chaosbloom
I have recently started reading through Paul Fenton-Smith's The Tarot Revealed. It seemed interesting until I got to a very small chapter dealing with the Tarot's history and after that I just found it very hard to take the book seriously. He makes the claim that it originated somewhere thousands of years ago and that it was based on the kabbalah. As far as it's historically certain, kaballah originated in the southwest Mediterranean in the late middle ages at least in its current recognisable form. The tarot as well. He then repeats part of the tale invented by de Gebelin, that knowledge was suppressed but surfaced again disguised as a card game. At least he doesn't mention Egypt, that's something. Finally he claims that many believe it stems from the I Ching. I'm not sure how something that has apparently existed for thousands of years could have been influenced by the I Ching which was virtually unknown in the west until the early modern era. And how can the I Ching and the kabbalah be reconciled so easily.
Is there really any need for this any more? The system works regardless of its origins. The 19th century brotherhoods needed myths like those to justify their appropriation of a traditional popular divination tool. Upper class philosophers would not accept dealing with a supposedly vulgar tool used by gypsies and street tricksters so the whole idea that it was deeply ancient, carried secret knowledge and that the real meanings were held and could only be disseminated by the illuminates of the brotherhoods, was perfect for them. Does anyone today care if this system was used by gypsies for popular divination?
Even more disappointing is that I virtually never see any discussion, at least by actual practitioners and not historians, of the pretty clearly medieval symbols used. The Marseilles deck variations are pretty full of a kind of late medieval black humor that's still entertaining. The Popess (later transformed into the High Priestess) seems to refer to the legend of Pope Joan, a woman who pretended to be a male Pope for years until her secret was revealed when she gave birth during a procession. But a more obscure implication for modern readers would be the Popess being the various female members of the Italian aristocracy who succeeded each other in the papal throne, women who could control the Pope by being their mothers, daughters or mistresses. Although I'm not sure if Lucrezia Borgia did actually control her father, Pope Alexander VI, I can easily see the rival Sforza family using her or other aristocrats as models for the Popess, and getting a chuckle out of the whole thing.
There are other cards that are pretty obvious. The Wheel of Fortune, a pretty solidly western symbol, looks like the Katherine Wheel, making fortune look like a well known medieval torture device. The Death card being a completely traditional memento mori example. I can even see some influence of Byzantine iconography mixed with western motifs in the Sforza deck, which isn't too odd considering that there might have been some artistic influence by the fleeing Byzantines after the fall of Constantinople.
It really bugs me that instead of talking about these very nice and interesting things we get rehashings of century old myths about the secret origins of the tarot.
Is there really any need for this any more? The system works regardless of its origins. The 19th century brotherhoods needed myths like those to justify their appropriation of a traditional popular divination tool. Upper class philosophers would not accept dealing with a supposedly vulgar tool used by gypsies and street tricksters so the whole idea that it was deeply ancient, carried secret knowledge and that the real meanings were held and could only be disseminated by the illuminates of the brotherhoods, was perfect for them. Does anyone today care if this system was used by gypsies for popular divination?
Even more disappointing is that I virtually never see any discussion, at least by actual practitioners and not historians, of the pretty clearly medieval symbols used. The Marseilles deck variations are pretty full of a kind of late medieval black humor that's still entertaining. The Popess (later transformed into the High Priestess) seems to refer to the legend of Pope Joan, a woman who pretended to be a male Pope for years until her secret was revealed when she gave birth during a procession. But a more obscure implication for modern readers would be the Popess being the various female members of the Italian aristocracy who succeeded each other in the papal throne, women who could control the Pope by being their mothers, daughters or mistresses. Although I'm not sure if Lucrezia Borgia did actually control her father, Pope Alexander VI, I can easily see the rival Sforza family using her or other aristocrats as models for the Popess, and getting a chuckle out of the whole thing.
There are other cards that are pretty obvious. The Wheel of Fortune, a pretty solidly western symbol, looks like the Katherine Wheel, making fortune look like a well known medieval torture device. The Death card being a completely traditional memento mori example. I can even see some influence of Byzantine iconography mixed with western motifs in the Sforza deck, which isn't too odd considering that there might have been some artistic influence by the fleeing Byzantines after the fall of Constantinople.
It really bugs me that instead of talking about these very nice and interesting things we get rehashings of century old myths about the secret origins of the tarot.