Aleister Crowley's Thoth Tarot


Tarot Essays Part Three

The Thoth is the Tarot deck painstakingly designed by Aleister Crowley. Like many of his written works it peirces through the veil of his self-crafted, scandalous, sensationalist public image and demonstates a man of great discipline, vast education, and great benevolence.

Suffice it to say, the images are deeply and ornately laden with a stunning collection of Alchemic symbolism. Above all others, I do not use my Thoth deck for divination, in honor of the bottomless well of secrets that is found within the images, but it is reserved for meditations and contemplations.

We might rightly and rightfully hope that the "Secrets of the Universe" are found within even the Major Arcana of the Thoth alone. The sacred scoundrel is quite unlikely to disappoint us.

Just as the facsimiles presented here cannot replace the beautiful, detailed images of the original works, the accompanying book to the Thoth cannot be and will not be replaced or foregone here; it goes into great depth and with majestic detail the meanings and Correspondences of the cards.

Still, Crowley is acting as an Alchemist here; as such, while we can expect his words to bear pertainence to the subjects, we cannot necessarily expect his own identifications of the subjects themselves to be candid or precise... at least, not fully, to the unitiated.

My purposes here in presenting the Thoth are, for one, simply to familarize people with this fabulous resource, and for another, to briefly interject the fruits of my own contemplations as to more precisely what the subjects and potentials of the cards may truly be.

As is with such fabulously complex symbolism, it is possible to be wrong, and although I wish I could promise absolute accuracy, to be honest, I cannot. I can simply try my best.

The Priestess
The Lovers
The Hermit
Lust
Death
Art
The Moon
The Universe

II: The Priestess

Relevance: A study in materialization, perhaps departing somewhat from the more expected tools of such phenomena- the thyrseus, shrine, horn of plenty, cauldron or balance- and approaching such other components of folklore and legend as magickal cloths, tablecloths, and fishnets.

Some of the symbolism seems to imply what is seemingly typical for the Thoth- a rather precocious awareness of the current subjects that are the focus of science: chaos, turbulence, non-linearity and self-organization.

Still, the role of the traditional sources of magickal forces may also be seen to be indicated here, and in ways it need not differ from the meaning of the same card within Waite's Ryder deck.

VI: The Lovers

Relevance: A very dense and powerful collection of Alchemic symbolism, relying on the traditional Alchemic theme of a "wedding" of antromorphicized principles, either through some of the images alone, or by reason that it touches on the borders of the of what, to respectfully conserve the forms of allegory in Alchemic tradition, which in places thereby become unnecessarily perverse, its subjects may include the Magickal child or homunculus.

Its appearance here may help emphasize the full ramifications, then, of this great Alchemic archetype, giving the thematic keys, or motifs, with which more information may be found encoded into the enlightened literature produced by initiates of the past and ancient times.

IX: The Hermit (not shown)

More insights into the creation of the Magickal child, and quite likely serving again to emphasize an archetype and thematic key to literature, yet we may be well advised to not overlook other possibilities and, too, their proximity in nature and means to this particular accomplishment, for this archetype is employed within the personal vignette from the live concert film of a famous musician (and in album graphics for his group), who succeeded Crowley in the ownership of Boleskine at Loch Ness, a peice of symbolism itself which may have great power, depth, and reward.

XI: Lust

Relevance: This card raises some possibly disturbing questions about our collective inadequacy in facing and conquering the intellectual problems concerned with our own role in passing on the gift of life as is now conventional. Likewise, it questions the nature of these forces, and bravely contends with their definitions and applications.

Still, the aim of the symbols must in the end to come to peaceful and agreeable terms of understanding and mastery of the elements and principles involved.

Accordingly, the images may identify various principles of science and physics that, typically for Crowley, are both of ancient use, and far ahead of their time. Even now, we may barely have the intellectual tools and vocabulary to describe what we are seeing here.

The relevance may extend to manifestions or materializations of worldly goods in a great number of classic instances, perhaps the feats of Greco-Roman magick may be most strongly suggested by the images.

Perhaps the card is well defined to suggest that while the creation of a child through normal means, and the materialization of an object by a medium or Eastern mystic may involve the distinction between coalescence of living or sentient, and that of non-living or non-sentient matter, and though they may happen at drastically different rates , that they may not be fundamentally different.

XII: Death

Likely to be Crowley's effort to account for the characteristics of death, the card shows forces which are suprisingly modern in the sciences, approximating things both non-linear, or chaotic, and things fractal.

Additionally, he has chosen an intriguing icon, for his character death, in resembling the Grim Reaper who may be thought to be patterned by perverting the image and intent of Chronos or Saturn, may have actually invoked an astrological archetype who is the antithesis of disorder or chaos, and whose correspondences both Chemical and Alchemical shed light on critical areas when dealing with mastery of death... or as the card suggests by illuminating that the study of mastery of life is also one in the same, when dealing with the mastery of life.

Ultimately, this card may illuminate for the student or seeker, many manners of great magick at once, from resurrections and recorporeorations, to manifestations of the broadest number of kinds and means.

So then, with the sagacity typical for Crowley, the name of the card might be in truth, Life.

XIV: Art

A very concise expression of may issues significant to Alchemy, and diverse aspects thereof, and which may boldly approach even more of what is extremely sophisticated science by today's standards, publically unheard of in Crowley's time.

Here, the student or seeker may be well advised, as always, when the expression appears, to try taking the term "vitriol" most literally in addition to most figuratively.

Perhaps the meaning of this card may pertain, too, to accounting for the magickal properties of dew that is called for in magickal rejuvenation and Alchemical formulas.

Additionally, perhaps the student or seeker will note here the appearance and identity of an atomic nucleus of a certain element, and think of its significance. So, too, does our Goddess, the lunar Artemis, seem to be the long name of this Art, for there are traces here, that allow the archetype to transcend the vast and essential mundane applications of this Goddess, just as her image in ancient Ephesos likewise bore symbolism on its front that concerns survival training for the youngest, and yet carries on its back what likewise appears to an atomic nucleus of yet another element that is of great importance in magick, a riddle that today may still challenge the keenest adult intellects.

XVII: The Moon

Once again typical for Crowley, this card seems to imply an understanding of physics, or at least the application of such an understanding that is, by default of the lack of will of others applied as courage in expressing in public, again a number of decades ahead of its time.

Aleister Crowley here may have indicated the use of the understanding of Quantum mechanics' "wave-function" and the terms of its' collapse, to the issues of life, death, resurrection, and recorporeoration.

The background of this card may hold, rather blatantly, what is nearly the most precise and progressive expression possible of the true nature of the most obvious forces, light and gravity, and ultimately constitute a simple yet genuine, and more importantly, easily applied, Grand Unified Feild Theory...

It is perhaps the most compelling of all examples to do as Crowley urges time and again, to involves the persuits of the intellect in magickal work, to seek a true understanding of science: not for the purposes of becoming scientists, in the sense of suffering systematic restraint, or seeking to be "miracle workers" within the bonds of mere technical chicanery in the realm of mastery of life and death...

But to apply this understanding, under Love, under Will, to be "miracle workers" of the trustest sort.

XXI: The Universe

Relevance: Seeming to be reflecting backwards on certain cards which preceed it, this card expresses what may be both the truest nature of man, his highest potential, which is identical.

The ramifications of this are staggering, especially for those who seem unable to contend with all of those things which which would preceed this revelation in a logical and linear fashion, that it might logically be largely senseless to begin to explore these areas in this place and at this time.

Still, these things are not beyond the imagination that is driven by wishing nor will, and therefore cannot be concealed, so would appropriately be revealed and illuminated herein. Suffice to say, if these are true, they may not only approach the likes of the most mind-stretching ideas that have been featured on "Star Trek: The Next Generation" but may very closely resemble a synthesis of several or more of the most exotic and extreme expressions of the possible diversity of life therein.

At some level preceeding this greatest of notions, may be found in this card strong additional illumination, of explantion and facilitation, of materialization by means both magickal and scientific, if we are not as ever splitting hairs by attempting to distinguish the two.

Aleister Crowley Links:

Links To Electronic Versions of Crowley's Works
Mimers Brunn-- English Textfiles: Crowley, et al
The Ape of Thoth: A Thelemic Text Daemon
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