similar (though with some differences) to the more commonly available versions. For the sake of brevity given the space I have in this Newsletter, I only include the version upon which is also shown the completed placement of cards and letters.

Beginning at the bottom, we can see here not only what may require to be focussed and worked on prior to the ensuing step, but also how there is, in a sense, a double ascent: not only as an initial effort (I – VIIII, leading to a first appreciation for Da’at or Knowledge); but also a second inner journey culminating in Da’at as Gnosis. The final step, that of integration of the pair shown on the Sun in Hockmah, is by Divine Grace, shown as XXI.

                      (click to enlarge)

Ars memorativa

The ‘art of memory’ is far more than what today is called ‘memory’. Rather, the art provides for means by which to deepen understanding, enable the recollection of past knowledge, and advance with wisdom.

This is very much what comtemplation of the overall image ‘in a single body’ offers.

At different levels, we are also faced with not only the four cardinal (strength, temperance, justice and hochmah or wisdom) and three theological (faith, hope and love) virtues, but we also need to face what is at times called the "Guardian at the Threshold" (Cf, for example, Steiner’s ‘Initiation, Eternity and the Passing Moment’ GA138).

In all these considerations, I am reminded that Tarot is grounded within the late mediaeval period, in a world permeated with neo-platonic, pythagorean, and Christian aristotelean thought: it is very much these impulses that play themselves into the very fundament of atouts imagery.

In the integration I present above, it should perhaps need no reminding that, similarly, the Tree of Life – as glyph – arises within a Kabalah that develops a little earlier but in the same European context.

In this context, I can well understand the view that sees in tarot a reflection of a vast and rich wealth out of which regular contemplation, combined with the frequent reading of seminal books in humanity’s strivings, leads to not only ever deeper reflections, but also, importantly, a means through which to see ongoing insights reflected in this creation gracefully gifted.

trans. by Jean-Michel David

For this translation, I was very much aided by the various (often provisional) translations of Mary Greer and Jack Meier, Jess Karlin, Donald Tyson and those who contributed to Tarotpedia’s entry (especially Stephen John Mangan / kwaw). Each different translation provided thoughts for different nuances, for which I am grateful. The text as presented, of course, remains for others to improve, remembering that it is written an 18th century French. Translation improvements are greatly appreciated, which may be made on Tarotpedia.

I very much look forward to a time when both de Gebelin’s and de Meller’s essays Le Monde Primitif are easily available in English for all, as is already the case for the French originals. They remain foundational essays in the history of tarot that, no matter our thoughts on their historical and symbolic accuracy, provide an insight into post revolutionary days and the important developments the ensuing century would see in the world of tarot.

All footnotes, "fn #", are in the original.

The Book of Thoth

The desire to learn develops in the human heart in the measure that man’s spirit acquires new knowledge: the need to preserve, and eagerness to transmit it, caused him to imagine characters of which Thoth or Mercury was looked upon as the inventor. These characters were not, in the beginning, conventional signs, and did not express, like our current letters, the sound of the words; they were the same true images that make up the pictures on the cards, which presented to the eyes the things about which one wanted to speak.

It is natural that the inventor of these Images was the first historian: indeed Thoth is considered as having painted the Gods [fn1], that is to say, the acts of omnipotence, or the creation, to which he joined moral precepts. This book appears to have been named A-ROSH; from “A”, Doctrine, Science; and from ROSCH [fn2], Mercury, which, joined to the article “T”, signifies Tableaus of the Doctrine of Mercury; but as Rosh also means Commencement, this word TA-ROSH was particularly dedicated to his cosmogony; likewise “ETHOTIA”, the History of Time, was the title of his astronomy; and perhaps that ATHOTHES, whom we take for a King, as son of Thoth, is just the child of his spirit, and the story of the Kings of Egypt.

This ancient cosmogony, this book of Ta-Rosh, except for some light alterations, appears to have come down to us in the cards that still bear this name [fn3], whether greed has preserved them for swindling idleness, or that superstition has preserved them from the injuries of time, mysterious symbols served it, as formerly for the Magi, to mislead the credulous.

Arabs passed this book [fn4] or game on to the Spanish, and the soldiers of Charles V carried it to Germany. It is composed of three superior series representing the first three Ages, of Gold, of Silver, and of Bronze: each series formed of seven cards [fn5].

And as Egyptian writing is read from left to right, the twenty-first card, that has only been numbered with modern numbering, is none the less the first, and must read as such for the understanding of history; as it is the first of the game of Tarot, in the type of divination that one works with these images.

Finally, there is a twenty-second card without a number, as without power, but which augments the value of its predecessor. It is the zero of magical calculations: we call it Folly.

First Series

Age of Gold

The twenty-first, or first card, represents the Universe by the Goddess Isis in an oval, or an egg, with the four Seasons at the four corners, the Man or Angel, the Eagle, the Bull, and the Lion.

Twentieth, this one is titled Judgement: in effect, an Angel sounding a trumpet, and some men coming out of the ground, would have induced a painter little versed in mythology, to see only in this Tableaux the image of Resurrection; but the ancients regarded men as children of Earth [fn6]; Thoth wanted to express the creation of man by painting Osiris, or the Generating God, the speaking-horn or Word who commands matter, and by tongues of fire that breaks out from clouds, the Spirit [fn7] of God reviving this same matter; at last, by people coming out of the earth to adore and admire the Omnipotence: the attitude of these people does not herald sinners who go to appear before their judge.

Nineteenth, the Creation of the Sun that illumines the union of man and woman, expressed as a man and a woman who give each the other their hand: this sign has since become that of Gemini, of the Androgyne: Duo in carne una.

Eighteenth, the Creation of the Moon and the terrestrial animals, expressed by a wolf and a dog, to signify domesticated and wild animals: this emblem is well chosen, inasmuch as only the dog and the wolf howl on appearance of this astral object, as though regretting the loss of the day. This figure makes me believe that this Tableau would have announced very great mishaps to those who chose to consult Lots, if one had depicted on it the line of the Tropic, that is to say of the departure and return of the sun, that leaves the consoling hope of a good day and a better fortune. Yet two fortresses that defend a path traced with blood, and a marsh which ends the Tableau, still presents difficulties without number to surmount in order to destroy an equally sinister omen.

Seventeenth, the Creation of the Stars and of Fishes, represented by Stars and Aquarius.

Sixteenth, the House of God overthrown, or the earthly Paradise from which man and woman are hurled by the blazing tail of a Comet or the Flaming Sword, joined by a downfall of hailstones.

Fifteenth, the Devil or Typhon, last card of the first series, comes to disturb the innocence of man and terminate the golden age. His tail, horns, and long ears announce him as a degraded being: his left arm raised, the elbow bent, forming an N, symbol of made beings, allows us to know him as created; but the torch of Prometheus that he holds by his right hand, appears to complete the letter M, that expresses generation: indeed, this story of Typhon leads us naturally to this explanation; as, in depriving Osiris of his virility, it seems that Typhon wanted to encroach on the rights of productive Power; also was he the father of the evils that spread upon the earth.

The two chained Beings at his feet mark human nature degraded and subjected, as well as the new and perverse generation, whose clawed nails express cruelty; they lack only wings (the Spirit or angelic Nature), in being all similar to the Devil: one of these being touches with its claw the thigh of Typhon; an emblem that in mythological scripture was always that of carnal generation [fn8]: he touches her with his left claw to mark illegitimacy.

Typhon finally is often taken for Winter, and this Tableaux terminating the age of gold, announces the intemperance of Seasons, that man driven from Paradise will experience thereafter.

Second Series

Age of Silver

Fourteenth, the Angel of Temperance comes to instruct man, to make him avoid death to which he is newly condemned: he is painted [fn9] pouring water in wine to show him the necessity of diluting this liquor, or to temper his affections.

Thirteenth, this number, always evil, is consecrated to Death, who is represented reaping heads crowned and common.

Twelfth, the accidents that attack human life, represented by a man hung by a foot; which also means that, to avoid these, we must in this world walk with prudence: Suspenso pede.

Eleventh, Strength comes to the aid of Prudence, and brings down the Lion, which has always been the symbol of the uncultivated and wild earth.

Tenth, the Wheel of Fortune, at the top of which is a crowned monkey, teaches us that after the fall of man, it is no longer virtue that makes a dignitory: the rabbit that climbs and the man who is thrown, expresses the injustices of the inconstant Goddess: this wheel is at the same time is the emblem of the wheel of Pythagorus, in the method of drawing lots by numbers; this divination is called ARITHOMANCY.

Ninth, the Hermit or the Sage, lantern at hand, searching for justice on Earth.

Eighth, Justice.

Third Series

Age of Iron.

Seventh, the Chariot of War in which is an armored king, armed with javelin, expresses the dissentions, murders, fights of the age of bronze, and announces the crimes of the age of iron.

Sixth, the Man painted wavering between vice and virtue, is no longer lead by reason: Love or desire [fn10], eyes blindfolded, ready to release an arrow, will incline him to the right or left, whichever guided by chance.

Fifth, Jupiter or the Eternal mounted on his Eagle, lightning at hand, menaces Earth, and will give it Kings in his rage.

Fourth, the King, armed with bludgeon [fn11], which ignorance has thereafter made into Imperial Globe: his helmet is garnished at the back with saw-tooth, to make it known that nothing can appease his insatiability [fn12].

Third, the Queen, club in hand; her crown has the same ornaments as the King’s helmet.

Second, the Arrogance of the Powerful, represented by the Peacocks, upon which Juno showing Heaven by the right hand, and Earth by the left, announces an earthly Religion or Idolatry.

First, the Bateleur holding the rod of the Magi, makes miracles and deceives people’s credulity.

It is followed by a unique card representing Folly who carries his sack or his defects behind, whilst a tiger or remorse, devouring his shanck, delays his march towards crime [fn13].

These twenty-two first cards are not only hieroglyphs, that placed in their natural order retrace the story of the earliest times, but they are also as much letters [fn14], that combined differently, can form many sentences; as well their name (A-tout) is only the literal translation of their general use and general.

footnotes:

1 – the Gods, in scripture and in hieroglyphic expressions, are the Eternal and Virtues represented with a body. [^]

2 – Rosch is the Egyptian name for Mercury and of his feast celebrated on the first day of the year. [^]

3 – Twenty-two tableaus form a book not very voluminous; but if, as it appears likely, the earliest traditions have been preserved in some poems, a simple image which fixes people’s attention, to whom one illustrated the event, sufficed to aid one to retain them just as well as a describing verse. [^]

4 – we still name this the Booklet of Lansquenet, or Lands-Knecht, the Series of Cards that one deals punters. [^]

5 – Three times 7, mystic number, famous with the Kabalists, Pythagoreans, etc. [^]

6 – teeth sown by Cadmus, etc. [^]

7 – even painted in our sacred historians. [^]

8 – the birth of Bacchus and of Minerva are the Mythological Tableaux of the two generations. [^]

9 – perhaps his stance hints at the culture of the vine. [^]

10 – lust. [^]

11 – Osiris is often represented with a flail in his hand, with a globe and a T: all these united could have produced in the mind of a German Card-maker an Imperial Globe. [^]

12 – Or his vengeance, if it is Osiris irritated. [^]

13 – this card has no rank: it completes the sacred Alphabet, and answers to Tau which means complement, perfection: perhaps it was meant to represent in its most natural sense the result of men’s actions. [^]

14 – the Hebrew alphabet is composed of 22 letters. [^]

…being an introduction to the ancient kabbalistic origins and meanings of the tarot

__________

Newsletter foreword by Jean-Michel David

When I first came across Dovid Krafchow’s book, its description intringued me, not so much because here was another title that was going to present some kind of relation between Tarot and Kabbalah, but rather in part because of the publisher’s own description – undoubtedly at least in part supplied by the author – stating the following:

“When the Greeks invaded Israel and forbade study of the Torah, the Jewish people began a secret method of Toranic study that appeared to be merely a simple way to fill time: playing cards. These first tarot decks enabled study of the Torah without detection. Once the Maccabees expelled the Greeks from Israel and Israel once again became a Jewish kingdom, tarot cards dropped from sight. Fifteen hundred years later, in response to Jewish disputations with Catholic theologians, political and religious persecutions, and ultimately the Inquisition, the cards resurfaced as a secret learning tool of the Torah.

“In Kabbalistic Tarot, Dovid Krafchow details how the true meaning of the tarot is locked within the Kabbalah. He shows the correspondence between the 22 Major Arcana cards and the 22 letters of the Hebrew alphabet and how the four suits correspond to the four kabbalistic worlds of Briah, Yitzerah, Asiyah, and Atzilut.  He describes the kabbalistic meanings of each of the 78 cards and their relations to the Torah and provides insight into the Tree of Life spread through several kabbalistic readings.”

Now I have to admit that a number of responses arise in me simultaneously: on the one hand, I am intringued as to what possible historical insight Dovid brings to this; also, and although I have come across (and similarly suggested) a possible card-playing engagement to avert suspicion from local mediaeval and later laws that forbade Jewish existence (in parts of Europe during the numerous expulsions that occured), the timing he proposes appears – at least to me – anachronous.

Still… here was a book and an author I wished to hear more from, and here follows Dovid’s tale and views of his book. The book is available from Inner Traditions, isbn-13: 978-1-59477-064-7

The book has 144 pages with 84 black and white illustrations.

__________

Kabbalistic Tarot
Hebraic Wisdom in the Major and Minor Arcana

by Dovid Krafchow

I had not read any Tarot books before committing my own knowledge of the Tarot into the recently published Kabbalistic Tarot by Inner Tradition. My understanding of the Tarot came after three decades of studying Cabala. Religion had never been friendly to me and through a strange happenstance I stumbled unto the Tarot and adopted her as a way to proceed in life as a teacher. After all, Tarot spelt backwards is Torat as in Torat Emet (Teaching of Truth).

Until Kabbalistic Tarot no one had been able to untangle the connection between the Tarot and the Torah/Teaching, the Hebrew term for the collective knowledge of the Jewish People. Inner Traditions were good enough to give me a dedicated editor who helped me polish the book into a skilled piece of writing that I am very proud to have authored.

Unfortunately, the book has not yet been widely received, partly because I had become such a better writer after working with an editor that I poured myself into a project I had been mulling over for the last ten years: to chronicle the last 266,455,766 years of history. I call it The Dance of the Pig. Both Kabbalistic Tarot and The Dance of the Pig have a disturbing commonality—their knowledge is new.

People are afraid of new, yet they hanker after new; what is the meaning of this strange phenomenon most exemplified by people interested in Tarot for the purpose of knowing the future? What could be more new than the future? Thinking I had the most new knowledge of all, I was ready to make a killing—but I was wrong, because people are afraid of new.

New and future invoke the same fear because each comes when least expected and out of nowhere—meaning their entrance into life or society is sudden and not the result of cause and effect. The plethora of books on the Tarot is books composed from cause and effect—one book led to another in the transference and reconstruction of the same knowledge handed down a hundred year previous.

Kabbalistic Tarot did not rely on the common knowledge, but instead found sources in the ancient writings of the Zohar and Sefer Yitzira to break the code of the Tarot. After ten years of reading cards I felt confident to commit this knowledge into book form. Because I am the first to postulate such things in the Tarot, my book has been widely overlooked with the exception of a very nice review by Aeclectic Tarot.

Kabbalistic Tarot, besides being a new look into the cards, is a template by which one can understand primal Cabalistic ideas from the form of the human body—in this way the knowledge is open to all peoples. The Dance of the Pig goes even further, confronting the stagnant assumptions that society is based upon; cosmology and history are stood their heads with some amazing results. These books are for people who dare to want to know the truth—truth is the ancient stone upon which the world is built.

In my experience, and it is how I use the Tarot Cards, people are looking for clarification of the present and the extrapolated future considering what has transpired in the past—cause and effect. New and future is beyond cause and effect; it is what makes life gloriously unpredictable. Some people try using their psychic ability to intuit these sudden happenings in the future, but they are only star-gazers and not prophets.

Like digging deep into the ground to bring forth the pure spring water, new knowledge bursts upon the scene and everyone runs away not wanting to get wet, but it is the insistent natural thirst of the human being for the truth that keeps bringing us back.

__________

Those wanting to have a sense for Dovid’s other works and essays are encouraged to peruse his website: www.JewishBohemian.com

For those amongst us with esoteric and Kabalistic interests, and irrespective as to whether we agree with his conclusions, a book well worth adding.

The first image is detail of Ninurta/Orion standing next to a Lion [sacred animal of Innana and symbol of Sirius], 2nd image the complete picture from the ancient Sumerian Seal of Adda. 3rd is of Ninurta enthroned with image of double headed eagle, 4th Orion and Canis Major detail from cylinder seal. Further details at end.

Ninurta (Orion) with Lion (Sirius)

 Alef ℵ , which leads the letters, is attributed to the constellation Orion [and also the fixed star Aldebaran, the eye of the bull in the constellation of Taurus], which leads the starry hosts and is called in Hebrew KSYL, which in plural form also means ‘constellations’ in general, but in singular ‘fool’. The root also means fool, loins, flank, hope, confidence.

The words in bold below are all translations of the root KSL [hope, flank, confidence, folly, loins]:

Job 8:14 Whose hope shall be cut off, and whose trust shall be a spider’s web.

Job 15:27 Because he covereth his face with his fatness, and maketh collops of fat on his flanks.

Job 31:24 If I have made gold my hope, or have said to the fine gold, Thou art my confidence;

Ps 38:7 For my loins are filled with a loathsome disease: and there is no soundness in my flesh.

Ps 49:13 This their way is their folly: yet their posterity approve their sayings. Selah.

Ps 78:7 That they might set their hope in God, and not forget the works of God, but keep his commandments:

Pr 3:26 For the LORD shall be thy confidence, and shall keep thy foot from being taken.

(Click to enlarge)
Seal of Adda

Those in bold below of KSYL [folly, orion, constellation]:

Ec 7:25 I applied mine heart to know, and to search, and to seek out wisdom, and the reason of things, and to know the wickedness of folly, even of foolishness and madness:

Isa 13:10 For the stars of heaven and the constellations thereof shall not give their light: the sun shall be darkened in his going forth, and the moon shall not cause her light to shine.

Am 5:8 Seek him that maketh the seven stars and Orion, and turneth the shadow of death into the morning, and maketh the day dark with night: that calleth for the waters of the sea, and poureth them out upon the face of the earth: The LORD is his name:

Job 9:9 Which maketh Arcturus, Orion, and Pleiades, and the chambers of the south. Job 38:31 Canst thou bind the sweet influences of Pleiades, or loose the bands of Orion?

Orion is one of the oldest known constellations. The bands of Orion refer to the three apparently equally spaced stars that form the belt of Orion, an easily identifiable locational aid, followed North they lead the eye to Aldebaran, South to Sirius, two bright stars of calendrical and navigational importance as directional and seasonal markers. Above to the right is the constellation of Taurus, to the left, Gemini.

The constellation was thought of as a cosmic giant

His arms extended measure half the skies:
His stride no less.

Another name for his belt [and for the central star in particular] was ‘the string of pearls’. Perhaps we may see reference to this in the giant stature and string of balls in the pseudo "CHARLES VI" OR "GRINGONNEUR" deck.

aka ‘Charles VI’ Fool

Kesil has also the meaning of arrogance, and in relation to Orion has particular relevance in relation to these three stars as they are identified in Hebrew tradition with Nimrod, and the band of stars represent the bonds with which God bound him to heaven for his arrogance. Perhaps there is some unknown relevance to the seat of the TdM [Tarot de Marseille] fool’s pants being torn, revealing his buttocks, as with the Nimrod figure of the Sola Busca?

In Egyptian star lore Orion is the abode of the soul of mummified Osiris, God of the underworld and of the dead. Among his symbols were two red feathers worn in his white atef crown, to which we might see a reference in the red feather in the hat of the Waite/Smith fool card [feathers are also referenced in C. De Gebelin, and the Bolognese and Visconti-Sforza decks].

The Sola Busca Matto too has the feathers in his hair, a string with three balls attached to his waist, but also the black bird on its shoulder may allude to a connection with Orion:

Do you know that the Hare, Canis Major and Canis Minor have forty three stars in the Southern part of the heaven, and are so rewarded for only two or three trivial reasons not less unimportant than the reason that causes the Hydra, the Saucer, and the Raven to be next to Orion and to receive forty-one stars to commemorate the occasion when the gods sent the Raven to obtain some drinking water? [Bruno, 1584]

Due to having the gift of ‘walking on water’ bestowed upon him by his father Neptune, in the renaissance Orion was used as an allegory of Christ, and it was through such an allegorical use that Giordan Bruno was accused by the inquisition of attacking the divinity of Christ in his The expulsion of the triumphant beast.

This is because he [Orion] knows how to perform miracles, and, as Neptune knows, can walk over the waves of the sea without sinking, without wetting his feet, and with this, consequently, will be able to perform many other fine acts of kindness. Let us send him among men, and let us see to it that he give them to understand all that I want and like them to understand: that white is black, that the human intellect, through which they seem to see best, is blindness, and that that which according to reason seems excellent, good and very good, is vile, criminal and extremely bad. I want them to understand that Nature is a whorish prostitute, that natural law is ribaldry, that Nature and Divinity cannot concur in one and the same good end, and that the justice of one is not subordinate to the justice of the other, but that they [Nature and Divinity] are contraries, as are shadows and light…

I want him to go down to earth; and I shall command that he lose all power of performing bagatelles, impostures, acts of cunning, kind actions, and other miracles that are of no worth, because I do not want him together with the other to be in a position to destroy whatever excellence and dignity are found and exist in things necessary to the commonwealth of the world. I see how easy it is for it to be deceived, and consequently inclined towards acts of madness and prone to every corruption and indignity. I do not however, however, want out reputation to depend upon the discretion of him or similar to him. For if a king be mad who gives so much power and authority to one of his captains and generous leaders to make him superior to himself…how much more senseless and deserving of a disciplinarian and tutor will he be if he should put or leave in the same authority an abject, vile and ignorant man, by whom everything will be depreciated, slighted, confused and thrown into disorder, ignorance being placed by the latter where knowledge is customary, nobility where there is contempt, and villainy where there is reputation!” [Bruno]

(click to enlarge)
Ninurta

In relation to star lore we may also note that Aldebaran is one of the four fixed stars known as the Guardians of Heaven, the Four Watchers, Royal Stars or Four Archangels, the other three being:

Regulus – in the constellation Leo [currently at end of tropical sign Leo]
Antares – in the constellation Scorpio [currently 'in' tropical sign Sagittarius]
Fomalhaut – in the constellation Pisces Austrinus, the ‘Southern Fish’, [currently 'in' tropical sign Pisces]

Their astronomical positions form a cross in relation to each other; so each rises after the other at approximately 6 hour intervals. And “Persian astrologers used them, instead of cardinal points, to mark the four quarters of the heavens as early as 3000 BC.” [Astrology, ed. Kim Farrel, Starfire 2002].

Aldebaran was the Watcher of the East,
Antares was the Watcher of the West,
Fomalhaut was the Watcher of the South and,
” Regulus was one of the four stars of the Persian monarchy when, as Watcher of the North, it marked the Summer Solstice.” [Farrel, 2002].

We have had available the research of Daana Mindon [aka: Diane O'Donovan] for over 10 or so years ago now, which has shown through a study of medieval atlases and navigation maps, that the suit signs are connected with the Star Lore of the Persians as emblems of the directions:

sticks – east
gold discs – south
swords – north
whips/cups -west

These Four Guardians or Watchers were also called the archangel stars. In kabbalistic tradition the four corners of the protective tau : : represents the ‘good impulse’ by which man shall inherit the world to come. The ‘good impulse’ that hovers overthe pious is represented by four archangels that descend with the soul at birth and accompany the pious:

Before all this, there are four angels that descend with the soul of the pious….One of these angels is Michael, in remembrance of Abraham; one Gabriel, in remembrance of Isaac; one Uriel, in remembrance of Jacob; and one Raphael, in remembrance of Adam; and the good impulse hovers over him…Now all men are formed of four elements, but on the order in which these elements are found – that is, the order of the planets with which each person is connected-depends the order of the angels who accompany him…”

” …Thus, if the ruling planet be the Lion, Michael will lead, and be followed by Gabriel, then Rapheal and then Uriel. If, however, his planet is the Ox, first comes Gabriel, then Michael, then Uriel, then Raphael. If the Eagle be the planet by which he is influenced, Uriel will be first, then Michael, Gabriel and Raphael. And should the planet be Man, then will Raphael lead, with Michael, Gabriel and Uriel coming after in that order.” [Zohar, Bo (exodus) 42a, c.13th century]

So ‘mixing’ the star lore of the persians and hebrews we candeduce a set of correspondences as follows that can be traced back to before the 13th century [and probably as far back as the 10th]:

Lion – Michael – Regulus – North – Swords – Summer Solstice
Ox – Gabriel – Aldebaran – East – Sticks – Spring Equinox
Eagle – Uriel – Antares – West – Cups – Autumn Equinox
Man – Raphael – Fomalhaut – South – Coins – Winter Solstice

Note in the seal of adda:

Enki with two flowing rivers from his shoulders, reminiscent of the sign for aquarius, in whom we may see the image of Man: below him is the Bull: from Enki’s arm flies the thunderbird or Eagle: and next to Ninurta is the Lion.

Orion and Canis Major

Explanation of the Royal Cylinder Seal [image 1 and 2 above], notes and references:

Images 1 and 2 the ‘Seal of Adda’

The cuneiform script gives the name ‘Adda’ and title ‘Scribe’. The seal is in the collection of the British Museum.

“In the center is the sun god, Shamash/Utu, rising from behind the mountains. To Shamash/Utu’s left stands Inana, goddess of the morning star [Venus], next to her is Ninurta and a clearly defined lion with mane. To the right of Uta is the god of sweet waters, Enki, from whose shoulders spring the Euphrates and Tigris. Enki holds the thunderbird on his hand. Directly under Enki is a clearly defined member of the bovine family with horns and legs tucked under in typical bovine posture. Behind Enki stands his vizierthe double headed attendant God Usmu.”

[In relation to the Venus and Orion being next to each other in this sequence, note that while Jerome follows the tradition associating the Hebrew word 'Kesil' with the constellation Orion in the Vulgate, it is translated Hesperus, that is the evening star or Venus, in the Septaguint - LXX].

Thanks to ‘trolldomsstavar’ of the Tarot Study Forum for helping me to clarify the details of this image with reference to “The Treasures of Darkness: A History of Mesopotamian Religion” by Thorkild Jacobsen.

Innana on the right of Ninurta represents the Morning Star, Venus; she is also associated with Sirius and the sacred animal the Lion, thus my interpretation of the Lion on the left of Ninurta, taken together with the association of Ninurta with Orion and their relative positions, with Sirius [the 'dog star' of the constellation Canis Major], also associated with the Lion because of its Heliacal rising when the Sun is in Leo.

The double headed figure to the right of Enki, is his attendant minister God or vizier the double headed Unsu, his double headedness, reminiscent of Janus, I suggest may represent the old and new year; the sequence being an allegory of beginnings, of creation and of new year. The whole sequence may be seen as an astronomical representation of the spring equinox as the start of the New Year. Given the nature of Sumerian astral religion and the clear references here to astronomical markers, and remembering this image is circular and therefore Usmu at the far right of the image is to the left of Ninurta could represent the constellation Gemini:

Now near the Twins, behold Orion rise;
His arms extended measure half the skies:
His stride no less. Onward with steady pace
He treads the boundless realms of starry space,
On each broad shoulder a bright star displayed.
And three obliquely grace his hanging blade.
In his vast Head, immersed in boundless spheres,
Three stars less bright, but yet as great, he bears;
But farther off removed, their splendour’s lost;
Thus grac’d and armed, he leads the starry Host.

Manilius, trans. Thomas Chrichton.

Image 3 is an image of Ninurta enthroned with double headed eagle. Image 4 is of Orion (the Hunter) and Canis Major (the Dog star) from aSumerian cylinder seal of the Neo-Assyrian Period. A reproduction of which can be found in “Gods, Demons and Symbols of Ancient Mesopotamia” by Jeremy Green.

Other references:

Astrology published by Starfire 2002 General Editor Kim Farrel.

The Wisdom of the Zohar arranged by Lachower, F. Tishby, I. Translated by David Goldstein

The expulsion of the triumphan beast Giordano Bruno, translated by Arthur D. Imerti.

A couple of online essays by Daana Mindon [aka: Diana O'Donovan] can be found here:

  Shipman’s Guide: Early packs and the minor arcana [pdf file]
 Michael Scot’s rebus figure of "Juppiter" as prototype for the tarot pack’s “Magus”/Bateleur

“Orion Heb. Kesil i.e., “the fool”, the name of a constellation consisting of about eighty stars. The Vulgate renders thus, but the LXX renders by ‘Hesperus’, i.e., “the evening-star” Venus. The Orientals “appear to have conceived of this constellation under the figure of an impious giant bound upon the sky.” This giant was, according to tradition, Nimrod, the type of folly that contends against God. In Isa 13:10 the plural form of the Hebrew word is rendered “constellations”. From The Illustrated Bible by M.G. Easton, 1897.

Fate is a dog, walking always behind a man, well able to bite. It clings like dirty rags saying: “Who is my man? Let him know it.”
Ancient Sumerian proverb.

Please note: My opinions do not necessarily reflect those of the sources I have referenced! All errors are my own.

[A thank you to Stephen 'Kwaw' for permission to reproduce these living reflections - jmd ed.]

an extract from Mirror of the Free

www.vaxxine.com/mirrorofthefree

Authors of books on the Tarot cards commonly assert that their true origin is unknown. One sometimes gets the impression, however, that their attitude to the mystery it presents is ambivalent: knowledge means not only less excuse to speculate but, also, more responsibility. They write as if they want to know; or as if they want the reader to think they want to; or as if they acknowledge, almost reluctantly, that they really ought to make an earnest effort to find out: but, when it comes down to it, might, for some reason, prefer not to…

Perhaps more generally, and less excitingly, there is the threat of something even more difficult to deal with: a sense of anticlimax. Instead of enjoying the mystery, one has to work at understanding something.

It is true that if you read this book you may find it difficult to continue to justify the uses to which you are accustomed to putting the Tarot.

On the other hand, you may decide that there is a great deal more to the Tarot than you ever suspected; and, having become aware of certain facts, that those facts conflict with your beliefs; and that, if you are to be honest, you have to shed some of them.

If what you are already doing with the cards, as they say, ‘works for you’, you may even find that the information offered here constitutes an opportunity to come to a deeper understanding of what it is you have really been doing all along…

Looking at photographs of impressions made by Mesopotamian cylinder seals can be almost the same as looking at an old photograph – a very old photograph.

Four or five thousand years old, to be precise.

It is not really the photographs that are old, of course: it is what has been photographed.

Because they are physically relatively shallow impressions, and have to be highlighted to be clearly discerned, they have an eeriness about them, attributable though this may be to our conditioning through occupying the place we do in the history of visual media. (The present book uses charcoal pencil drawings closely based on the originals.)

Figure 2 shows a Mesopotamian deity that has not been identified with certainty.

How do we know it is a god? By the horns. Its head-gear, if you look closely, is curled up at each side. In the times and at the place of which we speak, one of the ways that gods and goddesses were recognized was by their horns.

Isn’t that the wrong way round, though? Isn’t it the Devil who has horns?

If it is a god – and thus corresponds, presumably, to something good – why does it have horns?

Or is it just proof that all those old pagans were wicked anyway, worshipping what we now know to have been evil?

On a more basic cultural and, even, psychological level, the issue of ‘the Devil’ being, in popular imagination, a creature with horns relates critically to the question of the difference between appearance and reality.

The same theme features in a brief passage in Ihya ‘Alam ad Din (Revival of Religious Knowledge) by the exceedingly influential eleventh (CE) century Muslim thinker and Sufi Al Ghazali.

In discussing knowledge of ‘the world’ and contrasting it with that of spiritual things, he wrote: ‘He who is experienced in the religious sciences is inexperienced in worldly learning. For this reason, the Prophet said: “Most of the inmates of Paradise are indifferent”: in other words, they are inattentive to worldly matters.’

It is the next line, however, that is arresting in the context of considering understanding of ‘devils’ or ‘the Devil’, mainly because the way in which it is phrased would seem to suggest that it might allude to the reported ability of Sufi masters to somehow experience the immediate, living presence of other Sufis of the past and future, even the distant past and future, and to communicate with them: Ghazali quotes another historically prominent Sufi named Hasan al Basri (‘of Basra’), thus: ‘We have seen such people whom you would think, if you had seen them, diabolical… If they had seen you, however, they would call you devils.’

Basra was, at the time of Hasan – and is still today – in what is now called Iraq. Indeed, it is only a few miles from the modern city Babylon.

‘They would call you devils…’

Looking again at the image of what has universally been interpreted as a tower struck by lightning, what may strike us is the fact that the object – or phenomenon, if you insist on seeing it as lightning – that seems to be causing the destruction resembles nothing so much as a gigantic feather.

The winged gate or door (Figure 19) is one of the motifs that occur over and over again in Mesopotamian seals for which no one seems yet to have come up with a satisfying explanation.

It thus seems at least possible that the eight sefiroth of the original Kabbalah of the Ikhwan as Safa and the Sufis consisted of the seven lower sefiroth of the Kabbalah we know, plus the three upper sefiroth combined into one; if so, it would confirm Blavatsky’s assertion that the division of the top sefirah into three is a ‘blind’. Moreover, the description of the first three sefiroth as ‘hidden potencies’ that ‘do not act in the visible sphere’ as do the other seven obviously closely parallels the relationship, and difference, between the law of three and the law of seven as Gurdjieff taught them.

In Figure 11 we see the king, the one in the middle, with his two escorts, who are divinities in their own right. The round object on the table the leg of which the individual in the front is grasping is a ‘sun-disk’, an emblem of the god Shamash, the great god to whom the king is being presented. About the odd bearded fellows in the upper right, even what significance it may be possible to gather in the context of the stele image cannot be considered here, because what is shown here is only that part of the scene that is likely to have been the origin of the image on the card The Lovers. It requires no great effort of imagination to see how the figures aloft who seem to be executing some procedure with some kind of ropes extending down to the sun-disk have become the arrow-shooting angel, and the sun-disk the angel’s nimbus.

Over the centuries of their existence up to the time of the writing of the books of the Bible – as, of course, in the centuries since – the Jewish people, whether through captivity or by other means, came into contact with a wide variety of foreign cultures and languages, and their language, Hebrew, was inevitably much changed by those contacts. Arabic, on the other hand, was, until the time of the expansion of Islam, the language of a relatively isolated people. One consequence of these unarguable historical facts is that of existing languages, Arabic is the closest to Protosemitic. If knowledge or methods of encoding and accessing it, or both, were woven into Protosemitic, and they are to be sought in any currently used language, Arabic is the obvious choice.

If, moreover, we take the methods – the ones of which we may have an inkling, at any rate – used to embed knowledge in one place (such as Arabic) and try them out in another (such as ancient Hebrew writings), especially when the two are known to have a common ancestor, and the results appear meaningful, it is reasonable to conclude that the same methods were used to embed knowledge in that other place.

The philosophical principle that dates from the European Middle Ages and is referred to as Occam’s Razor states that if there is a simple explanation for something, you should not seek a more complicated one. The obvious defect of this principle is that one’s very notion of what constitutes simplicity is itself almost certainly heavily culturally conditioned: which is to say it rests on a foundation of relative ignorance that is felt, on the contrary, to be a foundation of relative knowledge.

Another way of putting it might be to say that Occam’s Razor is fine for shaving, but try to use it to do something requiring a finer instrument, such as brain surgery, and you will discover its limitations.

It is worth looking again at the image of Shamash sitting receiving Nabuplaiddin, and considering in juxtaposition to it another passage in Meetings With Remarkable Men.

In the passage in question, Gurdjieff is describing what was ostensibly an attempt he made to relieve his poverty by setting himself up as a shoe shiner on a public street. Not having much luck at first, he decided he needed to innovate, and so obtained an armchair of some special kind, and put one of Edison’s phonographs underneath it, where it would not be seen by casual observers. To this he connected, he says, a flexible tube with, on the other end, an apparatus that the customer, while resting comfortably in the armchair, could put to his ears even as Gurdjieff surreptitiously started up the record player for them. He even names the Marseillaise as one of the pieces of music they would indulge in (others being operatic works) while he shined their shoes. Further, he says, he affixed to one of the arms of the chair a tray to bear liquid refreshments and magazines. His advanced ideas about customer service paid off well, he notes.

A third passage may be reflected upon in the light of the two odd bearded figures, who only seem to exist from the waist up, leaning out from the front of the covering of Shamash’s shrine in Figure 29 or 31.

He says that, one day, as he was walking on the Kurfurstendamm (in Berlin) toward the Zoological Gardens, he spied a man, who had lost both of his legs, on a little hand-operated wagon and turning the crank on an ‘antediluvian’ musical box. Somewhat further on, he again mentions the character, having related a story about his life as it had been before he came to his current predicament; again he describes him as without legs, operating the music box in the manner described, and accepting German coins of small denomination from passersby.

In his initial general behaviour, Gilgamesh obviously represents the commanding self or, possibly, even the nafs al haywaniya, the ‘animal self’, to which regular commanding-self people may sink if they are not careful. He meets and does battle with his ‘twin’ – Enkidu, the wild man – which is to say, unconditioned or less-conditioned reality, a spiritual reality that is also his own real self or, possibly, a teaching pertaining to it. Enkidu is rendered more presentable after his rendezvous with and seduction by Ishtar’s agent, which represents the capturing and relative neutralizing of that reality by the lower, conditioned world. (Another ancient story with the same theme is the Biblical story of Esau and Jacob, which we will look at soon.) Enkidu’s struggle with Gilgamesh may thus also correspond with the manifestation of the accusing self, and their subsequent harmonization with the inspired self, or nafs al malhama: Gilgamesh and Enkidu together slay Humbaba, the beast in the forest; as it happens, another spelling of malhama means ‘bloody combat, slaughter’.

Shibli must have seemed like one kind of fool when he, an intelligent and capable man, followed the instructions of Junayd and sold sulphur, begged, and went from door to door looking for people he might have offended during his career as a civil servant in order to apologize to them. He must have seemed like another kind of fool when he first put sugar in the mouths of those who repeated the name of God; and then, as his ‘state’ increased, offered gold to those who would repeat it for him; and finally, when anyone repeated it, came after them with a sword because, he said, he had realized that they were only doing so out of mechanical habit.

The gradations of being in this scheme of the Ikhwan do not represent aspects of divinity, but stages of manifestation. Nor do they, as given, have intricate and specific interconnections as seen in the sefirothic ‘tree’. The intermittent inclusion in the midst of the latter of Da’ath, ‘knowledge’, however, and the interconnections of the points of the circumference of the enneagram, the inner triangle of which is supposed to represent the vital status of the thing or process represented, does suggest that the formulators of the sefirothic Kabbalah were trying to produce something of their own by combining elements of the teaching of the Ikhwan and the enneagram of the Sarmoun, and other Sufi doctrines as well.

Wasu’a (after ‘Esau’, of course), on the other hand, corresponds to meanings of ‘spacious, vast, extensive’, ‘contain, comprehend, encompass, include’, and ‘be generous, liberal, open-handed’: suggestive of the spatial, ‘holistic’ (to use an over-used word), and selfless aspect of the mind. Waswas is ‘temptation, delusion, fixed idea’, and also ‘anxiety, concern, melancholy’. Iswa means ‘example, model, pattern’.

Isaac in his fatally weakened condition represents the same reality as Esau rendered delicate by extreme hunger, the same hunger that Isaac now expresses when he states his desire for some of Esau’s strongly flavoured wild game (the vividness of less-conditioned reality). The difference is this: Esau, after he had partaken of Jacob’s bowl of stew, recovered; Isaac is not going to recover. Sufis say that spiritual states are temporary, but stages are permanent.

The fact is, Mesopotamian cylinder seals have more people pouring things in them than the U.S. Air Force has explanations for Roswell.

The days and nights as well of Mesopotamian priests were anything but badly planned, being filled with precisely timed prayers, liturgies and sacrifices, and with new moons and the ends of months marked by festivals. Each deity had its own priesthood, from the highest offices of (the Sumerian) sanga and en all the way down to the sacred temple prostitutes that scholars since the advent of Latin have politely referred to as ‘hierodules’, very large numbers of whom, along with eunuchs, were necessary for the rites of Inanna/Ishtar to be properly performed. Speculation is still the best we can do when it comes to determining the precise functions of the various categories of priests, although their Sumerian and Akkadian names are known; one kind, for instance, seems likely to have been concerned with literary and musical forms of worship, and another with the flow not of sounds, but of celebratory inebriants and ablutions.

The name ‘Iblis’, again, means ‘the wicked one’, or ‘the hopeless’. His other name in Arabic, Shaitan, means ‘one who opposes’. Satan particularly disliked that he, a creature made of fire, was expected to humble himself before man, who was made of mere clay. ‘So the angels prostrated themselves, all of them together: not so Iblis: he refused to be among those who prostrated themselves. God said: “O Iblis! What is your reason for not being among those who prostrated themselves?” Iblis said: “I am not one to prostrate myself to man, whom Thou didst create from sounding clay, from mud moulded into shape.” God said: “Then get thee out from here; for thou art rejected, accursed. And the curse shall be on thee till the Day of Judgment.” (Koran, Sura 15, verses 30 to 35.)

Gurdjieff’s explanation as conveyed by Ouspensky is confusing inasmuch as he says that the broken-away pieces of consciousness that unite and are, in effect, evil in the sense that they oppose the (new) evolutionary manifestation are themselves from the evolutionary process (presumably an earlier, failed one), but that they do so at certain points in the involutionary process. The ‘involutionary process’ and ‘evolutionary process’ sound more than a little like the Sufis’ ‘arc of descent’ and ‘arc of ascent’. Apart from the context of individual souls, examples of involutionary processes would, one thinks, be all forms of higher teaching that become coarsened and distorted through progressively greater degrees of mixing with the lower levels of reality: like Esau eating his stew, or Ishtar in the underworld, or like a great religion twisted into a killing machine, or like Sufi teachings in a pack of cartoonish cards. The evolutionary process, however, would seem to be something that takes place partly through engaging with those remnants, if only to the purpose of developing the discernment to understand that that is what they are, and then going on to seek out fresher and purer impulses.

The idea of it happening at certain points in the involutionary process, then, can only mean when a certain quota of transcendent content has been lost; when a certain corner has been turned, in the sense of no longer merely deviating from the original direction, but becoming opposed to it. It resonates, ‘like calling to like’, with the errant consciousness at a vulnerable stage in its evolutionary climb, and turns it aside.

Zohra, Venus, is Ishtar. In the myth of her descent into the underworld, she escapes by arranging to have Tammuz substitute for her, which it turns out may be a way of saying that when people get through with distorting a teaching about higher reality, all they are left with is their own tendency to turn something alive and uncontrollable into something as docile as a sheep. One way of reading the story may be to see the two principal characters’ ‘substituting’ for her as having the same significance. One of the meanings of nabi is ‘deputy’, who is a substitute for the higher authority. People come to the Tarot cards wanting to learn a kind of magic…

None of this is to discount the importance of the fact that, for instance, there is a basic practical – if you like, psychological – relationship between ‘secrets’ and ‘power’. Arabic for ‘hair’ is sha’r. In fact, if meanings of words that sound like sirr and sar and sha’r are considered altogether, one of the things they can be assembled into is the story of Samson in the Biblical Book of Judges.

‘Once so strong and mighty,’ the Contemporary English Version has him saying, in the ‘riddle’ he composed after he found the lion he had slain earlier with his bare hands had bees living in the carcass, and he had sampled their honey, ‘- now so sweet and tasty!’

‘When the seeker of truth,’ Attar records Abu al Hasan Khirqani as saying, ‘has cheerfully tasted poison nine times, on the tenth time he tastes sugar… To me it is as if there is something I do not know but that is in my stomach and that feeds me. It is as sweet as honey and as fragrant as musk. The world does not know in what way I am fed.’

The Tablet of Destiny or, to use the Sumerian word for it, the me (‘meh’ or ‘muh’), was a sort of divine template. They are sometimes referred to (whether by the ancients or by the translators) in the plural, the Tablets of Destiny. The me were, according to some, the property of Enki/Ea (even though Zu stole them from Enlil), and occupied a position of overwhelming importance in the religion of the Sumerians and, hence, for the many people who took over their land and religion. They were the decrees of heaven, written before our world came into being, and formed the basis of all insititutions and, even, every aspect of society, religion and civilization; from another point of view, they were discussed as including actual physical objects as well as abstractions, from musical instruments and artisanal tools to truth and lies, sex, various kinds of priest, victory and royal paraphernalia.

Let us consider this startlingly un-primitive conception in light of the ideas that we discussed earlier about levels of reality emanating from a sublime source. Looking down, as it were, from God’s point of view – and as blasphemous as that might sound, it is only an exercise to try to follow what the great teachers have said about how it really is – the First Intelligence was created; the Universal Soul was produced out of that; and the Intelligence then transmitted to the Soul – the Pen wrote on the Tablet – everything that was to be; and the World Soul made it, and continues to make it, happen. At some point, as Ibn al ‘Arabi said in so many words, this means everything we know … ‘Arsh means ‘throne’, but a closely similar word, arsh, in Arabic means ‘creatures’, in the sense of ‘all creatures’. In its meaning it corresponds with the sefirah Malkuth, ‘kingdom’, even though in the Ikhwan‘s formulation it was meant to comprise ‘minerals, plants, and animals’, but not humans.

The opinion of historians is that the individual shown in Figure 53 – the original is right side up – is the priest spoken of in the seal’s accompanying inscription. Adad, again, is another name for Enlil and is, supposedly, represented by the winged disc to which the priest is raising his arms. His mid-air position may indicate that he is performing some act of ritual worship, or that he is dancing ecstatically, as did the dervishes of the god Baal on Mount Carmel who are mentioned in the eighteenth chapter of the first book of Kings in the Old Testament. The reason for showing him upside-down here should be obvious. Someone else, a few hundred years ago, also saw him that way.

The origin of the name, ‘The Hanged Man’, may be not that hard to discern: the inclusion of the word ‘man’ could be what gives it away. We have already seen the importance of the Sufi teaching concerning what they call al insan al kamil, the ‘perfect’ or ‘complete man’. Insan is ‘man’, kamil is ‘complete’. Another word for ‘entire, total, universal’ is kulliya(t). Arabic for ‘hanged’ is ‘alaq. Someone may very well have misread insan al kulliya(t) as insan al ‘alaq.

That leaves the question: what gave them the idea of a ‘hanged man’ in the first place?

Where the Moon card showed a situation, a condition, in which there is no ‘self’ to be seen and, yet, there is a suggestion of something that was, at some point, constructed, although it now may be in disrepair – the lunatic world, in which the fateful moon syphons off the energies that could, with effort, knowledge and luck, be raised to the spiritual level of the Sun; yet for which, paradoxically, there is still (in a word) hope – while that is the case with The Moon, the scene on The Devil may show the end result of persisting under that influence, of failing to escape it, where two beings regard each other with what may be desire, or loathing, or horror: but is unlikely to be indifference, because the fact that they are bound, held in stasis, would be meaningless if they had no will to be restrained and to make it worthy to be called Hell; if it is anything like attraction they feel, they are so similar-seeming as to make that something of a joke; and, if loathing or horror, the same applies, although for the opposite reason. They cannot even be said to have the satisfaction of being, fully, whatever it is they now are, as is demonstrated by their stunted state relative to the ‘real’ Devil who, obviously, rules over them, and of whom they – as a further dimension, almost a luxury, of unfulfilment – are prevented from seeing and knowing. The two may be and, indeed, probably are – in the perfect expression of the nature of Hell – the same person: and that person’s being portrayed as two small, imprisoned devils may be the ultimate representation of what it means to have a self, to be a self, to be condemned to be that self, and never have the possibility of being anything but that self, yet not to know that self, and to know that you do not know yourself, and now never will.

Same people; different card. Same sun. It is even apparent that the horizontal lines of the support for the sun-disk have transmogrified into the brick wall behind the two friends. One could say that it is not unlike watching Law and Order and noticing that the actor who is playing a blackmailing doctor in the current episode is the one who played an accountant who was an important witness a few weeks ago; but, there it is.

That the importance of the duality of consciousness that in our time has found an anatomical correlative in the brain hemispheres was something recognized by the ancients is shown by the fact that the Jacob and Esau story is far from being the only part of the Jewish scriptures to deal with it.

While it may have been Herakleitos who said, ‘Character is destiny’, and Nietzsche who said, ‘I am a destiny’, only Butt-head, or someone very much like him, can, with full accuracy, say, ‘I am a character’; and in the last analysis, of the three, he is by far the most influential.

[Thank you to Nicholas for permission to include this extract, also on his site, in this Newsletter]

The Golden Dawn’s system of understanding Tarot’s Atouts (Major Arcana) is through a specific positioning of these upon the Tree of Life (and of these, the Kircher version of the Tree), each card placed on a connecting ‘path’ between two Sefirot (or emanations). This, together with the quality, elemental, planetary, or astrological associations they assign to each Sephirah being linked by the path, and to the Atouts. Thus, for example, the Chariot, which they position on the path from Binah to Geburah, will, by associative necessity, be understood as Saturn (attributed to Binah) acting through Cancer (by letter correspondence, attributed to the Chariot) upon Mars (Geburah).

At first sight, much of the attributions appear complex. Yet, there is a very simple systematic attribution at play. With each of the Sefirot, the planetary attribution is of the seven traditional planets, in their relative order of apparent movement (the Ptolemaic order): Saturn, Jupiter, Mars, Sun, Venus, Mercury, and Moon, each in turn relatively faster in movement than its precedent, and correspondingly ¹closer’ to the Earth realm.

Below the Moon are the four elements, or effectively the matrix out of which the Earth manifests. Above and prior to Saturn are the two highest Sefirot, the Primum Mobile (or First Mover), and the eighth sphere of the zodiac.

The individual cards are each attributed a letter from the Hebrew alphabet, though it is worth noting that they place the traditionally unnumbered Fool as heading the series, and interchange the position of Justice and Strength, and this latter for simple astrologically significant image correlation. In that order, the Hebrew letters are assigned, each of which having a long established elemental and zodiacal attribution, which is then simply applied to the Atout in question (the only exception is that the planetary correlations are varied in more ancient Kabalistic texts, leaving the Golden Dawn to attribute their own preference without feeling they are in conflict with tradition).

To more fully appreciate the correlated system of the Golden Dawn, meditation needs to take place on each of the cards. Each card, or rather, the symbolic representation of each card, needs to be held in the mind’s eye, together with the three energies flowing and intermingling. For example, when seeking to understand their system, it would be pointless to think of the effects of Saturn acting through Cancer upon Mars without simultaneously having the Chariot in mind.

Strictly speaking, it is not the card that is directly associated with Cancer. Rather, as mentioned above, it is the correlated letter. The card links and intermingles the energies provided by the letter and the two Sephiroth connected by the ‘path’ upon which it is placed, and thus partakes of, in the case of the Chariot (VII), of the energies of Saturn, Cancer, and Mars. The Chariot (VII) is therefore to be understood as Saturn acting through Cancer on Mars. In other words, constriction acting through the tribal family onto will. More simply still, the Chariot (VII) needs to have a focus, or a focussed will, by means of the group having constricted or narrowed its direction.

Without going into great detail, let us see what this method brings to the understanding of each card. Remember that Kether is regarded as the Primum Mobile, or that which gives the urge or impetus to action, and Hockmah the sphere of the zodiac, or, the powers of cosmogony, creation on a cosmic scale. The zodiac here also provides limitations in a similar way that a blueprint provides limitations for the creation of a structure.

The Fool

The Primum Mobile acting through Air upon the sphere of the Zodiac. (Alef) is the unspoken letter in the Mind of God.

The initial impulse becoming conscious in order for the map of creation to occur. In order for the sphere of the zodiac to become manifest, thought has to take place (Air), and that which allows thought to occur is the first impulse. On a human level, the Fool allows his movements to be guided by his primal spiritual instincts, the primal spiritual energy within him and each of us. Allowing himself such movement, through reflection he becomes conscious of the same, and thereby acts in accordance with Divine Will (as exemplified, or shown to us, by the Zodiac).

The Magician

The Primum Mobile acting through Mercury upon the sphere of Saturn. (Bet) is the letter with which the creative act can take place (Genesis begins with ‘Bereshith’). The place for creation, the symbolic house (one of the meanings attributed to Beth) needs to be established prior to the residence of the creation.

The initial impulse here becomes purposefully conscious (Mercury) in order that constriction and hence (lower) creation may later occur. In order that the creative act be possible, constriction and focus will need to occur. The Magician (I) is shown in the pre-creative poise, allowing the Divine Will (emanating from the Primum Mobile) to reach the Magician’s thoughts and narrow his focus. On a human level, the same needs to occur prior to any creative act. Namely, the Magician needs to have an initial urge, intellectualised (and maybe even communicated), and extraneous matters put aside (Saturn), in order for the focus to be there.

The High Priestess

The Primum Mobile acting through the Moon on the Sun. (Gimel) is the camel, the ship of the desert, which can cross vast distances with no (spiritual) waters externally available nor required.

The initial impulse here acts on the responsive emotive/intuitional level on the sphere of identity: The initial impulse of the Word of God (Primum Mobile) becoming manifest through his Love (Moon) for his creation. On a human level, one needs to allow the Primum Mobile, the Divine Spark, the still-small-voice within, to inspire us to find our true Selves.

The Empress

The sphere of the zodiac acting through Venus on Saturn. (Daleth) is the door through which the divine plan can engrave itself on the vast emptiness of space.

The Divine plan acts through beauty upon the constricted or focussed space. The Divine Will, in order for the birth of its own plan to take place, flows through organised beauty on a space carved out for its purpose upon Binah. On a human level, new ideas or items can only occur once their plan is allowed to be organised (Mercury) and permitted to manifest in a constricted way – even human birth must allow the foetus (first manifestation of the plan of the adult) to be structured and organised in beauty (Venus), and then pass through the constricted canal of birth, and die to the old (Saturn), in order to be later manifested into the physical as a fully grown human being.

The Emperor

The sphere of the zodiac acting through Aries on the Sun. (Heh) is the window through which the inner (microcosmic Adam) may perceive the plan of the greater (macrocosmic Divine).

The divine plan acts (Aries) directly on the inner aspects (Sun) of the creation. In other words, the Self is directly urged to act in accordance with the Divine plan, in order for the latter to be fulfilled. On a human level, in order for the person to become master of him- or herself, s/he must allow the Divine plan to guide his impulses to action, and through this discover both himself and his role or purpose.

The Hierophant

The sphere of the zodiac acting through Taurus on Jupiter. (Vav) is the hook or pin on or through which one’s faith expands – in other words, we do not function in a vacuum, but pin our thoughts and beliefs on the structural framework brought to us by our social milieu.

The divine plan is unfolded with persistence and practical benefits to the Self of each created being. The home (Taurus) of each Being (Sun), or his country, religion, &c., is the means through which one may become acquainted (educated: Hierophant) in some aspect of the divine plan. On a human level, it points that each self must operate within a tradition in order to achieve the heights of spirituality which will permit him to reach direct knowledge (gnosis) of the divine plan.

The Lovers

Saturn acting through Gemini upon the Sun. (Zain) is the sword of discrimination and the sword wielded by the hand of the faithful and zealous.

The sphere of containment (Binah) – containing the plan now ready to manifest – is adapting itself (Gemini) to the requirements or needs of the created self (Sun). The Divine, being omnipotent, limits and constricts himself in order that he adapt to the requirements of each of the Inner Selves of his creation. On a human level, we must ourselves make choices (Lovers), and thereby limit our actions, in order that we adapt ourselves to the requirements of our own higher or true selves.

The Chariot

Saturn acting through Cancer on Mars. (Heth) is the enclosure which allows us to focus our will to the Divine realm.

The constricted (Saturn) or narrowed (ie, more defined) plan acts through the tribe (Cancer) in order that they have a focus and direction (Mars). The tribe may become victorious despite overwhelming odds if it acts in accordance with the divine will narrowed to its intentions for the tribe. On a human level, one needs to narrow or define the will of the tribe in order that there be direction and movement – leadership can only occur if the focus of the individual is in accordance with the focus of the tribe or family.

Strength (traditionally numbered XI )

Jupiter acting through Leo upon Mars. (Teth) is the snake which tempts our lower passions to guide our will and actions.

The expansive force of love acts in order that each of us manifests itself within its confines. On a human level, we need to expand our generosity and sense of self in order that we act with directed compassion and love. The danger lies in that the expanded expression focuses on the lower passions, rather than acknowledging these without allowing them to dominate.

The Hermit

Jupiter acting through Virgo upon the Sun. (Yod) contains within its hand the potential to create.

Through the wisdom of expanded thought, acting through service and organised industriousness, the inner self may become illuminated. God aims to reveal himself through the expanded wise actions of the industrious individual » ¹God helps those who help themselves’, and ¹By their fruits ye shall know them’ to be children of Abel or children of Cain. On a human level, the person who seeks to reach his or her true inner self needs to expand his/her awareness through highly structured study and higher aspirations.

The Wheel of Fortune

Jupiter acting through Jupiter upon Venus. (Kaf) is the fist which, when its inner potential strength is expanded by directed and broadened motion, can change the direction of events for good or ill.

When the expansive aspirations of the self (microcosm) are acting in conjunction with the expansive energies of the macrocosm, beauty, harmony, and hence also happiness, results. When, however, the two are not in accord, the results may be disruptive. The Divine will strive to expand the macrocosmic forces in order that the Divine will become manifest (Jupiter of Hesed). It is up to the individual to expand (microcosmic Jupiter) his or her own focus and acts so that harmony between them results.

Justice (traditionally numbered VIII)

Mars acting through Libra upon the Sun. (Lamed) is the goad which pulls our acts in towards the needs of the inner self.

The focussed will of the Divine acts with justice towards the inner self of each of us. On a human level, we need to allow our higher selves to act in accordance with the ordinances of the will of what is Just.

The Hanged Man

Mars acting through Water upon Mercury. (Mem) is the Water of baptism that enables the intellect to focus upon the needs of the spiritual dimensions.

Divine Will (Mars) purifies with baptismal Waters in order that the former may communicate more readily and easily. On a human level, initiation can only take place once the purification rite has been undergone. Only then can we think and communicate with the Higher Will.

Death

The Sun acting through Scorpio upon Venus. (Nun) is the fish, symbol of Christ dying and resurrecting ï in Death (XIII) is the Victorious (Netzah) Self (Sun).

The Self, through its many emotionally intense deaths and resurrections, becomes victorious in beauty, and beautiful in the victories it overcomes. On a Divine level, the expressions of the Divine incarnation need to die to that realm in order that death be vanquished.

Temperance

The Sun acting through Sagittarius upon the Moon. (Samech) is the prop through which the Self (Sun) can enthusiastically (Sagittarius) reflect (Moon) itself.

The Self (Sun) can, through its enthusiasm and deeper understanding (Sagittarius) reflect (Moon) itself on the Foundation (Yesod) from which the world will be built. When the Self correctly mixes (XIV) the elements, it reflects the higher will onto the lower spheres. On a human level, any action of significance (Sagittarius) must be allowed to be guided by the inner Self (Sun) in order that a correct balance be achieved, and reflected in one’s own psychological make-up – The depths of the unconscious (Moon) need to be in agreement with the proposed movement (Sagittarius) in order that they truly move.

The Devil

The Sun acting through Capricorn upon Mercury. (Ayin) is the eye which allows one to see beneath the surface structure. It is also the eye which imprisons us to focus on the surface structure.

The Self (Sun), acting through established social structures (Capricorn), gives rise to communication (Mercury) about the same. These communications tend to focus the attention of the self evermore on the structures, rather than on their essence, giving rise to binding within them. What needs to occur is for the Self to burst through in order that communication of the Truth enables us to penetrate to the essence of the structures, and their binding effects removed, or utilised in order to reach the intended heights.

The Tower

Venus acting through Mars upon Mercury. (Peh) is the mouth, organ of speech, which can, with word alone, have the power of destroying any human creation.

When Beauty (Venus) acts through the force of power and war or destruction (Mars), in order that higher beauty be achieved, redundant structures are demolished, and new forms can be established (Mercury) with beauty’s (Venus) guidance and the Will (Mars). The danger lies in the Will being used to destroy what it considers of insufficient harmony (Venus), communicating only that which needs modification, rather than focussing also on that which has intrinsic worth. As long as the transformation leads from Victory to Glory, the changes are justifiable – When, on the other hand, glory is perceived merely in victory, than that victory is short-lived, and the higher forces and the direction of action will ensure that it shall be destroyed.

The Star

Venus acting through Aquarius upon the Moon. (Tzaddi) is the fish-hook that plunges itself into the depths of the unconscious (Moon) in order that beauty and order (Venus) be recovered for the greater whole – the world, or humanity (Aquarius).

When order and beauty act through humanitarian principles, the very depths of the affective-emotive side is touched. Conversely, in order that the world be truly modified, each individual’s unconscious must be touched by the beauty of the proposed change. The Divine, likewise, reveals itself broadly (ie, to many people: Aquarius) with beauty, victorious majesty, and elegance, to the still small voice within the depths of one’s own unconscious.

The Moon

Venus acting through Pisces upon the four elements. (Qoph) is the ear that immerses itself to the harmony of the spheres, thereby causing the cerebellum to respond in tune and empathically.

Beauty (Venus), through empathetic attunement and immersion with the elements, creates order and manifestation. In order for the manifestation of any particular to occur, one must allow the creative ordering to reshape the elements at hand.

The Sun

Mercury acting through the Sun upon the Moon. (Resh) is the head of the individual allowed to first (e) understand and analyse the deeper aspect of his or her own Self through reflection.

When the urge to communicate and integrate (Mercury) the Self (Sun) are permitted and encouraged to be guided by the Self, the deeper aspects of one’s own unconscious and the direction of one’s deeper urges – the urge to integration between various aspects of ourselves (XVIIII) – are reflected (Moon). The unity (Mercury) of the Divine separates itself in order that its reflection (Moon) permits attunement (Moon) to its Self-expression (Sun-Mercury).

Judgement

Mercury acting through Fire upon the four elements. (Shin) is the (wisdom) tooth which allows (mental) chewing of the spiritual dimensions of the (physical) aspects (four elements) of the manifestation.

In order that the elements return to their source, the Divine communicates (Mercury) its spiritual (Fire) purpose to each aspect of the four-fold elements, that they each rise above their level of mundane manifestation. On a human level, it points out that one must rise above the mundane level (XX) by seeking spiritual (Fire) communication (Mercury) within the body (four elements), that any transgressions of the Divine Will (Fire) be transcended and integrated (Mercury).

The World

The Moon acting through Saturn upon the four elements. (Tau) is the cross upon which each of the four elements are pinned in order that, through their death and resurrection, their higher purposes and meaning be reflected.

In order that manifestation be understood, one must work empathetically with each element by first constricting and narrowing (Saturn) its manifestation (four elements). Once this deeper level of understanding is achieved, however, the four elements are re-integrated at a higher level, reflecting the new depth achieved. This permits a crystallisation (Saturn) and structural understanding of the four elements, integrated with intuitional (Moon) understanding and emotional responsiveness and responsibility.

Originally written in the early 1990s as a ‘Flying Scroll’ or ‘Z-document’, and here presented with minor alterations

(Kabbalah – Qabalah – Cabala)

It has now been well over two centuries in which implied connections between Tarot and the Kabalah has been made in writing – and perhaps longer than that if one considers the plausible Hebrew letter influence on the very design of Tarot’s Atouts (Major Arcana).

What I will do here is, rather than review the ways in which the two fields have been variously connected, is present a brief introduction and overview of some of the central and more directly relevant Kabalistic considerations, and these will only be introduced – nothing more. As volumes already exist on even such a short text as the Sefer Yetzirah alone, no-one should expect any comprehensive details on two A4 pages.

‘Kabalah’ is a Hebrew term which now encompasses a number of disparate elements. On the one hand, it includes various expositions which are exegetical mystical treatises arising out of Midrashic and Talmudic considerations – never mind what this may specifically mean for now. On the other hand are three specific elements of broader significance, each of which also escapes the confines of more traditional Jewish foundations. In a similar way that a scientific discovery or model of the universe transcends the limitations of the culture in which the discovery or structured model is formed, so too that most famous of Kabalistic consideration transcends Jewish spiritual reflection, and has done so for centuries: the Tree of Life provides a model of understanding adapted by many outside Jewish constraints precisely because of its apparent accuracy and usefulness.

Likewise considerations on letters of the Hebrew alphabet both remains within and escapes Judaism. After all, our own alphabet is closely related, and both descend from an early proto-Hebrew ‘Phoenician’. With regards to Tarot considerations, it may be mentioned that other alphabets, such as the Greek, Roman and even Runic, have also been connected in various ways with the Atouts. What strikes one immediately, however, is that only the Hebrew (of these more ‘modern’ alphabets) precisely has the number of letters as there are Atouts¹.

The third element, apart from the already mentioned Tree of Life and the letters of the Hebrew alphabet, are the principal texts which characterise more traditional Kabalah. Here, I will include only those three which seem to reflect the major Kabalistic trends and, I should add, spiritual impulses. They consist of the Sefer Yetzirah, the Bahir, and the Zohar. In some ways, each also reflects principal differences and considerations: the Sefer Yetzirah focusses on the letters. As a very short text – in seed-form, in a way – it is probably worthwhile being read, if not studied in detail, by all with interests in Kabalah.

The Bahir focusses on what is termed Merkabah or ‘Chariot’ mysticism. It provides guidance on the work of ascending from the Earth realm to higher spiritual dimensions. This work is central within the body of Kabalistic texts for the development of the faculty of intuition. Without the personal transformational work actually undertaken, there is little sense in engaging in what is otherwise mere superficial reading.

The Zohar provides a more picturesque description as to what one encounters – and forms, in my opinion, part of what is referred to as the Hekhalot group of texts. This last group, properly speaking, speaks of the chambers and the discoveries of the Halls one enters as one rises on the various planes reached.

The three texts give, in that order given, a structured form of preparation, of ascent, and of discovery: a structured sequence of initiatic transformation.

Let us now return to the Tree of Life, and merely note that the chambers of the Hekhalot literature, which one reaches by ascention as per Merkabah methods, are clearly depicted in the glyph of Etz ha’ Hayim – the Tree of Life.

Various versions exist and will present only three from a large number – and omit the most commonly encountered in books focussing on Tarot (the Kircher version). It should be noted that each representation is that: a representation. As, analogically, varieties of vases exist, each being a vase, it is likewise the case that varieties of depictions of the Tree of Life exist, and one needs to maintain the fluidity of mind to penetrate behind the shell of depiction.

The circular version (above) is one of the forms employed in the school associated with the RAB’D (Rabbi Abraham Ben David), also closely connected with the Bahir. This is quite illuminating, in that it points that one expands (as well as possibly expends) and ‘travels’ outwards from centre to periphery in ever-more encompassing spheres of de-limiting girdles of manifestation. Note I write ‘spheres’, not ‘circles’.

(Click to enlarge image)

The second image (above) shows the Tree as having clearly its roots in the realm of the Divine – a tree ‘inverted’, and similarly structured to human beings as opposed to the botanical realm of flora. Adam Kadmon may also be represented by an enfolding rose, but one needs to remember to fully invert and render inside-out the depiction.

The third derives also from early depictions and dates from late mediaeval times (below) – and forms the basis for the numerous later and more commonly utilised forms.

(Click to enlarge image)

The last set I developed out of considerations and reflections on connections which appeared to emerge between the Tree of Life and platonic solids. Strictly, I have three related versions, each reflecting a ‘timed’ element – the ‘frontal’ view (immediately below) is one which I refer to as ‘After the Fall’, and the three-dimensional representation (below), which more clearly shows platonic solids, is from the ‘Before the Fall’ set.

[JMD's Tree: After the Fall]

[JMD, Tree of Life Before the Fall]

Each of the spheres which essentially form the Tree is as a hall, a veritable Temple, and each, as it descends towards the lowest sphere, permits greatest incarnation towards physical manifestation.

The Sefer Yetzirah is quite clear that there are precisely ten Sefirot or emanations. ‘Ten’, as it states, ‘and not nine, then and not eleven’. On some depictions, however, an eleventh can be seen, called Da’at (Knowledge). This is, at least according to some, the seed, fruit and whole Tree of Knowledge: Etz ha’ Da’at.

But let us here descend from top to bottom, moving, when there are two emanations on the same apparent level, Hebrew fashion from right to left. Above the Tree is Ain Sof, the limitless, that which is without containment, and hence pre-Sefirotic. As soon as we begin any form of containment, we may begin to form some description – but only begin, for no such description itself limits that which we seek to describe:

Keter (Crown), Hockmah (Sophia/Wisdom) and Binah (Intelligence/Understanding) from a triune group and reflect the highest world of archetypes (or Atzilut). One may also easily see on the Tree where the densest bodies of the spiritual hierarchies descend, and where our own highest bodies are located. In the case of these three Sefirot (I will not describe these for each of the ten) may be ‘located’ the Seraphim, Cherubim and Thrones, and our highest self of Spirit-Being, Life-Spirit and Spirit-Self.

Next is Da’at, in which is also located the future organ of ‘birth’: Abra K’adabra: as I speak so I create. It is here too that may be located one’s central Ego, or inner ‘I’. Here too may we reflect on that earlier initiatic maxim: Gnothi Seauton (Know thy self).

The next triune reflects the world of creation (Beriah) and consists of Gedulah/Hesed (greatness/lovingkindness-covenant), Geburah/Pahad (power/awe) and Tifaret/Rahamin (beauty/compassion-mercy).

The triune of formation (Yetzirah) reveals Netzah (radiant eternal victory), Hod (reverberation) and Yesod (foundation).

Finally, the descent enters the world of action or manifestation (Assiah) with the single sefirah Malkut (kingdom) – which really provides the underpinning energy matrix out of which the four elements may further be delineated.

There is no way that what I have written thus far should be taken without question – and various versions of the four worlds has been used to delineate or even expand the Tree, which itself has already been shown in differing ways.

On the Tree of Life are at times placed the letters of the Hebrew alphabet, suggesting specific connections from sefirah to sefirah. However, the Sefer Yetzirah, again, states clearly that the letters are positioned in a circle or circles, forming 231 ‘gates’ – think of these as gate-posts, in between which is the wind movement of sound proper, each post being a letter. As there are 22 letters, it follows that there are precisely 231 different pairs of letters which can be formed. 231 is also what is sometimes referred to as the ‘theosophic’ extension of 21 (or triangular number of base 21). Simply described, 231 results when the numbers one through to 21 are added together, and possibly why only 21 of the 22 Atouts are numbered.

So what have we so far? in the first place we have the pattern, or rather patterns, of the Tree of Life; in a second we have the letters of the Hebrew alphabet; and in a third we have some important texts, characteristically represented by the three earlier mentioned.

As can be seen, order out of the vast literature may begin to be discerned, but let us expand one important consideration on the second aspect delineated thus far: the letters of the Hebrew alphabet.

We divide our own alphabet into vowels and consonants – with a sense for the differences these carry. There are also alternative and more detailed ways to divide an alphabet, especially its consonants, which is what is usually also here done. The Hebrew is divided into three groups: the letters of the first group simply has to be remembered, and are referred to as the mother letters, consisting of the mathematically significantly placed first, thirteenth, and twenty-first letters (Alef, Mem, Shin).

Seven of the remaining letters have dual sounds: a plosive and a fricative form (eg, ‘B’, and ‘V’, which in Hebrew is the same letter, and which even in Spanish is not differentiated to the same extent as it is in English). These seven are therefore referred to as double letters, and its plosive form written with a dot (‘dagesh’) which indicates its plosivity.

The remaining twelve letters are designated ‘simple’ letters. Whatever the reason for the single letters (perhaps the mothers were removed from an otherwise too large group in order for precisely twelve to remain), what results are groups that may now easily be connected, in straighforward sequential order, to the twelve signs of the zodiac (wheel of Life).

The seven double letters likewise become importantly linked and connected to the seven earliest known planets – the word ‘planet’ here used in its etymologically correct sense, rather than its more modern astronomical sense, and thus includes the Sun and Moon, as well as Mercury, Venus, Mars, Jupiter and Saturn.

The three remaining and highly important Mother letters are connected with the three points on the horizon which mark the Sun’s rise at solstices and equinoxes, and corresponds with the elements of Air, Water and Fire.

Here, then, are not only the basics, but the tools by which others have made correlations, in various ways, with Tarot. It is often by returning to some of the basic considerations as found (especially in the three texts earlier mentioned) that later correlations become understood, and may be either accepted or rejected with increased discernment of spirit.

The Zohar states:

‘Come and see how powerful is the force of the Torah and how superior it is to anything else. For whoever is occupied with the Torah does not fear the higher or lower beings, nor fear evil incidents in the work, because he is attached to the Tree of Life, which is the Torah, and daily eats from it. […]

For the Torah teaches man to walk the path of truth’.

The Bahir brilliantly indicates that

‘people want to see the king, but do not know where to find his house (Bayit). First they ask “Where is the king’s house?” Only then can they ask “Where is the king?”’.

The Sefer Yezirah opens with

‘Yah, the Lord of Hosts, engraved all with thirty-two wonderous paths of wisdom, and with three tools: with symbol (text: Sepher), with number (Sephar), and with voice (communication; Sippur)’

… and on this we close.

[Cf also J-M. David's Fourhares.com site for further pages on the Kabalah]

Select bibliography:

• A. Kaplan Sefer Yetzirah, Weiser, 1997
• A. Kaplan The Bahir, Weiser, 1979
• G. Scholem Zohar, Schocken Books, 1949

footnote:

1. It should be acknowledged that early Greek similarly had twenty-two letters, as did Latin in Mediaeval times.
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