Plato and the 22 Arcana

catboxer

Plato revealed!

As much as (some) people are convinced that Plato's philosophy is the most important component of the content of the tarot trumps, that philosophy remains somewhat hard to either pin down or understand. Explanations of it, even those provided by Plato himself, can often leave a reader feeling puzzled.

Can anyone, in just a few words, express concisely the fundamental message of what Plato is saying, in a manner that could be applied to the tarot trumps? That is, can anyone isolate what Plato says that the trumps also say?

If anyone can, it would be Dr. Eugen Weber of the U.C.L.A. History Department. Besides being extraordinarily learned, this guy has an awe-inspiring command of language, and possesses the ability to make clear that which others turn into indecipherable mud. Here's what Weber has to say about Greek philosophers in general and Plato in particular, on his video lecture entitled "Greek Thought," from the Annenberg/CPB series, "The Western Tradition:"

"The Greek philosophers thought that the universal truths of mathematics could reveal an immutable, eternal reality behind the passing drama of everyday life. They believed that geometry could provide a model of timeless nature, just as a pyramid was supposed to do. Plato suggested that the truths of geometry were not reasoned deductions from experiment – from figures that people drew or constructed, but that they were ideal memories – memories of the properties of ideal geometric shapes that existed in some timeless realm that reason could barely apprehend.

And Plato argued further that there was an eternal world of ideas – prototypes of the debased reflections of the things that we glimpse here on earth. This theory, that we do not experience reality in the so-called real world, but only its dim shadow, this theory has haunted philosophy ever since."

The expression of this philosophy can be seen most clearly in that famous non-tarot, the Mantegna series, which begins with a vignette drawn from the "debased reflections" existing in our "so-called real world," a picture of a homeless beggar. It then proceeds upward, and with increasing degrees of abstraction and idealization, through the progressively higher conditions of humans on earth, then the muses, the academic disciplines, the "Cosmic Principles," and the "Firmaments of the Universe," that series of "crystal spheres" which ends with the "Prime Mover," and finally, the "First Cause."

It's a little tougher to see the philosophy in the trump sequence, but I believe it's there.

This is a difficult, sophisticated, and very beautiful philosophical statement. It's a secret doctrine only in the same way that Einstein's theory of relativity is a secret: even though it's widely published, it's not easy to understand or communicate, and thus will always remain an enigma to the uneducated, the literal-minded, and those who possess only a limited capacity for insight.

And the $64 question: do I believe it? The $64 answer is, I don't know.
 

jmd

Wonderful to have your regular thoughtful contributions again, catboxer - and wonderful thread, firemaiden! I'm going to have to spend some time going through everyone's posts and ideas... (I also wonder if a new thread looking at Dante's work may not be useful here - though I will not be able to contribute much, I would certainly want to read it!)

As said in one of catboxer's earlier post, it isn't so much Platonic thought, but the syncretism of Christian (and some forms of heretical Christian-type Gnosticism), which pervades the proto-Renaissance at the time of Tarot's emergence.

Here, catboxer's earlier question, 'why would someone use universally comprehensible symbols to transmit a secret doctrine' is both partially answered in your previous post ('It's a secret doctrine only in the same way that Einstein's theory of relativity is a secret [...]') and yet also takes on more than that in the milieu of the times.

For example, Pseudo-Dionysius's neo-platonism certainly directs one's being to the transcendent One (eg, in The Divine Names:592C&D where he writes '[...] what happens is this. We use whatever appropriate symbols we can for the things of God. With these analogies we are raised upward toward the truth of the mind's vision, a truth which is simple and one. [...]'), but there is more to the variated thoughts in that time's syncretism than merely this.

For one, the Talmudic influence of the reading of the sacred sriptures already allowed for multiple understandings according to both the task at hand but also the capacities of the reader (in Pseudo-Dionysian thought, given I've just quoted him, he talks of these capacities by analogy of the imprint - of the Good - as a seal upon various surfaces).

In addition, there is the important 5th century Hieroglyphics of Haropallo, translated into that same epoch which sees the emergence of Tarot. I include this important passage here (both quoted in P. L. Wilson's 'Speaking in Hieroglyphics' Alexandria 3: 306-327 - my emphasis throughout):
  • As Horapolla's first translator, Filippo Fasanini, put it: '[The hieroglyphs] were enigmatic and symbolic engravings, which were much used in ancient times and preceding centuries, especially among Egyptian prophets and teachers of religion, who considered it unlawful to expose the mysteries of wisdom in ordinary writing to lay people, as we do. And if they judged something to be a worhy piece of knowledge, they represented it in plain drawings of animals and other things in such a way that it was not easy for anyone to guess. But if anyone had learned and studied from Aristotle and others the properties of each thing. the particular nature and essence of each animal, he would at length, by putting together his conjectures about these symbols, grasp the enigma of the meaning and, because of this knowledge, be honoured above the uninitiated crowd.
In the same text(s), that other so important neo-platonist, Plotinus, is also included with a gloss by his Renaissance translator, Marsilio Ficino. Rather than giving the longish quote, I'll paraphrase here that for Plotinus, each image includes an understanding and wisdom and substance of the thing depicted, without recourse to discourse. Ficino's gloss explains this by lines of argument similar to Pseudo-Dionysius, in that he states that 'God doubtless has a knowledge of things which is not complex discursive thought about its subject, but is, as it were, the simple and steadfast form of it' (he proceeds to then explain that the Egyptian priests had 'the one stable image' of the Ourobouros for the complex concept of time).

I am not of course arguing that any of these thoughts were correct (thought I tend to personally concur with much of the syncretic neo-platonic current of thought). Rather, the very impulses of thought current at the time of the emergence of Tarot were vast, and that it was not, at any rate, the individual canon of Plato which may have been of great import, but, amongst other considerations, its interpretation via the thoughts of neo-platonic syncretists with a mainly Judeo-Christian influx.

As such, even the Platonic Forms, not (maybe) as understood by the ancient Greeks, but as understood a millenium later in the neo-platonists, and as these another millenium later again considered in a different Christian millieu, became of such importance. Together with the sacred undulations permeating the consciousness of those who dared to consider the possible meaning behind (beyond?) the Egyptian hieroglyphs, the conditions for Tarot's emergence was fecund.

If I seem to have gone in various directions simultaneously, it is probably mainly due to trying to write too much in too short a space... an image would have been better - or maybe a sequence of images ;) !
 

firemaiden

Oh, great, great, minds, Firemaiden bows down before you. She has nothing to add, only votes for president. Allow me to be so so uncouth, as to ask a for a few clarifications. (read: a couple of stupid questions)

-"syncretic" means the melding together of different religious traditions?

-Can you tell me who is "Pseudo-Dyonisius"?

-okay: the Talmudic influence of the reading of the sacred scriptures: Am I right in remembering faintly, this was the art of pondering the scriptures at length and depth, to derive from them any and all hidden meanings? and that this art of reading is what eventually inspired our modern school of sémiologie?

Modern French lit scholars are accused of looking for mysteries where none are, it justifies their livelihood. Perhaps the very activity of looking for mysteries creates them being there?
 

catboxer

aaaaargh!!

jmd:

When it comes to giving homework assignments, you're as bad as the most demanding professors I had in college. Oh well, it's all for the good I suppose.

O.k. -- Neoplatonism as the source of tarot...umm...

Pseudo-Dionysius (funny name) has been a blip on my radar screen from time to time. He was a fifth century (Greek?) neoplatonist whose writings were introduced into western Europe through diplomatic exchanges carried on by the Carolingian court in the eighth century, and exerted their maximum influence on theological thought in the 1100's. Apparently his mission was to recast Plato's philosophy into a context harmonious with orthodox Christianity. An appropriately scholarly article, for those wishing to find out more about him, is at http://orb.rhodes.edu/encyclop/culture/Philos/coulter.html (by Dale Coulter).

Plotinus is likewise a name that I'd heard but never investigated. He seems to have been the (second century?) originator of this whole neoplatonist thing, and it appears that Pseudo-Dionysius was following up on his work. According to "The Internet Encyclopedia of Philosophy" (http://www.utm.edu/research/iep/p/plotinus.htm),
"Plotinus is considered to be the founder of Neo-Platonism. Taking his lead from his reading of Plato, Plotinus developed a complex spiritual cosmology involving three hypostases: the One, the Intelligence, and the Soul. It is from the productive unity of these three Beings that all existence emanates. The principal of emanation is not simply causal, but also contemplative."

This sounds awfully much like the philosophy of Kaballah, so beloved by tarot occultists, in which all creation exists in the mind of God prior to the time he manifests it. More about that later.

I had never heard of "The Hieroglyphics of Horapollo." Besides the fact that his name in Spanish means "hour chicken," this is a reference that deserves a lot of further investigation, and there happens to be a book:

Translated and introduced by George Boas
With illustrations by Albrecht Dürer
Paper | 1993 | $18.95 / £12.95 | ISBN: 0-691-00092-1
148 pp. | 6 x 9 | 10 illus.

"Written reputedly by an Egyptian magus, Horapollo Niliacus, in the fourth century C.E., The Hieroglyphics of Horapollo is an anthology of nearly two hundred "hieroglyphics," or allegorical emblems, said to have been used by the Pharaonic scribes in describing natural and moral aspects of the world. Translated into Greek in 1505, it informed much of Western iconography from the sixteenth through the nineteenth centuries. This work not only tells how various types of natural phenomena, emotions, virtues, philosophical concepts, and human character-types were symbolized, but also explains why, for example, the universe is represented by a serpent swallowing its tail, filial affection by a stork, education by the heavens dropping dew, and a horoscopist by a person eating an hourglass.

In his introduction Boas explores the influence of The Hieroglyphics and the causes behind the rebirth of interest in symbolism in the sixteenth century. The illustrations to this edition were drawn by Albrecht Dürer on the verso pages of his copy of a Latin translation."

Now this is the kind of stuff that tarot occultists REALLY wax enthusiastic about. I've noted, however, that the book did not appear in Greek until after 1500 -- well after the appearance of tarot in Italy -- and presumably would not have been translated into Latin until some time after that. But would anyone care to investigate whether it might have influenced the development of the Marseilles style? (Somebody besides me, I mean -- sounds like too much work.) I think I have to buy this book, because I'm curious.

And finally, that inevitable can of worms, Talmudic studies, and that bone of contention among tarot historians, Kabbalah. No doubt, the Italian neoplatonists tried to incorporate as many different flavors of esoteric spirituality into their thinking as it would accommodate. They were, after all, trying to create and harmonize a grand synthesis of ALL esoteric spiritual systems. I don't doubt that they were thinking about those old Jews. So...a direct influence on the origins of tarot? Here's what Dummett and his pals have to say about:

"(Giovanni) Pico (de Mirandola) provided them (neoplatonists) with their first exposure to the Cabala. In 1486 he published Hebrew esoterica translated for him by an apostate Jew, 'Flavius Mithradates' (also known as Raymondo Moncada, but born Samuel ben Nissim Abulfaraj). As we saw, humanist scholars were reviving and synthesising a variety of exotic philosophies and mystical religions. Pico tried to reconcile Cabalism with Christianity and Neoplatonism." ("A Wicked Pack," p. 14)

If this is correct, Kabbalah could not have influenced the origins of tarot, which appeared no later than 1441. But it might have had an influence on the later development of the cards.

I think I'm done.
 

Cerulean

A wandering troubadeur strums...

Hello all:
I've probably already posted Dante and the Mantegna elsewhere, but here's a note:

Respectful snip:
A. The expression of this philosophy can be seen most clearly in that famous non-tarot, the Mantegna series...through the progressively higher conditions of humans on earth, then the muses, the academic disciplines, the "Cosmic Principles," and the "Firmaments of the Universe," that series of "crystal spheres" which ends with the "Prime Mover," and finally, the "First Cause."

Mari's note
B.. The allegorical pattern from the Moon through the Heavenly spheres was probably common in the late 1200s. If not, they circulated in 1313-1321 with Paradiso, after Dante Algheri's death in Ravenna. His Paradiso had this direct sequence--the information wasn't exclusive, either to the populace of Ravenna. Every time Dante completed a canto, they had a celebration and a reading. I believe they would've tried to ring the Ravenna bells all the way to Florence if they could.

Whatever Dante Algheri wrote, he put together many things that were common knowledge to people then who wrote poetry and studied Latin and Roman translations of Greek thought. But he also wrote for his class, the merchants and small landowners who became town councilmen for public works. He was exiled for his allegiance to the party that did not support the current Pope His subsequent views on replacing what Florentines were in power caused a 'permanent' ban from returning to Florence later.

I've wandered. What I meant to say his views, coming both from Roman allegory and St. Thomas Aquinas, were well-known at the time. But everyone who enjoys his work marvels how he put it together as he did, being constantly on the run among different city-states as a kind of emissary for hire.

And below, I'm also posting the link to Berti's site that explained a little of the Dante Tarot and Dante's works---I'd love to see his entire book in English.

http:
//www.giordanoberti.it/english/html/giochi_tarocchi_dante.htm

The Digital Dante project is wonderful if you need more information about Dante Algheri. The art and other samples inspire me...although I've been thinking the Sandro Botticelli and Gustave Dore illustrations would be great as a suit for the tarot, maybe Wands or Swords. His New Life seems to me a story of the Cups.

I'm more inclined to follow threads on the mix of astrological mythology, courtly love and developing poetry as influences in tarot trumps. Those who are well versed in Plato's 'origins of love' and extending it out to the view of us trying to find our better halves might find also find tarot threads links that lead to 'love conquers all.'
 

Ross G Caldwell

Re: Horapollo

catboxer said:
I had never heard of "The Hieroglyphics of Horapollo." Besides the fact that his name in Spanish means "hour chicken,"

something he himself could have written :)

this is a reference that deserves a lot of further investigation, and there happens to be a book:

Translated and introduced by George Boas
With illustrations by Albrecht Dürer
Paper | 1993 | $18.95 / £12.95 | ISBN: 0-691-00092-1
148 pp. | 6 x 9 | 10 illus.

Now this is the kind of stuff that tarot occultists REALLY wax enthusiastic about. I've noted, however, that the book did not appear in Greek until after 1500 -- well after the appearance of tarot in Italy -- and presumably would not have been translated into Latin until some time after that. But would anyone care to investigate whether it might have influenced the development of the Marseilles style? (Somebody besides me, I mean -- sounds like too much work.) I think I have to buy this book, because I'm curious.


Single manuscript discovered in 1419 by a monk on the Greek island of Andros

I did some work on the potential of this book to have influenced the design of the cards, but I can find no link. That is to say there is not such a link, but it is not an easy task to trace every humanists comings and goings between Florence, where the manuscript stayed since 1422, and Milan/Pavia, and Ferrara, where the tarot designs we know come from.

http://web.kyoto-inet.or.jp/people/tiakio/hieroglyphica/testimonia.html (don't bother to download the fonts if you don't want to - the text is a little past the gibberish, a little lower on the page)

"The manuscript of the Hieroglyphica was brought to Florence from the island of Andros by Cristoforo Buondelmonti in 1422 (today in Florence, Bibliotheca Laurenziana, Plut.69,27).
Although certainly known by a narrow Florentine circle of humanists throughout the 15th century, it became really popular only towards the end of the century, characterised by a new sensitivity to Egyptian wisdom, as hallmarked by Francesco Colonnas Hypnerotomachia Poliphilii (written before 1467, published Venice: Aldus Manutius 1499).
Its editio princeps in Greek was also published by Aldus in 1505, and it had more than 30 editions and translations throughout the 16th century, adaptations and commentaries not counted."

I've only *seen* Dürer's edition; Michel Nostradamus apparently made one of the earliest French translations, and there is an illustrated French translation by Jean Martin in 1543.

You can read and download a PDF of the first Aldine edition at the gallica.fr website
http://gallica.bnf.fr/scripts/ConsultationTout.exe?E=0&O=N072112

Of course it's in a renaissance Greek font, and there are no illustrations. You can get the Jean Martin French there as well

http://gallica.bnf.fr - click on Recherche, then enter Horapollon in the Auteur field.

So the manuscript existed and was known to humanists. But when it comes down to the nitty gritty, who knew what when, a direct connection with either the Estense or the Visconti court cannot be made. Or at least, I should say, I haven't made it. But of those who knew Greek, you have Guarino da Verona, Leonello's teacher, who was familiar with Florence (if I remember correctly), and Francesco Filelfo, in and out of Milan during Filippo's time (and later). Both could have seen this manuscript - we wouldn't know possibly without studying their letters, which I haven't done.

Then there is the fact that none of the descriptions in the book really looks like a tarot card, although of course both the triumphs and Horapollo share common symbols.

Ross
 

Yatima

virtues

well done firemaiden!
match of six virtues! Why not relate charity with the sun, which is the Good for Plato and the basis for the selfless goodness of charity?
 

Ross G Caldwell

Re: virtues

Yatima said:
well done firemaiden!
match of six virtues! Why not relate charity with the sun, which is the Good for Plato and the basis for the selfless goodness of charity?

There is the Sun in the "Ercole d'Este" tarot, usually dated around 1473 (numbered "18" incidentally), which shows a bearded man seated in what looks like a barrel, but could be a cave, explaining something to a younger man, standing. Perhaps it is Plato explaining the allegory of the cave?

Ross
 

Huck

Re: Re: virtues

Ross G Caldwell said:
There is the Sun in the "Ercole d'Este" tarot, usually dated around 1473 (numbered "18" incidentally), which shows a bearded man seated in what looks like a barrel, but could be a cave, explaining something to a younger man, standing. Perhaps it is Plato explaining the allegory of the cave?

Ross

Ah no.

That's Diogenes talking to Alexander, that he should go away, cause he was throwing shadow on Diogenes. Famous, popular story.
 

Ross G Caldwell

Re: Re: Re: virtues

Huck said:
Ah no.

That's Diogenes talking to Alexander, that he should go away, cause he was throwing shadow on Diogenes. Famous, popular story.

That's a good explanation. I found this picture of "Diogenes in his tub (Pithos)" (big jars used to store things underground) -

http://www.perseus.tufts.edu/cgi-bin/image?lookup=1999.04.0062.fig00518

I'll just have to find out what sources for Diogenes were available to them. By 1473, probably everything. And this Sun card is rather unique - most show either the Spinner or the Twins.

Ross