Time Traveling

Timetravel

Owing to my Good Lady Wife’s completing certification last week at the National Fire Academy, we found ourselves in the vicinity of Gettysburg for the weekend.

For the record, we are history nerds. We have the shirts and the hats that say that. And we enjoy a bit of time travel now and again, as a break from the multifarious pressures that come with the responsibilities of our day jobs. So we had booked ourselves a lodging at an antebellum bed and breakfast for a couple of days wandering about the various historical landscapes.

I know when I was a student in school, the battle that took place in this area on the first few days of July 1863 was taught as a very significant event. That was some time ago, and our schools keep adjusting what is historically important. Perhaps that’s as it should be.

I am a great believer that history should not be presented with blinders on. Nor should it be controlled and coerced into serving any particular agenda.

Things happen. We all experience things happening. We are all traveling through time at the pace of now becoming next, and now became then, in exactly the same unrelenting instant.

And what we experience, and how we react to it, and how we remember it is an absolutely personal thing. So it is safe to say that we may view any event we directly experience very differently than another person who experienced it with us.

This is part of the otherness that defines our human existence. It’s a consequence of being part of a universe that wants to know itself and all it’s potential selves. We can only hold that passing moment in memory, and memory is purely internal.

The American Civil War, and the slice of it that is the Battle of Gettysburg, is one of those things that has so much impact that it’s still being “contextualized” over 160 years later.

As a proper history nerd I try to follow two basic tenets.

Firstly, information should be analyzed to the extent that any bias that is likely to exist can be excised from the data itself.

That is, if you know one account was written by a Northern Abolitionist and another by a Southern Slave Holder, the information needs to get pared down to times, quantities, etc. Certainly the perspective can and should be accessed, to give us all some idea of the human experiences and ideas involved, but it’s not history, it’s the way the author viewed history at the time.

Which brings us to the second rule, people in history cannot, and should not, be judged or understood by the modern views we now hold.

Our present sensibilities are vastly different from the combatants of the American Civil War, from the Spanish Conquistadors, from the Roman Centurions, or any other person that has lived in a different period of time. Social media is rife with commentary about the differences between “Boomers”, “Gen X”, “Millennials”, and “Gen Z” and this is just among generations that we’re born since the Second World War. How then do we have the hubris to presume we “understand” the motivation of an Antebellum population?

This is why I prefer time travel to historical research. As the Doctor has said, we time travelers point and laugh at archaeologists.

Time travel is not an easy thing to do, of course. Absent a flux capacitor, temporal rotor, or warp drive, you really are tasked with finding someplace where the forces that perpetuate the illusion of linear time are relatively weak. These are becoming harder and harder to find in a modern global world interconnected with telecommunications equipment. But you can find them. And you can learn to ignore the distractions that can remind one of calendar dates and modern tech.

Find the ghosts can help.

I’m still not sure personally if ghosts aren’t simply other time travelers. Certainly we have the stories of ghosts that echo the horrible circumstances of their deaths. To the spiritualist and medium these sad beings remain because of the trauma they experienced, leaving a permanent imprint, or the presence of an unquiet spirit.

But there are lot of ghosts who simply are seen engaged in the normal activities of their life, or perhaps engaged in an emotionally intense event, like a pitched battle. In these cases, it is not impossible that we are simply peering past the walls of linear time and viewing the events that are happening just over there in the cosmic everpresent.

Several of the ghosts I have run into in my life look just like regular people. They don’t look “dead”, still have their heads and hands and aren’t bleeding profusely. As they walk past, some of them nod and smile, just as we would if we met in the hallway or on the street inside the same space-time.

They’re just slightly outside that space-time, and as such these moments can be brief and end abruptly. Almost as soon as one perceives the true nature of the encounter, one turns to look again and they’re gone.

We understand about as little of the true nature of time and space as we do the nature our own spirits. The tangibility of the meat suit, and the apparently “real” material world it inhabits, is, even to modern physics, not an entirely absolute thing. Physicality as we experience it may simply be another illusion, a limitation our our perception of the universe around us.

Time and space in our dreams is nothing like what we live in daily. It is non-linear, it is certainly non-physical, and frequently defies logical causality. Imagination is as ephemeral, so it’s a very difficult proposition to prove that the existence of the mind is bounded by the physical world and the apparent flow of linear time.

If you’re not a history nerd, it may surprise you to learn that the Spiritualist movement has it’s roots in the period following the American Civil War and in Europe following the Crimean War a couple of decades later. In both cases, there was an horrific loss of life on a scale not experienced before. Many of the dead were lost far from home, sometimes interred in mass graves with few markers. And still others were listed as “missing” which means the bodies were never identified.

In the era before modern embalming had become viable, there simply was no way to ever bring these dead men home. Such methods as existed (and they were largely experimental) were open only to the rich, who had not lost their wealth to the fortunes of war.

This left loved ones with no sense of closure. Spiritualism, with the trappings of the séance, table turning, spirit trumpets and talking boards offered mourning survivors a solace that they did not find in traditional religion. With the belief that the dead could be contacted, a wider acceptance that they remained in semi-tangible form as visible ghosts became more and more prevalent. Soon, spirits and ghosts began to expand beyond the shades of those passed on to include the shades of things that had never been alive.

The “ghost” of Abraham Lincoln’s funeral train is a widespread story across the parts of the country where his final journey passed on the way from Washington, D.C. to Illinois. Even for the animist, it’s hard to expect that the locomotive and cars that made that journey are spending eternity repeating the trip, particularly since the ghost of Lincoln himself rarely features in the stories.

We can accept that this is a mass delusion, of course. We can say that the trauma of the war and the culmination of that in the assassination of the President created a national myth that caused people to see that ghost train.

Or we can suggest that this same trauma has weakened the walls of space-time in some locales, and that we are still seeing the train as it passed on that fateful trek.

The same may be said for the phantom patrols and the ghost battles and other hauntings reported at Gettysburg and other battlegrounds of the American Civil War. It is not an exclusive experience to that event, either. I had a friend tell me they had a similar response to the battlefield of Culloden, in Scotland.

When we spill that much blood and pain and hate, it may not be possible to close the wounds for a very long time.

Culloden was the end of the Jacobite Rebellion. Gettysburg, though the war would continue for almost another two years, would signal the ultimate defeat of the Confederacy. In fact, there is one moment that historians will point to as the turning point in the war. That is what is known as Pickett’s Charge.

On July 3rd, after two days of battle with territory changing hands several times, it looked as though the Army of Northern Virginia under Robert E. Lee had the upper hand. There were still a handful of entrenched positions held by the Federal troops, but if they were broken, and put to retreat, Lee would command the supply lines that fed into Washington, D.C. and capturing the United States capital would have been much more likley.

If that had happened, the Confederate States of America might have continued to exist for some time, been recognized as a legitimate entity by other world governments, and institutionalized African slavery continued for some time, financed by the desire to feed cotton into the burgeoning mills of the awakening Industrial Revolution.

Alternatively, the area of North America between Mexico and Canada might have splintered into a number of small nations similar to Europe. The Westward Expansion that followed the Civil War would not have occurred as it did, and the vast wealth of natural resources would not be harnessed under a single banner, but squandered and fought over for decades. Alliances and pacts like those that precipitated World War I in Europe would surely have similarly volatile results in the Western Hemisphere, and the Twentieth Century could easily have been marked by constant international warfare with very little progress.

I’m sure some of us could argue that the Twentieth Century was marked by constant international warfare, and frankly we don’t seem to be making much headway in the Twenty-first, but we sew the seeds and see what will sprout in the future. Time travel doesn’t always help us see what’s coming. Because it’s complicated.

On July 3rd, 1863, General Pickett ordered his men forward against the enemy line, to “take the Yankee position” at a place called the Angle. To get there, they had to run down a rise across open territory, cross over a fence, a ditch, a road, and a stone wall, before reaching the enemy position.

If you stand on that terrain today, you wonder at what possessed them to attempt something like this. It’s clearly suicidal. It was a really bad idea. The commanding officers should have known that. They may have known it, but they chose to ignore it.


picketts-charge
This low spot on the battlefield is where Pickett’s men met the Northern line, sword to throat and bayonet to belly, while minié balls and grapeshot whizzed around them like buzzing flies.

The din of battle is long gone, and as one descends into this shallow depression, it becomes eerily quiet. The birds stop singing. The crickets don’t chirp. There is nothing but the whisper of a lonely wind. The walls of time grow thin here. The land still weeps, despite more than a century and a half is past.

When Lincoln said those gathered to dedicate the cemetery located nearby had not the power to consecrate this land as deeply as those who died upon it, he may have peered behind the veil of time, and felt this long lasting scar. The Lincolns were early believers in Spiritualism, having lost a child at an early age. In 1865 the President related a dream where the boy took him through the White House to show Lincoln himself lying in a casket. He would be dead within a few weeks from a bullet to the brain.

We can analyze this and say it was the bravado of a Southern Empire drunk on it’s success and resting against the wealth brought to it by the subjugation of other human beings. We can assign a reliance on military training referencing the Napoleonic Wars as recent to Lee and his generals as we are to Viet Nam. Pickett, who survived the slaughter, responded when asked about why it failed said “I believe the Yankees had something to do with it.”

Not far from this site is a farm owned by former U.S. President Eisenhower. The period of the Eisenhower presidency is a source of much nostalgia in this country. During this time the more or less intact U.S. industrial complex was tasked with rebuilding both Allied and defeated nations. The economic growth was unparalleled, and propelled the U. S. A. to the top of the world scene, challenged only by an injured but pragmatic Soviet Union.

Eisenhower, before becoming president, was Supreme Commander of Allied Forces in the European Theater of Operations. He is widely considered to be the primary architect of the June 6, 1944 invasion of Europe commonly called D-Day.

I did not have the opportunity to see the beaches when I was in Normandy back in the 1990s. I was there on business, and never got that far west. But I am familiar with what was called the Atlantic Wall.

I can only imagine Eisenhower and his advisors looking at the obstacles they faced. They had to land on an open beach, covered by machine gun and artillery placements, a vast trench and tunnel network, barbed wire, land mines, and heavy concrete obstacles. Should they survive that they had to get up cliffs in some cases, and then take those fortified positions.

If the assault failed, if they didn’t clear the beaches before sundown and make it possible to bring ashore more troops and tanks and supplies, then they might never be able to break the Nazi grip on Europe. The horror and oppression of the Third Reich and the Holocaust would remain unchallenged. The Allied Nations ultimately might fail, and certainly could not maintain against it.

It was going to be a bloody violent action, and there was only a slim chance of success.

But in the end, there was no other option open to Eisenhower, so he made the decision to order the attack.

The same way Pickett sent his men down that hill toward the Northern lines.

In the end, the outcome of both battles was the better one for humanity. The oppressor lost.

The failure of Pickett’s charge was the end for the South. They withdrew on the Fourth of July, and essentially remained on the run back to Virginia, where they were ultimately forced to surrender in 1865.

The Confederate States of America ceased to be a nation, and was subject to re-admission to the United States of America. As a consequence, Lincoln’s Emancipation Proclamation, made in January 1863 before Gettysburg, served as the impetus for the 13th Amendment which actually abolished the slave trade in the U.S.

That’s the short version we got in grade school. Over the years I have learned about martial law being declared in New York City to put down draft riots, the fact that the Emancipation Proclamation only applied to the states that were no longer under Lincoln’s control, and numerous instances of political compromise and military ambition that may have prolonged the conflict and increased the suffering.

This is not to say that the cause was not just and right. But we are harming our ability to learn from history by oversimplifying it. We encourage the growth of falsehoods that become rallying points for bad ideas. We tend to learn to put things in binary terms. Black and White. Us and Them.

That never ends well.


gubment-cow
After the pronounced weight of the battlefield, it was an amusing irony to find that the cows on Eisenhower’s farm were obediently standing in the same location as the guide map showed them.

The period of his presidency is looked back upon as a time of relative order and stability, but beneath the surface the Cold War and the turmoil of the 1960s seethed and bubbled, waiting only for a spark to set it off.

In only a few years the world would come the closest it ever has to an all out nuclear war, and another U. S, President would be assassinated as he drove through the streets of Dallas.

Well behaved cows aside, we are always just one second away from collapse. Physicists say that holding the universe together uses more energy than letting it fall apart. We see the falling apart -entropy- as the arrow of forward time. This is one of the reasons that modern science initially spurned the idea of time travel. It takes more energy to reverse things than there is in the universe, so you can never go back.

However, “back” and “forward” are potentially the limitations of our perception, much like our inability to see wavelengths of light in the infrared and ultraviolet with our poorly evolved meatsuit eyes. Everything exists in the now, but our wee brains can’t take it all in. We have developed a kind of psychosis to shield us from the incomprehensible everpresent, and that is this notion of unidirectional linear time.

Which is why I prefer to time travel. I hope that this little trip has been entertaining to you. I understand it may be a bit heavier fare than you expected, but we are descending down into that Winter Dark, when thoughts of death and doom are closer to the surface, and it is never a bad thing to remember how close we are to the footsteps of chaos.

The American Civil War did not begin with the attack on Fort Sumter. It did not begin with the election of Lincoln, or numerous political appeasements from the beginning of the 19th Century. In some sense the Civil War began with the inclusion of institutionalized slavery in the Constitution. But it is our own long history of barbarity that fuels it, and that has sadly not been resolved.

As I have traveled across the country in the last few months I have seen and heard much to indicate that we are by no means safe from repeating the mistakes of the Confederacy or the Third Reich, or the myriad tyrannies and oppressions that mark our human history. The path forward is never straight, and sometimes it goes through dark territory. Choosing to ignore that creates a certainty that we will stumble upon it.

Back next week.

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Aries Risen

Emperor

As last week was a card I associate with Venus, it is logical that this week we explore a card that is certainly the embodiment of Mars. The Emperor, as nominally the mate of the Empress, should occupy the role traditionally ascribed in the Venus-Mars relationship. Again we are tied to antiquated gender dynamics, but again, we are free to turn them on their head, or ignore them completely, if we choose. But because the cards carry this baggage, it is instructive to remember it may be used as tool to interpreting them in context.

The card as imagined by Pamela Colman Smith shows us an armored bearded man sitting on a carved stone throne. The throne and his mantle are decorated with ram’s heads, connecting us to the symbol for Aries, who is the Greek Mars. In his right hand he holds a scepter that is similar to the Venus symbol (we’ll return to this later) and in his left an orb. These traditional Medieval symbols of royal power are affirmed by the Imperial crown he wears. His garb is red. The sky behind him, unique in the entire Tarot deck, is a fiery orange. The landscape is a sere mountainous desert, with only the hint of a stream running through at the base of those mountains. Nothing grows along it’s banks, indicating that the land itself is barren.


Emperor_RWS_Tarot
In this card we find a full on commitment to a kind of Medieval Gothic iconography that dominates the rest of the deck. It’s a reductive style, almost architectural in many ways, particularly when used for the Trumps of the deck, who have little motion in them. Yet it gives us an insight into the mindset of the person who commissioned them, if not the artist.

The figure of the Emperor is confrontational. His throne echoes the perch of the Priestess between the two columns. Rather than promising a gateway, he seems determined to block our path and require us to acknowledge him. His expression, might at best be considered dour, but often it seems as angry as the red sky behind him. He seems frozen in this pose, a perfect rendition of a Gothic decoration, down to the clunky arrangement of his armored feet. He might as well be a funeral brass as a person.

As the Empress is the mirrored manifestation of the Magician’s desire for structure and form, the Emperor offers a dry rigidity to the fluid mysteries of the Priestess. She is the Balance between Opposites, the bridge to contemplation of the depths of Sea of Darkness. He is the Monolith that marks the border to the Wasteland. Both of these figures lie between us and extremes that without mediation (and meditation) would destroy us utterly. So even though the Emperor appears to offer nothing but rage and rigidity, we can still be instructed here.

I don’t care for this card much myself, because it always feels like woe and misery. Most of the traditional readings of the card make it almost a symbol of hypermasculinity. In an age where “hexing the patriarchy” is in vogue, it’s easy to regard this card as representative of the tired old men too long in charge of things. That’s a perfectly fair interpretation, and one frequently associated with the Emperor reversed in earlier times. I do feel it presages conflict, if not outright war. It is so Aries/Mars intensive as to be emblematic for toxic masculinity.

We could easily replace his Medieval accoutrements with a beer and a hotdog, and he’d look at home cheering on his favorite sports team. He strikes me as an armchair quarterback, or the armchair general, sending out other people to die on his behalf. This would have been the role of the Emperor in elder days. It is believed that the card character was meant to be Charlemagne, who certainly was responsible for significant bloodshed on his way to becoming “Charles the Great”.

The Emperor is an autocrat. He is a dictator. This we can see from the great stone chair he sits upon. It is designed to be unchangeable with the ages. It is a monument to the war gods. Even though he garbs himself in the royal robe, underneath he still wears his armor. This may indicate subterfuge and hidden aggression when it turns up in a reading. Certainly the presence of this card adds a layer of severity or restrictiveness to the meanings of the cards around it.


Emperor-Klimt_Tarot
I went perusing my decks to find alternative views of the Emperor that still carried enough of the vocabulary of images without being a direct copy. This one in the Golden Tarot of Gustav Klimt offers a perhaps more human version of the figure, though it potentially seems that way when juxtaposed against the abstract patterns around it. This, of course, was a hallmark of Klimt’s art, and I think that the artist A. A. Atanassov has captured it very well. I have seen a number of “artist-style” decks deriving from the works of popular masters, but this is the only one I have ever purchased, as it comes closest to the proper homage and undertsanding of Klimt’s work, and also of the Tarot itself. Both elements are necessary for a successful variant deck.

The mountains and the desert are gone, replace by abstract borders that might suggest windblown wastes. The triangles of the Emperor’s kilt against the orange background echo those mountains against the fiery sky. While the figure no longer stares straight at us, there is still a suggestion that he is blocking a doorway. The curious orb design is mirrored on the Empress card of this deck, and essentially uses the human form as a stand-in for a cross or crucifix.

There is guilding on the card that does not reproduce in the scan. It adds a glimmer to all the cards in the deck, and makes them more visually interesting. Klimt used gold leaf on many of his paintings and then painted over it, mimicking the methods of a Medieval illuminator.

In the role of rigidity or restriction, there is perhaps another message to be found. It is this card which firmly declares that the style inspiring Smith with this deck is that of the Gothic or Medieval manuscript. The figures, to this point, might be construed as coming out a more romantic interpretation of that period, similar to that pursued by the Pre-Raphaelites. Certainly there is something of a romantic air about them, but that they are truly Medieval comes out strongly in this fifth card. And it is that Medievalism that we must consider in looking at the iconography of many of the coming cards. It is that period which precedes the Reformation, with a single Christian church dominant, that informs much of the imagery in the rest of the Major Arcana. And that itself is ironic, in that the invention of the cards seems to come from a secular humanist Renaissance.

It is thus a conundrum, if not a contradiction, as to why Smith and Waite chose to make some many of the cards even more Christian than they were traditionally. And at the same time, they plant classical and oriental paganism inside them. It’s possible that Smith, working from a simple brief, let her imagination roam, once the general style was established. Waite clearly was influenced by Levi and the Golden Dawn, and these sources are closet Christian in many aspects, or at best quasi-mystic Judeo-Christian. The dichotomy between maintaining that link to a Kabbalist, Gnostic, or esoteric Christianity, while at the same time trying to divorce from it’s symbols, is why many of the crosses are not crucifixes, and have been altered, to push back against an orthodox Christian theme.

Let us return to the example of the Emperor’s scepter. A scepter is an ancient symbol of royal authority. It is essentially a stylized stand in for the mace or war-club of the old tribal chieftains. As the “rod of rulership” it is metaphor for the potentates ability to physically punish those who disobey him. In Roman iconography this is part of the fasces, an axe – representing the right of the state to execute its enemies, tied inside a bundle of rods – representing the right of the state to beat transgressors. It evolves into the royal scepter as Rome evolves in the Holy Roman Empire. In the Visconti Sforza deck the Emperor carries a simple golden rod, much like that born by the Magician, and in his other hand the Orb.
In the Marseilles decks that intercede between that and the modern Tarot, the orb and scepter are combined (as they are in many post-Renaissance regalia) exemplified by a rod with an orb, jewel, or other more or less round object on top. These are sometimes styled maces rather than scepters, harkening back to their origins in battle gear.


Emperor-Mary-El_Tarot
Going further in search of a different Emperor, I selected this one from the Mary-El Tarot. The Mary-El is one of the strangest and most unique decks I own. It came to me by way of serendipity, and continues to excite and inspire my exploration.

As you can see the card disposes of all the structures of preceding and traditional decks and gives us a space that is both intimate and intimidating. The artist Marie White took 11 years to create. They employ styles and motifs from many world cultures and historical periods. This one, for example, seems to portray an ancient Asian monarch. His various accoutrements however, range in style from 17th century Europe to 20th century Art Deco.

The scepter and orb are gone, replaced by this strange sword, whose scabbard is decorated with the ichthus fish of early Roman Christians. He bears magical sigils on his hand, including the pentagram, and his crown is festooned with dragonflies that would be the envy of a Tiffany or Lalique. A lone flame snakes it’s way up his sleeve, reminding us that behind all this pomp and splendor is still a warlord capable of unchecked destruction. While we don’t see the desert, there is very little living in this image, save the birds that fly in the gray smoky sky. My impression is that they are carrion birds hovering over the aftermath of a battle,.

You can view the entire deck on Mary-El.com. Printed copies were somewhat scarce when I obtained mine. Second editions (or later reprints) are available now on Amazon.


But the RWS scepter is different from these European prototypes. Waite in his documentation calls it a “crux ansata” which essentially is the Egyptian ankh. We’ve seen the ankh before on the Empress card, and one reason that it may be here is that on earlier versions of the royal couple, both were shown with an Imperial Eagle. So when the Eagle is replaced on the Empress card with the Venus symbol, there may have been a conscious choice to add it to the Emperor as the shape of the scepter. Now, perhaps logically this scepter should have been more Martian, given the Mars/Aries heraldry on the throne and mantle, and the context of the Mars-Venus relationship between the two. But changing the Imperial Eagle to the Imperial Ram, is not as random or arbitrary as one might think, especially with other images in the Tarot.

In two later Major Arcana we find the Eagle in company with three other figures, a Bull, a Lion, and an Angel. This figures in Christian symbology are supposed to refer to the Four Gospel authors, and that derives from the four faces or heads of the “living beings” in the Old Testament vision of the prophet Ezekiel.

But these are also seen as being astrological symbols, namely Taurus, Leo, Aquarius, with the Eagle representing Scorpio. Scorpio, in the old Chaldean, was ruled by Mars, as was Aries. So there is a connection between the Eagle and Mars and Mars and the Ram.

On the other hand, the ankh would seem ill suited here, beyond Waite simply wanting to use it. But the fact that it is very stylized away from most depictions of the ankh that I wonder if there is something else to it. It looks to be a circlet of gold balanced atop a T-shape. If we take away the circle, it looks more like a hammer or axe than any kind of cross, and it seems very odd to separate the loop of the ankh from the crosspieces. It’s position atop a long shaft is never shown in Egyptian illustrations.

To imply that somehow this Emperor, who has so many other emblems of war, anger, and sterility, should somehow hold the Key of Life argues for a mystery we have few clues to decipher. Yet even Set, the Egyptian god associated with evil, carried an ankh. Set also was associated with wrath, the Wasteland, and the color red. In ancient Egypt, the scepters have Set’s head, and are said to represent both Set and Khnum, the old Ram god of creation. These are all associations that may be connected to the Emperor’s scepter when exploring this card.

The orb in the other hand is a late Roman convention denoting the sovereignty of the royal personage over the physical world. It probably derives from images of Christ Pantocrator (Christ King of the World) that developed at the end of the pagan Roman period and are a common feature of Byzantine mosaics and Eastern Orthodox icons. Frequently these royal orbs were banded with cross-straps and topped with a cross or crucifix, symbolizing the authority of the monarch through Christ himself, the so-called Divine Right of Kings.

The cross is missing from the top of the RWS orb, leaving us with something that more resembles ah old-fashioned cartoon bomb. The bomb or grenade did come about during the Renaissance, and it certainly would be in keeping with the overall martial character of the card to interpret this as such, though I doubt it was ever intended. Another way to see this ball in his hand is to cast it as a stoppered flask, similar to that used for holy water. In that context, perhaps we have another secreted instance of “water in the desert”.

There’s no oasis here, of course. As noted the rivulet that flows past the foot of the mountains behind his throne brings no green blossoms. It, or the land it flows through, is poisoned. Depending on the version of the deck, I have seen this stream go from blue to grey or from blue to nothing as it goes from left to right. The coloring on this card is unusual too, in that the mountain on our left is yellow, as is the glove of the Emperor, and the mountain on the right is orange, as is his glove.

I can see this as depicting the setting of the sun, or the ending the day or that “dying of the light” Thomas writes about. Taken in context with the change in the coloring of the water, there seems definitely to be a movement from the left side to the right that indicates a worsening condition. If this card were to come up between two others in a reading, it might indicate that the right side card is a deterioration of the situation shown by the left hand card.


Emperor-Empress-Voyager_Tarot
A final look at a different Emperor, this time in company of the preceding card. These are from the Voyager Tarot, and I show them together as I find it may be more instructive as to my approach to card reading. These photocollages are the work of James Wanless, a life-coach and motivational speaker. They function in a way like a Rorshach inkblot, where the rather disconnected images serve to stimulate the imagination and drive the mind to an inner reverie. And yet, they also respect the traditional RWS cards they evolved from.

The Empress here expresses the Edenic nature of the garden and orchard, with the waterfall in the background. She also, by standing in from of the orb of the Earth, let’s us know that this is a material garden – a real physical experience that stimulates our senses and sates our pleasure.

The Emperor card in contrast shows us works of handicraft and edifice, the machinery of the modern world, imposed over nature without permission, asserting a dominance. Yes, the earth is still there, but it is smaller and less important in the image. There is a small tree growing, but notice that it grows contained by the hands of the Emperor. It is not nature as it is, but nature as He would control it. That old whale in the bottom right I cannot but think is a rough phallic symbol. Or perhaps it is Leviathan, the great monster of the deep spoken of in the Book of Job to express the dominance and power of the Hebrew Man-God. The Eagle and the Ram are here, and as importantly the Dove is with the Empress.

The Emperor image is chaotic and unsettling. The Empress harmonious and well-composed. These are the kind of visual cues I take from any Tarot deck to go beyond what gets written in the book. With the Voyager the mixed images make this a bit easier, but after a bit of practice, any cards will yield similar results.

Try as I might I can find little to nothing to redeem this card. While others may shudder at the appearance of Death or the Tower, I argue that the Emperor is as much an omen of hard times and bad things as either of those two. As the Priestess, in the stars, is hope and reconciliation, the Emperor is, on earth, privation, meanness, and greed.

He is power celebrated for its own sake, and sought for its own sake, and respected only because power demands it.

It’s even sadder, in that there is a suggestion that these woes and worries are inevitable. At the top of the crown, much smaller than we find it on the Magician or Strength cards, is another infinity symbol. We are perhaps doomed to contending with these negative attributes of our society and ourselves in perpetuity. This is the warning of the Emperor.

Rather than ending this week’s article with such a down vibe, though, I offer that the Wasteland of which I speak above is, like the Sea of Darkness it reflects, a path open to the spirit in search of enlightenment.

If you have ever experienced a time alone in the desert, even if you were within a safe distance of “civilization” you may have found yourself contemplating profound and vast concepts. There is something about the emptiness of such expanses that invite our minds to soar. Like an external isolation tank, when we are stripped of the artificial world that most of us find ourselves in, we start seeking some meaning that is not part of that world.

So if the Emperor troubles you, consider him a boundary marker between the strictures and authorities of that artificial world, which he most certainly represents, and the vast untamed unknown. Like the modern manufactured world, the Emperor ties us up with contradictions and prejudices, with things we are told we should believe and things which we are told not to question.

The Wasteland holds mysteries and terrors and wonders and secrets. Beyond the desert and behind the mountains you may find the source of that stream. You may find something else entirely.

On that boundary, the Emperor, impotent, is forever bound to that stone chair.

You have the freedom to walk around him.

Next week we will address another difficult authority figure, who much like the Emperor seems well out of place if we only look at the richly decorated surface Smith has given us. The original name of that next card, the sixth of the Major Arcana, was simply, the Pope. It was seen in that very Catholic Christian context throughout most of Tarot’s history.

In the post-Victorian revision, he has been restyled the Hierophant, a word which means more interestingly Keeper of the Secrets.

I hope you’ll join me then.

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