Please remember that this is a BRIEF overview of some possible connections that one might see between the theoretical model of existence being put forth on this site, and tarot icons. Your mileage may vary.
In the previous section, we superimposed numerous layers of ideas over a simple skeleton of four circles and a point in an attempt to theoretically "see" some patterns that might explain the nature of archetypal influence upon humanity. Some of those ideas were obvious. Some of them were pretty abstract. In both cases, a conceptual leap of imagination is required to see how simple abstract patterns might relate to the complexity of human expression.
NOTE: In most cases, I will be referencing the imagery of the Rider/Waite/Smith tarot deck, because it is so enormously popular. I might also reference my own decks, in places where I think RWS is off track from this guiding blueprint of four circles and a point. I like to reference the RWS deck because of the amazing number of coincidences where numbers attached to icons in that deck, match up with the numbers of the theoretical model of existence being put forth on this site.
-----
Levels of Perception:
Both the Magician (1) and Hermit (9) deal with activities of the mind. The Magician is clever, the Hermit is wise. They are both Cerebral (1/9) types, dealing with the Brain, Thought and Mind.
The High Priestess (2) conceals mysteries from uninitiated eyes. Justice (11 = 1+1 = 2) is blind (well, in some decks anyway). They are both Perceptual (2/8) types, dealing with Eyes, Vision and Spirit.
The Empress (3) is all about love and pleasure. The Hanged Man (12 = 1+2 = 3) (sometimes titled The Traitor) is all about hate and pain. They are both Sensorial (3/7) types, dealing with Skin, Feeling and Soul.
The Emperor (4) is a courageous leader. The Lovers (6) are passionate. The Devil (15 = 1+5 = 6) is perverse. They are all Visceral (4/6) types, dealing with Guts, Instinct and Heart.
The Hierophant (5) is the source of governing laws. Temperance (14 = 1+4 = 5) stands as a neutral inbetween, pouring influence back and forth. They are both Elemental (5) types, dealing with Core, Temper and Essence.
-----
The Creativity Progression:
The Creativity Progression begins with an Invocation (1). The number one represents a "spark from beyond." Many view the genius of RWS Magician card as a spark that ignites or begins the triumphal procession. The same progression ends with an accumulation of knowledge, or Education (9). Many view the RWS Hermit as the embodiment of total knowledge. The Hermit is supposed to be a wise man, someone you consult for answers to life's big questions. Standing atop a mountain, there is also the implication of a goal reached... i.e. an ending.
The "spark from beyond" seen in card 1, leads to the Formulation (3) of an idea. Many view the RWS 3 of Pentacles as an artist sculpting the walls of a church. He is forming an idea, or giving an idea form. This is the advent pause of creation at the number 3. Equidistantly, we see another pause, a pause of Realization (7) that occurs when artistic expression is achieved. Many view the RWS 7 of Pentacles as a man pausing to contemplate the progress of his efforts as a gardener, or to admire the wonders of nature. He has realized a crop of tomatoes, and is pausing to savor the moment.
-----
The Significant Signature of Nature:
Many view the RWS 8 of Pentacles as a representation of work. But the proliferation of pentacles, and the enthusiastic posture of the young man, cause me to view it more as a symbol of enthusiasm. In that way, I see it as an accurate representation of the energy output of the Significant Signature of Nature model - Propelling Expulsion, or, the explosive end. Cranking out pentacles requires explosive amounts of energy. Conversely, I see the opposite of such energy in the declining momentum of the RWS 8 of Wands. To me, these falling wands represent failing or terminating energy - energy that is running out. To me, this image represents the "final burst of energy" given off by dying entities - terrestrial and celestial.
At the midpoint of the Significant Signature of Nature model, is a Pivotal Exchange (5) where Experimentation (5) and Reciprocity (5) are found. To me, the back and forth qualities of this position are a perfect fit for the alternating nature of the RWS Temperance card. Two wings (left and right), two cups (one emptying and one filling), two feet (one in water and one on land) all saying the same thing - this is the midpoint of the numberline where opposites butt together symmetrically like wings, or exchange sides and flow back and forth like water between cups, or remain segregated like water (symbol of the unconscious or subconscious) and land (symbol of the conscious). The midpoint of the number line is the ultimate in-between, between any of these two pairs. Thus its nature is that of alternation - back and forthing.
In that last example, ultimate inbetweenness is the conceptual, principle pattern (infinitely drawn nowhere). Alternation is the archetypal influence (observed and acknowledged by a human). The icon called Temperance is the symbolic, anthropomorphized representation ... of the archetypal influence ... of the conceptual pattern ... of inbetweenness.
-----
The Sexual Progression:
To me, the RWS 2 of Cups accurately symbolizes the Attraction (2) stage of the Sexual Progression. I also see how the opposite of that kind of harmony is seen in the tension of the RWS 2 of Swords. The 2 of Cups stare into each other's eyes. The 2 of Swords is blind. They are opposite to each other. The clear vision of the 2 of cups enables clear motion in the 2 of Pentacles where we see a man dancing and waves undulating. The blinded condition of the 2 of Swords prevents clear motion in the 2 of Wands, where we see a man standing still and waiting.
In the Sexual Progression, Intimacy (3) occurs at the number 3, the same number that is usually given to The Empress card. But whether given a 3 or not, the Empress is usually associated with intimacy, touching and feelings. She is known for her sensitivity. She likes to touch and be touched. In all our models, the number 3 has represented the Surface (3) of an entity - the corporeal body that can be touched. The idea of form also occurs at this stage, making the perfection of beauty that the Empress is know for another accurate association.
In the Sexual Progression, Foreplay (4) establishes a "foundation of intent" that, to me, fits the qualities of the RWS Emperor. His phallic nature is obvious. He is a man of strong intent and a rock solid foundation of strength. His strength comes from the engorged Mass (4) of substance found within the fiery core of our theoretical model of existence. The fiery core gives both of our sexual partners driving passion. Hence, we see the card of Lovers sitting equidistantly from the Emperor, sharing the same circle, or sphere, of our theoretical model of existence, which means that this too is a card of fiery passion.
At the end of the Sexual Progression we have Resolution (9), where progress comes to fruition and we contemplate the totality of what was experienced. In the RWS 9 of Pentacles, I see the woman surrounded by the wall of fruit, as a perfect symbol of fruition.
-----
The Cosmic Engine:
The Cosmic Engine showed how a number line can be equidistant in form, while also describing an event in time that passed through each of nine stages. Equidistantly the intake and exhaust parts of the Cosmic Engine equate with the ideas of inspiration and enlightenment. In that way, I can see the gaze of one person into the eyes of another, as seen in the RWS 2 of Cups, as mutual inspiration. I see the RWS 2 of Swords symbolizing the diametrical opposite of such inspiration - being blindfolded. I then see the equidistantly similar 8 of Swords symbolizing the diametrical opposite of enlightenment. A person who is figuratively blind, as in the 2 of Swords, will not be inspired. And her equidistant "self" as seen in the 8 of Swords, will also not ever become enlightened, until her blindfold is removed. In my opinion, these two cards both show blindfolded people for a reason, they are equidistantly similar, and drawing off the same fundamental sphere of influence - the 2/8 Atmosphere, where the concept of vision i.e. seeing in straight lines through unobstructed space or atmosphere is found.
If you insist on viewing each suit as 10 individual cards, or sephiroth, you may never see this equidistant similarity. But if you view each suit as a number line, or a 9 stage representation of an abstract model of existence, this equidistant similarity makes all kinds of sense! I urge you to look for other equidistant similarities within the RWS deck.
-----
Conclusion:
If you can see any kind of correlation here at all between traditional tarot icons and these more abstract patterns, then perhaps you might also consider the possibility that the other parts of these patterns could also be used to define the nature of other tarot icons. For instance...
Have you ever considered the idea that the joy of the RWS 3 of Cups and the sorrow of the RWS 3 of Swords might be an intended association? Have you ever considered the possibility that the entire suit of Cups and Swords might be associated in the same antonymous manner - by design?
Have you ever considered that the harmony of the RWS 2 of Cups and the tension of the RWS 2 of Swords is an intentional opposition? Have you ever considered the possibility that this additional evidence of antonymous meaning between suits might imply some intended association between the entire suit of Cups and Swords?
Have you ever considered that the inviting/familial feeling of the RWS 6 of Cups and the alienating/disenfranchized feeling of the RWS 6 of Swords is by design? Could this too, suggest an overall association between the entire suit of Cups and Swords?
Have you ever considered that the plotting and scheming of the RWS 7 of Swords could be seen as the opposite of the planning and dreaming of the RWS 7 of Cups? And that this too might imply an overall association between the entire suit of Cups and Swords?
Have you ever considered that the idea of order (as symbolized by an orderly array of cups and a satiated man) could be opposed by the chaos and confusion of darkness seen in the RWS 9 of Swords? And that this fifth example might tip the scales of opinion as to whether the suit of Cups and Swords were meant to be seen as opposites?
If you begin to see how Cups and Swords can share an antonymous association, then how about Pentacles and Wands?
How about the motion of the RWS 2 of Pentacles being opposed by the patiently waiting man in the RWS 2 of Wands?
How about the accumulation of wealth shown in the RWS 4 of Pentacles (symbolized by a businessman) vs. the spending of wealth in the RWS 4 of Wands (symbolized by a celebration)?
How about the pause of contemplation seen in the RWS 7 of Pentacles vs. the pause of hesitation seen in the RWS 7 of Wands?
How about the energy of enthusiasm seen in the RWS 8 of Pentacles vs. the declining energy seen in the RWS 8 of Wands?
How about the wall of fruition seen behind the woman in the RWS 9 of Pentacles vs. the wall of termination seen behind the man in the RWS 9 of Wands?
OK, not every card in the RWS deck fits with the idea of a grid matrix of opposites. But I find it to be a very interesting coincidence in form when I observe how many do. The patterns are there. The matrix is there. The numerical etymology is even there. And yes my associations are more abstract than most tarot decks. So maybe some of these associations are lost on some people. Perhaps abstract ideas, like "an infinite middle," escape some, if they are devoted to the idea of 10 cards in each suit. With 10 cards in each suit, the 5 is no longer the "inbetween" middle number, so associations of reciprocity and alternation might be missed.
But if you see any kind of correlation here at all, between the fundamental essence of a tarot icon and the abstract patterns discussed throughout this site, then you might be able to understand my approach to tarot. The "All Things Are Numbers" approach is about discovering the fundamental, elemental, universal roots of archetypal influences, and using a grid matrix of organization to logically derive symbolic representations and associated meanings.
The RWS deck is arranged in a particular sequence. Earlier decks had different sequences, and different arrangements. That's OK. The theoretical model of existence being put forth on this site is - in theory - universal, and therefore can - in theory - be used to explain any archetypal image, regardless of whether it has a number attached to it or not, or what number someone assigned to that image when including it in a deck of cards. It's my hope that you learn this system, and see how well it can describe any and all anthropomorphized, iconic representations of archetypal influence, whether seen in tarot or not.
|
