The Magician, Part IV.

Read Part III here.

 

The trickster can be considered the point of origin of the story because he generates the conflict which drives it. It follows that the tricksy Juggler is the appropriate card to kick off the chain of events that is the Major Arcana. But with the Magician, another way of looking at it becomes a bit more obvious (to me) than with the Juggler: he is at the start of the sequence, because he is the creator of the world.

Now, before I continue, I need to make mention of another card which received a wardrobe change and new name with the RWS: the High Priestess.

 

When the Magician was a Juggler, the High Priestess was called the Popess, the Female Pope, or Pope Joan, which essentially established her as the female counterpart to the Pope (the Hierophant in the RWS),* and leaving the Juggler to stand alone. The High Priestess introduces a certain level of ambiguity into these relationships – she can still be partnered with the Hierophant, or she can court another card (such as the Hermit), or she can stand alone as a symbol of unfettered femininity. Or, she can pair with the Magician, a pairing with some significance, as I shall attempt to explain.

In fact, I have already explained their relationship to some degree in my post about the High Priestess, and I urge any who are reading this post to please read that one, as well. It is a relationship of binary opposites, the fundamental relationship between the numbers One and Two.

Basically, One (the Magician) and Two (the Priestess) are the primordial creative forces of the Universe, progenitors of all that ever was and will be – everything boils down to them. From a psychological perspective, this makes total sense, because we experience consciousness only through constant subliminal comparison of hypothetical opposites. Certainly everything ultimately reduces to one, but one is meaningless without two as a point of reference. They complete each other, give meaning to each other, like the yin and the yang. It’s probably also partially rooted in biology: there can be no offspring without both a father and a mother. The Magician is the Cosmic Father, and the High Priestess is the Cosmic Mother.** They are the personifications of the purely abstract notions of male and female, which are themselves symbolic of all other binary opposites.

Now, all this is technically by virtue of their numbers, and not necessarily of the characters themselves, so it could be argued that the Juggler and Popess represent these very same concepts as the Magician and Priestess. From a numerology standpoint, they absolutely do; but I think the artistic differences between the old and new help to highlight certain ideas that would otherwise have remained obscure.

The Magician is generative, and the High Priestess is receptive. The Magician may be the initial spark, but the Priestess is the incubator. We tend to think the gift must precede the receipt, but in the grand scheme of things, it really comes down to the classic conundrum of the chicken or the egg. One simply does not exist without the other.

~~~

Having established that the Magician is actually an equal, though opposite, creative force as the Priestess, the question of his position as first is raised once again. From a purely symbolic perspective, as explained in the High Priestess post linked above, his very masculinity is the answer. One precedes two, and one is considered masculine while two is feminine. Men come first, unfair though it certainly is,*** and we have been conditioned to think that way for an age. Look at any of the three Abrahamic religions which prevail in the Western world: Christianity, Judaism, and Islam all bow to (the same) God the Father. They’re not the first. And whether you’re an adherent to any of these religions or not, your cultural heritage is imbued with the indelible imprint of at least one of them. Their message is not wrong; their specifics are not always right; but right or wrong, they are. It’s inescapable. We think the way we do in large part because of the people who thought before us.

It is only because the Tarot was conceived in this atmosphere that such a bias is reflected in the cards. This is true of the Marseilles just as it is of Waite’s cards. It could easily have been reversed along an alternate timeline, and it could easily be reversed now, without really upsetting the intrinsic meanings that either of these cards hold (symbolic attributions to the physical characteristics of genitalia aside, these associations of sex with numbers, or with any form of opposites for that matter, are totally arbitrary constructs). By all rights, they should both be in the first spot. But unfortunately our temporal limitations insist that one or the other has to be first, and the simple fact remains that the Magician just, well, is.

~~~

This is a perfect opportunity to make an essential point: “God” is not truly confined by gender or sex. Or rather, maybe “God”, as the Christians define him, is confined to his masculinity. But one of the reasons I continually find myself frustrated with this sort of religion is that “God” is used primarily as a name, a contrived denoting device with a capital “G”.**** This causes great confusion, because the word is not a proper noun in and of itself. There have been many gods and goddesses (lower-case “g”) since the dawn of time (that is, the awakening of consciousness). It becomes a question of whether or not any god by any name, be it God or Allah or Zeus, is really the top dog on the divine hierarchy.

When I say the Magician is God the Father, what I’m really saying is that the Magician is the demiurge. He does indeed create and manipulate the physical world, which is represented on the card by the aces upon the altar. He set up the table, he put the items in their places on it, and he moves them into their proper positions to effect the results he desires.

And yet, he still holds his wand above him, as if anything could be above him.

Your average demiurge refuses to acknowledge that he (or she) is not actually the supreme power in the Universe.***** Most of them probably honestly do not even realize it; it’s an awareness beyond their capacity, and indeed, beyond the capacity of many mortals far below them.

But the Magician knows. He knows that what he perceives as his own will is in truth the will of the Universe; that for every feat he accomplishes through his magic, he is merely a conduit for something greater; that desire and decision for him are ultimately illusions. He knows that, though earth-bound mortals may call him God, he is really only a hand of the supreme godhead.

The Magician is remarkably humble for his esteemed position. Most gods are jealous, and some are even vengeful, when their vaulted status is called into question. But though the Magician is receptive to divine influence, he is not receptive by temperament as the Priestess is. He is an active agent. It is why so many creator types do seem supreme. They harness divine energy, and they do stuff with it. The Magician may not be any more impressive than the Priestess is, but his actions certainly draw more attention than her meditations.

I liken it all to a pencil sketch: the Magician is the pencil, the Priestess is the paper, the drawing is Creation, and the artist is the higher power. Imagine for a moment that the drawing somehow developed consciousness. Doesn’t it make sense that, from its limited stance, it might view the pencil as its creator?

~~~

By himself, the Magician might remain a mere trickster, even with his new ritual attire (you didn’t really think the trickster only wears clown clothes, did you? That would be too obvious). It is only because of his relationship with the High Priestess – a relationship the Juggler does not openly share with the Popess – that he is able to ascend to the level of Creator, because man cannot become father without a mother to bear child. The potential is really there either way – the Magician does not have to be defined by the Priestess, any more than she is defined by him. But the concepts represented by her go a very long way in refining what exactly it is he stands for. It is a perfect illustration of the idea mentioned above, that One is incomprehensible without Two.

It is also a good example of the true nature of the demiurge: he may appear all-powerful, but he is not the sole power in the Universe. He just makes the flashiest show of it.

So, we can now view the first numbered card of the Major Arcana as the Trickster and the Demiurge. Could there possibly be more? You betcha.

~~~

*It’s interesting to note that the Empress and Emperor are side by side, and the Popess and Pope are on either side of them. I think that this was supposed to make a point about worldly authority versus spiritual authority during the Renaissance – the worldly being contained within the jurisdiction of the spiritual. By the time Waite was designing the RWS, this notion about the relationships between Emperors and Popes was outdated, or had at least lost much of its practical significance.

**Hajo Banzhaf refers to the Magician and the Priestess as the Heavenly Father and Mother in his book about the Tarot and the Hero’s Journey. They are not necessarily literal persons, just concepts, and they are followed by the Earthly Father and Mother, a.k.a. the Emperor and Empress.

***Institutionalized oppression is real, it takes on many forms including sexism, and it is unfair. I know this, so please don’t castrate me for stating my observations about the world around me. And, even in a patriarchal society, those who are enlightened know that true femininity cannot be extinguished. The High Priestess is a shining example of the sublime feminine power, even from her place among the shadows.

****In the NKJV Bible, any time the word “god” appears, it is actually written in the text as GOD, all caps, and it is really nothing more than a roughly-translated English placeholder for the unpronounceable tetragrammation, or true name of the Hebrew god. It is used interchangeably with LORD (if you’ve ever heard the names Yaweh or Jehovah, you’ve heard the most common attempts at phonetic verbalization of the tetragrammation). So, technically, the religious book does not actually claim that the Judeo-Christian deity’s name is God. However, its use of the word, combined with the crusade to demonize any and every other named god and goddess, has proven to be an effective way to impress the divine supremacy of this being into the minds of the masses over time. I don’t think the tetragrammation is very common knowledge to the the average self-professed Christian these days, so for all intents and purposes, their god’s name is God.

*****So, if not God, then what is the supreme power in the Universe? This post is not the place for such a discussion, so let it suffice to say that, whatever it is, it’s probably beyond our ability to define with our primitive languages. If there was a Tarot card to represent this supreme power, I would say it’s the World, although, truth be told, I don’t fully believe such a concept can be limited to a single card. If anything, the entire Tarot deck is itself the closest representation of this Universal force, and every single card is but a minute aspect of it, even the seemingly comprehensive World and the powerful demiurge Magician (and, I might add, the much maligned Devil).

 

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The Juggler, Part III: The Magician.

Before there was the Magician, there was the Juggler. The Juggler was a character of potentially ill repute, yet simultaneously one which could delight onlookers with his tricks as he pleased. The dual nature of the Juggler’s character, combined with his divinitory associations with incredible mental dexterity – not to mention his almost clownish clothes – suggests the Trickster archetype of myth, which was the subject of the previous post in this series.

However, in the modern English-speaking Tarot community, the Juggler has effectively become the Magician, thanks largely to occultist Arthur Waite and the artist commissioned to illustrate his Tarot, Pamela Smith.

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TdM Juggler and RWS Magician*

The two versions of the card incorporate similar elements, especially the table upon which are set various implements, but there nonetheless appears to be some discrepancy between them. While the traditional Juggler** wears motley performance attire, the RWS Magician is dressed in the robes of a ceremonial magus. Especially striking is the Juggler’s hat; it is so conspicuous in its size and shape, that its absence gives the Magician an air of seriousness by comparison. We know the Juggler must possess a high degree of focus to carry out his whims, but a major part of his trickery is his ability to divert our attention from his true purpose, and his hat helps to disguise this purpose. The Magician cares not for such distractions, and instead an ethereal lemniscate, symbol of infinity, floats above his head. It is the same shape as the brim of the Jugglers hat.

The Juggler appears fluid and at ease as he performs. The Magician’s stance is poised and deliberate. He holds his wand to the sky in one hand, and with the other he points to the earth. This pose is a reference to the Hermetic maxim, “As above, so below.”*** This essentially states that what is true of the macrocosm is also true of the microcosm, an idea which is central to magic theory. The Magician works his will on earth and the greater Universe unerringly conforms. The pose also suggests that the Magician has the ability to take abstract or spiritual energies from the Universe “above”, and make them manifest on earth. Either way you look at it, micro to macro or macro to micro (in truth, it’s a constant back-and-forth rather than just one or the other), the Magician clearly wields awesome power.

Now we’ll turn our attention to the table. The Juggler plays with various objects that can usually be likened to the suit symbols of the Minor Arcana, although they can just as easily be random knick-knacks;**** but the items upon the Magician’s table can be mistaken for nothing else. There are four of them, and they are very clearly implements of the same sorts as are pictured on each of the aces. This implies that the Magician has the raw forces of the elements at his disposal. The combination of his Hermetic stance and the elemental aces on his table serves to underscore that his will is all powerful. He can manipulate the physical elements of this world with ease, but his true influence stretches far beyond the realms of crude matter.

In short: the Juggler performs tricks and illusions. The Magician performs magic.

~~~

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For this post, my aim was to examine the basic elements of the Magician card versus those of the Juggler. It is a digression from the overarching theme of mythic archetypes that is the purpose of this series, but I think it’s a necessary one to make in order to more fully appreciate what’s coming next as compared to what came previously. The Magician can still be associated with the Trickster, by virtue of his being a reincarnation of the Juggler (by the same token, the Juggler can be associated with all that I will claim for the Magician in the upcoming installments). But there is another archetype the Magician represents that is different than the Juggler’s trickster: God the Father, Creator of the Universe. It might seem like quite a leap, but I assure you, it’s all there in the cards.

~~~

*Interestingly, these two cards appear to be mirrors of each other. Is there significance in this? Perhaps, and I may or may not return to this thought in a future post.

**For the purposes of this post, “traditional Juggler” refers to the Marseille-pattern Juggler.

***Might not the Juggler also be considered to be making the same statement through his gesture? It can certainly be read that way. The Juggler may very well be hiding all manner of secret hermetic and occult wisdom, but if this is true, the many anonymous hands that contributed to his appearance left no indication that it was intentional. We just can’t know. One of the things that made Waite’s Tarot so revolutionary (aside from Smith’s Minor Arcana illustrations) was that he published a book detailing the cards and their symbolism. The Marseille Tarots are occult only because they were interpreted that way long after their creation; the RWS, on the other hand, is occult because its creator made it so, and we do know that, beyond a shadow of a doubt.

****The items on the Juggler’s table often vary from card to card. For example, the early versions, such as the Visconti and the source material for Huson’s Dame Fortune’s Wheel Tarot, show stock items of the street performer’s trade. While this might include a wand or a cup, it also might include balls or spinners or other random, non-Tarot-related items. Oswald Wirth’s Juggler, on the other hand, has objects on his table which very obviously correspond to the minor suit symbols (ironic, considering he never made a Minor Arcana). The Marseille Juggler typically falls somewhere in the middle: the items on his table appear to include a couple coins, a small cup or two, and a knife, and he holds a baton in his hand. These are very similar to the suit symbols, but they admittedly look nothing like any of their respective aces, so the similarities could therefore possibly be only coincidence.