Grevel Lindop

Poet, biographer, critic, essayist and writer on just about everything

A RHYME FOR THE TAROT

I’ve often felt frustrated that, although I’ve worked with the Tarot on and off since I was 16, I’ve never been able to remember the order of the Trumps. A couple of weeks ago, I thought of making up a rhyme to help recall the numbers.

So I did it. It’s just doggerel but others might find it useful, so here it is. I happened to be using the Rider Waite pack. Then I remembered that in the old Marseille pack, Justice and the Strength/Force are swapped around. So I made another version to fit the Marseille pack.

Anyway, here they are. First the rhyme for the Rider Waite pack; then some Notes and Comments; and finally the rhyme for the Marseille pack. One or the other should hopefully fit other packs/decks as well.

Some of the Rider Waite Tarot cards

A RHYME FOR THE TAROT
Rider Waite Pack
 
One’s the Magician, beginning his quest;
Two the High Priestess, a cross on her breast;
Three is the Empress, a goddess you see,
And Four is the Emperor, his orb at his knee.
The Hierophant’s Five, whose good prayers we receive,
And Six are the Lovers, fair Adam and Eve.
Seven’s the Chariot, pursuing its path,
And Eight is for Strength, who can tame the lion’s wrath.
Nine is the Hermit, who lives far from town,
And Ten is the Wheel, where we’re tossed up and down.
Eleven’s for Justice, he’s strict but he’s fair,
And Twelve the Hanged Man, with one foot in the air.
Thirteen’s an old friend, the black flag is his sign,
And Temperance Fourteen, adding water to wine.
Fifteen is the Devil, with souls on a chain,
And Sixteen’s the Tower: destruction and pain!
Seventeen is the Star, pouring spiritual light,
And Eighteen’s the Moon, bayed by dogs in the night.
Nineteen is the Sun, with the children at play,
And Twenty’s for Judgement, the Earth’s final day.
Twenty-one, the World Soul dances graceful and free,
And Zero’s the Fool: could that be you or me?

NOTES:

1. Yes, I know the ‘quest’ is ours, rather than the Magician’s; but I wanted to give a sense of ‘setting out’ on our journey. And after all, surely every magician ought to be on a quest?

2. The ‘cross’ is obvious in the Rider Waite version. In the Marseille, it’s just two crossed straps, so maybe not a real ‘cross’ at all. Also she’s dressed as a female Pope. So the Marseille version could be either ‘Two’s the Popess in her triple crown drest’ or – drawing on the medieval legend of the female Pope – ‘Two is Pope Joan, in her triple crown drest’ (which I like best of all).

3. I associate the Empress, who looks like a bountiful fertility figure, with the Triple Goddess. But as the line ends with ‘you see’, you can put in some other words here if you like!

4. It would have been nice to say ‘his sword at his knee’ but in the picture it’s a round thing like an orb. For the Marseille pack, I’ve adapted to match the picture: ‘his shield at his knee’.

5. ‘Good prayers we receive’ is slightly awkward, but I couldn’t find a better phrase; still, if he prays for us, then we are at least receiving the benefit of his prayers. For the Marseille pack, I’ve changed ‘The Hierophant’ to ‘the Pope’, and altered the words to rhyme with the line about Force.

6. Rider Waite makes the Lovers definitely Adam and Eve. The Marseille pack has Cupid overhead, and the young man turning away from Dame Philosophy in her laurel wreath to go with the lady. Oh foolish chap! Or maybe not. I’ve changed the line accordingly.

8, 11, 12, various changes of wording to fit the differences between packs. The Hanged Man in all packs looks perfectly happy, and seems to be an acrobat. That doesn’t stop him from standing for an uncomfortable betwixt-and-between situation if he comes up in a reading. Even an acrobat doesn’t want to spend all his time upside down. But nor does he deserve the sinister reputation he has amongst non-Tarot people.

13. In the Rider Waite pack, Death has a black flag. For the simpler Marseille design, I’ve said ‘and the skull is his sign’.

15. In Rider Waite, the souls are clearly on chains. In Marseille, it looks like ropes, so I’ve changed accordingly. Choose whichever you prefer.

19. The Rider Waite card has a single child, on horseback. You could say ‘With the child who’s at play’ if you want to be purist about it. I think ‘children at play’ is nicer. As there’s a low wall in the Marseille picture, I suspect the children are actually Romulus and Remus, in which case it’s all going to end badly, but never mind.

21. I suppose strictly it should be ‘world’s final day’ as other planets would presumably be judged, not just earth. But I wanted to save ‘world’ for the next card, so too bad! You could say ‘our Reckoning Day’ or something, but I prefer it as it is.

A few of the Marseille Tarot cards

And now here’s the Marseille version:

A RHYME FOR THE TAROT:
Marseille Version

 One’s the Magician, beginning his quest;
Two is Pope Joan, in her triple crown drest;
Three is the Empress, a goddess you see,
And Four is the Emperor, his shield at his knee.
Five is the Pope, who can pray for our souls,
And Six are the Lovers, whom Cupid controls.
Seven’s the Chariot, so drive it with care,
And Eight is for Justice, she’s strict but she’s fair.
Nine is the Hermit, who lives far from town,
And Ten is the Wheel, where we’re tossed up and down.
Eleven’s for Force, who can tame the wild beast,
And Twelve the Hanged Man – not perturbed in the least!
Thirteen’s an old friend, and the skull is his sign,
And Temperance Fourteen, adding water to wine.
Fifteen is the Devil, with souls on a rope,
At Sixteen the Tower falls, but don’t lose all hope!
Seventeen is the Star, pouring spiritual light,
And Eighteen’s the Moon, bayed by dogs in the night.
Nineteen is the Sun, and the child who’s at play,
And Twenty’s for Judgement, the Earth’s final day.
Twenty-one, the World Soul dances graceful and free,
And Zero’s the Fool: could that be you or me?
 

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Treadwell’s, London’s Truly Magical Bookshop

A few days ago I was in London and, as I usually do, I found time to drop in at my favourite bookshop, Treadwell’s of Covent Garden.

Treadwell’s is certainly London’s most magical bookshop; and I don’t just mean that metaphorically. Besides holding a large range of poetry, fiction, history and biography, Treadwell’s specialises in the occult: magic, mythology, folklore, witchcraft, druidry, paganism, ancient religions – and all that appertains thereunto. Besides scholarly works and popular surveys they sell grimoires and collections of spells, ranging from teen-friendly paperbacks to leather-bound, limited-edition tomes that can set you back upwards of a thousand pounds.

And they don’t just stop at books. They sell every imaginable type of herb and incense. They sell pure beeswax candles. They sell magic wands (wooden or crystal, just as you choose). They have silver chalices of every size, and athames (traditional witches’ knives) in a variety of designs.

Part of the joy of Treadwell’s is that you never know what extraordinary thing you’re going to find. Last time I was there, their ‘occult antiques’ display included a 1930s Egyptian sorcerer’s ring. This time, one showcase had a display of ‘snakeskin parchment’; and, yes, it was actual snakeskin. Not my personal writing-surface of choice, but I suppose if you had the right spell it might be just what you would want.

The sofa that really refreshes your browser

If I’m making it sound scary or barbaric, I’m getting it wrong, because Treadwell’s is also the cosiest and most welcoming bookshop I know. You can browse as long as you like over the endless fascinating second-hand books, many of them very cheap indeed. If you’re there more than a few minutes, you’ll probably be offered tea or coffee, and you can enjoy it on the comfortable Browser’s Sofa. You can even have a personal tarot reading done while you wait.

Treadwell’s also hosts a fascinating programme of talks, lectures and courses on countless magical and spiritual topics, from both academics and practitioners (two categories that are not mutually exclusive, thank goodness). I’ve spoken there myself on Robert Graves and The White Goddess, and in the autumn of 2010 I’m going back to speak on ‘Gods, Dreams and Magicians in Latin America’.

Owner Christina spreads a strange enchantment...

There’s always been some shop in London where those of a mystical and magical bent congregated. In the 1920s it was Watkins’s of Cecil Court; post-1945 it was Atlantis near the British Museum. Both are still going strong, and good luck to them; but nowadays the real focus of the cosmic crystal, I’m sure, is Treadwell’s. You can find them at 34 Tavistock Street, London WC2E 7PB (website www.treadwells-london.com) and I recommend a visit for the sheer fun of it. Though I should warn you that there is a curious enchantment about the shop: somehow I never seem able to leave without buying something. Quite uncanny.

I have to say in conclusion that if it weren’t for Treadwell’s, this blog probably wouldn’t be here. Last year a businessman from New Orleans called Ken McCarthy was passing by. He’d just finished reading a book on Haitian Vodun and noticed that Treadwell’s wanted second-hand magical books. He dropped in and made them a gift of it, taking in their lecture programme at the same time. He came back for a lecture, and it was mine. We talked, became friends, he invited me to New Orleans (I’ll tell you all about that another time!), he told me I should have a blog, and he put me in touch with the guys who set this one up. The rest is history. Or rather, the rest of this particular post is a video clip: the owner of Treadwells, Christina Oakley-Harrington, talking to Richard and Judy about the Toad Spell. Yes, really. Enjoy!

The White Goddess and Robert Cochrane

Some years ago I was working on Robert Graves’s papers in Mallorca. Among letters he’d received, a couple of oddly vivid ones from a person called R.L. Bowers of Slough stuck in my memory.

It was only quite recently that I discovered that R.L.Bowers was better known as ‘Robert Cochrane’, the ‘angry young man’ of British witchcraft in the 1960s. I’ve put the letters I found into an article that appears in the latest issue of The Cauldron (www.the-cauldron.org.uk).

Even for a witch, Robert Cochrane was a mysterious character. Born in 1931, he was a working class Londoner who claimed to have worked as a bargee and a foundryman before suddenly appearing on the pagan witchcraft scene in 1963.

He established a very dynamic coven and then died from belladonna poisoning at midsummer 1966. He grew foxgloves in his garden, and people still argue over whether he committed suicide or simply made a mistake during a magical experiment.

But in his short life he managed to establish two traditions that are still very much alive, though secretive: the 1734 tradition in the USA, and The Clan of Tubal Cain in the UK.

I’ve called Cochrane the ‘angry young man’ of witchcraft. In the early 1960s, when he started his coven, working-class authors like Alan Sillitoe and John Osborne were expressing angry contempt for the old guard of playwrights and novelists whom they saw as cosy and conservative. In the same way, Cochrane, the pushy working-class lad, expressed his contempt for the ‘Wicca’ version of witchcraft propagated by Gerald Gardner, a Conservative ex-colonial civil servant.

Brash and independent, Cochrane was highly creative, and although he often seemed to make things up as he went along, he had a poetic streak and a genius for ritual, according to those who knew him. His rituals and the personal mythology he created – set out mainly in a book called Roebuck in the Thicket, which is itself a quotation from Graves’s The White Goddess – draw heavily on Graves’s book. Indeed, he almopst hero-worshipped Graves. And so little of Cochrane’s own writing survives that to find two unknown letters from him – and they are pretty long ones – was an exciting discovery. I wanted to make their texts available without delay.

To see what Cochrane had to say to his hero, you will have to read the full article, which is in the latest (Nov 2009) issue of The Cauldron. But

But just to whet your appetite, here’s one sentence, which shows how well Cochrane can write:

“I sometimes feel when I am wandering around in the marshes of the old knowledge, that the dam upstream is going to burst and the whole of humanity is going to be submerged by fifty thousand years of pre-history, swamping the neat subtopian conventions of the last thousand years.’

Anyone who could write like that must have had more than a touch of magic about him.