Then a cloud placed itself between him and the earth, and the rays of the sun bounced back from it and he grew wrathful that his power was resisted. He complained that the cloud excelled him in power and he was not content. He wished to be the cloud, which was so powerful, and the angel came to him and said, "You are what you have said."
And he became a cloud and placed himself between the sun and the earth and caught the rays so that the grass grew green. The cloud rained large drops on the earth, causing rivers to swell and floods to carry houses away, and he destroyed the fields with much water. Then, he fell upon a rock that did not yield, and he splashed in great streams, but the rock did not yield, and he grew wrathful because the rock was not yielding to his power, and the power of his streams was in vain and he was not content.
He cried, "That rock has been given power which excels mine. I wish to be the rock." And the angel came and said, "You are what you have said." And he became a rock and did not move when the sun shone or when the clouds rained upon him. And then there was a man with a pick and with a chisel and a heavy hammer, and he hewed stones out of the rock, and the rock said, "How can it be that this man has power that excels mine and hews stone out of my lap?" and he was not content.
He cried, "I am weaker than he. I wish to be that man." Then the angel came down from heaven and said, "You are what you have said. And the man was made a stonecutter and he hewed stone from rock. His labor was hard and his wages were slight---but he was content.
The Chariot also symbolizes "The Seven Ages of Man." *(Nietzsche condensed them to Three) This concept maintains that all fundamental transformations in the development of the human psyche are punctuated by seven years, and this seems to apply cross-culturally. Thus, in the first seven years of life, we're faced with the cognitive task of distinguishing bodyself, emotional/mental self, and Environment. The next seven years brings puberty and the process of sexual maturation. And so on until developmental arrest sets in. The main point to remember is that integration is a must for growth to continue in a balanced and proportionate way. In The Chariot, it's the environment that must be integrated.
This process of integration is illustrated in The Moon as a scarab beetle rolling The Sun to shore and is portrayed throughout this deck as the union of Sun and Moon; as we’ll see, The Chariot moves in such unity. The Ten Stars of Assiah, the "Inheritance of Celestial Dew from his Mother", brings to mind—in connection with The Moon—the Egyptian belief that the "sun boat" traversed the heavens each day and entered her mouth at nightfall, only to be reborn through her cosmic vagina the next morning. We see mythology illustrated colorfully in The Moon card.
In some cultures, the sun was often depicted as a golden chariot or canoe traversing the heavens. However, The Chariot is associated with zodiacal Cancer, which is ruled by the moon, not the sun. This is fitting, for the work of The Priestess (subjective I/proximate self) has been accomplished and The Lovers (objective I/distal self) are now united. The self's center of gravity has now successfully shifted to a new and higher level of integration, one which transcends but includes the Environment. Kabbalistically speaking, this is Yesod (moon/persona) and Malkuth (earth/impulse) absorbed within Tiphareth (sun/ego). The matter of Cerberus, which is the Unicorn, the Horse, and the Ox discussed in Crowley's opus, "Magick In Theory and Practice (section on Liber Vel Jugorum)”, is now behind The Charioteer, paving the road towards a new and higher task. But it’s also here that schism enters, initiating the spectrum of consciousness, the essence of which is necessarily dualistic.
Says Crowley:
"For this matter (of Cerberus) is not of Tiphareth without, but Tiphareth within."
Tiphareth "within" is, in my nomenclature, what the Existential Level is to the spectrum of consciousness; a level that I associate with the fifth Sephira, Geburah, on the Tree of Life. Tiphareth "within" is the subjective (proximate) self, and Tiphareth "without" is the objective (distal) self. The subjective self is impossible to see as an object for the simple reason that it is doing the looking. But it's this "matter of Cerberus," and similar practices, which feed the engine of psychospiritual evolution, making it easier to avoid developmental arrest and transcend shallower growth-stages in favor of deeper ones.
So, what’s this matter of Cerberus? And what’s all this stuff about Unicorns, Horses, and Oxen?
Briefly, the Unicorn is one's unconscious habit of speech; it’s a mythic reference to that intersubjective meshwork called language. Language is a social tool that greatly molds the psyche and is the very lifeblood of thought. Without it you couldn't even talk to yourself, let alone talk to others. The Horse represents your unconscious habits of behavior. These are the knee-jerk reactions you have, governed by your primal impulses. These you inherit from your animal and human ancestors. The Ox is thought, and here refers not to linguistic structures but the ability to take perspectives. The more perspectives you can take the more it becomes necessary to integrate those perspectives comprehensively. It's important to know that the same unconscious forces that color speech and action will influence how many perspectives you can take. It's therefore of the utmost importance that you face your primal fear of the Unknown and integrate the Unconscious as best you can (Cerberus). We needn’t subscribe to Crowley's method for cultivating such vigilance (his was quite gory). We need only become passionately aware of ourselves at all times: our speech, action, thought, and most importantly, the primal motivators of these often-unruly servants. These three mythological “beasts” within us are united by virtue of what’s been called The Holy Spirit.
Etymologically, the word "spirit" is synonymous with words like "air" and "breath." In the Holy Bible, the nature of spirit is described in the saying, "It bloweth where it listeth", implying that spirit enjoys the highest freedom. As we know, The Fool represents both elemental Air and the quality of aimlessness. We also know that he embodies the potential to actualize the highest form of freedom. However, The Fool also typifies the most blatant form of irresponsibility and carelessness. His do whatsoever you want to do attitude lacks the depth that comes only with the advent of the do whatsoever you need to do maxim of The Chariot, and herein lies the crux of the matter. The aimlessness of The Fool is focused by the eight trump, Adjustment, and put into action in The Chariot. I’m reminded of the saying, "From zero to hero." On the Tree of Life, the path of The Chariot leads from Binah to Geburah. The path of Adjustment leads from Geburah to Tiphareth.
This is the "Issue of the Vulture” cited by Crowley.
For the Chariot to maintain balance he must actualize some of the traits of his neighboring path on the Tree of Life. The path of The Chariot runs parallel to that of The Hierophant, revealing the truth that there's no such thing as a wise person, but only wise action. Both cards descend from the Supernal Triad and bring with them the "divine ray" of the Supernal Sephira from which they emanate. This is not to be construed as conflict between Chokmah and Binah. Rather, this occurs due to the nature of the Sephira and Pillar to which they're moving. So when the "ray" of watery Binah (Understanding) falls on fiery Geburah (Strength/passion), we witness the birth of insight, or what the ancient Kabbalists called radical intelligence. When fiery Chokmah (Wisdom) falls upon watery Chesed (Mercy), we witness the birth of compassion or, what the ancients termed receptacular intelligence.
Contemplate these mysterious words of Zoroaster (parenthesis mine):
"So therefore the Priest (The Hierophant) who governeth the works of fire (Chokmah) must first sprinkle with the Water of the loud resounding Sea (Binah)."
Just a quick glance at The Fool and you'll see, in his right and left hands, a chalice and a cone of fire (viewed as if looking in a mirror). You'll also recall that these two elemental forces become harmonized in the Art trump, having exchanged their essences. The goddess Artemis, portrayed in Art, gives birth to The Fool, who grows up to become The Magus, who grows up to become The Hierophant, the cross-sum of Art (14=1+4=5).
What does all this h
ave to do with The Chariot, you ask? It's simple:
The Chariot is the resolute action of the "decision" of The Lovers, the "binding" of which occurs in Art, the result of that which occurs in the integrated lessons of The Fool, The Magus, and The Hierophant. These lessons, and their commensurate states of consciousness, are couched within the cards that lie between them. These are, respectively:
•The Priestess
•The Empress
•The Emperor
•The Lovers
These are not integrated within some hidden chamber. Nope. These lessons are integrated in action and, as I've said, there's no such thing as a "wise person" only "wise action", for the arising of wisdom results in the annihilation of the persona (false self). This integration is, as we've discussed elsewhere, evidenced in the myth of Artemis. She assists in the birth of the very symbol of integration itself, the Sun. The Chariot is departing through the red "fence" (Cheth) that surrounds the green mountain of paradise seen in The Sun card. The black and white Sphinxes also portray the process of integration in The Chariot, for the "shadow" of the Sun is Saturn (Binah), and the Sphinx is a solar symbol. Kabbalistically speaking, whenever the "decision" of The Lovers has been reached—the essence of which is conveyed by The Chariot—then The Fool is reborn in the next Kabbalistic World. Some say this happens three times.
1. At the initiation.
2. After the attainment of the Knowledge and Conversation of the Holy Guardian Angel.
3. At the crossing of the Abyss of Knowledge.
Crossing the Abyss is exactly what The Chariot is doing when viewed as ascending the Tree of Life. Some say there are four "decisions," adding an outer Abyss in each respective World to be crossed before the real Abyss is confronted. The latter view is, in fact, more accurate than the first, as evidenced by "false enlightenment" and the like.
The Chariot also holds great significance for the practicing Christian. The entire book of Ephesians, namely the description of The Armor of God, is just one example. As the seventh trump, The Chariot also adopts what the Roman Catholic recognizes as The Seven Deadly Sins, as well as their commensurate Virtues. The seven Virtues are much like the traditional Four Virtues but have been expanded to temper and bring balance to the seven Vices. The Seven Deadly Sins were first introduced, not by the Bible, but by St. Gregory in a book called "Moralia in Job." The Seven Deadly Sins and Virtues are as follows:
The Vices and Their Commensurate Virtues
•Pride/Humility
•Envy/Charity
•Anger/Meekness
•Avarice (wrath)/Generosity
•Sadness (sloth)/Zeal
•Gluttony/Moderation
•Lust/Chastity
This brings us to the issue of the Holy Grail (Spelled "Graal" by Crowley, to distinguish it from the Christian icon.) found in both The Chariot and Lust cards. In the book of the "Revelation of St. John the Divine," the Whore of Babylon (Spelled BABALON, by Crowley, for the same reason as the Graal.) is described thusly:
"And I saw a woman sit upon a scarlet-colored beast, full of names of blasphemy, having seven heads and ten horns. And the woman was arrayed in purple and scarlet color, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: And upon her forehead was written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH. And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus."
The mentioning of "abominations" and "names of blasphemy" could easily be attributed to The Seven Deadly Sins. Similarly, the "blood of the saints" and of the "martyrs of Jesus" could easily be attributed to the seven Virtues. These "abominations," according to St. John, are the stigma of all things immoral. But to Crowley, and for our purposes as well, these Seven Sins---along with their corresponding Virtues---are not viewed as contradictory. In the symbolism of the Thoth Tarot, BABALON, by amorally imbibing both the Sins and the Virtues, has transcended them both. This could be, for our purposes, one contemporary interpretation of the word MYSTERY written upon her forehead. To better understand this "mystery" we must familiarize ourselves with what's known to alchemists, mystics, and magicians alike, as The Great Work. The subject of The Great Work is one that far exceeds the scope of this humble treatise, but it's crucial to our understanding of not only The Chariot and Lust Trumps, but of the entire deck of cards.
The Great Work can be looked at in two general ways:
The first standpoint is that of Tantra, Tao, and Zen. The second is that of Magick, Yoga, and Religion. These are united in the threefold conveyance of the ineffable Truth. These are: analogy, negation, and injunction. Speaking figuratively, we can say that The Chariot descends from Binah, embraces Geburah and imbibes the lessons there given, then passes the Chalice to Lust, who then passes it to all who would drink (“TRINC! The last Oracle”). These two broad approaches to spiritual transformation can be qualified thusly:
1. The process by which we discover the inherent unity behind all things.
2. The operation by which we raise something to its highest peak of fulfillment.
The Chariot is sympathetic to the second approach, while Lust is sympathetic to the first. As the seventh trump, The Chariot corresponds to the seven chakras, and understanding them can shed some light on this Great Work. In the Aurum Solis system, the Middle Pillar ritual---a ritual which focuses on the awakening and purification of the chakras---was known as the "Rousing of the Citadels". This name presents us with an interesting synchronicity, for the cross-sum of The Chariot is The Tower—a citadel containing seven windows. The seven chakras, along with their names is Sanskrit, are as follows:
1. Sex Center (Muladhara)
2. Navel Center (Swadhisthana)
3. Solar Plexus Center (Manipura)
4. Heart Center (Anahata)
5. Throat Center (Vishuddha)
6. Third Eye Center (Ajna)
7. Crown Center (Sahasrara)
It’s important to know that the chakras don't exist as separate units independent of one another. Although maintaining their respective functions, the individual chakras are interdependent, and you can't affect one without affecting the others, for they're part of a much greater unity; much like what Arthur Koestler referred to as "holons," or what Crowley called a "Unity of Unities." Once awakened, each chakra will immediately affect the one closest to it. Therefore, when the psychospiritual energy of Kundalini is aroused and begins its ascent through each of the seven chakras, the chakra closest to the one being affected will begin to vibrate. This is of necessity a generalization of the chakras but will for our present purpose suffice.
Within each chakra is said to dwell both a god and a goddess, the unification of which leads to the higher functioning of that center. By the word "higher" is meant no condemnation of any "lower," but is a reference to the fulfillment of actualized potential. Imagine the painter who castigates his paints for having not arranged themselves in such a way as to become a masterpiece without the aid of the artist himself! Similar would be the case should we condemn our "lower" functions. Therefore the sex center (first chakra), functioning as the vortex of primal urges and the like, when integrated becomes creative expression and the realization of being: the actualization of the second and third chakras. These three chakras, when fully integrated, activate the Heart Center, the function of which is love and gives rise to the awakening of compassion. This in turn leads to the opening of the Throat Center, leading to the alchemical wedding of the Crown Center and Third Eye, the higher functioning of which is insight and psychic powers. This is the Eye of Shiva, the opening of which would "destroy the universe". This destruction of the universe is the explosion portrayed in The Tower card. Exactly what it explodes into is portrayed in The Universe.
So the Great Work is one of transmutation, reconciliation, and transfiguration: an operation found throughout the religious traditions of the world. We see
this operation in the polarization of Shiva/Shakti, Christ/The Church, Sun/Moon, Lead/Gold, Ida/Pingala, and so forth. We also see this marriage taking place throughout the Thoth deck in the symbol of the Orphic Egg.
Dr. John Mumford says of the Orphic Egg (parentheses mine):
"This microcosmic furnace ("Art") extracts gold from Sulphur, silver from mercury, unites (yokes) the sun and the moon, the red rose and white rose, distills the tincture from the principles, the quintessence from the elements, and gently heats the "Philosophers Egg" within the alembic of the skull, ultimately manifesting the Lapis Philosophorum.
Aleister Crowley defines the Orphic Egg as a symbol representing all formulae that come under the duality of male and female. Aside from the obvious interpretation of gender, this duality of male and female presents itself on all levels of the manifest universe; there is a Yin to every Yang. On the alchemical level, these polarities provide the raw materials for a revolutionary event in consciousness.
Says Nuith:
"For I am divided for love's sake, for the chance of union."
-Book of the Law, Ch.1, V.29
Personally, I believe we're seeing the formation of the Orphic Egg as the twin children embracing in The Fool card. The Pagan holiday called "Ostara"---the Vernal or Spring Equinox---features an egg as symbolic of emerging sexuality (Easter egg.). In The Fool we see, between Dionysus's legs, the infamous Golden Bough or "mistletoe." The antiquated European custom of kissing beneath the mistletoe is still practiced today at many a Christmas celebration and is a symbolic declaration of matrimonial intent. Thus, the twin children embracing beneath the mistletoe in The Fool may be suggestive of the phenomenon of "soulmates." The entire symbol portrays the relationship between Eros and Thanatos; that is, Love and Death, Being and Doing, Eros and Agape, etc. In The Lovers card, Adam and Eve are seen clothed to "hide their shame," and it's their Great Work to reclaim their lost innocence, to once again exist naked (symbol of purity). We see this attainment in The Sun, again in the image of twin children, only this time they're winged and dancing, for now the Garden of Eden is everywhere! The energy within the Orphic Egg is atomic, hence the capacity for explosion (enlightenment).
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