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Post by Susurrator on May 15, 2019 7:54:29 GMT
King of Staves
Planetary: Neptune (Above) / Jupiter (Below)
Diamond Path: Kether, Crown (Above) / Chesed, Merciful-Benevolence (Below)
Geomantic Figure: Via
Tetragram: Fire (Above) / Fire (Below)
Keywords (Dignified): Pathfinder, Inspiring, Warmth, Boldness, Newness, Masculinity, Adventuresome, Forceful, Warlord, Charismatic, Motivational, Leader, Strong Sexuality
Keywords (Ill-Dignified): Tyrannical, Demanding, Destructive, Impatience, Violent, Controlling, Raging, Rapist
Interpretations
Historical: Classically, the King of Clubs, (for that is what the suite's original symbol was,) was assigned to the historical figure of the ruler Alexander. (The Encyclopedia of Tarot, by Stuart R. Kaplan, via Memoire sur l' origine du jeu de piquet trouve dans l'histoire sous le regne de Charles VII, by Pere Gabriel Daniel.) Indeed, his relentless conquering streak suits the figure of the King of Fire well. Alexander's love for the new and exotic culture of the foreign lands he conquered, and, his desire to practice eugenics, by breeding his soldiers, with foreigners, (which, his soldiers really resented,) also speaks to the King of Club's special relationship with life, warmth and enlightenment, even though, he tends to be tyrannical in his insistence on their implementation in the world. With his dreams to rule all the seas and lands, even the universe itself, he aims at becoming a living God.
On the Pierpont Morgan-Bergamo Visconti-Sforza version, he is a young man, riding a white horse, charging into battle. His long staff is suited for war. The elegant device of the rayed Visconti sun, is emblazoned on his war horse.
Golden Dawn: Called The Knight of Wands Lord of Flame and Lightning, the Knight of Wands card corresponds to the zodiacals Scorpio and Sagittarius, and the constellation Hercules. It places at Chokmah, in the Golden Dawn system.
The Golden Dawn likes to use a black steed, instead of a white one. He carries a flame-like wand, and, like the ancient original Visconti, he is fully armored. Hellish flames emerge from the ground.
Thoth: Crowley changes little from the Golden Dawn traditions. Mainly, he does an effective job at adding more fire, via Harris. He associates it with the 51st hexagram of the I Ching, K’an (Chen,) for no reason that he is willing, or able, to explain - he tells us to go find S.B.E vol. XVI. and study all of the attributions there, that connect to the cards.
This is the James Legge version of the I Ching, assigned as reading material for the A.’.A.’. or Order of the Silver Star, the ultra-secretive initiatory organization he created. Even though he is inferring, that he has a list of hexagrams associated with the tarot, no such chart exists. Well, neither of us had found one, anyways. Whatever system of correspondence he was using to assign the tarot, to the hexagrams, he never explains! He only uses one quarter of the hexagrams. This, in itself, is odd, but what's even more peculiar, is he places them according to their inherent trigrams, as they pertain to his own, stylized, trigrammal Tree of Life chart. It's sloppy and stupid, and his attributions should be discarded. He was a fool here in this particular endeavor and had no idea what he was doing.
Mutational Alchemy Interpretation: The proper hexagrammal association, if we were to give the sixteen court cards hexagrammal attributions, would start with Qian, the pure Yang hexagram. We're using the sixteen tetragrams, instead, as they are perfectly balanced, mathematically. The light of Kether moves to the right, down to Chesed, Merciful-Benevolence. This is a lofty, strong, strategic force, seeking to improve things in the world, from a position of immense power. Ouranos, (Uranus or Georgium Sidus,) paired with Jupiter, betrays the presence of a storehouse of great wealth in ideas and benevolence, and big events, large armies moving across the land, huge palaces, great cities and the individual behind all of that, is the King of Staves.
The powerful, yang heavy structures, signified by the European and Asian figures for Fire of Fire are the penultimate symbols of the masculine. Very fiery, and very hot, although, as we shall see, not as hot as his son, the Prince of Staves, and much less sinister than his wife, the Queen of Staves
The King of Staves starts a whole new chapter in analyzing Eastern/Western attributions. Why is that? The 16 binary tetragrams have never been applied to the 16 court cards before, which is a tragic miss, because, the 16 binary tetragrams, are the Eastern equivalent, of Tetragrammaton. The geomantic sigils are the same thing, but no one else has made that connection, except for me. Furthermore, the names, corresponding to the 16 geo-dot characters, bear no conscious resemblance to the 16 court cards, whatsoever. The most befitting names, are the court card names. The old names were included, so as not to confuse people, and because it already exists, historically.
The Scene: Fire of Fire, in the elemental assignments of the royal or court cards, Ravana, (literally “Risen Sun”) King of the Rakshasas, (demons in control of one half of Samsaric universe,) is widely regarded as the enemy of Rama, an incarnation of Vishnu. The importance of Vishnu in Indian religious beliefs, cannot be overstated – he represents one third of the entire universe, as The Preserver, in the balance between The Destroyer and The Creator, or, Siva and Brahma, respectively. Those Vaishnavites who follow Krsna or Vishnu, know, that in his meditation, Siva is concentrating on Vishnu, and vice versa. The story of Ravana and Rama, when analyzed correctly and intelligently, reveals the way in which this cautious and analytically savvy preservation takes place. Ravana is an incarnation of one of the two gatekeepers to Vaikuntha, the realm of Vishnu. When the gatekeepers, Jaya and Vijaya, arrogantly refuse to allow two, very great sages, into the realm, because of their humble appearance as children, a result of their very highly developed consciousness, the sages cursed them both, in anger. Vishnu attends to the drama, allowing the sages in himself, but he is unable to remove the curse, only redirect it. He gives the gatekeepers the choice of being reborn as his greatest devotees, one hundred times, or as his greatest enemy, only three times. This reveals an interesting window into the adversarial nature of Lord Vishnu and his status as a *sinister* intelligence. Vijaya and Jaya choose the latter Karmic cure, probably to serve a shorter sentence, – the trick in this being, that in one of Jaya’s lives, he becomes immortal, and is born as long-lived and powerful half-man half-Rakshasa, King Ravana.
In his second life, born into ignorance of all of this, as Ravana, he begins austerity, dedicated to The Creator, Brahma, and, after achieving a boon, he asks to become invincible to celestial beings, rakshasas, nagas and so forth, but chooses to leave out mortal men, whom he regards as too pathetic to be a threat. Vishnu incarnates as a human - Rama. After Ravana conquers Lanka, he governs it, intelligently, and wisely. There is no poverty, or hunger, in the city. In the process of his war campaigns, he attains the achievement of being Siva’s greatest devotee, by accidentally angering, and, subsequently attaining the admiration of, The Destroyer. In the story, he tries to get access to Siva’s abode, on the holy Mt. Kailash. Nandi, Siva’s gatekeeper, won’t let him pass. To try to impress, or annoy, Nandi, he lifts up Mt. Kailash and disturbs Siva and Parvati. Siva crushes him under the mountain, using his little toe. Ravana is trapped under the mountain for years. He composes the famous Siva Tandav Stotram, which is a devotional song to Siva, and his wife Parvati. Siva is pleased with his severe penance, (tapyasa,) and awards him with the holy blade, Chandrahas “Laughter of the Moon”, warning him, that if it is used unjustly, it will bring about his doom. Ravana goes on to conquer both humans and immortals – both asuras and rakshasas, over the course of hundreds of years. He commands the rising and setting of the sun, and is lord over the three worlds, in the time that Rama and Sita are born into the world.
The curse of the sages begins to be fulfilled years before this, when Ravana attempts to seduce Vedavati, a beautiful ascetic, he finds in a forest, performing bhakti yoga to Vishnu, in an attempt to win him as a husband. She refuses Ravana’s advances, and he pulls her hair. She sets herself on fire, promising to return to destroy him, as she dies. An important part of this tale is that she does not recognize Ravana as an aspect of Vishnu. She is reborn as Sita, and marries Rama, attaining her goal. However, Sita is kidnapped by Ravana, as the darker aspect of consciousness is not willing to let go of its unfulfilled desires. Rama, as the avatar of Vishnu, must reclaim her. Rama kills Ravana, and Jaya’s second incarnation, as an enemy of Vishnu, is done. The curse has not yet run its course, however.
Sita in turn, is refused by Rama, just as she refused Ravana. She is cast out by Rama into the forest, pregnant and alone, abandoned, due public opinion against her, that she had been raped by Ravana, or, the Rakshasa guards, and was unworthy of being a queen. Later, filled with regret, he welcomes her back to the palace, after learning she has given birth to two boys and has survived the trial. Instead of just recognizing the error of his ways, and leaving her be, he forces her to undergo trial by fire to test her purity! She does so, and Rama opens his arms to embrace her, but, she does not go to him, Instead the earth mother cracks open the floor of the palace and takes Sita back into the earth, telling Rama that he does not deserve her. Neither Ravana nor Rama have the ability to win what they desire. To this day, in Bharat, it is considered a blessing to tell a young girl “May you never have a husband like Rama.”
Ravana represents the reckless darkness in us all, and the danger such volatile subconscious powers can pose to our lives. The subconscious is a source of great power, and knowledge, but, it is also capable of destroying us, if wielded carelessly. Rama represents justice and karmic repercussions – both for Ravana and for Vedavati/Sita. In the Ramayana, Ravana and Rama are the same consciousness, split by internal contradictions. Neither are allowed to reside in Vaikuntha, the realm of Vishnu, The Preserver, which signifies the lesson this ancient tale is attempting to convey, about the nature of metaphysical preservation, and how the flaws in the characters do not belong in the heavenly abode, although, liberation is promised to all, eventually. It warns us not to make the same mistakes the divine characters are making, but, it shows us also the path to achieving happiness, at the same time. Ravana and Rama represent two parts of kingdom, divided in the self.
Ravana is a most appropriate character to fulfill the station of Fire of Fire. Like the Rakshasas, the King of Staves is a workaholic, and, creates prosperity and security for his people. However, this is not what drives the military minded King, he is driven by the force of the element of Fire itself. The King of Staves can be represented by any All-Father deity, such as, Zeus, Hades, Pan'Ku, Cernunnos, Siva, Ra or Izanagi, and, if one will look into the myths of each of these, they will find that they all share the common traits of honor and recklessness, together with the warmth and love of active force and the pursuit of dominion.
Geomantic: Called Via, (Latin for *the Way*) in its medieval interpretation, the correct elemental association should define it as a (Mature) Masculine/Creative character, corresponding to the qabbalistic Atziluth (Emanation,) in the Four Celestial (or Elemental,) Worlds. Since the geomantic figure should more properly denote an elemental character, the term Explorator Viae, (*Pathfinder*,) is an alternative Mutational Alchemy name for it, here.
Jungian Type: Guardian Class / ESTJ (Supervisor) Type
Supervisor types are responsible and orderly; capable of ruling their world according to the “law of the land,” however that may be defined or accepted by them. They are adept at moving an organization forward, using concrete facts and logic to make decisions, that facilitate a smooth and efficient operation.
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Post by Susurrator on May 15, 2019 7:57:02 GMT
King of Blades
Planetary: Uranus (Above) / Mercury (Below)
Diamond Path: Chokmah, Wisdom (Above) / Hod, Splendor (Below)
Geomantic Figure: Cauda Draconis
Tetragram: Fire (Above) / Air (Below)
Keywords (Dignified): Debonaire, Eloquent, Intelligence, Language, Graceful, Cunning, Meticulous, Seductive, Genius, Secretive, Dangerous
Keywords (Ill-Dignified): Arrogant, Slanderous, Obsessive, Liar, Sharp, Bureaucratic, Cruel, Evil Genius, Reclusive, Deceptive, Bitter
Interpretations
Historical: In the Pierpont Morgan-Bergamo Visconti-Sforza pack, this is the only King with a shield, and the figure and shield look very similar to the image of Ra Hoor Khut, on our Ten of Blades card. It is emblazoned with the Sforza or Venetian lion, who has a halo and is holding a book. Elegantly clad in dark armor, he sits outside upon a white hexagonal marble bench, with quatrefoil latticework. His sword points up, like a flame, and a pointed crown sits in his golden hair.
King David, the founder of the Judean royal dynasty, called The House of David, is the traditional historical figure associated with the King of Swords. An eloquent and righteous king, David was also a poet and a musician. He is credited with the creation of The Book of Psalms. He was highly effective in battle and famously won the battle against the Philistines, by killing their champion, Goliath. Later, he won his bride by providing 200 Philistine foreskins, to his father-in-law to be, double the amount requested.
Golden Dawn: Called The Knight of Swords Lord of the Winds and Breezes, The Knight of Swords card corresponds to the zodiacals Taurus and Gemini and the Sephira #2 (Chokmah,) in the Golden Dawn system.
Depicted as a winged man on a golden steed, the Knight of Swords raises his sword triumphantly and his mount appears lively and graceful, in all Golden Dawn packs. Light, or bright, and airy colors, are used.
Thoth: A man with dragonfly wings is Crowley's Knight of Air. At first, it looks as if the wings are coming from his back, but instead, they are some kind of weird beanie hat. The Thoth Knight of Swords is a helicopter man. And this suits him, violent motion and levity are part of his station.
Mutational Alchemy Interpretation: Fire of Air in the below, Neptune in the above, Mars in the below, make for a stormy and powerful mix. This is the Lord of Heavenly Fire. Deep machinations of war, brewing, behind secrecy and lies, bode ill for anyone whom he calls enemy. The purpose for this war will be noble and enlightened. It is to be fought mercilessly, however, and with unnecessary bloodshed of the stupid and stubborn.
Here, the supreme royal light of the eye of Kether, is forced through the sieve of Geburah, on the female pillar. Reconciliation will arrive through divine wrath, and like his reciprocal inverse, the Prince of Staves, the volatile combination of Fire and Air burns hotter than anything purely from the realm of fire. This is a very dangerous character, and a deadly adversary. He is lightning in a bottle, and an infinite well of intellectual potency
But, there is nothing brute-like about him. He is a brilliant strategist, with more control of his fierce power than the Prince of Staves, (Air of Fire.) In peacetime, he is a witty and, stunningly intelligent, persona. He will have at his disposal the ability to impress anyone with his logic and intuition. He will always carry with him an air of superiority, he is, after all, very lofty on the Hidden Diamond’s architecture and descends only to punish. Those who wish to follow this *Hermes* character had better be able to pull their own weight, intellectually, for he has little patience to sit amongst the dumb, deaf or blind.
The Scene: Ningishzidda (sum: dnin-giš-zid-da) is a Mesopotamian deity, a member of the group referred to as the transtigridian snake gods. These deities are defined by their attachment to people of the ancient world, near the Eastern bank of the Tigris river, and their subsequent migration into Sumerian (Modern day Iranian,) territory, as well as by their ophidian attributes. He is also classified as a death god, by the canonical god list, the An-Anum. The prince-king or patesi, of Lagash, Gudea, refers to his deity by the name dingir-numun-zi-zi-da, which translates as, "god of much good progeny," a reference to his strong fertility connotations; and, he is called Gišbanda, "Young Tree," in Nippur.
The Ningishzidda symbol is one of the earliest known representations of the caduceus. We know Ningishzidda from a scarce handful of artifacts. Two of them have a caduceus present. One of the caduceus type symbols was unearthed at the Chogha Mish dig site in Iran, near the Elamite city of Susa, and is dated to approximately 2500 B.C. It has no identifiable cuneiform writing to link it to Ningishzidda. Chogha Mish was the epicenter for the invention of cuneiform, the earliest form of writing.
The other caduceus symbol does have cuneiform telling us about Ningishzidda: it is a steatite carving, designed to hold liquid, now housed in the Louvre, and unearthed at the Lagash dig site. The grail is engraved with crowned and winged Bašmu, dangerous, mystical, poisonous serpents who are messengers of Irkalla, the land of the dead, which is ruled by Ningishzidda’s grandmother, Ereskigal. They hold up staves with a loop of leather, or rope, on the end - a peculiar and mysterious symbol, unique to Sumerian holy iconography. Between the two chimerical creatures is the caduceus itself, a double-headed snake, twining about the sphere-capped pole. The inscription reads "Dedicated by Gudea, ruler of Lagash, to his god, Ningishzidda, for the prolongation of his life."
“ Its decoration is wholly symbolic, two snakes, twined round a pole, rise up to the lip of the vase, as if to drink the liquid poured from it, while two winged dragons stand guard behind them, holding in their front paws a staff with a loop at the top. These monsters must have inspired the most salutary awe, for they combine several dangerous animals in one; the eagle contributes its wings and talons, the snake its head, the panther its body, and the scorpion its poison-charged tail. This composite beast has the divine prerogatives: witness its horned crown. There can be no room for doubt: this is the animal attribute of the god Ningizzida, and as such protects Gudea, while ensuring the fertility of his dominions through the twining snake accompanying it. Here we have the origin of the caduceus, which through the ages has retained its virtue as a beneficent emblem. ”
Andre Parrot, Sumer: The Dawn of Art 1961
His name, in Sumerian, is usually translated as "lord of the good tree". Thorkild Jacobsen agrees with this and interprets the meaning as "the power of the tree to draw substance through its roots."
Three economic groups are identified in the region, spanning from Uruk to Ur. First, there are the marshland people, who worshipped deities descending from Enki, in the cities of Eridu, Ku'ar and Nina. Second, the herdsmen, who worshipped Nanna and his descendents, in Ur and northward. Lastly, a group of people who held sacred the chthonic deities descending from Ninazu, associated with trees and vegetation. He correlates the name "Lord of the Good Tree" as significant to the orchard tenders, who observed the power of the rising sap, and of the roots which resemble divine serpents, creeping up from the ground, emanating from the source of fruit and life. Jacobsen suggests they saw the serpentine roots as "embodiments of living supernatural power."
In the balbale to Ningishzidda, he is referred to by some powerful and unruly titles. He is called "murderous howling Muš-huš," as well as: “Lord with Holy Dignity, Falcon Preying on the Gods, Impetuous Leopard, Lofty-headed Prince, Serpent with a Great Tongue, Lion of the Distant Mountains,” and many others.
Ningishzidda is the son of Ninazu and Ningirida. One of his consorts is Geshtin-anna ("heavenly grape vine"), who is a daughter of Enki and Ninhursag, as well as sister of Tammuz and Azimua ("productive branch,”) another daughter of Enki and Ninhursag born under unusual circumstances. Azimua is given to Ningishzidda as a bride after she is born from Enki’s body.
Early scholars at the beginning of the 20th century, following an inscription found at Lagash, determined he was the son of Heaven, (Anu,) and Earth (Uras).
According to Franz Wiggermann it is Istaran, another ophidian member of the Ninazu clan, and Elamite god of the land called Der, bordering Sumer, who is the son of Anu and Uras. Since this relationship is also attributed to Ningishzidda by Price, it is unclear whether an error was made in translation, or if the two gods were merged. Ningishzidda is said to reside in high mountains, even though he has the authority to command in the underworld, apparently considered to have no equal and able to control anyone who has a personal god.
“ "Foremost one, leader of the assembly, glory of ……, king endowed with awesomeness, sun of the masses, advancing in front of them! Who can rival you in the highest heaven? What can equal you?"Hero who, after surveying the battle, goes up to the high mountains! Ninĝišzida, who, after surveying the battle, goes up to the high mountains! King, you who carry out commands in the great underworld, you who carry out the underworld's business! Any youth who has a personal god is at your disposal, there where your commands are issued. O king, honeyed mouth of the gods! Praise be to Enki. Ninĝišzida, son of Ninazu! ”
- A balbale of Ninĝišzida, Sumer
Istaran had an alcove at the temple of Ningishzidda, so, this could be an example of the common practice of merging two gods, with similar characteristics. Istaran has clear ophidian characteristics, as his son Nirah, is depicted as a serpent. However, Istaran is also a sky god, his name An-Gal, means, literally, "Great Sky", and he is married to Manzat, the rainbow. Ningishzidda’s vizier is called Ip-pu, in the An-Anum.
The Muš-huš, (Literally "Dragon,") also called mušhuššu in Akkadian, is a particular type of creature from Mesopotamian mythology. It identifying markers are a long neck, an elongated horse-like torso, covered in scales, a long tail ending in a scorpion stinger, two pronged horns, (often mistaken for one horn in 2D reliefs,) and clawed feet. In Babylon these clawed feet were depicted in the rear as bird-like, while in earlier depictions, from Sumer, they were leonine. The dragon on the Ishtar gate at Babylon, is a Muš-huš and retains the ophidian qualities of the transtigridian snake gods. In prayers to Ningishzidda, the god is referred to as a "murderous, howling Muš-huš." Bašmu and Ušumgal are other magickal snakes. Ušumgal translates as "Great venomous snake". Incantations have been recorded invoking the name of Ningishzidda’s father, Ninazu, to control the Ušumgal. The Ušumgal is a chaos monster, like the Muš-huš, in a serpent form. They bring illness and poison, and are very dangerous. The name Bašmu refers to the horned serpents rising from Ningishzidda’s shoulders, in his human shape. Mušmahhu is the last beast associated to Ningishzidda, and it refers to the seven-headed dragon that rarely appears in surviving Mesopotamian artifacts. In Ninurta's return to Nibru, the storm god describes one of his weapons as "the seven-mouthed Mušmahhu serpent". Astrologically, Ningishzidda was associated with the constellation we know as Hydra, in Western astronomy.
Much of the ritual practices from the Ancient Near East is lost; however, we do have a few pieces of information about the day to day religious activity of these ancient people. Each god was provided with what was called an "En," a male or female priest, depending on the sex of the divinity, who acted as a mortal spouse. Ningishzidda’s temple is said to have been on the outskirts, that is, rural, and not within the city limits itself.
Chthonic deities fill the role of intercessors to the dead. Ancestral worship was important to ancient Sumerians, and the role of Ninazu, and his son Ningishzidda, was vital to ensuring favorable relationships between the land of the living and the land of Queen Ereskigal, Ningishzidda’s grandmother. Libation pipes would be inserted into the ground above a dead person, and liquid would be poured into the tube to feed the ancestral spirit.
Remnants of festival plans record the supplies needed to satisfy the temple of Ningishzidda, it says "32 gur and 76 liters of barley for the festival of Ningishzidda," An Ur tablet calls for cheese, butter and dates to be provided to Ningishzidda, as well as a grain fed sheep.
Descriptions of the items found at the temple of Ningishzidda in Girsu include references to the cup, now housed in the Louvre, also, clay boxes and covers, decorated with serpent reliefs, including one with four drinking from a bowl. An inscribed mace head, along with three statues of Gudea, were also found.
It was Gudea who is responsible for many of the surviving artifacts and documents we have, involving Ningishzidda. Gudea was a political figure in Lagash, much like a prince - he referred to the city patron, Ninazu, "the great physician", as his king. His personal patron deity was Ninazu's son, Ningishzidda, to whom he lavished devotion through artistic and economic generosity.
Gudea was not the only worshipper - although he was archaeologically and artistically vocal, King Urnammu of Ur also made rich offerings to Ningishzidda and calls him "valiant Ningishzidda," in a prayer. 300 years after Gudea, Ningishzidda’s religion was still on the books. Receipts for herbs, dates, cheese, goats and milk are recorded upon the delivery of goods to the temple. Records have been found in Lagash, Ur and Babylon documenting delivery to the temple.
Ninazu, and his family, including Ningishzidda, lost their significance during the first half of the second millennium. Beyond this, the connection to Babylon is murky at best: Ninazu is replaced by a very similar deity called Tispak, in Esnunna, and it is through Tispak that Babylon partly assimilates the chthonic current. Far to the east, the Elamite city of Sus, after which the Susiana plain is named, is where the caduceus of Choga Mish was unearthed. Wiggermann's paper, titled Transtigridian Snake Gods proposes that the Ninazu family: that is, gods that share ophidian and chthonic characteristics in Sumer, were imported from the east of Sumer, and were not native to the area. He describes the loss of interest in the snake gods over time - and the decline of their importance in city affairs, as well as the loss of ritual tradition. By the time Babylon had assimilated Tispak's iconography, very little of the traditional deity of Ninazu was left. Though, he also states, there is very little difference between Tispak and Ninazu, so, it probably means a statewide decline in the chthonic and ophidian aspects of religion. Babylon's religious sensibilities made the priests there incorporate many outlying regional gods and goddesses into the state religion, which focused on their city god, Marduk. A better known example of this can be found in Biblical text, where Babylonian forces ransack the temple at Jerusalem and seek to take the idol of the god from the Israelites. Babylon housed a temple to Ningishzidda, according to A.R. George, and artists adopted and depicted the Mušhuššu, to serve as a mount and guardian for Marduk. These Mušhuššu we find on the so-called Ishtar gate from the walls of ancient Babylon.
Note: At The Abrahadabra Institute, the spelling Ningishzidda, using an extra D, rather than the encyclopedic Ningishzida, or nin-g̃iš-zid-da, is used because of its special numerical relationship to Abrahadabra. In Hebrew Gematria, specifically the AIQ BKR, both Abrahadabra and Ningishzidda add to 418, the number of manifestation. Both of them also have 11 letters each. When referring to the deity within, in the context of Mutational Alchemy studies, where he has immense importance as a standard, it is both appropriate and proper to use this extra d, so as not to confuse the two subjects of Ancient Near East studies and Mutational Alchemy.
Here artistic liberty has been taken. The long bearded human form of Ningishzidda, recorded as a man, in a robe, with two horned serpents rising from his shoulders, and a horned crown, is depicted as an armored cyber knight. The background is a map of the internet, a decision made by m1thr0s. The two curving devices he holds in an ‘X’ pattern are naga-keris blades, an elegant serpentine weapon from Indonesia.
The distinctive crown of the Mesopotamian states, is stylized, on his brow. His armor is futuristic and the TwinStar, the penultimate symbol of Logos incarnate, protects his abdomen. His black armor, covering most of his body and black war paint, is a symbol of the King of Blade’s secretive nature, as well as the chthonic properties of Ningishzidda.
Geomantic: Called Cauda Draconis (Latin for *the Tail of the Dragon*) in its medieval interpretation, the correct elemental association should define it as a (Mature) Masculine/Analytical character, corresponding to the qabbalistic Yetzirah (Formation,) in the Four Celestial (or Elemental) Worlds.
Jungian Type: Artisans Class / ESTP (Promoter) Type
The ESTP is a master of social subterfuge and influence, exuding majesty and harnessing an impressive grasp of social maneuvering, supported by their accurate assessment of individuals and groups. The ESTP understands how to control people, by understanding their wants and needs.
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Post by Susurrator on May 15, 2019 8:01:13 GMT
King of Pentacles Planetary: Uranus (Above) / Luna (Below)
Diamond Path: Chokmah, Wisdom (Above) / Yesod, Foundation (Below)
Geomantic Figure: Puer
Tetragram: Fire (Above) / Earth (Below)
Keywords (Dignified): Powerful, Industry, Wealth, Reliable, Stable, Enduring, Effective, Foundational, Prudent, Steady, Fertile, Luck, Tradition, Appreciation, Family
Keywords (Ill-Dignified): Stubborn, Tired, Close Minded, Stupid, Miserly, Uncaring, Insufficient, Pollution,
Interpretations
Historical: Called the Knight of Coins, the traditional historical king on this card is Julius Caesar. An ambitious, relentless general and politician, Caesar embodies the steadfastness of the King of Pentacles well.
This court card is lost from the Pierpont Morgan-Bergamo Visconti-Sforza deck. Reproduction packs include a recreation made by guess-work.
The Brera-Brambilla Visconti-Sforza pack has a Knight of Coins on a white horse, wearing a very ornate head dress. His whole cloak appears to be made of peacock or pheasant feathers. The horse is rearing up slightly. The hat resembles the bow of Diana, with a flower bud in the center. The horse is decorated with the ducal crown of Milan, showing two fronds or branches.
Golden Dawn: Called The Knight of Pentacles, Lord of the Wild and Fertile Land, The Knight of Pentacles card corresponds to the zodiacals Leo and Virgo and places at Sephira #2 (Chokmah,) in the Golden Dawn system.
The Golden Dawn kept the old plume and pentacle held in his hands, but like all of the knights in the GD, he is mounted on a horse, and wears armor, and the horse is slowly walking or not moving at all, symbolizing his steadfastness and earthbound nature.
Thoth: Crowley deviates very little from the GD, though his knight does hold a large shield that is pointed towards a rising or setting sun. He does not have anything nice to say about him, but, like many of the court cards in his Thoth, one certainly gets used to that, or gives up the pack altogether.
Mutational Alchemy Interpretation: The King of Pentacles has been so maligned over the years by various authors and artists, it was difficult to imagine redeeming him from the ditch he had been put in for so long. The decision to use Vulcan-Hephaestus was an “Aha!” moment for my wife and I. Crowley puts his short man to work, growing crops, and, gives him a stag-hat, citing the need for evil profaners of the sacred fire to turn to Mother Earth. As Fire of Earth however, this is the station of volcanoes personified, so, the humble garden gnome is ill-fitted for the royal station. It’s one thing to whine about the state of the Earth, quite another to drag an elemental force of nature down into the dirt, to fit in with it. So, I did not agree with Crowley’s position.
The Hidden Diamond Sutra path from Kether, to Netzach, is ineffably romantic. It speaks to a kind of unknown, hidden, rescue mission of some kind. This deep descent into the lower spheres, from on high, fits the darkly brooding figure of Hephaestus quite well. Cast out of Olympus for being too ugly, and lame, he was a genius of artifice.
Neptune and Venus speak of dreamy romance, a relationship built on more than just sexual attraction, or kind words, but a kind of creative camaraderie. It is a pleasant place to be, with warmth and security, but intense passion. Fire above, Earth in the below, in the tetragram and geomantic Puer, indicate the forces of creation.
The Star of Pythagoras is depicted here. Pythagoreans called this star Hugieia, meaning health, or sound wholeness.This word was also their greeting, and password. (The Pythagorean Pentacle by Apollonios Sophistes 1999) Pronunciation is “Eee-yee-uh.” Because the word had six letters in Greek, it was written as (U-G-E-EI-A,) on the pentacle. This also has a special meaning to the letter Y, which was used as a parable of man’s path, where a series of choices either cause man to ascend to the heavens, to be with the stars, or to descend and become like a beast.
Each letter has a special association to titans, and to elements. U is for water, G is for earth, I is for form and spirit, EI is for the sun’s warmth and fire, A is for Air.
The Scene: Fire of Earth, King and God of the forge, is represented on this card, with golden olive skin and the dark hair of the Africa-origin Mediterranean bloodlines. Known to the Romans as the fiery Vulcan, this ancient Greek god of fire and artifice was born to a tragic tale of betrayal, misfortune, and disappointment. Born to Hera, she rejected him, because he was born malformed, lame. After throwing him into the ocean from Mt. Olympus, he was found by the water nymph Thetys and her daughter, Eurynome. He grew up to be the finest smith in cosmos, and fashioned his revenge in the form of a golden throne that trapped whoever sat in it, inside. This, he sent to his mother, causing panic on Mt. Olympus. Through circumstance, he is betrothed to Aphrodite, an arranged and faithless marriage. Later, he married Aglaea, (“splendor,”) one of Eurynome’s daughters, after a divorce from Aphrodite. Dionysus, student of Hermes, is his friend and ally in his struggle to reclaim his birthright as an Olympian. Greek pottery often depicted him being lead home by Dionysus, and an entourage of Satyrs.
In the Greek mythos, Hephaestus is weak and fragile, like a flame that has just kindled. He represents the power of fire, and the fire of intellect to harness the earth and create beautiful and useful things with it. As a god of craftsmen and smiths, he was often depicted with a hammer and tongs, the tools of the forge. Modern industry, including high tech industry, is also his domain, and anywhere artifice is at play, from cybernetics to rockets.
Elements of the “maimed king” run strong, throughout Hephaestus’s myth, in the British version, this character is known as the Fisher King, he is supposed to be healed by a divinely chosen knight, so that he can restore the land with his powers of fertility. In the story of Hephaestus, we are presented with an archetype of creative drive, that overwhelms the odds the physical world throws at us. There is a great amount of heaviness, and sadness, that surrounds the brooding Hephaestus. He is tormented by his mother’s abandonment, and his first wife, Aphrodites’s, fickle spirit, finding solace only in the sea, by his adopted two mothers, Thetys and Eurynome, the ocean nymphs. The tale evokes the archetype of the artist, often tragic and drawing on the potent and dangerous waters of the subconscious, to extract that primal fire. In many cultural myths, all life begins with the sea, and the divine begins with fire. Hephaestus can therefore be seen as an archetype of the primeval, with similarities to Apsu, who mingles his masculine waters with the waters of the mother, Tiamat, or YHVH, who breaths on the face of the waters via the Elohim to create everything. It is also worth mentioning Tezcatlipoca, or Hurakan, who is also depicted as a lame God, (with a foot made of volcanic glass, no less!) although Tezcatlipoca's fairly lofty origins are connected directly to the creation of the World. Tezcatlipoca features on the Hanged Man ATU, but can equally be identified with the King of Pentacles. The spotted cat symbology of Tezcatlipoca is shared with Hephaestus's ally, Dionysus.
The painting itself includes golden horses, symbols of wealth in the ancient world and specifically sacred to Vulcan. The hammer, is the tool of the smith, while the fields of wheat represent the fertility of volcanic ash and the Lord of the Forge. His limbs are mis-shapen but, he has devised for himself a sophisticated cybernetic arm. He is crowned with golden laurel leaves, symbolizing his royalty and kingship. The King of Pentacles is a dark, brooding person, but also pleasant, sensitive and caring.
Geomantic: Called Puer (Latin for *the Boy*) in its medieval interpretation, the correct elemental association should define it as a (Mature) Masculine/Physical character, corresponding to the qabbalistic Assiah, (Action,) in the Four Celestial, (or Elemental,) Worlds.
Jungian Type: Guardians Class / ESFJ (Provider) Type
The ESFJ loves to provide and nurture society and people. They value rules and established traditions, and are adept at reading people, providing support and love, where it is needed. They derive a great satisfaction from being well loved and appreciated. Happy relationships are more important to them than science or knowledge, unless it affects their social balance directly.
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Post by Susurrator on May 15, 2019 8:03:39 GMT
King of Alembics
Planetary: Uranus (Above) / Earth (Below)
Diamond Path: Chokmah, Wisdom (Above) / Malkuth, Kingdom (Below)
Geomantic Figure: Fortuna Minor
Tetragram: Fire (Above) / Water (Below)
Keywords: Wisdom, Caution, Balance, Lifeforms, Understanding, Detachment, Change, Warmth, Rhythm, Serenity, Healing, Nurturing
Keywords (Ill-Dignified): Weak, Fading, Corrosive, Decaying, Depression, Reckless, Emotional
Interpretations
Historical: Called the King of Cups or King of Hearts, in the old packs, he’s shown in the Pierpont Morgan-Bergamo Visconti-Sforza in profile, on a square seat with lozenge in diamond patterns, reminiscent of the patterns of the European Adder. The short, draping, poncho he is wearing is trimmed in fur and he holds an urn, with a pointed lid.
The historical association is to King and Emperor Charlemagne, who ruled over France and later Italy. He removed the Lombards from power, in the North of Italy and repelled the Muslims, from Spain. His rule began the first of three enlightenments in Medieval Europe and he is known today, as the Father of Europe.
Golden Dawn: Called The Knight of Cups, Lord of the Waves and Waters, The Knight of Cups card corresponds to the zodiacals Aquarius and Pisces and places at Sephira #2 (Chokmah,) in the Golden Dawn system.
A crowned man, with a swan, or albatross is depicted, and the Knight himself is winged, holding a lotus and a cup. A serpent is always present, sometimes in the cup itself. A black scorpion is present, on some decks.The Waite deck reduces most of the imagery, it’s just a knight with a winged helm and fish on his armor.
Thoth: Crowley removes the serpent entirely and places him in green armor. There is no explanation for the removal of the serpent and lotus, instead, his other hand grasps the horse’s reigns. He then adds a crab to the cup, and a peacock to the background, amongst the waves. His excuse for the peacock is that it represents the stigmata of brilliance in water, and fluorescence. But we know where the peacock came from - it's from the Brera-Brambilla Visconti-Sforza pack, which features a Knight of Cups with a pair of peacock plumes in his cap. To his credit, Crowley recognizes this isn’t aggressive enough to represent the King or Knight of Cups, but he gives him a crab as a symbol for this aggression. Pfft.
Mutational Alchemy Interpretation: Moving from Kether to Geburah, the King of Alembics is really a lot more aggressive than his previous witnesses have presumed, and tried to pass off on us. We chose sharks. Things have really become completely degraded over time. His elemental nature is Fire of Water, illuminating his true nature as The Lord of Life. In any situation, his powers will be used to guard life, everywhere. The tetragram and geomantic character reveal the image of water, being dumped out - Fortuna Minor looks like an upset chalice, and the tetragram Heaven over Earth is also dangerous and sinister. This is a wealthy and generous King, overflowing with riches, especially in knowledge and wisdom. He is very serious when it comes to attending to his economic duties, and the needs of the land and the environment.
Neptune and Mercury together are lightning quick and quite abstract. The shark makes for a suitable symbol of this kind of intellect.
The Scene: Fire of Water, Kauhuhu, the powerful and fearsome shark god of the island of Molokai, and one of his consorts, Lanilani, swims beside an underwater volcanic vent, denoting the essence of life on earth. Kauhuhu commands all of the sharks in the ocean and the weather. His underwater abode is guarded by two sea serpents, or dragons. He is pictured with Lanilani, a former mortal, who was turned into an immortal shark and taken as a wife by Kauhuhu, as a payment for demolishing an entire village with his hurricane. Lanilani is the daughter of a kahuna (priest,) with a tragic story. All three of his sons are executed by the village chief for the frivolous, yet innocently childlike act, of playing on the chief’s sacred drums, covered in tiger shark skin. He goes to all of the gods and asks them for revenge, but they are all afraid of the chieftain, Kupa. He finally resorts to the shrine of the shark god, Kauhuhu, and asks either for death, or revenge. The gatekeepers of the realm take pity on him, promising him an audience with Kauhuhu, who nearly devours him on sight when he returns to his home, but for a hasty prayer made to him by the kahuna.
Sharks have evolved to be very powerful and efficient animals, yet, they rely on the ocean for their strength. Water is often associated to emotions, but sharks show us none of that externally, save for lust, hunger and impatience. The story of Kauhuhu shows the god as being moved by the tragedy of the kahuna’s plight, because it is a just cause. We might quickly assume Kauhuhu, in his ferocity, and dangerous aspects, is a threatening and isolated character, but, this is not true. From a human perspective, this may be true, yet, Kauhuhu has far more responsibilities than taking care of humans – there is the ocean and the balance of life to watch over. He is the king of all of the sharks, and keeps many wives. Kauhuhu is moved for a human, only by the event of the unjust murder of the kahuna’s three, healthy, young boys. He is the enemy against all oppressors and tyrants, the unpredictable wildness and supreme authority and justice of the natural world. This connection between survival and justice, recognizes the supreme economical mastery nature exhibits, in not wasting resources. Yet all of this efficiency evokes beauty and terrible splendor, unlike the often ugly business “efficiency,” of humans, which often also destroys the natural world upon which all humans are a part of and come from. Kauhuhu remarks to us, by way of example, to value life, not empty rituals and objects, and not to shed blood needlessly.
Symbolism
Significant Revisions/Additions:
Geomantic: Called Fortuna Minor (Latin for *the Lesser Fortune,*) in its medieval interpretation, the correct elemental association should define it as a (Mature) Masculine/Emotional character, corresponding to the qabbalistic Briah (Creation) in the Four Celestial, (or Elemental,) Worlds.
Jungian Type: Artisans Class / ESFP (Performer) Type. The Performer enjoys crowds and values people. Optimistic and nurturing in a crisis, by being warm and peacemaking, the Performer takes a hands-on approach to solving problems. Adaptive and socially intuitive, the Performer is a master of leading people, through use of charisma and spontaneous action. This type is generally very likeable, by others, since a huge amount of its energy is expended pleasing as many people at once as he or she can.
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Post by Susurrator on May 15, 2019 8:04:58 GMT
Prince of Staves
Planetary: Neptune (Above) / Jupiter (Below)
Diamond Path: Kether, Crown (Above) / Chesed, Benevolence (Below)
Geomantic Figure: Puella
Tetragram: Air (Above) / Fire (Below)
Keywords: Hot-tempered, Passion, War, Bravery, Aggressive, Assertive, Bold, Masculine, Macho, Quickness, Rising, Protection, Military Technology, Uncontrollable, Individualist
Keywords (Ill-Dignified): Peril, Hostility, Tyranny, Torture, Rage, Unjust Rule
Interpretations
Historical: Lancelot is the traditional historical page, or knave, associated with Staves. He was a knight at the Court of King Arthur and famously, his most valiant champion, until it was discovered he was having sexual relations with the Queen, Guinevere. This leads to the downfall of the Round Table.
In the Marzoli Visconti-Sforza pack, the Page of Staves holds a scepter, topped with an ornate club. An intricate solar disc is in the background. The land is barren.
Golden Dawn: Called The Knight of Wands, Prince of the Chariot of Fire, The Knight of Wands card corresponds to the zodiacals Cancer and Leo and places at Sephira #6 (Tiphareth,) in the Golden Dawn system.
A charging horse carries the Knight of Wands and his torch, into battle, on The Hermetic Tarot, by Godfrey Downson. A horse’s head is in the sky, above the scene. In other decks, such as The Golden Dawn tarot, he is winged and his chariot is drawn by a lion. His bare arms represent his speed and youth.
Thoth: Called the Prince of Wands, Crowley keeps the same essential imagery from the Golden Dawn. The Prince is a nude warrior, in a chariot drawn by a lion. The winged disc crowns him and the disc, has a lion’s face. The symbol of the beast, a solar symbol of the key 666, is on his chest. The staff he carries is topped with the head of the Set animal, the sha.
Mutational Alchemy Interpretation: The Prince of Staves burns hot, much hotter than his father, the King of Staves. This can be, both an advantage, and a curse. The nature of his personality is revealed in his elemental alignment, fire below, air above, with the descending action, of The Hidden Diamond path, constantly fanning this fire, into an inferno. This is different than the air below, fire above, of the King of Blades, where the fire acts as a scintillating inspiration, into the air below, acting in the realm of mind, thought and consciousness. The image of embers of consciousness, dropping into consciousness, into the divine Logos, is appropriate. Sparks flying off of the violent adventures of the tarot’s wildest, and most energetic prince, lead to great ideas.
In the tetragram, we have the discordian Yin line pushing up, on the single yang at the top, creating the nuclear for li, fire, and the bigram for air and earth, while two more yin come in, to follow, creating the bigram for fire. So we get this image of fire, cycling all of the elements, violently. The European geomantic character resembles the tip of a spear.
The Scene: Air of Fire, a raging inferno. The old image of a solar disc was included, and the lions are present, in the Imdugud. This is a depiction of the Sumerian Ninurta, slaying the Imdugud. The Imdugud, (or Anzu, in Akkadian,) is a mythical lion-headed bird, that steals the tablets of destiny from Enki, (later, Enlil, in the Babylonian version.) Ninurta is a benevolent god of war, adopted by the Akkadians, as well as the Sumerians, and was associated with the planet Saturn. He carries a mace called Sharur, that carries the power of speech and can transform, into a winged lion. This is also said to be the origin of the masculine faced, winged creatures, known as Lamassu. In the later Babylonian period, thousands of years after he originally appeared, in the earliest records of humankind, he was fused with Nergal, the terrifying lord of the underworld, pestilence and the deadly noonday sun, who was also ascribed parentage to Enlil and Ninlil, although, the two were fused later on. Ninurta, unlike Nergal, was a farmer’s god and a healer, as well as an exorcist. As the son of Enlil, the god inherited his mother Ninlil’s place as ruler of the South wind. He is the brother of Ninazu, and thus is Ningishzidda’s uncle. Ninurta was mentored by Enki, Enlil’s brother, who entrusted him with some important mes, or divine edicts, such as the one for the flood. The tablets of destiny encompassed the entirety of the mes, and whomever held them, could then control the entire universe, thus, they were of great importance.
The Imdugud are fearsome creatures, the size of rocs, shown in various depictions over doorways, holding a deer in each claw. They were regarded as excellent mothers, violently protective of their offspring. The sigil of Mars is chosen as the crown of his staff, and the solar power upholds his royal station.
Significant Revisions/Additions:
Geomantic: Called Puella (Latin for *the Girl*,) in its medieval interpretation, the correct elemental association should define it as a (Youthful) Masculine/Creative character, corresponding to the qabbalistic Atziluth (Emanation,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Rationals Class / ENTJ (Field Marshal) Type
Efficient at prioritizing and mobilizing resources, towards fulfillment of their goals, the ENTJ is a creative planner, using their analytical abilities to bring order to the world. Excelling in business and war, the ENTJ is not attached to emotion, but they do value people for their innovations and ideas, even though they are often awkward in social situations, due to their intense drive and ambition, which can come across as abrasive.
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Post by Susurrator on May 15, 2019 8:06:04 GMT
Prince of Blades
Planetary: Neptune (Above) / Mars (Below)
Diamond Path: Kether, Crown (Above) / Gevurah, Severity (Below)
Geomantic Figure: Amissio
Tetragram: Air (Above) / Air (Below)
Keywords: LOGOS, Ideas, Sinister Knowledge, Intensity, Sentience, Warrior, Precision, Control. Divine Inspiration, Symbology, Scrying, Military Success, Strategy esp. War
Keywords (Ill-Dignified): Sadistic, Obstinancy, Harsh, Devilish, Poison, esp. as a weapon of Murder
Interpretations
Historical: Ogier the Dane, or Hogier, Son of King Geoffrey, of Denmark, is the traditional historical Knave of this card, a Knight of Charlemagne, (King of Cups,) one of the so-called twelve Paladins who represent Christian valor, he is popularized in the Chevalerie d'Ogier de Danemarch and the Chans de Rolande, or The Song of Roland (1040 AD.) These stories are set in the Carolingean era, where Charlemagne is fighting Muslims in Spain. Hogier is an enemy of Charlemagne, who becomes his friend and unites with him, against the Muslims. It is the oldest surviving piece of French literature. (Contrast this with the oldest literature in the world, from Babylon, the Enum Elish, dated to the 7th century B.C.E and this reveals that, much of French history is sadly, lost.) Ogier leads the third column of Charlemagne's army into battle against the Muslims.
In the Pierpont Morgan-Bergamo Visconti-Sforza, he is riding a white horse. He is a gayly clad knight, in a pink cape, trimmed with white fur. A whole tail's worth of peacock feathers decorates his hat, and, he is the only knight who has a hat. This could indicate the flowering splendor of a sparkling mind, and, given the intelligent occult symbolism in the Visconti, this is highly likely. He holds a shield, and this was believed to have originally displayed the Visconti lion, or serpent.
Golden Dawn: Called The Knight of Swords Prince of the Chariots of the Winds, the Knight of Swords card corresponds to the zodiacals, Capricorn and Aquarius, and places at Sephira #6 (Tiphareth,) in the Golden Dawn system.
Almost invariably shown travelling, or moving in some way, this Knight will be up in the clouds or sky, in a lofty position. He has a sword of course, and may carry a sickle. Two crowned, naked and winged children may draw him, in a chariot, instead of him being mounted, and they will carry a wand in each of their hands.
Thoth: Crowley included the children, from the Golden Dawn, but, increased their number to three. He uses the Prince title, instead of Knight. The geometry of the card is excited and bright, and he is on the attack, with a sword, and poniard. The Pythagorean triangle and the equilateral triangle are shown. In the center of his chariot is an octahedron, which represents the element of air.
Mutational Alchemy Interpretation: The Prince of Blades takes a steep, Left-Hand path dive on The Hidden Diamond Sutra, from Chokmah, the Father, to Hod, traditional sphere of Hermes or Mercury, a vibrant and electric Sephiroth, on the female pillar . The the archetype of Abraxas was seen as, ultimately, the best choice for the Prince of Blades.
The turbulent lifting action of Yin, balanced with Yang, is seen in the tetragram’s arrangement, Air on top of Air in the bigrammal summary. The nuclears reveal Li and K’an the Abyssmal, hinting at perfect, primordial, symmetry. This is the heir apparent first son to the Mother and Father.
The European Geomantic character resembles a fish, and while almost all of the names of the old sixteen signs are terrible and degraded, from the work of earlier and better occultists, who were swept into the disaster of the Dark Ages of Christianity, the old name will have to do, as renaming them to something more noble and suited to their lofty elemental stature will only serve to confuse. Revisionism is the bane of syncreticism. Here, in this tarot, it was our hope merely to draw attention to their interesting parallel with Eastern magick in the sixteen Tetragrams.
Ouranos in the above and Mercury in the below lead to the conclusion that this character is going to be smart, and excel in strategic warfare, business and solving problems.
Scene: ΑΒΡΑΣΑΞ (Abrasax, Abraxas) is a very important occult symbol and archetype, who dates back to Ancient Greece and Ancient Israel in his most commonly recognized form, and to Sumer in his proto form as the minor deities Istaran and Nirah one or the other (father and son) who take the same form as a man with serpent's legs who were subsumed into the Ninazu-Ningishzidda cult, lending more credence to his legitimacy as a the presiding deity of the Hebrew people, even though the origin point is often given as being much later than Abraham, in Alexandria. The cock's head, man's body and two serpents connected to his body, which holds a whip and a shield, represents the concept of true monotheism, where opposites are joined into one Godhead, with Devil unopposed to God like it is in Judaism, the only true monotheism in the world today.
He is known as a god of war and a All Father-Progenitor. The Cock's head is derived from the Hebrew word for "Experienced Warrior," Gibor, which also means Man and Cock in the Hebrew language. The numerical value of the Greek word is 365, (1+2+100+1+200+1+60=365,) making him a Solar or Stellar God connected to the Sol rotation of Terra.
Occasionally, the God is equated to the lion headed AEON, who is present on our Hierophant card and also, often ends in a serpent.
I didn't know about any of this when I received my first major initiation experience but there were serpent, lion, scorpion and phoenix all presented by the vision so it does seem like the way it likes to manifest. I don't rely on the accounts of others when dealing with such important issues; however, the ancients do have the most experience when it comes to identifying certain currents. That Budge presumed that Abrasax was the Adam Kadmon, itself, is not insignificant. It would be appropriate to call him the King of the Stars and He Who Orders the Stars in their Place.
It appears to me that the Abrasax symbology is perfectly synchronized with the Ra Hoor Khut phenomenon, who is obviously an Experienced Warrior par excellence.
Abrasax is connected with LOGOS and manifestation and dissemination of information is his calling card, in everything from the Muses to libraries, radio, television, internet and so forth. The information itself is not as peculiar to him as the media of communication and its backbone, that is code, language and written word.
The card had another painting for it altogether, which is present in the three packs produced by Robert Phillips of MythMath Studios, and this features a cool green man with a purple mohawk and his two dragonfly companions.
As with all of the Prince cards he has his two companions, the serpents, but one of the dragonflies was left in as it is a suitable symbol for air. One snake is quite hostile and evil, while the other merely watches, and flicks out its tongue curiously, these are the serpents of duality Abrasax is so famous for uniting. The dragonfly is also the King of the Insects.
In his right hand, the rest of its black leather length just out of sight, is his infamous whip, a cat-o-nine tails. Around him swirl ideas, and these are the very seeds of consciousness, in their loftiness. From left to right, clockwise: all of the binary trigrams, the Sephiroth, the Lo Shu with its nine ternary bigrams, the Taijitu or “Yin-Yang”, a crop circle design, and on his shoulder, the Sigil of Saturn from the Lo Shu, on his chest, the TwinStar, and finally the Hidden Diamond Sutra. Below is the Merkabah, a link to The Chariot.
The dark planet behind him represents the material plane. Here is a link to the purity of the Ace of Blades as well.
Significant Revisions/Additions:
Geomantic: Called Amissio (Latin for *Loss*) in its medieval interpretation, the correct elemental association should define it as a youthful Masculine/Analytical character, corresponding to the qabbalistic Yetzirah (Formation,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Rationals Class / ENTP (Inventor) Type
Clever and witty, the ENTP is a master of improvisation and innovation in creatively attacking problems. They are not as interested in solving a problem so much as the process of solving it. They are adept at debate, thinking and speaking quickly. They are motivated by the desire to change the world for the better. Their ideas tend to focus on harnessing resources to an end goal.
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Post by Susurrator on May 15, 2019 8:07:07 GMT
Prince of Pentacles
Planetary: Neptune (Above) / Venus (Below)
Diamond Path: Kether, Crown (Above) / Yesod, Foundation (Below)
Geomantic Figure: Carcer
Tetragram: Air (Above) / Earth (Below)
Keywords: Planning Ahead, Methodical, Driven, Variance, Wealthy Personage, Good Business Practices, Captain of Industry, CEO, Increase
Keywords (Ill-Dignified): Stubborn, Boorishness, Stuck in a Rut, Overwhelmed by Material Obsession, Corruption, Animalistic, Avarice
Interpretations
Historical: Called the Knight of Coins, or Knave of Coins, the Knight in the Pierpont Morgan-Bergamo Visconti-Sforza pack, is covered in hexagonal ribbons and suns. One stocking is blue, the other red. His hat is plumed. The coin he offers up is large, the size of a dinner plate. It’s etched with the Visconti Heraldic sun, a solar disc surrounded by spiral arms. A forest is in the distance.
This knave is associated with the historical figure Hector, a Trojan Prince, and one of the greatest fighters Troy ever produced. His name is an epithet for Zeus, and it means, “to hold or to have.” He is slain by Achilles outside the gates of Troy.
He is later called the Prince of Coins or Pentacles, as well as the Knight of Pentacles, in later packs.
Golden Dawn: Called The Knight of Pentacles, Prince of the Chariot of Earth, The Knight of Pentacles card corresponds to the zodiacals Aries and Taurus and places at Sephira #6 (Tiphareth,) in the Golden Dawn system.
The main figure, the a nude and darkly tanned Knight, carries two shields and a wand or scepter, topped with a holy symbol, sometimes the Magen star or Star of David. He carries a shield and a winged deer head, crowns him. Wheat and other fruit of the land is present.
Thoth: Crowley names the station The Prince of Pentacles. The Prince’s chariot is drawn by a bull, and he carries an armillary sphere with a scepter, topped with a Maltese cross crowned orb, which he calls, “the symbol of the Great Work accomplished.” Behind him is a circle, filled with spheres, on a background of fruit and flowers, representing fecundity. The Prince himself is tanned and naked.
Mutational Alchemy Interpretation: The Prince of Pentacles’ station is very lofty, high up, in the Supernals. His descending path on the Hidden Diamond takes him down to Yesod, Foundation, signifying that his plans are being processed on high. He is also above Kingdom, above the fray, affecting the fresh foundation of Man, virtually forever. This makes him unstoppable!
The planetary of Ouranos over Luna, is very important, as it is a clue to his ultimate nature, that of one interested in raising up the foundation of man (Luna=Yesod.) This will give him a unique perspective on the world, one that doesn’t invite any deviation from a higher purpose.
In the tetragram we find Air in the above, Earth in the below, confirmed on the Hidden Diamond path. The geomantic character somewhat resembles a crystal, or a dorje.
The Scene: Air of Earth, The ultimate captain of industry, the Prince of Pentacles is an unstoppable force. Crowley damned him to the pedantic and unsexy attributions, of being plodding, dull and methodical. With Ouranos in the above and Luna in the below, I find it very difficult to agree with this assessment. Considering the effect that living and breathing figures aligned with the Prince of Pentacles energy have on the world, (People like Bill Gates, J.D. Rockefeller, J.P. Morgan, Cornelius Vanderbilt,) his opinion was shortsighted at the very least.
The drawing this painting is copied from is by the master artist William Bouguereau, of Mars. The bulls, of course, belong to Nergal, Lord of the Necropolis at Cutha. They represent Gugalanna, the great Bull of Heaven and his unnameable consort, who were absorbed into the Akkadian/Assyrian war god Nergal's attributes, in later history. War and Industry are matched very well. Everything technological in a modernizing society is brought in through the actions of such captains of industry, as the Prince of Pentacles.
He is at times cruel and ruthless, but also ingenious and industrious. Unusual and technologically advanced creativity is the sign of the station, and that, Nergal most assuredly is. He is not, however, stupid, nor intentionally sadistic. He has a plan and that plan is to be effected, by hell or heaven. Slow and steady, wins the race, through sheer might and force of Earth. The Prince is at the helm of an unstoppable juggernaut of might, power and effectiveness - with staying power I will add - that through discipline, hard work and active countering of any unstable emotions, can bring one through to victory.
Significant Revisions/Additions:
Geomantic: Called Carcer (Latin for *the Prison*) in its medieval interpretation, the correct elemental association should define it as a (Youthful) Masculine/Physical character, corresponding to the qabbalistic Assiah (Action,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Idealists Class / ENFJ (Teacher) Type
Excelling in all manner of conversation and social situations, the ENFJ is adept at fine tuning relationships, they excel at diplomacy. They care about people, and depend on the wellbeing of all of the people around them, to find satisfaction.
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Post by Susurrator on May 15, 2019 8:07:42 GMT
Prince of Alembics
Planetary: Neptune (Above) / Mercury (Below)
Diamond Path: Kether, Crown (Above) /Yesod, Foundation (Below)
Geomantic Figure: Laetitia
Tetragram: Air (Above) / Water (Below)
Keywords: Introspection, Subtlety, Violent, Artistic, Sly, Scientific, Power, Weaponry
Keywords (Ill-Dignified): Merciless, Depression, Deranged, Sketchy or Shady Person, Untrustworthiness
Interpretations
Historical: Called the Knight of Cups in the old packs. la Hire, a top commander in the 100 year war waged between the Plantagenets of England and House Valois of France, is the historical royal association to this card. He was a close friend of Joan of Arc and fought with her at Orleans. His name means “wrath of God.” He was well known for his cranky disposition, aside from his storied military history.
The Knight of Cups is depicted in the Pierpont Morgan-Bergamo Visconti-Sforza pack as having a golden coat trimmed in grey frill and, he is riding a white horse. He carries a cup aloft from the bottom, by his right palm.
Classically, this has been the most manic-depressive personality of the court cards, tending towards a poetic and artistic disposition. His strong descending nature has been a prominent part of the overall makeup, and this is confirmed in the Hidden Diamond path revelation, in The Mutational Alchemy tarot.
Golden Dawn: Called The King of Cups, Prince of the Chariot of the Waters, the King of Cups card corresponds to the zodiacals Libra and Scorpio and places at Sephira #6 (Tiphareth,) in the Golden Dawn system.
The serpent and the eagle are his prime signifiers. The serpent will sometimes be in the cup itself. The eagle will be drawing his chariot or present in some way at the least. There should be a strong descending action in the movement of the card. The scorpion may be shown, as a presentation of the zodiacal Scorpio.
Thoth: Crowley sticks closely to the Golden Dawn attributions, but his Prince is pointing down. A large sparrow draws his chariot and he is blue all over, indicating the Water Element of course. Like the other Princes, he is wearing an ornate hat, indicating the mental powers of Air. The sparrow represents flightiness and a distracted nature, as well as physical, emotional and mental fragility. However this may be, he will be quick, attractive, well-liked and agile
Mutational Alchemy Interpretation: The strong descending action in The Hidden Diamond path dominates the mood of the Prince of Alembics, the high point of Ouranos creating divine inspiration and a kind of heavenly authority. His tetragram, Air in the above, Water in the below, calls to mind the a sea breeze flirting with the waves, lifting up the ocean birds, or the violent winds which whip over the world’s oceans, turning their deceptive calm into a terrifying display of natural force. Witness the Prince of Alembic’s power, hidden, unpredictable, dangerous, yet capable of scintillating beauty and delicate, artful, gestures.
The Scene: Air of Water, moody, brooding, but also uplifting to the soul, the Poet Prince is the descending force of the masculine. The gravitational pull of the gaseous planet below is acting on the technological and alien ingenuity of the Prince, as inferred by Ouranos over Luna. This is a perfectly natural arrangement and the Prince is happy to take the fall, so to speak. However, it does reflect a certain tendency to repeatedly enter downward spirals, and this, can be his doom. Prince of Alembics is the classical tormented artist or eccentric writer. He can certainly be equated to Lucifer or any other masculine deity which descends to earth from the holier place, as one fancies, whether by choice or through some occult hand. Werewolves, vampires, mad scientists, romantic thieves like Aladdin and mysterious assassins, are also connected to him. The latter due to his association with all kinds of poisons - from wine to literal poison. In his descent there is a sort of madness and joy of union with the terrestrial, that mirrors humanity's fascination with the alien. His serpents, poisonous of course, are a traditional attribution of the Prince of Alembics, and represent his hidden and secretive wisdom and cunning. The alembic he holds is a test tube, filled with radioluminescence, a nod to Marie Curie.
This was the first figure draft to be drawn for the MAT, but not the first card to be made into a complete painting, that honor belongs to The King of Staves. He was originally intended to be The Prince of Staves or Wands, and at that point we had not figured out what the suite would be called. He was demure and pensive, with a peacock feather in his hair, with most other things about him the same, as the Prud’hon master work I had copied the pose from, and he held a staff. m1thr0s pointed out, he was more of a Prince of Cups, than a Prince of Staves, and he was right of course. We set him aside for later, and began work on The King of Staves. Paul Pierre Prud’hon featured prominently in the textbook used at The Contemporary Realist academy of Kathryn Manzon, the American-based European Academic traditional art atelier I attended over two years in Memphis, Tennessee. I love the soft, not overly-muscled male bodies in Prud’hon’s sketches. Having no means to afford live models myself and having an aversion to the steroid-culture nudes in most nude photos available at the time, I vouched to use master artist sketches for reference for my own drawings. This has been the way of it since the time of Michelangelo. Indeed the very school I went to could trace its lineage back through the Ecole De Beaux De artes in France to beautiful Florence, the city of Michelangelo and his patrons, the Medicis.
Significant Revisions/Additions:
Geomantic: Called Laetitia (Latin for *Joy*) in its medieval interpretation, the correct elemental association should define it as a (Youthful) Masculine/Emotional character, corresponding to the qabbalistic Briah (Creation,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Idealists Class / ENFP (Champion) Type
ENFP types are enthusiastic and optimistic, full of creativity, fun and adept at charging forward, into new territory and sparking change in others. They are extraordinarily spontaneous, reckless and charismatic, all of which lend to their ability to be great visionary leaders.
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Post by Susurrator on May 15, 2019 8:12:18 GMT
Princess of Staves
Planetary: Saturn (Above) / Jupiter (Below)
Diamond Path: Chesed, Benevolence (Above) / Yesod, Foundation (Below)
Geomantic Figure: Caput Draconis
Tetragram: Earth (Above) / Fire (Below)
Keywords: Devotion, Zealous Loyalist, Enthusiasm, Volatility, Open-minded, Honor, New Possibilities, Justice, Daring, Vigor, Spring, Lust, Desire, Loyalty, Vengeance
Keywords (Ill-Dignified): Impatience, Drama, Gossip, Domineering, Cruel, Unstable
Interpretations
Historical: The Pages represent the accompaniment to the Knights, in the oldest packs. Their dress and mannerism is usually a reflection of the Knight in the suite they are a part of. Therefore in the Pierpont Morgan-Bergamo Visconti-Sforza this page is shown wearing blue and gold and luxurious stockings. His or her green gloved hand is holding the same ornately double-capped staff as the Knight of Staves. The green glove represents fertility and his or her acts, are creative acts.
Golden Dawn: Called The Princess of Wands, Princess of the Shining Flame, The Princess of Wands card corresponds to one fourth of the North Pole and places at Sephira #10 (Malkuth,) in the Golden Dawn system.
Thoth: The wild and fiery imagery of the Princess of Wands, in Aleister Crowley's THOTH, features the imagery of a pyre, on a pillar, reminiscent of the Graeco-Roman Vestalea. The book does not state it, but the tiger appears to be either giving birth to the Princess, is in a sexual position with her, or, is a reflection of her. We may never know exactly how Aleister Crowley may have envisioned his tarot in its pure form, as the pinched Victorian social scene and government made every effort to hound and suppress him - as with most European occultists - at even the slightest hint of "impropriety".
Mutational Alchemy Interpretation: The first thing the new attributions of the MAT tell us, is that she likes to stay above the fray. The path on the Hidden Diamond Sutra moves from Binah, the Mother, down to the male pillar, at Chesed. She is unique in this, the Princesses of the other elements descend much lower. She is the servant of Fire, the aspect of the Great Mother, which is the fiery wrath of war, paired with the righteousness of Chesed. She is Nike, Bia and Kratos, (Victory, Force and Strength,) the three sisters of Nyx, who were the first to declare their support for Zeus. The combination of Saturn and Jupiter is a dynamic and powerful combination.
In the tetragrams we find a strong, Yang force, overcoming the single Yin line at the top, supporting it. The Father-Mother-Daughter dynamism is reinforced in the nuclears of Heaven the Father below and Lake the Daughter above, signifying a most auspicious state of nature, but also a hidden nature. The Princess of Staves appears to be a kind of sleeper cell, or agent of subterfuge, in at least some scenarios.
The Scene: Earth of Fire, the human form of Ammit, kneels before the sacred flame. Ammit is called by the ancient Kemetic people, who properly identified her, as Greatness of Death, Bone Eater, and Devourer of Millions, or, Eater of Eternity, a title which she shares with the hunting-dog headed male god, Am-heh. It was Ammit who guarded the ancient and mystical lake of fire, within which Am-heh resided. Ammit did take human form, and due to the shared epithet, it is possible Am-heh and Ammit, are siblings.
Because they were so feared, there is much less written of them. It is known that Ammit shared characteristics of both Sekhmet and Tawaret, which are an important part of her nature. The crocodile's head may be a nod to Sobek, essentially the God of War, or Kemetic Ares, for all intents and purposes. In India, she would be equated to the dark aspect of Karma, which acts against the offender. However, India applies no special personality of Godhead to Karma, whereas the Kemetic people, (not to be confused with the immigrant Egyptians of today,) assigned a whole divine chamber to the process, located in Duat, the underworld, which included as its ruling council, the Goddess Ma'at, Djehuti, Anpu (Anubis,) Renenutet, Meshkenet, Shay, Hu, Sia, Khnum, Hathor, Nut, Geb, Tefnut, Shu, Atum, and Ra-Horakhty. and Hapi. The transition from life, through death, was an important cosmic affair. Ammit was supposedly feared amongst the ancients, but to what extent, may have been greatly exaggerated. The reasons for her existence is simple - to cause people to try to be better, through psychology. Saturn above Jupiter matches Ammit's attributes, as the female personification of death and just punishment. With her volatile and passionate brother, the Prince of Staves, she is the only Court personality to cross Da'ath, the Seat of Knowledge. The combination of Earth and Fire in her chart signifies sacred fire of the below, and so, Ammit's relationship to the Lake of Fire, makes her the most apt and correct personality, for this station.
Significant Revisions/Additions:
Geomantic: Called Caput Draconis (Latin for *the Head of the Dragon*) in its medieval interpretation, the correct elemental association should define it as a (Youthful) Feminine/Creative character corresponding to the qabbalistic Atziluth (Emanation) in the Four Celestial (or Elemental) Worlds.
Jungian Type: Guardians Class / ISTJ (Inspector) Type
ESTP types are dutiful and conservative. They lean towards a reliance on practicality, and focus intently on following through on personal endeavors, while maintaining loyalty to established traditions. Although they do not readily embrace abstract theory, they can be persuaded to accept it, if the practicality can be demonstrated.
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Post by Susurrator on May 15, 2019 8:13:42 GMT
Princess of Blades
Planetary: Jupiter (Above) / Venus (Below)
Diamond Path: Chesed, Benevolence (Above) / Netzach, Victory (Below)
Geomantic Figure: Conjunctio
Tetragram: Earth (Above) / Air (Below)
Keywords: Judicious, Seriousness, Courage, Spitefulness, Egotism, Aggressiveness, Vengeance, Change
Keywords (Ill-Dignified): Trouble, Anxiety, Incoherency, Pettiness, Frustration, Boredom
Interpretations
Historical: The Page of Swords, in the Pierpont Morgan-Bergamo Visconti-Sforza pack, depicts an adolescent, in contrast to the other pages in the pack. He is armored and his sword acts as a walking stick. His hat is a large wide brimmed monstrosity covered in peacock feathers. The rising solar disc, with spiral arms, the Visconti heraldic device, is etched on his silver armor. He stands on the edge of a cliff and green and blue mountains are in the background.
Golden Dawn: Called The Princess of Swords, Princess of the Rushing Winds, The Princess of Swords card corresponds to the North Pole and places at Sephira #10 (Malkuth,) in the Golden Dawn system.
She is topless and is standing next to a brazier. She has a yellow cape and wears the heraldic device of the Gorgon, somewhere.
Thoth: Crowley diverges from historical pretenses drastically, only including the Gorgon, as Medusa, on her helm. She is fully clothed and some kind of pillar is next to her. Crowley doesn’t explain what it is. The geometry is strange and the cape may be inferred by the lines of her pinwheel-like wings. His opinion of her is quite low, as with all of the other Princesses and Queens. She is fighting upwards and is angry. Thankfully he at least acknowledges her valkyrie character early on, in the text.
Mutational Alchemy Interpretation: The Princess of Blades has been given the short straw with regards to many Golden Dawn attributions. While she is an adolescent warrior in the Pierpont Morgan-Bergamo Visconti-Sforza, the rest of the ages leave her looking a lot like a topless dancer with sword and snake, as her gimmick, all in a yellow cape no less.
Her Hidden Diamond path reveals a warrior personality, its strong descending action towards Netzach, emerging from Binah, crosses Tiphareth, to arrive with a powerful force upon landing in Victory. She is very feminine but not in the traditional ways, much like the Valkyrie. The Hidden Diamond path confirms Crowley’s insight many times over.
Earth above and Air below, in the tetragram, bespeaks suppression and it may be she is there to relieve tension via conflict, in some way. The geomantic character, reminiscent of a double lotus blossom or the double wand of power is notable.
Since she has the backing of the supernals behind her we tried to infer this hidden alliance with great and old unstoppable forces behind her, in the figure of the Great Blackness, Mahakala.
The Scene: Earth of Air, the Princess of Blades stands supported by the dark masculine aspect, Mahakala. Mahakala is called by Tibetan scholars “He who saves even the most horrible.” Mahakala is a very dark savior. He is depicted in paintings by the Tibetans as a fierce and awesome spectacle, and even this, is said to be only a shadow or pale imitation of his true form, as the lord of the void. Depictions of sacred objects dedicated to Mahakala invoke the gruesome aspects of the psyche which we are all connected to – even if some deny it. The bat is a symbol of his, probably due to their connection with good fortune and the night, as well as being the color of Mahakala. They match the Air in Earth aspect of the Princess.
The Princess of Blades has come to terms with her psyche, and, is a bit of a brat, because of it. She may be rude or abrasive, but is usually truthful, unless she is deceiving, in order to attain her goals, which are not always kind if she is ill-dignified. In this image, the princess herself represents Angwusnasomtaqwa, “Crow Mother,” from Hopi mythology, who can be considered synonymous with the archetype of Maha Kali. Crow medicine is appropriate symbology for Mahakala and the Princess of Blades’ traditional attributions. Crows medicine, is death energy, associated with rebirth of the soul, through the burning of karmic debt. As a carrion bird, they are linked to the 64 dakinis, who are the consort of the supreme personality of Godhead.
It is worth noting that the keyword Judicious was chosen over the more common "Impulsive," because, while the Princess may seem impulsive, this impulsiveness is merely her quick wit, intellect and tongue, acting invisibly to those unable to follow her. She is a problem solver and a master escapist.
When crows show up in your life, it means that you or someone in your physical vicinity has called down the wrath or protection of the dharma guardians. The Japanese can be credited with identifying the proper nature of the crow spirit as essentially the spirit of the martial arts, in the Tengu, so it is that the Princess of Blades takes a martial pose, with her blade readied to cut down criminals, out of cruel necessity, to maintain the balance, of whole universe.
Significant Revisions/Additions:
Geomantic: Called Conjunctio, (Latin for *the Conjunction*,) in its medieval interpretation, the correct elemental association should define it as a (Youthful) Feminine/Analytical character, corresponding to the qabbalistic Yetzirah (Formation,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Artisans Class / ISTP (Crafter) Type
They are highly analytical, capable of understanding how a system operates, from a large machine, to high volume traffic. Engineering is one of the roles the logical ISTP is well suited to. They store knowledge and utilize it adroitly and daringly. They do not have very much regard for rules, as they consider them unnecessary hindrances to their work.
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Post by Susurrator on May 15, 2019 8:15:08 GMT
Princess of Pentacles
Planetary: Mars (Above) / Luna (Below)
Diamond Path: Gevurah, Severity (Above) / Yesod, Foundation (Below)
Geomantic Figure: Acquisito
Tetragram: Earth (Above) / Earth (Below)
Keywords: Steadiness, Directness, Protected, Fertility, Determination, Stability, Nourishment, Home, hearth, Care, Benevolence, Sex
Keywords (Ill-Dignified): Putrid, Hoarder, Trying but Failing, Insufficient Funds, Emotional Manipulation
Interpretations
Historical: Draped in a blue cape, with a Magen star pattern in blue and gold, on the Pierpont Morgan-Bergamo Visconti-Sforza, the Page of Coins as it was called, carries a large coin. He has one red right stocking and a blue left stocking. His large, red hat, is decorated with gold coin emblems. He faces to the left of the card, looking into the past, a conservative traditionalist, like the other old Visconti Royal Coin bearers.
Other decks, later portray her as a rather frank and straightforward, wealthy young lady. She will have sumptuous clothing and will often be facing the viewer, directly.
Golden Dawn: Called The Princess of Pentacles, Princess of the Echoing Hills, The Princess of Pentacles card corresponds to the terrestrial North Pole and places at Sephira #10 (Malkuth,) in the Golden Dawn system.
The Princess will be holding a disc, depicting the balance of dualities, in some way, in Thoth, this is the Taijitu, in the Hermetic Tarot of the Golden Dawn, it is a checkered and striped black and white disk. She will be standing firmly and looking straight ahead, not lollygagging or daydreaming. She is focused on her task and will feature horns, or a ram's head somewhere, signifying her connection to the Great Beast, the Emperor.
Thoth: Aleister Crowley persists with a warrioress, and starts out, in his description of her, very favorably. This charitable moment, of course, completely evaporates soon enough and he distracts himself with Thelema and her inconsistency, while being quite inconsistent himself, in his rambling. The feminine is ever a sideshow in any of his diatribes, but at least the picture is pretty.
Draped in plush grey fur and a silk dress, she carries a long spear and a shield-like coin, etched with the Taijitu. She wears an impressive crown of kudu horns, the same exact type used in the Israelite shofar horn.
Mutational Alchemy Interpretation: The Great Black Mother, Saturn, or Ma'at, in the above, and Luna, Foundation in the below, signifies that Crowley was correct in presuming she represented, "Womanhood in its ultimate projection," but here it is more appropriate to say that she is the feminine, in all of its projections, for man ill carries all of aspects of Godhead, as of yet. But, in the beasts and flora of the earth, and the potential of the universe itself, we might get some hint of The Princess of Pentacle's infinite potential, which she carries in the sci-fi Pentacle, in her left hand. "For I have crushed an universe, and naught remains"
The tetragram Earth below and above, reveals the nuclear of K'an the Abyssmal, reflecting back on Binah, the infinite ocean of sorrow, and Li, Fire, the Clinging. In this, we have the seed of the Mother-Father thangka and so Crowley is completely vindicated and, as usual, proves himself as the consummate occult-truffle pig.
The Hidden Diamond path is a steep and long descent, directly hitting Tiphareth from Binah. She is a no-nonsense character, with a flair for style and the dramatic, acting in a way only the divine feminine and the young yin energy of the princesses can. Her cunning manticore is the most developed and intelligent of all of the lifeforms present on the princess cards. She will get things done and will have many hidden and powerful allies in her work. His tail circles around so that his stinger touches her mons Venus, signifying that he merges from her, as her creation and he protects her.
The Scene: Earth of Earth, the Princess of Spring, she stands in a barren landscape, symbolizing her power over the most infertile fields. She relies upon her brothers, heavily, for this. The Gorgon is the sacred, fierce, feminine protector of the Titans, the second generation of gods, who were usurped by the Olympians. As a protector of the primordials, she carries with her a great power and influence. This is why she graced the doorways of temples and the shields of soldiers, in the ancient world. The minor gorgon, Medusa, a mortal maid under the influence of a spell, gets much attention, but she does not constitute the core, or the birth, of this archetype.
The Manticore is thought, now, to originate from the ancient world's perception of the tiger. It represents the fierce and untamed natural world, which this princess has complete dominion over. Earth of Earth, the land is scorched and dry, but holds limitless potential for life. Her blue cloak symbolizes this alignment with freedom, as she must be left to her own devices and choices, for anything to occur in the right way. She is perfectly attuned to the alchemy of the seasons and ebb and flow of life. In the mundane sense, this means also someone in tune with their body and knowing the old saying "Health is one's greatest wealth."
Significant Revisions/Additions:
Geomantic: Called Acquisito (Latin for *Gain*,) in its medieval interpretation, the correct Elemental association should define it as a (Youthful) Feminine/Physical character, corresponding to the qabbalistic Assiah (Action,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Guardians Class / ISFJ (Protector) Type
The ISFJ focuses their effort on maintaining balance in their sphere, by honoring the needs of the beings and environment around them, to which they are keenly aware of. They are soft spoken, meticulous and dedicated. Sympathetic and kind, they derive satisfaction from serving others.
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Post by Susurrator on May 15, 2019 8:19:00 GMT
Princess of Alembics
Planetary: Mars (Above) / Earth (Below)
Diamond Path: Gevurah, Severity (Above) / Malkuth, Kingdom (Below)
Geomantic Figure: Rubeus
Tetragram: Earth (Above) / Water (Below)
Keywords: A Dreamy Person, Sensuality, Renewal, Rain, Inspiration, Strange Thoughts, Subconscious, Intuition, Dreams Becoming Reality, Emotional Magic
Keywords (Ill-Dignified): Listlessness, Scattered, Unfinished Work, Lack of Discipline, Hoarder, Irrationality leading to darkness and pain
Interpretations
Historical: With one red and one white stocking, the Pierpont Morgan-Bergamo Visconti-Sforza Page of Cups, alludes to the Knight of Swords and Staves as well as the Ace of Coins, in that pack. He wears no hat, and is in a sumptuous, fur-trimmed coat. Mountains are in the background and he faces left, into the past. The large, ornately gilt cup, is held from beneath.
The white color continues to be important later on, and many Pages and Princesses of Cups alike are wearing white.
Golden Dawn: Called The Princess of Cups, Princess of the Palace of the Floods, The Princess of Cups card corresponds to the terrestrial North Pole and places at Sephira #10 (Malkuth,) in the Golden Dawn system.
She is accompanied by a turtle, a swan and a dolphin, the symbols of wisdom, grace and love, and she is often surrounded by water and lotuses. In many packs she is a mermaid, such as in The Hermetic Tarot of the Golden Dawn, by Godfrey Dowson, who features all of the traditional animals and the princess is bare breasted, also.
That farce of The Golden Dawn - the Rider-Waite, has a boy looking into a cup, in which a fish is poking his head out. Then, there is the Wang Golden Dawn tarot, where a turtle is poking out of the cup. This is all very obvious symbology, that is constantly overlooked. Here, we have a girl contemplating the act of coitus. It represents sexual union with the All-Father, as in the story of Leto and the Swan, among countless others. Another that comes to mind is the never-used God as the Serpent in the Garden of Eden which leads to Eve bearing the so-called "Serpent Seed," which transmutes Man into another step of the Alchemical Process. These symbologies, are all wadded up so tightly, it's astonishing any sense can be made of them at all. The Golden Dawn was in its decline when we hear most of a "revival," being made of them, and so, it's best to look to the elements themselves when resolving disparaged cards like this one.
Thoth: Another passive pigeon of a Princess, no surprise here, the fully clothed zombie-like creature is holding onto a turtle and giant cup, so large, that it would appear that she is a woman of gargantuan proportions and muscle. The scene does nothing to hide the sexual undertones, but presents it all in the most grotesque and self-loathing way possible. There is no delicacy here, save for the neatly scalloped edges of the troll's semen-like dress. Overall, the attempt at creating a heavenly sexual scene du jour fails even more utterly than the boys diddling with the fish in their cups.
Mutational Alchemy Interpretation: Make no mistake, the Princess of Alembics is all about sensuality and sexuality. She is primed for sex and this in no earthly terms. She is having a love affair with God, the divine father and will bring forth the fruits of her labors as the creation of great ideas. This as well as any other royal Court Card illustrates why the Cups were renamed to Alembics. The vessel of creation in Alchemy symbolizes the womb - either physical or mental, with much great acuity.
First off, we have the very important descent of Binah, to Malkuth, the longest descent seen in the tarot. Hence the reason she seems to get lost in her dreams and visions. The way down is dark at times and unknown. One may see in the tetragram that she carries Earth above Water: here we have the Goddess born into the earthly realm for the salvation of man. She has divided herself to become woman, and it is a painful rebirth. But all is not lost, for Logos is there with her, ever watchful and personified in the masculine principle. Her eggs represent the seed of ideas, the only thing real in this universe at all.
Her enormous collection of grails, goblets, chalices and cups, represents old universes, old ideas, some of which may bubble up to the surface to become new again if the time is right. She is a collector of sorts, of dreams and wishes.
The cityscape is full of phallic objects, a nod to the traditional iconography that doesn’t include old aeon fish or swans or turtles. She is fully acclimated with these things and has moved on to better and brighter things.
The nuclears in the tetragram are K’an the Abyssmal and Ken the Mountain. This indicates a deep and abiding strength and a kind of prosperity which forms ideas, but she won’t chase mundane currency, nor will Logos. She will be dedicated however, and hard working, in her own worlds and wisdom-ways. This will lead to beauty. She is hypersexual, but only for the right person - they will be intellectual and logical. Others will try in vain to win her hand and they’ll fail utterly. To take her by force will only cause her to drift away silently and her spirit may never return.
The Scene: Earth of Water, The Water Faerie Melusine is a lady who embodies the primal feminine nature of water in a mortal, the goddess made flesh, It is an appropriate image for the union of earth and water, in this case, The Princess of Alembics. Sometimes she is depicted winged, a nod to the very ancient Greek titan Tethys. Dreamy, mysterious and capable of manifesting her dreams fully into reality, she is a powerful, but often overlooked royal personage. She is not one to stand out from the crowd deliberately and half of the time, she may not be able to convince others of her potential. It's her loss, and theirs, but she makes friends easily, with lucky others who would give her a chance. Her ability to manifest dreams from the world of ideas, into the world of manifestation and physical matter is drawn from her perfect alignment with the laws of Karma on earth. Break a universal law, and you'll be sure to drive her away. This is exactly what happened in the story of Melusine from Medieval France.
The story dates back to at least the 1300's. Melusine was a Faerie Queen of a forest in France, called Colombiers, in the Poitou region. There was a sacred fountain she and her companions guarded. A young man approached the fountain one day and found Melusine there. They fell in love and agreed to marry, on the condition that she must never be observed on a Saturday. She brought him luck and incredible power and strength - bringing prosperity to the kingdom and building magnificent architectural marvels, such as the fortress of Lusignan. Her husband broke her rule of course, and did not mention to her when he caught her bathing on a Saturday - displaying her serpentine form. When their son attacked a monastery, he accused her of cursing the family line with her serpent blood. She left immediately, after learning of the broken promise and only returned to visit her children.
The tale is significant in that the archetype was merged with Christian symbology of the time. The Jewish belief in the doctrine of the Serpent Seed is possibly at play here, though the tale is shrouded in the mists of time and not much more is known of its origins. As mentioned before she does share a striking resemblance to Tethys, who is both a serpent and, depicted with wings, generally a benevolent major goddess.
Significant Revisions/Additions:
Geomantic: Called Rubeus, (Latin for *Red*,) in its medieval interpretation, the correct Elemental association should define it as a (Youthful) Feminine/Emotional character, corresponding to the qabbalistic Briah (Creation,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Artisans Class / ISFP (Composer) Type
The ISFJ focuses their effort on maintaining balance in their sphere, by honoring the needs of the beings and the environment around them, to which they are keenly aware of at all times. They are soft spoken, meticulous and dedicated. Sympathetic and kind, they derive satisfaction from serving others.
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Post by Susurrator on May 15, 2019 8:20:49 GMT
Queen of Staves
Planetary: Saturn (Above) / Jupiter (Below)
Diamond Path: Binah, Understanding (Above) / Chesed, Benevolence (Below)
Geomantic Figure: Fortuna Major
Tetragram: Water (Above) / Fire (Below)
Keywords: Bitchiness, Material Power, Enlightenment, Vanity, Trust, Lucid Conception, Order
Keywords (Ill-Dignified): Melancholy, Debauch, Rage, Blind Vengeance
Interpretations
Historical: Usually depicted as a strong and well dressed, even armored woman, with a crown on her head. She is enthroned and may be accompanied by a cat. She will have a rod or scepter.
In the Pierpont Morgan-Bergamo Visconti-Sforza pack she is wearing a gown with the Visconti heraldry of a bird, emanating a blaze of rays and a bird's nest.
In the Etteila, she is referred to as Passion des Richesses, (reversed - Obstacles,) the Queen of Batons.
The French born Mary of Anjou, aka Argine (Regina,) is the historical Queen of Clubs, powerful, strong willed, intelligent, ambitious, aggressive, ruthless and charismatic. She was the wife of the English King Henry VI and is depicted in the Shakespearean play of the same name, as carrying around a severed head of one of her lovers, the Duke of Suffolk, in mourning after his death. She may be called the Queen of Staves in old decks, and in newer decks, it is popular to call her the Queen of Wands.
Golden Dawn: Called The Queen of Wands, Queen of the Thrones of Flame, The Queen of Wands card corresponds to the zodiacals Pisces and Aries, along with the constellation Andromeda and places at Sephira #3 (Binah,) in the Golden Dawn system.
Dressed in a red cloak and armor, the Queen of Wands will be accompanied by a feline, of some kind. She is meant to appear strong and authoritative, and flames should be present near her, in any traditional Golden Dawn pack.
Thoth: In the THOTH pack, the queen appears assuming and regal, but her face is complacent. Crowned with the winged disk and the vesica, she is accompanied by the leopard, symbol of the dark lord and wild feminine. The staff she carries is the same found in many Roman mystery cults, topped with an acorn. Flames are everywhere and the background features projective geometry.
Despite the fair imagery, Crowley cannot stop criticizing her, of course. In his words he vastly underestimates her power and covers it with all sorts of petty remarks, so that we get a very unfair and incorrect picture of her. It's almost inevitable, in his book, called The Tarot of the Egyptians.
Crowley will begin by throwing out some general attributions for the girls, and then a barrage of criticism begins. She doesn't take a shower, she smells like poop, and she is a bitch, and she is this and that. Since one cannot do anything about Crowley's terrible upbringing under his horrible mother, it just needs to be tolerated, but it does get oppressive after a while.
Mutational Alchemy Interpretation: Moving from Chesed to Yesod on the Hidden Diamond, the Queen of Staves’ path notably blocks access to Netzach, Victory. This is a hallmark of Venus, who rules Victory in War. Jupiter in the above and Luna in the below, signifies the power of expansion, especially of the technological kind. Advanced societies such as spacefarers, or ones which create new kinds of life in harmony with Ain Soph Aur, or the Paramatman are where this Queen will be most at home. In all other more primitive societies, she will be at war. She is resourceful and a great leader. As a general, she has no superior. She will utilize many different styles of attack, depending on the battle, and she has many allies, both hidden and known.
She will not be seen at rest very often, as her tetragram signifies. The auspicious Heaven in the below, Earth above, is constantly churning and generating creative energy and luck. The geomantic figure resembles a goblet, reminiscent of a graal, a magickal cup, which grants the bearer strength and immortality. Perfectly suited to the magickal psychosexual legend cycle of Anahita-Mithra, where the goddess is eternally renewing the god.
The Scene: Water of Fire, Anahita is a major figure in the ancient Achaemenidean (Persian,) state religion. This comprised modern day Iraq, Iran, Libya, Egypt, Saudi Arabia, Turkey, the Balkans, Pakistan and Afghanistan. She serves a very similar function to that of far older Ishtar, a Sumerian and Semitic war goddess, of the fertile crescent. Anahita is depicted as bringing together two lions, just like Ishtar/Inanna, who bears the epithet “She who brings together great snakes and dragons.” Zoroaster, the founder of Zoroastrianism, was struck by a vision of Anahita, rising from the waters, flanked by two red lions, with blazing blue eyes. As the standard setter by which royalty and empire was built, Anahita’s importance to kings and generals, especially in the mighty Persian Empire, could not be overstated. Like the Morrigan, she decides the fate of armies, but she was also equated with Aesclepius, and was a healer. Her consort was Mithra, the god of contracts, who was also self created, from her. She is considered to be a virgin goddess, second to Ahura Mazda and first, before Mithra. Israel also adopted her worship as Anath, and, the Sumerian Nanna, goddess of fresh waters, could also be equated with her iconography. She influenced the iconography of the Virgin Mary of the Romans and one of her epithets is “Anahita, the Immaculate Virgin Mother of the Lord Mithras.” Mithraism, of the Roman Empire, certainly was consumed by the Catholic Church, ritual and all, with an untidy attempt to cover up this theological cannibalism.
The parallels to Crowley's Thelemic Goddess, Babalon, are accidental on the part of the artist, but, they are still parallel. Even the geomantic figure, modernized in its form by m1thr0s, resembles the Graal. Her pale vampiric skin, blushed with purple and the blood red elements of the incense, lion, carpet and rippled texture of the columns of the ruins of the great Anahita temple, resembling the vaginal canal, with its full moon egg, are all in perfect harmony with virgin-whore Babalon's attributions.
In Nippon, purple and red have been identified as the most sacred and auspicious set of colors to attire females in and in the traditional Budo schools such as the Bujinkan Budo Taijutsu tradition the female ninja is supposed to attire herself in a purple gi with a red belt.
Significant Revisions/Additions:
Geomantic: Called Fortuna Major, (Latin for *the Greater Fortune*,) in its medieval interpretation, the correct Elemental association should define it as a (Mature) Feminine/Creative character, corresponding to the qabbalistic Atziluth (Emanation,) in the Four Celestial, (or Elemental) Worlds.
Jungian Type: Rationals Class / INTJ (Mastermind) Type
Efficiency and independent thought, are qualities the INTJ strongly value. They prefer the company of intelligent people, who share their views of theoretical models. They are calm and reserved, but care deeply about their close relationships and have a need for a harmonious environment. They are adept at creatively formulating complex theory and analyzing data, and have a need to share this ability, and their discoveries, with the world.
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Post by Susurrator on May 15, 2019 8:21:53 GMT
Queen of Blades
Planetary: Saturn (Above) / Venus (Below)
Diamond Path: Binah, Understanding (Above) / Netzach, Victory (Below)
Geomantic Figure: Albus
Tetragram: Water (Above) / Air (Below)
Keywords: Terror, Battle, Gracefulness, Strife, Trickery, Undoing, Protection, Land Wealth, Military Leaders, Poison, Fate, Attack, Hostility, Fear, Confusion, Death Omen, Suicide, Rivers, Lakes and Freshwater, Battle Magick, Necromancy
Keywords (Ill-Dignified): Cruel, Flaky, Bearing False Witness, Narrow-minded,
Interpretations
Historical: This Queen is associated with the old Queen Pallas Athena, of Greece. Born from the thoughts of the sky father, Zeus, it is a fitting model for the Queen of Swords. She is a strong, active military woman, fighting for justice and humanity. She was also considered Goddess of Truth and was a prophetess. She protected cities, supported mathematics, arts, crafts and law and so can be seen as a force for technology and civilization, man’s higher callings. Serpent symbology is strongly associated with her, as is the head of a putti, or man, on her armor, probably symbolizing her strong association with mankind itself. Her Egyptian counterpart is Neith.
Her animal form in prehistory was of the bird and the serpent, especially sea eagles and owls. More important to the card itself, her name is etymologically rooted in aether, air, earth and moon.
In France, on the old packs, the card is called Reyne De L’epee. Sometimes, she will be called the Queen of Daggers and the old Queen of Spades.
The Pierpont Morgan-Bergamo Visconti-Sforza pack shows a beautiful queen, with large eyes and blushed cheeks, in a gown, holding a longsword, casually, over her right shoulder and arm, which is encased in a heavily armored plate gauntlet. The Sforza lions’ face is present, over her pauldrons. She holds her armored left hand up in a sign of blessing or benediction, and the mount of Venus is graced with a tiny triangle. A sinuous red silk scarf that resembles a serpent, is tied about her right arm. This is much like the Kabbalistic practice of tying a red thread, for blessing. There is a single green tree in the background. A border of pinstripes and florets are on the edge of her white gown. Her halo of golden hair adds to her loveliness. This is the Kingmaker.
Golden Dawn: Called The Queen of Swords, Queen of the Thrones of Air, the Queen of Swords card corresponds to the zodiacals Virgo and Libra and places at Sephira #3 (Binah,) in the Golden Dawn system.
In the Golden Dawn, the Queen of Swords is carrying a severed head, like the biblical figure Judith, but this is strange, considering Judith is historically associated with the suite of Hearts, not Spades. A cherub’s face is also present, probably a degradation of the Visconti-Sforza lion, from the Queen of Cups (Hearts.) Clouds will be everywhere on a Golden Dawn Queen of Swords card, and she will be carrying a sword, pointed in any direction.
Godfrey Dowson has her carrying a severed head also, but also, adds the appearance of snakes in her hair, perhaps a nod to the Greek attribution of the older decks.
Thoth: Aleister Crowley makes no mention of Athena, in the description found in his The Tarot of the Egyptians, but, he infers it. He of course makes a point of putting her down more than he praises her, excusing his drivel by saying beforehand "if she is ill-dignified" but make no mistake - just read the descriptions to the princes and you'll see what team he is batting for, but he at least explains the head - she is the liberator of the mind.
Mutational Alchemy Interpretation: Air of Water, the Queen of Blades, descends from Jupiter, or Chesed (Merciful Benevolence,) to Earth, or Malkuth (Kingdom). One can see immediately from this, she is a bringer of wealth and prosperity. She will do this in a sinister way, and use masculine means of doing it, whether through war, or through intricate plotting.
Her tetragram tells of a son, following the mother, supported by the feminine and benefitting from her influence, in Earth in the Above and Air in the below. There will be oppression and control of the low, small minded people. Her geomantic character resembles a chalice, with a wide base, like the Queen of Staves’ thinner, stemmed grail.
Her power is one of surprise, and control of time itself. This is the meaning of the wheel of the Twin Serpents, below her leap of misdirection and diversion. The hexagrams follow a stringent light-dark cycle on the Twin Serpents, and they can be used to calculate astrological signs in other solar systems, even ones with twin stars.
The Scene: Water of Air, mistress of weather, The Irish Morrigan, like Venus, rules Victory in War. It would be appropriate to call her the King Maker and the King Slayer. She wields tremendous authority over the fates of battles, and like the Dakinis of Asia, appears as a carrion bird. The root of her name essentially means “The Terror Queen,” “The Phantom Queen,” or “The Nightmare Queen.” She is a triune goddess, represented by three parts, Badb, the War Crow, Macha, the Queen of Horses and Plains, and Anand, or Nemain, Vengeance.
The raven-headed hippogryph in the background, symbolizes this trio, while she herself is shown descending swiftly to deliver death from above, an homage to her path from Binah, to Malkuth. The position on the Hidden Diamond paths is important, as she never descends into Yesod, Foundation, nor Malkuth, as with the other queens. Her power lies in the machinations of men, intellect, cunning, inspiration and military strategy. They are her special abilities that give her the power to fortify or overthrow dynasties. The powers of terror and confusion, are ones which she wields with a master’s touch. Having her on your side, ensures victory, against the unworthy.
In the mythology, she would hover over the battlefield, deciding who the Victor would be. She could summon the dead back to life and was granted the honor after the battle, of gathering the heads of the fallen as her “acorn crop.” In the form of a washer woman, she would appear at a river, ominously washing clothes of the soldiers who were about to go to battle and die, thus, predicting, or deciding their fate. Morrigan offers one god, Cuchulainn, her love, and he refuses, ignorant that she is in fact offering him what he wants. She becomes his doom, in his effort to secure victory. The moral of this tale is that the King and the Land are one, and the Morrigan represents the land itself. In refusing her, he was refusing to be King. She is closely tied to rivers, like the washerwomen who she disguises herself as. The Airy Water, of the Queen of Blades is best represented by river rapids, which can be treacherous and deceptive, just like the Morrigan.
Significant Revisions/Additions:
Geomantic: Called Albus (Latin, for *White*,) in its medieval interpretation, the correct Elemental association should define it as a (Mature) Feminine/Analytical character, corresponding to the qabbalistic Yetzirah (Formation,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Rationals Class / INTP (Architect) Type
Freedom to pursue knowledge is of great importance to the INTP, and they do not place limitations on themselves. They are loners by nature, frowning upon social hierarchy and they do not like to be lead, or ordered around. They dislike those who hold strictly to traditions, for the sake of social norms. Masters of theory and systems analysis, they refrain from letting emotion interfere with their theories. Even though this makes them seem reserved, they are quite capable of wit and humor, given that their analytical minds have a firm grasp of knowledge.
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Post by Susurrator on May 15, 2019 8:22:57 GMT
Queen of Pentacles (Disks)
Planetary: Mars (Above) / Luna (Below)
Diamond Path: Saturn, Understanding (Above) / Luna, Foundation (Below)
Geomantic Figure: Tristitia
Tetragram: Water (Above) / Earth (Below)
Keywords: Pregnancy, Nurturing, Motherhood, Independence, Prosperity, Nesting, Abstract Creativity, Trickster, a Physically Beautiful Person
Keywords (Ill-Dignified): Debauch, Stale, Mindless Gossip or Chattering, an Uneducated Person
Interpretations
Historical: Rachel, the beauty of the Hebrew scripture and mother of two, of the tribe’s patriarchs, Joseph and Benjamin is the historical figure usually associated to this card. In the Midrash, she is famous for saying, during the exile, after the Assyrian conflict, "If I, a mere mortal, was prepared, not to humiliate my sister, and was willing to take a rival into my home, how could You, the eternal, compassionate, Elohim, be jealous of idols, which have no true existence, that were brought into Your home? Will You cause my children to be exiled on this account?" According to the Midrash he hears her plea and promises to allow the return to Jerusalem for the Israelites.
In the Pierpont Morgan-Bergamo Visconti-Sforza pack the Queen of Coins is dressed in a dress and cape with the same sumptuous fabric as is found on the King of Coins. She placidly holds a coin on her lap with one hand while the other hand rests on her lap. She is calm and stable.
Golden Dawn: Called The Queen of Pentacles, Queen of the Thrones of Earth, The Queen of Pentacles card corresponds to the zodiacals Sagittarius and Capricorn and places at Sephira #3, (Binah,) in the Golden Dawn system.
A lush and elaborate card in any Golden Dawn pack, the Queen of Pentacles will be accompanied by a ram or goat, and the sphere, representing the world, is important symbology for her. Vegetation should also be depicted and sand or a desert is an appropriate theme for the environs she is shown in. She may be armored for war and the crest of the Emperor, the ram, is quite important.
Thoth: The Queen of Pentacles in the THOTH pack is well executed. Crowley states in The Tarot of the Egyptians that she represents passivity. Although we could not disagree more, he does at least acknowledge the dogma represented of The Great Work, as fertility. Her headdress and staff is epic, decades before fantasy art was popular. She is shown looking over a vast white desert, filled with oases and a river. Once you’ve seen the dragon she is riding, you cannot unsee it, even though Crowley makes no mention of it.
Mutational Alchemy Interpretation: The Queen’s path from Geburah (Severity,) to Yesod (Foundation,) indicates a much more active force at work in the world than has been previously assigned to her, in all other tarot. The passive thing simply doesn’t work, when you apply the nature of Shakti to the feminine, instead of this silly passive pigeon personality the World and every Western occultist from the 19th century seemingly insists upon. Nature herself, as simply Earth and Water is incredibly active, engaging in every moment with the masculine principle of Father Nature in the dance of the changes.
Mars and Luna together make for a strange pairing but it is one that brings out the kinder and more beneficial properties in Mars and the more self preserving, individualistic properties of Luna.
With her tetragram, we see Water above and Earth below, the symbol of the island. The single Yin line pushes upwards, towards the receptive lines, above. Sexuality is inferred. Her geomantic character looks like a seed, pointed down at the earth and is a good signifier for fertility.
The Scene: Water of Earth. The Queen of underground aquifers, Nammu, would have been a great choice for this Queen, but we had enough Sumerian and Semitic representation in the pack. The location for the origin point of the mythology was taken from a global location randomizer. After landing on Tonga, we searched for appropriate myths from the region that would fit.
Sina and the Eel is a folktale I was already familiar with, from the Samoan people. The original tale is more elaborate, with the eel being none other than a shapeshifting King Tui Fiti, who has come to seduce the most beautiful maiden in the islands, Sina.
Sina finds the eel in the lagoon and takes it home as a pet. She takes excellent care of it and it outgrows every container she puts it in until finally she has to put it in the community bathing pool where it hides under a ledge. By this time it has become quite large and she is afraid of it, so, she avoids the pool, instead, seeking out pools further from home, in hopes of avoiding the eel she raised, but at every new pool she goes to, the eel magickally appears again. Eventually the King runs out of magickal power from all of this apparent teleportation, and loses his ability to shapeshift back into a man. He catches up with Sina, and admitting to his love for her and tells her, he’s about to die. He instructs her to bury his head in the ground and this creates the first coconut tree, which gives the lifegiving coconut which has a face that looks like an eel.
It is not told what Sina’s reaction is to all of this. My interpretation would be that there would be regret and I merged the story with that of Halia of Greece, another serpent lover from an ancient tale. Thoth users may recognize the black scaled serpent as none other than an incarnation of the Thoth Queen’s mount. I didn’t notice this until after I had already completed this card. As I explained earlier, we chose the story and the image after randomly rolling the dice to determine which world culture would contribute its image to the card, as I did with many of the others in the deck. It’s not the first synchronicity with the Thoth that had occurred, although it is always surprising when it happens.
This tale is suitable for the Queen of Pentacles, because although she is a caring and nurturing archetype, and has a way with animals and children, there is also an element of bittersweet sorrow and deception underscoring her, with Saturn in the above and Luna in the below. Binah is sometimes called the Sorrowful Mother. This Queen, like Sina, has a tendency to isolate herself and give in to irrational fears, particularly ones involving incoming relationships. This is due to the influence of her path from Binah to Yesod. Although sometimes thought of as an “earthy” queen, she never actually touches ground to Malkuth, and instead, remains planted in Luna, which makes her more enchanting and helpful, actually. It helps her to remain stable and sane, in a world like Earth, that is insane and violent much of the time.
Significant Revisions/Additions:
Geomantic: Called Tristitia (Latin for *Sorrow*) in its medieval interpretation, the correct Elemental association should define it as a (Mature) Feminine/Physical, corresponding to the qabbalistic Assiah (Action,) in the Four Celestial (or Elemental,) Worlds.
Jungian Type: Idealists Class / INFJ (Counselor) Type
The rich tapestry of the INFJ mind is veiled by secrecy. They are highly intuitive and sensitive, with highly abstract creativity. Living in a world of rich symbolism, they use their interpretation of these patterns to lead and help people.
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Post by Susurrator on May 15, 2019 8:24:05 GMT
Queen of Alembics
Planetary: Saturn (Above) / Earth (Below)
Diamond Path: Binah, Understanding (Above) / Malkuth, Kingdom (Below)
Geomantic Figure: Populus
Tetragram: Water (Above) / Water (Below)
Keywords: Love in Action, Deep Introspection, Higher Standards, Dangerous, Creativity, Memory, Stillness, Calm Before the Storm, Floods, Culling, Evolution, Lady of the Lake, Eco-warrior, Nature Red in Tooth and Claw
Keywords (Ill-Dignified): Overwhelmed, Weak Will, Failing to Follow the Will of Heaven, Getting Lost, Confined, Trapped, Misandry
Interpretations
Historical: The Queen of Alembics is a very dangerous monarch, and gets underestimated in nearly every accounting that is done on her. Some accountings are practically insulting, pigeonholing her as an emotionally fragile simpleton.
The Pierpont Morgan-Bergamo Visconti-Sforza pack has a Queen facing the viewer, looking askance. She is wearing a lapis blue cloak and an ornately decorated golden dress with a Visconti solar disc, with spiral arms all over it. Standing on a hexagon, her green-gloved hands hold a huge ornate goblet and the other hand is raised in blessing.
Golden Dawn: Called The Queen of Cups, Queen of the Thrones of the Waters, The Queen of Cups card corresponds to the zodiacals Gemini and Cancer and places at Sephira #3 (Binah,) in the Golden Dawn system.
A dopey looking (supposedly dreamy,) looking girl is flanked by flowing ribbons of water on most versions of the Golden Dawn tarot, including the Hermetic Tarot by Godfrey Dowson. A lobster in a cup and an ibis are traditionally shown. A halo surrounds her crowned head and she is wearing a scaled breastplate and a flowing dress. The water is flowing out of her dress.
Thoth: Attraction, reflection and mimicry, are the powers assigned to her. Although he does properly identify her powers, Crowley fails to understand or to explain how intentional she can be when performing her sorcery, or how deadly, and the imagery is milquetoast at best. At worst, it has the corpse-like appearance of the worst Golden Dawn figures, although, it isn’t as bad as the zombie we find on the Princess of Cups. A redeeming quality is the looping geometry signifying illusion.
Mutational Alchemy Interpretation: Deadly, mysterious and utterly enchanting, the Queen of Alembics has, for too long, been heaped upon with symbols that carry all of the effectiveness of an anchovy, or a sieve, since her former days of glory on the Visconti-Sforza tarot. In the signs however, we find she is actually a very efficient and ruthless tactician. Her path is a no nonsense straight arrow from Geburah to Malkuth, meaning, she is one who changes circumstances at a fundamental level, and she carries the tetragram of double Yin, Water over Water or Old Yin over Old Yin - this is the dark side. It makes her an especial ally of Yang and Heaven, so this may be where her rumored ethereal beauty comes from. She should never have been assigned the passive pigeon role, anywhere, at any time. Even though Yin is classically called *The Receptive*, this in no way makes her passive, she is quite volatile, in fact one might be better off attributing oil to Yin, than water, or anything that is flammable.
She will also share the nature of Yin to follow loyally, like a mare, and she, the so-called Valley Spirit, is tireless. Depending on the circumstances she will be a fiercely loyal and tireless, or one's worst and most slippery enemy, dauntless and full of capability and of course, many powerful allies.
The Scene: Thalassa or Tethys is the personification of the lonely ocean, called The Fish Mother, daughter of Air and Daytime. Not much remains of the old Titan’s lore. We know that she was identified at least part of the time, in history, as the mother of the nine Telchines, excellent metallurgists, who carried snow, hail and rain and eventually became hateful towards humans and poisoned their water supply. Along with the ocean, she governed over all major rivers. Her consort was Pontus, father of the Old Man of the Sea, Nereus. Pontus is therefore a kind of grandfather, and Tethys a grandmother. Pontus is born of Gaia, without a father, meeting the definition of a self created deity and thus very lofty, like the self created god-serpent, Atum of Egypt
“She [Gaia] bore also the fruitless deep with his raging swell, Pontus, without sweet union of love.”
— Hesiod, Theogony (130)
With Pontus, she gave birth to not only the Telchines, but to Halia, mother of a hybrid race of serpents and all of the living creatures in the sea. Tethys is literally the sea, wild and unpredictable, with the pervading life giving bounty, that supported the Greek people for millennia. She was an associate of Poseidon later on, as the temples of Poseidon included statues of her, but her origins are Pre-Olympian. She was a nurse to Hera, and it is through this story we learn that Tethys has the power to rearrange the stars in the sky, per her command, as Hera asks her “nurse” to do this for her.
She sometimes is depicted in mosaics as accompanied by a great sea serpent. She and her husband’s horns, like crab’s arms, indicate their divine prerogative and echo the ram’s horns of Khepri, counterpart to Atum, who is represented as a ram-headed scarab. In some depictions, only her husband has horns, and she has two grey bird’s wings, like that of Hermes, on her forehead.
The power of Yin can best define this character, and as the Queen of Alembics moves from Binah to Malkuth, she coming from a very high place, the residence of Tiamat, the Sumerian oceanic creatrix. (Tiamat, herself, is depicted on the Major Arcana, The Empress, but more than encompasses all of the traits of the Queen of Alembics as well) Binah, the Mother, is also referred to as the Sea of Binah. Some of the negative attributions that are given to her as an ill-dignified interpretation properly belong to her dignified orientation. Her cool and indifferent personality are a part of herself, naturally, contrary to the warm and loving prattle that is automatically applied to her in nearly every rehashed Tarot book. Saturn in the above and Earth in the below, clearly illustrate this dangerous but down to earth contradiction. like Tethys, or the ocean, she is faithful only to the Great Sea itself, and the sea serpent that accompanies her, represents the Great Beast, the All-Father to whom Yin and Water cleaves, alone. The sunken ship in the distance underscores her treacherous nature to mere mortals.
To impress her, you need to hold to universal law – she demands it, and does so herself. Contrary to being emotional, she is about action, based on emotions. She loves her consort, and will do anything for him based on that alone, no matter the cost. This makes her treacherous and dangerous, but ultimately predictable, as he is the Lord of Life. Anything that threatens her Lord or Life overall will be an affront to her, personally, repaid with both vengeance and healing. Evolution, with its horrible dramas of Life and Death are ultimately a machination that serves to preserve Life, overall. She is not a nice person in the traditional sense of the word, she is the great Mother of all Life, not just humans. A strong modern interpretation for this card is caring for ecosystems, but also, the turbulent and violent energy of wild nature.
Significant Revisions/Additions:
Geomantic: Called Populus (Latin for *the People*) in its medieval interpretation, the correct Elemental association should define it as a (Mature) Feminine/Emotional character corresponding to the qabbalistic Briah (Creation) in the Four Celestial (or Elemental) Worlds.
Jungian Type: Idealists Class / INFP (Healer) Type
Quiet yet sociable and pleasant, The INFP are passionate about their ethics and are excellent diplomats when it comes to building bridges with others in order to share and sway others to their view. They are helpful and artistic, caring primarily about the wellbeing of people and the quality of their creative projects.
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