ILLUSTRATED KEY TO THE TAROT.
THE TRUMPS MAJOR AND THEIR
INNER SYMBOLISM ONE. THE MAGICIAN
A youthful figure in the robe of a magician, having the countenance of divine Apollo, with
smile of confidence and shining eyes. Above his head is the mysterious sign of the Holy Spirit,
the sign of life, like an endless cord, forming the figure 8 in a horizontal position.
About his waist is a serpent-cincture, the serpent appearing to devour its own tail. This is
familiar to most as a conventional symbol of eternity, but here it indicates more especially the
eternity of attainment in the spirit. In the Magician's right hand is a wand raised towards
heaven, while the left hand is pointing to the earth. This dual sign is known in very high
grades of the Instituted Mysteries ; it shows the descent of grace, virtue and light, drawn
from things above and derived to things below. The suggestion throughout is therefore the
possession and communication of the Powers and Gifts of the Spirit. On the table in front of
the Magician are the symbols of the four Tarot suits, signifying the elements of natural life,
which lie like counters before the adept, and he adapts them as he wills.
Beneath are roses and lilies, the flos campi and lilium convallium, changed into garden
flowers, to show the culture of aspiration.
This card signifies the divine motive in man, reflecting God, the will in the liberation of its union with that which is above. It is also the unity of individual being on all planes, and in a very high sense it is thought, in the fixation thereof. With further reference to what I have called the sign of life and its connection with the number 8, it may be remembered that Christian Gnosticism speaks of rebirth in Christ as a change "unto the Ogdoad." The mystic number is termed Jerusalem above, the Land flowing with Milk and Honey, the Holy Spirit and the Land of the Lord. According to Martinism, 8 is the number of Christ.
TWO. THE HIGH PRIESTESS
She has the lunar crescent at her feet, a horned diadem on her head, with a globe in the
middle place, and a large solar cross on her breast. The scroll in her hands is inscribed with
the word Tora, signifying the Greater Law, the Secret Law and the second sense of the Word.
It is partly covered by her mantle, to show that
some things are implied and some spoken. She is seated between the white and black pillars
—J. and B.—of the mystic Temple and the veil of the Temple is behind her: it is embroidered
with palms and pomegranates. The vestments are flowing and gauzy, and the mantle suggests
light—a shimmering radiance.
She has been called Occult Science on the threshhold of the Sanctuary of Isis, but she is really
the Secret Church, the House which is of God (Nature) and man. She represents also the
Second Marriage of the Prince who is no longer of this world; she is the spiritual Bride and
Mother, the daughter of the stars and the Higher Garden of Eden. She is, in fine, the Queen
of the borrowed light, but this is the light of all. She is the Moon nourished by the milk of the Supernal Mother.
In a manner, she is also the Supernal Mother herself—that is to say, she is the bright reflection.
It is in this sense of reflection that her truest and highest name in holism is Shekinah—the co-habiting glory. According to Kabalism, there is a Shekinah both above and below. In the superior world it is called Binah, the Supernal Understanding which reflects to the emanations that are beneath. In the lower world it is Malkuth—that world being, for this purpose, understood as a blessed Kingdom—that with which it is made blessed being the Indwelling Glory. Mystically speaking, the Shekinah is the Spiritual Bride of the just man, and when he reads the Law she gives the Divine meaning. There are some respects in which this card is the highest and holiest of the Greater Arcana.
THREE. THE EMPRESS
A stately figure, seated, having rich vestments and royal aspect, as of a daughter of heaven
and earth. Her diadem is of twelve stars, gathered in a cluster. The symbol of Venus is on the
shield which rests near her. A field of corn is ripening in front of her, and beyond there is a
fall of water. The scepter which she bears is surmounted by the globe of this world. She is the
inferior Garden of Eden, the Earthly Paradise, all that is symbolized by the visible house of
She is not Regina coeli, but she is still refugium peccatorum, the fruitful mother of thousands.
There are also certain aspects in which she has been correctly described as desire and the
wings thereof, as the woman clothed with the sun, as Gloria Mundi and the veil of the
Sanctum Sanctorum; but she is not, I may add, the soul that has attained wings, unless all the
symbolism is counted up another and unusual way. She is above all things universal fecundity
and the outer sense of the Word. This is obvious, because there is no direct message which has
been given to man like that which is borne by woman; but she does not herself carry its interpretation.
In another order of ideas, the card of the Empress signifies the door or gate by which an entrance is obtained into this life, as into the Garden of Venus; and then the way which leads out therefrom, into that which is beyond, is the secret known to the High Priestess: it is communicated by her to the elect. Most old attributions of this card are completely wrong on the symbolism— as, for example, its identification with the Word, Divine Nature, the Triad, and so forth.
FOUR. THE EMPEROR
He has a form of the Crux ansata for his scepter and a globe in his left hand. He is crowned
monarch—commanding, stately, seated on a throne, the arms of which are fronted by rams'
He is executive and realization, the power of this world, here clothed with the highest of its
natural attributes. He is occasionally represented as seated on a cubic stone, which, however,
confuses some of the issues. He is the virile power, to which the Empress responds, and in this
sense is he who seeeks to remove the Veil of Isis; yet she remains virgo intacta.
It should be understood that this card and that of the Empress do not precisely represent the
condition of married life, though this state is implied. On the surface, as I have indicated, they
stand for mundane royalty, uplifted on the seats of the mighty; but above this there is the
suggestion of another presence. They signify, also—and the male figure especially—the
higher kingship, occupying the intellectual throne. Thereof is the lordship of thought rather
than of the animal world. Both personalities, after their own manner, are "full of strange experience," but theirs is not consciously the wisdom which draws from a higher world. The Emperor has been described as (a) will in its embodied form, but this is only one of its applications, and (b) as an expression of virtualities contained in the Absolute Being—but this
FIVE. THE HIEROPHANT
He wears the triple crown and is seated between two pillars, but they are not those of the
Temple which is guarded by the High Priestess. In his left hand he holds a scepter
terminating in the triple cross, and with his right hand he gives the well known ecclesiastical
sign which is called that of esotericism, distinguishing between the manifest and concealed
part of doctrine.
It is noticeable in this connection that the High Priestess makes no sign. At his feet are the
crossed keys, and two priestly ministers in albs kneel before him. He has been usually called
the Pope, which is a particular application of the more general office that he symbolizes. He is
the ruling power of external religion, as the High Priestess is the prevailing genius of the
esoteric, withdrawn power. The proper meanings of this card have suffered woeful admixture
from nearly all hands. Grand Orient says truly that the Hierophant is the power of the keys,
exoteric orthodox doctrine, and the outer side of the life which leads to the doctrine; but he is certainly not the prince of occult doctrine, as another commentator has suggested.
He is rather the summa totius theologia, when it has passed into the utmost rigidity of expression ; but he symbolizes also all things that are righteous and sacred on the manifest side. As such, he is the channel of grace belonging to the world of institution as distinct from that of Nature, and he is the leader of salvation for the human race at large. He is the order and the head of the recognized hierarchy, which is the reflection of another and greater hierarchic order; but it may so happen that the pontiff forgets the significance of this his symbolic state and acts as if he contained within his proper measures all that his sign signifies or his symbol seeks to show forth. He is not, as it has been thought, philosophy—except on the theological side; he is not inspiration; and he is not religion, although he is a mode of its expression.
SIX. THE LOVERS
The sun shines in the zenith, and beneath is a great winged figure with arms extended,
pouring down influences. In the foreground are two human figures, male and female,
unveiled before each other, as if Adam and Eve when they first occupied the paradise of the
earthly body. Behind the man is the Tree of Life, bearing twelve fruits, and the Tree of the
Knowledge of Good and Evil is behind the woman; the serpent is twining round it.
The figures suggest youth, virginity, innocence and love before it is contaminated by gross
material desire. This is in all simplicity the card of human love, here exhibited as part of the
way, the truth and the life. It replaces, by recourse to first principles, the old card of
marriage, which I have described previously, and the later follies which depicted man
between vice and virtue. In a very high sense, the card is a mystery of the Covenant and
The suggestion in respect of the woman is that she signifies that attraction towards the
sensitive life which carries within it the idea of the Fall of Man, but she is rather the working
of a Secret Law of Providence than a willing and conscious temptress. It is through her imputed lapse that man shall arise ultimately, and only by her can he complete himself. The card is therefore in its way another intimation concerning the great mystery of womanhood.
The old meanings fall to pieces of necessity with the old pictures, but even as interpretations of the latter, some of them were of the order of commonplace and others were false in symbolism.
SEVEN. THE CHARIOT
An erect and princely figure carrying a drawn sword and corresponding, broadly speaking,
to the traditional description which I have given in the first part. On the shoulders of the
victorious hero are supposed to be the Urim and Thummim. He has led captivity captive; he
is conquest on all planes—in the mind, in science, in progress, in certain trials of initiation.
He has thus replied to the Sphinx, and it is on this account that I have accepted the variation
of Eliphas Levi; two sphinxes thus draw his chariot. He is above all things triumph in the
It is to be understood for this reason (a) that the question of the sphinx is concerned with a
Mystery of Nature and not of the world of Grace, to which the charioteer could offer no
answer; (b) that the planes of his conquest are manifest or external and not within himself;
(c) that the liberation which he effects may leave himself in the bondage of the logical
understanding; (d) that the tests of initiation through which he has passed in triumph are to
be understood physically or rationally and (e) that if he came to the pillars of that Temple
between which the High Priestess is seated, he could not open the scroll called Tora, nor if she
questioned him could he answer. He is not hereditary royalty and he is not priesthood.
EIGHT. STRENGTH, OR FORTITUDE
A woman, over whose head there broods the same symbol of life which we have seen in the
card of the Hierophant, is closing the jaws of a lion. The only point in which this design
differs from the conventional presentations is that her beneficent fortitude has already
subdued the lion, which is being led by a chain of flowers. For reasons which satisfy myself,
this card has been interchanged with that of Justice, which is usually numbered eight. As the
variation carries nothing with it which will signify to the reader, there is no cause for
explanation. Fortitude, in one of its most exalted aspects, is connected with the Divine
Mystery of Union; the virtue, of course, operates in all planes, and hence draws on all in its
symbolism. It connects also with innocentia inviolata, and with the strength which resides in
These higher meanings are, however, matters of inference, and I do not suggest that they are
transparent on the surface of the card. They are intimated in a concealed manner by the
chain of flowers, which signifies, among many other things, the sweet yoke and the light
burden of Divine Law, when it has been taken into the heart of hearts. The card has nothing to do with self confidence in the ordinary sense, though this has been suggested but it concerns the confidence of those whose strength is God (Nature), who have found their refuge in Him. There is one aspect in which the lion signifies the passions, and she who is called Strength is the higher nature in its liberation. It has walked upon the asp and the basilisk and has trodden down the lion and the dragon.
NINE. THE HERMIT
The variation from the conventional models in this card is only that the lamp is not
enveloped partially in the mantle of its bearer, who blends the idea of the Ancient of Days
with the Light of the World. It is a star which shines in the lantern. I have said that this is a
card of attainment, and to extend this conception the figure is seen holding up his beacon on
Therefore the Hermit is not, as Court de Gebelin explained, a wise man in search of truth
and justice; nor is he, as a later explanation proposes, an especial example of experience.
His beacon intimates that "where I am, you also may be.
It is further a card which is understood quite incorrectly when it is connected with the idea
of occult isolation, as the protection of personal magnetism against admixture. This is one
of the frivolous renderings which we owe to Eliphas Levi. It has been adopted by the French
Order of Martinism and some of us have heard a great deal of the Silent and Unknown
Philosophy enveloped by his mantle from the knowledge of the profane.
In true Martinism, the significance of the term Philosophe inconnu was of another order. It did not refer to the intended concealment of the Instituted Mysteries, much less of their substitutes, but—like the card itself—to the truth that the Divine Mysteries secure their own protection from those who are unprepared.
TEN. WHEEL OF FORTUNE
In this symbol I have again followed the reconstruction of Eliphas Levi, who has furnished
several variants. It is legitimate— as I have intimated—to use Egyptian symbolism when this
serves our purpose, provided that no theory of origin is implied therein. I have, however,
presented Typhon in his serpent form.
The symbolism is, of course, not exclusively Egyptian, as the four Living Creatures of Ezekiel
occupy the angles of the card, and the wheel itself follows other indications of Levi in respect
of Ezekiel's vision, as illustrative of the particular Tarot Key. With the French occultist, and
in the design itself, the symbolic picture stands for the perpetual motion of a fluidic universe
and for the flux of human life. The Sphinx isthe equilibrium therein. The transliteration of
Taro as Rota is inscribed on the wheel, counterchanged with the letters of the Divine Name
—to show that Providence is implied through all.
But this is the Divine intention within, and the similar intention without is exemplified by the
four Living Creatures. Sometimes the sphinx is represented couchant on a pedestal above, which defrauds the symbolism by stultifying the essential idea of stability amidst movement.
Behind the general notion expressed in the symbol there lies the denial of chance and the fatality which is implied therein.
It may be added that, from the days of Levi onward, the occult explanations of this card are—even for occultism itself—of a singularly fatuous kind. It has been said to mean principle, fecundity, virile honor, ruling authority, etc. The findings of common fortune-telling are better than this on their own plane.
As this card follows the traditional symbolism and carries above all its obvious meanings,
there is little to say regarding it outside the few considerations collected in the first part, to
which the reader is referred.
It will be seen, however, that the figure is seated between pillars, like the High Priestess, and
on this account it seems desirable to indicate that the moral principle which deals unto every
man according to his works—while, of course, it is in strict analogy with higher things—
differs in its essence from the spiritual justice whch is involved in the idea of election. The
latter belongs to a mysterious order of Providence, in virtue of which it is possible for certain
men to conceive the idea of dedication to the highest things. The operation of this is like the
breathing of the Spirit where it wills, and we have no canon of criticism or ground of
explanation concerning it. It is analogous to the possession of the fairy gifts and the high gifts
and the gracious gifts of the poet: we have them or have not, and their presence is as much a
mystery as their absence. The law of Justice is not, however, involved by either alternative. In conclusion, the pillars of Justice open into one world and the pillars of the High Priestess into another.
TWELVE. THE HANGED MAN
The gallows from which he is suspended forms a Tau cross, while the figure—from the
position of the legs—forms a fylfot cross. There is a nimbus about the head of the seeming
It should be noted (1) that the tree of sacrifice is living wood, with leaves thereon; (2) that
the face expresses deep entrancement, not suffering; (3) that the figure, as a whole,
suggests life in suspension, but life and not death. It is a card of profound significance, but
all the significance is veiled. One of his editors suggests that filiphas Levi did not know the
meaning, which is unquestionable—nor did the editor himself. It has been called falsely a
card of martyrdom, a card of prudence, a card of the Great Work, a card of duty; but we
may exhaust all published interpretations and find only vanity. I will say very simply on
my own part that it expresses the relation, in one of its aspects, between the Divine and the
He who can understand that the story of his higher nature is imbedded in this symbolism will
receive intimations concerning a great awakening that is possible, and will know that after the sacred Mystery Of Death there is a glorious Mystery Of Resurrection.
The veil or mask of life is perpetuated in change, transformation and passage from lower to
higher, and this is more fitly represented in the rectified Tarot by one of the apocalyptic
visions than by the crude notion of the reaping skeleton. Behind it lies the whole world of
ascent in the spirit. The mysterioushorseman moves slowly, bearing a black banner
emblazoned with the Mystic Rose, which signifies life. Between two pillars on the verge of
the horizon there shines the sun of immortality.
The horseman carries no visible weapon, but king and child and maiden fall before him,
while a prelate with clasped hands awaits his end.
There should be no need to point out that the suggestion of death which I have made in
connection with the previous card is, of course, to be understood mystically, but this is not
the case in the present instance. The natural transit of man to the next stage of his being
either is or may be one form of his progress, but the exotic and almost unknown entrance,
while still in this life, into the state of mystical death is a change in the form of consciousness
and the passage into a state to which ordinary death is neither the path nor gate. The existing occult explanations of the 13th card are, on the whole, better than usual, rebirth, creation, destination, renewal, and the rest.
A winged angel, with the sign of the sun upon his forehead and on his breast the square and
triangle of the septenary. I speak of him in the masculine sense, but the figure is neither
male nor female. It is held to be pouring the essences of life from chalice to chalice. It has
one foot upon the earth and one upon waters, thus illustrating the nature of the essences. A
direct path goes up to certain heights on the verge of the horizon, and above there is a great
light, through which a crown is seen vaguely. Hereof is some part of the Secret of Eternal
Life, as it is possible to man in his incarnation. All the conventional emblems are renounced
So also are the conventional meanings, which refer to changes in the seasons, perpetual
movement of life, and even the combination of ideas. It is, moreover, untrue to say that the
figure symbolizes the genius of the sun, though it is the analogy of solar light, realized in the
third part of our human triplicity. It is called Temperance, fantastically, because, when the
rule of it obtains in our consciousness, it tempers, combines and harmonizes the psychic and
material natures. Under that rule we know in our rational part something of whence we came and whither we are going.
FIFTEEN. THE DEVIL
The design is an accommodation, mean or harmony, between several motives mentioned in
the first part. The Horned Goat of Mendes, with wings Hke those of a bat, is standing on an
altar. At the pit of the stomach there is the sign of Mercury.
The right hand is upraised and extended, being the reverse of that benediction which is given
by the Hierophant in the fifth card. In the left hand there is a great flaming torch, inverted
towards the earth. A reversed pentagram is on the forehead.
There is a ring in front of the altar, from which two chains are carried to the necks of two
figures, male and female. These are analogous with those of the fifth card, as if Adam and
Eve after the Fall. Hereof is the chain and fatality of the material life.
The figures are tailed, to signify the animal nature, but there is human intelligence in the
faces, and he who is exalted above them is not to be their master for ever. Even now, he is
also a bondsman, sustained by the evil that is in him and blind to the liberty of service.
With more than his usual derision for the arts which he pretended to respect and interpret
as a master therein, Eiphas Levi affirms that the Baphometic figure is occult science and magic. Another commentator says that in the Divine world it signifies predestination, but there is no correspondence in that world with the things which below are of the brute. What it does signify is the Dweller on the Threshold without the Mystical Garden when those are driven forth therefrom who have eaten the forbidden fruit.
SIXTEEN. THE TOWER
Occult explanations attached to this card are meager and mostly disconcerting. It is idle to
indicate that it depicts ruin inall its aspects, because it bears this evidence on the surface.
It is said further that it contains the first allusion to a material building, but I do not conceive
that the Tower is more or less material than the pillars which we have met with in three
previous cases. I see nothing to warrant Papus in supposing that it is literally the fall of
Adam, but there is more in favor of his alternative—that it signifies the materialization of the
spiritual word. The bibliographer Christian imagines that it is the downfall of the mind,
seeking to penetrate the mystery of God (Nature). I agree rather with Grand Orient that it is
the ruin of the House of Life, when evil has prevailed therein, and above all that it is the
rending of a House of Doctrine. I understand that the reference is, however, to a House of
Falsehood. It illustrates also in the most comprehensive way the old truth that "except the
Lord build the house, they labor in vain that build it."
There is a sense in which the catastrophe is a reflection from the previous card, but not on the
side of the symbolism which I have tried to indicate therein. It is more correctly a question of
analogy; one is concerned with the fall into the material and animal state, while the other signifies destruction on the intellectual side. The Tower has been spoken of as the chastisement of pride and the intellect overwhelmed in the attempt to penetrate the Mystery of God (Nature); but in neither case do these explanations account for the two persons who are the living sufferers.
The one is the literal word made void and the other its false interpretation. In yet a deeper sense, it may signify also the end of a dispensation, but there is no possibility here for the consideration of this involved question.
SEVENTEEN. THE STAR
A great, radiant star of eight rays, surrounded by seven lesser stars—also of eight rays. The
female figure in the foreground is entirely naked. Her left knee is on the land and her right
foot upon the water. She pours Water of Life from two great ewers, irrigating sea and land.
Behind her is rising ground and on the right a shrub or tree, whereon a bird alights. The
figure expresses eternal youth and beauty. The star is I'etoile flamboyante, which appears in
Masonic symbolism, but has been confused therein. That which the figure communicates to
the living scene is the substance of the heavens and the elements. It has been said truly that
the mottoes of this card are "Waters of Life freely" and "Gifts of the Spirit."
The summary of several tawdry explanations says that it is a card of hope. On other planes it
has been certified as immortality and interior light. For the majority of prepared minds, the
figure will appear as the type of Truth unveiled, glorious in undying beauty, pouring on the
waters of the soul some part and measure of her priceless possession. But she is in reality the
Great Mother in the Kahalistic Sephira Binah, which is supernal Understanding, who communicates to the Sephiroth that are below in the measure that they can receive her influx.
EIGHTEEN. THE MOON
The distinction between this card and some of the conventional types is that the moon is
increasing on what is called the side of mercy, to the right of the observer. It has sixteen
chief and sixteen secondary rays. The card represents life of the imagination apart from life
of the spirit. The path between the towers is the issue into the unknown. The dog and the
wolf are the fears of the natural mind in the presence of that place of exit, when there is only
reflected light to guide it.
The last reference is a key to another form of symbolism. The intellectual light is a reflection
and beyond it is the unknown mystery which it cannot show forth. It illuminates our animal
nature, types of which are represented below—the dog, the wolf and that which comes up out
of the deeps, the nameless and hideous tendency which is lower than the savage beast. It
strives to attain manifestation, symbolized by crawling from the abyss of water to the land,
but as a rule it sinks back whence it came. The face of the mind directs a calm gaze upon
the unrest below ; the dew of thought falls; the message is: Peace, be still; and it may be that
there shall come a calm upon the animal nature, while the abyss beneath shall cease from
giving up a form.
NINETEEN. THE SUN
The naked child mounted on a white horse and displaying a red standard has been mentioned
already as the better symbolism connected with this card. It is the destiny of the
Supernatural East and the great and holy light which goes before the endless procession of
humanity, coming out from the walled garden of the sensitive life and passing on the journey
home. The card signifies, therefore, the transit from the manifest light of this world,
represented by the glorious sun of earth, to the light of the world to come, which goes before
aspiration and is typified by the heart of a child.
But the last allusion is again the key to a different form or aspect of the symbolism. The
sun is that of consciousness in the spirit—the direct as the antithesis of the reflected light.
The characteristic type of humanity has become a little child therein—a child in the sense of
simplicity and innocence in the sense of wisdom. In that simplicity, he bears the seal of Nature
and of Art; in that innocence, he signifies the restored world. When the self-knowing spirit
has dawned in the consciousness above the natural mind, that mind in its renewal leads forth
the animal nature in a state of perfect conformity.
TWENTY. THE LAST JUDGMENT
I have said that this symbol is essentially invariable in all Tarot sets, or at least the
variations do not alter its character. The great angel is here encompassed by clouds, but he
blows his bannered trumpet, and the cross as usual is displayed on the banner.
The dead are rising from their tombs—a woman on the right, a man on the left hand, and
between them their child, whose back is turned. But in this card there are more than three
who are restored, and it has been thought worth while to make this variation as illustrating
the insufficiency of current explanations. It should be noted that all the figures are as one in
the wonder, adoration and ecstasy expressed by their attitudes. It is the card which registers
the accomplishment of the great work of transformation in answer to the summons of the
Supernal—which summons is heard and answered from within.
Herein is the intimation of a significance which cannot well be carried further in the present
place. What is that within us which does sound a trumpet and all that is lower in our nature
rises in response—almost in a moment, almost in the twinkling of an eye?
Let the card continue to depict, for those who can see no further, the Last Judgment and the resurrection in the natural body; but let those who have inward eyes look and discover therewith. They will understand that it has been called truly in the past a card of eternal life, and for this reason it may be compared with that which passes under the name of Temperance.
O. THE FOOL
With light step, as if earth and its trammels had little power to restrain him, a young man in
gorgeous vestments pauses at the brink of a precipice among the great heights of the world;
he surveys the blue distance before him—its expanse of sky rather than the prospect below.
His act of eager walking is still indicated, though he is stationary at the given moment; his
dog is still bounding. The edge which opens on the depth has no terror; it is as if angels were
waiting to uphold him, if it came about that he leaped from the height. His countenance is full
of intelligence and expectant dream. He has a rose in one hand and in the other a costly wand,
from which depends over his right shoulder a wallet curiously embroidered. He is a prince of
the other world on his travels through this one—all amidst the morning glory, in the keen air.
The sun, which shines behind him, knows whence he came, whither he is going, and how he
will return by another path after many days. He is the spirit in search of experience. Many
symbols of the Instituted Mysteries are summarized in this card, which reverses, under high warrants, all the confusions that have preceded it.
In his Manual Of Cartomancy, Grand Orient has a curious suggestion of the office of Mystic Fool, as a part of his process in higher divination; but it might call for more than ordinary gifts to put it into operation. We shall see how the card fares according to the common arts of fortune-telling, and it will be an example, to those who can discern, of the fact, otherwise so evident, that the Trumps Major had no place originally in the arts of psychic gambling, when cards are used as the counters and pretexts.
Of the circumstances under which this art arose we know, however, very little. The conventional explanations say that the Fool signifies the flesh, the sensitive life, and by a peculiar satire its subsidiary name was at one time the alchemist, as depicting folly at the most insensate stage.
TWENTY-ONE. THE WORLD
As this final message of the Alajor Trumps is unchanged—and indeed unchangeable—in
respect of its design, it has been partly described already regarding its deeper sense. It
represents also the perfection and end of the Cosmos, the secret which is within it, the
rapture of the universe when it understands itself in God (Nature). It is further the state of
the soul in the consciousness of Divine Msion, reflected from the self-knowing spirit. But
these meanings are without prejudice to that which I have said concerning it on the material
It has more than one message on the macrocosmic side and is, for example, the state of the
restored world when the law of manifestation shall have been carried to the highest degree
of natural perfection. But it is perhaps more especially a story of the past, referring to that
day when all was declared to be good, when the morning stars sang together and all the Sons
of God (Nature) shouted for joy. One of the worst explanations concerning it is that the figure
symbolizes the Magus when he has reached the highest degree of initiation; another account
says that it represents the absolute, which is ridiculous. The figure has been said to stand for Truth, which is, however, more properly allocated to the seventeenth card. Lastly, it has been called the Crown of the Magi.