(SAGITTARIUS) EQUANIMITY: (West/Above)
Esoteric Titles:
The Angel of Temperance
The Waters of Baptism
The Lord of Probity
Traditionally, the card is attributed to the zodiacal sign of Sagittarius as evidenced by the image of the angelic being in a celestial or airy realm holding two cups, one gold, the other silver, from which he slowly pours liquid, from one to the other. Behind him, to the left is a road which leads to a bright summit, and nearby a group of yellow irises – known popularly as “Yellow Flag”. He is wearing a white gown on the front of which is a yellow upright triangle, symbolising alchemical sulphur. In my own depiction of the card I have included a harp with nine strings which denotes the vertical path connecting Tiphereth to Yesod and Malkuth and also the 18th path attributed to the Moon. Behind him are the seven colours of the rainbow sacred to the Greek Goddess Iris and from which we have the term iridescence. A rainbow can be created in a variety of different ways, through the action of oil on water, or through the diffusion of light through a crystal prism. The diagonal path of the water or liquid reflects again the 29th path attributed to the Moon. The iris is of course also the part of the eye which opens and closes thereby altering the input of light waves in the cornea which gives chromatic form to them, ie the mind’s eye that governs human perception. The effect is similar to that of the variable aperture of a camera located beyond the main lens. The Moon in Sagittarius has a significant bearing on the 25th path and the meaning of the card which attempts to illustrate the ongoing process of Alchemical transmutation as a subtle blend of elements (Sun/Gold & Moon/Silver, Sulphur/Salt or Fire and Water). However, more correctly it symbolises the natural union of rainwater rivers uniting with the ocean, as rain is a masculine element and the ocean has always been conceived of as feminine. The face value of the card being 14 connotes the 14 lunar days spent by the Egyptian god Osiris in the Underworld and the full Moon synonymous with his female accomplice Isis, or Nut who assists in relocating his lost limbs, all of which were reinstated except for the phallus. The androgynous aspect of the angel also denotes a synthesis of sexual opposites like the gold and silver vases held by the figure as alchemical symbols. In effect the male element is likened to the metal of the sword being tempered in water by a blacksmith. Some occultists contend that the angel being depicted is the archangel Gabriel, others say it is the archangel Michael. Other writers suggest that the angel should in fact be feminine and mediates between the previous card 13. Death and the following 15. The Devil. In the Naples Arrangement the card sits just below that of the Hierophant or High Priest suggesting an evolution of Faith or religion which includes liberty, magnanimity and philosophical or mystical views. In either case it symbolises human tenderness, benevolence and kindness. The card therefore suggests the transforming power of love on both a spiritual and earthly plane.
The Lord of Probity (Titus Andronicus) Samekh
In my earnest estimation Arcanum 14, Temperance corresponds most closely to Shakespeare’s little known yet early Roman play, “Titus Andronicus” (1587-92) for reasons which I will expand upon in this article in due course. In a game of archery Titus Andronicus and his brother Marcus Andronicus decide to solicit the gods and their destinies by aiming their arrows at the stars – he calls; “Now, masters, draw.” And when they release their ‘arrows of desire’;
O, well said, Lucius!
Good boy, in Virgo’s lap; give it Pallas.
Marcus replies;
My lord, I aim a mile beyond the moon;
Your letter is with Jupiter by this. (shoots arrow)
Then Titus responds;
Ha, ha! Publius, Publius, what hast thou done?
See, see, thou hast shot off one of Taurus’ horns.
Marcus
This was the sport, my lord: when Publius shot,
The Bull, being gall’d, gave Aries such a knock
That down fell both the Ram’s horns in the court;
And who should find them but the empress’ villain?
She laugh’d, and told the Moor he should not choose
But give them to his master for a present.
Interestingly enough these symbolic references to the zodiac signs was quite common at the time and not in the least unusual (See “Astrology in Shakespeare’s England” and “Shakespeare’s Cosmology”). They are most likely allusions to certain characters known to the author and the audience. For example, the reference to ‘Virgo’s lap’ was alluding to the Virgin Queen, Elizabeth 1st. Sagittarius, or the Archer as it was euphemistically known (ruled by the planet Jupiter) is the sign alluded to in Arcanum 14, Temperance (Sir Phillip Sidney) although the main actors display an equivocal sense of temperance or mercy in their dealings with their own relatives, enemies or protagonists. Aries (Mars) and Taurus (Venus) being the first two signs that begin the zodiacal cycle and symbolise the basic polarity in the attraction of the sexes. Despite Shakespeare’s popular reference to the question of mercy in “The Merchant of Venice” by Portia:
“The quality of mercy is not strain’d
It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
‘Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;”
In Titus Andronicus the various characters appear to transgress or betray the mercy shown to them whereby the victims become saviours, the persecutors become saviours and saviours end up becoming victims etc; as described and analysed in a previous article “The Drama Triangle In Fairy Tales”. That is as the story progresses from one location or set of circumstances to another it is clearly a dramatic device or technique to advance the tension and drama. Subsequently, the conventional notion of mercy becomes inverted or betrayed to the extent that it seriously questions whether Saturninus displays genuine magnanimity or merely favouritism towards Tamora purely for his own self-gratification. The “Saviour of Rome” is of course Titus Andronicus but he feels that his honour and reputation is brought into question when his daughter, Lavinia is kidnapped by the new Emperor’s son, Bassanius. However, in this quite gory and violent play Titus Andronicus has returned from a successful 10-year campaign against the Goths of eastern Europe and has claimed as prisoners or captives Queen Tamora, her four sons, the coffin of a fifth and Aaron, a Moor, the Queen’s favourite. Titus, quite rightly does not claim the throne of Rome since he has very little ambition for the world of politics and makes an effort to negotiate with the rebellious Goths and other members of the Roman fraternity. He quite rightly recommends Saturninus (the Emperor’s eldest son) as Emperor of Rome and commends his intended marriage to his own daughter, Lavinia. It is at the point when Titus lowers his dead sons into the tomb that Queen Tamora herself pleads for the life of her son:
Queen Tamora:
“Were piety in thine, it is in these.
Andronicus, stain not thy tomb with blood:
Wilt thou draw near the nature of the gods?
Draw near them then in being merciful:
Sweet mercy is nobility’s true badge:
Thrice noble Titus, spare my first-born son.”
Titus Andronicus:
“Patient yourself, madam, and pardon me.
These are their brethren, whom you Goths beheld
Alive and dead, and for their brethren slain
Religiously they ask a sacrifice:
To this your son is mark’d, and die he must,
To appease their groaning shadows that are gone.”
However, Lucius refuses to offer mercy or clemency to Tamora’s sons and insists upon them dying in a funeral pyre to appease the deaths of Rome’s sons on the battlefield against the Goths. However, having accepted the role of Emperor, Saturninus, being of a merciful complexion, then agrees to give Queen Tamora and her retinue free passage in Rome without recourse to any vengeance or compensation because it seems he is somewhat smitten by Queen Tamora’s beauty. At this point Saturninus’ brother Bassanius kidnaps Titus’ daughter Lavinia claiming her legitimately as his consort. Although Titus’s son attempts to prevent Titus from recovering her, in a rage Titus simply stabs him to death and is subsequently reprimanded by Lucius. Meanwhile, Saturninus requests Queen Tamora as his consort, Empress of Rome:
Saturninus:
“And therefore, lovely Tamora, queen of Goths,
That like the stately Phoebe ‘mongst her nymphs
Dost overshine the gallant’st dames of Rome,
If thou be pleased with this my sudden choice,
Behold, I choose thee, Tamora, for my bride,
And will create thee empress of Rome,
Speak, Queen of Goths, dost thou applaud my choice?”
She quite rightly replies:
“And here, in sight of heaven, to Rome I swear,
If Saturnine advance the Queen of Goths,
She will a handmaid be to his desires,
A loving nurse, a mother to his youth.”
Saturninus:
“Ascend, fair queen, Pantheon. Lords, accompany
Your noble emperor and his lovely bride,
Sent by the heavens for Prince Saturnine,
Whose wisdom hath her fortune conquered:
There shall we consummate our spousal rites.”
Not only is Titus demeaned by Saturninus’s choice of bride he is also being reprimanded for killing one of his own sons and refusing him an official burial in the tomb. Meanwhile, Tamora attempts to persuade Saturninus not to take offence at Titus for his recklessness but principled affections. The convoluted nature of the plot continues with Aaron, the Moor reflecting on Tamora’s unexpected and sudden change of affections and with Chiron and Demetrius rueing the intended marriage of Lavinia to the Emperor’s brother Bassanius. Aaron reprimands them all, threatening retribution by fair means or foul:
“For shame, be friends, and join for that you jar:
‘Tis policy and stratagem must do
That you affect; and so must you resolve,
That what you cannot as you would achieve,
You must perforce accomplish as you may.
Take this of me: Lucrece was not more chaste
Than this Lavinia, Bassianus’ love.
A speedier course than lingering languishment
Must we pursue, and I have found the path.
My lords, a solemn hunting is in hand;
There will the lovely Roman ladies troop:
The forest walks are wide and spacious;
And many unfrequented plots there are
Fitted by kind for rape and villainy:
Single you thither then this dainty doe,
And strike her home by force, if not by words:
This way, or not at all, stand you in hope.”
During a hunting expedition led by Saturninus and accompanied by Bassanius, Aaron secretly conspires to inform Tamora’s sons of her whereabouts. This subsequently results in Tamora’s son Chiron stabbing and killing Bassanius. This is all part and parcel of Aaron’s plot to discredit Queen Tamora and Lavinia when he guides Quintus and Marcius to a pit where the body of Bassanius lies buried. Having buried a pot of gold nearby Aaron makes it appear that the assassins were actually being paid for their actions. In Shakespeare’s England the question of mercy was laid in the lap of the sovereign, Queen Elizabeth 1st, and her attitude towards traitors, religious dissidents, and conspirators was extremely severe regardless of their status or popularity. The executions of these miscreants being either burned at the stake, hung, drawn and quartered or executed by the axe-man was in effect a spectacle designed to deter any potential or future threat to the realm or the sovereign herself. (See: “The Rival Queens”) for a further analysis of the plots perpetrated by Catholic recusants in the 15th – 16th century. The character of Titus Andronicus seems to reflect similar aristocratic favourites in Elizabeth’s court, for example Sir Walter Raleigh who refused to accept a peace with Spain or Sir Robert Deveraux, the Earl of Essex who sought and arranged a type of peace in Ireland that was unacceptable to the Queen leading to the Essex Rebellion in 1601. The other traitor was of course the Duke of Norfolk who sought to secretly marry Mary, Queen of Scots and met his own ignominious end under the executioner’s axe after publicly admitting his guilt.
Divinatory Meaning of this Card:
The 25th path links the sphere of Tiphereth (Beauty-Sun) with that of Yesod (Foundation-Moon) on the central pillar of the Tree of Life. It is known in Tarot as the “Probationary Intelligence” and it is fraught with trials and temptations, and like the previous path one of three that illuminate the dark passage of the soul. By attribution it is linked to the Tarot card entitled 14. Temperance, which in many respects could be misleading. Astrologically, it represents the Sun working through the sign of Sagittarius on the Moon. The gestalt images of the Moon and the Sun, the centaur, the strung bow and an arrow add greatly to the significance and correspondences associated with this path. Direct, personal experience is a fundamental prerequisite in the development of faith in any human being. Furthermore that faith has to be understood and practically applied in all of life’s situations no matter how big or how small. As Sagittarius, by virtue of its symbolism represents the reconstructed or “new man”, after the death of the old self represented by the previous path, then the archer with his bow finds a new target, a new direction and a far-reaching ambition to aspire to. This sign therefore represents a springboard in the initiate’s journey to the remainder of the zodiacal signs of Capricorn, Aquarius and finally Pisces. More significantly, it suggests the importance of cultivating the physical body as a temple or vehicle for the soul through the practice of yoga and meditation. It therefore represents the cultivation of energy that can be used on much higher levels just as a coiled spring preserves the power to keep a watch going and a strung bow has the power to discharge an arrow. There are also indirect references to the strings of musical instruments, which when regularly exercised and tuned play much better music.
Positive: Good management, recycling, co-operation, union reconciliation, conservation balance of physical and emotional.
Negative: Incompatibility, disproportionate views or opinions, immeasurable or ill-conceived projects, selfish interests, quarrels/conflicts.
SPHERE: Moral Probity Samekh – A Prop
Astrological: .Mercury Sagittarius The 9th House.
Constellation: Sagitta – The Arrow,
Sacred Gemstone: Amethyst or Sapphire
The next Arcanum in this series can be viewed by clicking on the following link:
