O Crown of Light, O Darkened One, I never thought we’d meet. You kiss my lips, and then it’s done: I’m back on Boogie Street.
The Lover/L’Amoureux has typically been interpreted as Hercules (Herakles) at the Crossroads, or an emblematic representation of the choice between vice and virtue. Other theories abound – that the young man is choosing between an older and younger woman, or the older woman is bequeathing her daughter. It’s been debated, also, whether the word is singular or plural. [Answer: singular, although it can also be used as plural.] Here it most likely refers to the central character; ‘the loving one’, ‘the amorous one’, ‘the lover’. But the triad is also important.
While these explanations are adequate, if we want to know what lies beneath the surface, we must, as always, pay attention to the details in this version of the card, which are ‘hidden in plain sight.’
Visconti-Sforza Love ca 1450 and Charles VI Lovers ca 1475-1500.Love (fragment) Cary Sheet, ca 1500.
First, let’s look at the Visconti-Sforza and Charles VI cards, which offer few, but relevant clues. The V-S depicts the actual people for whom the deck was commissioned, Bianca Maria Visconti and Francesco Sforza, who were married in 1441 to unite the Visconti and Sforza families. This has nothing to do with the eventual TdM theme, except that it may have been inspired by Tristan and Isolde (very popular in Italy at the time), also likely the subject of the Cary fragment. In the legend, Tristan is delivering Isolde to a king to be married, but the two of them drink a love potion en route and tragic, ‘courtly love’, ensues.
Death of Tristan and Isolt, Rogelio de Egusquiza, 1910
In the Charles VI card, a pair of very determined cupids shoot at three pairs of courtly lovers below. Two of the men on either side clasp their hearts, while the one in the middle can’t contain his passion for his lady. That’s what it was all about – Eros had 0 to do with marriage.
The claw-footed Love, from Documenti d’Amore by Francesco da Barberino, ca 1315.
The Charles VI card recalls the imaginings of the early Renaissance poet and Giotto contemporary, Francesco da Barberino, who “deliberately inverted” love’s personification, emphasizing Cupid as the son of Mars and changed his image from “a personification of Divine Love to a personification of illicit Sensuality” by removing his blindfold.*
The connection to erotic love (Eros) and death is becoming established, and the card becomes less about marital love in the general sense. Much too dull for theatre, darling.
The Lovers, Anon. Tarot of Paris, ca 1650.
The Anonymous Tarot of Paris (ca 1650) gives us our first clue as to the French tradition. The amorous man holding in his arms a resigned, but not altogether unwilling woman might be modelled on Pluto and Persephone. The engraver has managed to convey much in her downward gaze, as if the man’s saying, ‘Come live with me, reign as my Underworld Queen!’ and she’s having an inner conflict, ‘Do I really want to go live down there…forever??’ Think of all the young women who must have felt this way through the centuries, marrying men they hardly knew, often far from home. The story of Bluebeard takes this very rational fear to its extreme.
Winslow Homer, ‘What she sees there’ from Bluebeard.
In ancient Greco-Roman times, love was rarely, if ever, the basis for marriage. A bride would effectively ‘die’ to her own family, transferred as property from father to husband, and would from here on have to worship at the altar of his family ancestors. Because it would be insulting to her own ancestral gods if she abandoned them willingly, a ‘faux’ kidnapping a la Pluto and Persephone had to be enacted, which is where the tradition of ‘carrying the bride over the threshold’ comes from. She has to pretend it’s not her own choice, that she was stolen!
Pompeii fresco featuring the abduction of Persephone.
In actual fact, Persephone (‘bringer of destruction’, ‘bringer of death’, aka the ‘Iron Queen’) was already an Underworld ruler for a long time before the Hellenized myth, and the TdM card is perhaps faithful to this. Before Persephone’s abduction and while she’s above ground, she is called ‘Kore’ (‘maiden’), and as part of the Underworld Goddess triad with Demeter and Hecate, she’s also the ‘maiden’ to mother and crone. Her priestesses were called ‘kores’ (masc. ‘kouros’) and it’s possible that initiation involved ritual marriage with one, ie, ‘marrying death’, so that later, ‘death’ in the form of a beautiful, young, underworld partner awaited the initiate when the time came to cross that threshold. Nobody knows for sure.
Sculpture of a Kore
The connection to Persephone in Tarot of Paris becomes more honed and specific in the TdM card.Here, it is the man who some would assume is having to make a choice. He looks toward the woman wearing a crown of leaves or fronds, while his arms point toward the woman wearing a crown of flowers. The Pierre Madenié 1709 version makes it perfectly clear what kind: Narcissus, the flower Persephone was said to have been picking when she was snatched by Pluto. Further, if we look carefully at the halo around Eros above, in the Conver (type 2) versions, it is visibly skull-shaped. This can hardly be a printing mistake.
Pierre Madenié [type 2] 1709 (Yves Renaud) and orig. Jean Dodal [type 1] c 1701-15.Not convinced? Alright, let’s turn to Dodal (type 1). It is difficult to make out the details of this somewhat ‘cubist’ Eros, but we if we examine closely, we see that his bow is also the handle of a jagged scythe or sickle (maybe a mix of both), which is an attribute of Demeter, as well as Kronos-Saturn, sixth planet-god from the Sun (ancient ‘end of the line’). So we can deduce that, in the esoteric sense of this card, the young man stands between Demeter and Persephone. He could be an initiate, who, after having undergone the ritual would have been referred to as one of the ‘olbioi’, meaning ‘blessed’ ‘blissful’ or ‘fortunate’ – ie, no longer fearing death. He looks kind of blissful…
Reconstructed fragment of ‘The Great Eleusinian Relief’ 27 BC-14 AD (MET) and sarcophagus detail from 2nd c (Louvre) depicting Triptolemus with Demeter and Persephone. [please click image for more details]Central to the Eleusinian Mysteries was the hero Triptolemus, frequently depicted in the same setting, standing between Demeter and Persephone. He was the first initiate, who received from Demeter the knowledge of the grain; ie, the art of agriculture, the cycles of which also held the secrets of death and rebirth (metempsychosis). The Demeter cult was first and foremost an agricultural one.
(Syracuse in Italy, that is).
An ear of golden grain [barley, sometimes referred to as ‘corn’, though actual maize would not reach Europe until 1492] can be seen in the very first card. The Fool also has a similar shape dangling from his belt, though in this case I think it’s his passport – a leaf-shaped, gold, Orphic tablet. But anything gold, especially if flame-shaped, generally has to do with fire and the eternal, ever-resplendent spirit.
[click pic for more details]Honey, the liquid gold of nature’s tiny agriculturalists has been used to anoint and in libations since ancient times. (‘Christos’ means ‘anointed one’). This is, after all, the 6th card, and the hexagram of the apis has 6 sides. Astute TdM lovers will recall that the type 2 Queen of Money (Reyne de Denier) has a bee/beehive staff and her crown resembles a honey comb. This raises the question, are the ‘coins’ actually coins? Or are they phailes (libation dishes)?
Conver (type 2) and Dodal (type 1) Queen of Coins (Are those pine cones on her crown?)‘Spolia’ featuring ritual objects from temple of Demeter at Eleusis, repurposed on ‘Little Metropolis’ church in Athens: torches with poppies (baton), libation phaile (coin), incense burner (cup) and bucranium of sacrificed ox (sword). The crosses above are meant to ‘baptize’ and thereby neutralize the pagan imagery.
We should not be too rigid about naming precisely which mystery cult the cards might be pointing to, as the imagery seems to draw from several traditions as well as being mytho-alchemical. But the Eleusinian and Bacchic cults were inter-related, and one needn’t throw a stick far in ancient Greek myth to find some hero or heroine transgressing death in search of a loved one or sacred object and returning twice born and wiser or crazier for it. Dionysus, the Greek Osiris, was closely associated with alchemy, because his crop of expertise was the grape, and wine-making involved the essential fermentation process, from the blackened soil to the distillation of spirit. The long-haired Lover is certainly Dionysian, as his popularity with the ladies shows. To me it looks like they might be undressing him.
Isis and Nephthys preparing their beloved Osiris for his Underworld travels, Conver Lover card, fresco of an initiate from Tigran Tomb, Alexandria (note the Orphic eggs).
Worth a mention here is the similarity between the woman on the left of the Conver card with the Valet of Batons. Might this suggest a link to the Dionysian ritual phallus, or, to the club of Hercules, weighted/pulled toward the Underworld, while the young man looks ahead? Is he drawing up some chthonic energy, or, like the Juggler (prototype of the Valets), is he too young and inexperienced to recognize its ritual significance? Instead, maybe he’s using it to measure true, astronomical and visible horizons, with the intention of building a temple to his god…a Herculean task, surely.
Valet of Batons and detail from Lover cardRuins of Dionysus temple at Delos, Greece
Hercules had to become an initiate in order to go kidnap Cerberus, the three headed hound of Hades, as his final labour. So if this card does relate to him, he’s likely not at the crossroads choosing between two women, but at the crossroads of the upper and lower realms, receiving initiation from two goddesses. In the next card, the newly-anointed, golden-crowned hero is in a liminal state, his lower half having descended into a square-shaped (matter/earth/Saturn) Chariot that is at least partly fixed to the ground (in type 2), resembling something funerary.
Don’t strain yourself thinking to hard, Herc! Engraving by Giulio Romano, 16th c
Eros, son of Aphrodite, was said to be able to overpower all the heroes, for love really does wipe out fear of death (Thanatos) and the loss of a love is akin to dying. I’ll be entertaining/tackling this topic further, from a different horizon, in an upcoming post about the Sun card. Stay tuned!~rb
So come, my friends, be not afraid. We are so lightly here. It is in love that we are made; In love we disappear.
***
Credits:
*Shelly MacLaren, “Or guarda tu …desta donna la forma”: Francesco da Barberino’s Poetic and Pictorial Invention (Dissertation)
Lyrics from ‘Boogie Street’ by Sharon Robertson/Leonard Cohen
From joy springs all creation, by joy it is sustained, towards joy it proceeds, and to joy it returns. – Mundaka Upanishad
Tarot de Marseille is a funny creature. Just when you think you’ve ‘figured it all out’, like a chimera it changes into something else. Fortunately I en-joy a mystery and seeking that which has no end. If I’ve learned one thing from TdM, it’s that the same pattern exists in whatever particular wisdom path you choose to follow. “All roads lead to Alexandria.” (wink)
The enigma is perhaps most apparent in the triad sequence, beginning with the Empress. To re-cap TdM’s inherent Pythagorean principal:
One becomes two, two becomes three and
out of three comes the one as the fourth.
Each 3 place card completes a triad from which the next cycle of three will be born, with 21 also completing the entire 3 x 7 cycle. Unlike the 1s with their solar crowns (monadic) and 2s with their lunar vessels (dyadic), there’s no obvious, recurring object in every 3 place card (triadic), other than a predominance of wateriness (and darkness, in the case of 9, 12, 15 and 18). The Mercurial spirit of creation requires a container – a body of some kind – for transformation to take place, AND it is also that container, like caterpillar and pupa. They are not separate, but form each other. The 3 place cards allude to this secret, inner and outer process. Magic is afoot, is all we really know.
[Please click on any images to enlarge]
3 place cards, Camoin-Jodorowsky TdM
3
Let’s look at the three cards in the 3 place with the numeric sum of 3. The first, The Empress (3) shows us what we need to know. Atop her sceptre is the globus cruciger or sovereign’s orb – nothing unusual about that….except maybe the size? In reality, a globus this big would be hand held, with a smaller one atop the accompanying sceptre. Masculine sceptre and feminine orb (and the 4 and 3 of the orb’s parts) are being combined, and we can see that the base of her sceptre points to precisely where it’s all going to happen.
Emblem 2, the feminine qualities of the stone, from Michael Maier’s, Atalanta fugiens
In alchemy, one of the symbols for antimony, the ‘wild spirit of man’ (sometimes represented by a wolf) is the reversed Venus/copper symbol – a circle with cross on top. “Pliny the Elder (ca 77 AD) made a distinction between the “male” and “female” forms of antimony; the male form is probably the sulfide, while the female form, which is superior, heavier, and less friable, has been suspected to be native metallic antimony.” [Wikipedia]
cinnabar with mercury droplets, antimony rendered in antimony
But most (?) likely, it is the symbol for cinnabar, the ‘parent’ mineral from which Mercury is born. Note the orb which the philosopher’s child, hermaphroditic Mercury holds as he wades through the alchemical bathwater, below. Is it the cinnabar womb water, or the antimony purification bath, which eats away everything but gold? Or maybe both, considering the two parent luminaries lovingly at hand?
‘Our Son’ Mercury, Baro Urbigerus 1705
‘The watery matrix holdeth the fire captive.’– Jacob Boehme
Like the eagle on her shield, the Empress has ‘wings.’ Beside her left hip is a scallop or scalloped bowl/baptismal fount. The scalloped basin was also a type of alchemical vessel and symbol of the Hermetic pilgrim, according to Fulcanelli. Either way, it has to do with the purification process.
Hellenistic Greek Glass Shell 2nd-1st century B.C.
In both type 1 and type 2 Empress cards, there is often what resembles a triple flag under the basin, likely representing the main 3 stages/colours of the work (black, white, red), as in this relief (detail) on Notre Dame Cathedral depicting all the stages of alchemy (please see this new article on the Popess for more on Notre Dame alchemical reference). It might also represent the three philosophical elements; salt/body, sulphur/soul and mercury/spirit.
Threefold alchemy ‘flag’ from Notre Dame, Noblet and Payen Empress details.
All these raw, heavy materials, still in their ‘vulgar’ state almost appear to weigh her down. Mythically speaking, since the Emperor evokes Pluto (aka Dionysus, aka Osiris), his partner must also evoke Persephone, Queen of the Dead and personification of Spring regeneration. The ‘M’ shape of her blue skirt is the age-old symbol for water. Maya or Maia is mother ocean/womb, and Maria is literally ‘Maia with fire (R/Ur) in her belly’ (covered by red vest). The perennial fountain? Or an alembic? I like to think of her eagle shield as the ultrasound screen, and her sceptre as the transducer. But again, M might just stand for MERCURY, here in female form (remember, with 3s, the process, container and its contents are as one).
Noblet, Dodal and two versions of Conver Empress card
Another honourable Maria, namely Maria the Prophetess, was the first [non-mythical] alchemist of the western world. Schooled by the great Zosimos of Panopolis, she lived sometime between the 1st and 3rd centuries in Alexandria, Egypt (of course). Maria also had a favourite axiom:
One becomes two, two becomes three and
out of three comes the one as the fourth.
Wait, haven’t we heard that before? Did she get it from Pythagoras (who lived several centuries prior) or is it just a case of universal truth? Both geniuses stood faithfully by these words. Pythagoras was not an alchemist, but nevertheless, he understood this fundamental equation to be the basis of all creative cycles.
mathematical and alchemical tetractysEmpress crown detail from Schaer Tarot
‘Maria the Jewess,’ as she’s also known, “incorporated life-like attributes into her descriptions of metal such as bodies, souls, and spirits. She believed that metals had two different genders, and by joining the two genders together a new entity could be made.” [Wikipedia]
She is accredited with many firsts, particularly her invention of the balneum Mariae (bain-Marie), progenator of the modern-day double-boiler. Of her written works surviving in Arabic we find two most curious titles; The Book of Maria and the Wise Men and The Epistle of the Crown and the Creation of the Newborn Baby.
Leonora Carrington, The Chrysopeia of Mary the Jewess, 1964
Maria excelled in both mystical and scientific approaches and it’s thought she may have originated the idea of 4 colour stages in alchemy. Indeed she herself was an alembic, which is the whole point of this exercise, the teachings of the 3s. Hermes Trismegistus (‘thrice great’) was another such person, albeit more mythical. In Pythagorean numerology, 3 is the number of creativity, joy, artistic expression. In astrology, the trine is considered the most harmonious aspect, connecting planets or points of the same element. (However, it is fiery and energy can flow with lightening speed for better or worse).
Maria Prophetissima and Hermes Trismegistus from Michael Maier’s Symbola Aurea Mensae Duodecim Nationum (1617)Maria’s bath, 1528.
So, the Empress, similar to the Juggler, has all four elements (or stages) about her, in physical form; earth (ground below + snake/globus + barely visible horns), fire (crown + hair), air (wings + human features) and water (blue robe/shell). The eagle represents the work as well as the water element, and, if we look closely, we can see one of its wings is shaped like a wave, the other more like feathers/flames. This can be interpreted as inherent polarities, or perhaps the ‘moist’ and ‘dry’ paths of the work.
Comparison of Empress’ and Emperor’s shields.
The difference between Juggler and Empress is that 1 alone can’t yet do anything with all the separate, single parts, other than superficially (ie, practical magic), like performing tricks or perhaps trading with Jack for his cow.
The Empress and Emperor will complete each other (he too has orbed sceptre and eagle, and faces toward her), but they have not yet come together, they are still 3 and 4, neither added nor multiplied.
Conver Empress and World cards. Note the shield eagle’s amphibious wing.
In this older version (below), that she has attributes of the four ‘elemental beasts’ of the World card are more obvious; longer ‘horns’ (in crown and necklace), wings/human, eagle/phoenix and even a lion’s paw/mane.
Guilaume Dubesset-Claude Valentin, ca 1680
12
I’ve already written on some of the 3 place cards – the Hanged Man, the Hermit, the Devil and the Moon – so will just touch on the Hanged Man (12) here, as he’s part of this 3 x 3 sequence.
His flaming hair and his number might suggest solar connotations, although he’s still situated in-between the Sun and Moon ‘parents’. The Sun represents the gold, and thus the process of purifying the ‘inner’ (philosophical) gold is in progress. But it is not the literal Sun, physical fire or material gold. Rather, it is a different fire altogether.
Visconti Sforza 16th c, Jacques Vieville 17th c, Nicholas Conver TdM 18th c
In the middle example, the number is placed so that he is flipped, indicating that as his body descends, his spirit ascends (note the lunar and solar ‘mounds’ on each side of his head, the solar one containing all the heavenly spheres), with emphasis on the spiritual. Not an accident, but likely an Orphic reference. In the third card, the descent of the ‘Sun’ (his head) into matter is emphasized. High noon and midnight, apex and nadir, bipolar. It really is like the separation that goes on inside the alchemist’s glass egg. The main thing is that we can’t observe his inner process. Typically, the Hanged Man’s expression is placid, as if he’s either in acceptance or ‘somewhere else.’ His gibbet is like a (golden) doorway or threshold. All of this suggests he is experiencing what’s known in alchemy as the secret fire:
Search, therefore, this fire with all strength of your mind, and you shall reach the goal you have set yourself; for it is this that brings to completion all the stages of the Work, and is the key of all the Philosophers, which they have never revealed in their books. If you think well and deep upon this above-mentioned fire, you will know it. Not otherwise. – Potanus, The Secret Fire
To me, the Visconti-Sforza version looks very alchemical, its colours alluding strongly to the (philosophical) Green Lion devouring the Sun. I love how well the following description of the symbolism relates to the card, albeit it seems to be more from a Jungian perspective than traditional alchemy (and granted, the solar ‘ego’ looks anything but terrified):
The image corresponds to the releasing of primordial essence. That is why the lion is green, which is a primordial, unripe color. It also connotates fecundity. Eating the sun symbolizes the dominance of the Ego by instinctual forces. It is the beginning of a return to a more natural psychological state in which human beings flourish. The ego perceives the encounter as terrifying because all transformational processes appear to be a kind of death to the ego. However, this process is the catalyst for an encounter with the Self. The instincts are amoral relative to human society and culture. Social conditioning aims to keep the instincts in check until the Higher Self is adequately present. Once present, our attitudes and feelings will be conditioned and directed by the Self. Otherwise, we experience a regression to the animalistic nature. ~ Tony Laguia, ‘The Green Lion Devouring the Sun‘ [Medium]
Visconti-Sforza hanged Man and Alchemical Green Lion devouring the Sun
21
The World (21) card, signifies the completion of the opus, the central figure representing ‘quintessence.’ Like an awakened eye, it is the revelation of that which embodies the essence of all past forms and potential for that shall be. In other words, what has been purified through many transformations becomes a catalyst for transformation; the Holy Grail or Philosopher’s Stone. Perhaps you’ve met someone who is a human tuning fork, or experienced a work of art, poetry, music, etc. that in its perfection had the effect of putting you ‘right side up’ again. Perhaps Tarot itself. ‘A light cannot help shedding its light. A flower cannot help giving off its fragrance.’ [Upanishads, ibid] When the young man in arcanum 6 was being initiated into the school of Venus/Eros, it was with the ultimate purpose of becoming just such a universal lover. ‘Everybody loves a lover.’
Ascend above any height, descend further than any depth; receive all sensory impressions of the created: water, fire, dryness and wetness. Think that you are present everywhere: in the sea, on earth and in heaven; think that you were never born and that you are still in the embryonic state: young and old, dead and in the hereafter. Understand everything at the same time: time, place, things: quality and quantity. ~ Corpus Hermeticum, 1460
The four creatures in the corners are assumed to be the four evangelists, the fixed signs of the zodiac, the seasons and/or the 4 elements. However…the bull is also lunar (2), the lion solar (1), and as we can see, they are now conjoined (3). The eagle previously represented the alchemical work, so then who might the winged human be when they’re at home? What of the Empress’ wings? Hmm.
Incidentally, Egyptian initiates were called ‘scarabs’ because they ‘pushed along the egg of their regeneration’ – the container and the work?
Below, left, is the oldest of all known TdM type World cards (found in the Sforza castle cistern). Though it is badly damaged, some curious details remain. The androgyne or hermaphroditic Christ/Dionysus figure appears to have one breast only, on their right side, which is our left (mirroring). Their other, male side has the thicker leg. On their breasted/female side, the partially-obscured bull (or cow) has perfect, lunar crescent horns and on their male side, the lion has distinct, solar rays in its mane. Unique to this card, the angel in the top left (Aquarius/Matthew/air) has a ‘flame of inspiration’ in his forehead – ‘fire in the belly’ raised to crown level?
Oldest TdM ca mid-late 16th c (photo courtesy Ross Caldwell), Jacques Vieville ca 1650
The Vieville version, right, mixes things up a bit – bull and lion are switched around and have no wings. Since this card depicts a sexless figure facing straight forward, I ventured to see what one might look like as two. (Admittedly, it felt taboo, but…for science).
The male twin has a red cloak, denoting fire and his life force energy is directing upwards, expressed poignantly by what’s left of the sceptre. His body, arms open, creates an M for Mars. The female twin has a dark blue cloak, denoting water and her large V for Venus directs life force energy downward to her vulva, which she covers with her hands. Two opposite triangles, converging as one. Recall the Empress’ eagle shield. Also, that her eagle’s wings point upward, his downward, similar to the yin-yang idea of ‘opposite but interconnecting, mutually perpetuating forces.’ [wiki]
Vieville twins
In medieval alchemy, ‘philosophical Mercury’ is what remains when earth, air, fire and water are removed from a substance. It is associated with ‘prima materia’ (‘first matter’), from which all other matter is composed.
Philosophical Mercury, composed of sulphur and quicksilver (distinguished from their ordinary or ‘vulgar’ forms), ca 1400
When you make the two one, and when you make the inside like the outside and the outside like the inside and the above like the below, and when you make the male and the female one and the same, so that the male not be male nor the female female, and when you fashion eyes in the place of an eye, and a hand in the place of a hand and a foot in the place of a foot, and a likeness in the place of a likeness: then will you enter [the kingdom]. ~ From the Gospel of Didymos Judas Thomas (‘the Twin’), Nag Hammadi Library
ANAHATA the heart (fourth) chakra
Whatever wisdom path you choose to follow, the same patterns are found, and this is because patterns are ultimately geometrical/mathematical. But wisdom is not just an intellectual exercise. It must be applied, to thrive.
In Sanskrit, ‘anahata’ means ‘unstruck.’ (Funny, considering arcanum 6). The anahata or heart chakra, illustrated by two, interlocking triangles, is associated with unconditional love, compassion, and joy. This rose window of our personal cathedral serves to balance the upper (spiritual) and lower (material) chakras, so that we may experience pure love for both self and others, without attachment and expectation.
On March 21 (3/3), Venus (Ptolemaic 3rd sphere) will conjunct Saturn in Pisces. Saturn is the cold karma lord and task master of our consciousness, who has a way of shackling the heart with guilt, pain and sorrow. In Pisces, Saturn can feel like the weight of the whole, wretched world (as we collectively witness the shadow expression of yet another ancient symbol). Venus, on the other hand, exalts in Pisces, bringing potential for a moment of healing, amnesty and grace to weary hearts. Like the Empress conducting Venus into her belly, if we channel the energy of this transit, perhaps whatever beauty we create from it will serve as a tuning fork for someone, somewhere, sometime down the road. ~ rb
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).
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.
