The Hoodwinking

So what is up with the Mask around the Head of the Candidate? Is this not just some freemasonic ritual?

The lesson is that the student has been blinded throughout his/her life. The method is to actually ‘hoodwink’ the candidate, and then loose the blindfold at the climax of the ritual, implying that the candidate will now “see real” or “see more than what was previously perceived”.

Hoodwinking is a reference to blinding, with an aside to fooling. You are blinded by the Ordinary Sensory Data. One is fooled into believing that the Ordinary Process of Sensory Perception is the regular process, and that anything aberrant to that is unordinary and therefore suspect.

“What I see” and “what I hear” and “what I feel” must have reference to What I Experience. If that is not the very basis of What I Experience, then what is this that I Experience? There is This Body Reference. So what do you refer to, without This Body Reference?

Your Surrounding Environment is a Comprehensive Hoodwinking. You are surrounded by Sensory Impressions. That is all that you are provided. It is very tempting to think that This Is Real. It is very tempting because That Is All You Experience. As long as you rely upon Sensory Experience, this is all that will be provided. Thus that is the only way you can define anything. That process of Defining is the very fabric of The Hoodwink — How You Describe Things.

But The Hoodwink is even more sublime. How You Describe is very much based upon Underlying Assumptions. These processes involve mental architecture that is Pattern Resident, due to Habitual Impressing. We call it “convincing yourself”. It is forceful imprinting, which has an affectation upon the Surrounding Patterning Confluence.

Affectation of Surrounding Patterning, confluenced by Willful Attitude, is possible.

This process can also be affected Not By Will, yet only by A Process Of Happening – where Desire is ‘guided’ without Will. It involves The Imagination. There is still that property of Surrounding Patterning — but now the delusion is truly self-defeating. Even within the Sensory Panorama, it becomes important that This Thing “must” appear this way or that way. Now invoke Imagination, which does not determine ‘reality’ based on actual experience, but on subjective hallucinations. If it must be blue, then the Sensory Mechanisms will adjust accordingly, and the perceived object will take on a blu-ish hue. But what if the object is “wrong”, or at the very most “not appropriate”? What hue does it take on then? A flavor or charm of “wrongness” or “not-appropriate-ness” will envelope that experience. You imagine something, and determine that that is “real”.

Is this all that is possible? For an Entity limited to Sensory Impressions – Yes! This is the very nature of The Hoodwinking. As long as one relies only upon the Sensory Impressions, those will be the only Terms of Definition.

And even if you reach beyond that limit of Sensory Impressions, and perceive Other Patterning, you should not fall into that hoodwinking as well. The problem with discovering the hoodwinking process is that it is never-ending. You will discover that all of the magnificent visions that you have for yourself and your future are also very much part of the personal hallucination. You will see the Hoodwink for what it is.

There are The Sensory Impressions, the first layer of the Terms Of Definition. Then there are Other Images, and they also become another layer of the Terms Of Definition. Then there are further Other Images, and those add yet a further layer to the Terms Of Definition. The Hoodwinking takes on many layers of manifestation. You would prefer that you are not part of this process, yet it is obvious that you are very much part of this Process of Being Hoodwinked.

So, let us make a moment to Really Observe Our Surroundings. We may notice many ‘things’, but we also notice an outstanding panorama of sensory impressions. There is one strange factor: we may notice our tendency to “organize” the impressions. It is that Organizing of Impressions that becomes The Hoodwink, that we must be watchful for. We create a god, and it is the pattern whereby we make an habitual behavior. This is the danger of god-forming.

We tend to Construct A Tower, that Defines Our Reality. In the early stages of The Magickal Process, this tower-structuring is confined within The Hoodwink. The Hoodwink is at least confined within the Sensory Panorama. Going beyond that panorama will require A Certain MindSet. That Certified MindSet becomes yet another layer of The Hoodwink. The Hoodwink is the Practice of Making Certainty. In the beginning of Genuine Work, that Hoodwink is ‘limited’ to the Levels of Certainty engendered by Development (growth) amidst Ordinary Living.

It is very important to see The Hoodwinking Process, because with genuine progress, that Hoodwink will be utterly destroyed.

 

Day and Night / Night & Day

Atu XI
You want Change. Something needs to Change. Maybe you are not certain of What needs to be Changed. But where does the Energy for This Change (still undefined) come from?
We have Many Desires, directed willy-nilly about Many Directions. We desire this for this moment, then this for another moment, and on-and-on. Personal Energy keeps being directed in Many Deflective Tangents. How about if they were all Harnessed into One Purpose?

Atu XII
What is the Orientation of the Change? For Change to Occur, it would be best if there is some Defining Matrix. We form a Rectilinear Frame, and Crucify Ourselves upon it. We make Purpose to Our Effort. There has to be A Grand Scheme in all of this Effort. We attempt to Make Sense of it.

Arthur Edward Waite performed magnificent damage to the Tarot when he used the Golden Dawn Astrological associations to justify transposing “Strength” and “Justice” in the Trump Sequence.
(and yes, I have read the accusations that the mislead was purposeful)
Atu XI “Lust” or “Strength” is a critical juncture, where basically you decide “enough is enough”. But you need to know That Which you are deciding to Change.
Atu VIII “Adjustment” or “Justice” (or “Justification”) is the logical partner to Atu VII “The Chariot”. These two stages describe The Mind-Body Vehicle, in its most basic fundamental architecture. Atus IX & X then describe fundamentals immediately extensive from the discrete Mind-Body Vehicle, important to figure out How To Navigate the damned Vehicle.

 

Atu XVIII —
The sun sets and Darkness is the surround. The Moon provides the only General Luminescence. Even as the Full Moon, that luminescence only provides so much. The varying phases even less. And then the New Moon — Nothing!
Even with the luminescence of the Full Moon, visual perception is questionable. Appearances can be increasingly deceiving. Hallucinatory tendencies are much more probable. Providing less lunar luminescence increases deceptive appearances. With the New Moon, there is No Visual Data to work with.
When we become dependent upon any of our Senses, any deprival of them can be awkward. In the Moonless Night, sight is definitely deprived. Strange sounds surround, yet there is no visual confirmation. You have to shift into another mode of sensing your surroundings. With increasing deprivation of the other senses, you will notice your Concern increases. Uncertainty becomes increasingly abundant.

Atu XIX —
This is actually a portrait of The Rising Sun. After the utter bleakness and cold of the moon-less night, the Arising Sun is A Blessing. You can now once again see what is going on, and you have your morning warmth. You have the return of a Sensory Verification that was temporally interrupted. A Sense of Certainty Returns.

O-A-Hum
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The Numbers Puzzle

For as complex the Trump Description will be, at least it is relatively ‘linear’, in that it is a Definite Series of Stages in an adventure.
The Pip Description is dealing with Tables. The Suite has to be consistent, meaning that the Numbers between the Suites have to be consistent. (The Court Table is no problem.)
The Numbers operate like a 3D Tablet: the Suite is a Plane, and then there are Four Planes in Numeric Alignment.

This stacking is based upon old thinking in terms of the relations of the Elements. I prefer another way of seeing the stacking order.

In this manner The Fire burns ‘beneath’ The Kindling, the Sacred Temple. Twin to the Sacred Temple is the Sacred Behavior, Adoring what surrounds your Sacred Temple. What presides ‘above’ that is Attending to those surroundings.
Unfortunately these renderings are Rectilinear Rigid. They imitate primitive 3D Chess.
The ‘preferred’ arrangement is simply to place The Wands in relation to The Discs, then The Discs are The Main Operation. My reason for the stratification of Cups and Swords therefrom is for technical reasons. Those layers could be interchanged depending on one’s emphasis upon Consciousness or Conscience.
It was major damage to Tarot Instruction when people were taught to read the Number Images in an Entirely Serial fashion, where one Ace somehow magically jumps from a previous 10. Four relatively Parallel Planes, each with 10 Alignments between them. Pretty much that simple.

I decided to render this first primitive diagram of “The Tree of Life” enfolded into a ‘sphere’.
The key is that 1 is “tucked under” or “underlying” 10. It just so happens that 6 is “tucked over” or “overlying” 10. The 9 remains key to Ascension, yet retains its relation to Da’ath.
The 10 is The Primary Consideration, because that is where All Of Us Begin. We are born, and then have to figure out how to navigate our mind-body vehicle. There are self-imposed rules as to how to navigate your vehicle. This is a given. “Adulthood” involves potentially seeing beyond the rules necessary for “childhood”.

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The Vast Horizon

Atu XVII “The Star” has a certain ‘technical’ aspect to it*, but it may be better called “The Stars” for average functionality. After the utterly shattering experience of Atu XVI “The Blasted Tower”, when all you thought was ‘certain’ is absolutely laid to waste, what is there left? The previous ‘prison walls’ have been completely destroyed, and now, “liberated”, what is there? A Vast Emptiness, but, wait, “it’s full of stars!” Amidst the overwhelming Sense of Emptiness, there appears to be “hopes” of “discreteness”. They may be mere “dots”, but they cascade a sense of “center-ness”; an odd sense of ‘unity’ for each of them amidst the “non-unity” of the vast emptiness.

Here is where all the metaphors of “hope” and “anticipation” arise. This is why this page (card) is associated with the Astrological House 11 (and then by further association the Zodiacal Sign Aquarius). After The Prison Walls have been utterly destroyed, the mind desperately seeks to re-assemble any sense of ‘certainty’. In that Vast Emptiness, the “sense of stars” is a first step to re-assembling that desperate ‘sense of certainty’.

For physical beings, who have grown up knowing only physical-gravitational being-ness, when that sense of ‘physical-gravitational being-ness’ is utterly violated on the most immediate parameter (Atu XVI), and plunged into An Emptiness, a lack of the previous, it is not surprising that the first attempt to re-assembly would be to seek out any similarity. In the “open emptiness” of “space”, the stars offer the first best evidence of the previous state.

(By the way, Atu IX “The Hermit” only really makes sense when you get that the Trump Series was crafted by those who had gone way past that stage, and had actually achieved this “Star” stage.)

The metaphors of “hope” and “ambition” are rather superficial with regard to this emblem. But in relation to using this page (card) in a reading, even though I would dissuade from “hope” and “ambition” metaphors, I may ask the querent: “If everything were to go-to-shit, and nobody gave a damn about you, What Might You Want?”

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*There is the legend that “this star” is that of Sirius. Aside from all the other legends, there is one that is rather outstanding. The legend speaks that this was a “dying” system, and that in order to preserve that system, a kind of “projection” was induced. We “of the Earth” are the result of that projection. This metaphor calls into question all such as the “Matrix” metaphor. Thus the metaphors of “hope” take on a whole new flavor. Some ‘god-awful’ sense that “we” are the result of some desperate attempt to salvage a “dying class”. Now the whole ‘Holy Guardian Angel’ metaphor assumes a completely different flavor. I do not assume to ‘be correct’ about this; I simply wonder.
I have not been secret about my attitude about “deity”; which includes the sanctified ‘Holy Guardian Angel’ metaphor. There is a class of ‘entity’ which desperately requires that we “believe” in “its” existence, in order to exist. Even in “physical biology” we acquiesce to the existence of “parasites” that rely on a “host body” to accept its existence as part of its own functioning — without the host body “knowing”.
That is why I am glad I never took up Ceremonial Magick. (For those who did, just look into “Zen” as described by Alan Watts. He provides the clues to ‘separate’ from the “toxin” of Ceremonial Magick, and make it ‘fuller’ there-from.)

Be Here Now

After the shattering experience of Atu XVIII, the complete destruction of any ‘sense of certainty’, the rising dawn of light is an overwhelming relief! Atu XIX is rather a re-invigoration after the utter bleakness. Anyone who has been up all night out in the wild, feeling the cold increase as the night continues, until it is literally coldest just before dawn, knows the absolutely cheerful welcome of the morning Sun. Likewise, when the house is plunged into darkness, the handy flashlight is very much a best friend, and you feel a soothing sense of sanity after the frightful interruption. Thus you have the metaphors of “illumination” and “clarity”.

When I use the metaphor of the “Fuel Source” or “Fuel Cell” for Atu XIX, in relation to the Space-Time Vehicle that should be depicted with Atu XX, I am not just spouting a cute novelty. The ‘certainty’ derived from “clear perception” definitely drives our very living. After the Utter Darkness* of Atu XVIII which ‘complicates’ one’s otherwise ordinary condition, the “light of day” returns one to simplicity. What was ‘insanity’ has resumed ‘sanity’ — and it is not unwarranted to compare that to ‘sanitation’: the “light of day” has literally ‘cleansed’ the scene of all the “monsters”.

To me, the Core Idea of Atu XIX is not the “illumination” and “clarity”, but rather the Simplicity. After surviving a dangerous situation, the first sensation is to be glad to be simply alive. Atu XIX is like the attitude of “whew, I dodged that one!”; and for that first brief moment, all other considerations are like so much appended weight. You get a good glimpse at Just Being, even if it is only for a moment.

Remember that Atu XIX is toward ‘the end’ of the Trump Series, after a lot of ‘work-on-self’ has been performed, and many stages of transformation have transpired. With all of the complexities that have been experienced, Atu XIX represents a kind of ‘resting point’ (so to speak). The best manifestation of this ‘resting point’ is the overwhelming sensation of Be Here Now, in its full Simplicity. For those who have done the full working of the Trump Series, the resultant Be Here Now of Atu XIX can be said to ‘extend’ well beyond “the moment” — even though, paradoxically, “the moment” becomes ‘extended’.

O-A-Hum
OPD

*”Darkness” can be a rather misleading metaphor, when considered only as “absence of light”. When considered as “a blotting out”, it is completely appropriate. “Black” is called “an absence of color”, but it really isn’t — it is ‘a color’ as compared to the “nullification” that I remember. “Neutral grey” is also still ‘a color’ in comparison. Genuine “absence of color” cannot be described, only directly experienced.
“Utter Darkness” is my convenient metaphor for “complete annihilation of sanity”.

“What Was That?!”

Atu XVIII is referred to “The Moon”, but its most initial Core Idea is that of “The Night”. The extreme example is the Moonless Night, and this serves as the best launching pad for all that follows. For entities that are rather dependent on light for visual sensation, absolute darkness is a very good first stage of Utter Doubt. A primal sense of coordination is deprived, and other senses not light-dependent must engage to a greater degree than ‘normal’. These adjustments are necessary to help maintain ‘a sense of certainty’ that is generally sensory-oriented. When “the Moonless Night” metaphor is taken to an extreme itself, a.k.a. Utter Darkness, that would also include lack of sound, taste, touch, etc., and becomes what is known as a “sensory-deprivation chamber”. Now all the usual instruments of ‘a sense of certainty’ have been made abrogate.

When all of “the usual devices engendering a sense of certainty” are comprehensively turned off, there is no immediate engaging of “another device” to “re-establish certainty”. What does immediately occur is The Overwhelming Sense of Fear! It is only when that Overwhelming Sense of Fear extends beyond the awful initial phase that then the Overwhelming Sense of Doubt joins into the subjective drama. Then the twin siblings of Overwhelming Fear & Doubt have the stage-play for rather a considerably long time during this absolute denial of “certainty”. It is only well into the ‘drama of uncertainty’ that other “make-sense” faculties kick into gear. These are faculties that the fraternity/sorority calls “occult senses”. Unfortunately, with honest investigation, these “new senses” are really no more “real” than the previous “relied-upon” senses that described ‘certainty’. But, when you are shit-out-of-luck, you take whatever you can get! And you are ‘no less’ for taking that. But, hopefully, the ‘sense’ of “perception is a gamble” is firmly becoming ‘real’.

Now, what about a Moon-Lit Night? The absolute “sensory-deprivation chamber” metaphor doesn’t apply, but is the perceiver any better off? Now, instead of the absolute abrogation of the previous sensory-reinforcing ‘certainty’, another odd factor kicks in. Now, the “Moon-Lit Night” provides somewhat satisfactions of that otherwise Light-Dependent Satisfaction of “Sensory Certainty”. Unlike ‘daytime’ when The Tree is definitely A Tree, now The Tree is some indefinite construct. Hues are shifted and shadows increase, and , frankly, “wobbles” are ‘more apparent’. Whereas with the “Moonless Night” there is definitely No Tree, with the MoonLit Night there is Maybe A Tree. The whole perceptual experience takes on a whole other level of annoyance. At least with Complete Darkness, ‘certainty’ is utterly abrogate; with “somewhat darkness”, ‘certainty’ is played for even the further fool. A fleeting sound within the “MoonLit Night” can engender imagination to morph the ‘visual glimpse’ into ‘a virtual vampire’. The Sense of Fear & Doubt has full Power to Morph the Fleeting Glimpse into An Utter Monster.

“Indefinite Construct” is very much the Core Idea of Atu XVIII. (That is why the association with Astrological Pisces.)

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Enemy of The State

The core idea of Atu VX “The Devil” is that of Enjoying Any Sensory Experience that you desire. By extension, that includes Any Sensual Experience that you desire. All other considerations are auxiliary. But, to me, the primary auxiliary consideration is rather the Abandonment of Morality: to actually ‘know’ that “morality” is an artificial construct. Here there is no such thing as a “wrong” activity. Even ‘murder’ is not a “wrong” act — just merely inconvenient for the recipient.

The greatest virtue of Atus XV and XVI is that of “Change Your Mind and Attitude”, or rather “Open Your Mind and Attitude”. Ignoring this prime directive at these stages does result in “failure”. (Thus Atu XV also tends to be interpreted in terms of “incoming occult knowledge” or other similar metaphors.)

In the Crowley-Harris version of this image is blatantly displayed a grand phallus plunging its ‘head’ into “a hole”. All that Crowley says of this “hole” is that it is “the rings of Nuit”. He does not further specify “what hole” it is. It is frankly any “hole” that the phallus (or, the phallus-wielder) desires: a vagina, a mouth, an anus, even a hole in a tree — so be it. The best in “The Devil” is “how can I take the most advantage in all that is available”.

For those obsessed with “correct” or “incorrect” behavior, this portrait is of Wanton Abandon to Pleasure. Some people choose to freely and openly exhibit “their devil” without embarrassment. Others are embarrassed by “their devil” and ‘reveal’ it only within secluded confines, but still plague their mind with the “wrongness” of the act. The other set of secret practitioners fear the reactions of otherwise surrounding moralists, but themselves do not consider it “wrong”. There is a so-called ‘fourth class’ who wantonly display “their devil” with the added sensory delight of offending the surrounding moralists who think the act is “wrong”.

It is too bad that much of the discussions surrounding this idea tend to obsess around “sexual” considerations, given the rampant “sex-embarrassment” entrenched in not just any one human culture. I re-emphasize that this matter is about Sensory Experience, not just Sensual Experience. If someone enjoys being physically hurt, it does not automatically translate into a “sexual” experience. Yes, it is sensual, i.e. sensory. If someone enjoys watching someone else ‘puking their brains out’, finds it funny, there is nothing “wrong” with that — and there is nothing inherently “sexual” about the enjoyment either (but if it is, so be it).

Atu XV happens to focus on Abandonment of the artificial construct called “Morality”. (Abandonment of all other remaining artificial constructs rather occurs with Atu XVI — thus it is a much more devastating portrayal.) If one honestly examines the nature of “morality”, with its simplistic notions of “right” and “wrong” behavior, it is not difficult to see its intimate tie to sensory experience on all levels. It is by the ‘abandonment’ of this artificial construct that one gains a perspective on the nature of “moral” construction; then, at least, you become ‘the master’ of Your Moral Behavior, rather than being a slave to some “external absolute”. Herein lies my most profound objection to any “sane” discussion of “Evil” and ‘his’ companions with regard to this page (card). “Evil” has become one of those imagined absolutes that plagues the thought processes of those who want “external absolutes”. “Good” and “Evil”, “Right” and “Wrong” (which are merely emotional tags) have been turned, by many who desperately desire a sense of order, into comparative ‘deities’: absolutes unquestionable; violations of which are met with consternation. The reader who succumbs to any rant about “inappropriate behavior” when this page (card) appears in a reading, reveals themself as still enraptured with that spectre of “righteousness”. (And then there is no wonder, in this mind, why Atu XVI appears even more “mis-translated”.)

Atus XV and XVI are not the initiation of Breaking Limitations: that initiation occurred earlier in the Trump Series. These pages (cards) happen to focus on the Breaking of Sacredly-Held Limitations.

When this page (card) appears in a reading spread, along with whatever it may indicate for the querent (client) amidst the context of the spread, it should also serve as a reminder to the reader to carefully observe any “moral limitations” sacredly held by the reader, and to make an extra effort to not allow such to bias the reading. If I am doing a reading for a housing banker, and see indications that the client is about to foreclose on a bunch of delinquent mortgages, I have to resist the temptation to sabotage the reading that might help sabotage such an impending act — despite my “moral” objection to that act.

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The Initial Vehicle

I consider Atu VII to be the first “real lesson” in the Trump Series. Atus I-VI have been of the nature of preparation. (It can be argued that Atu VI, due to the complex nature of its depiction, is the first lesson. I would simply argue that it is the last, and most important, lesson in the preparation*.)

The metaphor of “The Chariot” has been a favorite amongst many traditions as a standard for describing the status of “an ordinary being”. Even Gurdjieff, who did not subscribe to the standard “occult” retinue, unhesitatingly used the “chariot” metaphor to describe “the beginning status” to his students. The metaphor is utterly simple. There is the Main Vehicle. Added to that is the Conductor and the Moving Force. The ‘reigns’ connecting the ‘conductor’ to the ‘moving force’ is the first auxiliary metaphor-extension.

(For those who play with the Crowley-Harris version of this image, there are no ‘reigns’ connecting ‘the driver’ to ‘the driving force’. But the ‘reigns’ are apparent if you view the surrounding rings radiant from the ‘held cup’, which is like “a steering wheel”. This “steering wheel” is very much equivalent to “a scrying medium” (cup-of-water, crystal-ball, etc.).)

This icon is very much The Somatic Vehicle. It is What We Begin With!

With Atus I-VI, the initiate has been ‘prepared’ with a diet of concepts that build from “relative nothing-ness” to “relative something-ness”.

Atu VII is that “slam” of “this is actually what you have to deal with, in the beginning”. You have this Bio-Form! It has some basic intrinsic properties. It is “the first consideration” in all of your consideration(s) of “How Am I Going to Navigate ‘This’ Universe?” It is rather ‘the question from very birth’. From the very beginning of stumblings, that ‘question’ is all-pervasive. This is ‘the lesson’ of this Trump: “how do I deal with this stumbling temple?”

The “lesson” takes on properties of cognizing a kind of “visceral” cognizance. “The Body” has a kind of ‘wisdom’ of its own. We use the metaphor of “feeling my way” through “all of this”. The basic english language has the one handicap of using the term “feel” in both a bio-sensory and an emotional way. It doesn’t help that this dual definition is equally valid. (Thus the association of this Trump with the Astrological Cancer.) That is why I have chosen to use the metaphor of “Visceral Navigation” with this Trump.

But Atu VII is much more than mere “visceral navigation”. It rather epitomizes the Entire Body Sense. To actually “feel” that ‘this body’ is ‘a vehicle’. To cognize that you are “navigating a vehicle” is of supreme importance!

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* Atu VI has the awesome responsibility of transmitting the most primal lesson of “The Metaphor of The Student”, who must principally cognize Two Key Ingredients in One’s Composition, which the “Gnostics” labeled ‘The Eidolon’ and ‘The Daemon’. They are “the intimate lovers” co-existing in “one house”. The average description to this image is that “a marriage is occurring” — but “the awful secret” is that “there really was never a separation”, and that “the marriage” is kind of “after-the-fact”. The metaphor of “a marriage” is based on a delusion that there was ‘a separate status’ that ‘had to be married’. The “marriage ritual” is as a formality, in the sense that “the separate two” were never really “separate” — it only appeared as such. The “marriage” has “been arranged” from the very beginning.

The Student

Atu VI is commonly called “The Lovers”. The ‘Golden Dawn’ version of this image is a fascinating break from the now-classic Waite-Smith version, where a hero rushes in to rescue a maiden in distress. There have been other versions that emphasize what was only hinted within the Crowley-Harris version: “Eve” and “Lilith” flanking the central figure. “Lilith” was ‘the first wife’, but was ‘made’ unruly. ‘She’ was then divorced, and then “Eve” was brought about to be ‘obedient’. (The legend of “Eve” eating the fruit, aside from the vast other interpretations, was a confusion of ‘her’ with the ‘disobedient’ “Lilith”.) “Eve” tends to be depicted as “soft and beautiful”, while “Lilith” tends to be depicted as “hard and ugly”. Read: “control-able” and “un-control-able”; or rather, “easily definable” and “not so easily definable”. “Eve” was ‘easy on the eyes’, whereas “Lilith” was ‘difficult on the eyes’.

The two brides “Eve” and “Lilith” represent what the ‘Gnostics’ called “The Eidolon” and “The Daemon”. They are the “Intimate Lovers”, always bound in a Marriage. That marriage is not “forthcoming” except for those who still imagine that their separation is “a given”. And that is what is described by this Trump: the supposition that their relation is “separate”. This is not an error: at this stage of conception, the individual still imagines that these two are “separate” and must yet still be “externally conjoined”. This icon is not about the actual “union”; it is rather about an imagination of the “separate” condition, the “need” to “join hands”. That is why this Trump is rather still within a ‘prepatory’ stage.

Atu V depicts “The Teacher”, and is sequentially placed between Atu IV “The Divine Upstart” and Atu VI “The Devout Follower”. The ‘Teacher’ is placed in the awkward position of tending to both “the chosen ruler” and “the disciple”. Atu IV represents the receiver of instruction that is not required to receive instruction. Atu VI represents the receiver of instruction that is required to receive instruction. The Student will thereby gain the full benefit of “previous wisdom” that the “divine emperor” will miss out. The ‘Teacher’ has to cajole the ‘Emperor’, but can demand the ‘Student’.

“The Student” is placed in the unique condition of Being Oriented by ‘an experienced other’. Atu VI is rather an extension of Atu 0 in the sense of “abandonment of the previous”. “What I thought I knew is now abrogate, and now I place myself willingly to receive new information.” The mind-set of a real Student is hardly ‘passive’; it actually requires a form of ‘will’ that The Emperor cannot even cognize. In the most extreme example, what is thought of as ‘will’ must be totally overthrown in favor of complete obedience. Thus, you have in various traditions the “hoodwinking” of the young initiate — which is not merely a metaphor of “you were blind and now you see”. When done properly, this tactic has the “back-door” effect of engendering ‘will’ in a way that no instruction of ‘willful behavior’ can match. When done improperly, the ‘Teacher’ has merely “a slave”.

So, the series of lessons ensue, and if successful, then at Atu XIV the Marriage of ‘The Eidolon’ and ‘The Daemon’ is actually consummated!

O-A-Hum
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Reversed Cards

I had long ago abandoned using ‘reversed’ cards in my spreads because to me that distinction really meant nothing. When a card appears, it is by its relation to the other cards in the spread that helps ‘refine’ the otherwise ‘wide’ meaning intrinsic to any card, ‘positive’ and ‘negative’ and all inbetween. It is, to me, linear thinking to rely on the card’s relative orientation to decide its ‘benevolence’ or ‘malevolence’. The querent’s (client’s) actions-behaviors-reactions will determine that.

But there is a property from Astrology that can be projected onto this issue of reversed cards, while still retaining the intrinsic dynamic balance of “benevolence” and “malevolence” in its appearance in the spread. Even in an astrological reading, I see those who treat a Retrograde Planet is somehow “opposite” the meaning of the Direct Planet, because of its ‘apparent’ “backwards” motion. However, there is a property of Retrograde Planets that is not mere ‘appearance’: for the planets outside of the Earth’s Orbit (Mars and beyond), they appear retrograde when they are closest to the Earth itself.

Thus it is suggested that Retrograde Planets should be treated as if they are “too close” and therefore there is a “lack of perspective” or “lack of objectivity”. Armed with this notion, it was not difficult for me to shift my ‘word mind’ into considering Retrograde Planets as being “Indirect” as compared to Direct Planets.

A “direct” factor can represent that which is “definite”, whereas an “indirect” factor can represent that which is “vague” and “indefinite”. (The cynic in me can easily draw a parallel of comparing a Scientist and a Politician.) At least with this ‘Direct or Indirect’ model, it is simply a matter of “perspective” or “perceptual capacity”, completely divorsed from the “benevolence” or “malevolence” of the factor. The ‘good’ or ‘bad’ morality model has been removed.

Why not apply this same principle to Direct Cards and Reversed Cards in the reading spread? A Direct Card can represent a property that has a greater potential of being more easily apparent, easily noticable. A Reversed or Indirect Card can represent a property that will require greater awareness by the querent (client) to notice its manifestation; it will be more ‘indefinite’, ‘vague’ and maybe even ‘tricky’.

O-A-Hum
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