Notes of a Hermetic Conversation on October 16, 2018
October 16, 2018
The Seven of Coins
We began with the protective practice.
We then invoked the presence of the Virgin Mary through performing the Hail Mary in eurythmy.
After focusing briefly the mantra I AM on the brow chakra, we performed the fourth part of the Inner Radiance Sequence. We then performed the 19th Letter of the Divine Alphabet—Quoph, as we are associating the 19th Arcanum (The Sun) with the Seven of Coins.
After reading Revelation 4:1 and Matthew 13:10-13, we focused on the Seven of Coins:
– We are receiving a whole new character from this image. Not static at all. A dance. One sees many eurythmy gestures in this form. Or it could be a yoga position. Many different configurations that can weave between and amongst each other.
As to the arrangement of the coins we can either see:
Three coins over four coins
Two coins over three coins over two coins
We are sensing a strong link with the Three of Coins. Mainly due to their mutual connection to The Sun, but beyond that there are similarities.
– On the one hand, we could see this as the Four expanding, and the Three emerging from the window in the middle of the Four of Coins, making Seven.
On the other hand, just as we saw the Three of Coins as a “zooming out” from the Ace, giving us a look at the wider context, we could see this as a further “zooming out” from the Three, showing us an even wider context.
– The colors in this Arcanum are carefully but playfully reversed in comparing the left and right sides; it is asymmetrical color-wise. The leaves are similar to the Five of Coins, but not the symmetrical reversal of colors that is there in the Five. Notice that there is a distinct red vs blue on either side of the central coin. Two pillars of Joachim and Boaz, Steiner and Rosencreuz, Moses and Elijah.
– There is a new plant form in this Arcanum. The bottom cup between the two flowers (one blue, pointing up, one red, pointing down). This is the first double-blossom, combined by the cup.
– The stems are coming out of the flowers. First a single stem, then a double stem. Like a bolting plant.
The central flower (with two stems emerging) is in the form of the flower from Three and Four.
The lower flower (with one stem growing out) is more like the flower-cross in the Six. Are the stems emerging from flowers in the center of the Six? Its ambitious, not fully formed yet.
– Notice that there have not been red and yellow blossoms since the Ace and Two. Since then, red and blue flowers.
– There isn’t a pearl—rather, there is a collection of five pearls adoring the red cup between the bottom two flowers. All pearls are red.
– This form looks like a ballet dancer. Like Ganesh. Like an Ankh, or the symbol for Venus. Playful and graceful.
– There are three pairs of coins—lower, middle, upper. And each of those is very distinct from the other sets of pairs. The sole central coin is very independent from the other six (the three pairs). The form of this Arcanum is not held together by symmetry the way the others have been. For example, there is not much relation between the upper and lower pairs. Also, the three pairs of leaves. Each of them has their own gesture and quality, that seems to define or relate to each of the three pairs of coins.
– The circle around the central coin. Akin to the framing around the coins in Three and Four but still so different: more complete.
– One could also see this combination of coins as the Five of Coins (vertical) over Two (horizontal). Its like the Five only without its symmetry. It can only be Five over Two, not Two over Five. It can only be Four surrounding Three, not Three over Four or Four over Three. Why are the combinations of the prior Arcana limited to these arrangements? What is the implication qualitatively?
– The Six of Coins was all-encompassing, and came at us like a flood.
The Seven is a hearkening back to prior Arcana, but in a more creative way. Not such a summary, as the Six was. Taking what it wants, more playful and selective. Only hearkening back inasmuch as it supports the new activity it wants to perform, the new shape it wishes to make. Putting them into a new arrangement altogether rather than trying to express all the previous images correctly at once (as the Six does).
– What can we see from the past here? We can see the Five over the Two. We can see the Four surrounding the Three. We can see Two pillars composed of Three with One central. It becomes Six if the center is covered. However, the Two and Six lack true echo. The forms and not just the quantities of Ace, Three, Four, and Five can be found in this image, but not the forms of Two and Six. They lack a true echo.
– If the Six had been formed like the six on a die, the extra (central) coin would just be squeezed in, and this would give us the form of the Seven.
This makes one think of the “social dynamics” of the Seven. Like one person trying to enter into a pre-established group. A kind of birthing quality, embraced by the plant form in terms of the central coin. It is breaking free of the plant in order to make connection with the rest.
Or we could see a different dynamic. That the central coin is the “MVP,” the President guarded by the Secret Service, the Queen born on a litter.
Or we could see a third dynamic. The lecturer, the performer surrounded by an audience.
We saw the Four of Coins as a stage or a spectacle being watched by an audience. But we mainly get a picture of the audience. Whereas the Five seemed to be an image of the performance itself, a delicate act of acrobatics. The Seven brings in both at once.
– The Six to Seven transition reverses the dynamic of the Four to Five transition. The Four makes a space and the Five brings something into that space. Whereas the Six is more like a cage or a shell. Not making a space for anything, it encapsulates all. The Seven forces its way into this closed space—or it is something requiring protection that is taking advantage of the protection offered by Six.
– This is the first of the Minor Arcana with a true asymmetry. It is unbalanced color wise from right to left. Five’s asymmetry was not true, it was only a semblance.
– It reminds us of other “Seven” Arcana: the Chariot (7) and the Tower of Destruction (16 = 7). The Chariot has a red and a blue horse. But both the Chariot and the Tower are so tense and erratic. The Seven of Coins is joyful. It has learned to balance what the Seven and especially the Tower have struggled to balance. It is like The Chariot and the Tower imbued with the force emanating from The Sun.
Freedom is harmoniously achieved in the Seven. The Chariot and the Tower can’t handle freedom.
The Seven of Coins has the advantage of a lineage. So many forms and relationships have preceded it (Ace through Six) that the Seven has the freedom to play and re-arrange in an open ended way. The Seven (the central coin) opens the door in the closed circle of Six (Vesica Piscis) in order to create a spiral.
The Seven is juggling, and doing so effortlessly. Just for fun, rather than with the great concentration that is present in Five. We noticed juggling for the first time there, but upon closer inspection it was tenuous (notice the severe balance being held around the central coin in Five). This no longer suffers from that tension or pressure.
– Each of the Arcana after the Ace summarized and completed further that which came before, but the Six did this to a pronounced degree—maybe did so completely. Now the Seven is able to freely create, it can be at ease. The hard part was performed by the Six.
All the work of Ace through Six is given as a free gift to the Seven. “Here’s your inheritance. Do what you will.”
– The Yod Path that is being generated by our form:
A growth from Ace to Four to Seven.
It’s almost as though the Four is trying to do what Seven does, only in a completely premature and awkward fashion. Almost inappropriate. Overly formal or loud, ostentatious. The Seven isn’t trying so hard, and doesn’t need to.
Vulcan = no more effort required. The cosmic recess. Sabbath. The blessed payoff for the effort and suffering of phases One through Six. The after-party.
– The Tower of Destruction is the only one amongst the Chariot, The Sun, and the Tower that includes a reference to the upper two coins of the Seven. Notice the two red dots and the two blue dots on the Tower, again echoing this asymmetry of color.
Maybe the canopy of the Chariot echoes the upper two coins as well?
There is such a strong red vs blue in both the Chariot and the Tower.
– Is this the first Arcanum that calls to mind a circulatory system? Red and blue. The other arrangements of plants (in Ace through Six) bring to mind more a nervous system or a skeletal system. It’s a true weaving of coins and plant. The way the leaves are turned, the way it’s enclosed at the top. The coins are on the same plane as the plant for the first time; there’s no longer a foreground/background impression being created. The juggling is finally happening—they really are on the same plane. So when the coin truly plays with the plant you get a Heart, a heartbeat. Notice that this Arcanum has the first flower growing (upward) in the center. Rather than just the image of a flower growing upward as in the Four. The other flowers growing this way are facing toward the outside (nerves/senses), rather than within (heart/blood). Or they are drooping, asleep. This is the first Arcanum that is self-sufficient, no need to look to the outside or sleep.
– The act of juggling…the flower intermingling with the stem…the word that comes to mind is “integration.” The flower has been integrated into the stem. Integration of the various qualities of the Self into a wholeness. Individuation is the Jungian term referenced in the Letter-Meditation on The Chariot. Self-Mastery. The 7th (The Sun) which organizes all these parts and makes them flow.
Finding the center of the Mandala. All paths lead to the center – the Self of selves. The first 6 Arcana are like the mandala, the path to the center. The Seven takes the organizing place at the center, the center of gravity of the other 6.
– It is interesting that this Arcanum seems to be lacking the archetypal
form that we have seen in the previous Arcana. That’s because it has been transformed into
You don’t immediately notice that the coins have made this form, however, due to the tree-like shape made by the plants. This belies the underlying structure of the coins. This form is like the Tree of Life or the Fountain of Youth.
This is maybe attached to the aspect of effortlessness and self-mastery. A facade is presented to the world (the plant’s tree shape) which distracts from what is truly underlying everything. Slight of hand. Making it look easy.
This brings to mind the Hermit, who seems to effortlessly know the answer to every question. It isn’t due to memorization of a multitude of facts, but due to the fact that he has “swallowed the book.” He has united himself inwardly with Truth, and all his answers proceed from Truth. He bears the mantle, not preconceived notions.
The Six shows us 6 whole parts, but the relationship between them is never fixed or absolute. The Seven puts them into different, living relationships. In making a 7-pointed star, one can never do it exactly, as the angle is not an exact number. (Its internal angle is either ≈77.143° or ≈25.714°. See https://en.wikipedia.org/wiki/Heptagram). It’s always an approximation, fluid, alive.
It’s like the form vs number issue in all of the Minors—where the form is always fixed, but the number is always fluid. But somewhere in our discussion of the Major Arcana this has come up before as well.
– One sees eurythmy forms for L, T, O, and Leo.
– Going back to this form as an Ankh. Last time we were talking about Eternity (expressed in the Sephiroth/4×10 Numbered Minor Arcana) vs Time (expressed in the 22 Paths/Major Arcana) and the Planes of Eternity and Time (expressed in the 4×4 Court Minor Arcana).
Let’s look, inspired by the form of the Ankh, more closely at how this aligns with Steiner’s Christmas Tree. Looking at page 46 of Wandering Fool.
Here we have 7 forms:
Alpha Tau-Rho Omega
So we might see that Alpha and Omega have to do with Eternity—with the Numbered Minor Arcana/10 Sephiroth. Tau-Rho (Tarot) has to do with the passage of time, with all of evolution and history proceeding between Alpha and Omega (the 22 Paths of Wisdom/Major Arcana). Then we have two upper planes and two lower plans. Star = Yod = Plane of Emanation = Batons. Ankh = He = Plane of Creation = Cups. Triangle = Vau = Plane of Formation = Swords. Square = He = Plane of Action = Coins. Alpha—Tau-Rho—Omega we could see as Shin = Unfolding of History = Major Arcana.
Can we see the geometry of these 7 symbols in the first 7 Arcana? What about the following:
(Notice the odd path formed by following Ace—Two—Three etc in this form).
We have laid the Two sideways as an image of history/evolution between Alpha and Omega, even though its form doesn’t really resonate with Tau-Rho. However, we can see that the Tau-Rho takes on a vertical aspect which covers the entire tree when we look at the further elaboration of the Christmas Tree on page 50. Here we have, in an S-curve winding from the square to the Tau-Rho up to the Star, the path of evolution from Saturn to Venus. This works perfectly with the Two of Coins! So we will turn it vertically to match this.
All of this is of course fluid and not fixed. One could easily see the Coins in the Star (Pentacles). Then one could see Batons in the Ankh, and Swords in the Square, Cups in the Triangle. This re-arranges everything.
The Ankh as one of the planes. The Seven, then, prefigures the court cards. Notice the “floating” coins at the top of it. This prefigures the floating coins of the Court Cards.
– The Seven is truly bringing the whole together under new perspectives. Not just amplifying or recapitulating.
This is the first image that could be spinning. This might be the single axis of symmetry in the Arcanum. The others have it from upper to lower. They are foldable, but not spinnable. This one is not foldable (i.e. the top doesn’t reflect the bottom. Even the Three, to a certain degree, is foldable this way). With the solid central trunk formed by the stems, we have a spine around which the coins and plants could spin.
The Six gets close to having a “spine” but doesn’t get there. There would be a kind of resistance put up by the upper and lower leaves. And the central flower has the wrong orientation. In this one, each of the three sections could spin completely independently of each other, different speeds and directions.
Bert Hellinger’s great work is called Love and its Symmetry.
We closed with the fourth stanza of the Foundation Stone in eurythmy.