Tarot Triumphs: Using the Tarot Trumps for Divination and Inspiration

by Cherry Gilchrist

Overview

Focusing on the major arcana, or trumps, of the Marseilles Tarot, the aim of this book is to encourage the reader to experience the tarot in a direct, fresh, and uncluttered way.

Key points:

• Focuses on the 22 trumps, or the major arcana of the tarot
• Offers advice on how to study each card and find its unique significance
• Provides instructions for laying out and reading the cards
• Explores the tarot in terms of history, divination, symbolism, and esoteric traditions

This exploration of the major arcana includes "The Fool's Mirror," a new method for laying the cards out, as well as hints for using the tarot to gain deeper levels of awareness. Cherry Gilchrist offers ways to approach each card, absorb it, and understand its essence. Readers are encouraged to relate this essence to personal experience as the most enduring and rewarding way to prepare for reading the cards.

Product Details

ISBN-13:	9781578636044
Publisher:	Red Wheel/Weiser
Publication date:	09/01/2016
Pages:	320
Product dimensions:	6.00(w) x 9.00(h) x 0.90(d)

About the Author

Cherry Gilchrist is a writer and lecturer and a long-time participant in Western traditions relating to Kabbala, meditation, and hermeticism. She is a graduate of Cambridge University, UK, in English and Anthropology, and holds a post-graduate diploma from the University of Bath Spa in Cultural Astronomy and Astrology. As an author, Cherry has published widely on mythology, traditional culture, and inner traditions. She writes both for adults and for children, and has won a UK Reading Award for her Calendar of Festivals. Her books include The Elements of Alchemy, Stories from the Silk Road, The Circle of Nine and Divination. Many of her titles have been translated into other languages, including Italian, French, German, Spanish and Portuguese. With something of the merchant also in her blood, she has for many years visited Russia in search of beautiful lacquer miniatures and the rich heritage of Russian folk lore and craft, making a total of nearly sixty trips to Russia. She ran a Russian arts gallery in the city of Bath, England, for a number of years, and has put on leading exhibitions of Russian folk art at museums and galleries. Cherry is also a well-known lecturer, a popular speaker on Russian art and culture and inner traditions. Cherry has visited Russia over fifty times, and has researched its traditional lore as well as dealing in Russian arts and crafts, and staying on many occasions in a wooden village house deep in the Russian countryside. During her contacts with artists and villagers, as well as with museum experts and ethnographers, she not only discovered much about the regional traditions of Russia, but experienced some of them at first hand. She visited a shaman in Siberia, took part in the Maslnitsa festival in Moscow, and celebrated New Year traditional style, in the depths of a frozen forest. Cherry now lives near Stroud, in Gloucestershire, with her partner Robert, an artist. She enjoys travel, and has visited destinations as far apart as Samarkand, Easter Island, and Ethiopia. She also loves music, especially singing early music, walking in the countryside, and cookery.

Read an Excerpt

Tarot Triumphs

Using the Marseilles Tarot Trumps for Divination and Inspiration

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By Cherry Gilchrist, Robert Lee-Wade

Red Wheel/Weiser, LLC

Copyright © 2016 Cherry Gilchrist
All rights reserved.
ISBN: 978-1-57863-604-4

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CHAPTER 1

ENTER THE TRIUMPHS

The twenty-two picture cards of the traditional Tarot pack are known both as Tarot Triumphs and Tarot Trumps. Colorful and resonant, these cards form a unique set of symbols that can be used for divination, inspiration, and illumination. The Tarot are called the Trionfi in Italy, the country linked to their earliest-known history, and although they have been allied with the four-suit pack of playing cards for much of their existence, they stand apart as an independent set of cards. It is the Triumphs that form the focus of this book. Although "Trumps" is more commonly used, I have chosen to single out the word "Triumphs" because it connects us with a particular kind of spectacle that was current when Tarot first appeared, and which may shed light on the birth of Tarot itself.

THE TRIUMPHAL PROCESSION

We are about to meet the Tarot Triumphs in the guise of a triumphal procession. These processions were popular in fifteenth-century Italy, somewhat similar to carnival parades as we recognize them today, providing a form of street theater with exotic performers and floats passing by. They were accompanied by music and dancing, and enjoyed by people of all classes. But the triumphal processions also had a more exalted purpose, as they included tableaux that portrayed allegorical and cosmological themes. This was a type of renaissance effort to depict the world in all its glory, embracing both sacred and secular knowledge. All this was revealed, often to celebrate weddings or feast days, in a succession of magnificent emblems, a burst of color and spectacle. The triumphal processions also embodied the notion of "trumping"; each successive figure or display in the procession trumped the one that came before it in terms of moral superiority, spiritual value, or just the social order of the day. It had its roots in earlier Roman parades, where a virtue trumped a vice, Death trumped worldly success, and an emperor trumped a slave, for instance.

Tarot historians suggest that these Italian processions may have played a part in the creation of the Tarot, since they accord with the time and place of the earliest Tarot decks known to us. Some specific emblems are found in both contexts, such as the Lover, the Chariot, and Death. Likewise, the concept of Trumps applies to both the parades and the pictorial cards, even if trumping applies more to games played with Tarot than to its use for divination purposes. The processions are unlikely to be the sole source of Tarot, but there certainly seems to be a link. And this aspect of Tarot history is well worth pursuing, as it indicates how some of the Tarot scenes may once have been viewed as life-size moving spectacles, which would have created an intense experience for onlookers. Very shortly, I will suggest that we try this out for ourselves.

MEETING THE TWENTY-TWO TRIUMPHS

The Tarot Triumphs are evoked three times in this book. We shall meet them first of all in this imaginary public spectacle as it might have taken place on the streets of Northern Italy more than five hundred years ago. When we visualize them as large-scale and gloriously majestic figures, this keys us into not only the power of their images but also a significant cultural event that may have played a distinct part in the history of the Tarot.

The second time we encounter the Triumphs as a sequence is in chapter three, as a set of cards rather than a moving tableaux. Here you can find keynote descriptions and interpretations of each card, accompanied by thumbnail images. These serve to set up the basic meanings of cards for Tarot readings.

The third meeting with the Triumphs is in chapter five, where there is an in-depth investigation of each card, including its history and a close examination of the detail of its imagery. A full-size, line-drawn illustration of each card, commissioned especially for this book, accompanies each description. These broader discussions encourage us to see the apparent paradoxes and mysteries in the cards, which will further a deeper and more intuitive form of Tarot interpretation.

I hope that this threefold approach will offer you different ways to experience the symbols of the cards by giving food for the imagination as well as useful background knowledge. You may find it helpful to know this now so that you can navigate the book as you wish, or cross-refer between the chapters.

TRIUMPHS AND TRUMPS

I use the terms Triumphs and Trumps interchangeably throughout this book in referring to the twenty-two cards of the Tarot Major Arcana. The words are linked linguistically: the Italian word trionfi translates into "triumphs" and "trumps" in English. They have different shades of acquired meaning, but I have chosen to combine them here to celebrate their earlier origins in the melting pot of fifteenth-century Italy, both as processions of Triumphs and the earliest gorgeously hand-painted decks of Tarot cards. And, of course, "triumph" is something that Tarot is and does; it triumphs through its powerful images, its persistent survival through the centuries, and its capacity to instruct and illuminate those who study it.

WATCHING THE PROCESSION

Tarot, in the light of the triumphal procession, may be seen as an act of theater, its images a kind of magical performance moving through the sequence of the cards. We can turn this historical link with the triumphal processions to our advantage, and use the context imaginatively, as a way of discovering the kind of impact that these magnificent Tarot Triumphs could have when paraded through the streets.

So let us now step back in time to witness a spectacle of Tarot Triumphs moving through a city street in fifteenth-century Italy. Our procession happens in the hours of darkness, which accords with how some of these spectacles were presented, and for us it intensifies the vision of the Tarot scenes as they pass by, portrayed as characters and tableaux.

As you read the description of the procession, I suggest that you place yourself in the jostling crowd, on a city street, hundreds of years ago. Visualize how these twenty-two images appear from out of the warm darkness. Let these vivid, otherworldly scenes fill your imagination as they pass by, one by one.

Keep your pack of Marseilles or traditional Tarot cards at hand, if you have them, to refresh your memory of each image. If you don't yet have these, and are new to Tarot, then you can look ahead to the main illustrations of the Tarot Trumps in this book first, and quickly acquaint yourself with the sight of them. Or you could even just allow the words to paint the pictures for you, with no external reference at this stage. No matter how familiar you are with Tarot, it helps to renew the link between Tarot and the imagination in this way so that the images stay alive in your mind. Seeing them here as life-size, active figures will paint the picture afresh. There is always further to go in understanding the Tarot symbols.

THE PAGEANT OF THE TRIUMPHS

"Make way! Make way!"

The crowd is hushed. There's an expectant silence as people press against each other, lining the street. The night is dark, but a few torches blaze down the thoroughfare, creating flickering pools of light surrounded by deep shadows. Everyone is squeezed in together, so that the rough cloth worn by working folk rubs against the finer textiles of the merchants and their ladies, and expensive perfumes mix with the smells of sweat and unwashed clothing. The stones of the city walls radiate the heat absorbed by day, making it uncomfortably warm for those pressed up against them at the back.

The burly heralds announcing the procession carry torches too, swaggering purposefully, swinging the flames toward anyone who dares step forward too far.

The low sounds of breathing, rustling, and murmuring are growing in intensity, breaking into an excited chatter. But then this too falls away as drumbeats begin to sound. Solemn, resonant beats coming ever closer. It's here! It's beginning! Children are hoisted onto shoulders, and everyone cranes forward to see. The drummer, all in black, heads up a small marching band, which now strikes up strident tunes on pipes and shawms.

Then there is a creaking of wood, a rumbling of wheels, and the first of the Triumphs appears. The crowd cheers. The parade of Triumphs has arrived.

The Magician, clad in brightly contrasted parti-color tunic and breeches, stands tall as he is borne aloft on the first wagon of the procession. He holds a wand in his left hand, a small golden ball in his right. His broad-brimmed hat gives him a jaunty and somewhat out-landish look, as though he brings his conjuring from an exotic kingdom. On a small table in front of him lie the tools of his calling — dice, knife, cups, ribbons. Will he perform sleight of hand, magic tricks to delight the spectators tonight? He picks up a little ball, holding it delicately between forefinger and thumb, and a knowing look appears in his eye.

Before the people in the crowd can speculate what he will do now, the next Triumph is upon them. A woman with a lofty headdress sits enthroned, a cloak around her shoulders and a book placed open on her lap. The High Priestess is all stillness, all wisdom. She sits in front of a portal draped with curtains; directly behind her is stretched a kind of veil, which appears to mask the entrance to an inner sanctum. Her silence and stillness affect those who watch. If only she could read out a few lines from that book; each person in the crowd feels it would tell them exactly what they need to know.

Another female figure follows, also on a throne, but bearing the crown, orb, and shield of the Empress. She is regal, haughty, and she glances sternly around the crowd, quelling the questioning chatter. She wears a gold chain around her neck, and on her shield is the imperial eagle, which brooks no argument. Perhaps she is pregnant? Her stomach swells a little; she may be producing an heir. Only some people notice this, and they smile secretly to themselves. Even monarchs must make love and perpetuate their family line. This way, they can feel a kinship with their Empress. She casts her glance to one side now, either immersed in her own thoughts or disdaining to look upon commoners.

In quick succession comes her consort, the Emperor. The Empress is powerful, but he is even more so. He has a more finely carved throne, a heavier chain and pendant, and a more brightly burnished eagle. He sits sideways so that onlookers can see his commanding profile and observe how his look is fixed steadfastly ahead of him. He holds his mace proudly aloft. He is authority, over temporal matters at least, and represents rule. His rule is iron, but sure; for his people feel instinctively grateful, as no one likes a vacillating leader.

The Pope follows after, seated and arrayed in sacramental robes. His processional triple cross is grasped in his left hand. Several disciples kneel at his feet, gazing up at him as he holds up his right hand in benediction. No one can fail to sense the intensity of his pose, and the stillness of the disciples is almost painful, given the posture of supplication that they must hold and endure. But he too engenders a sense of security, of teaching transmitted down the ages and given with a blessing.

There is a change now, from figures of authority to that of the Lover: a young man flanked by two women, with a cupid figure hovering above him, surrounded by a starburst. One of the women is a beautiful maiden; the Lover has his arm around her, and she places a hand on his heart. But he looks toward the other, who is crowned with laurel leaves and wears a more severe expression. She places a hand on his shoulder as a reminder, or perhaps an admonishment. The cherub is ready to fire his arrow. Which woman should the young man choose? Will he follow his head or his heart?

The young prince now approaching does not need a carnival float to convey him, for he is the master of the Chariot. His horses bend their proud necks and pull his canopied chariot smoothly, wheels clattering over the ancient paving stones of the street. But where are the reins? If they are there, they are invisible to ordinary eyes. One hand holds a golden staff; the other casually but regally rests on his hip. He surveys the crowd thoughtfully; he means to go somewhere, and no one should stand in his way. The crowd is not comfortable under his gaze.

Justice follows, seated with her sword and her scales. Her eyes are wide open, and she stares clearly and impartially straight forward, as is her custom. The scales are perfectly balanced, the sword perfectly upright. Not even the greatest powers in the land will meddle with her, and she will see that justice comes to all. Although she is severe, the bystanders are confident in her powers. The tiniest tilt in the scales must be corrected, and she is ever vigilant to keep them that way.

Standing upright, holding a lighted lantern, the Hermit is both imposing and humble. He wears a rough, hooded cloak and is bearded, with long locks. In his other hand, he holds a wooden staff. These are the symbols of his role. He does not have the ceremonial regalia of bishops or kings, but he has his own authority and wisdom, derived from the life of poverty and contemplation. Some in the crowd would like to bring their questions to him, to benefit from his insight. They know that hermits, though solitary, can be consulted. He is also a reminder of the need for charity that should be given not only to the poor but also to those who pray for the welfare of humankind.

But just before the tenth Triumph appears — what is this? The Fool zigzags through the wagons, a bundle tied to a stick slung over his shoulder and a walking staff in his hand. He is never still, never of one mind. Sometimes he capers, sometimes he imitates or taunts the crowd. At other moments, he breaks your heart with his ragged poverty, the rent in his breeches, and the sad expression on his face. And then he laughs again, and the moment is forgotten. A little dog runs alongside, jumping up and tearing at his trousers. Is this comic, or tragic? No one really knows. If he can wander with his worldly goods tied up in a bag, then perhaps anyone can: freedom is not so far away after all.

Then the Wheel of Fortune rolls into view, a giant wheel ridden by strange animal-like figures, one ascending, one reigning at the top, and the third descending head-down. The Wheel offers a lesson so that all may observe just what the rotation of Fortune means. It takes us from humble beginnings, to ruling triumphantly as king — on certain feast days, as the crowd knows, anyone can be crowned king or queen for a day according to custom — to sad descent into obscurity, stripped of royal trappings. It was ever thus for money, birth, and worldly success. Luck may not be fairly distributed, but everyone experiences both happy strokes of luck and sad misfortunes too.

Next comes Strength, a mature and beautiful woman, with hat and cloak and flowing robe, who is prizing open the jaws of a lion. Or, she may be closing them, some say. This is theater, the crowd knows, but oh how realistic it looks! They hold their breath, wondering if she can sustain her gentle mastery over the fierce beast. How does she do this with only a woman's strength? Has she charmed the lion, perhaps? But those who observe closely see that she does this by gentleness; she is firm, but not forceful. The lion obeys her command and remains obedient to her touch.

Now it's the turn of the Hanged Man, a young man suspended upside-down from a cross pole. A ripple runs through the crowd: What is he doing like this? Is he dead? Has he been hung as a criminal or a traitor? But look, he is quite serene. He is balanced, one leg crooked behind the other, arms neatly folded behind his back, eyes gazing forward. There is sporadic, relieved laughter when they recognize him as a skilled acrobat, one of the rope and pole dancers who gladden the streets sometimes. But nevertheless, his frozen posture casts a sinister shadow on their reckoning. To be turned upside-down like that would be uncomfortable, to say the least, and your sense of security could fall away in no time.

(Continues...)

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Excerpted from Tarot Triumphs by Cherry Gilchrist, Robert Lee-Wade. Copyright © 2016 Cherry Gilchrist. Excerpted by permission of Red Wheel/Weiser, LLC.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Introduction xi

Chapter 1 Enter the Triumphs 1

Chapter 2 The Tarot as a Method of Divination 25

Chapter 3 Taking On the Tarot 53

Chapter 4 The Wandering Fortune-Teller 77

Chapter 5 Becoming the Diviner-Grasping the Fool's Mirror 93

Chapter 6 A Search for Order and Meaning in the Fool's Mirror 173

Chapter 7 The Fool's Mirror Layout 195

Chapter 8 Managing the Reading 231

Chapter 9 The Fool heads Us Further 249

Acknowledgments 267

Notes 269

Glossary 293

Editorial Reviews

"A fresh, bracing, and inspiring look into the Major Arcana. The Fool's Mirror in particular is the most sophisticated and profound Tarot layout that I have ever seen." —Richard Smoley, author of Forbidden Faith: The Secret History of Gnosticism

Reviews

"A fresh, bracing, and inspiring look into the Major Arcana. The Fool's Mirror in particular is the most sophisticated and profound Tarot layout that I have ever seen." —Richard Smoley, author of Forbidden Faith: The Secret History of Gnosticism

"Tarot Triumphs delightfully initiates us into the procession of the Tarot de Marseilles trumps, helping us to wisely read its reflections in the Fool's Mirror. How wonderful to be immersed in such mature and practical tarot writing!" —Caitlín Matthews, author of The Complete Arthurian Tarot and Untold Tarot

"Cherry Gilchrist's Tarot Triumphs: Using the Tarot Trumps for Divination and Inspiration is an excellent book for beginners, who want to learn to use The Tarot of Marseilles for divination. Unlike most books for beginners, her book is firmly grounded in the actual history of the Tarot, and the fact that the trump cards originated in Renaissance Italy as illustrations related to triumphal parades. She also provides valuable insights into the folk traditions that helped shape the cards and their use, based on her observations of traditions in Italy, China, and most of all Russia. Experienced readers will find something to learn here as well." —Robert M. Place, author of The Tarot: History, Symbolism, and Divination, and the creator of The Alchemical Tarot and The Tarot of the Sevenfold Mystery

"Tarot Triumphs is simply the best Tarot book I've ever read. Accessibly blending a lifetime's Tarot experience with historical knowledge, personal engagement, creative imagination, esoteric wisdom, and sound common sense, it's equally well-suited to introduce newcomers and to provide fresh stimulation for long-time Tarot users. It seems clearly destined to be a classic." —Prof. Grevel Lindop, poet and author of Charles Williams: The Third Inkling

"Although directed towards those starting their own Tarot journeys, Tarot Triumphs is an enjoyable and informative read for Tarot veterans as well." —Thalassa, Founder, Daughters of Divination, Producer, San Francisco Bay Area Tarot Symposium (SF BATS)

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