Xiiii - Lemperance
Supletion
again, as i was asked, i would like to bring some points from this webpage:
http://www.bendov.info/heb/tarot/major/m14.htm
concerning the symbols of this card (the webpage is in hebrew, and you can see there two versions of the marseilles' Temperance - camoin's version and paul marteau's version).
this is the first card i studied to the depth, and i must say that seeing the symbols on the card the way i do (and as ill explain below), the version of the card in the original post of this thread is certainly not one of the better versions - it lacks some aspects.
the symbols as explained in the page:
the temperance unites opposite sides - you can see that in the color of the figure's cloths - the dress is half red and half blue, the chest is blue and the sleeves are red (blue on the inside, red on the outside), and the hair is blue while the flower in the middle of it is red (this time, red on the inside and blue on the outside). that is in marteau's version, and in his version one jar is blue and the other is red. in camoin's version, the jars and the hair are yellow, but in the bottom of the dress you can see two yellow "snakes" marging into each other.
the stream between the jars is double, meaning the liquid isnt just pouring from the higher jar to the lower jar, but its a mutual stream. in both versions (camoin and mareau), there are four streams starting at the right jar, but only two streams get to the left jar - two streams are disappearing in the middle, looking as if they are merging with the angel's cloths. this shows that the temperance is working on its inner self, it purifies itself, and the red sleeves show that the person described is actively and conciously performing this purification.
the temperance works slowly and carefully, not losing one drop, but his work isnt done yet - it has big wings, but they arent spread, and it is connected to the ground with a large basis. this means the process is not complete yet, there is still work to do before spreading your wings and taking off.
while the red sleeves show activity in the pratical field, the blue chest shows repression in the emotional field. it also shows in the cleavage in the upper part of the chest, in the intentionally blurred sexuality of the image, and in the position of the figure - half round, going back into itself. also, the streams from the jars are directed to the center of the card - they are streaming inside and not outside. this might show emotional and sexual repression, a recurring process that isnt going anywhere, etc'.
comparison with other cards of the major arcana:
the 13th card (a.k.a. Death), the one that comes before temperance, shows a sudden change, the temperance works slowly and describes slow processes that take time, investment that would carry results in the long term.
the devil, the following card to the temperance, describes expressing inner passions and feelings, while the temperance is holding them back. the devil shows opposites living next to eachother, while the temperance merges between them. in the devil card, the devil figure has both male and female sexual body parts, shown out and exposed - and on the other hand, the temperance's figure's sexuality is blurred - on first sight it seems like a female (long hair and a dress), but it's chest is flatten, it is heavily dressed, the face are somewhat firm, and the body shape is almost square and not appealing at all (in an opposite to the two nude figures on the sides of the devil).
the most interesting comparison, however, in my opinion, is the one to the Strength and Justice cards (those two cards have a certain connection between them already - as you might have noticed, in the marseilles decks, the strength is number 11 and and the justice is number 8, but the golden dawn switched between them, and in Waite's Raider deck, the strength is number 8 and the the justice is number 11).
the 4 good qualities of christianity are strength, justice, temperance and caution (im not sure im using the correct english terms). 3 of those have major arcana cards in tarot decks, and those cards might have something to do together.
the temperance also shows balance between the mind and emotions and the body and passions. it shows in the fact that one jar is above the figure's waist, and the other is beneath it - and the streams meet in the middle, at the waist.
those three cards might stand for the evolvement in the relations between those two parts - the upper body part (which stands for mind and emotion) and the lower body part (which stand for body and passion).
in the 8th card, the justice, the upper part controls the lower part completely and strictly. in the 11th card, the strength, the upper part still controls the lower part - but the contact is softer than the firm control in the justice, and the upper part doesnt hold the lower part back completely - it lets it express itself (i wont get into interpretating the strength card, but as you can see there, the woman's hand keeps the lion's mouth opened). in the temperance, there is no longer need of control relations and power games - the two parts are expressing themselves equally, streaming into each other and merging to one.
i've seen someone attaching camoin's temperance already, so ill attach here paul marteau's version of the temperance (paul marteau's marseilles deck is the one i work with).
http://www.bendov.info/heb/tarot/major/m14.htm
concerning the symbols of this card (the webpage is in hebrew, and you can see there two versions of the marseilles' Temperance - camoin's version and paul marteau's version).
this is the first card i studied to the depth, and i must say that seeing the symbols on the card the way i do (and as ill explain below), the version of the card in the original post of this thread is certainly not one of the better versions - it lacks some aspects.
the symbols as explained in the page:
the temperance unites opposite sides - you can see that in the color of the figure's cloths - the dress is half red and half blue, the chest is blue and the sleeves are red (blue on the inside, red on the outside), and the hair is blue while the flower in the middle of it is red (this time, red on the inside and blue on the outside). that is in marteau's version, and in his version one jar is blue and the other is red. in camoin's version, the jars and the hair are yellow, but in the bottom of the dress you can see two yellow "snakes" marging into each other.
the stream between the jars is double, meaning the liquid isnt just pouring from the higher jar to the lower jar, but its a mutual stream. in both versions (camoin and mareau), there are four streams starting at the right jar, but only two streams get to the left jar - two streams are disappearing in the middle, looking as if they are merging with the angel's cloths. this shows that the temperance is working on its inner self, it purifies itself, and the red sleeves show that the person described is actively and conciously performing this purification.
the temperance works slowly and carefully, not losing one drop, but his work isnt done yet - it has big wings, but they arent spread, and it is connected to the ground with a large basis. this means the process is not complete yet, there is still work to do before spreading your wings and taking off.
while the red sleeves show activity in the pratical field, the blue chest shows repression in the emotional field. it also shows in the cleavage in the upper part of the chest, in the intentionally blurred sexuality of the image, and in the position of the figure - half round, going back into itself. also, the streams from the jars are directed to the center of the card - they are streaming inside and not outside. this might show emotional and sexual repression, a recurring process that isnt going anywhere, etc'.
comparison with other cards of the major arcana:
the 13th card (a.k.a. Death), the one that comes before temperance, shows a sudden change, the temperance works slowly and describes slow processes that take time, investment that would carry results in the long term.
the devil, the following card to the temperance, describes expressing inner passions and feelings, while the temperance is holding them back. the devil shows opposites living next to eachother, while the temperance merges between them. in the devil card, the devil figure has both male and female sexual body parts, shown out and exposed - and on the other hand, the temperance's figure's sexuality is blurred - on first sight it seems like a female (long hair and a dress), but it's chest is flatten, it is heavily dressed, the face are somewhat firm, and the body shape is almost square and not appealing at all (in an opposite to the two nude figures on the sides of the devil).
the most interesting comparison, however, in my opinion, is the one to the Strength and Justice cards (those two cards have a certain connection between them already - as you might have noticed, in the marseilles decks, the strength is number 11 and and the justice is number 8, but the golden dawn switched between them, and in Waite's Raider deck, the strength is number 8 and the the justice is number 11).
the 4 good qualities of christianity are strength, justice, temperance and caution (im not sure im using the correct english terms). 3 of those have major arcana cards in tarot decks, and those cards might have something to do together.
the temperance also shows balance between the mind and emotions and the body and passions. it shows in the fact that one jar is above the figure's waist, and the other is beneath it - and the streams meet in the middle, at the waist.
those three cards might stand for the evolvement in the relations between those two parts - the upper body part (which stands for mind and emotion) and the lower body part (which stand for body and passion).
in the 8th card, the justice, the upper part controls the lower part completely and strictly. in the 11th card, the strength, the upper part still controls the lower part - but the contact is softer than the firm control in the justice, and the upper part doesnt hold the lower part back completely - it lets it express itself (i wont get into interpretating the strength card, but as you can see there, the woman's hand keeps the lion's mouth opened). in the temperance, there is no longer need of control relations and power games - the two parts are expressing themselves equally, streaming into each other and merging to one.
i've seen someone attaching camoin's temperance already, so ill attach here paul marteau's version of the temperance (paul marteau's marseilles deck is the one i work with).
Attachments
jmd
Nice to have you on board, Supletion. It's wonderful to see additional interests and views on these cards.
As you said, the site you linked I am unable to read, as all I get are question marks (since I changed over my OS, I do not have Hebrew fonts - which may contribute... and even if I had, I would probably only be able to read, unfortunately, but few words)
As you mention, the red may often indicate an activity or Will force manifesting itself, and the blue may indicate an emotional aspect. Camoin makes special note that early decks had up to ten different colours (or tones), which were reduced to four or five with more 'modern' printing methods. It is only recently that the number of printed colours has been increased to surpass the number utilised in older hand-painted ones.
With the colours used, to be sure, their very position upon the card - and especially its figure - becomes symbolically important, and note your important mention that, in at least one version of the Marseilles, the sleeves, suggesting the activity of the arms, are red.
With regards to the sexuality of the figure, as an angelic representation, it is asexual. On the other hand, Temperance also has a long iconographic history of being represented, along with the other virtues, as feminine. The card encapsulates both these aspects.
It is also worthy to note that the four cardinal virtues - which you mention (Strength, Justice, Temperance and Wisdom) - are pre-Christian. The archetypically Christian ones are commonly referred to as the three Theological virtues of Faith, Hope and Charity/Love (making a total of seven).
Again, it is wonderful to have additional input, and look forward to reading your other posts when I have a little more time tomorrow.
As you said, the site you linked I am unable to read, as all I get are question marks (since I changed over my OS, I do not have Hebrew fonts - which may contribute... and even if I had, I would probably only be able to read, unfortunately, but few words)
As you mention, the red may often indicate an activity or Will force manifesting itself, and the blue may indicate an emotional aspect. Camoin makes special note that early decks had up to ten different colours (or tones), which were reduced to four or five with more 'modern' printing methods. It is only recently that the number of printed colours has been increased to surpass the number utilised in older hand-painted ones.
With the colours used, to be sure, their very position upon the card - and especially its figure - becomes symbolically important, and note your important mention that, in at least one version of the Marseilles, the sleeves, suggesting the activity of the arms, are red.
With regards to the sexuality of the figure, as an angelic representation, it is asexual. On the other hand, Temperance also has a long iconographic history of being represented, along with the other virtues, as feminine. The card encapsulates both these aspects.
It is also worthy to note that the four cardinal virtues - which you mention (Strength, Justice, Temperance and Wisdom) - are pre-Christian. The archetypically Christian ones are commonly referred to as the three Theological virtues of Faith, Hope and Charity/Love (making a total of seven).
Again, it is wonderful to have additional input, and look forward to reading your other posts when I have a little more time tomorrow.
jmd
Much earlier in this thread, Mari_Hoshizaki mentions that earlier texts are periodically re-discovered and oft re-interpreted in the context of the times. This of course occured during the 12th and 13th centuries as those important central French Cathedrals dedicated to Notre Dame were built (in Paris, Amiens, Reims, and of course the better known Chartres, already mentioned a number of times in this thread).
As I mentioned in the opening to this thread, one of the aspects of the card's iconography, apart from its wonderful and obvious connection to one of the four cardinal virtues, is its inherent connection to alchemy.
I was recently reflecting on this, and considered how each of the card images could also be viewed from more alchemical perspectives. I am not claiming that the Tarot in any way arose from alchemical considerations - rather, that whatever breathed through the spiritual alchemical furnace also and similarly made its way into other areas of the spiritual quest and path. In Tarot iconography, this card certainly has such an 'obvious' association that I thought it would be easier beginning here, and moving through the deck in no definite order.
...and so I begin, from so many possibilities, with a depiction of one of the more famous of women alchemist, generally known under her name of Mary (or Miriam) the Alexandrian Jewess.
Apart from being credited with a few inventions, the care in the mixing of the correct elements in the correct vessels - some of which she is credited to have invented - reflects well on this card.
As I mentioned in the opening to this thread, one of the aspects of the card's iconography, apart from its wonderful and obvious connection to one of the four cardinal virtues, is its inherent connection to alchemy.
I was recently reflecting on this, and considered how each of the card images could also be viewed from more alchemical perspectives. I am not claiming that the Tarot in any way arose from alchemical considerations - rather, that whatever breathed through the spiritual alchemical furnace also and similarly made its way into other areas of the spiritual quest and path. In Tarot iconography, this card certainly has such an 'obvious' association that I thought it would be easier beginning here, and moving through the deck in no definite order.
...and so I begin, from so many possibilities, with a depiction of one of the more famous of women alchemist, generally known under her name of Mary (or Miriam) the Alexandrian Jewess.
Apart from being credited with a few inventions, the care in the mixing of the correct elements in the correct vessels - some of which she is credited to have invented - reflects well on this card.
Attachments
Yatima
Fluency, fluidity, flux
jmd, you wrote very right, I think:
"Many aspects of this card are fascinating. Firstly, of course, the figure is clearly winged in nearly all Marseilles versions of this card, suggesting not an incarnated human being, but either an angel or, if taking the sequence of the previous cards into consideration, of the winged Spirit of the person having passed the gates of Death."
Isn't is special to the Marseilles decks that they put Temperance between Death and Devil? Other traditions have brought her in relation next to other virtues in the first half of the deck.
But exactly here, after Death, she really has an extraordinary meaning as fluidity of existence that does not end with death but has to accomplish a spiritual journey of loosing selfishness.
In this view (and on a spiritual level), I think (although tenatevely) that this journey leads to the House of God that in a neoplatonic view could stand for the "mystical death" (one has to die to "see" God), appears as fluidity again in XVII and leads in XVIII literaly to the loss of selfness (there is nobody left in this card) and, finally, in XIX to "rebirth" as children under the sun (isn't this alreads the kingdom of God in nuce right before resurrection of XX?).
jmd, you wrote very right, I think:
"Many aspects of this card are fascinating. Firstly, of course, the figure is clearly winged in nearly all Marseilles versions of this card, suggesting not an incarnated human being, but either an angel or, if taking the sequence of the previous cards into consideration, of the winged Spirit of the person having passed the gates of Death."
Isn't is special to the Marseilles decks that they put Temperance between Death and Devil? Other traditions have brought her in relation next to other virtues in the first half of the deck.
But exactly here, after Death, she really has an extraordinary meaning as fluidity of existence that does not end with death but has to accomplish a spiritual journey of loosing selfishness.
In this view (and on a spiritual level), I think (although tenatevely) that this journey leads to the House of God that in a neoplatonic view could stand for the "mystical death" (one has to die to "see" God), appears as fluidity again in XVII and leads in XVIII literaly to the loss of selfness (there is nobody left in this card) and, finally, in XIX to "rebirth" as children under the sun (isn't this alreads the kingdom of God in nuce right before resurrection of XX?).
