Red White n Bluebeard (acrylic mediums and oil pastel on wood) SOLD
Red White n Bluebeard is a painting created during the first presidential campaign of Teflon Don of the Wild Rumpus. It is based on the folk story of Bluebeard, a cautionary tale for wives who dare to disobey their husbands, from the days when women were considered little more than property. Sadly, this is still the case in many countries, daughters are basically sold off to the highest bidder. Imagine the fear, not knowing what awaits, whether your new husband, often a complete stranger, will be kind or a demon. (It’s how new pets feel, too).
detail
Bluebeard is a magician of sorts, he gives his new bride a set of keys, upon leaving for a voyage, telling her open any door except one. Of course curiosity gets the better of her, and she discovers hanging in the forbidden room are the bloody corpses of his 6 previous wives. And the enchanted key is now permanently bloodstained. Innocence forever lost, forbidden knowledge akin to death. Fortunately her brothers end up arriving just in the nick of time to kill Bluebeard before he can make her number 7.
Red White n Bluebeard (different light/with frame) SOLD
Acrylic mediums and oil pastel on wood, set in an authentic, hand cut, antique folk wooden frame all the way from 1930s Poland. SIZE: about 15 x 20 inches.
With frame, colours in natural lighting…
The painting is not a portrait of the (soon to once again be) president, but rather a personification or allegory of the rage and racism that had begun rearing it’s ugly head in the US – permissible and encouraged – during his rise to power. The figure wears a mask that has become melded with his face. He both hates and fears the screaming people caught in his red white n blue beard. Inspiration was drawn from the contorted victims in Picasso’s Guernica, to illustrate those without rights or power, caught in the hairy flames and begging for mercy.
detail
Recently, Rumpus has made ‘jokes’ about Canada entering into an arranged marriage, shall we say, with the US, which I won’t repeat here. Many have noted his characteristic, tactical trolling, bullying, belittling. But it is also a form of hexing. Rumps is a magician skilled in word sorcery (Gemini Sun/Uranus). He well understands that all that is required is for a thorny little seed or egg to be planted in the collective mind, hypnotically repeated as a command to the subconscious, and it will grow there like a parasite until it bears ugly fruit. Rather like that frienemy who casually insinuates your spouse might be cheating. (How interesting his new health minister literally had a brain worm). This is how subliminal advertising has always worked, and he is a walking advertisement, set to (once again) head TV Nation. Don’t buy it, Canada. You know what’s behind that door.
The Hanged Man/Le Pendu is surely among the most disturbing and evocative of the Tarot triumphs. He’s undergoing torture, but seems unwilling to reveal anything about his inner experience (I almost titled this piece, “We have ways of making you talk,” but this is now the title of some TV series). As it turns out he’s got a LOT to communicate to those who have crossed the threshold (XI) of Tarot’s ‘greater mysteries.’ Think of him as the babbling head of Orpheus. So let’s dive in, head first and dissect this frightful, human pendu-lum from toe to head; his mytho-alchemy, number symbolism, religious/cult connotations and more!
Charles VI Tarot (15th c) Note the 3 and 4 pegs beside his bags.
HUMBLE BEGINNINGS
Formerly called ‘The Traitor,’ the figure initially held a sack in each hand, presumably containing money he either stole or acquired in a dubious exchange (such as bribery). In the Charles VI card (above), he almost looks like he ran into a trap, baited with the dough. The image is thought to be modelled on pittura infamante(‘shame portraits’) of the Italian Renaissance – horrifically, this punishment was actually inflicted on criminals and Jews. We could also imagine these ‘hermetically sealed’ bags as containing something secret (like the Fool’s bindle) that he won’t release, even under duress – alembics, if you will. In some Minchiate decks (cousin of Tarot), he is simply holding two roundels and is cleaned up to like an acrobat/jongleur.
Although he wasn’t hung thusly, it is also perhaps a reference to Judas Escariot, who was paid 30 pieces of silver for betraying Jesus to the Romans. Silver is the Moon’s metal, gold is the Sun’s, and Christ, the other twin, is characterized as solar/gold – similar in the nocturnal/diurnal sense to Dionysus and Apollo, who both ‘possess’ Orpheus at different times.
Visconti Sforza 16th c, Jacques Vieville 17th c, Nicholas Conver TdM 18th c
In the Visconti Sforza card (left, above), the calm, golden-haired rendition, similar to our TdM figure emerges. We see no money bags (did he even commit a crime?) and his hands are now hidden (tied?) behind his back. If we zoom in, we can see red ‘flames’, ie, life force, dripping from his clothing. Obviously fire doesn’t drip, blood does, but it’s shaped like flames, similar to the red plume escaping from the Charles VI figure’s leg. These flaming blood drips are transferred to the cut branches of his gibbet in TdM.
Beneath his head, just touching his hair is a pool of blue water – again, we are reminded of the head of Orpheus, thrown into the River Hebron, by the maenads. His leggings are green, the colour of new life, yet to ripen, and his very prominent gibbet now resembles a golden doorway. Because of how his leggings seem to be ‘chomping’ him, this card always reminds me of the alchemical Green Lion devouring the Sun image (below), said to represent vitriol (sulphuric acid) dissolving gold.
V.I.T.R.I.O.L. or V.I.T.R.I.O.L.U.M. (‘visita interiora terrae, rectificandoque, invenies occultum lapidem’, or ‘visit the interior of the earth, and purifying it, you will find the hidden stone.’ This is another way of saying, ‘look within yourself for the truth’). This phrase must be present in all Masonic chambers of reflection directly facing the candidate.
Visonti-Sforza hanged Man and Alchemical Green Lion devouring the Sun
In the Vieville version (middle) the number is printed/situated so that we must turn him ‘right-side up’ to read it correctly, thus also bringing the Lunar and Solar mounds either side of his large-ish head into view. Note the Solar mound also contains the planetary spheres. His fingers seem to sprout like angelic wings from his shoulders, symbolic of Mercury elevating the spirit to the realm of the gods (we see this detail in Noblet and Dodal, also). As with the Marseille card, his gibbet now shows 6 cut branches on each side, only here the middle piece upon which he lands or dances has 4.
The Hanged Man dangles by his foot, not unlike a bunch of grapes clinging to a vine, and his wild hair in the TdM version does seem to evoke Dionysus. (Christ purportedly claimed to be ‘the true vine’, unlike that Pagan weirdo).
Grape flavoured Gods: The Wine Press by John Roddam Spencer Stanhope and Pompeii fresco Dionysus (both details)
ALCHEMICAL SCAPEGOAT
Ascending while or following descent is often expressed in myth by the ordeal of a [solar] god – Odin obviously comes to mind in relation to this card, but so do a few other resurrected or ‘twice-born’ gods. The Bacchic-Orphic mysteries also elude to a kind of simultaneous ascent-descent described as ‘rushing into milk’ (‘a bull, you rushed into milk’) or ‘falling into milk’ (‘a kid, I fell into milk’), found on a few of the gold tablets buried with initiates.
Alma Nungarrayi Granites, Seven Sisters MilkyWay Dreaming
Too involved to go into here (please check out the Orphic link posted above the three Pendu cards, if you want to know more), but ‘milk’ is thought to refer to the Milky Way and/or Paradise. Initiates would descend to the Underworld after death, where they were to tell the guardians they are ‘a child of the starry heavens, as you yourselves know,’ have been purified and wish to now return to their rightful place in the stars with their family of gods and heroes.
The Vieville card seems to elude to this concept, with its addition of heavenly spheres. He’s done or doing time here in human form, but will return. You decide which deity.
Ascend and descend: Franchises Gaffurius, Practica Musicae frontspiece, 1496
Aside: I asked musician friends for an example of ascending and descending notes being played/sung simultaneously, in order to possibly better comprehend the card on an emotional level, and was directed to JS Bach’s Chorale Harmonizations. These are just snippets, but have a listen.
In the classic Conver ‘type II’ version (right, above, next to Vieville), the mounds are just slightly differentiated and there is only one cut branch in the middle bough which has been reinterpreted as a little spoon, making 13.
For stirring up? Or making libations of wine on sacrificial victims?
Addendum: I only recently noticed in the Charles Cheminade deck (middle detail, above), one of the oldest existing type 1 TdM examples, the rope our Pendu hangs by is shaped like a spoon, so it must be a reference to the Fool and the ‘ultimate transformation’ process at hand.
His mane is firey like the Sun and his blue leggings are watery, so either things are upside down or the Sun has essentially sunk. A fallen angel? Or a drowned person with hair flowing in the water?
The Death of Orpheus by Jean Delville 1893
In alchemy, oftentimes what is meant by fire is sulphur and by water, mercury. These are the two prime materials or principals which, along with salt were the three ‘heavenly substances,’ or tria prima – philosophical elements, which, combined with the four classical elements, were thought to be the basis of everything. (3 + 4 pegs in Charles VI card). It’s a bit confusing, because philosophical mercury is spirit, even though it’s equated with water, and sulphur is soul, although it is fiery. Salt is the physical body. Think of the salt in an hourglass, Le Pendu being like a human version.
3/III and 4/IIII are of course the The Empress and Emperor. XII The Hanged Man is the middle ‘3’ card (1+2=3); the first being III The Empress (3) and third being XXI The World (2+1=3). Previously, I speculated that The Empress represents the beginning of ‘the work’ and the alembic itself. (All the ‘3’ placement cards – III, VI, VIIII, XII, XV, XVIII, XXI – have this ‘combining’ theme). We can spot parts of the 4 elemental beasties in her make-up already; the blackened eagle, her blue ‘wings’, crescent necklace and horned crown, her….mane and paw?? Must be a ‘printer’s mistake,’ heh. What a sphinx.
She bears a clunky resemblance to Philosophical Mercury, who appears more recognizably as Temperance in the Vieville deck (left, below). [Note to modern astrologers: this should make you think twice about handing Virgo’s rulership to the asteroids!]
Vieville Temperance (c 1650) and Flamel Philosophical Mercury (c 1330)
Their two imperial eagles are also emblematic of ‘the work’ and the process of transformation that is yet to occur. 3 x 4 = 12. Like the yin-yang, each contains some of the other. How else could they become one? ‘Lovers don’t meet/they are in each other all along.’[Rumi]. We are given a hint by the direction in which their wings point; the earthly lifted up toward the spirit and the spirit held/pulled down by the earthly. [Yes, I know the eagle (bird of Zeus-Jupiter) is a symbol of the Holy Roman Empire…good to familiarize yourself with European heraldic and hermetic emblems.]
Payen (type I) Empress and Emperor cards-early 18th c
It is Mercury’s passive feminine divine nature, that allows the alchemist to transform one’s life and live more in harmony with the laws of nature. Mercury to the alchemist of today, is a symbol of the sexual waters of creation and the spinal fluid, that brings the carnal desires into submission of the divine mind. Once the alchemist understands the principles of Mercury (mind) and finds balance between its feminine passive force, and sulfur’s (soul) active masculine force, within his or her salt (fixed matter/body), he or she will become the philosopher’s stone, able to turn lead into gold at will. ~ The Wandering Alchemist
Watery Hanged Man from Dali Tarot
TOE-DIP INTO THE OCCULT
The Dali Hanged Man (above) is based on the Waite-Smith Tarot, but gives him the Hebrew letter lamed, in accordance with the French occult school, even though the Golden Dawn assigned mem to this card. Mem means ‘water’ and has to do with (self) reflection.
There are at least five different arrangements of Hebrew letters to Tarot triumphs, which to me makes the whole concept a bit wobbly-legged. Based on the accommodating nature of TdM and what I have read so far on the Hebrew letters, if there is anything to see here, it is likely much more fluid and nuanced than simply ‘this card = that letter.’
Nevertheless, to my limited understanding, the Golden Dawn (and Crowley) choice of mem rather than lamed for the Hanged Man is kind of fitting, considering the wateriness, although in terms of self-reflection, it also works with the Unnamed/Death card.
‘Know Thyself’ Roman mosaic, 1st c AD
Most of these schools agree that The Empress = gimmel, the third letter of the Aleph-bet. Although gimmel is never assigned to XII or XXI, it bears a phonetic similarity the word ‘gibbet’ (13th c French). The earliest pictograph for gimmel was a foot. Here are some meanings associated with the letter gimmel. Does it describe the Empress?
– Foot, Pride, Camel
– Lift up (above god = pride)
– The benefactor or the giver of charity; ‘A rich person running to give charity to a poor person.’ – ‘According to Kabbalah, the design of the gimmel is composed of two letters. The first is a vav, represents a person who stands upright. To the person’s left side is a yud, which signifies both the foot and the act of giving.’ – ‘He descended to die for us, he ascends to resurrect us. He is Jacob’s Ladder.’
That last one immediately reminded me of Philippe Camoin’s theory. Jacob’s Ladder was the original ‘Stairway to Heaven’, a hypothetical set of steps by which angels (and thereby souls) ascend and descend.
Philippe Camoin’s ladder insight
The ladder is also a Hermetic symbol of initiation into esoteric wisdom, via exoteric knowledge, the first step. This fits with the position of the card, directly following XI, the threshold of the ‘greater mysteries,’ and X, wherein a small portion of of a ladder (two rungs) forms the base of the Wheel. Camoin also points out a little ladder in the Fool’s bindle.
Also recall the little, gold ‘flame’ beneath the Juggler’s 3-legged table, a wood structure shaped not unlike the Hanged Man’s gibbet. The Juggler is about to perform his greatest magic trick, a re-enactment of the dismemberment rituals twice-born gods are compelled to endure. (Hermes himself is thrice born, at least). The Hanged Man’s sectioned clothing reminds me of a butcher’s bull diagram – favourite sacrificial animal of the gods, sacred to Osiris, Dionysus and Zeus.
Dante Gabriel Rossetti, How They Met Themselves (1851-60)
THROUGH A GLASS DARKLY
Esoteric (from Greek ‘within’) is a kind of knowledge that is only realized by ‘meeting it half-way.’ This is different from occult (from a Latin word meaning ‘hidden’), which suggests something outwardly revealed. The difference is subtle, and the two words are often used interchangeably (pet peeve!), but I think the TdM Hanged Man/Pendu exemplifies the esoteric. Each will come to know him on their own, personal terms, by their own projections and reflections.
Since ancient times, mirrors of some material or other have served the function of water (reflecting self/lunar) and fire (reflecting sun/solar). An example of the latter is the concave mirror with which the solar, Olympic flame was lit.
Bacchic-Orphic mystery initiation was thought to involve a simulated death experience wherein one essentially ‘met themselves’. This transformative and purifying ritual, of which little is actually known, was to prepare initiates for the real afterlife ordeal. The fresco detail below depicts the use of reflection in a metal bowl (spiked wine all drank), combined with the comedic death mask. It could be actual or a metaphor. Addendum: Consider also how the TdM Pendu’s face resembles the snake-haired gorgoneion – that mask concealing the greatest mystery of all – and how the six, ‘bloody’ branch cuts on each side evoke Medusa’s severed jugular veins; one that flowed with the elixir of rebirth, the other, of death.
A scary revelation, Villa of Mysteries, Pompeii
Excerpt snagged from an alchemy group thread:
“The purpose of the mirror was not to allow a person to contemplate himself physically, because scarcely was the mirror put down, when the person lost memory of his own image. The Mirror represents the Divine Spirit. When the soul sees itself in it, it observes the shameful things in itself and rejects them. … Once purified, it imitates and takes as model the Holy Ghost; it becomes spirit itself; calm possesses it and it turns continuously to this superior state in which it knows (the divine] and is known [by it]. Then having become without shadow, it divests itself of the chains that are its own and those it has in common with the body. And what is the word of the philosophers? Know thyself. – from Julius Evola’s interpretation of ‘La Chimie au Moyen Age’ and has been translated into English by E. E. Rehmus
The Hanged Man may not appear to be suffering in physical pain for the simple reason that he isn’t undergoing any or it’s not really the point of this exercise. Rather, the appearance of an unbearable situation is for those of us on the outside to see, that we might grasp the nature of his/our inner process.
Always, the first truth revealed in darkness is…the darkest one; the face of that which we are ashamed or afraid of, hidden from or kept hidden from view, like whatever Le Pendu hides behind his back, while staring squarely at us. Always, the first stage in an alchemical opus is ‘the blackening.’
Uh oh…
Possibly the equal Sun and Moon of Vieville indicate an eclipse, ie, a temporary but significant darkening. Only after the shadow is brought into the light of our awareness can the light of the divine self be freely revealed as the complete being (ie, the ‘philosopher’s stone’) in the mandorla/vesica piscis of the World card. The shape is yonic as well as an opened eye; it represents rebirth through renewed vision, an awakening or ‘apocalypse’ which literally means ‘lifting of the veil’. Talk about words that become twisted beyond recognition!
Who hasn’t seen the reflection of their worst and best selves in the eyes of another, or God in the eyes of a beloved or a newborn? The ‘enlightened’ being reflects back to everyone their own, divine nature.
Pierre Madenie World card 1709 and Leonhardt Thurneisser’s Anima Mercury 1570
SACRIFICIAL TO SACRED
Is this the ‘religious experience’ our Hanged Man, traitor to his divine ‘Christ’ self, has yet to experience? In making a sacrifice of his ‘sins’ or lesser being, the gods receive them as sacred gifts. Indeed, it was common practice to tear bits of clothing (or even body parts) from the sacrificed person, now magically imbued. The satyr Marsyas, while being flayed for his hubris at Apollo’s command, cries, ‘Why do you tear me from myself?!’ It’s to reveal the Apollonian within [Edgar Wind, Pagan Mysteries in the Renaissance].
Some literally do put themselves through ordeals and physical extremes in the name of ritual purification or sacrifice, similar to cooking/torturing the stone. Others, in the name of martyrdom. Jupiter is the traditional ruler of Pisces, 12th (last) sign of the zodiac, associated with self-sacrifice, self-undoing, martyrdom, and the whole Piscean Age we are currently birthing out of, into Aquarius. (Someone please let the martyrs know).
Shiva devotee doing his daily practice. The Netherlands, 1727-1738
“The festival at which the king of Calicut staked his crown and his life on the issue of battle was known as the “Great Sacrifice.” It fell every twelfth year, when the planet Jupiter was in retrograde motion in the sign of the Crab, and it lasted twenty-eight days, culminating at the time of the eighth lunar asterism in the month of Makaram. As the date of the festival was determined by the position of Jupiter in the sky, and the interval between two festivals was twelve years, which is roughly Jupiter’s period of revolution round the sun, we may conjecture that the splendid planet was supposed to be in a special sense the king’s star and to rule his destiny, the period of its revolution in heaven corresponding to the period of his reign on earth.” – ‘The Golden Bough’, by James George Frazer (on the Killing of Divine Kings)
“At the end of their reigns, some Irish Kings were sacrificed or slain by having their palaces burned about them while they were either stabbed or drowned in a butt of wine or beer. That is to say, they were sacrificed by the two chief elements controlled by the druids, Fire and Water, the sacrificial draught and the funeral pyre. Their fate was perhaps ritual purification before natural death.” – The Penguin Dictionary of Symbols, Jean Chevalier and Alain Gheerbrandt, trans. John Buchanan Brown
God-King Kurtz’s bedtime stories in ‘Apocalypse Now’
Since the Solar cycle is a mini Jupiter cycle (12 months vs 12 years), the Sun is Jupiter’s (God’s) son, planetarily speaking. At the end of his 12 year reign, the king would have to die, preferably by suicide. Similarly, the 13th Lunar month in a Solar year ‘kills’ the Sun. “He’s murdering the time! Off with his head!” Frazer suggests that in some places, this led to the practice of a false king – a substitute victim. Robert Graves writes about similar in Ancient Greece in ‘The Greek Myths,’ and an alternate Gospel from the late Middle Ages declares Christ himself had such a substitute, namely Judas.
Moon and Sun trees (detail), Rosarium Philosophorum, 19th c
The Hanged Man might be seeing his reflection upside down in water, outer and inner worlds reflecting each other, so that 13 branch cuts doubled become 26, the number of YHVH (Yahweh, aka God, Jupiter, Odin, etc). We too might be seeing only a reflection, or someone beneath the water. He does appear bloated, like a drowned body (or perhaps holding his breath). Yet, this is where life begins – in water, in utero, in a bath of mercury…
Liquid Mercury mirror telescope [NASA pic] TO CONCLUDE
In its metal form, the surface of ‘quicksilver’ or ‘water-silver’ (Greek hydrargyros) is essentially a mirror. Mercury never shows its own face, only reflections – masks, as it were. Another fact is that our eyes see everything upside down, our brain turns what we see right side up. Hanging upside down for long periods of time will actually result in reversing this!
The Hanged Man/Le Pendu reveals that there are many different perspectives from which we can view things (Tarot, for one) and sometimes a new outlook can change the course of our lives. When turned ‘right-side up’, as many have noted, he appears to be doing the maenad jig, like the Hermetic-Bacchic-Orphic-Christ-Androgyne in the mandorla, thereby assuring us it’s all necessary, that we all turn upside down in water before undergoing birth trauma and finally re-emerging as a complete being in a state of grace. But at this point, 21 is still a long way off. The ‘dark night of the soul’ has only just begun. ~rb
poem b Efrem K. Weitzman, student at Cooper Union, 1943 (courtesy of Bill Wolf)
Today is my Mars return at 24 Aries. I’d been expecting the usual – namely, irritation (I did have an eczema outbreak, but that was immediately after listening to five minutes I’ll never get back of DT’s vitriol, last night) and a sudden surge of willpower to get things done. Check! But I hadn’t expected feeling ‘lighter’, even goofily so.
‘Scarface’, NASA photo of Mars
Aries is of course one of the signs ruled by red planet (the other being Scorpio, traditionally), God of War/Death, so Mars is well-placed here, where he can express himself absolutely. Mars in Aries is direct, to the point, impatient, quick to rile and often fearless, sometimes stupidly so, head-butting in first. But what about when he begins to mellow with age?
Titus Pullo from the HBO series, ROME
Mars is a lone wolf, shunned by the other Greco-Roman gods (together with his sister, Eris/’discord’, currently conjunct at 25 Aries), except Venus, who finds him a turn-on, and Pluto, always glad to expand the underworld population. No stranger to pain, tragedy and suffering, Mars has waded through blood and acquired many a battle scar, thus is also a knowledgeable healer. Military men had to know how to stop the bleeding, remove an arrow, cauterize an amputation, prevent infection, use herbs, and possibly recite prayers for the dying. Bodies belong to Mars, and they are impermanent.
Fool/Comedy and Death/Tragedy, flip sides, Grimaud Tarot de Marseille
But Aries also happens to be the sign of the Fool – the wise Fool or ‘wise child.’ April Fool’s Day is in Aries season, after all, and this is the first sign of the zodiac, the infant. Aries never seem to grow up, yet they see with a clarity (clear vision = clairvoyance) that can be unsettling. Like all fire signs, they like attention and rarely hold a grudge. Perhaps Aries the warrior secretly knows laughter (+good bedside manner) is the best medicine, that humour, like Venus’ love, disarms, and the lone wolf sits beside the Fool on the hill to watch the Sun go down and howl at the Moon.
So this other side of Mars in Aries becomes apparent. Take a look at the opening image of the Sola Busca Fool/MATO card. I tend to avoid this deck precisely because it is so gory and feels heavily Martian/Saturnian. But how interesting that he has a crow (death) on his shoulder and walks through a barren wasteland, much like a battlefield. He wears red (Mars/blood) and plays a bagpipe, an instrument of war even before the Romans brought it to the British Isles. Hmm.
Sketch of a Roman phallic tintinnabulum, 1746
Mars is currently in the third/last decan of Aries. Depending on which decan system you use, the third is either ruled by Jupiter (most common), Venus or Gemini. Based on how it feels (trine my Sagi Moon), I have to go with the jovial one. A planet in late degrees exhibits an accumulative effect, similar to life experience, or lifetimes of experience. Perhaps this is the real meaning of the dog (or cat) who bites our Fool from behind, a past of aggression he is walking away from, un-attachment to old anger, pain and fear, as he heads into the great beyond. ~rb
Ah, Sex and War, Love and Death – the essential elements of any lasting narrative. In the western hemisphere, the sacred co-mingling of Mars, all sweaty from battle, and Venus, full of oysters, injects red life force into earthly vegetation each Spring (Aries and Taurus, but also planet Venus in Aries). In Autumn (Libra and Scorpio, but also planet Venus in Scorpio), they unite again in death, Venus committing sati on the bonfire and lonely Mars turning into a wolf that will eat the sick and weak who can’t survive the winter. Adieu, until next time around. The cycle begins, ends and begins again with this union of opposites. Or, as the tantric, Indian Goddess, Lalita puts it, “Like the Sun and Moon coming together in an eclipse, consciousness comes into being via orgasm.” (Funny how the first and last letters of that word spell OM).
Two versions of Indian Goddess Lalita, Babylonian ‘Queen of the Night’
Lalita means ‘she who plays.’ Her many incarnations include Lilith, Lilitu, Lili, Layla, Lola, Lulu, Lolita, etc, all having nocturnal, sexual or demonic connotations. As Hebrew Lilith, she is Adam’s first wife, the serpent in the Tree of Life who teaches him (or Eve, depending which version) “carnal” self-knowledge, i.e. the mysteries of sex, life and death. She is not made from his rib, either, but from earthly muck. When God expels her for her independent spirit (refusing to lie beneath her husband in missionary position), she flies away to where the wild things are, and, finding it preferable to subservience, becomes the prototype for sexual demoness, vamp and devil-humping witch, eating babies and seducing holy men in their sleep. Independent yes, but also deranged. Her name means ‘screech owl’ or ‘ghost.’
The cycle of existence is hard-wired by desire, Scorpio’s raison d’etre. During the Sun’s passage through Scorpio/the 8th house (sex, death, regeneration, energy, healing, shared resources, financial obligations and the occult), from Oct. 23 – Nov. 22, we honour the Sacred Dead and all taboos associated with them. During the few days of Samhain, All Soul’s Eve, Hallowe’en and Dia de Los Muertos, the veil between worlds is as thin as a spider’s web, allowing spirits to attend graveyard picnics and inhabit jack-o-lanterns. On Armistice/Remembrance Day, Nov. 11, we pause to honour those who, in the spirit of Mars (traditional ruler of Scorpio), sacrificed their lives in battle. This year, it will fall on 11-11-11, a date many are getting excited or apprehensive about, considering the power of master numbers 11 and 33.
The word ‘taboo’ originally meant sacred, and indeed, sacred things were kept under veils (where we get the word secret). It later came to mean something forbidden by society. Incest, cannibalism, bestiality and patricide are examples of common taboos. Then there are cultural variants, like the untouchability of the bereaved or of menstruating women, both considered ‘unclean.’ Even today, a woman may refer to her period as ‘the curse’ and drugs are routinely prescribed for blocking messy menstruation altogether. The very essence of sex and death, menstrual blood is even more powerful than blood spilled in battle, therefor extremely taboo.
Teenage menstruation fears gone haywire in Carrie, Bleeding Goddess at Kamakhya Temple, Assam
While the mysteries of womb and grave may be a secret, they are not the property of anyone. They are universally inherent in our DNA and as individually expressed as the infinite forms of nature. Yet, those who govern societies do not want people to be in charge of their own sex, death and regeneration. Whoever owns the rights/rites to these forces has all the power. Therefor, strict rules and guidelines for birth, sexual practices, soul redemption and corpse management are imposed on the populace (while those at the top often practice the complete opposite). Some of these are necessary for health reasons, or simply to protect people – it’s probably not a great idea to eat the deceased, for example, and forced sex with anyone is a violation of natural law – but mostly it’s an 8th house issue of controlling other peoples’ resources. It’s all energy, just like money or food.
Plutonians harnessing Venusian power in Kubrick’s Eyes Wide Shut
Another attribute of Scorpio is that of the collective nemesis or shadow. Since Scorpio is a feminine sign, this usually means feminine shadow – the harlot, devouring mother or hag – witches who channel the untamed forces of nature. And so we are divided, according to what’s deemed permissible. It is not just women who are affected by the censorship of essential parts of our being, either, since we are all composed of both masculine and feminine, feminine being the soul. Dreams, theatre and film portray our disconnected parts as characters in conflict and resolution. Ancient Greek drama was, essentially, group therapy. In the theatrical tradition of Hallowe’en, it’s socially acceptable (and fun) to dress up as our shadows or alter-egos and parade them proudly, witches being by far the most common. In recent years, Zombie Walks have become hugely popular, with thousands of participants of all ages. (I guess eating braaaaiiins must be therapeutic for a populace so dependent on artificial intelligence).
Beauty’s compassion breaks the Beast’s spell of duality, and Scorpio Winona feels Dracula’s pathos.
In Tarot, the Devil is shadow or dark twin to our solar self, banished to the underworld of our unconscious. Our repressed impulses live there, like creatures of the night, creating disquieting thoughts, illusions and dreams. Traditionally the shadowy, lunar feminine presides over these, but with Pluto and Neptune now on the scene, we can’t be blaming the Moon for everything. (Plus we’ve now an astrological, Dark Moon Lilith).
The chained doppelgangers in card 15 represent our dual nature, which must ultimately be reconciled. This is really the theme of Tarot’s visual narrative, with the climax – a complete breakdown of the ego, followed by a period of grace, darkness and rebirth or ‘dark night of the soul’ – occurring between these two cards, mirroring conception. In ancient astrology, the sign of Gemini was ruled by the Sun.
In extreme cases, the doppelganger can take on a life of its own and prey on the energies of its other. Dr. Jekyl and Mr. Hyde, which came to Robert Lewis Stevenson in a dream, is one such cautionary tale. Another is, of course, Dracula, the promiscuous, cannibalistic, murdering necrophile and most beloved Hallowe’en persona. Babylonian lilitu and medieval succubi were early inspiration for vampire lore, but it was Phillip Burne-Jones’ painting of a female vampire, inspired by Bram Stoker’s 1897 novel, that started the whole ‘vamp’ thing in popular culture. After viewing the painting, Burne-Jones’ cousin, Rudyard Kipling wrote his poem, The Vampire, which later became the script for A Fool There Was, the silent film that gave Hollywood’s myth-making industry it’s own Lilith, Theda Bara. Even her name – an anagram for Arab Death – relates back to the Babylonian demoness. (Venus in Scorpio until November 1 is the Vamp).
Man-made vamps: Burne-Jones’ gothic and Fox’s lady, Theda Bara
Some Scorpios have been accused of vampirish tendencies, thriving on the life energy of others. Though Scorpio expresses the urge to dominate/have power over life, it’s higher resonance is redemption through love, so it has multiple symbols: Scorpion – basic instincts are fear and desire. It amasses power for it’s own gain and stings itself when cornered. Eagle – sees from the heavens, rather than the ground and amasses power in order to redistribute to the whole. Phoenix – rises from it’s own ashes, symbol of self-regeneration par excellence. Dove – redeemer or Christ figure of eternal, pure love/light.
Most Scorpios are a mix of scorpion and eagle, some are phoenixes, few are doves – but all are redeemers in one way or another, for better or worse.
Thoth Tarot Death card, devouring Mother Kali
Indian Vedic astrology has not rushed to adopt Uranus, Neptune and Pluto as the new rulers of Aquarius, Pisces and Scorpio. It also still uses the sidereal system (tropical is commonly used in the west, relying on seasonal equinoxes rather than constellations) and the traditional calendar combines both solar and lunar cycles. Between mid-October and mid-November, it’s Libra season there and Hindus world-wide celebrate Diwali, a five day ‘festival of lights’ celebrating the triumph of good over evil, during which moral order or karma is restored. There are more variations than I’m qualified to write about, but the worship of Lakshmi, Goddess of wealth, wisdom and happiness is the main event. Lakshmi’s four arms represent the four principals of Hinduism – Dharma (duties/philosophy), Samsara (cycle of rebirth), Karma (right action/cause and effect) and Moksha (liberation from Samsara). She also wears red and sometimes rides an owl.
