I never denied the beauty: Imperial pomp of sunrise, The seductive glamour of sunset. The snaking voluptuous river, Swollen with incessant downpours, The glitter of rare raw minerals, A glimmer waiting in the depths. Beyond the mist in the distance, The harrowing sublimity of mountains. The perceived chant of the angels, Drifting across the aether. The vertiginous descent of the eagle, Intent upon the sighted prey. The patient strength of the ox, Harnessed for growth and generation. The gilded and haloed lion, Surveying the buffet of the savannah. The shining lights of the city, On the snow capped hilltop. The voluminous text of flesh Awaiting to be read in the dark. The beauty of the world is undoubted: But I suspected treachery A beauty that bites after caressing Wanting to leave its mark Because it too is just passing A floating world of samsara, Always changing; never Still: completes a cycles, Pauses briefly before transformation Then same as it ever was, Is or will be.
Strife is justice: perfect kiss, holy death,
golden ratio and mean, overflowing
cup filled with tears and other secretions
soon emptied however, drank to the last dregs
but still the thirst for love is not quenched.
Wishing that the world was already burning,
all the better to build on the ruins
the man whose eyes blaze with the dying light
of a thousand million supernovas
tosses the match to start the conflagration.
Like a character from an distant age
the chevalier cuts a tragic noble swath
captivating hearts and minds of all alike
but the attention means less than nothing
until that time amidst the crowds he sees
You are the pearl, crowning perfection,
to possess you I desire ruination
I‘ll watch with delirious satisfaction
when you strike me with total destruction
for this pleasure is worth the damnation.
It all adds up, the whole equals the sum
of its myriad variations and parts
you just have to stand at the right distance,
keep still, relax, the answer is apparent,
just will to dare to know the only Law.
One of the most notorious of Tarot decks due to its association with the infamous Aleister Crowley, the Thoth Tarot was designed and painted by Lady Frieda Harris under instruction from the Great Beast. In addition to referencing Crowley’s new religion of Thelema, (Do what you wilt shall be the whole of the Law. Love is the law, love under will), Lady Harris includes elements of Goethe’s theory of colour and Rudolf Steiner’s Anthroposophy in the execution of the project.
In 1937 Crowley had asked his friend the playwright Clifford Bax to find an artist to realise his longstanding ambition of re-designing the Tarot deck along Thelemic lines After two artists failed to show Bax invited Lady Frieda, then aged 60, to met Crowley. Third time around indeed proved to be a charm and they worked together on the deck for 5 years. Crowley initiated Lady Frieda into his mystical order the A∴A∴ and Lady Frieda Harris persuaded Crowley to break somewhat with Tarot tradition in the Thoth deck. Surprisingly Crowley seemed to develop a genuine affection for Harris and she in turn was devoted to him up to and during his last difficult days in a Hastings boarding house.
Crowley re-named several of the Major Arcana from the Rider-Waite-Smith, for instance Trump XI Strength becomes Lust and Trump XX Judgement becomes The Æon. Naturally the Hebrew letter and astrological correspondences are changed because no two occultists have ever agreed on such matters. The astrological significance of the Minor Arcana is very comprehensively outlined in the accompanying Book of Thoth written by Crowley.
Most of the occult artist Austin Osman Spare‘s experiments in cartomancy were believed to be forever lost (including the ‘Surrealist Racing Forecast Card’ pack, a real shame as this covers a number of my favourite things: art, cards, the occult and gambling), however in 2013 a hitherto unknown pack of 79 hand painted Tarot cards was verified as being the work of the art nouveau enfant terrible.
Influences from the Tarot of Marseilles and the Rider-Waite-Smith decks are evident in the design, however the idiosyncratic verve and boldly brilliant use of line could only have been executed by the skillful hand and wild imagination of Austin Osman Spare.
Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes.Look!)
Here is Belladonna, the Lady of the Rocks.
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring,
Thank you. If you see dear Mrs Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.
T.S Eliot The Waste Land 1922
It is no surprise really that the Tarot are mentioned at length in the masterpiece of Modernism, T.S Eliot’s The Waste Land from 1922. The notes alone are a treasure trove of esoteric references, making mention of the Cumaean Sibyl, The Golden Bough of James Frazer, the study of Arthurian legend From Ritual to Romance by Jessie L. Weston, Buddha’s Fire Sermon, Gérard de Nerval’s densely hermetic sonnet El Desdichado and the Upanishads.
Interest in all matters esoteric and occult had become a feature of the avant-garde ever since the later Romantics, especially Charles Baudelaire and the above-mentioned Gérard de Nerval. Later in the 19th Century there would be Arthur Rimbaud with his theory of ‘the alchemy of the word’, the Swedish playwright August Strindberg’s stint in Paris as a practising alchemist, known as the Inferno Period, and various writers and painters connected to the Symbolist and Decadent movements, most notably J.K Huysmans and my personal favourite Comte de Villiers de l’Isle-Adam (see To the Dreamers, To the Deriders).
As the century progressed the Tarot became increasingly esoteric itself. This was quite a recent development, previously the Tarot had been a card game popular in Italy, France and Switzerland, though it also undisputedly used in cartomancy as well. However it was a theologian and Freemason, the Count Gébelin who first advanced the theory in 1781 that the Tarot was a repository of lost ancient knowledge, a theme developed at length by that strange figure known as Etteilla, who added that it was initially conceived by Hermes Tristemegistus himself and was actually ‘The Book of Thoth’. When the man responsible for the French Occult Revival, Eliphas Levi incorporated the Tarot into his magical system and tied the 22 cards of the Major Arcana with the 22 characters of the Hebrew alphabet, the occultation of the Tarot was complete and it became an essential tool for any would-be magician. A quick comparison between any of the older versions of the Tarot with the most famous deck, the Rider-Waite-Smith of 1910 makes this clear, the Rider-Waite-Smith is self-consciously more “mystical”, with an over-abundance of symbolism.
In certain respects the Tarot was tailored-made for Modernism and Post-Modernism, with its emphasis on chance, interpenetration and the shifting, elusive nature of meaning. I have written previously on the Surrealist take on the standard deck of playing cards, Le Jeu Du Marseille-A Surrealist Pack of Cards, and both Salvador Dali and Ithell Colquhuon produced Tarot decks. The Italian post-modernist fabulist Italo Calvino wrote The Castle of Crossed Destinies where the entire plot is told through the Tarot. The Chilean-French film-maker Alejandro Jodorowsky has written eloquently on the Tarot de Marseille and weaves the arcana throughout the acid western El Topo (The Mole) and The Holy Mountain.
In Douglas Cammell’s and Nicholas Roeg’s midnight classic movie Performance, the on-the-run gangster Chas Devlin (James Fox) turns up at the Notting Hill home of the reclusive rock star Turner (Mick Jagger) claiming, somewhat inexplicably, to be a juggler. The first numbered card of the Major Arcana is sometimes called The Juggler, though it nowadays most commonly referred to as The Magician. This hermetic figure points both downward (to the underworld) and upwards (to the stars), a perfect illustration of as above, so below, and prefigures the merging identities towards the end of the movie. Turner seems to realise the import of Devlin’s claim to be a juggler as he immediately comments, ‘You’re a performer of natural magic’.
A quick word on the selection of images; there are thousands of variants on the Tarot available so I have limited myself mainly to the classics. My own preference is for the Tarot De Marseille and the Swiss 1JJ, however the most recognisable is the Rider-Waite-Smith. I have included selections from Dali and Colquhuon as well as the deck designed by Lady Freida Harris for Aleister Crowley. For a contemporary rendition Ulla Von Brandenburg’s excellent deck shows that Tarot continue to fascinate and inspire.