by Marcus Katz
Pillar of Form (3, 5, and 8): In the Pillar of Form, as in the Pillar of Force, we see three stages or levels of creation. In this pillar we see levels of structure: the cleaving of the plan to the action (Three), followed by the separation of one thing from another or a sorting (Five), and finally an active response in our own creations (Eight). Taken as instruction rather than as within a reading, these three cards illustrate that we should work in a state of unity. That is to say, our work below must bring as much as possible together and reflect the divine plan above. We can do this by learning from the other four worlds.
As Above, So Below (ace and 10): In the world of Assiah, all that was contained within the Ace of Pentacles has now been realised in the Ten. The garden of promise has become fulfilled in the garden of existence.
Having demonstrated how the patterns of the cards can be seen in terms of the Tree of Life, through the world of Assiah, we will now look at the world of Yetzirah, or formation, corresponding to the suit of Swords. We will then look at the remaining two worlds of Briah and Atziluth in the same manner.
The Tree of Swords
100. Kabbalah of the Minors (Swords). Created by Llewellyn Art Department. Cards used reprinted with permission of U.S. Games Systems.
Ace: The crown of thought, the seed of all ideas, the Ace of Swords is the singular thought or word that cuts through all matters. It is a decision, in the context of Kabbalah, the decision of the infinite, eternal divine to withdraw a part of itself from itself in which creation could take place. At a more mundane level, it shows that for every thought there is a whole new creation.
Two and Three: Swords, symbolising the world of Yetzirah (formation) are not concerned with mundane details nor higher principles, particularly. They are the swords of the mind, the surgical scalpel, the tool of the divine to carve out manifestation. They are a necessary evil, to some, and a welcome release to others. In the Two and Three, belonging to Chockmah and Binah (wisdom and understanding), we see how the mind works at its highest level. The Two shows duality, division, contrast and comparison, the first necessity of thought—one thing being separate from another. The Three shows the development of this process into the “understanding” that only one result can manifest, and for every decision is an infinite amount of discarded possibilities.
The wisdom and understanding of Solomon is indicated in this pair of cards.
Four and Five: We can examine these two images in the light of their relationship to the initiatory grades on the Tree of Life. Waite said of the 5 of Swords, “He is the master in possession of his field” and we have learnt that Waite, whilst he may have wasted words, rarely points them at nothing. Here we see an allusion to the state of consciousness that corresponds to the grade of the Adeptus Major in Geburah. They are someone who is in full comprehension of all parts of their psyche and spirit, their whole “field.” The tomb illustrated in the next stage of Adeptus Exemptus indicates the death of the unified Self, leaving nothing behind other than peace—a reading of the word “PAX” hidden in the stained glass.
Six: The world of Yetzirah is a transitory world between the upper and lower world, and in the centre of this world we see this stage illustrated as a ferry crossing. It relates to concepts such as “we can only go where our thoughts go first.” Once on their way, at this stage of the process, we cannot simply change our mind—that would be like pulling the swords out of the boat, allowing the water to come in through the holes.
Seven and Eight: As we descend below the veil, the swords start to get more troubled. The world of Yetzirah is just above the world of action, but it requires more greyness, more flexibility. Our thoughts do not like to be stuck; they are processes, not things.
So in the Seven, we see how our thoughts change and can undo us, taking us by surprise even, and in the Eight, we see the opposite; how our thoughts can bind us and blind us.
In both cases, we are doing it to ourselves—when either (or both) of these cards turn up in a reading, we know clearly that we must think again, do something (anything) differently, out of the box, or new, because it is our own head that is misaligned. Waite says of the Seven, it is a man moving “rapidly,” and of the Eight, a woman in “durance.”
Nine: Whilst we have elsewhere looked at the image of the 9 of Swords in terms of Pamela’s design, we can also interpret it here in the context of Kabbalah. It shows the mind caught in time and space—the Yetzirah of Yesod (Swords/Nine). This is symbolised by the quilt with its astrological symbols. There is a battle being fought in the carving on the bed; here the mind is at war with itself. The swords do not like being here, for sure.
Ten: Finally, in the Ten, the swords come to rest. This is their worst position, fixed and manifest; there is nowhere further for a thought to go than here. This is the Yetzirah of Malkuth, the formation of the Kingdom, and what the Golden Dawn termed the “Lord of Ruin” in Book T.
The Middle Pillar (Ace, 6, 9, and 10): The Middle Pillar of equilibrium can barely contain the dynamic world of Formation, the world of thoughts coming to realisation. They perhaps show that very process: realisation. We have a singular idea (Ace), which drives us forward to makes changes (Six), leading to a realisation that we can never make reality quite what we envision (Nine) so we have to settle for what we can (Ten) and move on.
Pillar of Force (2, 4, and 7): In the Pillars of Energy and Force, we see the 2, 4, and 7 of Swords as various stages of thought—in passive and abstract contemplation, in deep meditation, and in active visualisation. We could apply key phrases such as idle musing (Two), serious consideration (Six), and actively thinking/worrying (Seven) for these swords. When these cards come up in a reading, it can indicate just how advanced someone’s thinking is on a subject—and how likely it is to be realistic. The appearance of several higher numbers of the swords (say, 7 and 10 of Swords, or 8 and 9 of Swords) in a reading show how much has actually started to happen, whereas a majority of lower numbers of Swords show it is all still in someone’s head.
Pillar of Form (3, 5, and 8): The process of forming an opinion or belief is shown by the three levels of activity on the Pillar of Form in the world of Atziluth. At first, we have to make distinctions, with the 3 of Swords, that one thing is different from another. We then have to decide what we will take on and what we will argue against with the 5 of Swords. Then we bind ourselves with our beliefs; they both identify and protect us, but also blind us to new perspectives. This is pictured by the 8 of Swords.
A note on using the Tree as a tool: If there is anything in life that seems out of balance or requires resolution, the Tree of Life should always provide a map. If we consider that sometimes we do not want to be bound by our limited perspective (as seen in the 8 of Swords) we simply check the map to find what is opposite this state—the 7 of Swords. That card then provides advice for how to escape a bound situation.
Similarly, the solution to the heartbreak of the 3 of Swords—although it is a higher and more difficult lesson to learn—is pictured in the 2 of Swords, which holds both sides in equal measure. The only way to respond to argument, manipulation, and even bullying (in the 5 of Swords) is to remove yourself entirely from that environment—the 4 of Swords.
The Tree, illustrated by tarot, provides a perfect map for any life situation, to resolve, harmonise, balance or avoid all that separates us from the life we are meant to live.
As Above, So Below (Ace and 10): The difference between the Ace and 10 of Swords is stark; all the simplicity of the single idea has resulted in nothing but fixation and even a terrible ending. Luckily, there is a sign of blessing made by the figure in the 10 of Swords—perhaps it means that all is as it should be, and we must expect some thoughts to come to nothing, for nothing is ultimately true other than reality.
The Tree of Cups
101. Kabbalah of the Minors (Cups). Created by Llewellyn Art Department. Cards used reprinted with permission of U.S. Games Systems.
Ace: The world of Briah, or creation, is the flowing forth of emanation from the world above into the two worlds below. Waite says, “Briah is the world of Created Intelligence, though it would seem that its content flows over into Yetzirah.”142 It is the blessing of creation, to continually create and pour forth possibilities into the world. The Ace of Cups in a reading shows boundless creativity, although without direction (Two) and structure (Three) it cannot fulfil itself.
Two and Three: In the Two and Three of the world of creativity, we see clearly the alchemical statement “one becomes two, two becomes three, and out of the third comes the one as the fourth.”143 This is attributed to Maria Prophetissa, a figure in the earliest writings of alchemy. The upper trinity is a unified set of processes that create a fourth stage, which then allows for manifestation to take place.
We see this process in the Ace of Cups receiving the “pure” light symbolised by the dove. The chalice cannot contain the light, so it spills out and becomes duality: the 2 of Cups. The two figures try to merge back to their source, but in doing so, create a new “third” thing. This is shown by the winged lion and coiled snake emblem on the 2 of Cups. The three things can now combine and re-combine, as we see on the 3 of Cups, spinning into the rest of creation. The “one as the fourth” created as a result is shown on the 4 of Cups by the single cup of the Ace being presented to one who is contemplating the first three cups.
Whilst this may not have been Pamela’s intention whilst designing these first four cards of the cups, it is an almost-perfect illustration of the fundamental numerological, Kabbalistic, hermetic, and alchemical axioms of creation.
We will see how this model can be used in a very practical manner at the conclusion of this chapter.
Four and Five: In these two contrasting images, we see the expansion of mercy (Chesed means “loving kindness” or mercy) counterpoised with the exclusion and constraint of fear (Pachad, one of the titles of Geburah). In the 4 of Cups, love is still offered despite resistance—a chance to go beyond the past and move forwards. In the 5, we see the opposite; whilst two cups remain, the figure is self-restrained and unable to move over the river’s threshold, even when a bridge is clearly available.
In all four suits, the Four and Five show the fundamental push/pull pattern underlying all creation.
Six: As we have seen, six is the “sweet spot” and here in the world of creation it is what the Golden Dawn called “the lord of pleasure.” It is the Tiphareth of Briah, the “beginning of a wish.” The transition between childhood and adulthood, the gifting of our past to our future, all these are captured by Pamela’s image of the strangely age-proportioned figures on the card.
Seven and Eight: Again, we can see the clear contrasts between card pairs when they are arranged on the Tree of Life. In this pair we see the overwhelming nature of unchecked creation, imagination, and emotions in the 7 of Cups, and the barrenness of separating ourselves from all emotional content in the 8 of Cups. As the seventh Sephirah, Netzach corresponds to our emotional state when we map our whole psyche to the Tree of Life. It is no surprise that it is doubly overwhelming in the world of cups. In a reading, the presence of both these cards shows a deep conflict between someone’s emotional states and their ability to process and incorporate these states in their life.
Mini-exercise: Have a look at the other pairs of cards we cover in this chapter and consider what other situations might be indicated at a deep level when both cards in a pair are present in a reading. As an example, the 4 and 5 of Swords could indicate a commitment issue or an addictive personality—someone who doesn’t know whether to remove themselves or stay in the situation, whether a relationship or a dependency. It could be manifesting as simply as being in two minds about a situation, as depicted in an “unpacked” manner by the card prior to the pair, the 2 of Swords.
Advanced consideration: When looking at these pairs, also consider the major arcana card that directly connects any particular minor pair on the Tree of Life. In the case above, between the 4 of Swords and 5 of Swords (or any Four and Five in the other three suits) we have the path illustrated by Strength. This shows the nature of the relationship between a Four and a Five—the constant engagement that mediates between what is seeking to expand and grow (the lion) and what is seeking to contain and structure (the virgin).
102. Tree of Life with Minor Numbers and Major Arcana Names Labelled. Created by Llewellyn Art Department.
It is the major card between the pairs of minors that can be used in tarot magick, as it represents the archetypal energy holding together the dynamics of any real-world situation. You can also look at any other relationship of minor cards on the Tree of Life in this fashion; for example, how do you get from a Four situation in the world of Assiah to a Nine? This would involve considering the 5, 6, 7, and 8 of Pentacles, and any major arcana on the paths between these Sephiroth. You can use these to create a mandala (a piece of meditation art) or as the basis of a spread that highlights the powerful patterns underneath a situation.
Nine: The 9 of Cups illustrates a potentially stagnant stage in the process of creation. If creativity is not earthed, it is like a blocked pipe—creation needs to flow or it stagnates. The Nine stage corresponds to Yesod, “foundation” on the Tree of Life, and here we have the self-satisfied character displaying his cups; we are unsure as to whether he owns them or has created them. At this stage it does not matter, but when this card appears we must move on and make something of our situation, otherwise it will become a case of “snatching defeat out of the jaws of victory.”
Ten: In the world of Briah, Malkuth (“kingdom”) is exalted. The promise of the rainbow is fulfilled, and the divine creation is made manifest on earth as land, sky, relationship, and offspring. This is the dance of creation and a card of joy and celebration. It is a sure sign that a promise will be kept. We compare this to the Two and see what was pledged at that stage is completed in the Ten.
The Middle Pillar (Ace, 6, 9, and 10): The central cards on the Tree of Briah, or creation, are the Ace, 6, 9, and 10 of Cups. These show the stages of maturity in the emotional world, and also the stages of all creation. The Ace illustrates that every creation starts with a divine source, an inspiration, a spirit. Even if this is experienced as a “calling” or a “duty,” it can be seen as “something unknown becoming something more” in the Ace.
The next step down is the gift of presenting something new to the world, shown in the 6 of Cups. There is an offering, a communication, a purely emotional sense of giving and gratitude. This is the Tiphareth of Briah, a cosmic exchange. The creation then drops down to where it is displayed and seen—and where it may be also forgotten or taken for granted. On a universal scale, this is our attachment to what we perceive.
Then finally creation manifests in everyday relationships and the domestic kingdom of everyday life. The light, water and air of the Ace have become the rainbow that is recognised as a covenant—a sacred connection or contract between the Ace and the Ten, the divine and the creation.
Pillar of Force (2, 4, and 7): The world of Briah is very pushy on the Pillar of Force, as it should be to do its job of creating everything. It begins with the primary act of creation, splitting and multiplying in the 2 of Cups. It then drops down to creating more even if everything is full which we see in the Four, and providing endless possibilities in the Seven. The problem with the cups cards on this pillar is that they don’t really know when to stop.
Pillar of Form (3, 5, and 8): In contrast to their colleagues on the opposite pillar, the three cups cards on the pillar of form are more constrained. Whilst they begin with the endless possibilities of recombination and mixture in the Three, they soon fall into the inevitable sorting out stage of the Five as they plummet towards the real world. This is where they are least content, followed by the Eight stage, where that limitation leads to separation, and a recognition that emotions are not the whole of e
very story. The cups fare better at the start and end of their narrative; they do not like the confusion that exists between the most ideal states of pure love in Kether (Ace) and absolute happiness in Malkuth (Ten).
As Above, So Below (Ace and 10): We have seen how in the world of creation, the Ace and Tenare the start and completion of creation. All creative acts start with a spark to make something new, and complete in contentment when that lack is fulfilled. The children dancing on the Ten will one day grow up (through the Six), meet others (Three), fall in love (Two) and start a new cycle of creation (Ace). The world of creation is cyclic and no more truly is it here as elsewhere, “as above, so below.”
The Tree of Wands
103. Kabbalah of the Minors (Wands). Created by Llewellyn Art Department. Cards used reprinted with permission of U.S. Games Systems.
Ace: In the world of Atziluth, the primary world of emanation, the Ace of Wands is at the top. Waite’s first divinatory keyword for the card is simply “creation” (PKT, 196). In Kabbalah, Kether is the crown, beyond all other things, as a crown is worn upon a head. Kether is the “first frame of God’s thought.”144 It is the “I” of existence, the singular “1” and nothing is above it. As such, in terms of reading, the Ace of Wands is the beginning, and there is nothing before it. Where it appears there is a complete “control/alt/delete” reset of the situation. It must start again.
Two and Three: In this highest and most abstract world of emanation, the 2 of Wands is the first separation, where it becomes possible to discern difference. It is the master plan of all creation, the image our living world seeks to attain. As it is written in Timaeus:
When the father who had engendered it [the universe] saw it in motion and alive, a shrine brought into being for the everlasting gods, he rejoiced and, being well pleased, he conceived the idea of making it more like its model. Accordingly, as that model is the ever-existent Living Being, he set about making the universe also like it, as far as possible, in that respect. Now the nature of that living Being was eternal, a character with which it was impossible fully to endow a generated thing. But he planned as it were a moving likeness of eternity; and, at the same time that he set in order the Heaven, he made, of eternity that abides in unity, an ever-flowing likeness moving according to number—that to which we have given the name Time.145
