- The Scorpio-Sagittarius Cusp
- scorpio weekly tarot
- Gemini Weekly Horoscope 7 - 13 October, 12222
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Over the past several weeks, you may have been in low-power mode with the love planet hiding out in your secretive twelfth house. Know what you want because you CAN manifest it! Enjoy the flirty vibes, but try not to let the popularity go to your head. NOT a pretty look for you. Once you recharge your own batteries, carve out ample quality time for bae.
Show your appreciation for everything they do for you. And make sure you have a few sexy tricks up your sleeve to keep things interesting! Aha, good point, Scorpio! This realm also rules helpful people, including employees, virtual assistants and outside service providers. So over the next two weeks manifesting time of this lunation , start asking around for suggestions. Type keyword s to search. Its merely mathematical relations are indeed the laws of its being, but they do not constitute the number, any more than the chemical and physical laws of reaction in the human anatomy give a complete picture of a man.
Eliphaz Levi and the Taro. Although the origins of the Tarot are perfectly obscure, there is a very interesting piece of quite modern history, history well within the memory of living man, which is extremely significant, and will be found, as the thesis develops, to sustain it in a very remarkable wav. In the middle of the nineteenth century, there arose a very great Qabalist and scholar, who still annoys dull people by his habit of diverting himself at their expense by making fools of them posthumously. For his "nom-de-guerre" he translated his name into Hebrew-Eliphas Levi Zahed, and he is very generally known as Eliphas Levi.
Eliphas Levi was a philosopher and an artist, besides being a supreme literary stylist and a practical joker of the variety called "Pince sans rire"; and, being an artist and a profound symbolist, he was immensely attracted by the Tarot. While in England, he proposed to Kenneth Mackenzie, a famous occult scholar and high-grade Freemason, to reconstitute and issue a scientifically-designed pack. In his works are new presentations by him of the trumps called Tile Chariot and The Devil. He seems to have understood that the Tarot was actually a pictorial form of the Qabalistic Tree of Life, which is the basis of the whole Qabalah, so much so that he composed his works on this basis.
He wished to write a complete treatise on Magick. He divided his subject into two parts— Theory and Practice which he called Dogma and Ritual. Each part has twenty-two chapters, one for each of the twenty-two trumps; and each chapter p. The importance of the accuracy of the correspondence will appear in due course. Here we come to a slight complication. The chapters correspond, but they correspond wrongly; and this is only to be explained by the fact that Levi felt himself bound by his original oath of secrecy to the Order of Initiates which had given him the secrets of the Tarot.
The Tarot in the Cipher Manuscripts At the time of the French Renaissance of the eighteen-fifties, a similar movement took place in England. Its interest centred in ancient religions, and their traditions of initiation and thaumaturgy. Learned societies, some secret or semi-secret, were founded or revived. Among the members of one such group, the Quatuor Coronati Lodge of Freemasonry, were three men: one, Dr. Wynn Westcott, a London coroner; a Dr. Woodford, and a Dr.
There is a little dispute as to which of these men went to the Farringdon Road, or whether it was the Farringdon Road to which they went; but there is no doubt whatever that one of them bought an old book, either from an obscure bookseller, or off a barrow, or found it in a library. This happened about or There is no dispute that in this book were some loose papers; that these papers turned out to be written in cipher; that these cipher manuscripts contained the material for the foundation of a secret society purporting to confer initiation by means of ritual; and that among these manuscripts was an attribution of the trumps of the Tarot to the letters of the Hebrew alphabet.
It made much trouble for him to camouflage his chapters! The cipher manuscripts were alleged to date from the earliest years of the nineteenth century; and there is a note to one page which seems to be in the writing of Eliphas Levi. It appears extremely probable that he had access to this manuscript on his visit to Bulwer Lytton, in England. In any case, as previously observed, Levi shows constantly that he knew the correct attributions with the exception, of course, of Tzaddi— why, will be seen later and tried to use them, without improperly revealing any secrets which he was sworn not to disclose.
As soon as one possesses the true attributions of these trumps, the Tarot leaps into life. One is intellectually knocked down by the Tightness of it. All the difficulties created by the traditional attributions as understood by the ordinary scholar, disappear in a flash. For this reason, one is inclined to credit the claim for the promulgators of the cipher manuscript, that they were guardians of a tradition of Truth. One must now digress into the history of the Hermetic Order of the Golden Dawn, the society reconstituted by Dr. Westcott and his colleagues, in order to show further evidence as to the authenticity of the claim of the promulgators of the cipher manuscript.
Among these papers, besides the attribution of the Tarot, were certain skeleton rituals, which purported to contain the secrets of initiation; the name with an address in Germany of a Fraulein Sprengel was mentioned as the issuing authority. Westcott wrote to her; and, with her permission, the Order of the Golden Dawn was founded in The G. The genius who made this possible was a man named Samuel Liddell Mathers. After a time, Frl. Sprengel died; a letter written to her, asking for more advanced knowledge, elicited a reply from one of her colleagues.
This letter informed Dr. Westcott of her death, adding that the writer and his associates had never approved of Frl. Sprengel's action in authorising any form of group working, but, in view of the great reverence and esteem in which she was held, had refrained from open opposition. He went on to say that "this correspondence must now cease", but that if they wanted more advanced knowledge they could perfectly well get it by using in the proper x An impudent mushroom swindle, calling itself "Order of Hidden Masters", has recently appeared—and disappeared.
In other words, they must utilize their magical powers to make contact with the Secret Chiefs of the Order. This, incidentally, is a quite normal and traditional mode of procedure. Shortly afterwards, Mathers, who had manoeuvred himself into the practical Headship of the Order, announced that he had made this link; that the Secret Chiefs had authorized him to continue the work of the Order, as its sole head. There is, however, no evidence that he was here a witness of truth, because no new knowledge of any particular importance came to the Order; such as did appear proved to be no more than Mathers could have acquired by normal means from quite accessible sources, such as the British Museum.
These circumstances, and a great deal of petty intrigue, led to serious dissatisfaction among the members of the Order. Sprengel's judgment, that group-working in an Order of this sort is possible, was shown in this case to be wrong. In , the Order in its existing form was destroyed. The point of these data is simply to show that, at that time, the main preoccupation of all the serious members of the Order was to get in touch with the Secret Chiefs themselves. In success was attained by one of the yourigest members, Frater Perdurabo. The very fullest details of this occurrence are given in The Equinox of the Gods.
But it is to be observed that it is internal evidence. It exists in the manuscript itself. It would make no difference if the statement of any of the persons concerned turned out to be false. The Nature of the Evidence These historical digressions have been essential to the under-standing of the conditions of this enquiry.
It is now proper to con- 1 Consult especially pp. The message of the Secret Chiefs is even in the Book of the Law which has been published privately for initiates, and publicly in The Equinox, Vol. I, No. In a pocket at the end of that volume is a photolithographic reproduction of the manuscript. There is also a cheap pocket edition of the text of the Book by itself. There are also American Editions of the text. It appears natural to a mathematician to begin the series of natural numbers with Zero; but it is very disturbing to the non-mathematically trained mind. In the traditional essays and books on the Tarot, the card numbered "0" was supposed to lie between the cards XX and XXI.
The secret of the initiated interpretation, which makes the whole meaning ol the Trumps luminous, is simply to put this card marked "0" in its natural place, where any mathematician would have put it, in front of the number One. But there is still one peculiarity, one disturbance in the natural sequence. For the card XI is called "Strength"; on it appears a Lion, and it quite evidently refers to the zodiacal sign Leo, whereas the card VIII is called "J ustice", and represents the conventional symbolir.
Frater Perdurabo had made a very profound study of the Tarot since his initiation to the Order on 18th November, ; for, three months later, he had attained the grade of Practicus; as such, he became entitled to know the Secret Attribution. He constantly studied this and the accompanying explanatory manuscripts.
He checked up on all these attributes of the numbers to the forms of nature, and found nothing incongruous. But when 8th April, e. This also is secret; my prophet shall reveal it to the wise". This was exceedingly annoying. If Tzaddi was not "the Star", what was? And what was Tzaddi?
He had no success. It was many years later that the solution came to him. Tzaddi is 'The Emperor"; and therefore the positions p. This attribution is very satisfactory. Yes, but it is something a great deal more than satisfactory; it is, to clear thought, the most convincing evidence possible that the Book of 'he Law is a genuine message from the Secret Chiefs.
Now Aries and Aquarius are on each side of Pisces, just as Leo and Libra are on eadi side of Virgo; that is to say, the correction in the Book of the Law gives a perfect symmetry in the zodiacal attribution, just as if a loop were formed at one end of the ellipse to correspond exactly with the existing loop at the other end. These matters sound rather technical; in fact, they are; but the more one studies the Tarot, the more one perceives the admirable symmetry and perfection of the symbolism.
Yet, even to the layman, it ought to be evident that balance and fitness are essential to any perfection, and the elucidation of these two tangles in the last years is undoubtedly a very remarkable phenomenon. The origin of the Tarot is quite irrelevant, even if it were certain, It must stand or fall as a system on its own merits. It is beyond doubt a deliberate attempt to represent, in pictorial form, the doctrines of the Qabalah. The evidence for this is very much like the evidence brought forward by a person doing a crossword puzzle.
These attributions are in one sense a conventional, symboh'c map; such could be invented by some person or persons of great artistic imagination and ingenuity combined with almost unthinkably great scholarship and philosophical clarity. Such persons, however eminent we may suppose them to have been, are not quite capable of making a system so abstruse in its entirety without the assistance of superiors whose mental processes were or are, pertaining to a higher Dimension. The lines , however, arc strictly Euclidean ; they have no breadth. Read along the Hexagram, the order of the days of the week.
It is believed that this neat discovery is due to the late G. H, Frater D. Chess has developed from very simple beginnings. The originators of the game were "building better than they knew" It is of course possible to argue that these subtleties have arisen in the course of the development of the game; and indeed it is quite clear, historically, that the early players whose games are on record had no conscious conception of anything beyond a variety of rather crude and elementary stratagems.
It is quite possible to argue that the game of chess is merely one of a number of games which has developed while other games died out, because of some accident. One can argue that it is merely by chance that modern chess was latent in the original game.
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The theory of inspiration is really very much simpler, and it accounts for the facts without violation of the law of parsimony. This is a very simple subject, and presents no difficulties to the ordinary intelligent mind. There are ten numbers in the decimal system; and there is a genuine reason why there should be ten numbers, and only ten, in a numerical system which is not merely mathematical, but philosophical.
It is necessary, at this point, to introduce the "Naples Arrangement". But first of all, one must understand the pictorial representation of the Universe given by the Holy Qabalah. See diagram. This picture represents the Tree of Life, which is a map of the Universe. One must begin, as a mathematician would, with the idea of Zero, Absolute Zero, which turns out on examination to mean any quantity that one may choose, but not, as the layman p.
See "Berashith", Paris, This idea seems not unlike that of Space. They then decided that in order to interpret this mere absence of any means of definition, it was necessary to postulate the Ain Soph Aur-"Limitless Light". By this they seem to have meant very much what the late Victorian men of science meant, or thought that they meant, by the Luminiferous Ether. The Space-Time Continuum? All this is evidently without form and void; these are abstract conditions, not positive ideas.
The Scorpio-Sagittarius Cusp
The next step must be the idea of Position. One must formulate this thesis: If there is anything except Nothing, it must exist within this Boundless Light; within this Space; within this inconceivable Nothingness, which cannot exist as Nothing-ness, but has to be conceived of as a Nothingness composed of the annihilation of two imaginary opposites.
Thus appears The Point, which has "neither parts nor magnitude, but only position". But position does not mean anything at all unless there is something else, some other position with which it can be compared. One has to describe it. The only way to do this is to have another Point, and that means that one must invent the number Two, making possible The Line. But this Line does not really mean very much, because there is yet no measure of length. The limit of knowledge at this stage is that there are two things, in order to be able to talk about them at all.
But one cannot say that they are near each other, or that they are far apart; one can only say that they are distant. In order to discriminate between them at all, there must be a third thing. We must have another point. In doing this, incidentally, appears the whole of Plane Geometry. One can now say, "A is nearer to B than A is to C". But, so far, there is no subsiance in any of these ideas. In fact p. There has been no approach at all to the conception of a really existing thing. No more has been done than to niake definitions, all in a purely ideal and imaginary world. Now then comes The Abyss.
One cannot go any further into the ideal. The next step must be the Actual— at least, an approach to the Actual. There are three points, but there is no idea of where any one of them. A fourth point is essential, and this formulates the idea of matter. The Point, the Line, the Plane. The fourth point, unless it should happen to lie in the plane, gives The Solid. It is so many feet from the North wall, and so many feet from the East wall, and so many feet from tbe floor. Thus there has been developed from Nothingness a Something which can be said to exist.
One has arrived at the idea of Matter. But this existence is exceedingly tenuous, for the only property of any given point is its position in relation to certain other points; no change is possible; nothing can happen. One is therefore cotnpelled, in the analysis of known Reality, to postulate a fifth positive idea, which is that of Motion.
This implies the idea of Time, for only through Motion, and in Time, can any event happen.
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Without this change and sequence, nothing can be the object of sense. It is to be noticed that this No. This is thE letter traditionally consecrated to the Great Mother. It is the womb in which the Great Father, who is represented by the letter Yod which is pictorially the representation of an ultimate Point, moves and begets active existence. There is now possible a concrete idea of the Point; and, at last it is a point which can be self-conscious, because it can have a Past, Present and Future. It is able to define itself in terms of the previous ideas. Here is the number Six, the centre of the system: self-conscious, capable of experience.
At this stage it is convenient to turn away for a moment from p. The doctrine of the next three numbers to some m-nds at least is not very clearly expressed. One must look to the Vedanta system for a more lucid interpretation of the numbers 7, 8 and 9 although they correspond very closely with the Qabalistic ideas.
In the Hindu analysis of existence the Rishis sages postulate three qualities: Sat, the Essence of Being itself; Chit, Thought, or Intellection; and Ananda usually translated Bliss , the pleasure experienced by Being in the course of events. This ecstasy is evidently the exciting cause of the mobility of existence. It explains the assumption of imperfection on the part of Perfection. The Absolute would be Nothing, would remain in the condition of Nothingness; therefore, in order to be conscious of its possibilities and to enjoy them, it must explore these possibilities.
One may here insert a parallel statement of this doctrine from the document called The Book of the Great Auk to enable the student to consider the position from the standpoint of two different minds. Imagine that each atom of each element possesses the memory of all his adventures in combination. By the way, that atom, fortified with memory, would not be the same atom; yet it is, because it has gained nothing from anywhere except this memory. Therefore, by the lapse of time and by virtue of memory, a thing could become something more than itself; thus, a real development ispossible.
One can then see a reason for any element deciding to go through this series of incarnations, because so, and only so, can he go; and he suffers the lapse of memory which he has during these incarnations, because he knows he will come through unchanged. This is also the only explanation of how a Being could create a world in which War, Evil, etc. Evil is only an appearance, because like "Good" it cannot affect the substance itself, but only multiply its combinations. This is something the same as Mystic Monotheism; but the objection to that theory is that God has to p.
If we presuppose many elements, their interplay is natural. These correspond to the numbers 9, 8 and 7. The first idea of reality, as known by the mind, is therefore to conceive of the Point as built up of these previous nine successive developments from Zero. Here then at last is the number Ten. In the Qabalah, they are called "Sephiroth", which means "Numbers". As will be seen later, each number has a significance of its own; each corresponds with all phenomena in such a way that their arrangement in the Tree of Life, as shown in the diagrams pp.
These ten numbers are represented in the Tarot by the forty small cards. This question involves another aspect of the system of development. What was the first mental process? Obliged to describe Nothing, the only way to do so without destroying its integrity was to represent it as the union of a Plus Something with an equivalent Minus Something. But although the Father and Mother can make a perfect union, thereby returning to Zero, which is a retrogression, they can also go forward into Matter, so that their union produces a Son and a Daughter.
The idea works out in practice as a method of describing how the union of any two things produces a third thing which is neither of them. The simplest illustration is in Chemistry. If we take hydrogen gas and chlorine gas, and pass an electric spark through them, an explosion takes place, and hydrochloric acid is produced.
Here we have a positive substance, which may be called the Son of the marriage of these elements, and is an advance into Matter. But also, in p. In the language of the alchemists, these phenomena were classified for convenience under the figure of four "elements". Fire, the purest and most active, corresponds to the Father; Water, still pure but passive, is the Mother; their union results in an element partaking of both natures, yet distinct from either, and this they called 'Air". One must constantly remember that the terms used by ancient and medieval philosophers do not mean at all what they mean nowadays.
The ductability of iron is a watery quality. It seems hardly possible to define these terms in such a way as to make their meaning clear to the student. He must discover for himself by constant practice what they mean to him. It does not even follow that he will arrive at the same ideas. This will not mean -that one mind is right and the other wrong, because each one of us has his own universe all to himself, and it is not the same as anybody else's universe.
The moon that A. In this case, the difference is so infinitesimal that it does not exist in practice; yet there is a difference. But if A. Their experience will coincide only in the matter of a few well-known pictures. Besides this, their minds are essentially different in many other ways.
So, if A. There is no right or wrong about any matter whatsoever. Yet, weight is but a function of the curvature of the "space. The scientific description of an object is universally true; and yet it is not completely true for any single observer. The phenomenon called the Daughter is ambiguous.
It has been explained above as the spiritual ingredient in the result of the marriage of the Father and the Mother; but this is only one interpretation. They were connected with the three qualities of Being, Knowledge and Bliss, previously mentioned.
The alchemists had three similar principles of energy, of which all existing phenomena are composed: Sulphur, Mercury and Salt. This Sulphur is Activity, Energy, Desire; Mercury is Fluidity, Intelligence, the power of Transmission; Salt is the vehicle of these two forms of energy, but itself possesses qualities which react on them. The student must keep in his mind all these tripartite classifications. In some cases, one set will be more useful than otheis.
For the moment, concentrate on the Fire, Water, Air series. These elements are represented in the Hebrew alphabet by the letters Shin, Mem and Aleph. The Qabalists call them the Three Mother Letters. In this particular group, the three elements concerned are completely spiritual forms of pure energy; they can only manifest in sensible experience by impinging upon the senses, crystallising out in a fourth element which they call "Earth", represented by the last letter of the alphabet, Tau.
This, then, is another quite different interpretation of the idea of the Daughter, which is here considered as a pendant to the Triangle. It is the number Ten suspended from the 7, 8, 9 in the diagram. The Qabalists, devising the Tarot, then proceeded to make pictures of these extremely abstract ideas of Father, Mother, Son and Daughter, and they called them King, Queen, Prince and Princess. It is confusing, but they were also called Knight, Queen, King and p. Sometimes, too, the Prince and Princess are called "Emperor" and "Empress". The reason for this confusion is connected with the doctrine of the Fool of the Tarot, the legendary Wanderer, who wins the King's daughter, a legend which is connected with the old and exceedingly wise plan of choosing the successor to a king by his ability to win the princess from all competitors.
Frazer's Golden Bough is the authority on this subject. It has been thought better, for the present pack, to adopt the term "Knight", "Queen", "Prince" and "Princess", to represent the series Father, Mother, Son, Daughter, because the doctrine involved, which is extraordinarily complex and difficult, demands it. The Father is "Knight" because he is represented as riding on a borse. It may make it more clear to describe the two main systems, the Hebrew and the Pagan, as if they were and had always been concrete and separate. The Hebrew system is straightforward and irreversible; it postulates Father and Mother from whose union issue Son and Daughter.
There an end. It is only later philosophical speculation to derive the Father-Mother Dyad from a Unity manifest, and later still to seek the source of that Unity in Nothing. This is a concrete and limited scheme, crude, with its causeless Beginning and its sterile End. The Pagan system is circular, self-generated, self-nourished, self-renewed. It is a wheel on whose rim are Father-Mother-Son-Daughter; they move about the motionless axis of Zero; they unite at will; they transform one into another; there is neither Beginning nor End to the Orbit; none is higher or lower than another.
Difficult as this is, at least one very desirable result has been attained: to explain why the Tarot has four Court cards, not three. It also explains why there are four suits. The student Wili notice this interplay and counterchange of the number 4. It is also important for him to notice that even in the tenfold arrangement, p.
The Tree of Life can be divided into four planes: the number I corresponds to Fire; numbers 2 and 3, to Water; numbers 4 to 9, to Air; and the number 10 to Earth. This division corresponds to the analysis of Man. The number I is his spiritual essence, without quality or quantity; the numbers 2 and 3 represent his creative and trausmissive powers, his virility and his intelligence; the numbers 4 to 9 describe his mental and moral qualities as concentrated in his human personality; the number 6, so to speak, is a concrete elaboration of the number I; and the number 10 corresponds to Earth, which is the physical vehicle of the previous nine numbers.
The names of these parts of the soul are: I, J echidah; 2 and 3, Chiah and Neschamah; 4 to 9, Ruach; and lastly io; Nephesch. These four planes correspond once more to the so-called "Four Worlds", to understand the nature of which one should refer, with all due reservations, to the Platonic system. The number I isAtziluth, the Archetypal World; but the number 2, as being the dynamic aspect of the number I, is the Practical attribution. The number 3 is Briah, the Creative World in which the Will of the Father takes shape through the Conception of the Mother, just as the spermatozoon, by fertilizing the ovum, makes possible the production of an image of its parents.
The numbers 4 to 9 include Yetzirah, the Formative World, in which an intellectual image, an appreciable form of the idea, is produced; and this mental image becomes real and sensible in the number 10, Assiah, the Material World. It is by going through all these confusing and sometimes seemingly contradictory attributions, with unwearying patience and persistent energy, that one comes at the end to a lucid understanding, to an understanding which is infinitely clearer than any intellectual interpretation could possibly be. This is a fundamental exercise in the way to initiation. If one were a shallow rationalist, it would be quite easy to pick holes in all these attributions and semi-philosophical hypotheses, or near-hypotheses; but it is also quite simple to prove by mathematics that it is impossible to hit a golf ball.
Hitherto, the main theme of this essay has been the Tree of Life, in its essence the Sephiroth. It is now proper to consider the relations of the Sephiroth with each other. See diagram, p. It will be explained in due course how it is that these correspond to the letters of the Hebrew alphabet. Notably, there is an equilateral triangle, which one would think would be a natural basis for the Operations of Philosophy, consisting of the numbers 1,4 and 5.
But there are no lines joining land 4, or land 5. This is not an accident. Nowhere in the figure is there an erect equilateral triangle, although there are three equilateral triangles with the apex downwards. This is because of the original formula "Father, Mother, Son", which is three times repeated in a descending scale of simplicity and spirituality.
The number lis above these triangles, because it is an integration of Zero and depends from the triple veil of the Negative. Now the Sephiroth, which are emanations of the number 1, as already shown, are things-in-themselves, in almost the Kantian sense.
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The lines joining them are Forces of Nature, of a much less complete type; they are less abstruse, less abstract. If it does not equal 0, it is not an equation. And so, whenever any symbol loses importance in one place in the Qabalah, it gains in another. The Court cards and small cards form the skeletal structure of the Tarot in its principal function as a map of the Universe. But, for the special significance of the pack as a Key to magical formul-, the twenty-two trumps acquire a peculiar importance.
To what symbols are they attributed? They cannot be related identically with any of the essential ideas, because that place is taken by the cards from I to They cannot represent primarily the Father, Mother, Son, Daughter complex in its fulness, because the Court cards have already taken that position. They are attributed as follows: the three Mother letters, Shin, Mem and Aleph, represent the three active elements; the seven so- called double letters, Beth, Gimel, Daleth, Kapli, Pe', Resh and Tau, represent the seven sacred p. There is a slight clotting or overlapping in this arrangement.
The letter Shin has to do duty for both Fire and Spirit, in very much the same way as the number 2 partakes of the nature of the number I; and the letter Tau represents both Saturn and the element of Earth. In these difficulties there is a doctrine. But one cannot dismiss these twenty-two letters thus casually. The stone that the builders rejected becomes the head of the corner.
These twenty-two cards acquire a personality of their own: a very curious personality. It would be quite wrong to say that they represent a complete universe. They seem to represent certain rather curious phases of the universe. They do not seem essential factors in the structure of the universe. They change from time to time in their relation to current events.
A glance at the list of their titles seems to show no longer the strictly philosophical and scientific spirit of austere classification that is found in the other cards. There leaps at us the language of the Artist. Obviously these are not plain, straightforward symbolic representations of the signs, elements and planets concerned. They are rather hieroglyphs of peculiar mysteries connected with each. One may begin to suspect that the Tarot is not a mere straightforward representation of the Universe in the impersonal way of the system of the Yi King.
The Tarot is beginning to look like Propaganda. It is as if the Secret Chiefs of the Great Order, which is the guardian of the destinies of the human race, had wished to put forward certain particular aspects of the Universe; to establish certain especial doctrines; to declare certain modes of working, proper to the existing political situations. They differ; somewhat as a literary composition differs from a dictionary. It has been very unfortunate, but quite unavoidable, to be p. It may make it simpler to proceed to summarize the above statements. Here is a simple statement of the plan of the Tree of Life.
The numbers, or Things-in-Themselves, are ten, successive emanations from the triple veil of the Negative. The small cards numbered I to 10 correspond to the Sephiroth. These cards are shown in fourfold form, because they are not the pure abstract numbers, but particular symbols of those numbers in the universe of manifestation, which is, for convenience, classified under the figure of four elements. The Court cards represent the elements themselves, each element divided into four sub-elements. Here are one or two examples. The number 6 is the human personality of a man; the number 3 is his spiritual intuition.
Therefore, it is natural and significant that the influence of the 3 upon the 6 is that of the intuitional or inspirational voice. It is the illumination of the mind and the heart by the Great Mother. Consider again the card joining the number I to the number 6. This card is called "The High Priestess", and is attributed to the Moon. The card represents the Heavenly Isis. It is a symbol of complete spiritual purity; it is initiation in its most secret and intimate form, descending upon the human consciousness from the ultimate divine consciousness.
Looked at from below, it is the pure and unwavering aspiration of the man to the Godhead, his source. It will be proper to enter more fully into these matters when dealing separately with the cards in turn. From the foregoing it will be clear that the Tarot illustrates, first of all, the Tree of Life in its universal aspect, and secondly, the particular comment illustrating that phase of the Tree of Life which is of peculiar interest to those persons charged with the guardianship of the human race at the particular moment of the production of any given authorised pack.
It is therefore proper for those guardians to modify the aspect of the pack when it seems to them good to do so. The traditional pack has itself been subjected to numerous modifications, adopted for convenience. For instance: the Emperor and the Empress, in the medieval packs, were referred quite definitely to the Holy Roman Emperor and his Consort. The card originally called "The Hierophant", representing Osiris as is shown by the shape of the tiara became, in the Renaissance period, the Pope. The High Priestess came to be called "Pope J oan", representing a certain symbolic legend which circulated among initiates, and became vulgarised in the fable of a Female Pope.
More important still, "The Angel", or "The Last J udgment", represented the destruction of the world by fire. Its hieroglyph is, in a way, prophetic, for when the world was destroyed by fire on 21st March, ,1 one's attention was inevitably called to the similarity of this card to the Stele' of Revealing.
The art of progress is to keep intact the Eternal; yet to adopt an advance-guard, perhaps m some cases almost revolutionary, position in respect of such accidents as are subject to the empire of Time. The Sun is a star. These bodies revolve in one direction only. The Solar system - not a sphere, but a wheel.
The planets do not remain in exact - but swing to a certain comparatively small extent from one side of the true plane to the other. Their orbits are elliptical. The Ancients imagined this wheel very much more clearly than modern minds are wont to do. They paid particular attention to the imaginary rim. Within the limits of this rim, they conceived that the Fixed Stars beyond were in a special way connected with the apparent motion of the Sun.
They were to be filmed in their homes; I was, in effect, filming ghosts. That same year, Anger directed The Love That Whirls , a film based upon Aztec human sacrifice but, because of the nudity that it contained, it was destroyed by technicians at the film lab, who deemed it to be obscene. In , Anger moved to Paris, France, where he initially stayed with friends of his who themselves had been forced to leave Hollywood after being blacklisted for formerly having belonged to trade union organisations.
Upon arrival, Anger and Cocteau became friends, with the Frenchman giving the young protege his permission to make a movie of his ballet The Young Man and Death , although at the time there were no financial backers for the project. Anger produced 20 minutes of footage at the Films du Pantheon Studio in the city before he was rushed out of the studio, leaving the film uncompleted. In , he travelled to Rome, Italy where he planned to make a film about the sixteenth century occultist Cardinal d'Este.
To do so, he began filming at the garden of the Villa d'Este in Tivoli , in which a lady in eighteenth century dress walked through the gardens, which featured many waterfalls an allusion to the fact that d'Este allegedly sexually enjoyed urination ,  accompanied by the music of Vivaldi. As Anger's biographer Bill Landis remarked, "It's one of Anger's most tranquil works; his editing makes it soft, lush, and inviting.
Eaux d'Artifice remains a secretive romp through a private garden, all for the masked figure's and the viewer-voyeur's pleasure. In , soon after the production of Eaux d'Artifice , Anger's mother died and he temporarily returned to the United States in order to assist with the distribution of her estate. It was during this return that he began to once more immerse himself in the artistic scene of California, befriending the film maker Stan Brakhage , who had been inspired by Fireworks , and the two collaborated on producing a film, but it was confiscated at the film lab for obscenity and presumably destroyed.
The party and its many costumes inspired Anger, who produced a painting of it, and asked several of those who attended to appear in a new film that he was creating — Inauguration of the Pleasure Dome. One of the actresses in the film was Marjorie Cameron , the widow of Jack Parsons , the influential American Thelemite who had died a few years previously, while Anger himself played Hecate. The abbey itself had been used by Aleister Crowley for his commune during the s, and Anger restored many of the erotic wall-paintings that were found there, as well as performing certain Crowleyan rituals at the site.
The documentary was made for the British television series Omnibus , but was later lost.
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In desperate need of money, Anger wrote a book titled Hollywood Babylon in which he collected together gossip regarding celebrities, some of which he claims he had been told. The work was not published in the United States initially, and it was first released by the French publisher Jean-Jacques Pauvert. Now with some financial backing from the publication of Hollywood Babylon , his next film project was The Story of O ; essentially a piece of erotica featuring a heterosexual couple engaged in sadomasochistic sexual activities, although it refrained from showing any explicit sexual images.
In , Anger once more returned to America, where he lived for a time with Marjorie Cameron. For this, he employed a biker named Richard McAuley, and filmed him and some of his friends messing around, adding to it scenes of McAuley, or "Scorpio" as he became known, desecrating a derelict church. Anger incorporated more controversial visuals into the piece, including Nazi iconography, nudity, and clips of the life of Jesus Christ taken from Family Films' The Living Bible: Last Journey to Jerusalem.
In Scorpio Rising , Anger intercuts images of Christ from the cheap religious film with those of Scorpio. Thanatos in chrome, black leather, and bursting jeans. The all-female jury ruled in favor of the prosecutors, and Scorpio Rising was banned, although this ban was subsequently overturned on appeal to the California State Supreme Court. With Scorpio Rising finished and Anger now living in San Francisco, he went to the Ford Foundation , which had just started a program of giving out grants to filmmakers.
This homoerotic film involved various shots of a young man polishing a drag strip racing car, accompanied with a pink background and the song " Dream Lover " by The Paris Sisters. Soon after, Anger struck a deal that allowed Hollywood Babylon to be officially published in the United States for the first time, where it proved a success, selling two million copies during the s, and around the same time Anger also translated Lo Duca 's History of Eroticism into English for American publication. The mids saw the emergence of the hippie scene and the increasing use of the mind-altering drugs that Anger himself had been using for many years.
In particular, the hallucinogen LSD , which at the time was still legal in the United States, was very popular, and in Anger released a version of his earlier film, Inauguration of the Pleasure Dome titled the "Sacred Mushroom Edition" which was screened to people while taking LSD, thereby heightening their sensory experience. However, Anger also held a resentment towards certain celebrities, namely Andy Warhol , who at the time was achieving success not only in the art world but also in the underground film scene. In , Anger moved into the ground floor of a large nineteenth-century Victorian house in San Francisco known as the Russian Embassy.
He tattooed the name of Lucifer upon his chest and began searching for a young man who could symbolically become Lucifer, "the Crowned and Conquering Child" of the new Aeon, for Lucifer Rising. While living at the Russian Embassy, he met and lived with various young men who could fit the position.
Finally, he settled upon Bobby Beausoleil for the role of Lucifer. Anger's unofficial biographer Bill Landis quotes Beausoleil who states, "what had happened was that Kenneth had spent all the money that was invested in Lucifer Rising " and that he therefore invented the story to satisfy the film's creditors. In the October 26, issue of Village Voice , Anger publicly reinvented himself by placing a full-page advert declaring "In Memoriam. Kenneth Anger. Filmmaker —". He soon publicly reappeared, this time to claim that he had burned all of his early work. It was released in , and explored many of the Thelemic themes that Anger had originally intended for Lucifer Rising.
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Having used up much of the footage originally intended for Lucifer Rising for Invocation of My Demon Brother , Anger again set about to create "Lucifer Rising", a symbolic analogy of the coming Aeon of Horus as prophesied in the Thelemic sacred text, The Book of the Law. Anger persuaded the singer and actress Marianne Faithfull to appear in it. He also tried to convince his friend Mick Jagger to play the part of Lucifer in the film but Jagger refused. Instead he offered his brother Chris for the part.
Anger accepted, but was not happy about it. With this money, he could afford to fly the cast and crew to both Germany and Egypt for filming. At Page's invitation, Anger travelled to Page's new home, Crowley's former residence Boleskine House located on the shores of Loch Ness in Scotland, to help the musician exorcise the building of what Page believed to be a headless man's ghost. In retaliation, Anger called a press conference in which he ridiculed Page and threatened to "throw a Kenneth Anger curse" on him.
Meanwhile, Anger, who moved to an apartment in New York City, took the footage that he had filmed for Rabbit's Moon in the s, finally releasing the film in , and again in a shorter version in Around the same time he also added a new soundtrack to Puce Moment and re-released it. It was in , a decade after starting the project, that he finally finished and released the minute-long Lucifer Rising.
Based upon the Thelemite concept that mankind had entered a new period known as the Aeon of Horus , Lucifer Rising was full of occult symbolism, starring Miriam Gibril as the Ancient Egyptian goddess Isis and Donald Cammell as her consort Osiris , as well as Marianne Faithfull as Jewish mythological figure Lilith and Leslie Huggins as Lucifer himself.
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Anger once again appeared in the film, starring as the Magus, the same role that he played in Invocation to My Demon Brother. Soon after the release of Lucifer Rising , a PBS documentary of Anger and his films was made, titled Kenneth Anger's Magick , which was directed by Kit Fitzgerald, who later recalled interviewing him in his New York flat on a very hot July evening, during which Anger revealed that he was so broke that he had been forced to sell his air conditioner. In need of money, Anger subsequently released Hollywood Babylon II in , as well as continuing to screen his films at various festivals and at universities; around this time he began wearing an eyepatch to these public events, something likely due to him having been beaten up and getting a bruised eye, a story that he would bring up in various interviews, although partly changing who it was who had beaten him up in various versions of the story.
In , he sold the video rights to his films, which finally appeared on VHS, allowing them to have greater publicity. The following year he attended the Avignon Film Festival in France where his work was being celebrated in commemoration of the fortieth anniversary of Fireworks. For twenty years from the early s, Anger released no new material. In , at the dawn of the new millennium, Anger began screening a new short film, the anti-smoking Don't Smoke That Cigarette , followed a year later by The Man We Want to Hang , which comprised images of Aleister Crowley 's paintings that had been exhibited at a temporary exhibition in Bloomsbury , London.
In , he began showing Anger Sees Red , a short surrealistic film starring himself, and the same year also began showing another work, Patriotic Penis. He soon followed this with a flurry of other shorts, including Mouse Heaven , which consisted of images of Mickey Mouse memorabilia, Ich Will! Anger's most recent project has been the Technicolor Skull with musician Brian Butler, described as a "magick ritual of light and sound in the context of a live performance", in which Anger plays the theremin , and Butler plays the guitar and other electronic instruments, behind a psychedelic backdrop of colors and skulls.
Anger has finished writing Hollywood Babylon III , but has not yet published it, fearing severe legal repercussions if he did so. Of this he has stated that "The main reason I didn't bring it out was that I had a whole section on Tom Cruise and the Scientologists. I'm not a friend of the Scientologists. Several recurring themes can be seen within Anger's cinematic work. One of the most notable of these is homoeroticism ; this was first seen in Fireworks , which was based around Anger's own homosexual awakening, and featured various navy officers flexing their muscles, and a white liquid often thought of as symbolising semen , pouring over the protagonist's body.
Similar homoerotic imagery is found in Scorpio Rising , which stars a muscled, topless, leather-clad biker, and Kustom Kar Kommandos , where a young man sensually polishes a car, with close up shots of his tight-fitting jeans and crotch. Images of naked men also appear in Invocation of My Demon Brother , where they are eventually filmed wrestling, and in Anger Sees Red , in which a muscled, topless man performs press-ups.
Another recurring theme in Anger's films is that of the occult , particularly the symbolism of his own esoteric religion, Thelema. This is visible in Inauguration of the Pleasure Dome , Invocation of My Demon Brother and Lucifer Rising , all of which are based around the Thelemite concept of the Aeon of Horus and feature actors portraying various pagan gods. Anger himself linked the creation of film to the occult, particularly the practice of ceremonial magic , something that Aleister Crowley had been a noted practitioner of, and Anger once stated that "making a movie is casting a spell.
One of the central recurring images found in Anger's work is the concept of flames and light; in Fireworks there are various examples of this, including a burning Christmas tree , and it subsequently appears in many of his other works as well. This relates to the concept of Lucifer , a deity whom Anger devoted one of his films to, and whose name is Latin for "light bearer".