V

The Egyptian Hallway

As stated in the essay The Spine of Tarot, The Numerical Tarot is constructed with opposites in mind. With opposites in mind, we see how, the Major Trumps of The Numerical Tarot have a spine, along which we find matched pairs of opposites - just like the spine of a animal's skeleton. In this way, the Numerical Tarot employs a naturalistic view as the basis for an underlying structure. In the essay Simplicity Equals Truth, we created a one dimensional number line out of a three dimensional model in two simple steps. The theoretical model of existence that generated that number line consisted of four nested spheres and a center... or, four circles and a point, if imagined two dimensionally. If we were to take that spherical model of existence and spin it along its number line axis, or path of magnetic flux, we would create a portal that would lead us into and out of the "sphere of influence" defined by our conceptual model. This axis of rotation is the spine of our theoretical model. The balance required for perfectly gyroscopic rotation is accomplished by our regard for opposites and how they work together in nature as well as a contemplative mind.

The Numerical Tarot is constructed with opposites in mind. In The Numerical Tarot, visual similarities between the symbolism of opposite cards helps define the spine-like nature of the Major Trumps. While in the Minors, the various suits are also paired up like a spine to repeat and reaffirm the nature of each Major card. Here is a chart that uses the illustrations of each card to anthropomorphize the numerical stages of this tarot skeleton. In looking at this binary path of ideas that balance each other perfectly, it is easy to be reminded of a popular myth concerning the origins of tarot, and the possibility that tarot might have come from ancient Egypt... where the images of the Major Trumps were supposedly carved into the walls of a great hallway that a spiritual initiate would traverse from end to end in order to acquire all the knowledge of the world and universe. In this alleged gallery, an initiate is lead through and taught the wisdom of each painting or sculpture, eventually exiting in the end with all the knowledge of the world implanted into his mind. And while this idea remains a historically unfounded notion, it's interesting to contemplate the similarity between a hallway of paintings or sculptures and the Spine of Tarot chart displayed on this page. What if we were to imagine the Major Trumps of The Numerical Tarot as paintings sitting across from each other in a hallway of initiation? A hallway of initiation that one enters from one end and then exits at an opposite end. Let's try...

To start, let's try imagining cards 10 through 18 of a traditional deck in their worst possible light, as suggested in the essay The Spine of Tarot. If cards 10 through 18 of a traditional deck are imagined in their worst possible light, it's not hard to see how some of the icons of The Numerical Tarot might resemble the icons of other decks, but in a more consistently dark and menacing way. It is that consistency in design that I am asking us to imagine existing, through the rest of this essay. With the idea of high contrasting opposites running through the Major Trumps as two opposing rows of 9, and an initiate walking past them to learn their meaning, we become acquainted with the totality of our theoretical model of existence and all that it entails, as far as how it, or parts of it, influence the inner thoughts and outward behavior of humans. Let's see how that pans out.

If this is one of the first essays being read on this site, it might be advisable to look around for other essays that will explain what "Frame, Flow, Form, Force" and "Totality, Energy, Reality, Matter" mean in this diagram. Briefly, they are alternate ways of labeling the theoretical parameters of existence that this study of tarot uses as an underlying structure to the design of a deck. What's interesting is how easily this "Egyptian Hallway of Initiation" design can be applied to traditional decks of the past who typically don't view the Major Arcana as two rows of 9, but instead more commonly vies them as three rows of 7, with the Fool left over, or maybe 2 rows of 10, with the Fool and World left over to be thought of as opposite poles or bookends... or... 4 sets of 5 with the Fool and world left over, or maybe only as an unbroken string of 22. Obviously, this chart is attempting to sum up the nature of each stage with single words. If this were an actual Hallway of Initiation, these are about all the words we would want to use, while letting the images say the rest. So in addition to the key words, the names and titles of the images from The Numerical Tarot deck are included as well as the titles of a more traditional deck, so that people not familiar with this alternative can understand where they would be if using a traditional deck this way..

The chart above is attempting to sum up the major influence of each Major Trump with a single word... derived from the single words being used to sum up the influence of each "sphere of containment" that makes up any abstract entity that might take form out of The Void. But... for those who tend to mitigate the "bad" out of tarot icons, imagining cards 10 through 18 as consistently evil all the way across might be too hard to do. So... maybe we should approach this from another direction. Let's imagine that someone with a "mitigate-the-bad" bias is looking at a deck that uses this Egyptian Hallway of Initiation design - a deck like The Numerical Tarot perhaps - and they are wishing to change it... to look more "mitigated." Or... let's pretend that a person with a "mitigate-the-bad" bias has discovered an ancient deck (from Egypt) that is laid out in this "Hallway of Initiation" way, and now they want to change it to look more like the "mitigated" decks we have today. What kind of changes might they want to make?

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Nothin's Gonna Change My World

Stage 3) In The Numerical Tarot's fictional Egyptian Hallway of Initiation, cards that face each other represent diametrical opposites, teaching the initiate to accept the good with the bad in life, and helping them to find The Middle Way. In this hallway, the Beauty of an image like The Empress is diametrically opposed by that of a Beast. Beauty and The Beast - a classic pair of opposites that has inspired countless stories designed around the nature of love and hate, sensitivity and callousness. One character is smooth and gentle, one rough and harry, one can't help but express compassion, the other can't help but kill. Whether as Wolfman, or Mr. Hyde, The Beast is hated, and as suggested in the essay The Spine of Tarot, might very well have been drawn and quartered from a gibbet, as punishment for his unfortunate state, and the murderous anamalian offenses committed by him against humanity. Just like a pig being butchered for dinner, he would be hung upside down and split in two... disemboweled... alive!

But wait... what if someone with a bias to mitigate all bad cards were to come along? They might not like such a grotesque, abusive and hateful image, too scary! What if they were to put a positive spin on this image of a beast hung upside down from a gibbet? The first thing they might do is to eliminate the bloody, hateful butchering and clothe him. Then, to further distance themselves from the idea of killing, they might try to make him look like he is hanging from his legs willingly, as some kind of self-sacrifice. They might even change the gibbet to a Christian-like cross, like Arthur Waite has done in his Rider/Waite deck. There is still a hint of pain involved here, but much less than before. As time passes, this sacrifice gets more and more willing, and less and less painful.

Stage 5) At the center of the negative half of this fictitious Egyptian Hallway of Initiation lies an evil looking character - a Witch! The midpoint of passage marks a pivotal point in progress. Each of the middle characters in this hallway act as a lynchpin, spreading their influence in both directions along their respective gallery walls. The Wizard is part magician, part alchemist, and part administrator. He is the law in these parts. He has all the control - like the Pope of a traditional deck. His opposite is an evil looking Witch, whose influence becomes the source of anarchy and trouble. Like an alchemist, she too mixes things together, except that her purpose is to unite incompatible entities for the purpose of creating trouble and strife. She likes to bring enemies together and watch them fight. She likes to mix potions that make people break the laws of the land and cause them trouble.

But wait... what if someone with a bias to mitigate all bad cards were to come along? They might not like the idea of an evil witch mixing potions that make people go wrong... again, too evil, scary and menacing. How can we put a positive spin on this icon? Well first, let's loose the Witchy clothes. Then, let's add some angelic wings to make her more positive. Mixing potions is acceptable, as long as she is seen as a facilitator of moderation and temperance between sides. So instead of a scary cauldron of witch's brew, and bubbling vials of poison being poured together with explosive turmoil, she now pours life-giving water from one golden goblet to another. Much better. The idea of the alternation that occurs at the midpoint of opposing sides is still there, it's just a lot less evil now.

Stage 7) In spite of years of influence by people with a bias to mitigate bad, there are still a few cards in the 10 through 18 series of Majors that have survived with some scariness intact. One of these cards would be The Tower. A tower, sometimes occupied by sinners, being struck by lightning and destroyed. Hapless (or perhaps deserved) victims (or sinners) of this violent outburst are seen falling to their death from the tower's lofty heights. Being one of the few cards in a traditional deck that still looks scary, The Tower tends to be a catch-all for every "bad" thing a traditional tarot reader might contemplate. But I would like to suggest that even this card has been diluted by the influence of people with a bias to mitigate the bad out of all cards.

In The Numerical Tarot the two cards that oppose each other at this seventh stage of progress are The Saint and The Sadist. The Saint is connected to the lighter side of life. The Sadist is connected to the dark side of life. The Saint offers the hope of spiritual transport to the heavens - whether by mythical chariot or other means. The Sadist imposes torture and suffering, and the promise of eternal damnation. The Saint in The Numerical Tarot plays music to soothe. The Sadist cracks a whip to torture, and wields a sword to draw blood. As a partner who is equidistantly similar in kind to that of The Beast, or The Hanged Man of a traditional deck, The Sadist is all about violence, torture and suffering in every form.

But wait... let's go back to that person with the bias to mitigate all bad. They don't like all that blood and sadistic torture. A sadist is too cruel an image. How can we preserve the idea of necessary suffering, but without such a sadistic looking icon? What if we go with a symbol, rather than an icon? What if we merely imply the presence of violence with a destructive lightning bolt that comes from an unseen, and therefore much less sadistic looking, source, rather than from an actual sadist? And what if, instead of showing a sadist cutting off someone's head, we just imply it by showing the crown of a tower being severed from its base? Censor the violence, but keep the basic idea of suffering and tragedy.

Stage 8) One of my favorite cards in any deck is The Star! The Star card usually shows a naked woman!! :-) But why is she naked? Being naked at night, when stars are out, she must be cold. It must be a drain on her body heat and energy, and a distant star does not offer much hope for warmth. In The Numerical Tarot, the two opposing cards of this eighth stage both deal with energy, and whether we have energy or not. On the positive side, The Lumina fills us with energy and enthusiasm and lifts our spirits. On the negative side, The Wraith sucks our energy from us and depresses our spirits. With The Lumina, energy is poured into us. With The Wraith, energy is poured out of us, just like the water being poured from the pitchers in the hands of the cold naked woman in the Star card. This is a card of failing health and someone who is about to die.

But wait... what if that person with a bias to mitigate all bad cards were to come along again? A Wraith sucking energy from us is way too depressing - definitely not a healing card, and not very reassuring. Can't we restore some sense of hope to this card? Can't a star be seen as a light of hope in a dark sky, instead of a cold distant light that offers no hope of warmth? Can't the water being poured out be seen as a proverbial bottomless sources of energy being liberally dispensed upon the psyche instead of wasted energy that is about to run out, and leave behind a naked corpse? Keep the idea of energy, but not dying energy, the hope of eternal energy. A card of hope instead of no hope.

Stage 9) Most decks have a card labeled Death, but most tarot readers, especially the "mitigate-the-bad" type of readers, don't see it as a card of actual death, they see it as a card of change. So where is the card of actual death? If we view the Major Arcana of a traditional deck as an unbroken string of 22, then our deck doesn't end with death, the way humans do when experiencing the human condition. That's not an isomorphic design. Where is the card for death? Death happens... where is it? In The Numerical Tarot there are two kinds of endings, an ending with more to follow, and an ending where there is no more. An ending with more is like graduating from one level to another e.g. high school is over, college begins. An ending with no more is when something just dies, and you don't graduate, we just close the book and put it on the shelf, or bury the corpse and walk away. We may even be glad it's over and wish it never happened. On the positive side, a God is waiting to receive us. On the negative side, a Ghoul is waiting to devour us.

But wait... I know that the person with the bias to mitigate all bad cards is not going to like the idea of literal death appearing in a tarot deck, that would be anything but reassuring. So let's see if we can preserve the idea of darkness, and influences of the dark upon the psyche of a human, but, like the Tower card, eliminate the idea of an actual human form bringing that darkness upon us as a veil of death. Let's just show the moon at night, and leave it at that. A reader with a bias to mitigate the bad might even play down the idea of lunacy within the card labeled The Moon, even though it makes a perfect mate to the sanity of total knowledge implied within the card labeled The Hermit.

Yes, there are a few evil and scary looking cards still around, but it is my completely subjective and totally unfounded belief that those scant few cards are but the remnants of a once consistent design that has been eroded and corroded by the influence and biases of people who insist on mitigating the bad out of every card they see.

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An Ancient Alternative

I can easily believe, as historians informs us, that tarot originally started out as a game - and NOT an occult device of divination. And I can even believe in the possibility that it might have only been a game and nothing more. Meaning, that perhaps no significance was ever assigned to each card at all, when the game of tarot was created. There may have been no more significance in the minds of those using this game than there is today, in the minds of people gambling with cards in Las Vegas. How many of the people gambling in Las Vegas, or any casino or poker table around the world, actually care about the possible "meaning" of each card that appears as they play? Probably none. They are only concerned with the suit and number, and whether the cards dealt their way give them a winning advantage, within the rules of the game being played at that time. It's all about the numbers, and which ones show up or not and how they are played in a game.

The Major Trumps of tarot may have been assembled to express some kind of triumphal procession of ideas. Or, maybe they were meant to stand as opposites, like they do in this fictional "Egyptian Hallway of Initiation" design. I can believe either possibility. In either case, my parallel nine arrangement stands as an alternative - a new tarot paradigm. A paradigm that is also sympathetic to the kind of logic that we see in the Minor or Lesser cards of early tarot decks. Being evolved from early playing cards decks, the Lesser cards of tarot come from a past where more regard was typically given to a logical design that included opposing suits of good and bad. Was there ever any meaning associated with these cards?

If there was ever any meaning attributed to the Minor, or Lesser cards of tarot, perhaps the first "theme" of that game might have been a simple celebration of abstract arithmetic, and the fundamental design of simple mathematics. The game might have been a simple game of numbers and nothing more. Or significance might have been assigned to each number of the deck. Some cards might have been intended to represent the mathematical operation of addition and a positive influence upon life. And some cards would have been intended to represent the mathematical operation of subtraction and a negative influence upon life. If so, I believe that for every number there would have been both a positive and negative illustration, conveying a positive or negative concept. And I believe that in this game, all the cards of each suit would have been designed to reflect the same positive or negative bias of the mathematical operation in question. In other words, we wouldn't have cards of a positive suit looking negative, or cards of a negative suit looking positive. Cards of a positive suit would ALL look positive and cards of a negative suit would ALL look negative. This being a design that we do NOT see in later decks like the Rider/Waite/Smith where the images of the Minor Arcana seem to be a mixed jumble of "good" and "bad" ideas sprinkled here there and everywhere (see A Few Minor Changes elsewhere on this site).

They say, tarot started out as a game... I can believe that. Which is why I tend to believe that it probably started out as a game with a symmetrical, balanced, contrasting and consistent design of opposing concepts - i.e. simple abstract concepts logically arranged as a utilitarian device of calculation, to be used in a game of numerical possibilities, just like the 52 card deck people use in casinos today. I don't believe that the current chaos of seemingly "good" and seemingly "bad" cards sprinkled here and there was the original design of the game of tarot (see A Few Minor Changes elsewhere on this site). Because I think tarot started out as a game that was probably constructed with logical, mathematical consistency in mind, and... because my Numerical Tarot does the same, I call my tarot an alternative to tradition, and something new. But... in all actuality... I see it more as something very, very, OLD... a form of underlying structure so old as to have been completely forgotten and abandoned by later day occultists and even further abandoned by the "fluffy" New Age minds who, more than anyone, tend to mitigate the bad out of everything they encounter. As a paradigm, a logical array of opposing ideas may not be as popular a design as the 15th Century Christian Italian model, or the Mystical, Magikal, Occult model or the Fluffy New Age models that have followed, but I believe it is a design that deserves acknowledgment and recognition nonetheless.

Healing and reassurance is a great thing. The Spine of Tarot / Egyptian Hallway of Initiation may not have been the source of tarot's original design, but it's not hard for me to imagine a world of people with a bias to mitigate the bad out of every card, altering such a balanced perspective into something asymmetrical, unbalanced and chaotic, simply to reduce the influence of badness in a reading. Healing and reassurance might be a popular use for tarot. But The Numerical Tarot prefers a design that includes as many aspects of human experience as it can possibly describe - both subjectively "good" and "bad" (see Good and Bad, Right and Wrong, Smile and Frown elsewhere on this site). When used as a fortune telling device, The Numerical Tarot is a blind oracle. The Numerical Tarot is an approach to tarot, that attempts to cover everything. In The Numerical Tarot, every side has another side - light, dark; physical, mental; masculine, feminine and even good and bad. The Numerical Tarot is an ancient alternative rearing its ugly head in the twenty first century!