Esoteric Coffeehouse

I have mentioned in my previous articles about the influence of Eliphas Levi on the Rider-Waite tarot, the most common tarot pack in the world today. Today, I want to look slightly more in depth at how Levi’s Kabbalistico-Egyptian theory of tarot origins blended together with A.E. Waite’s own interpretations to yield the well-known cards of modern tarot. To do so, I will look at the symbolism and meaning of the 10th Rider-Waite tarot card: the Wheel of Fortune.

The Wheel of Fortune is usually considered a good card, bringing about luck, change, and good fortune (1). Yet other people deem it is a bad card, because it signals major change, even if usually of a good sort (2). Obviously, the value that we bestow on this card is linked with the perception we have of change in general.

A.E. Waite, the spiritual author of the Rider-Waite tarot, openly attributed the conception of the Wheel of Fortune card to Eliphas Levi (3). Therefore, a good starting point to understanding this card would be to delve into Levi’s vision of the Wheel of Fortune.

Levi built an entire philosophy surrounding the word “Rota” which means “wheel” in Latin. He believed that Rota stood for the enigmatic Labarum, or the monogram of Christ, and that it hid the whole of magical science within it (4). He furthermore affirmed that Rota was transliterated into Taro by esoteric adepts. He also played with the letters in the tradition of the Kabbala to form the word “Tora” as well – the first five books of the Hebrew Bible. This word play is clearly visible on the card’s wheel spokes: you can read clockwise Taro, counterclockwise Tora and starting on the bottom Rota. This is of course, not all there is, because the four letters also point out to the cardinal signs. Thus one can also imagine the movement of the sun from east (Alpha) to west (Omega). Interspersed between this circulatory movement is the name of God (YHWH) inscribed on the wheel, to suggest that all this change is overseen by the divine will. Also on the spokes of the inner wheel (there are three enclosed wheels one into the other) are the alchemical symbols of sulphur, salt and mercury as well as water. This reflects Levi’s desire of combining all esoteric knowledge, including alchemy, into the “Taro”. Nevertheless, these particular symbols were introduced by Waite according to Golden Dawn imagery (5).

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I have written, about two articles ago, about French occultist Eliphas Levi’s contribution to tarot mythology. I have decided to go farther and show how the tarot was taken up by the Golden Dawn circle at the end of the 19th century and turned into a major spiritual guidance tool.

The Golden Dawn movement per se surely deserves another article, but for now I will just summarize it as a nineteenth century magical movement that drew heavily on the ‘occultist’ strand as defined by Eliphas Levi, Bulwer-Lytton and the Rosicrucian movements. It was founded by William Westcott and Samuel MacGregor Mathers. Mathers was a brilliant thinker with a particular talent at consolidating occult knowledge floating in esoteric circles at the time. As an example, he drew up the first Golden Dawn tarot deck (now lost), whose Arcana corresponded not only to Kabbalistic paths (as in Levi) but also to the initiatory levels of the Golden Dawn system (1). In Golden Dawn terms, the gradual mastery of the Tarot became similar to the novice’s journey of spiritual awakening. It was probably part of this concept of adept progress that novices were encouraged to reproduce their own sets of cards from Mathers’ templates for quite a long time (2).

The importance of the Golden Dawn tarot is also emphasized by the fact that the scroll containing Mathers’ writings on the Tarot was sometimes presented during the Golden Dawn ceremony. The four suits (wands, coins, cups and swords) were also sometimes used as ceremonial props (3).

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I have written sometime ago an article on the Egyptian myth of the Tarot (you can find it here if you missed it). I mentioned there that the ‘creators’ of the Tarot as we know it were basically 18th century esoteric writers Antoine Court de Gebelin and his friend the Count of Mallet. Yet Tarot would not be the esoteric phenomenon it is today (a search on the internet on ‘tarot’ would pull a staggering amount of 28 million entries) if it weren’t for another Frenchman, Alphonse Louis Constant, known as Eliphas Levi (1810 -1875).

Levi was a shoemaker’s son, just like another famous esotericist, Jacob Boehme. He was due to become a priest, but he gave up and got involved in the whirlwind of the 1848 revolution (1). When his political ambitions became frustrated, Levi turned to a serious study of Western esoteric traditions. In the process, he became acquainted with two key traditions: the Jewish Kabbalah and the Tarot.

The Kabbalah is a set of esoteric teachings developed by medieval Jews, and based upon a hidden understanding of the Hebrew Bible. At the core of the Kabbalah stays the Tree of Life, a complex system representing the 10 emanations of God into His Creation and the relationships amongst them. Kabbalah had been enthusiastically taken up by the Hermetic thinkers of Renaissance Europe, particularly Pico della Mirandola, Johann Reuchlin, Cornelius Agrippa and others. Christian Cabala, or Qabalah, as it became known, may have altered the original Jewish thought, but it had a tremendous influence on modern esoteric traditions. Levi enthusiastically subscribed to the Kabbalah and included it in his works.

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Back in the late 1700s, a Freemason by the name of Court de Gebelin was shown for the first time a tarot pack. He studied the cards and a revelation hit him: they were living remnants of ancient Egyptian religion. He was so convinced of his intuition that he wrote an entire treatise on the Tarot and its Egyptian origins (1). He did not offer much in terms of evidence to uphold his conviction, but we must keep in mind that he was writing at a time when the so-called ‘scientific method’ was not part of the humanistic tradition. A friend of his, the Count of Mellet, wrote a supporting essay that went even further by claiming that Tarot was the surviving “book of Thoth” that contained divine Egyptian revelations (2). Gebelin and Mellet’s work gave birth to an entire esoteric tradition that maintained the Egyptian origin of the play pack. Following this tradition, a French cartomancer named Eteilla became famous by expanding on the Egyptian Tarot, and later in the 19th century, the physician Papus affirmed that the Tarot was the “Bible of Bibles”, the book of Hermes Trismegistus, kept alive by the Gypsies (3). It was only at the beginning of the 20th century, in the authoritative work of A.E.Waite, Pictorial Key to the Tarot, that he remonstrated those that believed that the pack could have possibly originated from Egypt (4). However, remnants of the old esoteric belief can still be found in Aleister Crowley’s Book of Thoth tarot pack and modern tarot creations like the Ancient Egyptian Tarot (5, 6).

Waite’s deconstructionism was based on a rising modern concern with recorded history. In this sense, he was correct: apparently, the first tarot packs in a recognizable form rose in Italy in the 1400s, before spreading far and wide across Europe (7). In the 1600 and 1700s the tarot game was at its peak, being played in many intellectual salons throughout the continent (8). There is little evidence that any mystical or esoteric meaning was associated to the Tarot prior to Gebelin’s revelation: apparently it was only in the early 1700s that symbolism began to be associated with it (9). What is certain is that, after Gebelin and Mallet’s “manifestos”, Tarot became less and less of a game and more and more of an instrument of divination, meditation or esoteric philosophy, as it remains until today. You can hardly hear of anyone actually playing the Tarot, even though except for the 22 trumps, the others are very similar to the normal playing cards.

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