The Fool's Wheel

The Fool's Wheel, as discussed in an earlier post, is one of four plausible alternatives to a schema of Tarot interpretation created by Oswald Wirth and called (by me, not him) the Lover's Wheel. The idea is to arrange the 22 Major Arcana in a circle and contrast each card with those horizontally and vertically opposite it. Wirth put's the Lover card at the top of the wheel, while I put the Fool there -- hence the names.

This is what the Fool's Wheel looks like. The numbers represent the trumps in their standard Marseille order (Justice is 8, Strength is 11). The Fool is represented by the number 0 as a matter of convenience, though in fact it is unnumbered.

As the colored lines show, the Fool's Wheel organizes the cards into five groups of four (the colored rectangles) and a single pair (the central axis). Let's look at each of these groups in turn, starting from the center and working our way out.

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Group 1: Strength and Weakness

These two cards both show a person interacting with a potentially dangerous animal. The Fool is being attacked by a dog (or, as some commentators would have it, a lynx), while the woman on the Strength card is holding open the jaws of a lion. While the Fool, being equipped with a stout walking stick, should be able to defend himself from a dog quite easily, it has apparently not occurred to him to do so. The woman on the Strength card, in contrast, effortlessly subdues a lion despite being entirely unarmed. The fact that she is holding its jaws open (not closed, as an alligator wrestler would do) shows that her power over the beast is more psychological than physical.

While the names Strength and La Force have become conventional in English and French, the original name of the 11th arcanum is La Fortezza -- that is, the classical virtue of Fortitude or courage. (Justice and Temperance are also among the Major Arcana; the apparent absence of the fourth virtue, Prudence, has been the subject of endless speculation among Tarot commentators.) Our Fool seems also to be displaying a courage of sorts -- or, rather, the vice-of-excess corresponding to that virtue in the Aristotelian system. He does not appear to be at all afraid of the dog, after all, but walks on with a smile on his face, as if unaware that he is being attacked.

The Fool, for his part, is called Il Matto or Le Mat -- as in the chess term échec et mat (Italian scacco matto) -- a word ultimately derived from Persian, where (despite the widespread, Arabic-influenced misconception that checkmate means "the king is dead") it means "stymied, stupefied, helpless." The Fool, then, represents the opposite of Strength, and his fearlessness is that of the dodo bird, not of the lion. "'Twas grace that taught my heart to fear, and grace my fear relieved": The woman of Strength enjoys both of these graces; the Fool, neither.

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Group 2: Chance and Destiny

Looking at the vertical oppositions first, it would be hard to find one more perfect than the Hanged Man and the World. Several old French decks write the Hanged Man's number as "IIX," suggesting that the card ought to be turned upside down. Doing so transforms the Hanged Man into a dancer in almost exactly the same posture as the one featured on the World Card. The Hanged Man's gallows,with its 12 lopped branches, is a stylized representation of the zodiac, as are the wreath and Four Living Creatures on the World card.

The Magician holding his wand over his table of gewgaws (including, in some decks, two or three dice) corresponds to the sword-wielding sphinx that presides over the Wheel of Fortune -- or perhaps to Fortuna (not portrayed in the Marseille version of the image), who controls the wheel. Images suggestive of both the Magician and the Wheel of Fortune appear together in Hiernoymus Bosch's painting The Conjurer. The Magician represents control, while those on the Wheel are at the mercy of events beyond their control.

Horizontally, the Magician and the World, as the first and last numbered trumps, make a natural contrast. Both figures hold a wand in the left hand. The Magician's infinity-sign hat is echoed in the similarly shaped ribbon that binds the wreath in (many versions of) the World.

Traditional representations of the Wheel of Fortune generally put four figures on the wheel, but the Tarot de Marseille follows Albrecht Dürer in bringing that number down to three, perhaps as much to avoid a too-cluttered composition as for any other reason. We can perhaps see in the upside-down Hanged Man the missing figure at the bottom of the wheel; he certainly seems to have suffered a "reversal" of fortune!

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Group 3: Last Things

Though it is called "The Judgement," the 20th trump actually depicts the resurrection of the dead. "Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. . . . then shall be brought to pass the saying that is written, Death is swallowed up in victory" (1 Corinthians 15: 51-52, 54). What trump could with greater appropriateness be placed opposite Death? But there is affinity as well as opposition. The 13th trump, too, proclaims that "we shall all be changed," and Death's character as the Grim Reaper brings to mind the line "the harvest is the end of the world; and the reapers are the angels" (Matthew 13:39).

The other vertical pair, the Priestess and the Hermit, are both solitary, mystical characters, each bearing a sign of enlightenment (a book, a lantern). A curtain behind the Priestess makes her face visible only from certain angles; likewise, the Hermit's lantern is partially concealed by his mantle.

The open book on the Priestess's lap connects her to the idea of the Last Judgment: "And I saw the dead, small and great, stand before God; and the books were opened: and another book was opened, which is the book of life: and the dead were judged out of those things which were written in the books, according to their works" (Revelation 20:12).

The 9th and 13th arcana probably share a common origin, as I have discussed in my post on "The Reaper of Marseille." The name given to the Hermit in the oldest Italian decks is usually the Old Man, the Hunchback, or simply Time, and his lantern was originally an hourglass. This is the familiar figure of Father Time, whose other main attribute (thanks to the conflation of Chronos, or Time, with the harvest god Kronos, or Saturn) is the sickle or scythe, and to whom the Grim Reaper can perhaps also trace his lineage.

Starting with the Hermit and going clockwise, we find that these four trumps lay out in order Four Last Things (not entirely the same as the Four Last Things of tradition): old age, death, resurrection, and judgment (the last being represented by the Priestess and her book, rather than by the trump that bears that name).

I consider this to be the strongest foursome in this schema.

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Group 4: The Queens

The iconographic unity of three of these four cards is immediately apparent. Both the Empress and Justice depict a crowned woman seated on a throne, and the shapes of both thrones suggest the wings of the angel of Temperance. (In some decks, the Empress actually has wings.) The two ewers of Temperance echo the two pans of the scales of Justice.

The Sun, which is personified as male in most cultures, and which shines on the male twins Castor and Pollux, seems out of place in this group. However, sun goddesses are not unknown, nor is it uncommon to apply solar imagery to women ("Arise, fair sun, and kill the envious moon"). The Empress bears an eagle, a solar bird, and some post-Marseille decks portray her as the "woman clothed with the sun" of Revelation 12:1. The Sun, because it sees all and shines on all impartially, is often associated with justice; think, for example, of Utu/Shamash, or of Malachi's "sun of righteousness." The twins depicted on the Sun card also link it to the balanced duality of Temperance and Justice.

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Group 5: The Kings

The Moon and the Devil make a natural pair, both emphasizing illusion, unreality, and animality. The relationship of the Emperor to the Chariot, which also features a crowned man holding a scepter in his right hand, is similarly obvious.

The horizontal pairings are perhaps less obvious. Just as the Fool's Wheel matches the Empress with the Sun, it matches the Emperor with the Moon, reversing what are the more common associations in most cultures. (Thoth is a male moon good, but the Tarot Emperor is hardly a Thothly figure!). In Whitley Strieber's Tarot book, The Path, he sees the Emperor as ruling the path the left-hand path that leads to the Moon, representing "outer life" and a reduction of freedom, but acknowledges that this is a symbolically unusual choice ("Almost universally, the left hand path has been associated with women, darkness and the moon, while the right has been connected to men, light and the sun"). In this Strieber is presumably influenced by Gurdjieff and his idea that those human "slugs" who fail to develop proper souls are destined to become "food for the moon." Notice also the moon-like spaulders of the charioteer.

In the Devil we may see a caricature of the charioteer. His two captives are harnessed to the globe on which he stands, just as the two horses are harnessed to the Chariot, and he stands over them brandishing a cat o' nine tails.

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Group 6: The Transcendent

The two ewers being emptied in the Star correspond to the two people falling from the Tower; both the stars and the lightning bolt that destroys the Tower represent the ineluctable forces of the cosmos.

The Pope represents infallible authority, and the tonsured monks represent unquestioning obedience. In contrast, the Marseille version of Lover represents a free choice to be made (the Choice of Hercules) and the possibility of making the wrong choice. The Pope and Cupid represent, respectively, Roma and Amor -- each word being the reverse of the other.

The Star and the Pope both express the idea of humble submission -- whether to cosmic destiny or to papal authority.

The lightning bolt that destroys the Tower corresponds to the bolt of Cupid -- and in fact, the earliest name of the 16th trump is Sagitta -- the arrow.

All four trumps in this group represent something -- the "starry heavens above and the moral law within" (Kant), and the bolts of Zeus and Eros -- which transcends the personal and which enters our lives will we nill we and must be reckoned with.

More Tarot-relevant art from York Minster

From Joseph Halfpenny's Gothic Ornament: Architectural Motifs from York Cathedral (1795).

This is, I suppose, an abbess, but her crozier might easily cause her to be mistaken for a female bishop, and her crown (unusual but not unheard-of for an abbess) is something one associates with the papacy. She is also holding a book, as is the Female Pope of the Tarot.

These two depictions of Samson show that holding a lion's jaws open (as in the Strength card of the Tarot) was standard symbolic shorthand for victory over that beast.

Update: An anonymous commenter has informed me that the Papess-like figure is St. Etheldreda of Ely, who was both an abbess and a queen.

A possible missing link in the evolution of the World

In last year's very long post "The Throne and the World," I attempted to trace the evolution of the final trump of the Tarot de Marseille -- from the biblical visions of Ezekiel and John, through the "Maiestas Domini" depictions of Christ, to the dancing woman of the Tarot. One of the most mysterious transitions in this development is from the male figures of God and Christ to the female dancer of the Tarot, and I speculated that the beardless, and thus sexually ambiguous, Christ of the Basilique Saint-Sernin de Toulouse (later echoed by Caravaggio in his Supper at Emmaus) may have played a important role.

Today a routine scan of the shelves of the small English-language section of the local used bookstore turned up an unexpected find: an unabridged republication of Joseph Halfpenny's 1795 book Gothic Ornament: Architectural Motifs from York Cathedral, which I of course snapped up without hesitation, as one never knows when such things might come in handy. Flipping through it at home later this evening, I was intrigued to discover this:

This is clearly a close cousin of the Maiestas Domini, with a central figure in an almond-shaped nimbus (mandorla), surrounded by four angelic beings -- humanoid angels in this case, rather than the Four Living Creatures of the Apocalypse. But unlike a Maiestas Domini -- and like the Tarot -- it shows an unambiguously female central figure, and one who is standing rather than seated on a throne. Halfpenny says that its subject is the Assumption of the Virgin Mary.

York Minster is of course a bit too far from Marseille for direct influence on the Tarot to be plausible, but it's given me a lead to follow. If, as seems likely, similar portrayals of the Assumption can be found in France or Italy, their relevance to the Tarot can be taken for granted.

The Lover's Wheel of Oswald Wirth, and four alternatives

In a previous post (qv) I have mentioned Oswald Wirth's schema in which the 22 Major Arcana of the Tarot are arranged at regular intervals around the circumference of a wheel, and each card is considered to have a special relationship with those horizontally and vertically opposite it on the wheel.

Since the oppositions being considered are rectilinear rather than diametric, which cards are opposite which depends entirely on which card is placed at 12 o'clock. Wirth puts the 6th trump, called the Lover, in that position, so I have found it convenient to dub his schema the Lover's Wheel. When the 6th trump is at 12 o'clock, the 17th (the Star) is at 6 o'clock. Obviously, rotating everything 180 degrees, so that the Star was at 12 o'clock, would yield the same set of oppositions, so putting the (n + 11)th trump at 12 o'clock is equivalent to putting the nth trump there. That means there are 11 distinct ways of arranging the trumps around the wheel, of which Wirth's Lover's Wheel is just one possibility.

In practice, though, most of those possible arrangements are too arbitrary to be worth considering. We might naturally expect the first (or perhaps the last) trump to be located at 12 o'clock (or at 6 o'clock, which is functionally equivalent). Nine o'clock (or 3 o'clock) would also be a natural place to put the first or last trump -- but because 22 is not divisible by 4, a wheel that has a trump at 12 o'clock will not have one at exactly 9 o'clock; instead, one is at (to make our clock-face terminology a bit more precise than is customary) 8:27, and another is at 9:33. All in all, I think there are three tolerably natural arrangements:

1. first trump at 12 o'clock
2. last trump at 12 o'clock
3. first and last trumps at 9:33 and 8:27

Of course, any of these three arrangements can be rotated 90, 180, or 270 degrees, or mirrored, without affecting the card-to-card relationships.

Things are further complicated by uncertainty as to which trump should count as the first. Because the Fool is traditionally unnumbered (often numbered 0 in modern decks, generally treated by Wirth as if numbered 22), it can be considered either the first trump (in which case the World is the last) or the last trump (in which case the Magician is first).

Taking all this into consideration, the bottom line is that there are only five plausible candidates for the 12 o'clock position: the Lover (Wirth's choice), the Fool (my own hunch after seeing Wirth's version), the Magician, the Pope (seen in a "coʀʀecᴛed veʀsioɴ" of Wirth modified by an unknown hand), and the World. (Again, I am only saying "12 o'clock" for the sake of simplicity; 3, 6, or 9 o'clock would be functionally equivalent.)

The way to evaluate the relative merits of these five schemata is to look at the card-to-card relationships each creates and decide which seem the most meaningful. That means looking at 105 different links (21 for each wheel, with no overlap). My original plan was to discuss all 105 of these in this post, but it was starting to turn into one of those dissertation-length mega-posts that I'm not supposed to be writing anymore, so I'll stop this post here and discuss the individual wheels in detail in future posts.