tarot_scholar: A purple and gold loop against a glowing green background. (Default)
I've been thinking about the court cards again—I do that from time to time—and my latest inclination is: I really don't care for the traditional Golden Dawn/Crowley associations.

The larger (arranged?) marriage of Tarot and astrology is another point for later, but if you take for a moment that the two systems match in any meaningful way, the court cards are still a weird fucking mess.

In the GD methodology, each Minor Arcana card is a planet in a sign, right? 4 of Pentacles is Mars in Capricorn, 2 of Wands is Sun in Aries (or maybe that's 4 of Wands, it's late and I'm on a slow computer and I don't feel like checking).

This makes sense. If the Major Arcana are the big deal things, the archetypes and so on, and the Minor Arcana is how they manifest, then it's natural that the Major Arcana would be the ideal energies and Minor would be all of it in action.

This renders astrological assignments to the courts redundant, and also a poor fit: twelve signs for sixteen cards? There is a system, of course—for REASONS!!! the Princesses don't actually correspond to any of the signs, but honestly those reasons sound a lot like retconning to me. But let's assume that the reasoning there is sound: now, in addition to representation for all the zodiac signs in the Majors, you also have it in the courts.

Why do the signs get to double dip? Why does Cancer need the Queen of Cups and The Chariot?

Again, there is contradiction in the teachings: the court cards rule the last ten degrees of a sign and the first twenty of another. So the Queen of Cups rules over the last ten degrees of Gemini and the first twenty degrees of Cancer. But the court cards are also still associated primarily with ONE sign. Which is it, Crowley? One or two? I've heard the argument that this is to account for the court cards, representations of people as they are, to be complex and multi-faceted instead of a pure archetype. I call bullshit.

The other model of the courts is the multiplicity of elements: so all of the Pages/Princesses represent the earthy element of their particular element, the Knights/Princes air (or fire sometimes depending on who you're talking to), Queens water, and Kings fire (or air, depending again on who you're talking to). So then the King of Cups is the fiery aspect of water, and his character can be inferred (in part) from the interplay of those two elements. This is a more satisfying system for me, at least on the face, as it does have a Mandelbrot/fractal nature to it, because you can imagine that each subdivision has four further subdivisions, and on and on and on.

Theoretically this model could democratize the court cards, especially if you took away the ranking titles and just renamed everyone "Earth aspect of Air" or whatever. I say "theoretically" because within the Golden Dawn/Qabbalistic juggernaut clusterfuck the four Aristotlean elements have a rough ranking from least sacred to most. (Sacred is probably a poor choice of words here but you can read Crowley or GD/OTO commentary on your own time.) So earth is the lowliest, the least pure, and then fire is the highest and the pinnacle of creation (or whatever). Or ether, maybe. I forget what the official stance is on that. So a hierarchy of sorts remains, at least as long as you're cleaving to a GD-inspired take.

Moving away from Thoth- and GD-specific models of the courts you have what I assume are more modern takes: the courts representing the journey of learning the suits, from the novice Page to the master King; or the courts filling different roles within a kingdom of an element, or so on. One that I wonder might be fruitful is if you take them as manifestations of the different astrological sun/moon combinations viz a viz elements. So all the Cups are water Sun signs, and then the Page of cups would be an earth Moon sign, and so on. (Or reverse it! Depending on if you're practicing Western or Vedic astrology and whether you want to put emphasis on the Sun or the Moon.)

(Aside: age and the court is weird. I'm a proper fucking adult now and so are my peers, and while I've been able to identify with Queens since I started reading Tarot, the idea of thinking of my male peers as Kings is weird. Too weird. They're all knights; middle age is always ten years older than you.)

Also when I started reading Tarot, I thought that it was a happy coincidence that there were sixteen court cards and sixteen Nyers-Briggs types. Surely someone had mapped them, I thought! Nope. I thought up coming up with my own associations but never did (I'm not terribly fluent in MBTI speak, even now.) Googling now, a million years later, and someone has, but their system is weird and inconsistent. It seems only natural that cards should share traits according to element and rank, and yet they do neither.

What I still like about the MBTI as court cards is that it flattens the hierarchical structure, once and for all. If I were to create my own deck, I'd rename all of the court cards according to the MBTI archetypes. The Counselor, The Executive, The Mediator. A functioning society needs all kinds, and one kind isn't a more advanced or developed version of another. And the images would show them in that role, as well. The other thing I always hated about court cards is that, with apologies to Pixie and all of the artists she subsequently inspired, the figures are so flat and dull. (Or in the case of Thoth, they're such fantastical archetypes that they're impossible to read.) The reader is stuck inferring meaning from colors and symbols and whatever they know about the card's associations, rather than how we usually understand our fellow humans: interacting with either things or other people. But depicting someone in the role of a counselor, an entrepreneur, or a logician (lol okay not all the names are great)—that makes something click.

My own system, after a bit of thought, is this:

The Pages and Knights, insofar as they're focused on being curious and inquisitive and gathering data from the world around them, are perceiving types. The Queens and Kings represent the application of the data, and hence are judging types.

Pages and Queens are more receptive, making them introverts. The go-getting Knights and the authority figure Kings are inherently more extroverted.

The elements thus determine the functional pair of a given card: the middle two letters. Based on this rundown, I would argue that:

Pentacles: ST
Wands: SF
Cups: NF
Swords: NT

So then you end with the Queen of Cups as INFJ: the counselor, or the confidante. And the King of Cups then becomes ENFJ, the ideologist or the mentor. Granted, there aren't official archetype names for each type, so there's wiggle room. But you get the picture.

I could see the argument for saying that Wands and Swords would be extroverted while Pentacles and Cups would be introverted (better application of masculine/feminine energies?), in another system. And making temperament a function of rank rather than element. There are a couple different possibilities. But I like them all better than the current mishmash of astrology and Tarot that currently reigns (if you'll pardon the pun).

8 of Swords

Mar. 6th, 2017 09:41 am
tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)
This is a card that has come up a lot for me in readings on unrelated subjects. Now, I'm fairly confident that I shuffled well enough to assure that the deck (Russian Tarot of St. Petersburg) was well and truly randomized between readings, so I want to take a moment to pay attention to this card and see if I'm missing anything.

The 8 of Swords typically features a captive figure (usually a woman) who is bound, blindfolded, and surrounded by swords, often some distance outside of a village, town, or other indication of civilization. Here is the Waite-Smith image that serves as the basis for many decks today:



In the Thoth deck, this card is titled "Interference"; in the OGD it was also known as "The Lord of Shortened Force." I think this is one of my favorite of Harris's cards; something about the colors and the background geometry and the placement of the swords all works together to invoke a sense of static-y disruption. For whatever reason, it's a card that I have no problem responding to an on instinctual level -- maybe even easier than I do with the Waite-Smith version.




One thing that comes up often with the 8 of Swords is that it represents a self-imposed bondage: one that is a result of overthinking, or in refusing to accept some obvious reality, rather than outside forces conspiring to keep you in your place.



In her companion book to the Russian Tarot of St. Petersburg, Giles highlights the differences in representations between the Russian Tarot and the Waite-Smith and other Waite-Smith inspired decks available at the time. Here, the captive figure's eyes are closed, instead of blindfolded, which highlights the self-imposed nature of the interference. Giles also points out the ambiguity of the floating sword: is it coming to cut through the binding ropes? will it simply settle into the ground with the other 7 swords? Is it, like the floating fourth cup in the 4 of Cups, potentially something unreal or imagined in nature? Overall, Giles concludes that the Russian Tarot's 8 of Swords is a little more hopeful than the Waite-Smith version.

My favorite name for this card is the OGD's "Lord of Shortened Force." I don't have ADHD myself, but I get that kind of vibe from the card: constant distractions, unable to focus, getting nothing done as a result. (Or having to do a lot of extra work just to tread water.) I admit to feeling like that a lot, recently. Seeing this in the outcome feels a lot more like "results unclear, try again later" than "no bueno." I'll have to lay out another reading later, when I'm less harried, and see if anything changes.
tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)



I'm doing things a bit out of order, here. The truth is I need a bit more thinking on Days 6 and 7, so I'll come back to it in a moment. Day 8, on the other hand, is at least halfway easy!

For me (and honestly, I think if you polled people), the three scariest and most negative trumps are Death, the Devil, and The Tower. As is practically the in-joke right now, "DEATH ISN'T ALWAYS ACTUAL ACTUAL DEATH IT'S USUALLY CHANGE!!!" and so there's the positive spin. The Devil—The Devil is the card of Capricorn, which is all about hard work and creating structure and form. Even the artwork on the Thoth version of The Devil has an image of the anaphase portion of mitosis (a cell dividing in two to reproduce asexually) right in the foreground.



That leaves us The Tower.



But good spin can you possibly put on The Tower? It is the worst. It is losing your job, your spouse, and your parents in the same 24-hour stretch.

I guess, if one recovers from The Tower, you can say that it's given you a clean slate. A new start. That's the gist of what the Instagram posts for this one say. (A lot of other people also chose The Tower.) But if you never recover....?

I am dubious of this particular exercise, I suppose. "There is good and bad in everything!" smacks of the wrong kind of New Age frou-frou sweetness and light philosophy. Sometimes, things are terrible, and there's no two ways about it. Sometimes shit happesn to a person and there's no lesson to be learned, no "new path" to be taken. Sometimes it's just one more turd on a shit sundae, and to pretend otherwise is harmful.

tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)
Days 3 and 4 of Shadow Work October make a nice pair, so I did them together



Brief comments on fear. )
tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)
(or, is most often pulled to represent you?)


Most traditions assign Cancer (my Sun sign) to the Queen of Cups, and over time I've come to think of her as my significator:







Generally this is the card that feels the most "me" out of the courts. Aside from the Queen of Cups, I have a special place in my heart for the Queen of Swords: she is who I want to be:









However, it seems that the Page of Cups and the Page of Pentacles will pop once in a while to represent me.



tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)
(Both in terms of artwork and divinatory meaning.)

I can't pick a favorite card universally. One artist will get one batch of cards completely right, another artist will get another, and a third, and so on, but I have yet to find a card that I feel is exceptionally well done across all the decks I use.

Artwork AND meaning:

I love the colors and the geometry of the Thoth's Star trump, so much so that I've designed a few pieces of jewelry around it. (A post for another day.)


Artwork:






(Josef Stalin as the Devil! Very appropriate.)







Bonus: favorite court cards












tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)

After many years of admiring from a distance, I took the plunge and ordered a copy of the Victorian Romantic deck. I don't know how I first stumbled upon it—most likely during a Google image search for one particular card or another—but it was love at first sight.



I had gone through a phase where I bought nearly every Tarot deck I stumbled across, just because, and I've had a few cases of buyer's remorse. After that experience, I abstained for a while; I think the last Tarot deck I had purchased before the Victorian Romantic was my Russian Tarot of St. Petersburg, and that was in 2008. Six years without purchasing a single deck! You understand, then, the kind of impression the Victorian Romantic deck made on me.

There were a few different editions printed; the only one remaining in stock at Baba Studios is the 2012 special edition. The cards are large—taller and fatter than my St. Petersburg and my Thoth—and the images are sumptuous. It comes in a sturdy box of heavy cardboard with a hinged lid (rather than your usual flimsy paper box and a folded tab opening). Very protective, though the deck fits in so snugly that getting it in and out is tricky business and one should be careful.

This edition also has lovely gold trim on the sides, which I think is a wonderful touch. It catches the light as you shuffle  and makes everything feel all the more magical. The whole deck has an air of a bygone fantasy era and a general sense of luxury. That is one word that keeps jumping out at me with this deck: luxury. Every image is detailed and rich with color; every card seems to spring from a sense of dreamy nostalgia where everything is beautiful and nothing hurts. Some of the images in this edition are new and did not originally appear in the first one, though I'm not sure which particular cards were changed. It also comes with two copies of The Lovers: one called "Dante and Beatrice" and the other called "Swept off her feet." I opted to use the latter for readings and keep "Dante and Beatrice" aside.

What makes this deck particularly interesting is that, because it is collage work of Victorian Classicism engravings and illustrations, most of the cards lack the traditional symbolism of having six pentacles or three cups or so on. There is nary a sword to be found in the above 8 of Swords card, for example. Some of the images chosen are also, in my opinion, quite unconventional and surprising. Nonetheless, they all fit well with the meanings of the cards; if anything, their departure from Pamela Coleman Smith's images in the Waite-Smith deck (upon which this deck is based) does a lot to clarify some cards and shed some light on their meaning.

I also appreciate the Court cards in this deck. Court cards have traditionally been simple portraits of their subject. There is only so much you can glean from a person sitting alone, however; while I've had the elemental associations and meanings memorized for years now, I've never been able to really "get" most of the courts and have longed for a deck that showed them interacting with the world and other people. I think the best ones I've seen have been Lady Freida Harris's—while they are still single-subject portraits, her use of perspective and geometry and color, in addition to the slightly more esoteric animal symbolism, was absolutely first-rate. Her court images still manage to convey a lot of information and ~feeling~ right on the surface.




Likewise in Marchetti's Gilded Tarot, he tried to convey the nature of the Queens by their posture/gaze/relationship with a column.



And Pamela Coleman Smith left clues in the nature of the Knights' horses and how they were riding.



Which has been a technique other artists have followed:




Here, many of the Court cards are shown with people. It seems like such a minor detail but it can make all the difference (for me).

 In my binge-buying days, I liked to sometimes do an introductory reading to learn a little bit about my new deck. I did the same with this deck. I also looked into all of the rituals and readings people do with a new deck, but most of what I could find seemed to be variations on the theme of cleansing: sage smudging, crystals, spritzing with herbal infusions, and so on. Daily Tarot Girl (a Tarot blog I hadn't encountered until now) suggests something similar to what I would do: ask your deck questions about itself. She also gives some suggestions about questions you might want to ask.

I opted for a simple three-card layout, but obviously that's what worked for me. I like three-card layouts; I like 3. You might like 1, or 4, or 7, or 10, or or or or....

How would you describe yourself? 7 of Cups

What attitude do you like? Knight of Wands

What attitude do you dislike? Ace of Wands

The 7 of Cups is one of those unconventional cards I mentioned earlier. The traditional Waite-Smith imagery for this card is a figure, back turned, gazing upon a dream of seven chalices. This is the theme you see in most Waite-Smith clones. But in the Victorian Romantic, we have a goblin-looking creature fishing treasures out of the murky depths. Or is he using them as bait to lure in unwary travelers? In the depths is a more human-looking figure, gaze fixed on the gold at the end of the fisherman's line. It is a totally unconventional representation of the lure of the 7 of Cups, but it works.

As a representative card of this deck, and how it chose to describe itself, it works: after all, the language I was using to describe it earlier falls under the realm of the 7 of Cups: luxury, magic, nostalgia, fantasy. And the card's unconventional art speaks to the various unorthodox facets of this deck. That said, it also seems like a bit of a trickster card to pick: the 7 of Cups is not without delusion and deceit. As any Tarot reader will tell you, the cards are not without a sense of humor.

The Knight of Wands is standing with his horse and talking to a woman who seems totally and utterly cheesed with him, while he has the tiniest hints of a smirk on his face. It's like he's just made some groaner of a pun or cutting remark that his companion is just not having. Still, he's a charmer; if he weren't, he wouldn't be talking to anyone at all. Confidence, charm, and enthusiasm. The Knight of Wands doesn't take anything too seriously. This seems more and more like a deck full of levity and goodwill.

The Aces, usually considered positive cards, can also have their downsides. There is such a thing as "too much of a good thing," after all. Mahony and Ukolov give positive and negative meanings for each card in the LWB (I'm a big fan of privileging the small details of a deck's LWB over generic, pan-deck meanings when those pan-deck meanings don't necessarily play out), and for the Ace of Wands they mention "machismo and forcefulness." With the wands in particular there is also the risk of brash, selfish ego; the obsession with the sacred fire of one's self. That Knight is only charming because he knows when to lay off and is sensitive to other people.

An unconventional deck with a sense of humor who dislikes people who are too far up their own asses and who too convinced of their own greatness. Well! Nice to meet you, Victorian Romantic. I'm sure we'll get to know each other quite well.

tarot_scholar: An image of Norman Rockwell's interpretation of Rosie the Riveter (Rosie)

Happy Midsummer, one and all! I decided to mark the occasion with a reading on another writing project, GAL. Starting with only the scrap of a D&D character, I tried my hand at urban fantasy with GAL during 2013's National Novel-Writing Month (NaNoWriMo) and found myself stuck on plot. There are people in the world who win NaNoWriMo—that is to say, they write 50,000 words—by the seat of their pants, and I will never understand how they do it.

It's a character I like and it's a premise I think is interesting, so bring in the Tarot to help.



More about GAL. )


Many Tarot readers talk about the Tarot as simply reminding people of what they already know. Indeed, much of what showed up here I already knew and did little more than reinforce the story as it already is, using some of the same cards I would have chosen myself. I haven't walked away from this reading with anything really new and substantive, which is what I was looking for. This is why formulating a good question is so important for reading Tarot. And also having a good solid meal beforehand so you come at it with a clear head. ;) Even looking at this story months later I'm still blocked where I am, nor does this reflection point me in any particularly fruitful new directions. A follow-up is necessary but first I need to figure out what I need to know—my "known unknowns."
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