Tarot of Dream – Ten of Coins

Noir

I was very pleased with Bursten’s interpretation of this card, which he condenses into the phrase, “Magic in the Ordinary.” For a card with such seemingly simple imagery, the Ten of Coins is a complex and mysterious card – a good choice for meditation. The card shows an archway flanked by two stone faces or masks, which opens into a shimmering, magical space where ten coins float in the air. Where the outer aspect of the card is dark, almost forbidding, the inner aspect is full of light. The path that leads to the coins is bordered by a metal fence, though I prefer to think of it as gate that has been thrown open. Unlike the Nine of Coins, which shows a more terrestrial garden, the garden in the Ten of Coins seems otherworldly. It is almost as if the coins were in a process of transmutation, vibrating out of existence in the physical world and translocating into a higher realm. In fact, the energy of the coins is so intense that the branches that hang down into the arch bear no leaves.

This card speaks to me about the idea of a “secret garden,” which is steeped in symbolism going back to the dawn of religious thought. For example, in the Medieval and Early Renaissance world, there were creations know as “Mary Gardens.” These were small secret gardens set within a larger garden with great symbolic meaning related to the Virgin Mary and the Garden of Eden. Indeed, the imagery of a secret garden or an inner sanctuary is used extensively in psychotherapy and mediation to allow a person to access states of consciousness that are beyond what we are capable of experiencing in our normal, waking state. It would be interesting to hear other people’s thoughts on what would be beyond the arch if you imagined this to be your own personal secret garden.

The arrangement of the coins suggests the Tree of Life from the Kabbalah – so much so that I was curious why Ciro chose not to place them in that arrangement. He commented that it did occur to him, but he felt he would have had to add the paths between the coins so that the Tree of Life would have been recognized. Rather than reduce the size of the coins to do this, he opted to symmetrically fill the arched space to enhance the visual sense of a path leading to the coins. Ciro commented that he would consider changing the arrangement of the coins to the Tree of Life if he decides to reprint the deck, since he anticipates that the glossy version of the ToD will sell out toward the end of the year. Personally, I hope that both things happen – I hope Ciro reprints the deck and I think the Ten of Coins would be enhanced if the arrangement of the coins were changed to the Tree of Life configuration. My sense is that adding the paths is optional, since the configuration is distinctive enough to stand on its own. In fact, it adds a layer of subtlety if some people do not recognize it right away – it leaves them open to being pleasantly surprised later as they become more intimate with the deck. What are your thoughts about all of this?

The two stone mask or heads that sit on either side of the arch appear to be the same at first glance. However, if you imagine yourself standing in the arch looking outward (the same orientation as the masks, looking toward the viewer), the mask on the right has a crown and the one on the left does not. Since it would have been easy enough to make them the same, I believe the intention is to suggest a difference between them. On the right (traditionally associated with active, male, authority, yang, etc.) is a male figure that appears to be a king. On the left (traditionally associated with intuitive, female, nurturing, yin, etc.) is a male figure overgrown with leaves that looks very much like the Green Man.

Briefly, the Green Man is a mysterious entity that would seem to be of pagan origin but who is found in many Christian churches. The figure, often only a head and usually male, is typically a face either surrounded by or integrated with leaves and foliage. The origin of this figure appears to be lost, since there is little if any written accounts of him in history. The Green Man is associated with many deities and mythical figures, such as Dionysius, Cernunnos, Sylvanus, Jack in the green, John Barleycorn, Robin Hood, Puck, Peter Pan, and the Green Knight who confronted Gawain, one of the knights of the Round Table. In one account, which involves the perception of the world as feminine, the Green Man is seen as the son of Gaia or the Great Mother, both human and divine. Symbolically, the Green Man is associated with concepts of death and rebirth, the power of nature, ecstatic states, and the passion of humanity’s innocence or original nature.

One of the things I find deeply exciting about the Tarot of Dream is how one is continually rewarded by spending time with the imagery of the cards, and this juxtapositioning of the two masks is one example. Since I would like to encourage other people to share their experiences of this aspect of the card (or any other aspect), I will simply say that the two mask represent a treasure trove of meanings if you choose to explore them.

In the Haindl deck, the Ten of Coins is associated with Hexagram 48, “The Well.” This is one of my favorite hexagrams in the I Ching, because of the beautiful imagery that it evokes. The image is of wood below and water above –a wooden pole attached to a bucket that dips down into cool water, for example. The idea of The Well speaks to those things that are foundational, inexhaustible, and unchanging, both in socio-political structures and the individual. This reinforces the message of the Ten of Coins, which points to the existence of something both inexhaustibly magical and natural as the basis of prosperity and wholeness in human life. To me, the Fool’s journey is not complete until he or she travels through the Major Arcana and then applies that knowledge through all of the suits, ultimately arriving at the Ten of Coins - culmination of the most physical of the suits. This is reminiscent of the Zen sage’s “Return to the Marketplace” – the idea of giving something back to the community of humankind.

Mercury in Virgo is the Decan for this card, which the guidebook notes is, “A mental attitude (Mercury) of appreciation for the humble, the modest, the ordinary (Virgo)". I would add that Mercury is well aspected in Virgo, since it rules this sign, creating a resonance that is solid, practical, and down-to-earth. Communication and mental abilities are highly developed and the combination of Mercury in Virgo augers for success in scientific or teaching fields. If the card is reversed, there can be the suggestion of a cold, calculating, and unsympathetic attitude. There is also a suggestion of deep disappointment or frustration with life, leading to the formation of a critical, even neurotic, attitude. For example, when turned inward this could take the form of being a hypochondriac.
 

HarleyQuinnX

As usual, good insight in to the card. And, as usual, here I am to play clean-up and add my opinion again. :D

I think that this card not only is about "beauty in the ordinary", but also about "what makes it beautiful?" The side of the doorway which we are standing in is flourishing with trees and ivy along the walls. It seems ancient and the gates, which would normally restrict people from accessing it, are grown over with plants. This may suggest that there is a certain beauty that anyone can appreciate.

However, I noticed that the garden on the other side of the doorway looks neater, whether that is due to someone maintaining it or the fact that it is a newer forest. This brings me back to my point about this card being about "what makes it beautiful?". This garden is open and accessible to anyone who should wander into it, but not everyone may find it pleasing. Those that like the closer side of the fence may like it for different reasons: Some may enjoy the plants in general, some may enjoy the "untainted" nature of the scene, and others enjoy things like flower arrangements. The three groups will be attracted to different parts of the forest.

Another idea I've really been poking at is our subconscience. Going along with what I've stated earlier, this card may suggest that we may prefer certain smaller things due to our past experiences. Why do I like the name Murray? Because that was my cat's name! Others may not feel that sentiment, whether they've had a cat named Murray or not. I, on the other hand, will stop whatever I'm doing to pet a cute cat named Murray (Emphasis on 'cute'. Ugly cats need not apply. :D).
 

Sheri

Excellent analysis as always, Noir and HarleyQuinnX! What is left to say? :)

HarleyQuinnX, you mention something about the untainted nature on "our" side of the archway and how clean it looks on the other side. It got me thinking about one of the definitions as "light at the end of the tunnel". The overgrowth of plants on the path (eluded to with the plants directly in front of "us") may indicate that the path to this point, while not unpleasant, may have required more effort to accomplish,and once at the archway, the path seems easier. This seems to also fit then with what I have learned in other threads about the meaning of the number 10 in Tarot ~ it indicates an end of something.

valeria :)
 

Talisman

Just this:

Well done.

~ Talisman
 

Noir

HarleyQuinnX and valeria:
I wanted to pick up on the ideas that you mentioned for this card. If I am understanding you both correctly, it seems that your posts are both speaking to duality - conscious vs unconscious, inner vs outer, end vs beginning. To me, all of this is reflected in the two masks that sit at the entrance to the garden. The suggestions is that one needs to master duality before one can partake of the inner garden.

I very much liked what valeria said about having to work and toil before one achieves an end. Gurdjieff always made people pay in some way for any teachings he offered because he believed that people did not value what they did not pay for. In this card, I believe that it is having to toil, struggle, and bear the burdens of mundane reality that really makes you appreciate the "magic in everyday" that the card speaks about.

HarleyQuinnX brings up an ancient question that goes back to Socrates: "What is Beauty?" It is interesting to bring a post-modern sensibility to this question and suggest that what makes something beautiful is a construct of the individual mind. That is very insightful. I am curious, though, if one could speak of a universal principle of Beauty. Is that possible? For example, I find the cards of the ToD to be one of the most beautiful decks I have seen. Sadly, this is not universal but I am curious if there is something universal and if it has anything to do with the "magic in everyday". I believe there is - a rainbow or sunset come to mind.

Thoughts?
 

HarleyQuinnX

Welcome back, Noir!

Hiya Noir. Glad to see that you're back.

Yes, you are right. I was speaking about duality and ambiguity. People may find that the scene in the card is beautiful, but can't truly explain why. Others may not like it as much, and when asked why it isn't beautiful they can't give an explanation that would satisfy everyone.

I also like to connect this card to the Nine of Coins from this deck. When you look at the two side-by-side, and look at them, can you decide which one is more beautiful? You may have explanation fro which card that you like more, but that explanation may not hold up when applied to a different situation. For example, someone might say that they like the Ten of Coins more because it seems more pure and unaltered. If you apply that concept to people the answer will more than likely change. Would you choose a person who bathes and dresses well, or someone who has never bathed, doesn't wear clothes, and has never cut their hair or fingernails? We apply societal values on certain objects, and that's what makes them 'beautiful' but for objects which society as a whole doesn't define 'beauty' for, what are we to do? We have to use our own values to apply a label of "beautiful" or "not beautiful" to this object, and since our individual values are not always the same, it doesn't make sense to me that there would be a universal concept of beauty.

I find it's interesting that you brought up the sunset because a friend and I were arguing because I do not find sunsets beautiful. I just find them a little too ordinary. I happens everyday, and there's a sunrise which looks somewhat similar. What makes the sunset different from a sunrise? Some people love the reddish hue that the sky turns into. I personally don't like the color red, which is my personal preference.


And valeria, your analysis also brings up another good point. Once we reach the "light at the end of the tunnel", do we look back and think about where we are headed? Sure the path to this gate may have been rough and difficult to navigate, but was that part of the beauty in it? Will we feel unfulfilled in the impending "walk in the park" ahead of us? Will we look back to the other side of the fence only to see that it was greener than this side?

So many questions come up in this card. I wonder why Ciro chose to make that side of the gate seem so much clearer than "our" side.
 

Windhorse

...better late than never...

Great work folks!

Just a quickie on 'beauty' - Plotinus wrote an very interesting essay called "On Beauty" - it was the first of the "Enneads" that he wrote (chronologically). If you like neoplantonic philosophy, you'll love this essay.... I think the Internet Sacred Text Archive has a translation on their site... (www.sacred-text.com)

I actually pulled this card the other night, and my first instinct was to go with the standard interpretation of the 10 Coins...

...But I'm trying now to look into Ciro's imagery to come to the truth of this card. I'm trying to second-guess what was going on in his head when he was designing this one...

I like the 'light at the end of tunnel' idea, especially given that in Qabbalistic terms, this card is Malkuth in Assiah: the lowest sephirot in the lowest realm; the manifestation of manifestation; one could say this card is the archetypal 'real-world Planet Earth'.

Perhaps the 'world' of the 10-Coins lies on the other side of the gate - the end of the road, the last card in the Tarot journey. Perhaps, this golden-sunlit garden is where we would find another Fool ready to bound off on his new walk?

There is definitely a sense of darkness and light, and I keep getting reminded of Hermann Haindl's take on what the element Earth/Stones/Coins is all about, the 'as within, so without' idea. Tangible, solid reality (element of earth) isn't so tangible and solid as it seems on the surface - as one looks closer and closer, we see that Matter looks more and more like infinite space. So the denser we get, perhaps the lighter we get.... paradox, I know - but its all quantum science.
Taking this idea, if 10-Coins means the most manifest and material of realities, it is also the point where we begin again at the Qabbalistic 'ain-soph-aur' from which the Tree of Life emerges again.
In this particular image's context: the dark, heavy-foliaged garden is 'Malkuth in Assiah', but there is a gate, where on the other side lies the point where we started (the Trees are there, and the coins in the ToL structure) - and we realise that we didn't need to go on that long journey, that the answer was always where we started from.

This works with the idea suggested by the RWS card, with the old man looking on at his descendents....

Just an idea....