Cancer Moon, getting ready to eclipse Mars, Jan 13-14!
Here’s one from yesterday eve of Luna with red veil, Jupiter in tow.
all photos copyright ©Roxanna Bikadoroff
Strange Fish – Reflecting On the Hanged Man/Le Pendu of Tarot de Marseille
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!
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.
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.
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. Hmm…who is always situated between Luna and Sol? 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).
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.
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.
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.
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?
In alchemy, oftentimes what is meant by fire is sulphur and by water, mercury. These are the two prime materials or principals which, along with salt were the three ‘heavenly substances,’ or tria prima – philosophical elements, which, combined with the four classical elements, were thought to be the basis of everything. (3 + 4 pegs in Charles VI card). It’s a bit confusing, because philosophical mercury is spirit, even though it’s equated with water, and sulphur is soul, although it is fiery. Salt is the physical body. Think of the salt in an hourglass, Le Pendu being like a human version.
3/III and 4/IIII are of course the The Empress and Emperor. XII The Hanged Man is the middle ‘3’ card (1+2=3); the first being III The Empress (3) and third being XXI The World (2+1=3). Previously, I speculated that The Empress represents the beginning of ‘the work’ and the alembic itself. (All the ‘3’ placement cards – III, VI, VIIII, XII, XV, XVIII, XXI – have this ‘combining’ theme). We can spot parts of the 4 elemental beasties in her make-up already; the blackened eagle, her blue ‘wings’, crescent necklace and horned crown, her….mane and paw?? Must be a ‘printer’s mistake,’ heh. What a sphinx.
She bears a clunky resemblance to Philosophical Mercury, who appears more recognizably as Temperance in the Vieville deck (left, below). [Note to modern astrologers: this should make you think twice about handing Virgo’s rulership to the asteroids!]
Their two imperial eagles are also emblematic of ‘the work’ and the process of transformation that is yet to occur. 3 x 4 = 12. Like the yin-yang, each contains some of the other. How else could they become one? ‘Lovers don’t meet/they are in each other all along.’ [Rumi]. We are given a hint by the direction in which their wings point; the earthly lifted up toward the spirit and the spirit held/pulled down by the earthly. [Yes, I know the eagle (bird of Zeus-Jupiter) is a symbol of the Holy Roman Empire…do familiarize yourself with European heraldic and hermetic emblems.]
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
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.
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.
The ladder is also a Hermetic symbol of initiation into esoteric wisdom, via exoteric knowledge, the first step. This fits with the position of the card, directly following XI, the threshold of the ‘greater mysteries,’ and X, wherein a small portion of of a ladder (two rungs) forms the base of the Wheel. Camoin also points out a little ladder in the Fool’s bindle.
Also recall the little, gold ‘flame’ beneath the Juggler’s 3-legged table, a wood structure shaped not unlike the Hanged Man’s gibbet. The Juggler is about to perform his greatest magic trick, a re-enactment of the dismemberment rituals twice-born gods are compelled to endure. (Hermes himself is thrice born, at least). The Hanged Man’s sectioned clothing reminds me of a butcher’s bull diagram – favourite sacrificial animal of the gods, sacred to Osiris, Dionysus and Zeus.
THROUGH A GLASS DARKLY
Esoteric (from Greek ‘within’) is a kind of knowledge that is only realized by ‘meeting it half-way.’ This is different from occult (from a Latin word meaning ‘hidden’), which suggests something outwardly revealed. The difference is subtle, and the two words are often used interchangeably (pet peeve!), but I think the TdM Hanged Man/Pendu exemplifies the esoteric. Each will come to know him on their own, personal terms, by their own projections and reflections.
Since ancient times, mirrors of some material or other have served the function of water (reflecting self/lunar) and fire (reflecting sun/solar). An example of the latter is the concave mirror with which the solar, Olympic flame was lit.
Bacchic-Orphic mystery initiation was thought to involve a simulated death experience wherein one essentially ‘met themselves’. This transformative and purifying ritual, of which little is actually known, was to prepare initiates for the real afterlife ordeal. The fresco detail below depicts the use of reflection in a metal bowl (spiked wine all drank), combined with the comedic death mask. It could be actual or a metaphor.
Addendum: Consider also how the TdM Pendu’s face resembles the snake-haired gorgoneion – that mask concealing the greatest mystery of all – and how the six, ‘bloody’ branch cuts on each side evoke Medusa’s severed jugular veins; one that flowed with the elixir of rebirth, the other, of death.
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.’
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.
SACRIFICIAL TO SACRED
Is this the ‘religious experience’ our Hanged Man, traitor to his divine ‘Christ’ self, has yet to experience? In making a sacrifice of his ‘sins’ or lesser being, the gods receive them as sacred gifts. Indeed, it was common practice to tear bits of clothing (or even body parts) from the sacrificed person, now magically imbued. The satyr Marsyas, while being flayed for his hubris at Apollo’s command, cries, ‘Why do you tear me from myself?!’ It’s to reveal the Apollonian within [Edgar Wind, Pagan Mysteries in the Renaissance].
Some literally do put themselves through ordeals and physical extremes in the name of ritual purification or sacrifice, similar to cooking/torturing the stone. Others, in the name of martyrdom. Jupiter is the traditional ruler of Pisces, 12th (last) sign of the zodiac, associated with self-sacrifice, self-undoing, martyrdom, and the whole Piscean Age we are currently birthing out of, into Aquarius. (Someone please let the martyrs know).
“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
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.
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…
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
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Disrobing the Papal Couple – Tarot de Marseille’s Pope and Popess
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.
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.
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.
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.
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)
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.
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.
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.
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?
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!
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.
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)
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 precarious offspring 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? For he 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.
She Whose Wedding is Great
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
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.
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.
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
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.
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.
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.
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
*All written content, except for that which is in quotation (grey bold print) is copyright ©Roxanna Bikadoroff and may not be reused or reprinted in whole without my permission. Please share via LINK only (with a short, credited excerpt, if necessary). Thanks for respecting my work as I have respected the work of others, herein.*
Resources:
The Myth of Er (Plato’s Republic)
The Lesser Mysteries of Eleusis (Gitana, Hellenion)
Mystery Cults and Visual Language in Graeco-Roman Antiquity: An Introduction (Nicole Belayche and Francesco Massa, Brill)
Phallus (video on Lacan’s theory, Todd McGowan)
The Rites in the Mysteries of Dionysus (Dr. Britt-Mari Näsström, Brewmate, an excellent blog!)
Article about the liknon and its contents (Iulia Millesima)
Death and the Moon in Tarot de Marseille
Previously, we looked at the influence of hieroglyphica and emblemata in the Renaissance and its connection to Tarot de Marseille, how TdM’s ‘mytho-alchemical’ imagery is hieroglyphic in nature, playfully imbedded with visual hints of esoteric meaning hidden in plain sight. The cards relate to each other in a variety of ways, too, be it by numeric pattern or other similarities. (Perhaps why they naturally lend themselves to being ‘read’, a different narrative following every shuffle).
Do read my post on Horapollo and the Hieroglyphic Mysteries of TdM , if you haven’t, as an introduction. And as always, click images for details.
The Unnamed Card – Death
The Unnamed card (‘Death/La Mort’) is a prime example. Most Tarotists are aware of its relationship with The Fool/Le Mat, and how they strike the very same pose. By design alone, it is immediately apparent that the two figures are related or even one and the same; the first being unnumbered, the second, unnamed. Suddenly it all makes sense, right?
Original Tragicomedy act: the Greek Muses Melpomene (T) and Thalia (C)
Let’s take a closer look at the Unnamed card and its relationship to another major, The Moon, that we might find the visual clues needed for a better understanding of their mystery teachings.
The first consistent features we notice in the TdM skeleton, are its colour-emphasized spine and hip bones, and the skin pulled back around his skull, creating a crescent shape. Also, his spine appears to be made of grain. Typically, it matches the grain in the Emperor’s necklace (which his chicken-basilisk surely must covet!). The Emperor wears the golden seeds of his own, cyclic renewal. 1 + 3 = 4 and in number order, both cards are in the 1/4 place.
It’s obvious, too, that the Reaper’s face is a mirror image of the Moon. Makes sense, the Solar year has 13 moons, the last one being the ‘killing Moon.’ It’s ultimately why Sun worshippers suffer from triskaidekaphobia. Try as they might, the Greeks could not make 13 – or death – be rational and fit in. They felt the same way about 0, rejecting it outright (ie, no number?). The “inconstant Moon” has long been considered a kind of depository for souls coming and going between incarnations. It is not the light of wakefulness.
Of course Horapollo is talking about the djed bone of Osiris and we can see how the card must be a reference to the Osirian myth. While the djed bone has obvious phallic implications, it is actually symbolic of the grain god’s spine, by which his ‘kundalini energy’ or ‘life force’ climbs:
“The djed was an important part of the ceremony called “raising the djed“, which was a part of the celebrations of the Sed festival, the Egyptian jubilee celebration. The act of raising the djed has been explained as representing Osiris’s triumph over Seth. Ceremonies in Memphis are described where the pharaoh, with the help of the priests, raised a wooden djed column using ropes. The ceremony took place during the period when fields were sown and the year’s agricultural season would begin, corresponding to the month of Koiak, the fourth month of the Season of the Inundation. This ceremony was a part of one of the more popular holidays and celebrations of the time, a larger festival dedicated to Osiris conducted from the 13th to 30th day of the Koiak. Celebrated as it was at that time of the year when the soil and climate were most suitable for agriculture, the festival and its ceremonies can be seen as an appeal to Osiris, who was the God of vegetation, to favor the growth of the seeds sown, paralleling his own resurrection and renewal after his murder by Seth.” [wikipedia]
As for his phallus, remember that when Isis collected her dismembered beloved’s pieces to put them back together, she could not find this last bit, which had been eaten by a fish, so the resourceful Goddess had to make a new one, using magic. Might we even see a fishbone shape in the reaper’s frame, its head being the hips and tail being the crescent? Peut-être.
Dismemberment is the beginning of the transformation process. This card alludes to that which Osiris/Osiris-Dionysus presided over, the natural cycles of death and resurrection/rebirth. He was also called ‘god of the living’ and ‘lord of silence’ (ie, no name?). The black soil [of Kemet (‘kmt‘), the ‘black land’ from whence comes ‘alchemy’] pertains to fertility – new growth from rich putrefaction and loam. The Egyptians took their cues from nature, the great alchemist.
“In some rare instances, Osiris was depicted wearing a crown that included a rendering of the moon. This has led some researchers to surmise he was associated with the moon or the night.” [Ancient Egypt Online]
Thoth (Thoth-Hermes), Ibis-headed god of the Moon, who oversees the whole transmutation, might also be at hand…
The Moon – Rebirth
Now that we’re experts on the Lunar associations in the Unnamed card…what about the Moon card’s association with Death?
That the crayfish may literally represent the astrological sign of Cancer in TdM is, as the detective novels say, a ‘red herring’. But the association reminds us that in ancient Egypt, Cancer was a scarab – symbol of birth, life, death, resurrection and immortality.
Crabs and other sea creatures (and worms) become active, lay eggs, spawn or hatch with lunar cycles/tides, just as we came into the world through our mother’s watery womb at the end of 9 (1+8) lunations. Cancer also rules the breasts and Momma’s milk. Interestingly, in Arab astronomy, the four stars of Cancer were seen as a crib or manger, while in Chinese, as ghosts or spirits of the deceased. [Tip: Stick with stars, planets and constellations, rather than ‘signs’ if/when applying to TdM.]
The Great Mother’s milk is of course the Milky Way, by which the stalwart scarab navigates. Surely this did not escape the Egyptians, whose sky was the Goddess Nut, and readers familiar with Pythagorean and Orphic beliefs will see the significance. Note how the position of the crayfish mimics the upward facing scarab in Egyptian art. Scarab amulets carved with magical hieroglyphs were buried with the dead to protect the heart (seat of the mind) and ensure a safe transition. But the full Moon’s bright light can actually make the scarab’s journey longer and more difficult.
It’s tempting to assume that TdM printers were unfamiliar with the number of legs on a crayfish. But might there be a better explanation for its having only 6?
Greco-Romans and Gnostics, incorporating Egyptian culture/religion also used amuletic, carved scarabs and gems – which, as mentioned previously, were collected and studied during the Italian Renaissance:
“The leading families of Renaissance Italy, the Visconti and the Sforza dukes in Milan, the Estes and Gonzagas in Ferrara and Mantua, or the Medicis in Florence, were certainly willing to pay huge sums of money for authenticated ancient gems: Piero de’ Medici is reported to have remarked that an engraved gemstone was ‘worth more than gold itself.’ They became treasured family heirlooms.” [John Mack, The Art of Small Things]
Like hieroglyphica and coinage, this art form influenced emblemata and likely Tarot as well.
[addendum: the crayfish was used on Greek coins as a symbol for ‘city.’ Marseilles, a port city, was originally founded and colonized by the Greeks.]
The Moon card, being 18, falls into the ‘3’ position and contains the three dominions of the Goddess Hekate; sky, earth and sea. Hekate (pronounced Hekaté) was portrayed in antiquity as three figures around a central column; forming the Lunar Goddess triad with Selene and Diana, or Underworld Goddess triad with Demeter and Persephone (mysteries). Goddess of crossroads, the saffron-robed, torch-bearing Hekate was invoked to guide souls in the afterlife (some sources say Hermes was her consort) – note the crayfish’s torch-like claws.
But she had many other roles besides psychopomp, including Goddess of childbirth. Let’s not ignore the crayfish’s uterine shape, either.
The two fortresses in the distance are thought by some to be her temple towers, which is not unreasonable. As well, the Lunar Nodes – ecliptic points where paths of Sun and Moon cross (hence eclipses), connected to reincarnation – have an approximately 18.5 year cycle. Hmm. The visual clue, however, is that these structures are the only elements here, besides the Moon and ‘spirit-dew’, that are above the horizon (the dogs look as if sinking beneath it). There are few cards that make use of depth perspective, so this should alert our attention.
Addendum: Tarot expert Andrea Vitali points out something so hidden in plain sight, even I didn’t spot it (!), which is that the entire lunar cycle is depicted in the card; the two towers representing waxing and waning phases, the middle obviously being the full phase, and the water/crayfish being the dark Moon, when it is not visible. This adds to the idea of Hekate residing here, in the underworld/between world or unconscious realm, so to speak. As mentioned, the claws resemble the guiding torches she bears during this passage.
The horizon is where the stars rise and set, ie, are born and die. Circumpolar stars never sink beneath the horizon, thus represent the eternal. Two such stars were known to the Egyptians, therefor, as the Indestructibles; Kochab, in Ursa Minor and Mizar, in Ursa Major, which flanked the Pole Star (then Thuban, constellation of Draco). Pharaohs’ pyramids were built in exact alignment with these stars so they could be directly ‘beamed up, Scotty.’
For those without custom-built pyramids, the in-between state might be less streamlined and more perilous. The Moon here appears to occult the Northernmost star, just as she obscures the Milky Way for our scarab. A wandering soul without a visible sky map might find themselves reborn down here, rather than as a god in eternity. I say we invoke the crayfish.
And look, it’s those 4 stars! A bit of a stretch, perhaps…but how curious that the tip of the right dog’s tail in the Conver Moon card is clipped by the border. Accidental or intended clue?
The little croc-headed beastie pasted in the lower right is Ammit, the composite Goddess (I think also part leopard and hippo) who gobbles scale-tipping hearts. Actually, she is more like a composter of the heart-mind:
“Two ways are offered to our soul after death: either a final liberation or a return into incarnation in order to continue the experience of becoming conscious. Many are the texts alluding to reincarnation, either overtly or implicitly through such locutions as ‘renewal of life’ or ‘repetition of births’.
The Judgment of the Dead takes place in the ‘Hall of the Double Maât’. This judgment is made in the presence of the dead person’s consciousness, Maât, while the other Maât, cosmic consciousness, presides at the weighing of his heart. Placed on one of the pans of the scale, and weighed against the feather of Maât, the heart expresses the feelings and passions which, if too heavy, risk drawing the soul back again towards earth.”
[Lucie Lamie, Egyptian Mysteries New Light on Ancient Knowledge]
Thus we return to the first lesson, that of the Fool (Le Mat, as if that wasn’t obvious enough) and the Unnamed being as one. An important, first lesson to get us through life, death and all the in-betweens. ~rb
Who will reach the Moon first?
*Happy Sun and Pluto into Aquarius!*
All written content (except in blue quotations) is original, researched and composed by and copyright ©Roxanna Bikadoroff. It may not be reprinted anywhere without permission. Please share via LINK only (a short pull quote/paragraph is ok, with a link/credit). Thank you.
Jupiter’s Daughter – Sinead O’Connor
Like all her fans, I was crushed to learn of Sinéad O’Connor’s (Shuhada’ Sadaqat’s) death. I’m not going to get too into analyzing her personal struggles…suffice it to say we of the Pisces Saturn opposite Pluto-Uranus generation are working through lifetimes of (usually religious) guilt and/or persecution, which can involve putting oneself back in a similar situation. Sinéad often walked through fire of her own making, but likely she’d been burned (or burned others) at the stake in the distant past. Sadly, she didn’t make her second Saturn return.
Squares are challenging, especially T-squares, and her Sagi Venus was in this configuration with the Pluto-Uranus/Saturn-Chiron opposition, her Xena warrior Venus believing unequivocally that without the freedom to love who and how we want, there can be no healing. As well, Pallas Athena, Jupiter’s favourite warrior daughter in rebel Aries. But her Black Moon Lilith, sometimes a self-saboteur in youth was also in Pisces, sign of the martyr, conjunct Saturn, and the two of them opposite Mars in Libra. Not easy to keep a balance (Libra) with the ironman Mars sitting on one of your scales, while luminaries Venus and Sun have their hands full trying to mediate the forces of Pluto/Uranus and Saturn/Chiron. Saturn in this placement can feel like one’s been abandoned by god and/or one’s own father, which is what happened. All of them under Jupiter’s watch (see explanation below).
Read her book, ‘Rememberings’ if you want to know about her personal life. Here’s a great Guardian interview from 2021, upon its release.
With Chiron tightly conjunct her Saturn, the urge to break and heal the long cycle of pain would be even stronger, but as we know, Chiron’s own wounds never quite heal even as he healed others. Sinéad gave music her all, and all her music. “We’re only given as much as the heart can endure” sang Capricorn Patti Smith, but Sagittarius is known to bite off more than they can chew. Sagittarius is clichéd as being a lucky, optimistic, freedom-loving zealot. And that would be true. However there is also what I’ve always referred to as ‘the unbearable lightness of being Sagittarius.’ It’s kind of like an unbearable heaviness, except light. (Sagis will understand).
I had actually just been listening to Sinéad’s Irish Ballads the night before the sad news broke, that crystal-perfect voice, remembering how she’d said that these songs were ‘ghosts.’ Spirit possession, be it via songs, demons or Holy Spirit or can be a very stressful practice, definitely not for the faint of heart. Sometimes they won’t leave.
Jupiter, like Sagittarius, is given this benign definition of ‘greater benefic’ or ‘fortunate’ or signifying ‘excess’. And these would be true. But Jupiter’s influence, being of the spirit, is perhaps not fully fathomed until a person has passed and their own, ‘larger than life’ spirit becomes one with everything. That’s kind of the whole point of Jupiter’s religiosity (although many astrologers now attribute this ‘seeking oneness’ quality and Pisces rulership to Neptune, I see the outer planets as a slow release over a long period of time, affecting whole generations, so am not quite ready to replace the traditional rulerships with them). Similarly, when a loved one dies you recognize and perhaps feel it in a breeze or passing bird…a Jupiterian serendipity. This planetary god makes spirit known.
Jupiter in the end shows where a person died a ‘good death’ (though not necessarily without physical pain), ‘with honours’ or simply how the pull to spirit realm was at that moment overriding the material. Think of how we are drawn into sleep each night, the realm of dreams – Pisces being Jupiter’s other traditional sign. Likely she died in her sleep.
Sinéad’s Sagittarius Sun (ruler of Leo) was in mutual reception with her Leo Jupiter (ruler of Sagittarius). Her Libra Moon and Taurus North Node were also ultimately under the influence of Jupiter, since her Venus (ruler of Taurus and Libra) was in the sign of Sagittarius. It’s called the ‘chain of command’ in a chart. At the same time, her natal Venus was being trined by transiting retrograde Venus. Retrograde Venus is where we get the myth of Ishtar going into to the underworld – ie, the period of invisibility in the Sun’s rays, before re-emerging the other side – where, en route, she had to remove a veil at each of seven gates (heavenly spheres).
I’m dancing the Seven Veils
Want you to pick up my scarf
See how the black moon fades
Soon I can give you my heart
~ first lines of Sinead O’Connor’s first big hit, ‘Mandinka’
When the news of her death broke, Jupiter was conjunct her North Node (future/material) and Sun was on her Jupiter. As well, the Moon was transiting her South Node (past/spiritual) node. The Lunar Nodes are an axis and work together, not separately. Whatever was going on, it seems her God-father came to take her home, with honours for her musical contribution and valiant battle with lifetimes old cause of so much abuse and suffering. Yes, she had a martyr complex at times (her Neptune conjunct south node in the 12th house was a significator of that in this life and the past), but that was also deeply imprinted in the psyche via catholicism. Life throws us enough suffering without the added notion that somehow we ‘deserved’ it and are being punished by the almighty for simply being ourselves, but that is the general idea of ‘original sin’ and it’s made a real mess of things.
As well, we see transiting Mercury, flanked by Lilith and Venus, squaring her natal 12th house Mercury, representing her son Shane. Like his mum, he had been institutionalized (12th house), and sadly, although on ‘suicide watch’ he had ended his own life (age 17) last year. She expressed in her last tweet how she was basically walking dead without him, that he was the ‘lamp of her soul’ and that they ‘shared a soul’. Transiting Mercury is the psychopomp, conjunct retrograde (underworld) Venus and Black Moon Lilith (the void/anti-Moon). So much there offering her the door. “Alright, my daughter, you’ve had more than enough.”
It is not personal, human foibles (sorry, media) that ultimately defines how a great artist will be remembered, but their legacy. Jupiter also sired the nine Heavenly Muses, when he slept with the Titan Mnemosyne (‘of Memory’).
I think Sinéad, Jupiter’s daughter, whom Christy Moore once referred to as ‘one of our [Ireland’s] sons,’ and a catholic priest asked she sign his copy of her book ‘because she is a prophet’, was blessed by at least several of them. ~rb
All written content (except lyric quotation) herein is copyright ©Roxanna Bikadoroff and may not be used/reproduced without my permission. Please share via LINK only. Thank you.
Double Double Toil and Trouble
What does this famous line, chanted by the three Weird Sisters in Shakespeare’s MacBeth actually refer to? It’s Gemini season, so let’s deep dive into doubling.
The Tragedy of MacBeth
The Weird Sisters are basically the Fates (Moirai) or the Graeaes. We’ve spoken about three being the magic number of Hermes, but of course it is also the magic number of the Lunar Goddess, that maiden-mother-crone of past-present-future who spins the cycles of earthly existence. Hence three witches, fates, etc. The allegory of lunar Fortuna as black and white illustrates that ‘Some are born to sweet delight/Some are born to endless Night’ (William Blake, Auguries of Innocence) and the changeability of fortune in general.
As the Sisters chant ’round the cauldron, they concoct and prophecy General MacBeth’s destiny – that he will become Thane of Cawdor and King of Scotland. Hurray, but unfortunately MacBeth is not qualified to achieve the spiritual gold, because he lets his own demons run amok and, well, not to get too far into it, an unholy bloodbath ensues. According to my teacher mum, the tragedy demonstrates a perversion of the alchemical stages, which occur in backwards/out of order, from gold to black. ‘Fair is foul and foul is fair.’
So ‘Double Double’ refers to the two sides of fate and of human duality. With ascension to power, fame, wealth, there are pitfalls, if the destructive/shadow side of a man’s nature is not kept in check. This poster for the Polanski film depicts the reverse of an emblem we recognize as the Tarot Ace of Swords. In the card, the sword of Truth, pointing up, is both penetrating and girdled by the yonic crown of Wisdom (Sophia); the olive branch (lunar) of peace and palm frond (solar) of victory are held in equilibrium. I believe the symbol might possibly come from the Isis lotus flanked by two serpents, below.
‘Toil and Trouble‘ is a forewarning that might refer to ‘the work’ and its inherent dangers. Be careful what you wish for. They famously tell him ‘none of woman born‘ shall be able to harm him, but neglect to mention the fine print, that C-sections don’t count. There are ‘doubles’ all through the play – specifically MacBeth and his wife, Lady MacBeth (she has no first name, for starters), who, in absorbent, lunar fashion disappears further into madness as her husband commits crimes. In reverse process, they start out unified, but become separate, Lady MacBeth eventually committing suicide.
The Sacred Marriage
A more joyous union, or at least the beginning of one, is beautifully illustrated in the 2 of Cups. Typically in Tarot de Marseille, the two dolphin-fish are slightly different in appearance. This twin fish theme, besides being Piscean, can also be traced back to the ancient, pagan world. In the sanctuary of Didyma (“twins”, thought to refer to twin temples of Apollo and Artemis), Greece, for example, we find a figure not unlike the split-tailed melusine (aka the Starbucks mermaid), who grasps her two tails, or sometimes two fish, much like the ones in the Cups card.
The 2 of Cups was one of the minor arcana cards with a space where a printer could put their name or an emblem. In these two examples, the emblem beneath the cups is not unrelated, heralding love and peace (the heart and olive branches). This card had come up in a discussion, recently, regarding the two ‘trumpets’ therein. Are they in fact trumpets? If so, what kind? Though they resemble telescopes, it’s probably something like a buisine or the North African import, below, played at processions, celebrations funerals and especially weddings.
The Myth of Marsyas
What my little eye spied, however, was the Greek Aulos, a double flute that long ago served the same function, and is associated with the myth of Marsyas and Apollo. (Perhaps the lyre shape behind them was a clue).
The Aulos was said to have been created by Athena, who, upon catching a glimpse in the water of her puff-cheeked reflection playing it, threw the instrument away. It was then found by the satyr Marsyas, who was so elevated by it’s music, he had the crazy idea to invite Apollo and his lyre to a contest – winner ‘have his way’ with the loser. As judges, Apollo chose the Muses and Marsyas chose King Midas. Marsyas won the first round and was pretty excited at the prospect of sex, but for round two, Apollo demanded they play their instruments upside down, putting the satyr at an obvious disadvantage. Apollo was declared the winner, whereby he promptly had Marsyas strung from a tree and flayed alive for his hubris (divine insult against a god), then gave Midas donkey ears. Like MacBeth, Marsyas’ ambition blinded him and didn’t read the fine print of prophecy (Apollo).
The myth is symbolic of the continual battle between the Apollonian reason and the Dionysian madness that make up man’s nature – as viewed by the Athenians. (Presumably women are better versed in this particular polarity, due to our physiological ties to the inconstant Moon…unless they have a partner like MacBeth).
Athena’s horror at her own reflection might have been too much of a reminder of her Medusa side (PMS – a most irrational affliction!). The aulos itself, being a double, wind instrument, can be viewed as expressing two winds or two spirits that ‘make beautiful music together’.
As such, there is a deeper meaning to the flaying of Marsyas than the dangers of hubris. In his essential book, Pagan Mysteries in the Renaissance, Edgar Wind explains:
‘The musical contest between Apollo and Marsyas was therefore concerned with the relative powers of Dionysian darkness and Apollonian clarity; and if the contest ended with the flaying of Marsyas, it was because flaying itself was a Dionysian rite, a tragic ordeal of purification by which the ugliness of the outward man was thrown off and the beauty of his inward self revealed.’
and:
‘The cry [of Marsyas]: ‘Why do you tear me from myself?’ expresses then an agonized ecstasy and could be turned, as it was by Dante, into a prayer addressed to Apollo: ‘Enter my breast, and so infuse me with your spirit as you did Marsyas when you tore him from the cover of his limbs.’
To obtain the ‘beloved laurel’ of Apollo, the poet must pass through the agony of Marsyas…The torture of the mortal by the god who inspires him was a central theme in the revival of ancient mysteries, its illustration in Apollo and Marsyas being only one of many variations’.
In traditional TdM, the golden-haired Charioteer at first appears to be a solar-heroic, Roman emperor type. But his stance says Dionysus and, indeed, the very word ‘triumph’ comes down to us not from Roman victory processions, but from hymns to Dionysus sung in processions in his honour. So rather, the Charioteer is a conglomerate – albeit, like MacBeth, he is more Apollonian on the outside.
His epaulettes are indicative of his solar-lunar natures, facing opposite ways, while the two horses also want to go off in either direction. There definitely is a sense of hubris about him. The three stems growing underfoot in the black soil, here, foreshadow his reversal from hero to scapegoat; The Hanged Man, strung up between two boughs, not unlike Marsyas, and the dismemberment/decomposition that follows in arcanum 13.
As with the fish and horses, the two tree bases in arcanum 12 are usually different, sometimes even containing sun and moon in them, as in the Vieville example. The figure can be flipped vertically and viewed two ways; hanging or dancing. His golden, solar hair is a clue to what’s going on – ‘the beauty of his inward self’ is slowly being revealed as he undergoes ‘living death’. Two of these oldest TdM examples (Vieville, Dodal) require flipping the card to read the number correctly – printer mistake?
The strange placement of his epaulette-ish hands might represent wings (sprouting or hidden), most apparent in this 17th c Jean Noblet card. Also of note, his reddish hair, a basis of discrimination and choosing sacrificial victims, especially Jews – Noblet himself being Jewish. But looking at it alchemically, ‘red gold’ was ‘pure gold’:
‘The oftener gold is subjected to the action of fire, the more refined in quality it becomes; indeed, fire is one test of its goodness, as, when submitted to intense heat, gold ought to assume a similar colour, and turn red and igneous in appearance; a mode of testing which is known as “obrussa.” [Pliny, “Natural History,” 33.19]’
The Hanged Man (Le Pendu/Pandu) was once called ‘The Traitor’ and the figure held two money bags, a reference to Judas, aka Didymus, ‘the Twin’ (also a supposed redhead). We know the two cards are related, because 7 is 3 + 4 and 12 is 3 x 4. (3 and 4 began separately as Empress and Emperor).
Summation
Obviously we are complex creatures, made up of many polarities, but the most basic one is that we live consciously, outer or by day (solar) and unconsciously, inner or by night (lunar). This was expressed in Egypt as the two eyes of Horus. Right now, you are reading this and having both an outer and inner experience.
The alchemical equivalent of Marsyas and Apollo is the torture of base metals, such as lead, in order to extract the precious, pure one – namely gold, but also its ‘mate’, silver, and others. Lead is the metal of Saturn, who, strangely enough, ruled the Golden Age and is associated with Pan, satyrs, nature, etc. Apollo is of course the solar gold.
Seeking material gold (symbolized by the physical crown, in MacBeth) is the ‘lower mystery’. But, as the alchemists discovered, this corporeal quest is often how initiation to the ‘higher mystery’ begins. In the end, after all our ‘toil and trouble‘, we might be fortunate enough to attain spiritual gold.
Self-knowledge (gnosis) is not just about understanding one’s own personality (another ‘lesser mystery’), but rather, understanding the entire workings of the universe as being within oneself, and vice versa; ‘As within, so without’. But this must be done in stages and is not something that can merely be understood as some intellectual concept.
I leave you with the last lines from William Blake’s Auguries of Innocence ‘ which, though we love to quote the first verse (‘To see the world in a grain of sand…’), in it’s entirety, puts it all in a nutshell. ~rb
‘Every Night & every Morn
Some to Misery are Born
Every Morn and every Night
Some are Born to sweet delight
Some are Born to sweet delight
Some are Born to Endless Night
We are led to Believe a Lie
When we see not Thro the Eye
Which was Born in a Night to perish in a Night
When the Soul Slept in Beams of Light
God Appears & God is Light
To those poor Souls who dwell in Night
But does a Human Form Display
To those who Dwell in Realms of day‘
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Mercury – I Come in Three!
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.
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.
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.
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.
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!
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Full Moon in Cancer, Lilith, Menopause
Menopause is the new “hot topic”, according to the CBC news.
I’m guessing my Pluto in Virgo peeps “opened the floodgates” (media’s words, not mine) of taboo removal, because if there’s one thing Pluto/Virgo understands, it’s the deep, psychological changes that are going on, together with the physical, as we enter opposite virginity, amirite, ladies? So, as we’ve now ‘crossed over’, let us X-gens pass down what we have learned to the next gens.
Menses and month both come from the same root (men also means moon, and there was even a cute, little moon-god named Men, see below). The Moon is our oldest time keeper, as we find depicted on the walls of Lascaux (this is a recent article about it, here I thought it was common knowledge) and elsewhere, because her cycles coincide with those of the female sex.
In the modern age of electricity, humans became out of sync with these natural cycles and the moods that go with them.
When a woman (or a man, for that matter) is not in touch with her lunar nature, or feels ashamed of it, the unexpressed Moon self is diverted to shadow, where it becomes an initiate of the Black Moon, Lilith – you know, like those secret tiki god bohemian black magic clubs that respectable members of society used to have in their basements. Her creative power, like that of Pluto, can turn destructive, self-sabotaging, in an attempt to kill off the false self. When this finally occurs with age, we stop giving a damn what others think, and Lilith becomes a staunch ally and a force to be reckoned with. (She’ll be leaving Cancer and entering Leo in a couple of days, so, ya).
Fun fact: ‘Hysteria’ and ‘hysterics’ were once thought to be caused by the uterus moving around through the body at night. (I think mine was actually doing this during perimenopause).
Grandmother Moon has been keeping time and observing all us babies since we were just amoebas on Earth’s watery womb, so if she could talk (and she does), oh the bedtime stories she could tell. This is especially true under the Cancer full Moon, currently opposite retrograde Mercury. The past is bound to resurface in some shape or form. So how does this relate to menopause?
The word itself means a ceasing (pause) of menses. Remember, the menstrual cycle is directly associated with time cycles, both inner and outer. Perimenopause can be even more difficult than menopause or post-menopause (note the lunar triad within the triad, there), because everything is getting de-programmed and re-adjusted to a new phase, a new kind of time…hormones surge and drop in ways that make Cancerian mood-swings seem like a toy see-saw. This reverse puberty onset can be downright terrifying (I personally experienced losing half my blood and requiring a transfusion). Maiden and mother phases grow smaller in the distance, as we cross the threshold into Hecate’s cold, lunar landscape. Here, the unconscious knows no solar age…in the soul, everything is fluid.
As beginner crones (root same as crow and crown), we must now become inwardly re-attuned with the Moon, as we feel the ravages of time on our bodies, and face the fact that the physical is temporal. We fear the body loss, because rational, scientific thinking tells us it is primarily our physical self that defines us (see previous Solar Heroes post), that it is the body that ‘has a soul’. But in fact, it is the eternal soul that has a body, or rather, bodies. Grandmother Moon is firm on this. She presides over the inner world like Sun does the outer. At night, we traverse her realm….but, how many of us at this stage find our sleeping patterns are all over the place? Might it mean that our inner Moon is now wide awake and roaming out of bounds? Or just that darned, roaming uterus?
Will leave you with those thoughts, for now.
Stay tuned for more meno memos!
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Jupiter in Pisces pt 2 – Trust in Mystery
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.
~ Patrick O’Neill, Extraordinary Conversations
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?
~ Scylla and the Voyage of Odysseus, Theoi.com
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.
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(I don’t like having to repeat this every time, but unfortunately it’s necessary).
Holly for Christmas
Trees are living Gods.
The sacred Holly is popular at this time of year because it is associated with the Green Man, Christ, truth and love. Holly is the Bach remedy for envy, jealousy, hatred, and helps to open the heart to compassion and generosity.
“In Celtic astrology, the eighth sign of the lunar zodiac is Holly and it’s ruling planet is Earth, because it marked the fire festival of Lammas or Lughnasa, which was celebrated on 1 August. These celebrations were in honour of their Earth goddess and their Sun god when the fruits of the earth were being harvested. The mystical symbol of the Holly Tree is the fabled Unicorn, an ancient symbol of royalty and noble spirit. The evergreen aspect of the Holly symbolized eternal life…”
~ Celtic Moon Signs, Helena Patterson
We have a lot of Holly in Vancouver, probably from Britain. I stood beside this one today, with the Taurus (earth) Moon above. Found a couple of small branches on the ground, to take home, and left a slightly heart-shaped, pink-tinted rock in it’s trunk, as a thank-you.
Photos ©Roxanna Bikadoroff