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Comparison of the Courts in the Tarot of Marseilles

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Diana
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Re: Comparison of the Courts in the Tarot of Marseilles

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dodalisque wrote: 19 Jan 2020, 21:43
Diana wrote: 18 Jan 2020, 10:23 The Grimaud, apart from one or two details (one of which I regret) is perfect in my eyes in all its ways. I love that deck. I always go back to it.
Which one? Do any other decks correct that detail? Perhaps it was the first TdM you saw. Is that a bit like classical music when you fall in love with a certain piece of music and every other version of it never quite matches that initial experience?

It seems to be one of the teasing principles of tarot that for everyone there is always at least one thing annoyingly "wrong" with every version of the deck. Enrique Enriquez even says somewhere that the word "tarot" has two t's because its purpose is "to tease". The Grimaud, which is basically the Conver deck, isn't it?, is about as close to a "standard text" as there is. I kind of wish the Madenie had that status, since the facial expressions are more cheerful and there a few other lovely poetic touches, but the Grimaud does possess a unique quality of enigmatic restraint.

But I am more of a Type I guy rather than Type II like the Grimaud/Conver. So the Dodal is my favourite deck. By the time the Conver came along the card-makers seem more self-conscious about the symbolism of the deck whereas those earlier decks have a sort of rawness that seems more authentic to me somehow. It's a bit like comparing early acoustic Blues with B.B. King, or Early Music to Bach. More funky or something.
dodalisque, I've just come across this old post. You asked I think which detail I regret. It's the Devil. I believe his sword should be more obviously a torch, as in many of the TdMs. I really think that this is a very regrettable error. But I correct it in my mind - I just assume it's a torch so I can live with it. There may be a torch evoked - but it's not clear enough.

It could be that it has something to do with the Grimaud being my first TdM, and also the reference deck for the French speaking world. It's the deck that was used in most of the courses and seminars I attended. And the one used in most books. But this is not the only reason. I've used many other TdMs. For a long time, I only used the Hadar deck because I like it, and also had and still have a huge affection for the man himself and for his dedication and sincere love for the Tarot. We corresponded at one time, and I felt really very honoured. He's originally from France, but has lived in French Canada for most of his life. He gave me so much of his time - to a complete stranger. His generosity was just astounding. I use the Conver also, the Ibis and others. But somehow.. somehow... I always come back to the Grimaud. I like its simplicity, or at least its SEEMING simplicity. It has everything one needs. It's kind of stripped down to its fundamentals. There are many many fundamentals though - enough for a life time of discovery and research. Maybe even 10 or 11 lifetimes.

Now this leads me to something else. You were wondering and lamenting as to what you are going to do with your "free" time now that you're going to take what is most certainly a well earned retirement. Now, what I would like to see you doing - and this is completely self-centered and comes from a purely selfish desire - would be to see you spending lots of time studying the Tarot of Marseilles and then coming over to Cult of Tarot to report. You always say such interesting things about the TdM. You pick up on things I've never noticed. You always go further and further, and that is what the TdM needs. People who notice things and who are open-minded enough not to dismiss crazy ideas, but not gullible and naive enough to digest nonsense.

Ah... I can just see it here. All the research and study we could do. It would go down in tarot history. The Tarot of Marseilles would have no more secrets for us, except that each door opened would lead to a million other closed doors. And we'll all be opening them together and looking for the keys. How exciting. Of course, in the end we'll realise that the Holy Grail is right there where we started out, but apparently, according to mythology and legend, it is necessary to go on a long and seemingly fruitless journey (but it's not really) in order to figure that out.

You could be the official Cult of Tarot TdM reporter. You could even have a badge if you like. Of course, we'd join in with you. So everyone could have a badge if they wanted one. 🌟

Dodal is a very nice deck. I like it a lot. But I think it's more an elitist deck. I think maybe that's also why I like the Grimaud. It fits with my far-left political leanings. I once nicknamed it the Socialist deck. https://www.youtube.com/watch?v=wKVMupmQ7eE
Rumi was asked “which music sound is haram?” Rumi replied, "The sound of tablespoons playing in the pots of the rich, which are heard by the ears of the poor and hungry." (haram means forbidden)
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Re: Comparison of the Courts in the Tarot of Marseilles

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BreathingSince72 wrote: 06 Feb 2020, 13:19 This is not going to sound even remotely deep
You might be surprised at how deep this type of analysis - done systematically and exhaustively - can go.

Here is an excerpt from Tchalaï's "The Tarot: the Game of the Government of the World" dealing with precisely this gentleman.
Tchalaï wrote: … The King of Coins of course, he is the one whose function is incorporated into his person; we have seen that he is also a field man, sitting on an armchair (and not a throne). By observing the details, we notice… that it is his coat-tail falling to the ground that gives us the illusion that this armchair is stable. In reality, this armchair has but two feet, both on the same side, and it is not balanced. But we have the feeling of balance.

Moreover, his right leg, with red breeches, seems to come out of nowhere, and crosses through his coat in a way that is not logical.

His hands, very small, cannot manufacture or manipulate a lot. His puffed sleeves reach down to his wrists, the left thin, the right one not even visible beneath the sleeve. He is smartly turned out, elegant even, a little waistcoat, a little piping, a scarf – but with a fold in the centre – two unbuttoned buttons on his waistcoat, his shoulders cramped into a mantlet with trim and stitching, a little piece of upturned collar, etc.

We see that his ears are covered, and behind him, an object which in theory is a grid. Now, whether literally or figuratively, all grids are designed to let through – or not let through – something. For example, a mosquito net allows the air to pass through, but not insects, according to its mesh size. It is the same idea, or rather the same form, as the siting net and its mesh size. It is also the same principle as decoding grids: the grid retains or selects things above or below a given calibre.

We can say that the King of Coins has grids everywhere. He has them on his ears, on his neck, and even between the two feet of his armchair. The same forms engender the same functions, unless it is the function that engenders form… Thus, the King of Coins is a well-informed gentleman.

Like the King of Cup, he has ear-muffs to protect his ears. Put your hands over your ears: you are isolated from outside noise, but sensitised to inside sound (that of blood, for instance). This is also the case analogically: when we isolate ourselves from outer problems, we make ourselves accessible to the inner voice. The earflaps are similar to walkman headphones in shape, or those of hi-fi stereos, etc., which also diffuse information that is different to that of the environment.

The King of Coins holds his tool lightly, but with the tips of the fingers of his right hand, which is partly resting on the top of his calf. We can think that, in contrast to all the other Kings clutching their tools, that the King of Coins does not really care for his: he holds it as though he were not afraid to lose it.

A noteworthy detail: his face is fairly youthful, with thickly drawn-on eyebrows, and extremely sharp eyes. Even though his forked beard is white, his face is not old for his features are firm, and even trim.
(translation courtesy of yours truly)
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Diana
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Re: Comparison of the Courts in the Tarot of Marseilles

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_R_ wrote: 06 Feb 2020, 17:21
We see that his ears are covered, and behind him, an object which in theory is a grid. Now, whether literally or figuratively, all grids are designed to let through – or not let through – something. For example, a mosquito net allows the air to pass through, but not insects, according to its mesh size. It is the same idea, or rather the same form, as the siting net and its mesh size. It is also the same principle as decoding grids: the grid retains or selects things above or below a given calibre.

Goodness, I'd never noticed what Tchalaï calls a grid. Hmm... I'm not sure that I go along with the interpretation. Something doesn't sound right. I'll probably come back to it.

But it is an intriguing thing.
Rumi was asked “which music sound is haram?” Rumi replied, "The sound of tablespoons playing in the pots of the rich, which are heard by the ears of the poor and hungry." (haram means forbidden)
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Re: Comparison of the Courts in the Tarot of Marseilles

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Diana wrote: 06 Feb 2020, 17:58
Goodness, I'd never noticed what Tchalaï calls a grid. Hmm... I'm not sure that I go along with the interpretation. Something doesn't sound right. I'll probably come back to it.

But it is an intriguing thing.
This excerpt is taken from a schematic outline of the Kings, compared and contrasted to each other.

As Tchalaï says, if you’re going to interpret he symbols, examine and interpret the entire card, in all its details.
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dodalisque
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Re: Comparison of the Courts in the Tarot of Marseilles

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Diana wrote: 06 Feb 2020, 17:58 Tchalaï
From this exchange it seems that Tchalai wrote the book on the TdM I dream of reading in English. That's what you should translate, Diana. I'm very reluctant to say anything at all about the TdM because I feel that it must either be completely wrong or already a commonplace for French speakers. Since the popularity of the TdM is growing among English speakers I should think there would be a market for Tchalai now.

Funny you should say that about the Grimaud appealing to your socialism. I don't know how the Grimaud looks to the French, but I've always been attracted to the Dodal precisely because that deck seems to me the most working class and socialist. I say that because the engraver's line is looser and the faces are more depressive. The whole deck feels more sloppy, messy, less determined to impress, and has a kind of working class cynicism. But I suppose the way Enrique brings the deck to life is really what sold me on the Dodal. The Noblet (noble?) might have been made for people with money, but the Dodal smells of the tavern to me. But I go back and forth between different TdMs. They each have their own mood.
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Re: Comparison of the Courts in the Tarot of Marseilles

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dodalisque wrote: 07 Feb 2020, 20:58
Diana wrote: 06 Feb 2020, 17:58 Tchalaï
From this exchange it seems that Tchalai wrote the book on the TdM I dream of reading in English. That's what you should translate, Diana. I'm very reluctant to say anything at all about the TdM because I feel that it must either be completely wrong or already a commonplace for French speakers. Since the popularity of the TdM is growing among English speakers I should think there would be a market for Tchalai now.

Funny you should say that about the Grimaud appealing to your socialism. I don't know how the Grimaud looks to the French, but I've always been attracted to the Dodal precisely because that deck seems to me the most working class and socialist.
I think you are right, and I am looking into it.

As to the second part, the commercial savvy of a handful of cardmakers coupled to the Industrial revolution saw the decline and ouster of small-scale craftsmen and cardmakers, to be replaced by a monopoly of large and modern factories. Their names? Camoin, and later Grimaud...
Bertrand gives a good overview of the matter in a blog post here (scroll down for the English): https://www.tarotmaker.com/2011/06/15/u ... marseille/
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Re: Comparison of the Courts in the Tarot of Marseilles

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To return to the matter evoked on the first page of this thread, here is another excerpt from Tchalaï's "The Tarot: the Game of the Government of the World" dealing with these two cards, from her autobiographical reminiscences (from the beginning of WWII, for context).
Tchalaï wrote: In my earliest childhood, the Tarot cards were already a part of my life… The Gypsies used an old Tarot, worn to shreds, whose thick cards were coming apart at the corners. One afternoon, a respectable man, very nice and very gentle in his manners, but also very intimidating, read me my “fortune.” I picked out a superb picture, a crown was being put up on a tower to let through multi-coloured balls and angels in disguise. The man then cried out “What bad luck! What great misfortune! The evil day! Fire!” and other things I did not understand at the time. That card had thrown him into a state of great agitation and great sorrow. I squinted at the card. I still saw disguised angels and multi-coloured balloons: the balloons were floating while the angels picked flowers. I picked another card, and he foretold I would have a lot of love, later on, when I was grown up. One of the two children was taking the other by the neck to make him go in the direction pointed to by his left hand; and I did not imagine love to be like that! I left the tent completely flabbergasted, wondering whether or not I was capable of seeing things clearly, or if that man, very respectable, very nice, very gentle, but very intimidating, was talking out of his hat. After that, for years, for me, the Tarot was synonymous with grave misunderstanding, with lies, and even with danger. I thought back to this, many years later. That Gypsy chieftain had seen in the God-House a premonition, a reflection of his own death – the watchtowers of a death camp, the crematorium oven, where the bodies of all those he held dear would be turned to ashes. As to the card the Sun, we were both right: I was indeed much loved… yet always while being constrained, “for my own good.” Not you?
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Diana
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Re: Comparison of the Courts in the Tarot of Marseilles

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dodalisque wrote: 07 Feb 2020, 20:58
From this exchange it seems that Tchalai wrote the book on the TdM I dream of reading in English. That's what you should translate, Diana. I'm very reluctant to say anything at all about the TdM because I feel that it must either be completely wrong or already a commonplace for French speakers. Since the popularity of the TdM is growing among English speakers I should think there would be a market for Tchalai now.

Funny you should say that about the Grimaud appealing to your socialism. I don't know how the Grimaud looks to the French, but I've always been attracted to the Dodal precisely because that deck seems to me the most working class and socialist. I say that because the engraver's line is looser and the faces are more depressive. The whole deck feels more sloppy, messy, less determined to impress, and has a kind of working class cynicism. But I suppose the way Enrique brings the deck to life is really what sold me on the Dodal. The Noblet (noble?) might have been made for people with money, but the Dodal smells of the tavern to me. But I go back and forth between different TdMs. They each have their own mood.
Oh, the translation of Tchalaï's writings are being taken care of by _R_. I believe there are some complications regarding the copyright and the heirs of Tchalaï but he will be able to explain this better than me.

Oh, maybe all the TdMs are socialist. As compared to the lavish Italian cards. Once people starting playing the game of Tarot in taverns, it belonged to the people.
Rumi was asked “which music sound is haram?” Rumi replied, "The sound of tablespoons playing in the pots of the rich, which are heard by the ears of the poor and hungry." (haram means forbidden)
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Re: Comparison of the Courts in the Tarot of Marseilles

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As the King of Deniers is the only one not wearing a crown, or something that evokes a crown, then I believe he may not be a king at all. But the chief banker, the financier - the one appointed to take care of the kingdom's finances. There must be a reason he's the only one not wearing a crown of some sorts.

And that "grid". It's confusing me a lot. Tchalaï gave an explanation - but it sounds odd to me. Unless it's a mosquito net - lol -. I can't come up with a better one (yet). I've been researching for a couple of hours now what it could be, but find nothing that even remotely evokes this. This will be haunting me for days/months/years to come. I get frustrated with this kind of mystery !! I won't rest till I find an explanation that I find satisfactory. I'm hoping I'll find a clue in art and paintings.
Rumi was asked “which music sound is haram?” Rumi replied, "The sound of tablespoons playing in the pots of the rich, which are heard by the ears of the poor and hungry." (haram means forbidden)
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Re: Comparison of the Courts in the Tarot of Marseilles

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Diana wrote: 09 Feb 2020, 09:24 As the King of Deniers is the only one not wearing a crown, or something that evokes a crown, then I believe he may not be a king at all. But the chief banker, the financier - the one appointed to take care of the kingdom's finances. There must be a reason he's the only one not wearing a crown of some sorts.
Time for the magnifying glass!
Tchalaï wrote:The brim of the King of Coins’ hat is flesh-coloured on the inside, and golden-yellow on the outside. He does not appear to be wearing a crown, but pay close attention! Look at the crown of the hat [the vertical part covering the head]: a crown can be clearly seen in the hatching of the blue part, one different to the other crowns.
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Re: Comparison of the Courts in the Tarot of Marseilles

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_R_ : Which TdM is the reference for Tchalaï ?
Rumi was asked “which music sound is haram?” Rumi replied, "The sound of tablespoons playing in the pots of the rich, which are heard by the ears of the poor and hungry." (haram means forbidden)
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Re: Comparison of the Courts in the Tarot of Marseilles

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Diana wrote: 09 Feb 2020, 10:20 _R_ : Which TdM is the reference for Tchalaï ?
Grimaud, the one and only (although she calls it the Conver, like many others).
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Re: Comparison of the Courts in the Tarot of Marseilles

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_R_ wrote: 09 Feb 2020, 12:07Grimaud, the one and only (although she calls it the Conver, like many others).
Is there a version in print that you recommend?
DISCLAIMER: The imaginary solutions contained in the tarot intend to give you the means for sabotaging reality through poetic action only. Any reliance you place on such imaginary solutions for reasons other than poetical is therefore strictly at your own risk. (EE)
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Re: Comparison of the Courts in the Tarot of Marseilles

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Desmond wrote: 11 Feb 2020, 06:01
_R_ wrote: 09 Feb 2020, 12:07Grimaud, the one and only (although she calls it the Conver, like many others).
Is there a version in print that you recommend?
The Grimaud is still in print. You can obtain it directly from the publisher. https://www.cartes-production.com/gb/81 ... -78-cartes

There is also the photo-reproduction of the original 1930 deck published as the Tarot de Marseille by Éditions Dusserre in 1990. This has a couple of small differences; the 4 of Coins has a fleur-de-lys motif rather than the tulip, and the Bateleur has no dice on his table. (Marteau modified his deck slightly in 1948, so there are 2 "editions," so to speak.)

The earlier version of the deck is available online on the website of the BNF.
https://gallica.bnf.fr/ark:/12148/btv1b10539685w

And if you want to play spot-the-difference, the Camoin edition of the Conver deck is also on there:
https://gallica.bnf.fr/ark:/12148/btv1b10539497f

(The images of the more recent deck are easily findable online)
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