On July 7, 2025, the planet Uranus will enter Gemini for approximately 7 years. Since Gemini is an air sign, this will be a noticeably different Uranian energy than has been expressed in Taurus. Although Uranus, the ‘higher octave’ of Mercury is said to be the planet of change, rebellion, discovery and so on, in Taurus, this was often felt more as rumbling urges and irritation. (We did see a significant amount of volcanic activity and earthquakes). Think of how mutable earth sign Virgo experiences ruler Mercury’s flighty, buzzing frequency in her earth body as stress. Now imagine Mercury on steroids (Uranus) stuck in in fixed earth (Taurus). So it’s going to be quite a release for Uranus in the Mercury-ruled, intellect-driven, mutable air sign of Gemini.
Traditionally, Saturn – who, like Mercury is a god of alchemy – rules the signs of Capricorn and Aquarius*, and sits in opposition to Cancer (Moon/Silver) and Leo (Sun/gold). The most dense and toxic on one side, the most pure and luminous on the other.
In medieval medical manuscripts, Capricorn was sometimes depicted as a unicorn. The unicorn’s horn was thought to purify any body of water it touched. Powdered, it was a supposed cure-all. Vikings would sell narwhal horns to Europeans, who valued them more than gold for their mythical properties.
A spiralling, calcified growth emerging from the third eye – what a very Saturnine embodiment of awareness, spiritual awakening …. or upgrade/refinement of the caduceus. Commerce and fast talking Vikings.
“We caught the beast called the Unicorn That knows and loves a maiden best And falls asleep upon her breast: We took from underneath it’s horn The splendid male carbuncle stone Sparkling against the white skull bone.”
The unicorn is a beloved mythical beast, but it’s also a monster, in the literal sense. And Uranus can, with its touch, create monsters – bombs, deformities, disasters, etc. Astrologers have been pointing out that the US, with its Uranus and Mars in Gemini, was involved in major wars (WW2 and Civil) during the last two Uranus returns. (Mind you, when has it not been at war, directly or by proxy?). ’47’ has Uranus in Gemini conjunct his Sun and North Node, conjunct the US’s Mars. When the atomic bomb was dropped on Hiroshima, Uranus and Mars in Gemini were conjunct the midheaven (MC).
Uranus can be the ‘terror of the scientific sun’ but it can also be freaks, weirdoes, and, in Gemini, a very odd twin. Alice Cooper has Uranus in Gemini sextile Pluto/Saturn and opposite Jupiter/Moon (47 also Uranus opp Moon). He was able to profit from his goth, nightmarish ‘other self’, but like Jekyll and Hyde, he said it began to destroy him, requiring drugs and booze to keep the stage persona alive.
In a radio interview, Alice Cooper told of how, at the premier performance of “Welcome To My Nightmare”, he was greeted backstage by Groucho Marx, who shook his hand and congratulated him for bringing back Vaudeville. “He got it. He knew what we were up to,” said Cooper.
Mercury and Gemini have a special relationship with theatre and acting (taking on personas/fakery/camp, etc). So with higher-tech Uranus here, the whole issue of AI in the film industry will likely be amped up. Aquarius and Gemini have to do with ‘friends’ and already we see there’s a whole new trend of inventing chatbot AI friends and other relationships. But we could be talking something more along the lines of alternate/mirror universe, with Gemini being doubles. Or a hidden universe that is like a ‘vanishing twin‘ to ours.
Twin flames? Aurora consurgens, St. Gallen 15th century
Uranus in Gemini will make a trine to Pluto in Aquarius and sextile to Neptune and Saturn in Aries. So two air and two fire planets all in cahoots. This is a completely new, volatile, un-formed energy which these planets will now be giving form to or being formed by (or de-formed by, as the case may be). Major ‘upping of frequencies’ going on. Some will find it difficult to handle the new air/fire vibration, and we are already seeing evidence of this, with things like plane crashes (Pluto in Aquarius, but also a metaphor for how our brains are having to cope with increased ‘air traffic’), and this disturbing new trend of cars being driven into crowds of people. Yes, the transit hadn’t officially started, but the apprehension felt at the last critical degrees of the previous sign is enough. There will be adaption, eventually.
Another already visible manifestation of Pluto in Aquarius and Uranus in Gemini is of course crypt-o currency. Pluto is god of the dead and of riches beneath the earth. The amount of minerals/mining required for bitcoin is monstrous and it is why 47 is so keen to have Greenland and Canada. 47’s pimply-faced bazillionare crypto-bromancing dinner (yes, the Banana Duct Tape kid was there) was a prelude. His Gemini stellium slid right into the crypto like well-fitting shoes. Leo is polarity of Aquarius, though, so I don’t imagine gold will lose its value, no matter how many kitschy objets were made from melted down Fort Knox bull-lion. [Look to Ancient Egypt, in the Age of Taurus, as an example of how strongly the polarity sign comes into play (Scorpio). Now we’re at the beginning of the Aquarian Age, which squares Taurus-Scorpio, the two signs governing ‘resources.’]
The Uranus/Gemini combination is very intellect-driven and can even be ‘out-of-body’. In fact, we can expect angels and aliens, ‘friends’ from other realms. There is already much more opening of awareness and communication to the spirit realm, judging by all the YouTube videos. Mediums abound. Gemini, when not grounded (and Uranus is anything but grounded, rotating on its side like a wheel), can also attract unwelcome entities.
So look to where Gemini is in your own chart, this area is going to become lit up and Uranus will demand you up the frequency, upgrade the equipment, open your mind, think different, sky’s the limit. ~rb
Mortal and immortal Gemini twins.
*Personally I’m not completely convinced we should be handing off Uranus, Neptune and Pluto [‘the alchemists’] to individual signs, since they have such long transits and powerful, generational effects. Astrological Uranus is by definition less like the sky god and more like Prometheus, who stole fire and gave it to humans, causing Jupiter to chain him to a rock with an eagle pecking out his (continually regrown) liver every day. Stealing fire to give to humans sounds like something Aries would do! So I do acknowledge the ‘modern’ rulership, but am still informed by the ‘traditional’. (There’s my Uranus/Saturn opposition talking, heh).
In case you’ve been too preoccupied with the whiplashing American news…
Formidable seismic activity began occurring on Feb 5 in Greece’s most popular tourist destination, Thira (aka Santorini) and people are being evacuated from the heavenly island in droves. Some old timers are choosing to stay, being fatalistic…perhaps they will take care of the animals left behind. All those cats! Authorities are saying there is ‘no need to worry’ about volcano eruptions. Hmm….I wonder.
Of course, seismic activity in the Greek Islands and the surrounding seasis attributed to the Titan God, Typhon, who, after a long and bloody battle, Zeus managed to seal up under Mt. Etna, a still very active volcano on the east coast of Sicily (Prototype for St. Michael and Satan). Still rattling his chains and fuming, Typhon is responsible for typhoons, tsunamis, quakes, volcanos, plagues and other such disasters. But in the mytho-alchemical sense, Typhon is like Mercury on steroids, similar to Uranus being called the ‘higher octave’ of Mercury and having the effect of creating sea changes. For example, when the Greek gods fled Typhon into Egypt, where they donned animal heads/masks for disguise, the great Pan jumped into the sea, transforming via crisis into our Capricorn sea-goat. Part 3 of this post about the TdM Devil goes into this Typhon material.
Detail in map of the Underworld, showing Typhon under the volcano.
As it turns out, there is a trans-Neptunian object (TNO) named after him, as there is for everything – a binary system (it has a Moon) – currently at 28 Scorpio. Athanasius Kircher had once associated Typhon to this sign.At the moment of the first quake, TNO Typhon was/is opposing Uranus and Moon conjunct at 23 Taurus (earth).
I have long ‘intuited’ 23 as being Uranian in nature due to the discordant vibration of this prime number that reduces to 5. Today this is actually a commonly accepted idea. Lately, with Uranus having just stationed direct at 23 degrees of Taurus (typically a sign that thrives on harmony), you must admit, there has been quite a lot of discord! We can’t but acknowledge the POTUS’ wrecking ball nature, with his North Node closely flanked by Sun and Uranus – his most elevated planet – in Gemini. (Both Muck and his outspoken 4 yr old Mini-Me also have Sun-Uranus conjunctions). The number between 45 and 47 is 46, which, divided by 2 is…23.
Barry Blitt’s ‘Anything but That’ …at 23rd St??
This isn’t to say 23/Uranian discordant energy is necessarily always bad, but it is often shocking – you don’t see it coming – and has the effect of breaking up the harmonic order it refuses to fit into.
Returning to the main theme, Typhon, I also learned that astral Typhon was discoveredFeb 5, 2002 – exactly 23 years to the day of this earthquake! (Yes, tremors started earlier, but it’s not an official quake unless it registers 5. on the Richter scale). Very mysterious, especially with Typhon’s distinctly serpentine attributes and it being a lunar EARTH SNAKE year.
Stamp featuring Zeus and Typhon duking it out
But is there a deeper meaning to all this, not just some wow-conspiracy-theory-sounding-coincidence? We have to remember that the Underworld, to the Greeks, was not yet the Hell of Christianity, although it did have a section like this for bad people and monsters, called Tartarus. Rather, Hades was an inverted, somewhat depressing mirror version of the above world of the living. Pluto is simply dark Zeus (also Dionysus, but let’s keep it simple).
Uranus, named after the sky itself, gets and sends its energy from the beyond the Saturnian sphere, ‘out of the blue’, often taking the form of inspiration (Urania) or strokes of genius. It’s fiery/airy. If Uranus is the higher octave of Mercury, then its ‘messages’ are going to come faster and more intensely. Typhon, similarly, rears up from deep below, sending shocks in the form of earth or water events, rocking our physical foundations.
Giulio Bonasone (Italian 1531-76), Jupiter, Neptune and Pluto dividing the universe. MET
When Jupiter and his two ‘brothers’ (actually all aspects of the one triplicity) cast lots and divided the realms, Neptune didn’t just get the sea, but the whole ‘middle realm’ where the other two worlds meet. We currently have the North Node conjunct Neptune in Pisces, trine Typhon/Scorpio, sextile Uranus/Taurus. Meanwhile, Pluto, Lord of Hades is in Uranus’ fixed air sign of Aquarius. We look to global events for clues to how and where the planetary aspects are manifesting. Greece is where our western ‘civilization’ began, The surrounding seas and islands are literally the realm of the old gods. Seems to me that some very shape-shifting, powerful chthonic and cosmic forces are at work or perhaps even doing battle, their combined effect being felt acutely by us middle-realm dwellers. Perhaps the frequency of 23 provides a conduit. ~rb
In the next instalment I will further explore 23 and Uranus in the charts of various air disasters.
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, Empress + Emperor). 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.
XII Le Pendu/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).
‘From Me Life’ from a 1717 treatise
In this wonderful illustration, God/Yahweh shines above the slogan A ME VITA (‘from me life’). Messenger/psychopomp Mercury floats just beneath, in spiritual/philosophical form, delivering the life force with his caduceus (pointing it heads downward), waking and overseeing the transformation of the vulgar metals below – each corresponding to a planet/luminary.(On the far left is his own metal ore).The solar and lunar trees have 7 ‘fruits’ in each (a set of parents for every metal?). The space between them forms an alembic shape. From each metal mountain, a stream leads to the fire in an egg-shaped, earthy furnace (watery and fiery purification). In the flames is an orb containing two opposite triangles of water and fire together in perfect union, with a monad (gold/divinity/totality, etc) in the middle.
Compare with Le Pendu, hanging between solar and lunar trees (best example being the Vieville), his firey hair ‘becoming gold’ in a bizarre, purification torture ritual. He ascends as he descends, like two triangles meeting.
Payen (type I) Empress and Emperor cards-early 18th c
The two imperial eagles are akin to the two triangles, yet to meet, eagle being emblematic of ‘the work’ and the process of transformation [Scorpio] that is yet to occur. 3 x 4 = 12. ‘Lovers don’t meet/they are in each other all along.’ [Rumi].
Vieville Temperance (c 1650) and Flamel Mercury (c 1330)
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.
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.
Consider also how the TdM Pendu’s face also bears a resemblance to the snake-haired gorgoneion – the 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. The Hanged Man hovers in the threshold between the two.
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. 12 is 21, in the mirror.
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.
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)
Allegory of Prudence with Janus face, 16th c, Nantes, France
Previously we looked at the masculine/solar cards in the 1/4 placement, beginning with the Juggler (1). Now let’s turn our attention to the feminine/ lunar cards in the 2 placement, beginning with The Popess (2) and The Pope (5). These two flank Empress (3) and Emperor (4), like the spiritual component or parent of each. The book on the Popess’ lap, whatever its mystery content, illustrates this concept; two covers (‘hidden’) and two facing pages (‘spread eagle’) inside.
Various Conver cards, 18th c
To Pythagoreans, and others throughout western history, the number of duality, by itself, was considered negative. Besides being Lunar (death) and feminine (sin), 2, the first real number to follow the ‘monad’ created a division:
The confrontation between I and Thou contains, by its very nature, an opposition, and such an opposition becomes even more evident when the human I is confronted with the absolute, unique, divine Thou… …it is impossible to think of anything truly opposed to the divine One. Thus, 2 becomes a number of contradiction and antithesis and, logically, of the non-divine. Since it produces discord, it is rarely used in magic. – Annemarie Schimmel,The Mystery of Numbers
Not exactly the ‘yin-yang’ approach. Of course, 2 could also bring about union and balance, but for the most part, it was suspect. Patriarchal religion regarded the feminine 2 (Eve) as usurper of the one-on-one relationship with the Godfather.
Eye pennies or prophylactic eyes? Conver 2 of Coins, BnF
Yet, Tarot de Marseille places the holy mother and father under its influence. Are we meant to interpret this as a mere jab? I don’t think so. 2 is the number of both desire – which is a complex issue – and duplicity; nothing in TdM is what is seems. Perhaps most importantly, 2 is the number of paradox, wherein truth lies. And although the 2s preceding the Strength (11) card are more indicative of division, those proceeding it emphasize reunification. The running visual theme in all of the 2 cards is of course pairs/doubles, always with some kind of vessel or opening. (We can think of the Papal crowns as a pair). I’m going to do a post on the Strength card by itself, because it’s so fascinating.
Cards which occupy the 2nd place, Camoin-Jodorowsky deck
Sweet Delight and Endless Night
But let’s begin with the Pope and his pair of strange little nipple-heads. These clearly have a connection with the middle figure in arcanum 20, another ‘2’ card, but we’ll leave that aside, for the time being.
Sarcophagus eyes
Number 5, belonging to sensual Venus, is connected to the 5 senses (plus 5 points of the human body, and 5 digits on each hand and foot, etc). Being the sum of the first two ‘real’ numbers (2 and 3), 5 is considered sacred, and has been since the days of Goddess worship. The role of numbers in TdM imagery interpretation cannot be understated:
From early times 5 was considered a somewhat unusual, even rebellious number, and the discovery by Hippasos of a fifth geometrical body, the pentagondodecahedron, which consists of 12 regular pentagons, embarrassed the Pythagoreans, who had concentrated on the 4. Legend tells that the discoverer of this new body was drowned for his transgression... …Since the human being consists of 4 elements, a fifth, secret one (quinta essentia) was added in order to reach the sacred 5. This quinta essentia, our quintessence, was considered to be the real element of life, and its production was a goal of medieval alchemists. To find the principal of life and overcome death one has to rely on procreation and Eros [Venus], so the quinta essentia again points back to the ancient life-giving power of the Mother Goddess… – Annemarie Schimmel (ibid)
Heads will roll…
You might have noticed that, in many TdM versions of this card, the two, perfectly round, alternately spinning heads are not even really attached to their bodies. And in the Conver cards, they often have red centres, reminding me of my least favourite Peak Frean cookie.
Fruit Cream fortune cookies
Notice that the nipple-head on the Pope’s right has a golden hat (solar, but also appears to contain a Moon) on his back, distinguishing it from the one on his left, who usually has a light/flesh-coloured round form in front, partially hidden (lunar?). An arm appears behind him from outside the picture and in Conver type decks, a little curved knife shape under the hand suggests something sinister. The power struggle between Horus and Set comes to mind, wherein Horus loses an eye. The gradual restoration (‘filling’) of it relates to the Moon’s phases.
Agathos daemon (good) and Cacodaemon (bad), 2nd c Roman mosaic, Antioch
Here, we must bring Plato into the picture. The Myth of Er, from his Republic is, I think, essential to a more complete understanding of this card and the theme(s) of TdM in general. If you wish to be read to, here’s an audio link.
It opens with Socrates saying:
Well, I said I will tell you a tale; not one of the tales which Odysseus tells to the hero Alcinous, yet this too is a tale of a hero, Er the son of Armenius, a Pamphylian by birth. He was slain in battle, and ten days afterwards, when the bodies of the dead were taken up already in a state of corruption, his body was found unaffected by decay, and carried away home to be buried. And on the twelfth day, as he was lying on the funeral pile, he returned to life and told them what he had seen in the other world. He said that when his soul left the body he went on a journey with a great company, and that they came to a mysterious place at which there were two openings in the earth; they were near together, and over against them were two other openings in the heaven above. In the intermediate space there were judges seated, who commanded the just, after they had given judgment on them and had bound their sentences in front of them, to ascend by the heavenly way on the right hand; and in like manner the unjust were bidden by them to descend by the lower way on the left hand;these also bore the symbols of their deeds, but fastened on their backs.
He [Er] drew near, and they told him that he was to be the messenger who would carry the report of the other world to men, and they bade him hear and see all that was to be heard and seen in that place. Then he beheld and saw on one side the souls departing at either opening of heaven and earth when sentence had been given on them; and at the two other openings other souls, some ascending out of the earth dusty and worn with travel, some descending out of heaven clean and bright.
Further description given of wretched souls trying to climb out and being dragged back reminded me of my favourite Mercurius depiction of all time, which in turn reminded me of the Pope card.
Cappella della zodiaco, Agostino di Ducciodetail
The Conver Pope’s staff has the triple (ie, suspiciously Mercurial and/or Lunar) cross of a high-ranking Roman pontiff, used in procession or when crossing a threshold of a holy door. Hmm. 3 might also neutralize the divisive effect of 2 by creating sacred 5 (or 7). In other decks it’s usually a shepherd hook crosier – which, Tarot or not, comes from Egyptian Osiris – or something resembling a spindle whorl (or a mix of the two). Consistent in all versions, however, is that his staff appears to penetrate the lunar nipple-head on his left, like the pitchfork in the mosaic of the ‘bad daemon.’ And btw, who or what are those curious little daemons that flank the Pope’s head in the Vieville card?
Noblet, Payen and Vieville Popes
Further into The Myth or Er, we are told how souls choose their next ‘lots’:
When Er and the spirits arrived, their duty was to go at once to Lachesis; but first of all there came a prophet who arranged them in order; then he took from the knees of Lachesis lots and samples of lives, and having mounted a high pulpit, spoke as follows: ‘Hear the word of Lachesis, the daughter of Necessity. Mortal souls, behold a new cycle of life and mortality. Your genius will not be allotted to you, but you choose your genius; and let him who draws the first lot have the first choice, and the life which he chooses shall be his destiny. Virtue is free, and as a man honours or dishonours her he will have more or less of her; the responsibility is with the chooser –God is justified.’ When the Interpreter had thus spoken he scattered lots indifferently among them all, and each of them took up the lot which fell near him, all but Er himself (he was not allowed), and each as he took his lot perceived the number which he had obtained. Then the Interpreter placed on the ground before them the samples of lives; and there were many more lives than the souls present, and they were of all sorts. There were lives of every animal and of man in every condition. And there were tyrannies among them, some lasting out the tyrant’s life, others which broke off in the middle and came to an end in poverty and exile and beggary; and there were lives of famous men, some who were famous for their form and beauty as well as for their strength and success in games, or, again, for their birth and the qualities of their ancestors; and some who were the reverse of famous for the opposite qualities. And of women likewise; there was not, however, any definite character then, because the soul, when choosing a new life, must of necessity become different. But there was every other quality, and they all mingled with one another, and also with elements of wealth and poverty, and disease and health; and there were mean states also.
And they say Tarot was never about fortune telling until the late 18th century!
Lucky lottery numbers
In Medieval/Hellenistic astrology, no chart was complete without calculating the ‘Arabic’ lots or parts (pars). The two main ones still used today in the west are the Part of Fortune and Part of Spirit (or Daemon). The two are opposites, derived from the same equation done forwards and backwards, and, vice versa depending on whether a day (solar) or night (lunar) chart. It’s said that “the Lot of Fortune is the hand you’re dealt, and the Lot of Spirit is how you play your cards.” And so begins the game.
Daemones gambling for souls, between the prophylactic eyes.‘Snake eyes’ aka ‘dog’s throw’ (Cerberus?) for Romans
Whatever sacred knowledge there was from the highest reasoning, the ancient poets joined to their measures. Thus the mystical philosophy of Poetry can be spoken in its own right. She sings mystical truths. For while the impulse of the heavens driven around in circles rushes down, she produces sounds with constant rotation.
~ Lodovico Lazzarelli,De Gentilium Deorum Imaginibus, 15th c (trans. William O’Neal)
Silenus with lyre and wild-eyed Dionysus (detail), 30 BC, British Museum
Although the Pope, like the Emperor, evokes various gods and prophets, or god-prophets, the one that stands out for me is Silenus, teacher and foster parent of Dionysus (if not an older Dion himself). For one thing, he always looks a bit drunk. And what is drink but the pap of satyrs? Also, if we follow the gold trim on his robe opening, particularly in ‘type 2’ (Conver, Madenié), we can make out a harp shape – an instrument often interchangeable in Medieval/Renaissance depictions of the Orphic lyre. Perhaps he is teaching Orphic hymns or using music to disarm the marked assassin sent by Pythagoras (or both). It’s not at all far-fetched when you consider that harmony and discord/chaos will produce good and bad fortune. A scholarly paper about that here.
Dionysus characterized the essence of the drama, by crossing and transgressing the border between the divine and the human world. When the gods interacted with men in the Homeric epics, they did so for their own selfish reasons, but in the classical drama they reflect and judge the activity of men. The drama thus reflects a change of paradigm from the world of myth to an ethical dialogue between men’s world and the will of heaven. – Dr. Britt-Marie Nässtrom,The Rites and Mysteries of Dionysus: The Birth of the Drama
Silenus wasn’t just a prophet, but when pie-eyed, possessed a ‘terrible wisdom,’ as famously expressed in this telling (during a brief capture by King Midas):
Midas, after hunting, asked his captive Silenus somewhat urgently, what was the most desirable thing among humankind. At first he could offer no response, and was obstinately silent. At length, when Midas would not stop plaguing him, he erupted with these words, though very unwillingly: ‘you, seed of an evil genius and precariousoffspring of hard fortune, whose life is but for a day, why do you compel me to tell you those things of which it is better you should remain ignorant?Forhe lives with the least worry who knows not his misfortune; but for humans, the best for them is not to be born at all, not to partake of nature’s excellence; not to be is best, for both sexes. This should be our choice,if choice we have; and the next to this is, when we are born, to die as soon as we can.’ It is plain therefore, that he declared the condition of the dead to be better than that of the living. – Aristotle, Eudemus (354 BCE), surviving fragment quoted in Plutarch, Wikipedia
The Silenus mask, btw, was essential to the Dionysian mysteries and was the prototype for that worn by Thalia, muse of Comedy – the implication alluded to in a previous post on Death and the Moon. Note the doubles, in the pic below.
Now, let’s return to that beguiling embodiment of the primal 2, The Popess. If you are familiar with the Gnostic hymn, The Thunder : Perfect Mind, this gives a good sense of the paradoxical element of the mysteries in general, but especially of the dual feminine. The Popess holds a book open (one hand on each side, in type 2 decks) in full view – yet, unless we understand the imagery itself, we can’t begin to know what it says or means.
The rituals of the Lesser Mysteries were often called the myesis, as opposed to the rites of the Greater, which were called epopteia. The word myesis means “to teach” and also “to initiate.” Epopteia has a similar meaning, but with an important difference; it means “to witness” and “to be initiated.” The slight differences in these two words explain a fundamental difference in what happened to the initiates during these two sets of rituals. In the Lesser Mysteries, candidates were taught the theology of the Two Goddesses, and the meaning of the rites of the Mysteries. However, in the Greater Mysteries, they could experience what they had learned, and near the end of the week-long festival, they would even see a vision of Persephone. ~ Hellenion, Lesser Mysteries of Eleusis
Veiled Persephone or the soul of the deceased, Museum of Cyrene, Libya.
The Mysteries represented the myth of the abduction of Persephone from her mother Demeter by the king of the underworld Hades, in a cycle with three phases: the descent (loss), the search, and the ascent, with the main theme being the ascent of Persephone and the reunion with her mother. – Wikipedia
In type 2 versions of the card, the ends of her curled drapery are typically stencilled red, so that they resemble inverted torches, which are a lunar goddess symbol, since they illuminate the darkness. We could think of the torches as the descent, the labyrinthian book as the search and the ribbon going from its spine (hinge/door) to her heart, as the ascent.
Conver Papess and Victorian tombstone symbolsAltar with Iacchus, Demeter, Rhea and Kore, National Archaeological Museum of Athens. Note three boukrainion (bull craniums) with Moon horns.
The serpentine ‘scroll’ endings in type 1 might suggest the lituus, a ritual divining rod used in augury, or plant shoots. As well, in the Lesser Mysteries of Eleusis, ‘touching the snake’ meant the initiate was ready to receive them. The Dodal version (type 1) calls her ‘La Pances’, which in old French (and Italian) means ‘belly’ – a clue to her oracular nature? Perhaps the book represents words of wisdom from her middle.
Jean Dodal ‘La Pances’
Originally, ventriloquism was a religious practice. The name comes from the Latin for ‘to speak from the stomach: ventre (belly) and loqui (speak). The Greeks called this gastromancy (Greek: εγγαστριμυθία). The noises produced by the stomach were thought to be the voices of the unliving, who took up residence in the stomach of the ventriloquist. The ventriloquist would then interpret the sounds, as they were thought to be able to speak to the dead, as well as foretell the future. One of the earliest recorded group of prophets to use this technique was the Pythia, the priestess at the temple of Apollo in Delphi, who acted as the conduit for the Delphic Oracle. – Wikipedia
Altar with sacred articles of Demeter, National Archaeological Museum of Athens
The phallic shape created by her crowned head and shoulders (well, why not, the Pope card has nipples) might have something to do with the desire element. It’s been suggested that this image (below) of a woman reaching to lift the covering of a ritual phallus, represents desire – the object of which is potent so long as its mystery is maintained. (It’s why we rarely see full frontal male nudity in the movies. That would spoil everything). The individual (or institution) ‘holding The Phallus’ has all the desire power, which translates as the power of mystery; ie, it is not a monarch or pope’s actual shlong that people are drawn to, but rather, the inexplicable mojo they are in possession of. And they keep possession of it precisely by keeping it under wraps. Otherwise, everyone would immediately see that the Emperor has no clothes. Comedians are their greatest nightmare.
Shrouded in mystery, Dionysiac Frieze detail, Villa of the Mysteries, Pompeii
So the (shrouded) shape of the Popess’ head and bib might serve to illustrate that she is the living mystery, or alone contains within her ‘perfect mind’ that which we seek/desire. Further, that it is the feminine – woman – that naturally possesses ‘The Phallus’, for the simple reason that her procreative (lunar) magic is contained within, where it can’t be seen, only imagined. (Thus it’s ok to expose her, like the open book, since doing so won’t give anything away and will create more desire). The Popess presents us with the ultimate conundrum of the 2: the unknowable ‘other.’ And if you don’t think that is a powerful notion, you have obviously never seen an advertisement or a selfie.
‘Out of one (tis wonder and no wonder,) Come forth’, Manley P. Hall collection
That’s one possibility. The other might simply be that her crown resembles the omphalos of Delphi – where the maxim ‘Know thyself‘ was inscribed on the temple – confirming that she is an oracle. The omphalos is modelled on a beehive and we can see the flowers in her crown, distinguishing it from the Pope’s. No reason both explanations can’t coexist, of course, that is the nature of the 2.
Python coin, Conver Popess, Omphalos
I’ve started using the word cryptic rather than esoteric, in reference to TdM, the latter is so wrongly overused and has all but lost its true meaning. However, the Popess truly embodies the esoteric, which at it’s root means ‘within.’ Prior to and/or without application, inquiries into her meaning are ‘Lesser Mysteries’.
The last 2 card is Judgement (20), which, as mentioned, is connected to 5 by a third nipple-head rising from the ‘grave.’ This bizarre and extremely loaded card is way TMI to include herein, but potentially offers insight into Tarot’s immense popularity at the dawn of the Aquarian Age. Stay tuned, I’ll get to it! ~rb
Behold, I have related things about which you must remain in ignorance, though you have heard them. –Apuleius
Persephone: “I brought the ergot!” Dionysus: “I brought the grapes and kantharos!”
Isis assists with the embalming of a mummy, Kom El Shokafa, Alexandria, 2nd c
‘One becomes Two, Two becomes Three, and out of the Third
comes the One as the Fourth.’ ~ Pythagoras
In a previous post , we saw how this Cosmology of Pythagoras applies to Tarot. It is but one of the initial or initiatory, key concepts conveyed to us as a visual clue by our Master of Ceremonies, The Juggler/Le Bateleur (aka the Magician). Do you see it? Hint: It’s ‘dessous la table’, in every Marseille-type deck.
Vieville, Conver and Noblet cards
Of course, I am referring to the legs. People tend to write off his three-legged table as simply being of the portable sort that Bagatelles used. It’s true, three legs provide the most stable table for any surface. (Especially if it happens to be a tripod with a Pythia sitting on it). But his table in fact has four. Because one of his legs is behind or combined with one of the table legs, his other leg becomes the 4th leg; ‘the One as the Fourth.’ Another consistent feature is that the rectangular table top always extends beyond the picture border… just how long might it be?
Below are two images of Anubis, god of funerary rites and underworld guide, preparing the dead. His uncovered, lower legs are always visible beneath the embalming bed, and knees about level. This ritual table traditionally had a lion head(s) and legs, which we will return to in a moment.
Legs of AnubisEgyptian embalmer’s bed, 664-332 BC (Met Museum, NY)
The Juggler is often equated with Hermes/Thoth, initiator into the mysteries or the ‘in-between’ state itself who oversees the alchemical process. But he’s also seen as an initiate, who maybe doesn’t yet know what all these objects he’s selling are for. As others familiar with Osirian-Orphic mystery content in TdM imagery have noted, they likely allude to dismemberment or sacrifice. They also bear a resemblance to the tools used in the Egyptian ‘Opening of the Mouth’ ceremony, which according to belief, enabled the deceased to eat, breathe, drink and use their senses in the afterlife.
Religious equipment for ‘Opening of the Mouth’ ceremony, 6th dyn. (British Museum)
Naturally, the Juggler’s objects also symbolize the four Hermetic elements (ie, the suits of the minor arcana) and the four ways a body is returned to them in traditional funerary rites. The four ‘parts’ of us that are returned to their sources – body to earth, spirit to fire, soul to water, mind or breath to air – will again be drawn from them and remixed, for another round.
Four ways a body is returned to the elements
Now, let’s just for fun assume the Juggler’s table should have another wooden leg, that it is indeed modelled on an embalming table with leonine features and that it displays tools related to the ‘opening of the mouth.’
Where would we then look for the missing leg? Only the Conver-type decks give us a proper clue [addendum: Dodal also] – the Strength lion’s single leg having a distinctly wooden look and no paw. (Always thought it a rather canine-looking lion). In other TdM decks, it has normal, lion forepaws, which, nevertheless is a hieroglyphic feature, based on Horapollo.
The missing leg and the opening of the mouth
The Pythagorean rule informs us that every 4th card is also a first. 1 was considered masculine/solar and 2, feminine/lunar. 3, while odd, fiery and therefor technically ‘masculine,’ creates the first enclosed space (triangle/womb), so it is actually a combination of masc/fem (the Mercurial, creative magic of the trinity need not be re-explained here). 11 is two 1s or 1+1=2, the lunar partner to the solar Juggler.
I’ll discuss the 2s in my next post, but let the image below, from the Catacombs of Kom El Shokafa, where Egyptian and Greco-Roman mysteries meet, serve as a preview.
Where did you get that hat? Gorgoneion as ‘death face’ of the Sun
The crown/corona worn by royals represents the Sun’s rays. To be coronated means to be crowned with the Sun and become a god-like, solar figure. In alchemy, the Sun symbolizes both the material gold and the hidden, spiritual gold, which is only achieved after a long process. The Juggler holds a little yellow coin or roundel (material gold) and there is a small, yellow flame [aka ear of golden grain] beneath the table, in the distance (spiritual gold). They are separate, at this point in the game.
One/Four cards (Camoin-Jodo deck)
Notice that every card in the 1/4 place between Juggler and Sun depicts a crown, in various phases of transmutation, as well as solar wheels (Chariot, Fortune) and phallic symbols (all seven do, but in the last card it is a horizontal wall). The Sun is its own corona (unified, risen spirit), but what about the Juggler? He is only a 1, not a 1/4, and wears not a crown but a floppy hat with a spherical, red middle. Could this too be symbolic of the Sun?
Floppy discs
Answer is yes. The question of his hat had admittedly irked me a long time, until I saw these beautiful, French prints of Egyptian deities in the NYPL collections.
Winged solar disk, emblems of Thoth/Hermes Trismegistus (NYPL)
So the red sphere of the Juggler’s hat represents the solar disk, its brim being vaguely reminiscent of wings – or – perhaps symbolic of the funerary boat in which the Sun god Ra, and thereby Kings and Pharaohs traversed the Duat, when the sun set. The red sphere appears to sink into the brim, ie, setting below the horizon, corona faded. Meanwhile, on the distant horizon flickers that tiny, golden flame of spirit, which will become a bright Sun once again. Pythagoreans believed in reincarnation, Pythagoras himself was said to have remembered several of his past lives.
New take on retro fashion or just comparing scars?
On that note, I leave you with a vivid, childhood memory…
My father was a psychiatrist with a sense of humour (and with whom I often played cards). Hanging on our bathroom wall was a small, framed photo of Sigmund Freud, with a quote by Groucho Marx taped beneath:
“This may be a phallus, but gentlemen, let us remember, it is also a cigar.”
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.
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
Once upon a time, now long forgotten, that first human pondered their hand. How is it that I can imagine something, and my hand knows how to make it? How is it there are this many fingers? What can it mean? Hands must be magical. Talk to the Hand.
“Put your hand in mine, we will travel to another time…” ~Lucious Jackson,Gypsy
Khamsa necklace of silver, horn, coral, late 20th c, Morocco
The Hamsa/Khamsa or hand of Fatima, like the Nazar (‘evil eye’) is a common and ancient protective amulet throughout the Mediterranean and Middle East.
Who was Fatima? She seems to have many incarnations…in Islam, she’s the daughter of the prophet Muhammad, five years old when her father began receiving revelations. In Catholicism she’s a Marian apparition, reported in Portugal by three shepherd children. In legend, she is sometimes a great warrior princess, other times, as in ‘Fatima the Spinner and the Tent‘, an artisan who’s accumulated crafting skills and ingenuity save her from one calamitous situation after another. This Sufi retelling of Greek folklore describes Fatima in her role as creatrix and teacher, of which the female hand symbol is perhaps most indicative. Lucky? Yes, because I learned how to make things and can show you how.
“A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; but a man who works with his hands and his brain and his heart is an artist.”~ Louis Nizer
Thus we have the combined energies of crafty magician, Hermes-Mercury and beauty-loving Aphrodite-Venus, whose sacred number is five (symbol is the pentagram) and who is married to Vulcan, the craftsman who forges exquisite, metal creations. We conjure ideas with our imagination, but we manifest them with our hands, though perhaps less and less, these days, which is why, apparently we are getting dumber! Talk to the Hamsa!
In ye olde times, astronomers noted that the sky/stars moved one direction, while the planets moved against this backdrop, in the opposite direction. (They were called ‘wanderers’). Thus, symbolically, planets came to represent individual will/drives.
So when they go into apparent, backward motion – aka retrograde – they are in effect being forced back into the collective flow of the universe. Something to keep in mind during Mars’ retrograde (since Oct 30/22, until Jan 12/23 + shadow period for another 2 months) as this planet epitomizes personal will/drive. If you are born with any planets retrograde (most people are), you may find those planets are not as co-operative when ‘forced’ to conform, yet they do hold a special wisdom that seems to operate at a more natural pace than direct planets.
Mercury is the “god of retrogradation”, back and forth three times a year, for about three weeks+, and Pluto spends about half the year in reverse. Venus makes a star with her precise retrogrades…i.e, most of the planets are on a schedule. But Mars’ cycle, like the planet-god, can be a bit rough and unpredictable. And because Mars thrives on being adversarial, he’s especially effective when direct, i.e., going solo, against the grain, doing his own, ego independent thing and doing it fast.
In retrograde, not only is he being asked to slow down and march to a beat not emanating from his own drum, but…ever see a scorpion get ready to strike? Or a ram get ready to butt? They back up first – a sign you should get out of the way unless you are up for a battle to the death or at least a bad headache.
I think of Mercurial trickster Bugs Bunny as embodying the flow, the Wu Wei, while his continually confounded adversaries – Yosemite Sam (in particular), Marvin Martian or Elmer Fudd – as embodiments of frustrated Mars. Single-minded, angry child-men just can’t stop seeking his medicine.* (Is that why he says,”Nyeh, what’s up, Doc?”) Backfiring is such a great, Mars retrograde word.
In Gemini (Mercury’s sign), we may feel Mars’ frustration in all areas of communication. It can feel like Mercury Rx on steroids, when things go awry. Personal will and drive aren’t able to function as we’d like and patience must be exercised. If you have a strong, natal Mars, it can be especially frustrating, like driving with the breaks on or getting red lights at every intersection.
However, Mars requires this training in order to be a good samurai, in any area of life, it is actually good for his focusing ability. (Sagittarius Mars understands this, those with this placement will often be into Martial arts or some kind of channeled discipline for their inner warrior).
Who could forget this scene from Kurosawa’s epic film, The Seven Samurai? (Both Kurosawa and Mifune were Aries, btw). Which swordsman has mastered Mars retrograde?
*Astrologer Caroline Casey said that ‘the oppressor seeks the medicine of those they oppress’, am not sure whether she was quoting another.
Another important theme of Jupiter in Pisces is keeping faith as we navigate waters that are not always perfectly clear. Jupiter has everything to do with faith, but we should also remember that he is the greater prophet as well as a triad (with his other expressions being ‘brothers,’ Neptune and Pluto). Zeus-Jupiter’s psychopomp/messenger son Hermes-Mercury is really just a chip off the old block. Indeed, Jupiter is often overlooked as having anything to do with death in a chart, but will often indicate whether a person had a ‘good’ death, in the spiritual sense.
Again, this quote:
For the supreme maker first creates things, then seizes upon them and thirdly perfects them… …Thus they first flow from that perennial fountain as they are born, then they flow back to it as they seek to revert to their origin, and finally they are perfected after they have returned to their beginning. This was divined by Orpheus when he called Jupiter the beginning, the middle and the end of the universe…
~ from Pagan Mysteries in the Renaissance, by Edgar Wind
As if to reiterate, the Cerberus, who guards the gates of Hades, has three dog heads, said to represent past, present and future (from an excellent blog, linked below):
One head of the dog represents the past, one the present, and the third is the future. Cerberus characterizes all of the negative aspects of each of these time frames. He aims to freeze forward movement and lock us into negative, repetitive patterns. Obsessing about the past, overwhelm in the present, and fear of the future are his methods.
We all have a three-headed dog in the dark regions of our psyche. If we are to live the life we envision, and not the one we fear, we must overcome Cerberus. The past, present and future can be sources of comfort, inspiration and encouragement. Or, they can be a nightmare. The choice is ours to make.
It’s worth mentioning that Scylla, the legendary sea-monster of Greek mythology (ie, yet another demonized Goddess) that haunted the rocks of a narrow straight, opposite the whirlpool Charybdis, also had dog extensions growing from her flanks. This is likely the origin of the expression, ‘caught between a rock and a hard place.’ When we can see no way through a situation and must ultimately turn to faith, have patience and wait for an answer to our request from the universe for help or guidance.
Sunk waist-deep in the cave’s recesses, she still darts out her head from that frightening hollow, and there, groping greedily round the rock, she fishes for dolphins (delphines) and for sharks (kynes) and whatever beast (ketos) more huge than these she can seize upon from all the thousands that have their pasture from loud-moaning Amphitrite. No seaman ever, in any vessel, has boasted of sailing that way unharmed, for with every single head of hers she snatches and carries off a man from the dark-prowed ship. You will see that the other cliff lies lower, no more than an arrow’s flight away. On this there grows a great leafy fig-tree; under it, awesome Kharybdis (Charybdis) sucks the dark water down . . . No, keep closer to Skylla’s cliff, and row past that as quickly as may be; far better to lose six men and keep your ship than to lose your men one and all.’ So she spoke, and I answered her: ‘Yes, goddess, but tell me truly–could I somehow escape this dire Kharybdis and yet make a stand against the other when she sought to make my men her prey?’ So I spoke, and at once the queenly goddess answered : ‘Self-willed man , is your mind then set on further perils, fresh feats of war? Will you not bow to the deathless gods themselves?
People often come for readings because of fear and want to believe they have some control over the future by finding out what it might be. This is not really possible – at least not without a grasp on the past and more importantly, the present. For like Jupiter and his brothers, or the heads of Cerberus, the three are all one being. And would it actually even help to see into the future? This is also why Jupiter, ruler of Sagittarius, is the god of speculation and gambling.
Yesterday, on my low tide beach walk, I came upon a small, dead fish. I noticed the water was very murky. Perhaps it had lost it’s way or its gills became clogged. More likely it was a bait fish that didn’t get eaten. Each day, the tides bring in something different; reams of ivy cuttings, a dead sea lion, limes, agates, plant bulbs, bits of china and glass, fossil wood, a yacht, rose petals, star fish, bones…manifestations of the cluttered 12th house. From whence did these things come? How did they end up here? And where do they go when they disappear again? Life on earth came from this body of salt water and it’s all still a great mystery to us. This is why Jupiter, traditional ruler of Pisces is the god of religion and spiritual matters.
At this moment, the Moon is at 0 Virgo, directly opposite Jupiter. Virgo is one of Mercury’s houses, and has a tendency toward sorting practical details and analyzing. Mercury is in Gemini, his other house, and is ‘slowing down’ in preparation for retrograde, beginning on the 29th. Though we will try, we will be unable to see what’s ahead during this time and must now let Jupiter faith and trust in the greater mystery to guide us. Pay attention to dreams, serendipity and omens (such as finding a dead fish).
Remember that symbolic phenomena doesn’t necessary ‘mean’ anything other than what it IS in its mysterious power. Our Virgo/Mercurial analyzer wants to know what it literally means, so we heed the warnings of priests, superstitions and dream analysis books, not to mention astrologers, rather than just trusting what we felt and that we can’t ultimately know the reason. (However, an astrologer, like the meteorologist, can tell you what conditions will be like, so that you can better prepare).
As an example, once, when I was not well and had very little ‘qi’, a friend was driving me to a doctor’s appointment, when a crow, scuffling with another crow, hit the window on my side, like a bolt. It gave me a great shock, as you can imagine. The next day, another bird hit my studio window, which rarely happens, especially not right after another such incident! I could have groped in the dark for meaning and seen this as a ‘bad omen’ (certainly not good for the birds), but instead took it for what it was…life energy literally being hurled at me in physical form. I thanked the bird messengers for their vehicular sacrifice. Similarly, when things happen or don’t happen due to timing, which is so often the case during Mercury Rx, we get upset and ‘blame the messenger’, when maybe it was a blessing in disguise.
Perhaps you’ve heard this fable?
There is a Taoist story of an old farmer who had worked his crops for many years. One day his horse ran away. Upon hearing the news, his neighbors came to visit. “Such bad luck,” they said sympathetically.
“Maybe,” the farmer replied.
The next morning the horse returned, bringing with it three other wild horses. “How wonderful,” the neighbors exclaimed.
“Maybe,” replied the old man.
The following day, his son tried to ride one of the untamed horses, was thrown, and broke his leg. The neighbors again came to offer their sympathy on his misfortune. “Maybe,” answered the farmer.
The day after, military officials came to the village to draft young men into the army. Seeing that the son’s leg was broken, they passed him by. The neighbors congratulated the farmer on how well things had turned out. “Maybe,” said the farmer.
