Artículo publicado originalmente con los dibujos de Edward O

8/22/2019 Artculo publicado originalmente con los dibujos de Edward O

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Artculo publicado originalmente con los dibujos de Edward O'Donnelly

enEl Diario Hermtica, 40 (1988), 12-25, y 41 (1988), 4-16. The

earlier version was published as The alchemical tarotin The

Hermetic Journal, 18 (1982), 30-35. La versin anterior fue

publicada comoEl alquimista tarotenEl Diario Hermtica, 18(1982), 30-35.

The drawings and text were later published as a deck of cards by

Ouroboros (K. Frank Jensen, editor ofManteia ), Roskilde,

Denmark, 1989. Los dibujos y texto fueron publicadas ms tarde

como una baraja de cartas de Ouroboros (K. Frank Jensen, editor

deManteia), Roskilde, Dinamarca, 1989.

THE ALCHEMICAL TAROT DECK Laalqumica TAROT DECK

designed by Rafal T. Prinke diseado por Rafal T. Prinke

drawn by Edward J. O'Donnelly dibujadas por Edward J. O'Donnelly

-Acknowledgements-- Agradecimientos -

I would like to express my gratefulness to Edward J. O'Donnelly, who evoked this deck

to visible appearance, and to Adam McLean, who effected coniunctio of the authors andmultiplicatio of the cards. Quisiera expresar mi agradecimiento a Edward J. O'Donnelly,que evoca la cubierta de este aspecto visible, as como a Adam McLean, que efectuarconiunctio de los autores y multiplicatio de las tarjetas. I am also indebted to Stuart R.Kaplan, the help of and correspondence with whom initiated me into the mysteries ofthe Tarot, and to the anonymous author of the great little bookSSOTBME , whose ideashelped me to understand a few things. Tambin estoy en deuda con Stuart R. Kaplan, laayuda de la correspondencia y con quien me inici en los misterios del Tarot, y para elannimo autor del pequeo gran libro SSOTBME, cuyas ideas me ayudaron a entenderalgunas cosas.My thanks are also due to all those people who led me to the crossroadsat midnight.Mi agradecimiento se debe tambin a todas aquellas personas que me han

llevado a la encrucijada a medianoche.

I.THE TAROT AND ALCHEMY I. EL TAROT y

alquimia

"Each human being must interpret formal symbols as he interprets life; that is, in thelight of personal experience. Meaning is not inherent in material forms; it is bestowedupon them. It follows that each interpreter arrives at somewhat different conclusions,applying a censorship of interests at each step of his interpretation. Thus an Orientalistcould be impressed by the vestiges of Eastern symbolism in the Tarot designs. AnEgyptologist could be equally certain that the figures originated in the sanctuaries alongthe Nile. The student of the cabala finds cabalism in everything, and the alchemist


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would not hesitate to defend the cards as genuine remains of ancient alchemy." "Cadaser humano debe interpretar los smbolos formales como l interpreta la vida, es decir, ala luz de la experiencia personal. Significado no es inherente a las formas materiales,sino que es otorgado a ellos. De ello se deduce que cada intrprete llega a conclusionesalgo diferentes, la aplicacin de un la censura de intereses en cada etapa de su

interpretacin. As, un orientalista podra ser impresionado por los vestigios desimbolismo oriental en los diseos de Tarot. Un egiptlogo podra ser igualmente ciertoque las cifras se origin en los santuarios a lo largo del Nilo. El alumno de la CABALAencuentra cabalism en todo, el alquimista y no dudan en defender las tarjetas comoautnticos restos de la antigua alquimia ".

Manly P. Hall: The TarotManly P. Hall:El Tarot

The recorded history of the occult or esoteric interpretation of the Tarot cards can betraced only as far back in time as 1781 when the bookMonde Primitifby Count deGebelin was published. La historia oculta de la interpretacin o esotrica del Tarot

tarjetas pueden atribuirse slo en una fecha tan lejana en el tiempo como 1781, cuandoel libroMonde Primitifpor el Conde de Gebelin se public. Its author claimed, and

backed it by no tangible evidence, that the cards of the Tarot deck were of ancientEgyptian origin and contained some secret teachings. Su autor afirm, y respaldada porninguna prueba tangible, que las cartas del Tarot baraja eran de origen egipcio antiguo ycontiene algunas enseanzas secretas. The 19th century magicians, especially EliphasLevi, took up that suggestion and developed a whole set of correspondences betweenthe Tarot and various branches of the occult sciences, such as the Kabalah andAstrology. Los magos del siglo 19, especialmente Eliphas Levi, asumi esta sugerenciay ha desarrollado un conjunto de correspondencias entre el Tarot y las diversas ramas delas ciencias ocultas, como la Kabalah y la astrologa. The development on these lineshas been continued until now and has produced a surprisingly wide variety of theoriesabout the deck's origin, interpretation, correspondences, and artistic designs (which arealso interpretations, of course). El desarrollo de estas lneas se ha seguido hasta ahora yha producido una sorprendente variedad de teoras sobre el origen del mazo,interpretacin, correspondencias, y diseos artsticos (que tambin son interpretaciones,

por supuesto). Some of these were very naive, while others were quite sophisticated,discovering and revealing much about the structure and meaning of the cards. Algunosde estos eran muy ingenuos, mientras que otros eran bastante sofisticados, descubrir yrevelar mucho sobre la estructura y el significado de las cartas. However, I consider it amisunderstanding of magical thinking to accept any of such theories or designs as "the

only ones". Sin embargo, considero que es un malentendido de pensamiento mgico aaceptar ninguna de esas teoras o diseos como "los nicos". Those who represent thiskind of approach to the Tarot are simply biased by the scientific way of thinking, whichis enforced on us from the beginning of our lives and therefore is almost innate. Los querepresentan este tipo de enfoque para el Tarot son simplemente sesgada de loscientficos forma de pensar, que se aplica a nosotros desde el comienzo de nuestrasvidas y, por tanto, es casi innato. So when one enters the field of esotericism, one has toabandon that way of thinking. As que cuando uno entra en el terreno del esoterismo,uno tiene que abandonar esa forma de pensar. In the case of the Tarot it means, forexample, not to take seriously any of the hypotheses on the cards' origin put forward byvarious authors, but to consider them to be symbolic expressions of some truths about

the Tarot which are difficult to state in any other way. En el caso del Tarot quesignifica, por ejemplo, a no tomar en serio ninguna de las hiptesis sobre las tarjetas de


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'origen presentadas por varios autores, sino a considerar que son expresiones simblicasde algunas verdades sobre el Tarot que son difciles de estado de cualquier otra manera.

In order to illustrate this point of view we may consider the problem of the origin of theTarot in some detail. Con el fin de ilustrar este punto de vista podemos considerar el

problema del origen del Tarot en algunos detalles. Probably the largest number ofauthorities ascribe the ancient Egyptian origin to the deck. Probablemente el mayornmero de autoridades atribuyen los antiguos egipcios origen a la cubierta. It is said thatthey were painted on the walls inside one of the Pyramids or some other initiationchamber and that their meanings were explained to neophytes upon initiation. Se diceque fueron pintados en las paredes dentro de una de las pirmides o alguna otra cmarade iniciacin y que su significado se explica a los nefitos para su apertura. This story,approached from a scientific point of view (ie as a statement of historical truth) is totallyfalse or even stupid, as there is no single piece of evidence to support it. Esta historia,desde el punto de vista cientfico (es decir, como una declaracin de la verdad histrica)es totalmente falsa o incluso estpido, como no hay un solo elemento de prueba para

apoyarla. On the other hand, if the story is approached from a magical standpoint, itmakes sense in so far as it reveals "something" about the Tarot. Por otro lado, si lahistoria se aborda desde un punto de vista mgico, tiene sentido en la medida en que

pone de manifiesto "algo" sobre el Tarot. And what that "something" is can only be felt(as magical thinking is really feeling) after comparing several such theories on equalgrounds (ie without trying to find out which one is "true"). Y lo que "algo" es slo

puede hacerse sentir (como el pensamiento mgico est realmente sintiendo) despus decomparar varias de esas teoras en pie de igualdad (es decir, sin tratar de averiguar ques un "verdadero").

Some of the other hypotheses point to such regions as India or China as the places of theTarot's origin. Algunas de las otras hiptesis apuntan a regiones como China o Indiacomo los lugares del origen del Tarot. An especially revealing story is the one told byPaul Foster Case, who stated that the cards had been invented by initiates from all partsof the world who held a secret meeting in the city of Fez in Morocco. Una historiaespecialmente revelador es el que le dijo por Paul Foster Case, que declar que lascartas haban sido inventado por los iniciados de todas partes del mundo que celebruna reunin secreta en la ciudad de Fez en Marruecos. They decided to entrust the"secret doctrine" to a series of pictures used for gambling, so that it would not perish. Sedecidi encomendar a la "doctrina secreta" a una serie de imgenes utilizadas para los

juegos de azar, por lo que no perecedero. The form was probably suggested, as Case

states, by the adept from China. El formulario se sugiri, probablemente, como dice elasunto, por los expertos de China. This story gives us an important clue which points tothe universality of the "secret doctrine", whatever its outward guise is. Esta historia nosda una pista importante que apunta a la universalidad de la "doctrina secreta", sea cualsea su disfraz es hacia el exterior. It also helps us to understand that the Tarot decksexhibiting Egyptian, Hindu, Mayan, Amerindian, Chinese, Basque, Medieval or moderndesigns are all "true" in the magical sense. Tambin nos ayuda a comprender que elTarot cubiertas exhiben egipcia, hind, maya, amerindios, chino, euskera, medieval omoderno todos los diseos son "verdadero" en el sentido mgico. But on the other handthe same Paul Foster Case, as well as Arthur Edward Waite and many other authoritieson the subject, keep trying to make their readers believe that there exists a secret

initiated deck of the Tarot cards, which cannot be revealed to the general public for"obvious reasons", and to which their own versions of the Tarot approximate very


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closely. Pero por otro lado, el mismo Paul Foster Case, as como Arthur Edward Waitey muchas otras autoridades en este asunto, tratando de mantener a sus lectores parahacer creer que existe un secreto iniciado la baraja de cartas de tarot, que no puede serrevelado a la pblico en general por "razones obvias", ya que sus propias versiones delTarot aproximados muy de cerca. This is partly true but is also capable of being

misunderstood due to the scientific way of thinking "natural" to the majority of readers.Esto se debe en parte cierto pero tambin es capaz de ser entendido mal debido a lamanera cientfica de pensar "natural" para la mayora de los lectores. They surely tendto understand "the true esoteric Tarot" as an actual set of cards with pictures andsymbols which is in the possession of some "secret chiefs" and their initiated disciples.Ellos seguramente tienden a comprender "la verdad esotrica Tarot" como un verdaderoconjunto de tarjetas con imgenes y smbolos que obra en poder de algunos "jefessecretos" y sus discpulos iniciados. In my opinion (and all the available evidence seemsto confirm it) there is nothing like that in existence on the material plane, though it doesexist on the spiritual plane. En mi opinin (y todas las pruebas disponibles no parececonfirmar) no hay nada como la de existencia en el plano material, aunque s existe en

el plano espiritual. The Arcana of the Tarot represent archetypal principles whichcannot be expressed otherwise than by pictures or visual symbols which are onlyapproximate representations of those principles. Los Arcanos del Tarot representan elarquetipo de principios que no puede expresarse de otro modo que por las imgenesvisuales o smbolos que son slo aproximados representaciones de esos principios.Similarly such principles as "love", "freedom", etc., can have only approximate verbalrepresentations, as they also belong to the spiritual world. Del mismo modo principiostales como "amor", "libertad", etc, slo puede tener aproximados representacionesverbales, ya que tambin pertenecen al mundo espiritual. The only way to understand(or rather "feel") these principles is to experience them, and it is experience thatunderlies all the esoteric fields and occult sciences or arts. La nica manera de entender(o ms bien "sensacin") de estos principios es la experiencia, y es la experiencia quesubyace en todos los mbitos esotrico y ocultista ciencias o artes. Withoutexperiencing it, all esotericism may be rightly called "mere superstition". Sinexperimentando, todos esoterismo pueden ser llamados con razn "la merasupersticin".

The symbolic story of the Tarot's origin told by Case carries another important message:that any serious system of thought (even not necessarily esoteric thought) may be "seen"in the Tarot series of archetypal images. La historia simblica del Tarot de origeninformado por el asunto lleva otro mensaje importante: que cualquier sistema serio de

pensamiento (aunque no necesariamente el pensamiento esotrico) puede ser "visto" enel Tarot serie de imgenes arquetpicas. Therefore any attempt at a new interpretation ofthe deck is justified and, after some time of open-minded meditation on the Tarotsymbols, can be accomplished. Por lo tanto, cualquier intento de una nuevainterpretacin de la cubierta est justificada y, despus de algn tiempo de abierta lameditacin sobre el Tarot, los smbolos, se puede lograr. My approach to the MajorArcana (which is certainly the most interesting and fascinating part of the full deck) isthat they represent an archetypal cycle of attainment, similar to the cycle of the Zodiacor that of the Tree of Life in the Kabalah, though stressing the visual symbolism in

preference to the organic/psychological or cosmological. Mi enfoque a la Arcano Mayor(que es sin duda el ms interesante y fascinante parte de la totalidad de la cubierta) es

que representan un arquetipo ciclo de realizacin, de forma similar al ciclo del Zodacoo de que el rbol de la Vida en la Kabalah, aunque destacando el simbolismo visual con


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preferencia a los orgnicos / o psicolgica cosmolgica. It is, therefore, of littleimportance to occultists who invented the Tarot deck and when (it may as well have

been produced for the mad king of France, Charles VI, as one of the "uninitiated"theories has it) but what counts is that the inventor drew his inspiration, eitherconsciously or not, from the vast reservoir of the collective unconscious preserving the

spiritual heritage of mankind. Por lo tanto, es de poca importancia para ocultistas queinvent el Tarot de puente y cuando (el proceso puede tambin han sido producidos porel loco rey de Francia, Charles VI, como uno de los "no iniciados" teoras lo tiene), perolo que cuenta es que el inventor seal su inspiracin, ya sea consciente o no, de lavasta reserva del inconsciente colectivo preservar el patrimonio espiritual de lahumanidad. And in this sense the Tarot "really" dates back to the days of ancient Egypt,Atlantis and Lemuria. Y en este sentido, el Tarot "realmente" se remonta a los das delantiguo Egipto, Atlntida y Lemuria.

Now turning to the scientific way of thinking, it seems to be quite certain that nothinglike the Tarot existed prior to the 14th century. Ahora, volviendo a la manera cientfica

de pensar, parece ser bastante seguro de que nada como el Tarot existan antes de que elsiglo 14. For the historian of esoteric thought that period is associated with theappearance and early development of Hermetic Alchemy in Europe. Para el historiadordel pensamiento esotrico ese perodo se asocia con la aparicin y desarrollo tempranode la Alquimia Hermtica en Europa. Therefore it can be argued that the Tarot cards(and especially the Major Arcana) are just another series of symbolic visualexplanations of the Great Art and its processes. Por lo tanto, puede afirmarse que elTarot tarjetas (y en especial el Arcano Mayor) son slo una serie de explicacionesvisuales simblica del Gran Arte y sus procesos. The scientific way of proving thishypothesis would consist in collecting historical evidence and presenting it with asmany references as possible. El cientfico forma de probar esta hiptesis consistira en larecopilacin de datos histricos y presentarlo con el mayor nmero posible dereferencias. The magical or esoteric approach, however, does not need a historical proofof a connection between the Tarot images and Alchemy. La mgica o esotrica, sinembargo, no necesita una prueba histrica de un vnculo entre el Tarot, las imgenes yla Alquimia. If the Tarot represents an archetypal "process of attainment" and Alchemyis a system of self-realisation and and attaining mastery over natural processes, thenthese two have to be parallel and it should be possible to explain one with the other. Siel Tarot representa un arquetipo de "proceso de realizacin" y la Alquimia es un sistemade auto-realizacin y el logro y dominio de los procesos naturales, estos dos tienen queser paralelas y debe ser posible para explicar uno con el otro. What is needed in order to

find such a correlation is getting to "feel" both of these systems, which can beaccomplished by meditating on symbols pertaining to each of them. Lo que se necesitacon el fin de encontrar tal correlacin es llegar a "sentir" tanto de estos sistemas, lo cual

puede lograrse mediante la meditacin sobre los smbolos correspondientes a cada unade ellas. A certain amount of logical thinking is also necessary, of course, just as sciencerequires some intuition, though it is not formally recognised as a scientific tool. Unacierta cantidad de pensamiento lgico tambin es necesario, por supuesto, al igual que laciencia requiere un poco de intuicin, aunque no es oficialmente reconocido como unaherramienta cientfica. It has been stated by many authorities that the Tarot contains"the doctrine of Alchemy", and several attempts at an interpretation on these lines have

been made. Se ha afirmado por muchas autoridades que el Tarot contiene "la doctrina de

la Alquimia", y varios intentos de una interpretacin sobre estas lneas se han hecho.These attempts include The Golden Cycle Tarotdeck by Ron Ballard, Antoinette


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Sandbach, and John Sandbach, the Church of Light system of correspondences by CCZain (Elbert Benjamine), Comment on deviant alchimiste .....base sur les clefs du Tarot

by the French writer on Alchemy Francois Jollivet-Castelot, the system ofcorrespondences given inLe Tarot des imagiers du moyen age by Oswald Wirth, and anumber of others. Estos intentos son The Golden Ciclo de Tarotcubierta por Ron

Ballard, Antoinette Sandbach, y John Sandbach, la Iglesia de la Luz sistema decorrespondencias de CC Zain (Elbert Benjamine), el comentario sobre desviadoalchimiste base sur ..... LES CLEFS du Tarotde el escritor francs Francois Alquimiaen Jollivet-Castelot, el sistema de correspondencias que figura enLe Tarot des imagiersdu moyen edadpor Oswald Wirth, y varios de los dems. I have not been able to getacquainted with most of them (especially the French ones), but those which I know donot seem satisfactory to me. No he sido capaz de familiarizarse con la mayora de ellos(especialmente los franceses), pero los que yo conozco no parecen satisfactorias param. They are either oversimplified, or do not catch the "spirit" of Alchemy, or refer to akind of "mental alchemy" which does not reflect the Hermetic Tradition. Son demasiado

bien, o no tomar el "espritu" de la alquimia, o se refieren a una especie de "alquimia

mental" que no refleja la Tradicin Hermtica. Therefore I believe that my own attemptat presenting the Tarot deck in alchemical terms forms an independent approach andwill be of interest to students of esotericism. Por lo tanto creo que mi intento de

presentar la baraja del Tarot en trminos alqumico constituye un enfoque independientey ser de inters para los estudiantes de esoterismo.

II. DESCRIPTIONS OF THE MAJOR ARCANA

Descripciones de los principales arcana

The part of the Tarot deck which is known as the Major Arcana is certainly the mostinteresting one. La parte de la cubierta de Tarot que se conoce como el Arcano Mayores sin duda el ms interesante. Some authorities state that it had once been a separatedeck and only afterwards was joined with the Court and Minor Arcana. Algunasautoridades afirman que una vez que ha sido una cubierta y slo despus se uni con laCorte y Arcanos Menores. Although there is no definite proof of it in the historicalsense, it appears quite possible since this series lacks the fourfold division found in theremaining cards. Aunque no hay pruebas definitivas de que en el sentido histrico,

parece muy posible, dado que esta serie carece de la divisin por cuatro se encuentranen el resto de tarjetas. However, because the modern occult tradition (if it can be called"tradition") has treated both of these series jointly, the safest opinion is probably the one

stating that the Major Arcana are a condensed form of the Minor Arcana (understoodhere as including the Court Arcana). Sin embargo, debido a la moderna tradicin oculta(si se puede llamar "tradicin") ha tratado tanto de estas series conjuntamente, laopinin ms segura es probablemente la que se afirma que el Arcano Mayor son unaforma condensada de los Arcanos Menores (entendida aqu como incluyendo Arcanos laCorte).

It is often stated that the beautiful illustrations from Solomon Trismosin's SplendorSolis have some relation to the Tarot Major Arcana. A menudo se afirma que las bellasilustraciones de Salomn Trismosin's Splendor Solis tener alguna relacin con losArcanos del Tarot principales. I thought such relation was rather far-fetched, especially

as the Tarot appears to represent a uniform cycle of transformation, while only some ofthe Splendor Solis illustrations show the stages of the Magnum Opus. Pens tal relacin


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es ms bien lejanos, sobre todo porque el Tarot parece representar un modelo uniformeciclo de transformacin, mientras que slo algunas de las Splendor Solis ilustracionesmuestran las etapas del Opus Magnum. However, after much meditation on the cardsand their relation to Alchemy, I arrived at a similar scheme. Sin embargo, despus demucha meditacin sobre las tarjetas y su relacin con la Alquimia, llegu a un sistema

similar. It is not identical with Splendor Solis but also only in part shows the stages ofthe Great Work, the remaining part representing general fundamentals of theAlchemical philosophy. No es idntica a Splendor Solis, sino tambin slo en partemuestra las etapas de la Gran Obra, la parte restante que representan los fundamentosgenerales de la filosofa de la alquimia.

The main criteria I followed in designing this Alchemical Tarot deck were thefollowing: (1) each card should be based on a well known and easily identifiedAlchemical concept, known from the tradition as handed down to us by the mostcelebrated of its exponents, and (2) there should be a recognisable similarity to both thetraditional Tarot designs and some Alchemical symbolic illustrations. Los principales

criterios que hemos seguido en el diseo de esta alquimia Tarot baraja fueron lossiguientes: (1) cada tarjeta debe basarse en un bien conocidas y fciles de identificar laalquimia concepto, conocido de la tradicin como entregado a nosotros por el msfamoso de sus exponentes, y (2) debe haber una similitud reconocible tanto al Tarotdiseos tradicionales y algunas ilustraciones la alquimia simblica. It was not possiblein every case to hold to these criteria very closely, but the departure from them is nevertoo far. No fue posible en todos los casos, a celebrar a estos criterios muy de cerca, perola salida de ellos es nunca demasiado lejos. The general appearance of each card isuniform throughout the deck, showing an alchemical retort surrounded by black

background with the signs of the four elements and thus representing "the Chaos of theElements" outside the vessel of the Art (also Nature as contrasted with Art). El aspectogeneral de cada tarjeta es uniforme en toda la cubierta, lo que representa un retortaalqumica rodeado de fondo negro con los signos de los cuatro elementos y, por tanto,en representacin de "el caos de los Elementos" fuera de la nave del Arte (comotambin la naturaleza contrasta con el artculo ). Although not all of the cards symbolise

phases of the Great Work, all of them have been drawn in the same way to give them auniform appearance. Aunque no todas las tarjetas simbolizan las fases de la Gran Obra,todas ellas han sido extradas de la misma manera para darles una apariencia uniforme.Besides the main picture inside the retort there are also animal symbols (with twoexceptions of floral ones) in the neck of the retort. Adems de la imagen principal en elinterior del tubo hay tambin smbolos de animales (con dos excepciones de las flores)

en el cuello de la retorta. No titles are given as, on the one hand, it seemed to me that toinvent definite Alchemical titles would be tending to favour only one of the manymeanings of each card, and on the other hand, the earliest Tarot cards also do not haveany titles. Ningn ttulo se ofrecen como, por una parte, me pareci que inventardefinitiva la alquimia ttulos se tiende a favorecer a slo uno de los muchos significadosde cada tarjeta, y por otro lado, las primeras cartas de Tarot tambin no tienen cualquierttulo. In the following descriptions of the Major Arcana I will use the traditional titlesfor easier reference only, as these do not correspond to the Alchemical terminology inmost cases. En las siguientes descripciones de las Grandes Arcanos voy a utilizar lostradicionales ttulos para facilitar la referencia, pero como estos no se corresponden conla terminologa de la alquimia en la mayora de los casos.


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0. The Fool. 0.El Fool. This Arcanum has several meanings. Arcanum Esto tienevarios significados. First of all it represents the neophyte alchemist beginning his

journey towards the achievement of the Philosophers' Stone and the transmutation. Enprimer lugar representa el nefito alquimista inicio de su camino hacia el logro de losfilsofos "Piedra y la transmutacin. His arms refer to the four elements, which will be

the materials of the Great Work, and also to the four suits of the Minor Arcana (lance-rod-fire, sword-sword-air, cuirass-cup-water, banner-pentacle-earth). Sus brazos serefieren a los cuatro elementos, que sern las materias de la Gran Obra, y tambin a loscuatro palos de los Arcanos Menores (lanza-fuego de vara, espada-espada al aire,cuirass de taza de agua, banner-pentacle - Tierra). The neophyte is also the MateriaPrima of the Work, which is carried out both in his Athanor and in himself. El nefito estambin la Materia Prima de la Obra, que se lleva a cabo tanto en su Athanor y en smismo. The symbols of the green dragon and the Ethiopian represent Materia Prima,too, as does the snake biting its own tail coiled around the outside of the neck of theretort, though its significance is much wider (the cyclic nature of the universe - thisArcanum is both the beginning and the end of the Great Work). Los smbolos del

dragn verde y los etopes representan Materia Prima, tambin, al igual que la serpientemordiendo su propia cola en espiral alrededor del exterior del cuello de la retorta,aunque su importancia es mucho ms amplia (la naturaleza cclica del universo - esteArcanum es a la vez el principio y el final de la Gran Obra). On still another level ofinterpretation, and in connection with the next two Arcana, this man in full armourrepresents the Philosophical Salt of the Salt-Mercury-Sulphur trinity, and Body(Corpus) of the Body-Spirit-Soul triad, ie the most basic building material of either achemical body or man. En otro nivel de interpretacin, y en relacin con los dos

prximos Arcana, este hombre en su totalidad representa la armadura filosfica Sal de laSal-Mercurio-Azufre trinidad, y el Cuerpo (Corpus) del Cuerpo-Espritu-Alma trada, esdecir, el ms bsicas de material de construccin, ya sea un producto qumico rgano o

provocados por el hombre.

I. The Magician . I.El Mago. The next card of the fundamental triad is Mercury of thePhilosophers symbolised by the classical god of the same name. La prxima carta de latrada fundamental es el mercurio de los filsofos simbolizado por el dios clsico delmismo nombre. He represents the aerial principle in everything, or the "spiritusmovens", and is connected with the ethereal heaven (Coelum Aethereum), just as theformer Arcanum was connected with the elemental heaven (Coelum Elementarum), andthe next one with the empyrean heaven (Coelum Empyreum). l representa el principioarea en todo, o el "spiritus movens", y est conectada con el cielo etreo (Coelum

Aethereum), al igual que el ex Arcanum estaba conectado con el cielo elemental(Coelum Elementarum), y el prximo con el empyrean el cielo (Coelum Empyreum).The mercurial principle is therefore responsible for the reception of astrologicalinfluences, here symbolised by the Sun and the Moon under the feet of Mercury. Elmercurial principio, por lo tanto, es responsable de la recepcin de influenciasastrolgicas, simbolizada aqu por el Sol y la Luna bajo los pies de Mercurio. The dovein the neck of the retort is the symbol of the Holy Spirit, ie the Spirit of the World. La

paloma en el cuello de la retorta es el smbolo del Espritu Santo, es decir, el Espritudel Mundo. In the terms of Jungian psychology this card represents Animus, or the male

principle in every person. En los trminos de la psicologa Junguiana esta tarjetarepresenta Animus, o el principio masculino en cada persona.


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II. The High Priestess . II. Sacerdotisa El Alto. A naked, pregnant woman symbolisesthe archetypal womanhood or motherhood. Una desnuda, mujer embarazada simbolizael arquetipo de feminidad o la maternidad. She is the Philosophical Sulphur, or the fiery

principle connected with the highest heaven. Ella es la filosfica de azufre, o el ardienteprincipio conectado con el ms alto cielo. It is the "spark of God" in every man or the

outward features in every chemical body (ie perceptible features given by God uponcreation, such as colour), and therefore represents the Soul of every created thing, aswell as Anima Mundi - the Soul of the World. Es la "chispa de Dios" en cada hombre oel perfeccionamiento pasivo en todas las caractersticas qumicas cuerpo (es decir,

perceptible caractersticas dadas por Dios a su creacin, como el color), y, por tanto,representa el alma de cada cosa creada, as como Anima Mundi -- el Alma del Mundo.In Kabalistic terms it is the Shekinah, and in Jung's system - Anima, understood as thefemale principle, the symbol of which is the unicorn in the neck of the retort. Entrminos Kabalistic es la Shekinah, y en el sistema de Jung - Anima, entendida como el

principio femenino, smbolo de que es el unicornio en el cuello de la retorta.

III. The Empress . III.Empress. The symbol of the queen represents one extreme of thebasic duality. El smbolo de la reina representa un extremo de la dualidad bsica. It isthe passive, Lunar principle, and everything connected with it. Es el pasivo, Lunar

principio, y todo lo relacionado con ella. She also symbolises vulgar Silver which will,in the course of the Great Work, become the White Stone. Tambin simboliza vulgarPlata, que en el transcurso de la Gran Obra, se convierten en la piedra blanca. The lilyabove is the symbol of the feminine principle. El lirio de arriba es el smbolo del

principio femenino.

IV. The Emperor. IV.El Emperador. The image of the king is the other extreme of theprevious Arcanum. La imagen del rey es el otro extremo del anterior Arcanum. Itrepresents the active, Solar principle and all its connotations, as well as vulgar Goldwhich is to become the Red Stone or Red Tincture. Representa la participacin activa,Solar principio y todas sus connotaciones, as como vulgar Oro que se convierta en la

piedra roja o Tincture Roja. The rose in the neck of the retort is the symbol of themasculine, forming another contrast with the previous card. La rosa en el cuello de laretorta es el smbolo de lo masculino, formando otro contraste con la tarjeta anterior.

V. The Hierophant. V.El Hierofante. In this Arcanum the basic duality is shown againas being dependent on the Mercurial (spiritual) principle, from which they have to drawthe spiritual force in order to become "live" or "our" Silver and Gold. En este Arcanum

la dualidad bsica se muestra de nuevo como dependiente de la Mercurial (espiritual)principio, de que tienen que sacar la fuerza espiritual para convertirse en "vivo" o"nuestro" Plata y Oro. It can also be seen from another angle as the three principles(Mercury, Salt, Sulphur) and the relations existing among them: Mercury is the mostimportant of the three. Tambin puede ser visto desde otro ngulo, como los tres

principios (de mercurio, sal, azufre) y las relaciones existentes entre ellos: El mercurioes el ms importante de los tres. The same idea of drawing "force" is conveyed by the

pelican feeding its young with its blood shown above. La misma idea de llamar la"fuerza" es transmitido por el pelcano alimentar a sus jvenes con su sangre se muestraarriba.

VI. The Lovers . VI.Los Amantes. Another traditional title of this card is The Two Pathsand this describes its alchemical meaning quite well. Otro ttulo tradicional de esta


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tarjeta es las dos vas y esto describe su significado alqumico bastante bien. There aretwo ways to success in the Great Work: the wet way and the dry way. Hay dos formasde xito en la Gran Obra: la forma hmeda y seca. Each of them requires the union ofopposites (Coniunctio Oppositorum), here symbolised by the royal couple, the same asin the Arcana III and IV. Cada uno de ellos requiere la unin de los opuestos

(Coniunctio Oppositorum), simbolizada aqu por la pareja real, el mismo que en losArcanos III y IV. In the upper half of the retort they are being married by a bishop(Mercury from the previous card), which is the dry way requiring a catalyst, and in thelower part they are shown in the act of copulation (Copulatio in Aqua), which representsthe wet way. En la mitad superior de la rplica que se estn casados por un obispo(Mercurio de la tarjeta anterior), que es el camino seco que requiere un catalizador, y enla parte inferior se muestran en el acto de copulacin (Copulatio en Aqua), lo querepresenta la forma hmeda. The griffon above is a symbol of the same conjunction,

being half eagle and half lion (symbolising the female and the male principlesrespectively). El griffon arriba es un smbolo de la misma relacin, que constituyen lamitad guila y mitad len (smbolo de la hembra y el macho principios,

respectivamente).

VII. The Chariot. VII.El Chariot. On one level of interpretation the warrior-king in thechariot symbolises the necessary requirements that the alchemist should possess in orderto complete the Great Work: courage, perseverance, will to continue. Por un nivel deinterpretacin, la guerrero-rey en el carro simboliza los requisitos necesarios que elalquimista debe poseer a fin de completar la Gran Obra: el coraje, la perseverancia,voluntad de seguir. He should also pay attention to the signs telling him he is on theright path (this is symbolised by the two peacocks - Cauda Pavonis of alchemy).Tambin debera prestar atencin a los signos dicindole que est en el camino correcto(esto es simbolizado por los dos pavos reales - cauda Pavonis de la alquimia). Onanother level this Arcanum is connected with the "Triumphal Chariot of Antimony" andthe wolf in the neck of the retort is the symbol of that metal. En otro plano esteArcanum est conectado con el "Chariot triunfales del antimonio" y el lobo en el cuellode la retorta es el smbolo de ese metal.

VIII.Justice . VIII.Justicia. Another card showing the requirements which shouldcharacterise the alchemist. Otra tarjeta que muestra los requisitos que debe caracterizarel alquimista. The female figure with the scales and sword symbolises the knowledge of"weights and measures", ie the technical side of Alchemy. La figura femenina con lasescalas y la espada simboliza el conocimiento de "pesos y medidas", es decir, el aspecto

tcnico de la Alquimia. The hermetically sealed vessel on her body designates thetheoretical knowledge of Alchemical Philosophy, as shown by the diagram on it. Elbuque recipientes hermticamente cerrados en su cuerpo designa a los conocimientostericos de la alquimia Filosofa, como lo demuestra el diagrama sobre el mismo. Theswan above, though it is more frequently used in Alchemical allegories as designatingthe White Work, is also a symbol of spiritual purity, which is another requirementtraditionally demanded of the Alchemist. El cisne anterior, aunque es msfrecuentemente utilizado en la alquimia alegoras como la designacin de los blancos detrabajo, es tambin un smbolo de pureza espiritual, que es otro requisito exigidotradicionalmente de la Alquimista.

IX. The Hermit. IX.Ermitao. The third requirement card, representing wisdom andsecrecy. El tercer requisito de tarjeta, lo que representa la sabidura y el secreto.


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Wisdom, symbolised by the old man and the owl above, is not the wisdom which can belearned from books, but that which is either received orally from a master (under theoath of secrecy) or achieved by illumination. Sabidura, simbolizado por el varn y lalechuza ms arriba, no es la sabidura que se puede aprender de libros, pero lo que es

bien recibido por va oral de un maestro (en el marco del juramento de secreto) o

logrado por la iluminacin. This intuitive wisdom tells the Alchemist in which directionhe should proceed (which is symbolised by the stick the old man holds) and advises himon the proper use of the time factor in his Work (symbolised by the hour-glass). Estaintuitiva sabidura le dice al Alquimista en qu direccin debe proceder (que essimbolizada por el palo el viejo tiene) y le aconseja sobre el buen uso de el factortiempo en su trabajo (simbolizado por la hora de vidrio).

X. The Wheel of Fortune . X.La Rueda de la Fortuna. This Arcanum symbolises thedecision to begin the Great Work or "turn the wheel". Este Arcanum simboliza ladecisin de comenzar la Gran Obra o "gire la rueda". Turning the wheel three or fourtimes during the Work is often referred to in Alchemical texts (eg Ripley's TwelveGates ) implying the necessity to repeat the same processes on various levels. En cuantola rueda de tres o cuatro veces durante el trabajo es a menudo a que se refiere a laalquimia textos (por ejemplo, Ripley'sDoce Gates) que implica la necesidad de repetirlos mismos procesos en diferentes niveles. This card also recapitulates the basic tenetsof Alchemical Philosophy which were expounded in the previous Arcana, namely thethree principles (Salt, Mercury, Sulphur) symbolised here by the three snakes in the

bottom circle, the two seeds (positive and negative) represented by the man and thewoman, and the four elements of Nature (Fire, Air, Water, Earth) symbolised by thefour birds. Esta tarjeta tambin recoge los principios bsicos de la alquimia Filosofaque se expuso en los anteriores Arcanos, es decir, los tres principios (sal, mercurio,azufre) simbolizada aqu por los tres serpientes en la parte inferior crculo, las dossemillas (positivas y negativas), representada por el hombre y la mujer, y los cuatroelementos de la Naturaleza (Fuego, Aire, Agua, Tierra) simbolizados por los cuatroaves. The two dragons biting each other's tails is the symbol of the cyclic nature of theGreat Work, as well as of the fixed and the volatile, another important pair of opposites.Los dos dragones s mordiendo la cola es el smbolo de la naturaleza cclica de la GranObra, as como de la fija y la voltil, otro par de opuestos.

XI. Strength . XI. Strength. After the decision to begin the Work had been made in theprevious Arcanum, the initial substances are placed in the alchemical vessel. Tras ladecisin de iniciar el trabajo se haba hecho en el anterior Arcanum, las sustancias se

colocan en el buque alqumico. The green lion and the toad in the neck of the retort aresymbols of Prima Materia (here in the meaning of the materials with which the Work isbegun), while the woman sitting on the lion is the personification of the Art("Alchymia"), who will reappear in some of the subsequent cards. El len verde y elsapo en el cuello de la retorta son smbolos de Materia Prima (aqu en el sentido de losmateriales con los que el trabajo se inicia), mientras que la mujer sentada sobre el lenes la personificacin del Arte ( "Alchymia" ), Que volver a aparecer en algunos de lossiguientes cartas. The Sun and the Moon, from which two streams descend into thevessel, are to remind us once more about the necessity to perform "ConiunctioOppositorum". El Sol y la Luna, de dos arroyos que descienden en el buque, se nosrecuerda una vez ms sobre la necesidad de realizar "Coniunctio Oppositorum".


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XII. The Hanged Man . XII.El hombre se ahorc. This card is a symbol of the stage inthe Great Work known as "fixing the volatile". Esta tarjeta es un smbolo de la etapa enla Gran Obra conocida como "la fijacin de la volatilidad". The winged, and thereforeaerial, figure descends from above downwards and places small sacks of solid matter onthe bottom of the retort. Las alas, y, por tanto, area, cifra desciende desde arriba hacia

abajo y lugares pequeos sacos de materia slida en la parte inferior de la retorta. Thesame idea is conveyed by the crucified snake at the top, which is a traditional symbol ofthis process. La misma idea se transmite por la serpiente crucificado en la partesuperior, que es un smbolo tradicional de este proceso.

XIII.Death . XIII.Muerte. The next important phase of the Work is that of Nigredo, inwhich the substance in the retort is broken down into its basic components. La prximaetapa importante del trabajo es el de Nigredo, en el que la sustancia en la rplica mordazse desglosa en sus componentes bsicos. The process causing this to happen is called

putrefaction and is usually symbolised by the death of the king, his body often being cutinto pieces, or a skeleton, or a black raven (from which another name of this stage is

derived - Caput Corvi). El proceso que causa que esto suceda se llama putrefaccin ypor lo general es simbolizado por la muerte del rey, su cuerpo suele ser cortado entrozos, o un esqueleto, o un cuervo negro (de que otro nombre de esta etapa se deriva -tapa Corvi) . All of these symbols appear on this card. Todos estos smbolos aparecenen esta tarjeta.

XIV. Temperance . XIV. Templanza. This Arcanum represents the longest phase of theGreat Work, which consists in various cyclic processes, such as distillation,sublimation, circulation, and which requires much patience on the part of the Alchemist.Este Arcanum representa la etapa ms larga de la Gran Obra, que consiste en varios

procesos cclicos, como la destilacin, sublimacin, la circulacin, y que requieremucha paciencia por parte del Alquimista. The peacock above is the symbol of CaudaPavonis, or appearance of iridescent colours in the retort, which should be accomplishedat the end of this stage. El pavo de arriba es el smbolo de la cauda Pavonis, o aparicinde colores iridiscentes en la rplica, que debe realizarse al final de esta etapa.

XV. The Devil. XV.El Diablo. The next process is that of solution, which issymbolised by Neptune and the dolphin above. El siguiente proceso es el de la solucin,que es simbolizado por Neptuno y el delfn. The gesture made by Neptune indicates thatduring this phase the union of the two opposites (male and female, Sun and Moon, etc.)is completed. El gesto de Neptuno indica que durante esta fase de la unin de los dos

opuestos (masculino y femenino, el Sol y la Luna, etc) se ha completado. On anotherlevel of interpretation, when we consider the central figure to be Pluto, the god of theunderworld (and the Devil of the traditional Tarot appears to be a fusion of Neptune andPluto), this Arcanum is also symbolic of the Alchemical formula of VITRIOL (ie"Visita Interiora Terrae Rectificando Invenies Occultum Lapidem") and therefore ofrectification or cleansing of the substance which is worked upon. En otro nivel deinterpretacin, si tenemos en cuenta la figura central que se Plutn, dios del inframundo(y el Diablo del Tarot tradicional parece ser una fusin de Neptuno y Plutn), esteArcanum es tambin simblico de la frmula de la alquimia VITRIOL (es decir, "VisitaInteriora Terrae Rectificando Invenies Occultum Lapidem") y, por consiguiente, derectificacin o la limpieza de la sustancia que se trabaj. So, in the last analysis, the

message of this card is that the union of opposites and rectification is achieved by


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solution in "our vitriol". As que, en ltima instancia, el mensaje de esta tarjeta es que launin de los opuestos y la rectificacin se logra solucin a "nuestros vitriolo".

XVI. The Tower. XVI.La Torre. The process which is symbolised by this Arcanum isthe final fixation of the substance in the retort. El proceso que est simbolizado por este

Arcanum es la fijacin definitiva de la sustancia en la retorta. This is accomplished bythe proper application of heat, but is also the greatest danger which may destroyeverything that has been made so far. Esto se logra por la correcta aplicacin de calor,

pero es tambin el mayor peligro que pueden destruir todo lo que se ha hecho hastaahora. The broken neck of the retort serves as a warning against applying too great heat.El cuello roto de la retorta sirve como una advertencia contra la excesiva aplicacin decalor. The salamander is also a symbol of fire or, more exactly, control of fire ("regimenignis"). La salamandra es tambin un smbolo de fuego o, ms exactamente, el controlde los incendios ( "rgimen ignis").

XVII. The Star. XVII.La Estrella. The final process of the Great Work proper is

multiplication by which the efficiency of the tincture is greatly increased in order tomake the Philosophers' Stone. El proceso final de la Gran Obra adecuado es que lamultiplicacin de la eficacia de la tintura es aumentado en gran medida con el fin dehacer los filsofos' Stone. The rabbit above is a symbol which sometimes appears in oldAlchemical pictures and whose traditional meaning is not quite clear, but it seems to bean appropriate symbol for multiplication. El conejo de arriba es un smbolo que a vecesaparece en las imgenes antiguas y la alquimia cuyo significado tradicional no es muyclaro, pero parece ser un smbolo adecuado para la multiplicacin.

XVIII. The Moon . XVIII.La Luna. This Arcanum shows the first and less perfectvariety of the Philosophers' Stone known as the White Stone, which serves to transmute

base metals into silver and which is obtained in the stage known as Albedo. EsteArcanum se muestra el primer perfecto y menos variedad de los filsofos "Piedraconocido como la piedra blanca, que sirve para transmutar metales bsicos en plata yque se obtiene en la etapa conocida como Albedo. All the symbols on this card aretraditional representations of it (naked queen with wings, the Moon, white eagle). Todoslos smbolos de esta tarjeta son representaciones tradicionales de la misma (la reinadesnuda con alas, la Luna, guila blanca).

XIX. The Sun . XIX.El Sol. The perfect Stone is the Red Stone or Red Tincture, whichenables the Alchemist to change base metals into gold (which is not to be understood on

the physical level only) and it is made in the phase of Rubedo. La perfecta es la dePiedra Roja Piedra Roja o Tincture, que permite el Alquimista a cambio metales bsicosen oro (lo que no debe entenderse en el plano fsico solamente) y se realiza en la fase deRubedo. The symbols of the naked and winged king, the Sun, and red lion all refer to it.Los smbolos de la desnuda y con alas rey, el Sol, rojo y len todos se refieren a ella.

XX. The Last Judgement. XX.El Juicio Final. Armed with the Philosophers' Stone, theAlchemist can perform its projection on "vulgar" (or "dead") metals and change theminto gold. Armados con los filsofos' Stone, el Alquimista puede realizar su proyeccinen "vulgar" (o "muertos"), los metales y el cambio en oro. This idea is conveyed by theseven kings rising from their graves, who are symbolic of the seven alchemical metals

changed into "live gold". Esta idea se transmite por los siete reyes aumento de sustumbas, que son un smbolo de los siete metales alqumicos cambiado en "vivir de oro".


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The phoenix in the neck of the retort is the symbol of this resurrection. El fnix en elcuello de la retorta es el smbolo de esta resurreccin.

XXI. The World. XXI.El Mundo. The Alchemical Rebis symbolising the final,absolute and universal transmutation on all levels and the achievements of adepthood by

the Alchemist. El Rebis alqumico que simboliza el final, absoluta y universal detransmutacin en todos los niveles y los logros de adepthood por el Alquimista. Thedoubled-headed eagle above conveys the same symbolism of the highest Magisterium.El duplicado encabezados por encima de guila transmite el mismo simbolismo del msalto magisterio.

III. THE STRUCTURE OF THE TAROT IN THE

LIGHT OF ALCHEMY La estructura del tarot a

la luz de la alquimia

Using the above interpretations of the Major Arcana we can now look at them as anintegrated and interconnected series, which describes quite adequately the philosophyand practice of Hermetic Alchemy. El uso de la mencionada interpretacin de lasGrandes Arcanos ahora podemos ver en ellos como un sistema integrado einterconectado serie, que describe muy adecuadamente la filosofa y la prctica de laAlquimia Hermtica. The whole series may be divided into two parts, the borders ofwhich are marked by the Arcana O, X, XXI, ie the first, the middle and the last ones. Laserie se pueden dividir en dos partes, las fronteras de los cuales estn marcados por laArcanos O, X, XXI, es decir la primera, el centro y el ltimo. These are of a specialcharacter and represent the shortest description of the Great Work: the neophyte

Alchemist, or Materia Prima of the Work, the processes or "turning the wheel" and thefinal transmutation. Se trata de un carcter especial y representan el ms brevedescripcin de la Gran Obra: el nefito Alquimista, o Materia Prima de la Obra, los

procesos o "girando la rueda" y la transmutacin final. Now the cards of the first half ofthe series, ie between O and X, constitute a symbolic description of the stages precedingthe actual practice and can be further subdivided into two groups: Theoretical (O - VI)and Preparatory (VII - IX). Ahora las cartas de la primera mitad de la serie, es decir,entre O y X, constituyen una descripcin simblica de las fases anteriores a la prcticareal y puede subdividirse en dos grupos: Terica (O - VI) y preparatoria (VII - IX) .Arcanum X forms the midpoint and may be said to belong either to both or neither ofthe two halves. Arcanum X formas el punto medio y se puede decir que pertenecen ya

sea a la vez o ninguna de las dos mitades. The second half (XI - XXI) is a description ofthe Practical part of the Work and again can be subdivided into the processes leading tothe preparation of the Philosophers' Stone (XI - XVII) and the descriptions of the final

products and their application (XVIII - XXI). La segunda mitad (XI - XXI) es unadescripcin de la parte prctica del trabajo y de nuevo se puede subdividir en los

procesos que conducen a la preparacin de los filsofos "Piedra (XI - XVII) y lasdescripciones de los productos finales y su aplicacin (XVIII - XXI).

Now we shall consider the first half of the series in detail: Ahora vamos a considerar laprimera mitad de la serie en detalle:

0. Neophyte/Salt/Corpus/Hermaphrodite I Mercury/Spirit/Animus

3 principles II Sulphur/Soul/Anima III Passive, female


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seed/Silver 2 seeds Theory (7) IV Active, male

seed/Gold V Interrelation of the three and the two VI The

two ways/"Coniunctio Oppositorum" VII To Will/to Dare VIII

To Know Requirements (4) IX

To Keep Silent X To Go Nefito / sal / Corpus / Mercurio

hermafrodita I / Espritu / 3 Animus principios Azufre II / Soul /

Anima III pasiva, las mujeres de semillas / semillas de Plata 2 Teora(7) IV activo, masculino semillas / Gold V Interrelacin de los tres y

los dos VI Las dos maneras / "Coniunctio Oppositorum" Para VII / VIII

Atrvete a Conocer Requisitos (4) IX guardar silencio X To Go

It may be noted that Arcana III and IV can also be considered as symbols of JungianAnima and Animus principles. Cabe sealar que Arcanos III y IV tambin puedenconsiderarse como smbolos de Jung Anima Animus y principios. The first trinity,however, includes also the hermaphrodite or neutral factor, so these two groups may becompared to the three genders (masculine, feminine, neuter) and the two sexes (maleand female), which are not mutually exclusive. La primera trinidad, sin embargo,incluye tambin los hermafroditas o factor neutral, por lo que estos dos grupos puedencompararse con los tres gneros (masculino, femenino, neutro) y los dos sexos(masculino y femenino), que no son mutuamente excluyentes. Actually, this may beseen as indicating that the terms of Hermetic Philosophy are more precise than those ofJung. En realidad, esto puede ser visto como una indicacin de que los trminos deFilosofa Hermtica son ms precisas que las de Jung.

Arcanum X has been included here as the fifth requirement, "to Go", which was addedby Aleister Crowley to the traditional four Hermetic axioms. Arcanum X se ha incluidoaqu como el quinto requisito, "Go", que fue aadido por Aleister Crowley a lastradicionales cuatro axiomas Hermtica. It may also be compared to the Portal Grade of

the Hermetic Order of the Golden Dawn, as it recapitulates the theory and opens theway to the practice. Tambin puede ser comparado con el Portal Grado de la OrdenHermtica de la Golden Dawn, como se recoge en la teora y abre el camino a la

prctica.

The second half of the Arcana can now be considered: La segunda mitad de los Arcanospuede ahora ser considerado:

XI Placing the initial substances in the retort XII Fixing

of the volatile XIII Putrefaction/Nigredo

XIV Distillation/Sublimation/Circulation Processes (7) XV

Solution/Rectification XVI Fixation XVII Multiplication

XVIII The White Stone/Albedo Products (2) XIXThe Red Stone/Rubedo XX Projection

Applications (2) XXI Transmutation/Androgyne XI Colocar las

sustancias en la retorta XII de la fijacin de los voltiles

Putrefaccin XIII / XIV Nigredo Destilacin / sublimacin / Procesos

de Circulacin (7) Solucin XV / XVI Rectificacin fijacin XVII XVIII

Multiplicacin The White Stone / Albedo Productos (2) La XIX Piedra

Roja / Rubedo XX Proyeccin de aplicaciones (2) Transmutacin XXI /

Androgyne

As can be seen, the seven theoretical Arcana of the first half have their reflection in theseven Arcana describing the processes or stages of the Great Work in the second half

(their number is in agreement with the tradition). Como puede observarse, los sieteArcanos terica de la primera mitad tienen su reflejo en los siete Arcanos describir los


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procesos o etapas de la Gran Obra en la segunda mitad (su nmero est de acuerdo conla tradicin). The sequence of the processes as revealed by the Tarot Arcana differsslightly from that given in other alchemical texts (those best known at least). Lasecuencia de los procesos de revelado como el Tarot Arcanos difiere ligeramente de laque figura en otros textos alqumicos (los ms conocidos por lo menos). This may be

interpreted either as purposeful confusion or as the true sequence, and I tend to acceptthe latter view as the Tarot deck was probably not constructed by an alchemist but bysomeone who experienced illumination and contacted the archetypal level of existence,as I have already explained, and therefore had no purpose in introducing the confusingelement into the deck. Esto puede interpretarse tanto como la confusin deliberada ocomo la verdadera secuencia, y me inclino a aceptar la opinin de este ltimo como elTarot baraja probablemente no fue construido por un alquimista, sino por alguien queexperiment la iluminacin y se estableci contacto con el arquetipo nivel de existencia,como he ya se explic, y, por tanto, no tena propsito en la introduccin del elementode confusin en la baraja. So the processes of the Great Work would appear as follows.Por lo tanto, los procesos de la Gran Obra parece como sigue. First the substances to be

worked upon are chosen and placed in the retort. En primer lugar las sustancias que sehan trabajado son el momento elegido y se coloca en la retorta. At least one of thesesubstances is volatile and it has to be fixed in the next stage. Al menos una de estassustancias es inestable y tiene que ser fijada en la siguiente fase. Only then the phase of

Nigredo takes place, in which the substances are putrefied ("killed") and disintegrate.Slo entonces la fase de Nigredo se lleva a cabo, en el que las sustancias son putrefied( "muertos") y se desintegran. What remains is then subjected to long lasting processesof distillation or sublimation. Lo que queda entonces es sometido a procesos de largaduracin de la destilacin o sublimacin. After this process is completed, the substanceis solved, which brings its rectification, and then fixed. Despus de este proceso se hacompletado, la sustancia est resuelto, lo que eleva su rectificacin, y luego fijo. Finallyit has to undergo multiplication, ie put through the same processes again and again untilits power is sufficiently increased. Por ltimo, tiene que someterse a la multiplicacin,es decir, poner la misma a travs de procesos de una y otra vez hasta que su poder es losuficientemente mayor. In this way the Philosophers' Stone is finally produced (whetherit is the White or the Red variety depends probably on the initial substances). De estamanera, los filsofos' Stone finalmente se produjo (si es el blanco o el rojo variedaddepende probablemente en las primeras sustancias).

As the Tarot is an archetypal cycle, it has to be accepted that with the Arcanum XXI orfinal transmutation we come back to Arcanum 0, which is also suggested by the

Ouroboros coiled around the outside of the neck of the retort in Arcanum 0, as well asby the androgynous meaning of these two Arcana. A medida que el Tarot es unarquetipo del ciclo, tiene que ser aceptada de que, con el Arcanum XXI o latransmutacin final nos volvemos a Arcanum 0, lo que tambin es sugerido por elOuroboros en espiral alrededor del exterior del cuello de la retorta en Arcanum 0, comoas como por el andrgino significado de estos dos Arcanos. This reminds one of a Zenstory which says, more or less, that for a person who does not practice Zen a tree is atree and a mountain is a mountain, for one who is a practitioner of Zen a tree is not atree and a mountain is not a mountain, and for one who has attained mastery of Zen atree is again a tree and a mountain is a mountain. Esto recuerda a uno de historia Zenque dice, ms o menos, para que una persona que no practica el Zen un rbol es un rbol

y una montaa es una montaa, por su parte que es un practicante de Zen un rbol no esun rbol y una montaa no es una montaa, y para uno que ha alcanzado el dominio de


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Zen es un rbol de nuevo un rbol y una montaa es una montaa. Somewhat similarstatements can be found in European alchemical texts, which say that the matter of theStone can be found everywhere but ignorant seekers cannot perceive it. Algo similardeclaraciones se pueden encontrar en los textos alqumicos Europea, que decir que elasunto de la piedra se puede encontrar en todas partes, sino que buscan ignorante no

puede percibirla.

IV. THE MINOR AND COURT ARCANA Los

menores y los tribunales arcana

Although the Minor and Court Arcana are far less interesting than the Major Arcana ofthe Tarot, a few words have to be said concerning a possibility of their interpretation inthe light of Alchemy. A pesar de que la Corte Menor y Arcana son mucho menosinteresante que las Grandes Arcanos del Tarot, unas palabras que se han dicho sobre la

posibilidad de su interpretacin a la luz de la Alquimia. The main feature of this part of

the deck is its fourfold division into suits, which may be seen as representing either thefour elements of Hermetic Philosophy with all their correspondences, or the four"turnings of the wheel", ie carrying out the same processes of the Great Work on fourlevels. Although both of these views are not mutually exclusive (symbols are in factexpected to have many meanings), the former possibility seems to me more appropriate,as I think that the Minor Arcana symbolise Nature as opposed to Art (Major Arcana). Inthis scheme the Court Arcana would represent the "spiritual" part of Nature, which isnot perceived by ordinary human beings. The meanings of the suits would then be asfollows:

SUIT ELEMENT KINGDOM LEVEL OF

OF NATURE EXPRESSION Rods Fire HumanSpiritual Swords Air Animal Mental Cups

Water Vegetable Emotional Pentacles Earth

Mineral Physical

Every one of the ten numbered cards of each suit represents one of the basic principlesoperating in nature according to the Hermetic Philosophy, as it finds its expressionwithin the realm of each element. These include also the sub-elements, eg Fire of Fire,Fire of Air, Fire of Water, etc., which were used by the Golden Dawn and AleisterCrowley, and, I believe, have some foundation in the tradition. The correspondences foreach of the numbered cards are the following:

1. The Root or Essence 2. The Male Seed 3. The Female Seed 4. Salt

5. Sulphur 6. Mercury 7. Fire 8. Air 9. Water 10. Earth

This scheme has obvious links with the Sephiroth of the Kabalistic Tree of Life and canbe viewed either as the unfolding of Nature in a series of emanations (as shown here,from the Root of each element to the fullest expression of it) or as the way which should

be followed by the Art of Alchemy in order to reach its goal (imitating Nature). In thatcase number one would symbolise the Tincture or Philosophers' Stone and would be theend, not the beginning, of the series.


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The Court Arcana are symbolic of the spiritual forces of the elements and realmscorresponding to them, and thus for each suit or element the following roles wouldapply to the figures of the Court Arcana:

King - Ruler of the Element Queen - Intelligence of the Element

Knight - Demon of the Element Page - Elemental of the Element

In this attribution the Queen and Knight are positive and negative aspects of theelemental forces, while the King and Page are neutral. The difference between the latter

pair is that the King symbolises a conscious force, while the Page stands for theunconscious force manifesting itself through the element in question.

V. THE USES OF THE ALCHEMICAL TAROT

The final matter which has to be considered here is the application of the alchemicallyinterpreted Tarot deck. Obviously it can be used in any of the ways other decks are used

but its special significance lies in the field of alchemical research. First of allAlchemical theory and practice can be learned from it, as it features most of the mostcommon symbols found in alchemical illustrations of old treatises, and meditating onthese cards can be of great help (I may add that I have learned much about Alchemywhile designing this deck). In the same way this deck may serve as an explanatory toolfor teaching Alchemy to others. And finally it may be used for a kind of divination forthe purpose of determining the proper course of action in practical Alchemy. The bestspread for this would be the one to which a person is accustomed, ie which has beenused by one for other purposes with other decks of the Tarot cards, with the meanings ofcard positions slightly adapted for the aim in question.

VI. COLOURING GUIDE

Colour is a very important feature in Alchemical symbolic imagery and thereforegeneral guidelines for colouring the Tarot cards are added here, though without goinginto detail about the significance of the colours employed.

O. The man - black, the armour and kneecaps - blue, the lance - red, the banner - black,the dragon below - green, the snake above - upper half red, lower half green.

I. The man - natural colour, the sun - yellow, the moon - white, the dove above - white.

II. The woman - natural colour, the halo around her - the darker rings red, the brighterones yellow, the unicorn above - white.

III. The dress - mostly blue, the lily above - white.

IV. The dress - mostly red, the lion above - red.

V. The bishop - bishopric purple, the king - red, the queen - white, the pelican above -white.


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VI. The copulating couple - the king red, the queen white; in the upper half: the bishop'sclothes - bishopric purple, the king's clothes - red, the queen's dress - white, the griffonabove - half red (head and wings), half white (trunk and legs).

VII. The king - dressed in red, the peacocks - multicoloured, the chariot - yellow, the

wolf above - grey.

VIII. The woman's clothes - blue, the scales and sword - yellow; the diagram: thetriangle - blue, the square - black, the outer ring - red, the space between the square andthe outer ring - white; the swan above - white.

IX. The man's clothing - brown, the hour glass - yellow, the stick - red, the owl above -brown.

X. The man - red, the woman - white, the pheonix - red, the swan - blue, the eagle -white, the raven - black, the three snakes below - black, white and red, the two dragons

above - the upper one red, the lower one green.

XI. The lion - green, the woman's garments - blue, the heart in her hand - red, the sun -yellow, the moon - white, the toad above - black.

XII. The figure's dress - blue, wings - yellow, the small sacks - green, the snake above:upper half red, lower half green, the cross - brown.

XIII. The skeleton - white, the pieces of the king's body - red and yellow, the ravenabove - black.

XIV. The woman's dress - blue, the wings - yellow, the lower retort - green, the upperone - red, the peacock above - multicoloured.

XV. Neptune's body - blue, the man and woman - natural colours, the sun - yellow, themoon - white, the dolphin above - blue, the trident in Neptune's hand - red.

XVI. The bricks - red, the salamander - yellow surrounded by red fire.

XVII. The figure - dressed in blue, the retort and the liquid - red, the rabbit above - red.

XVIII. The woman, the moon and the eagle - white.

XIX. The man, the sun and the lion - red.

XX. The kings are yellow, but their graves are of different colours, namely: white,green, blue, red, black, bishopric purple; the phoenix above - yellow surrounded by redfire.

XXI. The female half - red, the male half - yellowish brown, the female wing - blue, themale wing - green, the crowns on the feet: female - blue, male - green; the crown in thefemale hand - yellow, in the male one - red, the crown on the head - red, the one round

the neck - green, the one round the waist - black, the dragon below - pink with greenwings, the dragon above - black.


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VII. BIBLIOGRAPHY AND ICONOGRAPHY

The sources are too extensive to list them here and this seventh headline has been addedonly to complete the Alchemical Law of Seven. So.....

FINIS CORONAT OPUS

Artículo publicado originalmente con los dibujos de Edward O

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Transcript of Artículo publicado originalmente con los dibujos de Edward O