This is a brief, beginner post about the numerical cycles and number relationships in traditional/classic Tarot de Marseille (TdM). [Please note I am not going to be talking about the western Kabbalah that is incorporated into Waite-Smith Tarot.]
I started out studying ‘western’ or ‘Pythagorean’ numerology in relation to Tarot, just as my early Tarot teachers did, consuming books that described the qualities numbers until I knew them as entities. In this tradition, numbers are reduced to a single digit, except master numbers 11, 22 and 33 (albeit we don’t go to 33 in Tarot), and viewed in terms of human personality traits. One of my teachers, Angeles Arrien, would have us figure out our life path card and card for the year, based on our birthdate. It can be insightful but also limiting. I’ve had to unlearn a few things…
Ideally, one should study the literature, then forget about it. Too much rigid this=that can actually hinder your inner understanding of the cards. Remember they are mnemonic devices, so let the image demonstrate how it illustrates the number, rather than trying to apply concepts to the image and make it fit. Play with the numbers, think also about the geometry generated by the number (3= triangle, 4=square, 5 = pentagram etc).
Note that the cards use Roman numerals, though they seem to illustrate Arabic numerical ‘concepts’ . For example The Hermit, VIIII, resonates with 9, the spiralling number that always returns to itself…as it is with people who have a 9 life path, according to numerology. 4 looks so much like the symbol for Jupiter, that the Emperor is often equated with him, though in reality the Jupiter symbol is not the same as a 4.
Look at the multiples and different combinations…
For example, Empress (3), Hanged Man (1+2) and World (2+1). What is going on in this triplicity that stems from the Empress?
What minor arcana cards resonate with major arcana cards of the same numerical value? In what suit does the 5 resonate best with the Pope card? Which 7 with the Chariot?
The visual manifestation of the individual number is only one aspect, but the cards are not really independent of one another. They have various partners and opposites, higher and lower ‘octaves’, etc, their relationships to each other helps to define them, just as it is in life. Keep in mind the Roman numerals, too, so that XV (Devil) is the ‘higher octave’ or other face of V (Pope), not XVI (Lover), as it would be if we employed Arabic numerals (1+5 reduces to 6).
A simple example is that the numbered cards (in TdM the Fool is not numbered) contain 7 cycles of 3 (like a waltz), wherein every next ‘1’ card is also a ‘4’ (the death and rebirth of the cycle).
To Pythagoreans (and later, in alchemy, to Maria the Prophetess), this natural cycle of 4 = 1 symbolized the fundamental progression of creation:
‘One becomes Two, Two becomes Three, and out of the Third comes the One as the Fourth.’
One – being the primordial source (monad) from which everything originates Two – (considered the first ‘real’ number) being the duality that emerges from separation
Three – being the completion of a creation, whereby the two are united
Four – being the final stage, wherein unity is restored, but in a differentiated way
10, being the sum of 1+2+3+4 was thus considered the ‘perfect’ number, as illustrated by the tetractys. (In Pythagoras’ day, numbers were depicted with geometrically arranged dots, resembling pebbles).
So, the Empress completes the first creative cycle of 1-2-3, but the 4th card, her partner, the Emperor, signifies the ‘death’ of that cycle, AND the birth of the next. You will find that all the cards in the ‘1/4’ placement have something in common, as will all the cards in the ‘2’ placement and the ‘3’ placement.
21/The World, while being a ‘3’ placement card, illustrates wholeness and completion or ‘quintessence’; the unified ‘one’ (androgyne) at the centre of four (elements, fixed stars, seasons, etc).
With the understanding of this basic, universal foundation, we can build everything else. ~rb
I had often wondered about these strange little knobs on Mercury’s pouch. That there were usually three of them (or three on the sides and one on the bottom) was no mystery, given Mercury’s magic, threefold ways. But what were they, exactly? What was their purpose, if any? Many theories were given when I posed the question. Pockets? Folds created from tying a square piece of cloth? Little legs to ‘stand’ the open pouch up with? Was it perhaps made of a bird’s skin or cow’s udder and the hanging bits tied up? Might they be buttons and/or have had some protective function?
Details of three woodcuts 15th-17th c and one Roman sculpture
Examples of similar bags were found, but of course nothing old enough still existed for comparison. I should back up a minute here and explain what got me looking at his sack in the first place, which was the Fool’s bindle in Tarot de Marseille. Notice how it is divided into three sections, possibly signifying the three, alchemical substances (sulphur/mercury/salt) or stages (black/white/red), and setting the general theme of triplicity that runs through the major arcana. [Note also the mandorla-shaped mouth of the sack-vessel.]
The TdM Fool’s threefold bindle (detail, various decks)Drawstring leather pouch and goatskin purse with knobs, France, 16th c
So it seemed that what was originally a natural characteristic (say, knotted udder nipples) gradually became decorative knobs in much later woodcuts, that served no function other than to add a lucky triplicity to Mercury’s accoutrement.
But you know how it is, a planet turns retrograde and answers to riddles (Mercury), an old love (Venus) or cold case murder evidence (Pluto) can suddenly just pop up.
I was looking for something else (naturally), when I came upon this image, not in my Mercury folder. It is of a tintinnabulum from Pompeii, ca 1st c AD. These were little wind-chimes with protective phalli, to keep the bad spirits away (bells would have hung from the ends). The erect phallus was considered a potent apotropiac, and specific to Hermes-Mercury, god of travellers and magicians. They were featured regularly on herms (or just by themselves), situated at crossroads. I dunno, do you think we should add more penises? Maybe a few little ones on the bag, just in case.
Roman tintinnabulum, ca 1st C AD, Naples Museum
[detail]Now I know what you are thinking – are you sure? Might there be other examples? And of course, I wondered the same. So I took a close look at another, familiar artwork from Pompeii…
Priapus with attributes of Hermes-Mercury, Pompeii fresco, Naples Museum
[detail]I’m afraid there is just no mistaking it. Those impotent little knobs on the magic bag of Mercury are the descendants of once preeminent penises. As for what might be inside said bag…that will have to wait for another blogpost. ~rb
Addendum:After posting this article, suddenly people are chiming In and saying “noooo, wroooong! they are testicles!” Where were they when I first put forth the question? Eh? Eh? Little Red Hen asks. (I jest). Well, of course, once Europe became Christianized, you couldn’t very well put shlongs on everything. So the obvious solution would be to use testicles. It is still part of the magical triad of phallic anatomy, just easier to disguise as knobs or figs or what have you. After all, we are talking about a time frame from Rome BC to the Renaissance, so there is going to be an evolutionary process. Excuse me for trying to get right to the ‘point,’ but my mission was to locate the possible ‘source’. Btw, the Mercurial tradition of touching one’s nutsack for protection (from you-know-who) is still alive and well.
…don’t forget to pick up your lucky bawdy badge on the way out!
Crusader ‘bawdy badge’ for protection from STDs in the Holy Land.
I was thinking how Sinéad reminded me of another scapegoated, outspoken Dubliner – Oscar Wilde, particularly his sad story, The Nightingale and the Rose. Because she is that Nightingale. I had to compare their charts (see bottom of page), the two geniuses actually have much synchronicity. To start with, they have the same lunar nodes, North in Taurus, South in Scorpio. Her Mercury and Neptune (words/art/music) are conjunct his South node, his Uranus (future/genius) is conjunct her North node. She has Saturn conjunct Chiron, the ‘wounded healer’ (2 deg) in Pisces (sign of martyrdom) and he has Jupiter conjunct Chiron (3 deg) in Capricorn (sign of the scapegoat). She has Venus and Sun conjunct by degree and sign in Sagittarius, he Sun and Venus conjunct by sign in Libra. She has Mars at 2 Libra, he has Mars at 3 Sagittarius (each other’s Sun/Venus signs – remember both their lunar nodes are ruled by Venus and Mars).
Addendum: I also just looked at the death chart of Oscar Wilde, and it’s pretty mind-boggling to note that transiting North node, Sun, Uranus, Jupiter and Chiron were ALL in SAGITTARIUS at the time. As well, Chiron was in a wide conjunction with Saturn (Sinéad has them conjunct), Mercury the psychopomp was in Scorpio (as is Sinéad’s).
I have to look into it more thoroughly, but I wonder whether this might be a case of reincarnation…there’s no way to be certain, of course. I know, there is nothing in physical resemblance whatsoever, and there needn’t be, but…she does kind of resemble his long suffering wife, Constance Lloyd. Constance, a journalist, was a political activist and feminist, who fought for and spoke out on women’s rights, education for girls, dress reform (for women to wear comfortable clothing) and the ‘Irish Question’ (of home rule). She also may have died from botched fibroid surgery (a result of undiagnosed MS, it’s thought). Considering they would have had a soul contract and he was a Libra (partnership sign), might there have been some cross-over here?
Wilde himself, after being sentenced to two years hard labour for his homosexuality, wrote about the abhorrent conditions for inmates, calling for change. Like Sinéad booed on stage, he was jeered and spat on by crowds during his transfer to Reading Gaol Prison.
Constance Lloyd, wife of Oscar Wilde, by Louis Desanges, 1882
At the same time, charts can be so clinical. Poetry and song gets to the heart of things, especially since we are talking about people who were devoted to it. This is where the soul reveals itself best, and evolutionary astrology is about the soul’s travels.
“If you want a red rose,” said the Tree, “you must build it out of music by moonlight, and stain it with your own heart’s-blood. You must sing to me with your breast against a thorn. All night long you must sing to me, and the thorn must pierce your heart, and your life-blood must flow into my veins, and become mine.”
“Death is a great price to pay for a red rose,” cried the Nightingale, “and Life is very dear to all. It is pleasant to sit in the green wood, and to watch the Sun in his chariot of gold, and the Moon in her chariot of pearl. Sweet is the scent of the hawthorn, and sweet are the bluebells that hide in the valley, and the heather that blows on the hill. Yet Love is better than Life, and what is the heart of a bird compared to the heart of a man?”
So she spread her brown wings for flight, and soared into the air. She swept over the garden like a shadow, and like a shadow she sailed through the grove.
The young Student was still lying on the grass, where she had left him, and the tears were not yet dry in his beautiful eyes.
“Be happy,” cried the Nightingale, “be happy; you shall have your red rose. I will build it out of music by moonlight, and stain it with my own heart’s-blood. All that I ask of you in return is that you will be a true lover, for Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty. Flame-coloured are his wings, and coloured like flame is his body. His lips are sweet as honey, and his breath is like frankincense.”
The Student looked up from the grass, and listened, but he could not understand what the Nightingale was saying to him, for he only knew the things that are written down in books.
But the Oak-tree understood, and felt sad, for he was very fond of the little Nightingale who had built her nest in his branches.
“Sing me one last song,” he whispered; “I shall feel very lonely when you are gone.”
So the Nightingale sang to the Oak-tree, and her voice was like water bubbling from a silver jar.
~ from The Nightingale and the Rose, by Oscar Wilde
The Singing Bird, yet another of her Irish ballads that makes my heart burst.
Thank you Sinéad, beautiful soul, for all your healing, celestial voice and utterly fantastic songs. And thank you Oscar Wilde for your brilliant writing that inspired so many other great artists.
Birth Charts of Sinéad O’Connor and Oscar WildeDeath chart of Oscar Wilde (should be Paris, France, but won’t make a huge diff).
Like all her fans, I was crushed to learn of Sinéad O’Connor’s (Shuhada’ Sadaqat’s) death. I’m not going to get too into analyzing her personal struggles…suffice it to say we of the Pisces Saturn opposite Pluto-Uranus generation are working through lifetimes of (usually religious) guilt and/or persecution, which can involve putting oneself back in a similar situation. Sinéad often walked through fire of her own making, but likely she’d been burned (or burned others) at the stake in the distant past. Sadly, she didn’t make her second Saturn return.
Ripping up the pope on SNL “Fight the Real Enemy”
Squares are challenging, especially T-squares, and her Sagi Venus was in this configuration with the Pluto-Uranus/Saturn-Chiron opposition, her Xena warrior Venus believing unequivocally that without the freedom to love who and how we want, there can be no healing. As well, Pallas Athena, Jupiter’s favourite warriordaughter in rebel Aries. But her Black Moon Lilith, sometimes a self-saboteur in youth was also in Pisces, sign of the martyr, conjunct Saturn, and the two of them opposite Mars in Libra. Not easy to keep a balance (Libra) with the ironman Mars sitting on one of your scales, while luminaries Venus and Sun have their hands full trying to mediate the forces of Pluto/Uranus and Saturn/Chiron. Saturn in this placement can feel like one’s been abandoned by god and/or one’s own father, which is what happened. All of them under Jupiter’s watch (see explanation below).
Sinead O’Connor natal chart with asteroids Dec 8 1966
Read her book, ‘Rememberings’ if you want to know about her personal life. Here’s a great Guardian interview from 2021, upon its release.
With Chiron tightly conjunct her Saturn, the urge to break and heal the long cycle of pain would be even stronger, but as we know, Chiron’s own wounds never quite heal even as he healed others. Sinéad gave music her all, and all her music. “We’re only given as much as the heart can endure” sang Capricorn Patti Smith, but Sagittarius is known to bite off more than they can chew. Sagittarius is clichéd as being a lucky, optimistic, freedom-loving zealot. And that would be true. However there is also what I’ve always referred to as ‘the unbearable lightness of being Sagittarius.’ It’s kind of like an unbearable heaviness, except light. (Sagis will understand).
Michelangelo’s sculpture of a young slave – spirit trying to release from body.
I had actually just been listening to Sinéad’s Irish Ballads the night before the sad news broke, that crystal-perfect voice, remembering how she’d said that these songs were ‘ghosts.’ Spirit possession, be it via songs, demons or Holy Spirit or can be a very stressful practice, definitely not for the faint of heart. Sometimes they won’t leave.
Jupiter, like Sagittarius, is given this benign definition of ‘greater benefic’ or ‘fortunate’ or signifying ‘excess’. And these would be true. But Jupiter’s influence, being of the spirit, is perhaps not fully fathomed until a person has passed and their own, ‘larger than life’ spirit becomes one with everything. That’s kind of the whole point of Jupiter’s religiosity (although many astrologers now attribute this ‘seeking oneness’ quality and Pisces rulership to Neptune, I see the outer planets as a slow release over a long period of time, affecting whole generations, so am not quite ready to replace the traditional rulerships with them). Similarly, when a loved one dies you recognize and perhaps feel it in a breeze or passing bird…a Jupiterian serendipity. This planetary god makes spirit known.
Jupiter in the end shows where a person died a ‘good death’ (though not necessarily without physical pain), ‘with honours’ or simply how the pull to spirit realm was at that moment overriding the material. Think of how we are drawn into sleep each night, the realm of dreams – Pisces being Jupiter’s other traditional sign. Likely she died in her sleep.
Celtic designs on Jupiter
Sinéad’s Sagittarius Sun (ruler of Leo) was in mutual reception with her Leo Jupiter (ruler of Sagittarius). Her Libra Moon and Taurus North Node were also ultimately under the influence of Jupiter, since her Venus (ruler of Taurus and Libra) was in the sign of Sagittarius. It’s called the ‘chain of command’ in a chart. At the same time, her natal Venus was being trined by transiting retrograde Venus. Retrograde Venus is where we get the myth of Ishtar going into to the underworld – ie, the period of invisibility in the Sun’s rays, before re-emerging the other side – where, en route, she had to remove a veil at each of seven gates (heavenly spheres).
I’m dancing the Seven Veils Want you to pick up my scarf See how the black moon fades Soon I can give you my heart
~ first lines of Sinead O’Connor’s first big hit, ‘Mandinka’
Natal chart with transits on day of departure
When the news of her death broke, Jupiter was conjunct her North Node (future/material) and Sun was on her Jupiter. As well, the Moon was transiting her South Node (past/spiritual) node. The Lunar Nodes are an axis and work together, not separately. Whatever was going on, it seems her God-father came to take her home, with honours for her musical contribution and valiant battle with lifetimes old cause of so much abuse and suffering. Yes, she had a martyr complex at times (her Neptune conjunct south node in the 12th house was a significator of that in this life and the past), but that was also deeply imprinted in the psyche via catholicism. Life throws us enough suffering without the added notion that somehow we ‘deserved’ it and are being punished by the almighty for simply being ourselves, but that is the general idea of ‘original sin’ and it’s made a real mess of things.
Lamp with Ishtar’s underworld twin Ereshkigal, Syria
As well, we see transiting Mercury, flanked by Lilith and Venus, squaring her natal 12th house Mercury, representing her son Shane. Like his mum, he had been institutionalized (12th house), and sadly, although on ‘suicide watch’ he had ended his own life (age 17) last year. She expressed in her last tweet how she was basically walking dead without him, that he was the ‘lamp of her soul’ and that they ‘shared a soul’. Transiting Mercury is the psychopomp, conjunct retrograde (underworld) Venus and Black Moon Lilith (the void/anti-Moon). So much there offering her the door. “Alright, my daughter, you’ve had more than enough.”
It is not personal, human foibles (sorry, media) that ultimately defines how a great artist will be remembered, but their legacy. Jupiter also sired the nine Heavenly Muses, when he slept with the Titan Mnemosyne (‘of Memory’).
I think Sinéad, Jupiter’s daughter, whom Christy Moore once referred to as ‘one of our [Ireland’s] sons,’ and a catholic priest asked she sign his copy of her book ‘because she is a prophet’, was blessed by at least several of them. ~rb
What does this famous line, chanted by the three Weird Sisters in Shakespeare’s MacBeth actually refer to? It’s Gemini season, so let’s deep dive into doubling.
The Tragedy of MacBeth
The Weird Sisters are basically the Fates (Moirai) or the Graeaes. We’ve spoken about three being the magic number of Hermes, but of course it is also the magic number of the Lunar Goddess, that maiden-mother-crone of past-present-future who spins the cycles of earthly existence. Hence three witches, fates, etc. The allegory of lunar Fortuna as black and white illustrates that ‘Some are born to sweet delight/Some are born to endless Night’(William Blake, Auguries of Innocence) and the changeability of fortune in general.
Fortuna with black and white Moon face
As the Sisters chant ’round the cauldron, they concoct and prophecy General MacBeth’s destiny – that he will become Thane of Cawdor and King of Scotland. Hurray, but unfortunately MacBeth is not qualified to achieve the spiritual gold, because he lets his own demons run amok and, well, not to get too far into it, an unholy bloodbath ensues. According to my teacher mum, the tragedy demonstrates a perversion of the alchemical stages, which occur in backwards/out of order, from gold to black. ‘Fair is foul and foul is fair.’
Poster for Polanski’s MacBeth film – note the reverse Ace of Swords
So ‘Double Double’ refers to the two sides of fate and of human duality. With ascension to power, fame, wealth, there are pitfalls, if the destructive/shadow side of a man’s nature is not kept in check. This poster for the Polanski film depicts the reverse of an emblem we recognize as the Tarot Ace of Swords. In the card, the sword of Truth, pointing up, is both penetrating and girdled by the yonic crown of Wisdom (Sophia); the olive branch (lunar) of peace and palm frond (solar) of victory are held in equilibrium. I believe the symbol might possibly come from the Isis lotus flanked by two serpents, below.
Water canister (detail) Pompeii Isis temple, Ace of Swords (negative for comparison )
‘Toil and Trouble‘ is a forewarning that might refer to ‘the work’ and its inherent dangers. Be careful what you wish for. They famously tell him ‘none of woman born‘ shall be able to harm him, but neglect to mention the fine print, that C-sections don’t count. There are ‘doubles’ all through the play – specifically MacBeth and his wife, Lady MacBeth (she has no first name, for starters), who, in absorbent, lunar fashion disappears further into madness as her husband commits crimes. In reverse process, they start out unified, but become separate, Lady MacBeth eventually committing suicide.
The Sacred Marriage
2 Twos of Cups
A more joyous union, or at least the beginning of one, is beautifully illustrated in the 2 of Cups. Typically in Tarot de Marseille, the two dolphin-fish are slightly different in appearance. This twin fish theme, besides being Piscean, can also be traced back to the ancient, pagan world. In the sanctuary of Didyma (“twins”, thought to refer to twin temples of Apollo and Artemis), Greece, for example, we find a figure not unlike the split-tailed melusine (aka the Starbucks mermaid), who grasps her two tails, or sometimes two fish, much like the ones in the Cups card.
Didyma figureTwo versions of Mesuline
The 2 of Cups was one of the minor arcana cards with a space where a printer could put their name or an emblem. In these two examples, the emblem beneath the cups is not unrelated, heralding love and peace (the heart and olive branches). This card had come up in a discussion, recently, regarding the two ‘trumpets’ therein. Are they in fact trumpets? If so, what kind? Though they resemble telescopes, it’s probably something like a buisine or the North African import, below, played at processions, celebrations funerals and especially weddings.
Medieval double trumpet from North Africa
The Myth of Marsyas
What my little eye spied, however, was the Greek Aulos, a double flute that long ago served the same function, and is associated with the myth of Marsyas and Apollo. (Perhaps the lyre shape behind them was a clue).
The Aulos was said to have been created by Athena, who, upon catching a glimpse in the water of her puff-cheeked reflection playing it, threw the instrument away. It was then found by the satyr Marsyas, who was so elevated by it’s music, he had the crazy idea to invite Apollo and his lyre to a contest – winner ‘have his way’ with the loser. As judges, Apollo chose the Muses and Marsyas chose King Midas. Marsyas won the first round and was pretty excited at the prospect of sex, but for round two, Apollo demanded they play their instruments upside down, putting the satyr at an obvious disadvantage. Apollo was declared the winner, whereby he promptly had Marsyas strung from a tree and flayed alive for his hubris (divine insult against a god), then gave Midas donkey ears. Like MacBeth, Marsyas’ ambition blinded him and didn’t read the fine print of prophecy (Apollo).
Apollo, Marsyas and a Scythian waiting to flay him (relief, middle of the 4th century BC).
The myth is symbolic of the continual battle between the Apollonian reason and the Dionysian madness that make up man’s nature – as viewed by the Athenians. (Presumably women are better versed in this particular polarity, due to our physiological ties to the inconstant Moon…unless they have a partner like MacBeth).
Athena’s horror at her own reflection might have been too much of a reminder of her Medusa side (PMS – a most irrational affliction!). The aulos itself, being a double, wind instrument, can be viewed as expressing two winds or two spirits that ‘make beautiful music together’.
Roman Medusa cameo, 2nd-3rd c – what Athena saw?
As such, there is a deeper meaning to the flaying of Marsyas than the dangers of hubris. In his essential book, Pagan Mysteries in the Renaissance, Edgar Wind explains:
‘The musical contest between Apollo and Marsyas was therefore concerned with the relative powers of Dionysian darkness and Apollonian clarity; and if the contest ended with the flaying of Marsyas, it was because flaying itself was a Dionysian rite, a tragic ordeal of purification by which the ugliness of the outward man was thrown off and the beauty of his inward self revealed.’
and:
‘The cry [of Marsyas]: ‘Why do you tear me from myself?’ expresses then an agonized ecstasy and could be turned, as it was by Dante, into a prayer addressed to Apollo: ‘Enter my breast, and so infuse me with your spirit as you did Marsyas when you tore him from the cover of his limbs.’ To obtain the ‘beloved laurel’ of Apollo, the poet must pass through the agony of Marsyas…The torture of the mortal by the god who inspires him was a central theme in the revival of ancient mysteries, its illustration in Apollo and Marsyas being only one of many variations’.
Chariot and Hanged Man of Jean Dodal, 17th c
In traditional TdM, the golden-haired Charioteer at first appears to be a solar-heroic, Roman emperor type. But his stance says Dionysus and, indeed, the very word ‘triumph’ comes down to us not from Roman victory processions, but from hymns to Dionysus sung in processions in his honour. So rather, the Charioteer is a conglomerate – albeit, like MacBeth, he is more Apollonian on the outside.
His epaulettes are indicative of his solar-lunar natures, facing opposite ways, while the two horses also want to go off in either direction. There definitely is a sense of hubris about him. The three stems growing underfoot in the black soil, here, foreshadow his reversal from hero to scapegoat; The Hanged Man, strung up between two boughs, not unlike Marsyas, and the dismemberment/decomposition that follows in arcanum 13.
Jacques Vieville 2 of Cups and Hanged Man duality detailsChariot detail showing solar and lunar horses (anonymous, 15th c Milan)
As with the fish and horses, the two tree bases in arcanum 12 are usually different, sometimes even containing sun and moon in them, as in the Vieville example. The figure can be flipped vertically and viewed two ways; hanging or dancing. His golden, solar hair is a clue to what’s going on – ‘the beauty of his inward self’ is slowly being revealed as he undergoes ‘living death’. Two of these oldest TdM examples (Vieville, Dodal) require flipping the card to read the number correctly – printer mistake?
The strange placement of his epaulette-ish hands might represent wings (sprouting or hidden), most apparent in this 17th c Jean Noblet card. Also of note, his reddish hair, a basis of discrimination and choosing sacrificial victims, especially Jews – Noblet himself being Jewish. But looking at it alchemically, ‘red gold’ was ‘pure gold’:
‘The oftener gold is subjected to the action of fire, the more refined in quality it becomes; indeed, fire is one test of its goodness, as, when submitted to intense heat, gold ought to assume a similar colour, and turn red and igneous in appearance; a mode of testing which is known as “obrussa.” [Pliny, “Natural History,” 33.19]’
Noblet Pendu, 17th c – note his elongated ears
The Hanged Man (Le Pendu/Pandu) was once called ‘The Traitor’ and the figure held two money bags, a reference to Judas, aka Didymus, ‘the Twin’ (also a supposed redhead). We know the two cards are related, because 7 is 3 + 4 and 12 is 3 x 4. (3 and 4 began separately as Empress and Emperor).
Alchemical fountain
Summation
Obviously we are complex creatures, made up of many polarities, but the most basic one is that we live consciously, outer or by day (solar) and unconsciously, inner or by night (lunar). This was expressed in Egypt as the two eyes of Horus. Right now, you are reading this and having both an outer and inner experience.
The alchemical equivalent of Marsyas and Apollo is the torture of base metals, such as lead, in order to extract the precious, pure one – namely gold, but also its ‘mate’, silver, and others. Lead is the metal of Saturn, who, strangely enough, ruled the Golden Age and is associated with Pan, satyrs, nature, etc. Apollo is of course the solar gold.
Devil and Sun cards, Nicholas Conver TdM, 18th c
Seeking material gold (symbolized by the physical crown, in MacBeth) is the ‘lower mystery’. But, as the alchemists discovered, this corporeal quest is often how initiation to the ‘higher mystery’ begins. In the end, after all our ‘toil and trouble‘, we might be fortunate enough to attain spiritual gold.
Self-knowledge (gnosis) is not just about understanding one’s own personality (another ‘lesser mystery’), but rather, understanding the entire workings of the universe as being within oneself, and vice versa; ‘As within, so without’. But this must be done in stages and is not something that can merely be understood as some intellectual concept.
I leave you with the last lines from William Blake’s Auguries of Innocence ‘ which, though we love to quote the first verse (‘To see the world in a grain of sand…’), in it’s entirety, puts it all in a nutshell. ~rb
‘Every Night & every Morn Some to Misery are Born Every Morn and every Night Some are Born to sweet delight Some are Born to sweet delight Some are Born to Endless Night We are led to Believe a Lie When we see not Thro the Eye Which was Born in a Night to perish in a Night When the Soul Slept in Beams of Light God Appears & God is Light To those poor Souls who dwell in Night But does a Human Form Display To those who Dwell in Realms of day‘
We are in Mercury retrograde at the moment, so what better time for a blogpost about everybody’s favourite psychopomp and magic number?
Early on, Hermes’ sacred number was 4, being god of the crossroads, which was where his herma were placed. These were originally piles of stones, to indicate the border of someone’s tribal land. Gradually they became erect stones, often with a cross shape (probably for hanging garlands), and a head and apotropaic phallus was added. No matter who travelled there, friend or foe, offerings were made to ensure safe passage of the foreign turf. Perhaps it is related to the practice of marking graves with stones, too, since the dead were buried outside the boundary, for safety reasons. “And stay out!”
Herma for other gods existed, but the name of course relates to Hermes himself. Bust sculptures are probably a continuation of this tradition.
Herma 520 BC
But when we are speaking of Hermes-Mercury as a planetary/astrological god, 3 is the number by which he operates. Think of retrogradation – common to all planets, but ultimately under his jurisdiction. It’s a triple, illusory move (forward-backward-forward) and, in Mercury’s case, occurs 3 times per year, for about 3 weeks, 3 times in the same element. Even in the most astrologically uninformed circles and media, the ‘Mercury Retrograde’ is reknown, if for all the wrong reasons.
How most people view Mercury retrogrades
Since Mercury can never be more than 28 degrees from the Sun, there are but three Mercury placements a Sun sign can have; in the preceding sign, in the same sign, or in one the proceeding it. For example, Taurus can only have Mercury in Aries, Taurus or Gemini. The Mercury placement will inform the Sun native’s expression and how they process information. Is it possible Mercury in these 3, consecutive signs might have a resonance with the phases of retrogradation? Might Mercury preside over midpoints, as well (particularly, one would assume, the Sun-Moon midpoint)? Questions to ponder during retrograde.
When it comes to uniting solar and lunar opposite natures, the realms of living and dead, awakeness and dreaming, the above and below, the within and without, Mercury is the cosmic connector. We see this in traditional Tarot de Marseille, a ‘Hermetic’ Tarot wherein duality and the balance of opposites is a running theme, as is triplicity and quadruplicity.
In alchemy there are three forms of Mercury; vulgar, volatile and philosophical.
Doubles in Noblet Tarot Pape, Pendu, Soleil ca 1650
Mercury’s sigil also has three parts: the cross of matter (or crossroads) surmounted by a solar circle and lunar crescent. And of course, he rules Gemini, sign of the Twins. Perhaps the Virgo rulership might be better understood if we remember the dual nature of the Goddess – those two serpents originally belonged to her, after all. Where Gemini is happy to be two people, Virgo works tirelessly to create wholeness. She is very much like the angel of Temperance, is she not? This card from the Vieville deck could be Virgo with the Mercurial caduceus.
Vieville Temperance card, mid 17th c
Might we also find a connection between the 6th house (Virgo’s traditional lodgings) and TdM 6th arcanum, wherein a young man stands between two women? It’s interpreted as having to decide between vice and virtue, like Hercules at the crossroads, but I think ‘crossroads’ might be the key word here. That 7th house cusp is the dividing line, after all. Some other blogpost!
Osiris attended by sisters Nephthys (death) and Isis (life), Conver TdM Lover, 18th c
Concept for Disney’s Snow White by Gustaf Tenggren – alchemy much?
With chthonic ‘dwarf planet’ Pluto at 29 Capricorn and opposite Black Moon Lilith at 29 Cancer, I was reminded of the ‘alchemist mining the earth’. In fact , this theme, I *believe* was central to Snow White and the Seven Dwarfs. ‘Hair black as ebony, skin as white as snow, lips red as blood’ happen to be the three ‘distinct’ phases of the Magnum Opus; nigredo, albedo, rubedo (sometimes there was a 4th, citrinitas, between the albedo and rubedo). These were also enumerated to seven stages, corresponding with the seven planetary spheres…or dwarfs. Not to mention that glass ‘coffin’.
Here is the clip I was rereading from my files, and apologies, I don’t remember where I originally clipped it from, but it is a quote (must be old, as it uses ‘man’, maybe from Jung?):
“The alchemist mining the earth. Mining or going inside the earth is the first step in the alchemical process. The earth is the body or oneself. Going inside the earth is equal to going into your inner self. Thus we are invited to descend into the earth, into the underworld, or the unconscious. The earth is the symbol of physical man. Man needs to become conscious of his inner world, who he is, what he is doing, what his motives are, and so on. Once attention is directed inwards, a whole new world opens: the underworld of Hades, the dark realm of shadows and monsters.“
And this is from another source, regarding the black phase or ‘nigredo’:
“Here, we are being asked to let go of all within us and outside of us that is false, inauthentic, and not in full alignment with the truth of who we are. This is a truth as it exists on a soul level, far beyond the ego and its limited ideas or illusions about who we “should” be.”
Is it possible that we’re now collectively getting ready to ‘birth’ out of the ‘nigredo’ stage? We began descent into fermentation blackness when Pluto entered Capricorn (feminine earth sign) back in 2008. About a year and a half prior, Pluto had been “demoted” to ‘dwarf planet’ by a handful of young astronomers who thought they were clever by disempowering the planet-god. Clearly, Pluto was in fact operating through them from that unconscious, Hadean realm over which he presides. [Side note: I bet Pluto will take its former status back once it is securely in Aquarius.] As it is, too, with Black Moon Lilith, who loves the freedom of darkness and invisibility of night. In Cancer, the sign of the Moon and mother, she represents the ‘uterine’ blackness itself, the void people desperately try to to a-void but that must be traversed. Our fear of death likely has much to do with our memories of that messy and shocking business of rebirth.
When Ishtar descended into the underworld, she had to leave a veil or some such trapping at each of the seven gates she went through (i.e, stages/planetary spheres). Even then, she had the hubris to want to sit on her sister Ereshkigal’s throne, and for this, she was hung up on a meat hook until she learned her lesson. We can also think of the Hanged Man in Tarot, Odin, and the Freemasons’ weird hanging upside down ritual, meant to instill that same sense of emptying out the false self so as to receive true knowledge that is the ultimate unification of self with world knowledge. The mystery ‘cults’ of Ancient Greece and Rome likely had similar purpose (though originally based on fertility/seasons).
These types of healing and initiation rituals are as old as we are, and are related to vision quests. I am sure paleolithic humans/shamans weren’t so much concerned with ‘self and non-self’ but nevertheless, soul-loss or theft was considered a cause of sickness and their work involved traversing into other realms, perhaps through a pitch black, uterine cave passage, to set things right or be instructed by other beings, ancestors, animal spirits, etc. We exist in more than just this one, as we know simply from dreaming.
Dali Tarot Hanged Man
What happens much of the time is, people start going through this ‘inward’ process unconsciously and are either unaware or resistant. All one knows is the depression, self-loathing or other emotional unpleasantness that arises. This is a calling from deep in the soul, but thinking that it is abnormal and needs to be ‘cured’, one fights it, is taken over by substances used to quell it, or fears losing control, which is akin to death. Because how can one function in this world, with all its glaring eyes, while descending into another? But there is no choice. If we ignore this call, Pluto will then bring about an outer event that will force us inward. That is what has been happening, collectively. The three outer planets are ‘the three alchemists’; Uranus shocks, burns and blows up, Neptune dissolves and dissipates, and Pluto pressure-cooks us into change that is permanent. Their transits are long, affecting entire generations.
Artists, poets and musicians of each generation are modern shaman-alchemists of sorts, who traverse the deepest chasms to bring back healing for the rest of society (you’re welcome). But it’s not exclusive, by any means.
Pluto will be leaving earth and entering air starting March 23 (with two retrogrades back to Cap), followed by Uranus leaving earth and entering air and Neptune leaving water and entering fire, both in 2025. Use the next couple of years, with Saturn in Pisces and the alchemists still submerged or partly submerged, to do your spelunking. If you are hearing the soul’s call, don’t be afraid to descend, to enter the labyrinth (you can leave a golden thread to guide you back out). Perhaps you are already in one of the stages or nearing completion, as many of my Saturn Pisces brethren must be.
Point is, you are full of hidden mysteries and treasures to be mined!
‘Most Young Kings Get Their Heads Cut Off’ Jean-Michel Basquiat
Do you have a tenth house Sun placement? How about other planets?
How does this express itself for you?
If a person has a goal and is determined to achieve it, a 10th house placement can work well for them…but if they don’t, they may feel they haven’t achieved enough or have, consciously or not, set standards for themselves they can’t possibly live up to. They may imagine a harder landing, should they fail or fall from grace. This is, after all, the house allotted to Capricorn and its Saturn rulership, traditionally the house of the ‘father,’ and in olden times, ‘the king’. [Some see it in reverse, that it’s the house of the ‘mother’ and the 4th (Moon/Cancer) is the father, although I haven’t personally found this to work as well. Let’s call it even and say this is the polarity of the parents, either of which can be dominant in our psyche.]
The cusp of the 10th, the midheaven, is where we find ourselves looking down from the top of the mountain peak at what we’ve experienced up to this point (often at mid-life) and either saying, ‘wow, I’ve been through a lot, learned a lot, made a lot of money or become a better/more mature person as a result’, or, ‘I’ve done all this stuff, had all these different careers that haven’t amounted to anything and life ain’t getting any shorter,’ depending on whether the cup is seen as half full or half empty. Even the term ‘a-mounted to’ is very Capricorn mountain goat language!
Visconti-Sforza Tarot Wheel of Fortune/Rota Fortunae
But the tenth house has another secret. In Tarot, 10 is the Wheel of Fortune, which is based on the zodiac wheel. We see one character going up, another sitting pretty at the midheaven, another going down, and another at the bottom, at all the angles. A metaphor for life’s ups and downs, successes and failures, but also of time cycles and of the houses themselves, which are angular, succedent, or cadent. In the Tarot card above, the figures are saying, “I reign, I reigned, my reign is finished, I shall reign.”
Roue de Fortune, Tarot de Marseille
The angular houses are strongest, cadent (fallen away from the angular placement) are weakest, and succedent (next in line to the angular position) enjoy the hope of success/succession. [This is perhaps easiest to comprehend when using the equal house system, which evenly divides the wheel into 12 pie slices, one for each sign, beginning with one’s rising sign/degree, but personally I don’t use equal house.]
Technically speaking, the house moves into the position of the house that was formerly in that position, not the sign or planets, i.e., transiting Mars will be in Gemini at a certain degree all day, but in a different house every hour. The houses, though paired with particular signs/planets and spoken of as a conglomerate, are actually separate entities.
Angular, succedent and cadent houses
The 11th house of ‘hopes, dreams, wishes, groups’ (allotted to Aquarius/Saturn and Uranus) is where we can perhaps look for help with our 10th house issues. You will notice the succedent houses are all ‘fixed’ sign placements. Thus they have a certain steadfastness, while the angular (cardinal), though strongest in terms of influence, have that built in ‘fear of falling’, just like anyone in a position of power might. Caution: some viziers make better allies than others.
And although cadent (mutable) houses tend to be shoved aside, as if nothing much happens herein, there can be a certain freedom from expectation in these houses that may also be utilized (true, Virgo seems the exception, but will often find freedom in under-the-radar, detailed tasks such as organizing files). The 0 in 10 is, after all, associated with the Fool, who creates his path as he goes along, unattached to outcome. He was the only medieval court member who could openly roast the king, thus reminding the monarch we all fall down, and 10th house achievers that the journey is really what it’s all about, ‘on arrive jamais‘. Sagittarius is allotted to 9th house as jester, highest card in the deck, with none of the responsibilities of a king, yet somehow lucky enough to have Jupiter as its ruler. Hmm. Faith? Caution: Some fools may be a tad nihilistic and reckless.
Charles VI Tarot Fool
Further proof of this ‘power of three’ lies in the fact that every grand trine is composed of an angular, succedent and cadent house of the same element. Being ‘all for one and one for all’, grand trine energy can flow so easily and fast as to not even notice it’s happening.
So if your Sun or other lofty 10th house planets are feeling alone at the top or afraid of falling, look to either side of them, at your 11th (succedent/fixed) house vizier and 9th (cadent/mutable) house fool for a different perspective from planets therein or friends/people with their sun in these signs, who can ‘act as’ planets. Keep in mind that the 10th house planet/sign is still the one ultimately in charge and can make things happen, it just needs support, sometimes – is it being supported or sabotaged? This goes for all the angular houses, but especially the 10th.
Gemini is cadent to Cancer, Aquarius succedent to Capricorn, two angular signs.
Madonna of Mercy with Kneeling Friars, 1424, Fra Angelico
Saturn in Pisces (March 7, in a 7 year) will mean different things to different people. Depending on where our illusions lie and our willingness to wake in or from the dream, Saturn can feel either harsh or liberating. Saturn is actually a liberator, though not often seen in this light. (Hence, its exaltation sign is Libra).
Sometimes it’s as simple as recognizing whether a dream is really worth the time anymore and/or if we’re ready to do the work to make it real. Other times, especially in Pisces, we have to go a bit deeper into our psyche.
One thing about Saturn in Pisces that has been resonating with me lately (and a constant, life challenge with this being my Saturn placement), is how it can give authoritative voice to those self-sabotaging mantras Pisces is so good at creating. Often these do originate with some authority figure, like a parent, school teacher or even early religious teachings. There may be ‘aha’ moments in life where we realize they were a) not true/except to the person who said it b) useful in order to grow by rebelling against them. [Sir Christopher Lee, Saturn on the ascendant, said the more discouragement he got – first from his mother, then people in the biz who said he was too tall, not British-looking enough, etc. – the more determined it made him to succeed in acting, and, that his epitaph should read ‘I showed them!’]
Or perhaps it’s more subtle…a 12th house type garbage dump of collected mantras all jumbled together. In Pisces, that Saturnian discernment and good judgement is important because this sign has much do with creativity and imagination, as well as faith, especially in ourselves. Where have we ‘imprisoned’ ourselves or ‘sentenced’ ourselves to never trying because we aren’t good enough/can’t make money from this/hadn’t a formal education in it/feel we are in a sibling’s shadow/will only make a fool of ourselves…?
Thinking back to my first Saturn return, it was when that book ‘The Artist’s Way‘ came out. I was living in New York, doing bootcamp as an illustrator, and heard the author being interviewed on NPR. She had some good tips on zeroing in on where that debilitating thought was seeded. When you do, the original, flippant comment should now be given the Donald Duck accent it deserves.
Personally I didn’t listen to grade school teachers who came up with gems like, “that’s not how you draw a tree!”, but l was armed with planets, whereas others may not have been. Being told I wrote “like Dickens” by an art school writing class teacher (ie, not avant-garde enough) was maybe slightly more damaging, although, tbh, I quite liked Dickens. For me, it was more the perpetual, continually reiterated belief (of individuals and Canadian society at large) that artists must struggle, art was no way to make a living, that sort of thing. Even later, when I felt free(er) of these straight-jackets, I would simply find new ones, courtesy of the astrologers, psychics and other intuitives I sought advice from and handed over my personal authority to. Pisces is so good at relinquishing power and its responsibility to its own needs!
Conver Tarot de Marseille c 1760
In the TdM Tower card, the force that ruptures the prison tower and releases the two people is not a lightening bolt, but a feathery plume, which some say is actually coming out of rather than directed toward the structure. Note that the Tower/16 is 7 ‘steps’ from the Hermit/9. Seven is the number of wisdom, and this time it’s Grandmother wisdom. We can take heart in the fact that Saturn in Pisces is a lot more understanding and gentle than in Capricorn and Aquarius. This is a mutable sign, so it’s more of a water birth than by forceps or cesarian. It’s safe to come out of hiding, now.
I recommend astrologer Molly McCord’s Youtube videos on Saturn in Pisces 2023. She talks about this and much more, very insightful!
Menopause is the new “hot topic”, according to the CBC news.
I’m guessing my Pluto in Virgo peeps “opened the floodgates” (media’s words, not mine) of taboo removal, because if there’s one thing Pluto/Virgo understands, it’s the deep, psychological changes that are going on, together with the physical, as we enter opposite virginity, amirite, ladies? So, as we’ve now ‘crossed over’, let us X-gens pass down what we have learned to the next gens.
Menses and month both come from the same root (men also means moon, and there was even a cute, little moon-god named Men, see below). The Moon is our oldest time keeper, as we find depicted on the walls of Lascaux (this is a recent article about it, here I thought it was common knowledge) and elsewhere, because her cycles coincide with those of the female sex.
In the modern age of electricity, humans became out of sync with these natural cycles and the moods that go with them.
Roman Anatolian ‘Men’ who presided over the lunar months.
When a woman (or a man, for that matter) is not in touch with her lunar nature, or feels ashamed of it, the unexpressed Moon self is diverted to shadow, where it becomes an initiate of the Black Moon, Lilith – you know, like those secret tiki god bohemian black magic clubs that respectable members of society used to have in their basements. Her creative power, like that of Pluto, can turn destructive, self-sabotaging, in an attempt to kill off the false self. When this finally occurs with age, we stop giving a damn what others think, and Lilith becomes a staunch ally and a force to be reckoned with. (She’ll be leaving Cancer and entering Leo in a couple of days, so, ya).
Fun fact: ‘Hysteria’ and ‘hysterics’ were once thought to be caused by the uterus moving around through the body at night. (I think mine was actually doing this during perimenopause).
Grandmother Moon has been keeping time and observing all us babies since we were just amoebas on Earth’s watery womb, so if she could talk (and she does), oh the bedtime stories she could tell. This is especially true under the Cancer full Moon, currently opposite retrograde Mercury. The past is bound to resurface in some shape or form. So how does this relate to menopause?
Venus of Laussel with her calends, Upper Paleolithic
The word itself means a ceasing (pause) of menses. Remember, the menstrual cycle is directly associated with time cycles, both inner and outer. Perimenopause can be even more difficult than menopause or post-menopause (note the lunar triad within the triad, there), because everything is getting de-programmed and re-adjusted to a new phase, a new kind of time…hormones surge and drop in ways that make Cancerian mood-swings seem like a toy see-saw. This reverse puberty onset can be downright terrifying (I personally experienced losing half my blood and requiring a transfusion). Maiden and mother phases grow smaller in the distance, as we cross the threshold into Hecate’s cold, lunar landscape. Here, the unconscious knows no solar age…in the soul, everything is fluid.
As beginner crones (root same as crow and crown), we must now become inwardly re-attuned with the Moon, as we feel the ravages of time on our bodies, and face the fact that the physical is temporal. We fear the body loss, because rational, scientific thinking tells us it is primarily our physical self that defines us (see previous Solar Heroes post), that it is the body that ‘has a soul’. But in fact, it is the eternal soul that has a body, or rather, bodies. Grandmother Moon is firm on this. She presides over the inner world like Sun does the outer. At night, we traverse her realm….but, how many of us at this stage find our sleeping patterns are all over the place? Might it mean that our inner Moon is now wide awake and roaming out of bounds? Or just that darned, roaming uterus?
Will leave you with those thoughts, for now. Stay tuned for more meno memos!
Moon-faced Gorgoneion, protectress of mysteries by RB
