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Translated by D.Q. Stephenson
翻译者 D.Q. Stephenson

First published in Great Britain by George Allen & Unwin 1975 First published by Unwin Paperbacks 1985
首次在英国由George Allen和Unwin 1975首次出版 首次由Unwin Paperbacks 1985出版

This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved.
本书的版权受《伯尔尼公约》保护。未经许可，不得复制。保留所有权利。

UNWIN ${}^{\circledR })$$\left.{}^{\circledR }\right)${:^(®))\left.{ }^{\circledR}\right) PAPERBACKS
UNWIN ${}^{\circledR })$$\left.{}^{\circledR }\right)${:^(®))\left.{ }^{\circledR}\right) 平装书
40 Museum Street, London WCI $A_{1}LU,UK$$A_{1}LU,UK$A_(1)LU,UKA_{1} L U, U K
伦敦 WCI $A_{1}LU,UK$$A_{1}LU,UK$A_(1)LU,UKA_{1} L U, U K 博物馆街 40 号
Unwin Paperbacks Park Lane, Hemel Hempstead, Herts HP2 4 TE, UK
Unwin Paperbacks Park Lane， 赫默尔亨普斯特德， 赫茨 HP2 4 TE， 英国

George Allen & Unwin Australia Pty Ltd,
乔治·艾伦和昂温澳大利亚有限公司，
8 Napier Street, North Sydney, NSW 2060, Australia
8 Napier Street， 北悉尼， 新南威尔士州 2060， 澳大利亚

This translation © George Allen & Unwin Ltd 1975, 1985
此译本 © George Allen & Unwin Ltd 1975， 1985
German edition Tarot originally published by J. Fink Verlag, Stuttgart, 1969
德文版 塔罗牌 最初由 J. Fink Verlag 出版，斯图加特，1969 年
ISBN 004133016 I 国际标准书号004133016 I

Set in r2pt Fournier 在 r2pt Fournier 中设置
and printed in Great Britain
并在英国印刷
by Hazell Watson and Viney Ltd
作者：Hazell Watson and Viney Ltd
Member of the BPCC BPCC 成员
Aylesbury, Bucks 艾尔斯伯里， 雄鹿

Paeans of acclaim greet this book on tarot.
赞美的赞歌欢迎这本关于塔罗牌的书。
It is written out of a full awareness of life, with a profound imaginative insight which sees the ever-renewing pattern of immediate experience - a rose, a tree in blossom, a bird - with such a sense of vitality, such all-embracing penetration, and plumbs the soul so deeply that the experiencing mind catches the eternal in what is transient and grasps within the configurations of space the presence of some moulding force transcending all spatial bounds. And it teaches us how to engage more closely with life in all its plenitude and to confront it squarely in all its tangible variety. We are shown stage by stage how to exercise our powers of pictorial thinking and ability to interpret symbols until a felicitous disposition of the cards brings the soul to intuitive knowledge of itself.
它写于对生命的充分认识，具有深刻的想象力洞察力，以如此充满活力的力量，如此包容的穿透力，看到不断更新的直接体验模式——一朵玫瑰、一棵盛开的树、一只鸟——并如此深入地探寻灵魂，以至于体验的心灵在短暂的事物中捕捉到永恒，并在空间的配置中抓住某种超越所有空间界限的塑造力量的存在。它教会我们如何更紧密地参与生活的所有丰富性，并正视它所有有形的多样性。我们一步一步地展示如何运用我们的图像思维能力和解释符号的能力，直到对卡片的巧妙处理使灵魂对自身有直观的认识。

The spirit speaking to us from these ancient cards is rooted in the remote past of Egyptian mysticism. And every soul which brings these cards to life again can catch in the unchanging mirror of human life the faint intimations of an ancient past stirring in the eternally present. Thus it was once and ever will be - this image of the bonds and linkages between what appears to us to have been, to be now, and still be to come. That which is so intimately compounded in the depths is separated out in the processes of life. Starting from the beginning ever and again, it is the individual, depending on his own knowledge and his own courage, that must find his way through the labyrinth of his destiny woven from his own peculiar intrications of past, present and future. In these pages he will find the clue of Ariadne.
从这些古老的卡片中向我们说话的精神植根于埃及神秘主义的遥远过去。每一个让这些卡片重新焕发活力的灵魂，都可以在人类生活不变的镜子中捕捉到古老过去的微弱暗示，在永恒的现在中搅动。因此，它曾经是，将来也是——这个在我们看来过去、现在和将来之间的纽带和联系的形象。在深处如此紧密地复合的事物，在生命的过程中被分离出来。从一开始就开始，个人必须依靠自己的知识和勇气，在由他自己的过去、现在和未来的特殊复杂性编织而成的命运迷宫中找到自己的出路。在这些书页中，他会找到阿里阿德涅的线索。

The keyword is integration: to become whole, to become sound, to become one - and that means: to make whole, to make sound, to unite, for only in this way can one become so oneself. Through the symbols recognised and mediated as we
关键词是整合：成为整体，变得健全，成为一体——这意味着：形成整体，发出声音，团结起来，因为只有这样，一个人才能成为如此的自我。通过我们识别和中介的符号
contemplate the correspondences between man and his destiny, the tarot pack affords us a profounder experience and a more total interiorisation of life, which speaks to us in symbols and demands from us an active response. This is achieved through the agency of the artist’s eye which sees here with such clarity and truth, through the communication of a religious and ethical inspiration, and through the careful pedagogic representation which leads us upwards step by step.
思考人与命运之间的对应关系，塔罗牌包为我们提供了深刻的体验和更完整的生命内化，它以符号的形式与我们对话，并要求我们做出积极的回应。这是通过艺术家的眼睛的能动性来实现的，他以如此清晰和真实的方式看到这里，通过宗教和道德灵感的交流，以及通过谨慎的教学表现，引导我们一步一步地向上。
To experience symbols and to be affected by them is one and the same thing. It means to be moved and uplifted in the depths of one’s humanity. Their call causes man to be infused with a power stemming from the highest centres of the human spirit and also from that surpassing spirit which serves every creature and every man although existing above the level of conscious experience. Symbols renew man’s creative power if he finds (and this book shows him the way) the right response to them in his inner self. For they are creative centres of energy of the spiritual power that pervades all life but is inherent in man. The man who has no answer to return to the urgent questions of the sphinx within himself falls into the abyss of the subconscious.
体验符号和受它们影响是一回事。它的意思是在一个人性的深处被感动和提升。他们的呼唤使人类被注入一种力量，这种力量源于人类精神的最高中心，也来自那种超越的精神，这种精神虽然存在于意识体验的层次之上，却为每一个生物和每一个人服务。如果人在他的内在自我中找到（这本书为他指明了道路）对它们的正确回应，符号就会更新他的创造力。因为它们是精神力量的创造性能量中心，这种精神力量弥漫在所有生命中，但却是人类固有的。一个没有答案的人，如果无法回到自己内心的狮身人面像的紧迫问题，就会坠入潜意识的深渊。
With all the lucidity of her artistic and creative gifts the author reveals to us with the aid of each of the twenty-two cards the corresponding levels of consciousness in man. The tarot cards, as she interprets them, are a mirror in which seeking man can see himself or someone close to him and can determine his - or their - position on the ladder of development to true man. The wisdom of Ezekiel, which is also the wisdom of Origen, calls for a whole, a true man, he who is united with the genius of humanity within himself, with his eternal self - as distinct from the merely naturally born - a divinely born ‘homo humanus’. We men are all born ‘men’ but we do not all become ‘homines humani’, potentiated men, as it were, unless we are good and pious, says Origen. True man united with external and corporeal man forms the ‘homo humanus’ when God’s image is renewed or restored in man.
凭借她清晰的艺术和创作天赋，作者借助这 22 张卡片中的每张卡片向我们揭示了人类相应的意识层次。正如她所解释的那样，塔罗牌是一面镜子，寻求的人可以在其中看到自己或他身边的人，并可以决定他或他们——在通往真正男人的发展阶梯上的位置。以西结书的智慧，也是俄利根的智慧，需要一个完整的、真正的人，他与他内在的人性天才结合，与他永恒的自我——与纯粹自然出生的自我不同——一个神而生的“人”。奥利金说，我们男人都是生来的“男人”，但除非我们是善良和虔诚的，否则我们不会都成为“人性化的人”，即被赋予权力的人。当上帝的形象在人身上更新或恢复时，真正的人与外在和有形的人结合在一起，形成了“人”。
It is to this knowledge and integration that the tarot pack leads us when properly understood. The language of our tarot interpretation is simple and has the dynamic timbre of the author’s Hungarian mother tongue in which the illustrations are of such primal purity and naturalness that people of all ages and degrees of maturity, beginners as well as the more experienced, can be helped along their path. Wherever the individual may have halted on the path to unification with his genius, he will find that reading symbols so deftly presented, allowing these symbols to elicit their effect during quiet contemplation, and then following their stirrings in his inner self until the soul brings forth from its silent depths its own words and images - this, he will find, releases vital forces.
正是这种知识和整合，当正确理解时，塔罗牌包会引导我们。我们的塔罗牌解释语言很简单，具有作者匈牙利母语的动态音色，其中插图具有如此原始的纯净和自然，以至于所有年龄和成熟程度的人，初学者以及更有经验的人，都可以在他们的道路上得到帮助。无论个人在与他的天才统一的道路上停在哪里，他都会发现阅读符号是如此巧妙地呈现，让这些符号在安静的沉思中引发它们的效果，然后跟随它们在他内心的搅动，直到灵魂从沉默的深处带出自己的文字和图像——这， 他会找到，释放生命力。
The soul thinks in images. The soul lives in images. The soul nourishes itself on the flux of images. The soul and its images are fed from the very beginning with the experiences of mankind. Conceptual thought cannot seize hold of the images now rising from the profundity of the soul with their deeply moving and gladdening effects. Intuition experiences and recognises in the bright pictures of allegory what has been experienced by the inner light. Thus in these pages the reader traverses the many fields of life. The symbolism of the sounds, rhythms, colours and forms of life is disclosed to us, the realm of the elements, the realm of the rocks, plants, and animals is revealed, the realm of man and his situation is made apparent. Thus the ancient soul of humanity speaks through the mouth of the modern spirit and shows itself to be eternally youthful, ever standing on the threshold of new miracles, always living again in the inexhaustibility of its warmth in which all creatures are lapped.
灵魂在图像中思考。灵魂生活在图像中。灵魂在图像的流动中滋养自己。灵魂及其图像从一开始就受到人类经验的滋养。概念性思维无法抓住现在从灵魂深处升起的图像，它们具有深刻的感人和令人愉悦的效果。直觉在寓言的明亮图片中体验和识别内在之光所经历的一切。因此，在这些页面中，读者穿越了生活的许多领域。声音、节奏、颜色和生命形式的象征意义向我们揭示，元素的领域，岩石、植物和动物的领域被揭示出来，人的领域和他的处境被揭示出来。因此，人类的古老灵魂通过现代精神的嘴说话，并表明自己永远年轻，永远站在新奇迹的门槛上，总是重新生活在所有生物都沐浴在取之不尽的温暖中。

The soul of humanity, like the soul of the individual, lives only through love. Inspirited life is never immobilised in the barren monotony of mechanism. Ever and again it brings fresh animation, winged by some spirit on whose pinions it bears a kindred and loving life to all it meets.
人类的灵魂，就像个人的灵魂一样，只能通过爱而活。充满活力的生活永远不会被贫瘠单调的机械装置所束缚。它一次又一次地带来新鲜的活力，在某种精神的翅膀上，它为它所遇到的所有人带来了亲戚和爱的生活。

And so this book also touches hidden depths of the soul and
因此，这本书也触及了灵魂深处和

wakes in them life which would otherwise sleep on, lost in the unconscious. It opens space within us and elements of the soul flow in upon us which in previous generations were accessible only to a few individuals. Through the pictures we can thus break through into a region of being which draws us into itself and nourishes and charges us with its forces. For by concentrating on an object the subject becomes pervious to the energies of the object; the subject comes into sympathetic vibration with the object and thus with the region from which the object comes.
在他们身上唤醒了原本会沉睡的生命，迷失在无意识中。它打开了我们内在的空间，灵魂的元素流入我们身上，而这些元素在前几代人中只有少数人才能接触到。因此，通过这些图片，我们可以突破到一个存在的区域，它把我们吸引到它里面，用它的力量滋养和充电我们。因为通过专注于一个对象，主体变得不受对象的能量的影响;主体与客体进入交感振动，从而与客体来自的区域产生交感振动。

In all ages there have been torch-bearers who through their own creative power have embodied in themselves the truth of old human wisdoms. Thus in a time of spiritual inanition dominated by the intellect the tarot pack has been made available to us again. Languages have changed but the pictures remain. With these attractive tarot cards and the author’s profound and yet readily understandable interpretation, Elisabeth Haich has produced a masterly work of initiation into the secrets of life. Out of a deep understanding of being and her own intimate experience of union with her genius, she has illustrated the process by which man becomes man by his insight into the pictures of the twenty-two rungs of the ladder of divine ascent, on which each rung is an experience for the next rung in accordance with the individual’s plan of life.
古往今来，都有火炬手，他们通过自己的创造能力，将古老的人类智慧的真理体现在自己身上。因此，在一个由智力主导的精神萎靡的时代，塔罗牌包再次出现在我们面前。语言已经改变，但图片仍然存在。凭借这些吸引人的塔罗牌和作者深刻而易于理解的解释，伊丽莎白·海奇 （Elisabeth Haich） 创作了一部揭示生活秘密的大师级作品。出于对存在的深刻理解以及她自己与她的天才结合的亲密体验，她通过对神圣上升阶梯的 22 级图片的洞察力来说明人成为人的过程，其中每个阶梯都是根据个人的人生计划对下一个阶梯的体验。

May this work find its way into the world and bring light and help to many.
愿这项工作能进入世界，为许多人带来光明和帮助。

Dr Ewalt Kliemke Ewalt Kliemke 医师

Foreword … page 7 前言。。。第 7 页
Introduction … 13 介绍。。。13
What is ‘Tarot’? … 15
什么是“塔罗牌”？…15
The Magician … 27 魔术师 ...27
The High Priestess … 34
高级女祭司 ...34
The Queen … 40 女王 ...40
The King … 46 国王 ...46
The High Priest … 52
大祭司 ...52
The Parting of the Ways … 57
分道扬镳......57
The Chariot … 63 战车 ...63
Justice … 7 I 正义。。。7 我
The Hermit … 76 隐士 ...76
The Wheel of Fortune … 84
命运之轮 ...84
Power … 90 权力。。。90
The Hanged Man … 95
被吊死的人 ...95
Death … 102 死亡。。。102
Balance … 109 平衡。。。109
The Devil … II5 魔鬼 ...II5
The Lightning-Struck Tower … 124
被闪电击中的塔......124
The Stars … 131 星星 ...131
The Moon … 136 月亮 ...136
The Sun … 144 太阳 ...144
Judgement … 150 判断。。。150
The Fool … 156 愚人 ...156
The World … 163 世界 ...163
Conclusion … 169 结论。。。169

With the ever-increasing demand for the psychological interpretation of these cards, I felt impelled to publish in book form the interpretation of the Greater Arcana of the tarot pack, in the hope that this marvellous instrument will help men in the immense task of acquiring self-knowledge. I therefore had to select from the numerous tarot cards those which best served to illustrate my explanations. Unfortunately, the tarot cards have been frequently redesigned by people who were totally unaware of their inner symbolic significance. Naturally, such ignorance has led to complete falsification of this inner meaning. Although these corrupt cards may be adequate for the purpose of fortune-telling, they do not serve to represent the various spiritual states of man. The only tarot which undoubtedly descends from a genuine initiate, and which serves our purpose perfectly, is the one designed and coloured by Oswald Wirth at the dictation of the young initiate, Stanislas de Guaita, departed before his time. These cards combine in equal measure artistic beauty with correct symbolic depiction of their deeper meaning. We are going to interpret these tarot cards from a psychological angle. The cards depict the levels of human consciousness from the first dawn of consciousness, the first awakening, up to divine All-CONSCIOUSNESS, to UNION WITH GOD.
随着对这些牌的心理学解释的需求不断增长，我感到有必要以书籍的形式出版对塔罗牌包大奥秘的解释，希望这个奇妙的工具能够帮助人们完成获得自我认识的艰巨任务。因此，我不得不从众多的塔罗牌中选择那些最能说明我的解释的牌。不幸的是，塔罗牌经常被完全没有意识到其内在象征意义的人重新设计。自然，这种无知导致了对这个内在含义的完全证伪。虽然这些腐败的牌可能足以用于算命，但它们并不能代表人类的各种精神状态。唯一无疑是真正的新人后裔，并且完美地服务于我们的目的的塔罗牌，是奥斯瓦尔德·沃斯 （Oswald Wirth） 在年轻的新人斯坦尼斯拉斯·德·瓜伊塔 （Stanislas de Guaita） 的口述下设计和着色的塔罗牌，他在他的时代之前就离开了。这些卡片将艺术美感与对其更深层次含义的正确象征性描绘同等程度地结合在一起。我们将从心理学的角度来解读这些塔罗牌。这些卡片描绘了人类意识的层次，从意识的第一次曙光，第一次觉醒，到神圣的全意识，再到与上帝结合。

At this point may I extend my warmest thanks to some of my friends who have given valuable assistance with the linguistic revision of the text.
在此，我要向我的一些朋友表示最热烈的感谢，他们为文本的语言修订提供了宝贵的帮助。

Man is like a mosaic.
人就像一幅马赛克。
The mosaic consists of a large number of small, variously coloured stones which have been arranged according to a certain pattern resulting in a beautiful, coherent picture. In the same way, man is made up of many different qualities, abilities and talents, arranged according to a specific inner pattern resulting in a coherent picture, an individual personality.
马赛克由大量不同颜色的小石头组成，这些石头按照一定的图案排列，形成一幅美丽、连贯的画面。同样，人由许多不同的品质、能力和才能组成，根据特定的内在模式排列，从而形成一幅连贯的画面，一种个体的个性。

Just as the artist, using the same stones in an infinite variety of patterns, can compose all kinds of pictures in countless variations, so men also are created from the same qualities, abilities and talents, according to an infinite number and variety of inner patterns in countless variations, i.e. an infinite variety of individuals. What kind of picture emerges from an artist’s hand depends entirely upon the pattern selected; that is to say, the way in which he relates the given stones to one another. Thus he can create the most varied pictures according to whom the picture is for, where it will be hung, what effects it should achieve and what type of person it should please. He can employ the same stones to create religious pictures intended to stir up feelings of devotion, for use in churches, cemeteries or other sacred places, or he can design allegorical-symbolic pictures for academic institutions such as schools, universities or libraries. Again, the artist can produce humorous, cheerful pictures for places of entertainment such as theatres or ballrooms, or he can even create titillating and obscene pictures for the haunts of the demi-monde and of spiritually inferior people.
正如艺术家用同样的石头在无数种图案中，可以创作出无数种变化的图画，同样，人也是由相同的品质、能力和才能创造出来的，根据无数种变化的内在图案，即无限多样的个体。从艺术家的手中呈现出什么样的画面，完全取决于所选择的图案;也就是说，他将给定的石头彼此联系起来的方式。因此，他可以根据图片适合谁、挂在哪里、应该达到什么效果以及应该取悦什么类型的人来创建最多样化的图片。他可以使用相同的石头来创作宗教图片，旨在激发虔诚的情感，用于教堂、墓地或其他圣地，或者他可以为学校、大学或图书馆等学术机构设计寓言象征性的图片。同样，艺术家可以为剧院或舞厅等娱乐场所制作幽默、欢快的图片，或者他甚至可以为半世界和精神低下的人创作挑逗和淫秽的图片。
And all this with the same coloured stones!
而这一切都是用相同颜色的石头做的！
It is exactly the same with man. Out of the same qualities, abilities and talents emerge the most varied individuals. But whether the result is an ignorant, undisciplined, inferior person, or, at the other end of the scale, a sublime, superior
人也是如此。从相同的品质、能力和才能中，出现了最多样化的个体。但是，无论结果是一个无知、不守纪律、低人一等的人，还是在天平的另一端，一个崇高的、优越的人
creature of possibly very high intelligence, depends upon the pattern which forms the basis of the person’s make-up, that is to say, the way in which his qualities are related to one another.
可能具有非常高智力的生物，取决于构成人构成基础的模式，也就是说，他的品质彼此相关的方式。

While the artist, however, consciously creates a variety of pictures from his stones, man is completely unaware of the inner pattern or image which has formed his nature. In the case of a picture it is obvious how the stones are interrelated and therefore we clearly see what the picture represents, where it belongs, where it will ultimately be and what type of person it will please or displease. By the same token the whole ‘destiny’ of the picture can easily be foreseen. Man, however, can neither see his own image nor predict his fate. He does not see or know the pattern which is the basis of his character. Even less does he know that this inner pattern is himself! If he knew this pattern which he is, if he had SElf-Knowledge, he could also clearly see before him his whole fate and advance along the path of life surely and confidently. The average person, however, knows neither himself nor his destiny and he gropes about in life like a child in the dark.
然而，当艺术家有意识地用他的石头创造各种图画时，人完全没有意识到构成他本性的内在图案或图像。在图片的情况下，很明显石头是如何相互关联的，因此我们可以清楚地看到图片代表什么，它属于哪里，它最终会在哪里，以及它会取悦或不取悦什么样的人。同样，可以很容易地预见这幅画的整个“命运”。然而，人既不能看到自己的形象，也不能预测自己的命运。他看不到或不知道作为他性格基础的模式。他更不知道，这个内在的纹路就是他自己！如果他知道自己是什么样的模式，如果他拥有后识，他也能清楚地看到自己的全部命运，并坚定而自信地沿着人生的道路前进。然而，普通人既不知道自己，也不了解自己的命运，他像黑暗中的孩子一样在生活中摸索。

Yet already in prehistoric times there were, and there still are today, some initiates who knew and depicted in various pictures the ‘coloured stones’ which form the human image, that is to say, the spiritual elements and the abilities, qualities and talents developed therefrom, which in turn form the basis of a person’s character according to his inner pattern. These pictures are so apt and created with such penetrating psychological insight that they depict not only the spiritual factor in question, but at the same time also its cause and effect. They do not, therefore, show only the fundamental qualities, abilities and characteristic features of man, but also their source and the responses they elicit in the world at large. In short, they show man’s entire destiny.
然而，在史前时代，已经存在，今天仍然存在，一些同修知道并在各种图片中描绘了构成人类形象的“彩色石头”，也就是说，由此发展出的精神元素和能力、品质和才能，这反过来又根据一个人的内在模式构成了一个人性格的基础。这些图片是如此贴切，并以如此深刻的心理学洞察力创造，以至于它们不仅描绘了所讨论的精神因素，同时也描绘了它的因果关系。因此，它们不仅展示了人的基本品质、能力和特征，还展示了它们的来源和它们在整个世界中引发的反应。简而言之，它们展示了人类的全部命运。

These ancient prehistoric representations from which the complete picture of the most diverse kinds of people can be assembled and made accessible to our recognition are the tarot cards. This concept can be referred to as tarot.
这些古老的史前表现形式可以汇集起来，让我们能够识别出最多样化的人的完整画面，这就是塔罗牌。这个概念可以称为塔罗牌。
The tarot comprises seventy-eight tarot cards. Of these, fifty-six cards are known as the Lesser Arcana and twenty-two cards as the Greater Arcana.
塔罗牌由 78 张塔罗牌组成。其中，56 张牌被称为小至宝，22 张牌被称为大至宝。
In order to understand the Lesser Arcana, we must remember that all the spiritual elements constituting a person spring from a single primal source in which everything still rests in unity. From this source all manifestations proceed step by step to the complete unfolding. We may compare this to the growth of a plant from a seed, through various stages of development, from the cotyledon, bud and flower, to its supreme achievement, the fruit. The initiates have depicted these stages in the growth of man in fourteen related pictures.
为了理解小至宝，我们必须记住，构成一个人的所有精神元素都来自一个单一的原始源头，其中一切都仍然处于统一状态。从这个源头开始，所有的显现一步一步地进行，直到完全展开。我们可以将其比作植物从种子生长，经过不同的发育阶段，从子叶、花蕾和花朵，到它的最高成就——果实。新人在 14 张相关图片中描绘了人类成长的这些阶段。

The first card carries the number one from which all further manifestations arise. From it derive the numbers up to TEN, which is again the number ONE, linked to the circle representing the universe, the cipher. These rising numbers show how man, from the beginning of his development, continues to grow in his abilities and in value until he detaches himself from the mob as an individual. Thus in the representations the ten numbered cards are followed by four court cards of ascending importance: the Page, Cavalier and Queen, and lastly the card dominating all others, the King. This shows the development of man from a weak personality to an everstronger one. Yet nonetheless, it is the first card, the number ONE, which has the highest value; in card games it is known as the Ace. The number one, the Ace, outranks all other cards for this is the only begetter of all the ensuing revelations. From it all other levels have proceeded. The ten numbered and the four court cards together make fourteen cards.
第一张牌带有数字 1，所有进一步的表现都是从它产生的。从中推导出到 TEN 的数字，这又是数字 ONE，与代表宇宙的圆圈（密码）相关联。这些不断上升的数字表明，从发展开始，人类的能力和价值就不断增长，直到他作为一个个体从暴民中分离出来。因此，在表示中，十张编号的牌后面是四张重要性的宫廷牌：佩奇、骑士和皇后，最后是支配所有其他牌的牌，国王。这表明了人从软弱的人格发展到越来越强的人格。然而，尽管如此，第一张牌，即数字 ONE，具有最高的价值;在纸牌游戏中，它被称为 A。第一张牌，A 的排名超过了所有其他牌，因为这是随后所有启示中唯一的诞生者。从它开始，所有其他层次都取得了进展。10 张编号的牌和 4 张宫廷牌加在一起构成 14 张牌。

These fourteen levels of development manifest themselves through the four elements known in modern science as ‘states of matter’. In the old terminology these are: fire, air (gaseous), water (liquid) and earth (solid). These elements are depicted on the cards by four different symbols: Rods, Swords, Coins and Cups. Under each of these symbols the fourteen levels of development are represented in fourteen cards; thus we arrive
这 14 个发展层次通过现代科学中称为“物质状态”的四个元素表现出来。在旧术语中，这些是：火、空气（气态）、水（液体）和土（固体）。这些元素在卡片上由四种不同的符号描绘：杆、剑、硬币和杯子。在这些符号中的每一个下，十四个发展层次都用十四张卡片表示;就这样我们到达了
at four times fourteen, that is, fifty-six cards. These fifty-six cards are the ‘Lesser Arcana’ of the tarot deck.
四乘以 14，即 56 张牌。这 56 张牌是塔罗牌的“小至宝”。

The ‘Greater Arcana’ cards represent the principle which governs the qualities of man depicted by the fifty-six cards. This principle is the consciousness of man. For how and to what purpose he uses his abilities and talents, whether rightly or wrongly, to good ends or bad, depends upon the level of his consciousness. In order to preserve the analogy, we must remember that a mosaic is lifeless, consists of dead matter and is pieced together by an artist who exists outside his work. Man, however, is himself the artist who assembles his own personal image in accordance with the inner pattern, but from within, and it is he himself who reveals his inner image, his character, through his physical being. At the beginning of his development he is completely unaware of his position. He constructs his image unconsciously in accordance with natural laws. Since he lacks self-knowledge he lives within his own image like a prisoner in a cell which he has built himself, and instead of being its master he is its slave. Consequently he is also the slave of his own fate. While he is in this unconscious state, fate tosses him about like a rudderless ship in a tempest. In his despair man seeks and expects help from outside, never suspecting that real help, liberation from this blind groping, from this bondage, can be found in himself and himself alone.
“Greater Arcana” 牌代表了支配 56 张牌所描绘的人类品质的原则。这个原则就是人的意识。因为他如何以及为了什么目的使用他的能力和才能，无论是对的还是错的，达到好的目的还是坏的目的，都取决于他的意识水平。为了保持这个类比，我们必须记住，马赛克是没有生命的，由死物质组成，是由存在于作品之外的艺术家拼凑而成的。然而，人本身就是艺术家，他根据内在的模式组装自己的个人形象，但从内部出发，是他自己通过他的身体存在揭示了他的内在形象，他的性格。在他发展的开始，他完全不知道自己的位置。他按照自然法则无意识地构建了自己的形象。由于他缺乏自知之明，他按照自己的形象生活，就像囚犯一样生活在他自己建造的牢房里，他不是它的主人，而是它的奴隶。因此，他也是自己命运的奴隶。当他处于这种无意识状态时，命运将他像暴风雨中的无舵船一样抛来抛去。在他的绝望中，人寻求并期待来自外部的帮助，从不怀疑真正的帮助，从这种盲目的摸索中解脱出来，从这种束缚中解脱出来，可以在他自己身上找到，而且只有他自己。

Yet it is precisely through these strokes of fate brought upon himself in his ignorance that he awakes one day. He comes to his senses and grows conscious within himself. He notices that he is here, that he even exists! From this first awakening, however, from this initial flickering of self-awareness to the ultimate goal - divine and perfect universal consciousness - a long path of development lies before him. When he has reached this goal, and not before, man ceases to be encumbered with an unconscious at work under his consciousness. He has attained complete freedom. He has attained mastery over all the powers which have gone into his making and which work within him. What is more, the whole universe was formed by the same creative powers as man himself. Thus man is capable of controlling these powers in other people also and in the whole universe when he has made them conscious within him and learned to control them. In this state of consciousness he is master of all the abilities, qualities and talents which have formed his image in the world of matter. At the same time, however, he is master of his fate, for in this state he is no longer the unconscious pattern of his image, but has become the conscious creator of his own individuality and of his own world.
然而，正是通过这些命运的打击，他才有一天醒来。他清醒过来，在自己内心变得有意识。他注意到他在这里，甚至他存在！然而，从这第一次觉醒开始，从自我意识的最初闪烁到最终目标——神圣和完美的宇宙意识——一条漫长的发展道路摆在他面前。当他达到这个目标时，而不是之前，人就不再受制于在他的意识下工作的无意识。他已经获得了完全的自由。他已经掌握了所有进入他创造和在他里面工作的力量。更重要的是，整个宇宙是由与人类相同的创造能力形成的。因此，当人类在他内在使这些力量有意识并学会控制它们时，他也能够控制其他人和整个宇宙中的这些力量。在这种意识状态下，他掌握了在物质世界中形成他形象的所有能力、品质和才能。然而，与此同时，他是自己命运的主人，因为在这种状态下，他不再是他形象的无意识模式，而是成为他自己的个性和他自己的世界的有意识的创造者。

The initiates of prehistoric times who created the tarot cards were familiar with all these different levels and states of development of the human consciousness. They depicted these levels of consciousness from the first awakening to divine all-consciousness in twenty-two pictures. These are the ‘Greater Arcana’ of the tarot pack.
创造塔罗牌的史前时代的启蒙者熟悉人类意识发展的所有这些不同层次和状态。他们在 22 幅图片中描绘了从第一次觉醒到神圣全意识的这些意识层次。这些是塔罗牌包的“大奥秘”。

However far we may peer back into the dark recesses of history, it is impossible to find a period when these images, the Greater Arcana of the tarot cards, were not known. Already in ancient times we find traces of these cards; indeed they are the forerunners of all other playing cards. In the Babylonian, Egyptian, Judaic, Mexican, Indian and Chinese excavations, as well as those of even older cultures, evidence was found of the existence of these cards. Sometimes they were found as murals, sometimes as sculptures hewn in stone or as terracotta tablets. These finds are always and unmistakably representations of the tarot cards. Wherever they have been discovered, their resemblance is so striking as to point inevitably to a common provenance. What this original source is, however, we do not know.
无论我们回顾历史的黑暗角落有多远，都不可能找到这些图像，即塔罗牌的大奥秘，不为人知的时期。早在古代，我们就发现了这些卡片的痕迹;事实上，他们是所有其他扑克牌的先驱。在巴比伦、埃及、犹太、墨西哥、印度和中国的发掘中，以及更古老文化的发掘中，发现了这些卡片存在的证据。有时它们被发现为壁画，有时为石雕或兵马俑。这些发现总是明确无误地代表了塔罗牌。无论它们在何处被发现，它们的相似之处都是如此惊人，以至于不可避免地指向一个共同的来源。然而，我们不知道这个原始来源是什么。

Yet these finds are usually no more than fragments of the whole sequence. We should not possess complete packs of tarot cards had it not been for one nation which esteemed its religious traditions and holy scriptures so highly that it has preserved these unaltered over thousands of years to the present day. I am referring to the Jews.
然而，这些发现通常只不过是整个序列的片段。如果不是有一个国家如此高度尊重其宗教传统和神圣经文，以至于它将它们保存了数千年至今，我们不应该拥有完整的塔罗牌包。我指的是犹太人。

The Jews received their sacred texts from Moses, who had been initiated in Egypt. He passed on to his people the deepest mysteries of the whole Creation and of human nature, the entire secret knowledge which he had learned from the Egyptian high priests in the temple. The Jewish high priests, the great initiated Rabbis, have preserved the Books of Moses unaltered to the present day. Not a single letter is ever allowed to be changed. The reason for this is very important: Moses wrote his books in Egyptian-Hebrew writing without vowels. Depending on which vowels we now insert between the consonants the text takes on a different meaning. For this reason it is most important that no letter be changed. Moses supplied his writings with a secret key that indicates how the vowels are to be inserted in the text. We find this key in the Cabbala.
犹太人从摩西那里获得了他们的神圣文本，摩西在埃及启蒙。他将整个创造和人性中最深奥的奥秘，以及他从神庙中的埃及大祭司那里学到的全部秘密知识传递给他的人民。犹太大祭司，伟大的启蒙拉比，将摩西书保存至今。任何一个字母都不允许更改。这样做的原因非常重要：摩西用埃及-希伯来语写他的书，没有元音。根据我们现在在辅音之间插入的元音，文本具有不同的含义。因此，最重要的是不要更改任何字母。摩西为他的著作提供了一把秘密钥匙，表明元音应该如何插入到文本中。我们在 Cabbala 中找到了这把钥匙。

The various parts of the Books of Moses together form the Tora.
摩西书的各个部分共同构成了摩西五经。

The secret texts which also contain the key to the vowel insertion are: Sefer yetsirah (the Book of Creation), zohar (light), to which belong also the tarot and the clavicula salamonis (the key, the seal of Solomon). Together these form the Cabbala. Thus we see that the tarot is an important part of the Jewish scriptures. Cabbala means oral tradition.
同样包含元音插入钥匙的秘密文本是：Sefer yetsirah（创造之书）、zohar（光），塔罗牌和 clavicula salamonis（钥匙，所罗门的印章）也属于其中。这些共同构成了 Cabbala。因此，我们看到塔罗牌是犹太经文的重要组成部分。Cabbala 的意思是口头传统。

The Cabbala is the science of GOD, of the nature of man, and of all the relations which exist between these. It teaches and proves that all is in one and one in all! For before the divine will expels from itself the creative principle, the Logos, the universe rests in the divine one, in God. When creation begins, all further numbers ad infinitum are born out of the number one. Yet the numbers are inseparably linked to the letters. For the first manifestation of the Logos, the first, very highest divine frequency which streaks through infinite space like the Horus bird setting Creation in motion, is the tone, the sound, thus the letters. These first manifestations of the creative will, the vibrations of the TONE, form the entire Creation according to mathematical laws, divine ideas and thoughts. They act as an animating energy in every creature, be that a universe, sun, planet, crystallising stone, plant, animal or man. The great initiates knew the basic elements of the Creation and the link between the creative vibrations of the letters and numbers which act as mathematical laws in the Creation and realise creative ideas at the level of matter. From these basic elements and their relations they created pictures each representing a creative idea, thus a concept, a letter and a number. These pictures are the Greater Arcana of the tarot deck. Together they form the twenty-two letters of the primitive Hebrew alphabet.
Cabbala 是关于上帝、人的本质以及它们之间存在的所有关系的科学。它教导并证明万物合一，万物合一！因为在神圣的意志从自身中驱逐出创造原则，即道之前，宇宙就存在于神圣的那一位，即上帝中。当创造开始时，所有进一步的无限数字都是从数字 1 中诞生的。然而，这些数字与字母密不可分。对于道的第一次显现，第一个，非常高的神圣频率，就像荷鲁斯鸟让创造物运动一样，在无限的空间中划过，是音调，是声音，因此是字母。这些创造性意志的最初表现，即 TONE 的振动，根据数学定律、神圣的思想和思想构成了整个创造。它们在每一个生物中都发挥着生命能量的作用，无论是宇宙、太阳、行星、结晶石、植物、动物还是人。伟大的同修们知道创造的基本要素，以及字母和数字的创造性振动之间的联系，这些振动在创造中充当数学定律，并在物质层面上实现创造性的想法。从这些基本元素及其关系中，他们创建了图片，每张图片代表一个创意，因此是一个概念、一个字母和一个数字。这些图片是塔罗牌的大奥秘。它们一起构成了原始希伯来字母表中的 22 个字母。

Hebrew script, like all divine scripts, is written and read from right to left. Everything that is experienced in a divine state of being is exactly the reverse of that experienced, seen, that is to say, written or read, in a state of being which has fallen away from the divine state. For instance: the letter E as it stands here on the page is seen by everyone as facing from left to right. If, however, I am the E in a state of being, it is the other way round. Let us imagine that the E is drawn on our own chest, in which case everyone else will see it facing from left to right. I myself, however, will experience it from within towards the outside, from right to left, since $I$$I$II am the $E$$E$EE. To experience the E is to be the E . Once we have understood that it will be clear to us why these divine scripts must all be written and read from right to left.
希伯来文字，就像所有神圣的文字一样，是从右到左书写和阅读的。在神圣的存在状态中体验到的一切，恰恰与在一种已经脱离神圣状态的存在状态中体验到的、看到的、也就是说的、书面的或阅读的完全相反。例如：字母 E 在页面上的位置被每个人都视为从左到右。然而，如果我是处于存在状态的 E，那就相反了。让我们想象一下 E 画在我们自己的胸前，在这种情况下，其他人都会看到它从左到右。然而，我自己将从内部到外部，从右到左体验它，因为我 $I$$I$II 是 $E$$E$EE .体验 E 就是成为 E 。一旦我们理解了这一点，我们就会清楚为什么这些神圣的剧本都必须从右到左书写和阅读。
The meaning of the word tarot becomes clear when it is written in the shape of a circle so that one $T$$T$TT is superfluous
当塔罗牌这个词被写成圆圈的形状时，它的含义就变得清晰起来，这样它 $T$$T$TT 就多余了

If we read in an anti-clockwise direction we obtain the word tora, which in Hebrew means law. If we read from below, again in the Hebrew manner, clockwise, we obtain the word ROTa, which alludes to the eternal rotation of the universe. Since each letter in the Hebrew alphabet is also a number, we
如果我们逆时针方向阅读，我们会得到 tora 这个词，在希伯来语中是法律的意思。如果我们从下面阅读，再次以希伯来方式，顺时针方向，我们会得到 ROTa 这个词，它暗示宇宙的永恒旋转。由于希伯来字母表中的每个字母也是一个数字，因此我们

WHAT IS ‘TAROT’? 什么是“塔罗牌”？
simultaneously obtain a row of numbers when we form a word. If we add these up the result is a total sum of the digits. Therefore every word, every name, has a total sum. The Bible is written in such a way that the total sum of each word and name is much more significant than we at first suspect. Just one example: each time the name of the Messiah and that of his opponent, Satan, occur, the total sums of these two names are always the exact reflections of each other! And this rule, this interrelation between numbers and letters, prevails throughout the entire Bible. We can only wonder at the awe-inspiring knowledge with which the Bible was written!
当我们形成一个单词时，同时获得一行数字。如果我们把这些加起来，结果是数字的总和。因此，每个单词、每个名称都有一个总和。圣经的写作方式使得每个单词和名字的总和比我们最初想象的要重要得多。仅举一个例子：每次弥赛亚的名字和他的对手撒旦的名字出现时，这两个名字的总和总是彼此的确切反映！这条规则，数字和字母之间的这种相互关系，贯穿整本圣经。我们只能惊叹于圣经的写作所依据的令人敬畏的知识！

In Europe there was another race besides the Jews who spread the fame of tarot: the Gypsies, who still use the tarot cards today for the purpose of foretelling the future. Although the pictures on their cards are to a great extent degenerate, in particular those of the Greater Arcana cards, they are immediately recognisable as tarot cards. With their primitive pictures they are known as ‘Gypsy cards’. That the Gypsies received these cards from the Jews is very doubtful. The Jews jealously guard their secrets, their religious traditions, from the inquisitive eyes of the stranger, and it is not likely that they handed over these cards which form part of their sacred scriptures to the Gypsies. It seems much more probable that the Gypsies took over the tarot from the Egyptians or even older races.*
在欧洲，除了犹太人之外，还有另一个传播塔罗牌名声的种族：吉普赛人，他们今天仍然使用塔罗牌来预测未来。尽管他们牌上的图片在很大程度上是退化的，尤其是大至宝牌的图片，但它们一眼就能认出是塔罗牌。凭借原始的图片，它们被称为“吉普赛卡”。吉普赛人是否从犹太人那里收到了这些卡片，这是非常值得怀疑的。犹太人嫉妒地保护着他们的秘密，他们的宗教传统，不让陌生人好奇的眼睛看到，他们不太可能把这些构成他们神圣经文一部分的卡片交给吉普赛人。吉普赛人从埃及人甚至更古老的种族手中接管了塔罗牌的可能性似乎要大得多。

If what we have said has been correctly understood, it is clear that the tarot cards can be used like mosaic stones as it were, to represent man’s exact spiritual image as well as his fate.
如果我们所说的被正确理解，很明显，塔罗牌可以像马赛克石一样使用，代表人的确切精神形象和他的命运。

Yet how can the ignorant man spread out the exact picture of his soul like a mosaic if he does not know the inner pattern which controlled his own creation? Which pattern should he
然而，如果一个无知的人不知道控制自己创造的内在模式，他怎么能像马赛克一样展开他灵魂的确切图画呢？他应该采用哪种模式

There is a simple way of doing this and it can even be proven mathematically accurate by the theory of probabilities. No living creature, and therefore no man, can manifest anything other than what he himself is! His every remark, thought, word and deed reveal only what he himself is. His handwriting, his gait, the smallest of his gestures are the result of the forces at work in him. Nothing is chance, everything is the direct manifestation of the conscious or the unconscious Self. Hence, it is not mere chance how a person picks up the tarot cards, how he shuffles them, how many cards he lifts when cutting and in what sequence he consequently spreads the cards. Men discovered these facts already in ancient times or they learned them from initiates! That is why the art of spreading cards for the purpose of exploring a man’s inner image and his future prospects is as old as mankind.
有一种简单的方法可以做到这一点，它甚至可以通过概率论在数学上证明是准确的。除了他自己是什么之外，没有一个生物，因此也没有人能显现出他自己之外的任何东西！他的每一个言行都只揭示了他自己是什么。他的笔迹，他的步态，他最小的手势，都是他体内力量作用的结果。没有什么是偶然的，一切都是有意识或无意识的自我的直接表现。因此，一个人如何拿起塔罗牌、如何洗牌、切牌时拿起多少张牌以及随后以什么顺序展开这些牌，这不仅仅是偶然的。人们在古代就已经发现了这些事实，或者他们从同修那里学到了这些事实！这就是为什么以探索一个人的内在形象和他的未来前景为目的而传播卡片的艺术与人类一样古老。

Thus we assume that in picking up the cards, shuffling, cutting and spreading them, we use the best method based on the experience of thousands of years, and that therefore we have spread out the image of our Self and of our destiny. Indeed, we have spread out our spiritual image before us, but we do not understand it! Understanding is only possible when we know the inner symbolic meaning of every single card, when we have penetrated it completely and grasped how the cards are related as they lie next to and on top of each other on the table, i.e. the effect which they exercise upon each other.
因此，我们假设在拿起牌、洗牌、切割和摊开它们时，我们使用了基于数千年经验的最佳方法，因此我们传播了我们自我和我们命运的形象。的确，我们已经把我们的灵性形象摆在我们面前，但我们并不明白它！只有当我们知道每张牌的内在象征意义，当我们完全穿透它并掌握了这些牌在桌子上彼此相邻和重叠时是如何关联的，即它们对彼此的影响时，理解才有可能。

In order to understand our own image, it is therefore of the greatest importance that we know the meaning and inner sense of the individual cards. For the time being we merely look at the cards like an illiterate man at letters. For him letters are no more than black shapes on paper. That these are letters, how they are pronounced and what they are called, is a complete mystery to him. He understands neither the letters nor the words made from them, and still less the sentences constructed.
因此，为了了解我们自己的形象，了解每张卡片的含义和内在意义是最重要的。目前，我们只是像文盲看字母一样看卡片。对他来说，字母只不过是纸上的黑色形状。这些是字母，它们是如何发音的，它们叫什么，对他来说完全是一个谜。他既不懂字母，也不懂用它们构成的单词，更不懂构成的句子。

WHAT IS ‘TAROT’? 什么是“塔罗牌”？
from the words. He does not suspect that these black shapes with the strange forms could mean something. In exactly the same way the uninitiated looks at the tarot cards. He understands neither the individual cards nor the meaning of their sequence. He does not even understand the letters and the numbers of the pictures, however well he can read and count. For on the tarot cards, these letters and numbers have a much deeper mystical meaning in the cabbalistic sense than ordinary letters and numbers. On these cards nothing is accidental, there is no line or colour without significance; they belong to the intrinsic meaning of the cards.
从单词中。他并不怀疑这些带有奇怪形状的黑色形状可能意味着什么。就像外行看塔罗牌一样。他既不理解单张牌，也不理解它们顺序的含义。他甚至不懂图片上的字母和数字，无论他能读懂和数数。因为在塔罗牌上，这些字母和数字在卡巴拉主义的意义上比普通的字母和数字具有更深的神秘含义。在这些卡片上，没有什么是偶然的，没有没有意义的线条或颜色;它们属于卡片的内在含义。
Yet for the person who understands them, these cards are a wonderful means of acquiring self-knowledge. For let us only think of this: when an ignorant man regards himself in the mirror he sees his reflection just as he has seen the cards spread before him. But just as he fails to understand the cards - he only looks at them - so also does he fail to understand his own reflected image. He only looks at, but not into, his image. Yet each line, shape and colour on his face and body has a deep inner significance. His outward image also conceals within itself the image of his invisible inner being, conscious as well as unconscious. Man has no idea that behind his outward image there is a very large part of his being hidden away in his unconscious, and that it is the great goal of our earthly existence to make this same unconscious attain consciousness within us. In this great task of awakening the unconscious and raising it to consciousness, thereby attaining perfect selfknowledge, the tarot cards are of unique assistance. The nature of these cards is such that they can produce a strong awakening effect on man’s unconscious. He need only examine them one by one and, in order to understand them better, read the relevant description. When he reaches the card corresponding to his inner state, his interest will suddenly be roused and the knowledge that he finds himself at the level of consciousness of that particular card will hit him like an electric shock. This card he will understand completely, find full of life and mean-
然而，对于理解它们的人来说，这些卡片是获得自我认识的绝妙方式。因为让我们只想想：当一个无知的人在镜子里看自己时，他看到自己的倒影，就像他看到面前摊开的牌一样。但正如他无法理解这些卡片——他只看着它们——他也无法理解他自己的镜像。他只看自己的形象，而不是看他的形象。然而，他脸上和身上的每一条线条、形状和颜色都蕴含着深深的内在意义。他的外在形象也隐藏了他不可见的内在形象，无论是有意识的还是无意识的。人类不知道，在他的外在形象背后，他的无意识中隐藏着很大一部分，而我们尘世存在的伟大目标是使同样的无意识在我们内在获得意识。在唤醒潜意识并将其提升到意识，从而获得完美的自我认识的伟大任务中，塔罗牌具有独特的帮助。这些卡片的性质是这样的，它们可以对人的潜意识产生强烈的觉醒效果。他只需要一一检查它们，为了更好地理解它们，请阅读相关的描述。当他拿到与他的内心状态相对应的牌时，他的兴趣会突然被激起，他发现自己处于那张特定牌的意识水平上，这就像电击一样击中了他。这张牌他会完全理解，发现充满生机和意义——
WHAT IS ‘TAROT’? 什么是“塔罗牌”？
ing, and in the depths of his being he will feel a strong response. With the remaining cards he experiences the opposite. He will find these lifeless, uninteresting and dead, they convey nothing to him, and even if he comprehends them intellectually there is no echo in his soul. If he studies the cards one by one, a bright light will illuminate his soul by which he will see where he still has to work on himself and how he must change himself in order to achieve contentment.
ing，在他的内心深处，他会感到一种强烈的反应。对于剩下的牌，他的情况恰恰相反。他会发现这些毫无生气、无趣和死气沉沉的，它们什么也没传达给他，即使他在理智上理解了它们，他的灵魂中也没有回声。如果他一张一张地研究这些牌，一道亮光将照亮他的灵魂，他将看到他还需要在哪些方面为自己努力，以及他必须如何改变自己才能获得满足。

That these cards help us to awaken our unconscious to consciousness so that we acquire self-knowledge - a thorough understanding of ourselves - can be testified by anyone who has picked them up and examined them one by one. They are like a spiritual mirror in which we can not only recognise but also thoroughly examine and study ourselves. We realise that in a strange way certain cards correspond exactly to our inner state, and at the same time also to our state in relation to the world. We suddenly understand ourselves and our destiny. We understand why fate always leads us back into the same predicament and why we have to solve the same problems again and again. We understand that the reasons for our fate lie within ourselves. Therefore we must change ourselves in order that our fate may also change. And our fate changes by the mere fact that we will begin to react differently to everything that happens to us.
这些卡片帮助我们唤醒我们的潜意识，从而获得自我知识——对自己的透彻理解——任何捡起它们并逐一检查它们的人都可以证明这一点。它们就像一面灵性镜子，我们不仅可以在其中识别，还可以彻底检查和研究自己。我们意识到，以一种奇怪的方式，某些卡片与我们的内在状态完全对应，同时也与我们相对于世界的状态相对应。我们突然明白了自己和我们的命运。我们明白为什么命运总是让我们回到同样的困境中，为什么我们必须一次又一次地解决同样的问题。我们明白，我们命运的原因在于我们自己。因此，我们必须改变自己，这样我们的命运才能改变。而我们的命运仅仅因为我们将开始对发生在我们身上的一切做出不同的反应这一事实而改变。

These cards enable us to see clearly and to understand not only our present state but also our past and in a certain sense we will also be able to predict our future. Fate is the sum of the reactions to our actions. If we know which cards are representative of our inner state, then we will also be able to deduce from the cards what it was that made us act in a particular way. We will know too why we must bear the consequences of our deeds as ‘fate’. And if we are not perfectly content and satisfied with our lives - and only rarely can we say that of ourselves the cards will also enable us to discover what can help us out of our present situation and difficulties. Of course the inner states are an inherent part of us even when we do not pick up
这些卡片使我们能够清楚地看到并了解我们的现状和过去，并且在某种意义上我们也将能够预测我们的未来。命运是对我们行为的反应的总和。如果我们知道哪些牌代表了我们的内在状态，那么我们也将能够从这些牌中推断出是什么让我们以特定的方式行事。我们也将知道为什么我们必须将我们的行为作为“命运”来承担。如果我们对自己的生活不完全满意和满意——而且我们很少能说自己，这些牌也会让我们发现什么可以帮助我们摆脱目前的状况和困难。当然，即使我们没有察觉到，内在状态也是我们固有的一部分
the cards. But they enable us to gain clear insight into our life and to solve our problems more easily and speedily.
卡片。但它们使我们能够清楚地了解我们的生活，并更轻松、更迅速地解决我们的问题。

Thus the spiritual powers of these strange cards begin to take effect in man and this effect is enhanced in proportion to his improved understanding of the cards. The stronger their effect on him, the greater his awareness of his Self and the more he will understand that these cards symbolise the fabric of his soul. Thus the tarot brings man ever closer to his great goal, which is to know himself, to be himself.
因此，这些奇怪的牌的精神力量开始在人身上生效，而且这种效果随着他对牌的理解的提高而增强。它们对他的影响越强，他对自我的意识就越强，他就越能理解这些牌象征着他灵魂的结构。因此，塔罗牌使人越来越接近他的伟大目标，即认识自己，成为自己。

Some of the French titles on the twenty-two cards are misleading, but for technical reasons they could not be changed. The correct titles appear in the chapter headings.
22 张卡片上的一些法语标题具有误导性，但出于技术原因，它们无法更改。正确的标题将显示在章节标题中。

In this picture we see a strong young man, a magician, whose posture assumes the shape of the letter aleph. He leans slightly towards the right, pointing downwards with his right hand and upwards with his left. At the same time, this posture suggests the ancient truth which the great Chaldean initiate Hermes Trismegistos teaches in his tabula smaragdina HERMETIS: ‘As above, so below.’
在这张照片中，我们看到一个强壮的年轻人，一个魔术师，他的姿势呈现出字母 aleph 的形状。他略微向右倾斜，右手向下，左手向上。同时，这种姿势暗示了伟大的迦勒底启蒙者赫尔墨斯·特里斯梅吉斯托斯 （Hermes Trismegistos） 在他的 tabula smaragdina HERMETIS 中教导的古老真理：“如上，如下。

The young man is dressed in garb of a curious colour. He is wearing a hat which, on careful examination, turns out not to be a hat at all. The crown of the supposed hat is the man’s own head, a closed red circle symbolising his eternal spirit, his higher Self. Part of the circle is covered by the brim of the hat so that we do not see all of his head. This denotes that he is not yet fully conscious in his spirit, that there is still a great deal in his unconscious, in the invisible part of himself. The colour red indicates that the spirit, positive-giving, is a divine fire. It is in a closed circle because it can never show itself in the external world of matter. The spirit belongs to another world. In the world of matter it is invisible and cannot be perceived by any sense-organ. That is why it requires an instrument of manifestation through which it can reveal itself
这个年轻人穿着奇特颜色的衣服。他戴着一顶帽子，仔细检查后发现这根本不是一顶帽子。这顶帽子的冠冕是这个男人自己的头，一个封闭的红色圆圈象征着他永恒的精神，他的高我。圆圈的一部分被帽檐覆盖，因此我们无法看到他的整个头部。这表明他的精神还没有完全意识到，在他的潜意识中，在他自己的不可见部分里，还有很多东西。红色表示积极奉献的精神是神圣的火。它处于一个封闭的圆圈中，因为它永远无法在物质的外部世界中表现出来。精神属于另一个世界。在物质世界中，它是不可见的，任何感觉器官都无法感知。这就是为什么它需要一个显现的工具，通过它来揭示自己
directly as idea, thought or knowledge. This instrument is the intellect, symbolised by the brim of the hat. This brim has the shape of the sign used by mathematicians to denote ‘infinity’, an 8 in a horizontal position: $\mathrm{\infty }$$\mathrm{\infty }$oo\infty. The edge of the brim is yellow, the colour of reason, and the inside of the brim is green, the symbol of sympathy, goodwill and amity. The young magician thus manifests his invisible, fiery, eternal spirit - which has never been born and therefore will never die - through the boundless infinity of thought and knowledge, but also through sympathy, goodwill and amity.
直接作为想法、思想或知识。这个工具就是智慧，以帽檐为象征。这个帽檐的形状与数学家用来表示“无穷大”的符号形状相同，在水平位置是 8： $\mathrm{\infty }$$\mathrm{\infty }$oo\infty 。帽檐的边缘是黄色的，是理性的颜色，帽檐的内侧是绿色，象征着同情、善意和友好。因此，这位年轻的魔术师通过无限的思想和知识，也通过同情、善意和友好，来彰显他无形的、炽热的、永恒的精神——这种精神从未诞生，因此永远不会消亡。

On his torso we see a red, tight-fitting tunic with a blue collar and a blue stripe down the front. The tunic is tight for the simple reason that it is not a tunic at all, but his own body. Red symbolises his spiritual being, which, like his head, is positive-giving. The blue of the collar and centre stripe edged in white symbolises his pure, selfless love of mankind. He bears this selfless love within, but also allows himself to be led by this universal love of mankind on his path through this world. This is shown by his legs which bear him along his earthly path and are clad in blue stockings.
在他的躯干上，我们看到一件红色的紧身外衣，蓝色的衣领和前面的蓝色条纹。外衣很紧，原因很简单，它根本不是外衣，而是他自己的身体。红色象征着他的精神存在，就像他的头一样，是积极给予的。蓝色的衣领和中间的条纹以白色镶边，象征着他对人类纯洁、无私的爱。他内心承载着这种无私的爱，但也允许自己在穿越这个世界的道路上被人类的这种普遍的爱所引导。他的双腿支撑着他走在尘世的道路上，穿着蓝色的丝袜。

His arms symbolise the two great polar principles of creation, the active-masculine, positive-giving pole, and the passive-feminine, negative-receiving pole. His arms are clothed in several coloured layers. This means that the magician uses his arms and hands in many different ways: with reason, as symbolised by yellow, and with good intentions and goodwill towards his fellow-men, as indicated by green, while under these two layers he wears a blue, tight-fitting, knitted garment, which, like the blue stripe on his torso, shows his own true being. The red cuffs denote that he continues to radiate spiritual, giving power, even if he lets himself be guided in his activity and work by his selfless love of mankind and by his humanity.
他的手臂象征着创造的两大极原则，主动-男性、积极给予的极点，以及被动-女性、消极的接收极。他的手臂上覆盖着几层彩色的衣服。这意味着魔术师以许多不同的方式使用他的手臂和手：有理性，以黄色为象征，对他的同胞有善意和善意，以绿色为象征，而在这两层衣服下，他穿着一件蓝色的紧身针织服装，就像他躯干上的蓝色条纹一样，显示了他自己的真实存在。红色的手镯表示他继续散发着精神上的光芒，赋予力量，即使他让自己在活动和工作中受到他对人类的无私爱和他的人性的指导。

On the blue centre panel of his tunic we see five buttons. These are his five sense-organs through which he links himself, his inner world, with the external world!
在他外衣的蓝色中央面板上，我们看到五个纽扣。这是他的五个感觉器官，他通过这些器官将自己、他的内心世界与外部世界联系起来！
Only three legs of the table in front of him are visible, the fourth juts out into the invisible spiritual world. The magician’s activity rests for the most part on a material basis. His person lives in the visible world of matter, and so it is here that he must fulfil his task. Yet part of his actions, the fourth leg of the table, rests on invisible, spiritual foundations.
他面前的桌子只有三条腿是可见的，第四条腿伸向看不见的精神世界。魔术师的活动在很大程度上取决于物质基础。他的人生活在可见的物质世界中，因此他必须在这里完成他的任务。然而，他的一部分行动，即桌子的第四条腿，建立在看不见的精神基础上。

On the table lie three symbols of tarot, as yet unused but ready for use: the cup, the sword and the coin. He holds the most important symbol, the wand or baton, in his left hand. At each end of the wand is a coloured ball. These again symbolise the two polar principles, the red ball standing for the positive pole, the blue one for the negative pole. The magician holds the wand so that the positive end points upwards and the negative end downwards towards the coin. The wand symbolises the letter JAY, which is the picture of the first divine manifestation, a single flame, from which proceed all subsequent letters and gradually the whole of creation. In the magician’s hand the baton becomes a magic wand. This is the creative power of the magician with which he realises the will of his higher Self in the visible world. With it he can effect true miracles and thus he gradually turns into a white magician.
桌子上放着三个塔罗牌符号，尚未使用但可以使用：杯子、剑和硬币。他的左手拿着最重要的符号，即魔杖或警棍。魔杖的每一端都有一个彩色球。这些再次象征着两个极性原理，红球代表正极，蓝色球代表负极。魔术师握住魔杖，使正端朝上，负端朝向硬币。魔杖象征着字母 JAY，这是第一次神圣显现的图片，一个单一的火焰，所有后续字母都从中前进，逐渐进入整个创造。在魔术师的手中，指挥棒变成了一根魔杖。这就是魔术师的创造能力，他用这种能力在可见的世界中实现他的高我的意志。有了它，他可以创造真正的奇迹，因此他逐渐变成了一个白人魔术师。

The outside of the cup is blue, thus feminine-negative, receptive, but it contains the spirit, the masculine-positive, fiery principle represented by the red liquid inside the cup. The latter stands on a hexagonal base. It is formed by the two interwoven triangles which stand for the spiritual and the material worlds. The cup points to the magician’s spiritual principles and signifies his receptivity to all that is good, to the divine higher truths of the spirit.
杯子的外面是蓝色的，因此是阴性的，是接受的，但它包含着精神，是阳性的，由杯内的红色液体所代表的火热的原则。后者位于六边形底座上。它由两个交织的三角形组成，分别代表精神世界和物质世界。杯子指向魔术师的精神原则，象征着他对一切美好事物的接受能力，对精神的神圣更高真理的接受能力。

The sword also lies open, as yet unused, on the table. It symbolises the magician’s courage with which - like Siegfried and the ‘Nothung’ against the dragon - he is prepared to fight against the shadows of the underworld, against the unconscious, in order to attain the divine light of consciousness.
这把剑也敞开着，还没有用过，放在桌子上。它象征着魔术师的勇气——就像齐格弗里德和“Nothung”对抗龙一样——他准备与冥界的阴影、无意识作斗争，以获得神圣的意识之光。

Lastly, there is a gold coin lying on the table. The circular shape always stands for the spirit; but the cross drawn on the
最后，桌上放着一枚金币。圆形永远代表精神;但是在
coin shows that in this case it is a very powerful and special spirit, which with its vast concentrating power creates matter and controls it thus unifying the two opposing elements. That is the coin, money. For the content of this concept ‘money’ is purely symbolical. How could anyone think of ‘money’ as matter? Has anyone ever seen ‘money’ or held it in his hand? No one! At most we have seen or held a piece of paper or metal marked with a certain value. Therefore both are valuable only when they bear an inscription specifying that they represent a certain monetary value in which we have to believe. If, however, on the same note or coin there are no inscriptions denoting the particular value, then it is no longer ‘money’. The moment we cease to believe in it, the note will become a worthless piece of paper and the coin will have no more value than the metal it is made of. But this, too, fluctuates according to demand. Remember that for a man dying of thirst in the desert any piece of metal, whether gold or silver, is utterly worthless. On the other hand, a glass of water would save his life. ‘Money’ is therefore a purely abstract notion rather than visible or tangible matter. It is the spirit of absolute matter, precisely because as a concept it cannot be identified with any kind of matter. And yet, we can acquire all the material treasures of the world with this nameless matter: real estate, jewels, furniture, clothes or whatever. Money is therefore the spirit of absolute nameless matter.
硬币表明，在这种情况下，它是一种非常强大和特殊的精神，它以其巨大的集中能力创造物质并控制它，从而统一了两种对立的元素。那就是硬币，钱。因为这个概念的内容“钱”纯粹是象征性的。怎么会有人把“钱”看作是物质呢？有没有人见过“钱”或把它拿在手里？没人！我们最多看到或持有一张标有一定价值的纸或金属。因此，只有当它们带有铭文表明它们代表我们必须相信的某种货币价值时，它们才有价值。然而，如果在同一张纸币或硬币上没有表示特定价值的铭文，那么它就不再是“货币”。当我们不再相信它的那一刻，这张纸币就会变成一张毫无价值的纸，硬币的价值不会超过它所用的金属。但这也会根据需求而波动。请记住，对于在沙漠中渴死的人来说，任何金属，无论是金还是银，都是完全不值钱的。另一方面，一杯水可以救他的命。因此，“货币”是一个纯粹抽象的概念，而不是可见或有形的物质。它是绝对物质的精神，正是因为它作为一个概念，不能与任何种类的物质相提并论。然而，我们可以用这种无名的东西获得世界上所有的物质宝藏：房地产、珠宝、家具、衣服或其他任何东西。因此，金钱是绝对无名物质的精神。
Nor does the coin in this picture of the magician suggest visible ‘money’ with an exchange value. It suggests much more, namely, man’s inner spiritual power which allows him to control all the values of the material world, if he knows this secret! Our magician knows it for, of course, he already has power over the secret of ‘money’.
这张魔术师照片中的硬币也不暗示具有交换价值的可见“货币”。它暗示了更多，即人的内在精神力量，如果他知道这个秘密，它使他能够控制物质世界的所有价值！当然，我们的魔术师知道这一点，因为他已经掌握了“金钱”的秘密。
Between his legs, just behind him, we see a flower which has grown out of the earth, and hence out of matter. It has three green leaves and a bud. The green leaves stand for the three great principles of spirit, power and matter. The closed flower, the bud, is red and thus denotes the spirit. This sym-
在他的两腿之间，就在他身后，我们看到一朵花从泥土中长出来，因此也从物质中长出来。它有三片绿叶和一个花蕾。绿叶代表精神、力量和物质三大原则。闭合的花，即花蕾，是红色的，因此表示精神。这个 sym-
THE MAGICIAN 魔术师
bolises that the magician’s spirit, like the bud, does not yet manifest itself completely. Like the flower, his spirit is already present, but in many respects still unconscious. Just as the flower does not yet unfold its inner splendour, so the magician also does not yet show the perfection of his spirit, of his higher Self. His very highest, divine treasures are still latent in his unconscious. That is also the reason why the flower is behind him, just as his unconscious is behind his consciousness. It is, however, only a question of time until the flower opens to reveal its glory and the magician manifests his innermost perfect being.
魔术师的精神，就像花蕾一样，还没有完全显现出来。就像花朵一样，他的灵魂已经存在，但在许多方面仍然没有意识。正如花朵尚未展现其内在的光彩一样，魔术师也尚未展现出他的精神、他的高我的完美。他最高的神圣宝藏仍然潜伏在他的潜意识中。这也是花在他身后的原因，就像他的潜意识在他的意识后面一样。然而，花朵绽放光彩，魔术师展现他内心最完美的存在只是时间问题。

This picture, the magician, shows a man who has just awakened, suddenly become conscious in himself and perceives for the first time that he actually is here - that he is here now. Thus he experiences for the first time the absolute present in the state of self-awareness. His Self is boundless and infinite in the unconscious, just as his hat shows infinity, but the first flickering of self-awareness is still limited and its light is only the first divine spark not yet illuminating his whole divine being. He is still the divine child but is already the beginning, just as the child is the beginning out of which he grows to adulthood. In the same way, the number ONE is first in the sequence of numbers and the letter aleph is the beginning of the alphabet.
这张照片，魔术师，展示了一个刚刚醒来的人，突然意识到自己，第一次意识到他真的在这里——他现在就在这里。因此，他第一次体验到自我意识状态中的绝对存在。他的自我在无意识中是无边无际的，无限的，就像他的帽子代表无限一样，但自我意识的第一次闪烁仍然是有限的，它的光芒只是第一个神圣的火花，还没有照亮他的整个神圣存在。他仍然是神圣的孩子，但已经是开始，就像孩子是他成长为成年的开始一样。同样，数字 ONE 是数字序列中的第一个，字母 aleph 是字母表的开头。
‘The magician’ represents a male or female being. That the state of awakening is depicted in this case as a man does not mean that only a man could experience this state. In the first state of self-awareness there is no sex. The human being, male or female, experiences a positive spiritual state; this state is represented by the picture of a man. A living creature at this level of consciousness is already in possession of all the divine gifts which continue to help him along the great path to selfknowledge.
“魔术师”代表男性或女性。在这种情况下，觉醒状态被描述为一个人，并不意味着只有男人才能体验到这种状态。在自我意识的第一种状态中，没有性。人类，无论男性还是女性，都体验到一种积极的精神状态;这种状态由一个人的照片来代表。处于这个意识层次的生物已经拥有所有神圣的礼物，这些礼物继续帮助他走在通往自我认识的伟大道路上。

The magician holds the ‘magic wand’ which he can use to open all the closed doors in his unconscious. His soul is like a cup from which he can already sip the divine nectar of the
魔术师拿着“魔杖”，他可以用它来打开他潜意识中所有紧闭的门。他的灵魂就像一个杯子，他已经可以从中啜饮神圣的甘露
spirit. The sword, too, is already at his disposal so that he can vanquish the shadows of the underworld, of the unconscious, and win the divine light of the Self, of all-consciousness. And finally, he already possesses the gold coin, the spiritual power over all that is matter. He already knows the inner, divine value of all things, so that he will never again lose his way in the forest of the false material values of this world.
精神。这把剑也已经在他手中，这样他就可以征服冥界、无意识的阴影，赢得自我、全意识的神圣之光。最后，他已经拥有金币，即凌驾于一切物质之上的精神力量。他已经知道万物的内在神圣价值，因此他永远不会再在这个世界虚假物质价值的森林中迷失方向。
Although he possesses all these treasures, he is not yet an active ‘magician’. Indeed he possesses these divine gifts, but he does not yet make use of them. He does not know that he already has all the attributes at his finger-tips for becoming a genuine white magician in the garden of God. He stands there still motionless, but ready to set out on the long path to selfknowledge.
虽然他拥有所有这些宝物，但他还不是一个活跃的“魔术师”。他确实拥有这些神圣的恩赐，但他还没有利用它们。他不知道自己已经具备了在上帝的花园里成为一名真正的白人魔术师的所有特质。他站在那里一动不动，但准备踏上通往自我认识的漫长道路。

The picture of the magician carries the number r and the letter aleph. The number I is the divine number which exists even before other numbers are born out of it. It is the father of all other numbers, it is indivisible and eternal. It is the only number which we can use as a multiplier without changing the value of the mutiplied number. The Vishnu-Purana says: ‘There was neither day nor night, neither heaven nor earth, neither darkness nor light, nor any other thing, nothing but the oNe.’ And Ramakrishna, the great Indian illuminate, states similarly: ‘Know the One and you will know all.’ The ciphers become hundreds of thousands if we place them behind the one. If, however, the one is extinguished, nothing remains. The many is only of value in relation to the One. First the One and then the many. First God and then the world and the creatures.
魔术师的照片上有数字 r 和字母 aleph。数字 I 是神圣的数字，甚至在其他数字诞生之前就已经存在。它是所有其他数字之父，它是不可分割且永恒的。这是我们唯一可以用作乘数而不改变多个数字的值的数字。《毗湿奴往世书》说：'没有白天也没有黑夜，没有天也没有地，没有黑暗也没有光明，也没有任何其他事物，除了 oNe 之外什么都没有。伟大的印度启蒙者罗摩克里希纳（Ramakrishna）也说过类似的话：'认识那一位，你就会知道一切。如果我们把密码放在 1 后面，它们就会变成数十万个。然而，如果 1 个被熄灭了，什么都不会留下。“多”仅在与“一”相关时才有价值。首先是 1，然后是 many。首先是上帝，然后是世界和受造物。

This card with the letter aleph corresponds to the first name of God as He named himself when Moses asked: ‘If I come to the people of Israel . . . and they ask me, “What is his name?” what shall I say to them?’
这张带有字母 aleph 的卡片对应于上帝的名字，因为当摩西问道：'如果我来到以色列人民那里......他们问我：'他叫什么名字？'我该对他们说什么呢？

God said to Moses, ‘I am who I am.’ (Exodus 2: 13-14)
上帝对摩西说，'我就是我。（出埃及记 2：13-14）
In the Cabbala this card corresponds to the first choirs of angels which are called Seraphim. Until the time of the prophet Isaiah SERaph signified a sacred serpent with three pairs of wings. Isaiah then took over this name for the angels. Since that time Seraph has been the name of an angelic being with three pairs of wings. SEFIROTH is a whole host of such angels. In the Cabbala there are ten such creative sefiroth. Sefirah literally means emanation (radiation). In modern scientific terminology the sefiroth would be known as ‘emanating energy fields’. Each sefirah is both a number and a letter and has its corresponding attribute. That of the first sefirah is Kether Elyon, the ‘supreme crown’ which stands for the self-awareness of man. Just as a person is ruler of his country by virtue of a crown on his head, so consciousness of the Self gives him the power to become ruler over all the powers of the UNIVERSE. His self-awareness is the crown of his being.
在 Cabbala 中，这张牌对应于被称为 Seraphim 的第一个天使合唱团。直到先知以赛亚的时代，SERaph 象征着一条长着三对翅膀的圣蛇。然后以赛亚为天使接管了这个名字。从那时起，炽天使就是一个长着三对翅膀的天使的名字。SEFIROTH 就是这样一大群天使。在 Cabbala 中，有十个这样的创意 sefiroth。Sefirah 的字面意思是散发（辐射）。在现代科学术语中，sefiroth 被称为“发射能量场”。每个 sefirah 既是一个数字又是一个字母，并有其相应的属性。第一个 sefirah 是 Kether Elyon，“至高无上的王冠”，代表着人类的自我意识。正如一个人凭借头上的皇冠成为他国家的统治者一样，自我意识也赋予他成为宇宙所有力量的统治者的力量。他的自我意识是他存在的冠冕。

In the Hebrew alphabet three letters are called ‘mothers’. These three mothers are: ALEPH, MEM and shin. All three mean a birth and for that reason are known as ‘mother’. Aleph is the first birth, the birth of the divine child, of Self-awareness. Man’s purified soul gave birth to the divine child, the first flickering of self-awareness. Man is still like a child, only beginning to look about himself and not yet able to use his divine attributes, his God-given talents. In the course of time his activity will develop and only then will he become an adult. The letter aleph has thus given birth to the first awakening of consciousness in man.
在希伯来字母表中，三个字母被称为“母亲”。这三位母亲是：ALEPH、MEM 和 shin。这三个词都意味着出生，因此被称为“母亲”。Aleph 是自我意识的第一次诞生，是神圣孩子的诞生。人类净化的灵魂诞生了神圣的孩子，这是自我意识的第一次闪烁。人仍然像个孩子，才刚刚开始审视自己，还不能使用他的神圣属性，即上帝赋予他的才能。随着时间的推移，他的活动会发展起来，只有那时他才会成为一个成年人。因此，字母 aleph 催生了人类意识的第一次觉醒。
The number I and the letter aleph are both the beginning of a development. Just as the divine number I gives rise to all subsequent numbers ad infinitum, so the letter aleph marks the beginning of the alphabet. Just as the bud is the beginning which leads to the full blossom, so the present consciousness of man with the magic instruments at its disposal is the beginning of the great, long and uneven path to the supreme goal, to perfect, divine All-CONSCIOUSNESS.
数字 I 和字母 aleph 都是发展的开始。正如神圣的数字 I 无限地产生所有后续的数字一样，字母 aleph 标志着字母表的开始。正如花蕾是通向盛开的开始，人类现在的意识和它所掌握的魔法工具是通往至高目标的伟大、漫长和不平坦的道路的开始，通往完美的、神圣的全意识。

Letter: ב BETH 信件：ב BETH

In this picture we see a female figure clad in a priestly robe and seated on a strange throne, immobile, calm, inscrutable, mysterious and majestic. She is the high priestess of the temple and guardian of its secrets. She wears a tiara ringed by two gold bands, with a crescent moon on top. This crescent moon signifies that this figure represents a passive, female-receptive state in which man directs his whole interest and receptivity simultaneously to two planes: to this world and the other. These two planes, these two worlds, are also symbolised by the two gold bands on the tiara.
在这张照片中，我们看到一个身穿祭司长袍的女性形象，坐在一个奇怪的宝座上，一动不动，平静，高深莫测，神秘而庄严。她是神殿的高级女祭司，也是神殿秘密的守护者。她戴着一顶由两条金带环绕的头饰，上面有一弯新月。这个新月象征着这个形象代表了一种被动的、女性接受的状态，在这种状态中，男人同时将他的全部兴趣和接受能力引导到两个层面：这个世界和另一个世界。这两个平面，这两个世界，也由头饰上的两条金带象征。

The face of the high priestess is partly covered with a white veil. This shows that she reveals by no means all of her nature. She wears a long, tight-fitting, blue dress. Blue denotes that in her innermost being she is filled with pure faith in God, selflessness and love of mankind. Over this dress she wears a red robe edged with yellow. Red shows the spirituality which she outwardly manifests in the world of matter. In so doing, she hides from inquisitive eyes her loving, innermost being symbolised by the colour blue. The yellow border signifies her reason, which she manifests through language and writing. The robe is fastened to her body by two broad straps on which there are several small crosses. These again signify the priestess’s close relations both to the realm of the spirit and the realm of matter.
高级女祭司的脸上部分覆盖着白色的面纱。这表明她绝没有透露她的全部本性。她穿着一件紧身的蓝色长裙。蓝色表示在她的内心深处，她充满了对上帝的纯洁信仰、无私和对人类的爱。在这件衣服外面，她穿着一件红色的长袍，上面镶着黄色的边。红色显示了她在物质世界中外在表现的灵性。通过这样做，她向好奇的眼睛隐藏了她内心深处以蓝色为象征的深爱。黄色边框表示她的原因，她通过语言和文字表现出来。长袍用两条宽肩带固定在她的身上，上面有几个小十字架。这些再次象征着女祭司与精神领域和物质领域的密切关系。
In her right hand she holds a half-closed book which contains, but as yet does not yield, the mysteries of this world and the other. On the cover of the book is the Chinese symbol of the deity resting in itself, Yang and Yin, in which the two poles still rest in one unity in God. Only in their manifestations are these two worlds, the external material world, and beyond this the inner spiritual one, ostensibly separated from each other. In the inner reality they always belong together, they cannot possibly exist without each other. For it is on the tension existing between them in the world of matter that the whole of Creation is based.
她的右手拿着一本半合上的书，里面装着这个世界和另一个世界的奥秘，但还没有产生。这本书的封面上是中国的神灵安息的象征，阳和阴，其中两极仍然在上帝中合一。只有在它们的表现形式中，这两个世界，即外部的物质世界，以及在此之外的内在精神世界，表面上是彼此分离的。在内在现实中，他们总是属于一起的，他们不可能没有彼此而存在。因为正是在物质世界中它们之间存在的紧张关系上，整个创造物都是基于此。

In her left hand she holds two keys. These are the keys to this world and the next. She has access to both worlds, she can lock or unlock the gates, enter or leave as she pleases. But she does not divulge the mysteries of these worlds to the immature.
她的左手拿着两把钥匙。这些是通往今世和来世的钥匙。她可以进入两个世界，她可以锁上或解锁大门，随心所欲地进出。但她并没有向不成熟的人透露这些世界的奥秘。

She is seated on a throne. On either side of the back of the throne are two tall pillars. Simply the colours above reveal that the right-hand pillar is fiery, masculine-spiritual, and the left-hand one moist, feminine-feral. These are the two pillars of King Solomon, Jachin and Boaz, on which he built his temple. They are also the two legs of Logos in Revelation. One foot stands on the land, the other on the sea. These two pillars sustain the tension between the two creative poles, the positive and negative one, on which, as the Bible says, the creative principle, Logos, rests as it creates the universe. There is a curtain between the pillars. It corresponds to the veil of the Egyptian goddess Isis. In the Hindu philosophy of religion this curtain is the veil of maya. It screens the mysterious absolute reality resting in man’s unconscious, but which the immature man cannot and is not permitted to see. The secrets of the unconscious are still hidden from his eyes, but he already suspects the titanic powers at work below the level of his con-
她坐在宝座上。宝座背面的两侧是两根高大的柱子。仅从上面的颜色可以看出，右边的柱子是火热的、阳刚的灵性，而左边的柱子是湿润的、阴柔的野性。这是所罗门王的两根柱子，雅钦和波阿斯，他把他的圣殿建在这两根柱子上。它们也是启示录中逻各斯的两条腿。一只脚站在陆地上，另一只脚踩在海面上。这两个支柱维持着两个创造性极点之间的张力，即积极和消极，正如圣经所说，创造原则 Logos 在创造宇宙时就建立在这两个极点之上。柱子之间有帘子。它对应于埃及女神伊西斯的面纱。在印度教宗教哲学中，这幅帷幕是摩耶的面纱。它屏蔽了存在于人类潜意识中的神秘的绝对现实，但未成熟的人不能也不被允许看到。潜意识的秘密仍然隐藏在他的眼睛里，但他已经怀疑在他的意识水平以下有巨大的力量在起作用。
sciousness. He believes that the phenomena he perceives do not arise from his own unconscious but from outside. Thus he begins to concern himself with the phenomena of occultism. He attends spiritualist meetings where, as he believes, the ‘spirits’ of the departed manifest their presence and transmit messages from the hereafter. He also goes to other circles and societies which pursue all kinds of ‘sciences of the occult’. Thus he becomes a ‘seeker’.
科学性。他相信他所感知的现象不是来自他自己的潜意识，而是来自外部。因此，他开始关注神秘主义的现象。他参加招魂师会议，正如他所相信的那样，逝者的“灵魂”会显现他们的存在并传递来自后世的信息。他还去了其他追求各种“神秘科学”的圈子和社会。因此，他变成了一个“寻求者”。

The floor on which the high priestess sits is made up of two kinds of coloured tiles, black and white stone squares laid out like the squares of a chess-board. The white tiles symbolise the spiritual, invisible world, and the black tiles the material, visible world. Just as these various squares are combined on the floor, so, in the soul of the seeking man, the two worlds are combined, but not yet united. He already begins to grow spiritual, but is still essentially in the bondage of matter.
女祭司坐着的地板由两种彩色瓷砖组成，黑白两色的石块像棋盘的方块一样排列。白色瓷砖象征着精神的、无形的世界，黑色的瓷砖象征着物质的、可见的世界。正如这些不同的方块在地板上组合在一起一样，在寻求者的灵魂中，两个世界是结合的，但尚未统一。他已经开始在灵性上成长，但本质上仍然处于物质的束缚中。

One arm-rest of the throne represents a black sphinx and the other a white one. Only the black sphinx is, however, visible; the white sphinx is still hidden from view under the high priestess’s robe.
宝座的一个扶手代表黑色的狮身人面像，另一个代表白色的狮身人面像。然而，只有黑色的狮身人面像是可见的;白色的狮身人面像仍然隐藏在高级女祭司的长袍下。

The sphinx is a very important stage on the path to selfknowledge. In Greek mythology we read that people asked Oedipus, loudly lamenting, to save them from the monster, the terrible sphinx, who sat on the clifftop looking down to the plain and poisoning the pure air with her breath. If help did not come at once all the people of Cadmus would perish and die. Every day she uttered her incomprehensible words and devoured each man who failed to solve her riddle. Oedipus asked what this riddle was. The wailing people replied: 'The sphinx says no more than this: “What is it that has one voice and yet becomes four-footed and two-footed and threefooted?” And Oedipus went to the sphinx and when she posed the same question he answered: ‘Man, who crawls on all fours in infancy, walks on two feet when grown and leans on a staff in old age.’ And with a terrible roar the sphinx leaped down from her cliff and ran away.
狮身人面像是通往自我认识之路上一个非常重要的阶段。在希腊神话中，我们读到人们请求俄狄浦斯大声哀叹，将他们从怪物手中拯救出来，可怕的狮身人面像坐在悬崖顶上俯瞰平原，用她的呼吸毒害纯净的空气。如果援助不立即到来，卡德摩斯的所有人民都会灭亡和死亡。她每天都说出她难以理解的话语，吞噬每一个未能解开她谜语的男人。俄狄浦斯问这个谜语是什么。'哀嚎的人们回答说：'狮身人面像只说了这句话：'什么东西只有一个声音，却变成了四只脚、两只脚和三只脚呢？俄狄浦斯走到狮身人面像面前，当她提出同样的问题时，他回答说：“人在婴儿时期用四肢爬行，长大后用两只脚走路，老年时靠在棍子上。随着一声可怕的咆哮，狮身人面像从悬崖上跳下来逃跑了。
The riddle of the sphinx is thus the great riddle of man. And in this picture, as the arm-rest of the throne, this sphinx is also the great riddle of man - self-knowledge.
因此，狮身人面像之谜就是人类的大谜题。而在这张照片中，作为宝座的扶手，这个狮身人面像也是人类的伟大谜题——自我认识。

The high priestess’s left arm rests on the visible black sphinx, and her right arm on the as yet invisible white sphinx. The whole picture of the high priestess shows the state of the newly awakened human being, who, for the very first time, has experienced the stirrings of self-awareness. He has learned that an ‘other world’ exists besides this earthly material one. His interest turns to this ‘other world’ which is to be found beyond his consciousness. He begins to wonder about the hereafter and wanders from one so-called ‘spiritual society’ to another. He goes wherever he senses a possibility of solving the great riddle of beIng. He already suspects that he is not in this world for the sole purpose of fulfilling earthly duties. These duties are also ‘his’ duties, for the additional and very good reason that these and only these can help him to reach the great goal of his life, the attainment of self-knowledge. What this great goal is, he does not yet know, but he feels that this life still owes him something, that it must bring him something wonderful which he has waited for all his days. This must be fulfilment, redemption. He does not yet clearly recognise that this goal consists in nothing other than the sweeping aside of the veil of the maya, the veil of illusions, renouncing all errors, discovering his own true Self and raising it to full consciousness. He knows only the worldly, conscious side of his own being, his apparent Self which he is not, while his own spiritual being still rests in his unconscious. Since he does not even know where to start seeking it, he seeks the hereafter and what happens after death. He wishes to know where the departed go, because he knows that he too will go there. But the high priestess who guards all these secrets does not yet take the great key and unlock the gate to the hereafter for him. Nevertheless he feels that behind this curtain he will find the solution to the riddle, the whole truth. And so he pursues his search. He goes on to learn philosophy and psy-
大祭司的左臂放在可见的黑色狮身人面像上，她的右臂放在尚未看见的白色狮身人面像上。大祭司的整个画面展示了新觉醒的人的状态，她第一次经历了自我意识的激荡。他了解到，除了这个尘世的物质世界之外，还存在一个“另一个世界”。他的兴趣转向了这个在他的意识之外可以找到的“另一个世界”。他开始对来世感到好奇，并从一个所谓的“精神社会”徘徊到另一个。他去哪里，只要他觉得有可能解开 beIng 这个大谜题。他已经怀疑他来到这个世界并不是为了履行世俗的职责。这些职责也是“他的”职责，因为有额外的和非常好的理由，即这些，也只有这些才能帮助他达到他人生的伟大目标，即获得自我认识。这个伟大的目标是什么，他还不知道，但他觉得今生还欠他一些东西，它必须给他带来一些他等待了一辈子的美好东西。这必须是满足、救赎。他还没有清楚地认识到，这个目标只包括扫除摩耶的面纱，幻象的面纱，放弃所有错误，发现自己的真我并将其提升到完全的意识。他只知道自己存在的世俗的、有意识的一面，他不是的表象自我，而他自己的精神仍然存在于他的潜意识中。因为他甚至不知道从哪里开始寻找它，他寻求来世和死后发生的事情。他想知道逝者去了哪里，因为他知道他也会去那里。 但是守护所有这些秘密的大祭司还没有为他拿走大钥匙并打开通往后世的大门。然而，他觉得在这幕布后面，他会找到解开谜题的答案，即全部的真相。因此，他继续寻找。他继续学习哲学和心理学
chology, studies the philosophies of religion of all countries, and pursues all the Arts. It is only a question of degree whether he becomes an earnest seeker or a charlatan. For behind the serious research of the scholar, as behind the various childish amusements of the charlatan, lies the same desperate search by man for the great divine mysteries of eternal BEING!
chology，研究所有国家的宗教哲学，并追求所有的艺术。他会成为一个热切的寻求者还是一个江湖骗子，这只是一个程度的问题。因为在学者的严肃研究背后，就像在江湖骗子的各种幼稚娱乐背后，隐藏着人类对永恒存在的伟大神圣奥秘的同样绝望的寻找！

The picture of the high priestess carries the number 2 and the letter beth. The number 2 embodies the idea of division. There is no unity in existence which could contain the number 2. If, however, this number nevertheless lodges itself in a unity, this signifies a schism, disintegration of the unity concerned, and, in the case of a human soul, death. This state is expressed by the number 2 in every language of the world.* In this picture the number 2 denotes the two worlds, here and beyond, which the seeking man bears within him and which bring about an inner conflict. This torments him and he seeks release, ‘redemption’ from it. On the one hand he stiil belongs here in the temporal world with its earthly joys and sorrows, on the other hand he is already interested in what lies behind it, what purpose it all serves if in the end we have to leave everything here, and what the values are that we can finally take with us. And if we succeed in taking something with us, where shall we go with it? This whither is what interests him, for he has already realised that this world is only the effect, but not the cause. This world is not an absolute reality, it is only a world of appearance. Yet where is the absolute reality, the eternal, immortal cause? He knows that where there is an effect there must also be a cause. And the cause of this world is what man seeks to find.
大祭司的照片上有数字 2 和字母 beth。数字 2 体现了除法的理念。存在中没有可以包含数字 2 的统一。然而，如果这个数字仍然处于一个统一体中，那就意味着分裂，有关的统一体瓦解，就人类灵魂而言，意味着死亡。在这张图片中，数字 2 表示世界上每种语言中的数字 2。在这张图片中，数字 2 表示两个世界，此时此地和彼岸，寻求者内心深处承载着这两个世界，并带来内心的冲突。这折磨着他，他寻求解脱，从中“救赎”。一方面，他属于世俗世界，拥有尘世的欢乐和悲伤，另一方面，他已经对它背后的东西感兴趣，如果最终我们不得不把一切都留在这里，这一切的目的是什么，以及我们最终可以带走的价值是什么。如果我们成功地带走了什么东西，我们应该把它带到哪里去呢？这就是他感兴趣的地方，因为他已经意识到这个世界只是结果，而不是原因。这个世界不是一个绝对的现实，它只是一个表象的世界。然而，绝对的现实、永恒的、不朽的事业在哪里呢？他知道，有结果的地方也一定有原因。而这个世界的根源就是人类寻求寻找的东西。

The high priestess, however, does not raise the curtain before the sacred shrine, but lets the immature man continue to seek the truth by himself. If she were to reveal the nature of this truth to man, he would not gain anything by it. On the other hand, if he himself seeks this truth, he will find it in
然而，大祭司并没有在圣地前拉开帷幕，而是让这个不成熟的男人继续自己寻找真理。如果她向人类揭示这个真理的本质，他不会从中得到任何好处。另一方面，如果他自己寻求这个真理，他就会在

reality - he will be this truth himself! - To understand through reason is all very well, but that which has been understood is still outside and not inside man. Reason is merely an instrument which helps us to understand. Yet this understanding is still very far from realisation. We do notseek words, but the meaning of words, the reality, which we can never experience through reason but can only be ourselves.
现实 - 他自己就是这个真理！- 通过理性来理解固然很好，但已经被理解的仍然是在人之外，而不是在人之内。理性只是一种帮助我们理解的工具。然而，这种理解离实现还很遥远。我们不寻求文字，而是寻找文字的意义，即现实，我们永远无法通过理性体验，而只能是我们自己。

In hieroglyphic writing, the letter BETH symbolises the human mouth. The high priestess as yet keeps her lips closed. She betrays nothing of her secrets and yet implies that they exist, so that man does not merely stand there, but is lured into seeking them himself. He will find them!
在象形文字中，字母 BETH 象征着人的嘴巴。女祭司仍然闭着嘴唇。她没有透露她的秘密，却暗示它们的存在，以至于男人不仅站在那里，而且被引诱自己去寻找它们。他会找到他们！
The letter beth designates the second host of angels. It is the second sefirah and corresponds to Hokhmah, theoretical reason.
字母 beth 指定了第二群天使。它是第二个 sefirah，对应于 Hokhmah，理论理性。

Number: 3 招聘人数：3

Again we see a young woman, this time without a veil. Her beautiful face freely reveals her nature. She faces us, she looks into our eyes, she does not wish to hide anything from us.
我们再次看到一位年轻女子，这次没有戴面纱。她美丽的脸庞自由地揭示了她的本性。她面对我们，看着我们的眼睛，她不想对我们隐瞒任何事情。

She wears a triple-pointed crown on her head. This denotes that she is queen of the three aspects of life: birth, life and death. It also means that she reigns over space, over the three dimensions. She is ruler of the whole cosmos, the whole universe. She is the queen of heaven, that aspect of God which is procreative and feminine: NaTURE.
她头上戴着一顶三尖王冠。这表示她是生命三个方面的女王：出生、生命和死亡。这也意味着她统治着空间，统治着三个维度。她是整个宇宙、整个宇宙的统治者。她是天堂的女王，是上帝生育和女性化的一面：NaTURE。

She sits perfectly motionless on her throne, just as her laws also are inflexible and unchangeable. She bears in her nature the great secret, the mystery whereby the spirit unites with matter and the divine becomes the human. This is the mystery of procreation. She herself, however, is the great chaste virgin who brings forth myriads of living creatures without having been touched by man. The two worlds, this world and the other, which in the case of the high priestess were still separated, are united in the queen of heaven. She holds sway over the spiritual and the material worlds because she has the power to join them together or to keep them apart. It rests with her and her laws whether a spirit embodies itself in this world and is born, or whether such an embodied spirit frees itself from the material world and its body dies.
她一动不动地坐在她的宝座上，就像她的法律也是不灵活和不变的。她的本性中隐藏着巨大的秘密，即精神与物质结合、神圣成为人类的奥秘。这就是生育的奥秘。然而，她自己却是伟大的贞洁童贞女，在没有被人类触碰的情况下，生出了无数的生物。这两个世界，这个世界和另一个世界，在女祭司的情况下仍然是分开的，在天后中是统一的。她对精神世界和物质世界拥有支配权，因为她有能力将它们连接在一起或将它们分开。一个灵魂是在这个世界上体现自己并诞生，还是这样一个体现的灵魂从物质世界中解放出来，它的身体死亡，都取决于她和她的法则。
Her head is framed by a white circle symbolising the immaculate purity which she radiates. In the circle we see twelve stars, three of which are hidden behind her head. These twelve stars are the signs of the zodiac, the twelve spheres of heaven as it were, by which her dominion over the universe is symbolised.
她的头上有一个白色的圆圈，象征着她散发着完美无暇的纯洁。在圆圈中，我们看到十二颗星星，其中三颗隐藏在她的头后。这十二颗星星是黄道十二宫的星座，可以说是天堂的十二个球体，象征着她对宇宙的统治。
She has a pair of large, light blue wings, which, when spread out, enable her to hover above infinite space and to fly.
她有一对浅蓝色的大翅膀，当展开时，她能够悬停在无限的太空上空并飞行。
Her tight-fitting dress is red, suggesting that in her innermost being she is completely spiritual, positive. The yellow edging shows her superior reason, which she manifests through the brains of men.
她的紧身裙是红色的，暗示着她内心深处是完全精神上的、积极的。黄色的边缘显示了她卓越的理性，她通过男人的大脑表现出来。
Across her lap and right arm is draped an azure blue robe covering her legs as it falls to the ground. The robe and its brilliant blue colour symbolise the infinite firmament which is her kingdom; they are also a symbol of her immaculate purity. The green inner side of the blue robe signifies her goodwill and sympathy to all living things, to all her children.
她的大腿和右臂上披着一件蔚蓝色的长袍，当它掉到地上时，她的腿被遮住了。长袍和它明亮的蓝色象征着无限的苍穹，这是她的王国;它们也是她完美无瑕的纯洁的象征。蓝色长袍的绿色内侧象征着她对所有生物、她所有孩子的善意和同情。
The magic wand of the magician has in her hand become a long sceptre crowned with the symbol of the earth, an imperial orb. This symbol consists of a ball surmounted by a cross. It signifies that here on earth the law of matter prevails and that the spirit must bow to this law. The sceptre shows the immense and overwhelming power of Nature over the three worlds: heaven, earth and hell. The laws of Nature are immutable. The queen holds the sceptre in her left hand thus indicating that she rules with the irresistible power of the eternalfeminine and of the mother. She holds a shield bearing the great symbol of the alchemists, the white eagle on a red background. The white eagle symbolises the purity and chastity of the queen of heaven, the transformed sexual energy which she herself uses in its spiritual form only, as creative power. The eagle turns his head to the left, which again suggests the negative-feminine power of the queen. The red background
魔术师手中的魔杖变成了一根长长的权杖，上面冠以大地的象征，一个帝王球体。这个符号由一个球和一个十字架组成。它意味着在地球上，物质法则占上风，精神必须屈服于这个法则。权杖显示了大自然对三个世界的巨大而压倒性的力量：天堂、人间和地狱。自然法则是不变的。女王左手握着权杖，这表明她以永恒的女性和母亲不可抗拒的力量进行统治。她拿着一面盾牌，上面有炼金术士的伟大象征，红底白鹰。白鹰象征着天后的纯洁和贞洁，她自己仅以其精神形式使用转化的性能量作为创造力。鹰把头转向左边，这再次暗示了女王的消极女性力量。红色背景
shows that this power is based on the positive powers of the spirit.
表明这种力量是基于精神的积极力量。

The queen’s right foot is completely hidden. She rests her left foot on a crescent moon pointing downwards. A crescent moon in the reverse position, pointing upwards, denotes receptivity to the high spiritual powers. The downward position denotes receptivity to masculine potency. The queen of heaven does not allow herself to be fertilised by the material earthly procreative power, she is chaste and remains so, but she does allow the separated sexes to reunite in their material form in her realm, in Nature. She allows the feminine, the receiving, to be fertilised and gratified by the masculine, positive-giving. Thus she succeeds in changing the divine into the human, in uniting the spirit with matter, in uniting the spiritual and material worlds in a new living creature. The queen of heaven, Nature, makes possible the embodiment of the spirit in the world of matter.
女王的右脚完全隐藏起来。她将左脚放在一轮向下的新月上。相反位置的新月，指向上方，表示对高超精神力量的接受能力。向下的位置表示对男性潜力的接受能力。天后不允许自己被物质的尘世生育能力所施肥，她是贞洁的，并且一直如此，但她确实允许分离的两性在她的领域、在自然界中以物质形式重新结合。她允许女性化的、接受的、被男性化的、积极的给予所滋养和满足。因此，她成功地将神变成了人，将精神与物质结合在一起，将精神世界和物质世界统一为一种新的生物。天后，大自然，使精神在物质世界中的化身成为可能。

Next to the queen a white lily blossoms on the throne. It is also a symbol of her purity and chastity, but especially of her health. Nature strives unremittingly to keep her children, myriads of living creatures, healthy, to instil into them the instinctive urge always to do what is best for their health. And if in spite of this they do become ill, she helps to restore their health. The lily has a very strong healing power: it is rightly the symbol of health and purity.
在女王旁边，一朵白百合在宝座上盛开。它也是她纯洁和贞洁的象征，尤其是她的健康。大自然不懈地努力保持她的孩子们，无数生物的健康，向他们灌输一种本能的冲动，总是做对他们健康最好的事情。如果他们真的生病了，她会帮助他们恢复健康。百合具有非常强大的治愈能力：它理所当然地是健康和纯洁的象征。

We find this beautiful figure of a divine woman in all great religions as the feminine aspect of God. She is Nature, the great mother who gives birth to myriads of living creatures and has command over life and death. Her name alone varies from one race to another. The Ancient Egyptians knew her as the heavenly goddess isis, in the Hindu religion she is the worshipped great mother KALI, and in the Christian religion she is the madonna. In the Revelation of St John she is described as follows: ‘And there appeared a great wonder in heaven, a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars.’ (Rev.i2: I)
我们在所有伟大的宗教中都发现这个神圣女性的美丽形象是上帝女性的一面。她是大自然，是孕育无数生物并掌控生死的伟大母亲。她的名字因种族而异。古埃及人知道她是天上的女神 isis，在印度教中她是受人崇拜的伟大母亲 KALI，在基督教中她是麦当娜。在圣约翰的启示中，她被描述如下：“天上出现了一个伟大的奇迹，一个女人，太阳，脚下有月亮，头上戴着十二星的冠冕。（修订版 i2：I）
The man who is at this level of the tarot becomes acquainted with the great queen of heaven, nature. He is a ‘seeker’ and now he begins to explore the secrets of Nature. He no longer tries to act against Nature by leading a foolish life, but rather now adapts himself to her in order to live with and not against her. He experiences the inner command: GOod health is a Duty! He tries to let the powers of Nature work in his body to make it healthy and preserve it in that state. He begins to experiment with various cures and diets, he eliminates meat from his diet as well as artificially produced drinks which rouse and stimulate his low impulses. Thus he grows familiar with the inner desires of Nature which were always latent in him as animal instincts but to which he had never paid heed. Thus he becomes reconciled with Nature, against whom he has so often sinned. He recognizes her as the dominating force in the visible world and in his body. As a result of these endeavours, however, he observes that each physical phenomenon has an emotional cause, that each illness can therefore be traced to an emotional disturbance.
处于塔罗牌这个层次的人会熟悉伟大的天后，大自然。他是一个“探索者”，现在他开始探索大自然的秘密。他不再试图通过过着愚蠢的生活来违背自然，而是现在适应她，以便与她一起生活，而不是反对她。他体验到内心的命令：GOod 健康是一项责任！他试图让大自然的力量在他的身体中发挥作用，使其健康并保持在那种状态。他开始尝试各种治疗方法和饮食，他从饮食中去除肉类以及人工生产的饮料，这些饮料可以唤醒和刺激他的低冲动。因此，他越来越熟悉大自然的内在欲望，这些欲望总是作为动物的本能潜伏在他身上，但他从未注意过。因此，他与他经常犯罪的大自然和解。他认识到她是可见世界和他身体中的主导力量。然而，作为这些努力的结果，他观察到每种物理现象都有一个情绪原因，因此每种疾病都可以追溯到情绪障碍。

Thus we discover that if we look after our souls, achieve an inner harmony and spiritual health, our bodies also will become healthy. This truth leads us to the fresh discovery that there exists something beyond the dominion of Nature. What is more, this something can rule over Nature. This is our own spirit, our own higher Self. We discover that we are able to make ourselves master of Nature, to control and work with the forces of Nature, if our Self has become master in our soul and in our body. But only if first of all we recognise the laws of Nature! For if we do this, then we shall be able to let these titanic forces work for us not only in ourselves but also in the external world. The miller can only have his corn ground by the current of the water because he recognises the laws of Nature, of water, and builds his mill with the mill-wheel so placed that it is turned by the stream and grinds his corn.
因此，我们发现，如果我们照顾好自己的灵魂，实现内心的和谐和精神健康，我们的身体也会变得健康。这个真理引导我们新发现，在自然的统治之外存在着一些东西。更重要的是，这个东西可以统治自然。这就是我们自己的精神，我们自己的更高自我。我们发现，如果我们的自我已经成为我们灵魂和身体的主人，我们就能够使自己成为自然的主人，控制和与自然的力量合作。但前提是我们首先要认识到自然法则！因为如果我们这样做，那么我们将能够让这些巨大的力量不仅在我们自己身上为我们工作，而且在外部世界也为我们工作。磨坊主只能靠水流来磨玉米，因为他认识到自然界和水的规律，他用磨轮建造他的磨坊，磨坊的放置使它被溪流转动并研磨他的玉米。

Thus the ‘seeker’ tries to recognise the laws of Nature, but nevertheless to let them act within him in accordance with
因此，“寻求者”试图认识自然法则，但仍然让它们在他内部按照
his own will. He removes all the obstacles which his foolish way of life had placed in the path of Nature. He begins to practise self-control and mental concentration.
他自己的意愿。他消除了他愚蠢的生活方式在自然道路上设置的所有障碍。他开始练习自我控制和精神集中。

In this way he unites in himself the two worlds, this one and the other, which, while still at the level of the ‘high priestess’, he wanted to know separately. He lets his spirit, his Self, which always has been and will be in the non-material, other world, rule in his physical being; he ceases to be a slave of his physical desires and tries to use his body as a wonderful instrument. Yet he does not on this account neglect his body; indeed, he gives it careful attention, for otherwise it could not manifest his spirit completely and perfectly. He does not forget that his Self has also helped to assemble his body. He realises that his body is his image, that his body is himself, even if only the most distant manifestation of his own spirit. He takes a big step forward, for he perceives that there is only one all-embracing, boundless universe, that the whole Creation is a single, indivisible unity.
通过这种方式，他将两个世界统一在自己身上，这个世界和另一个世界，虽然仍处于“高级女祭司”的水平，但他想分别了解这两个世界。他让他的精神，他的自我，一直并将在非物质的、另一个世界，统治着他的肉体存在;他不再是肉体欲望的奴隶，而是试图将自己的身体用作美妙的工具。然而，他并没有因此而忽视他的身体;事实上，他仔细地关注它，否则它就无法完全完美地体现他的精神。他不会忘记他的自我也帮助组装了他的身体。他意识到他的身体就是他的形象，他的身体就是他自己，即使只是他自己精神最遥远的显现。他向前迈出了一大步，因为他感知到只有一个包罗万象、无边无际的宇宙，整个创造物是一个单一的、不可分割的统一体。

The picture of the queen carries the number 3 and the letter gImel. The number 3 stands for absolute harmony and balance. The three corners of the equilateral triangle are equidistant from one another so that their connection does not result in insoluble tensions, as is for instance the case with the square and all other geometric figures. The number 3 also signifies the Holy Trinity and the three aspects of God, the creative, the preserving and the destroying aspect. All creative factors have three aspects. They are the three dimensions of space: length, breadth and height; the three aspects of time: past, present and future; the three aspects of earthly life: birth, life and death; and the three worlds under the rule of the queen of heaven: heaven, earth and hell. All these aspects are the three manifestations of a single unity. At the level of the ‘queen of heaven’ man consciously unites all these aspects in one being, in himself. He lives in the three dimensions, in space, he lives in time, he is aware that his body was born and that it will die, therefore he manifests all three aspects of life, even while realising that all these aspects concern only his mortal being. His true Self, his divine being, does not know all these aspects. It knows neither time nor space, birth nor death, past nor future, it knows only eternity and eternal life. It knows only the absolute present, ‘the eternal Now’. And man now understands also that heaven, earth and hell are three states of consciousness, and that according to whichever level he identifies himself with, he is happy or unhappy. If he identifies with himself, with his spirit, and seeks spiritual joys, he is happy, therefore in heaven. During his life on earth he has experienced joys and sorrows, but these are both transient. And if he identifies with his impulses and becomes a slave of his body, he loses himself, despairs and in so doing plunges into hell.
女王的照片上有数字 3 和字母 gImel。数字 3 代表绝对的和谐与平衡。等边三角形的三个角彼此等距，因此它们的连接不会导致不溶的张力，例如正方形和所有其他几何图形的情况。数字 3 也象征圣三位一体和上帝的三个方面，即创造、保存和毁灭方面。所有创意因素都有三个方面。它们是空间的三个维度：长度、宽度和高度;时间的三个方面：过去、现在和未来;尘世生活的三个方面：出生、生命和死亡;以及天后统治下的三个世界：天堂、人间和地狱。所有这些方面都是单一统一的三种表现形式。在“天后”的层面上，人有意识地将所有这些方面结合在一个存在中，在他自己里面。他生活在三个维度中，生活在空间中，他生活在时间中，他知道他的身体已经诞生，也会死亡，因此他表现出生命的所有三个方面，即使意识到所有这些方面都只与他的凡人有关。他的真我，他的神圣存在，并不知道所有这些方面。它不知道时间或空间，出生和死亡，过去和未来，它只知道永恒和永恒的生命。它只知道绝对的现在，“永恒的现在”。人现在也明白了天、地、地狱是三种意识状态，根据他认为自己属于哪个层次，他是快乐的还是不快乐的。如果他认同自己，认同自己的精神，寻求精神上的快乐，那么他在天堂就是快乐的。 在他活在世上的时候，他经历过欢乐和悲伤，但都是短暂的。如果他认同自己的冲动并成为自己身体的奴隶，他就会迷失自我，绝望，从而坠入地狱。

At this level of consciousness man has understood Nature, the queen, and tries to put the truths which he understands well in theory, into practice, into realization.
在这个意识层次上，人类已经理解了自然，女王，并试图将他在理论上理解的真理付诸实践，付诸实践，付诸实现。

The letter gimel means the human throat, where all the words born in the brain are formed. This letter is the symbol of the material manifestation of intellectual ideas. In the Cabbala it is the third sefirah and corresponds to Binah, practical reason.
字母 gimel 的意思是人的喉咙，大脑中诞生的所有单词都是在这里形成的。这个字母是知识思想物质表现的象征。在 Cabbala 中，它是第三个 sefirah，对应于 Binah，即实践理性。

Letter: 7 D ${}_{\text{ALEth}}$${}_{\text{ALEth }}$_("ALEth ")_{\text {ALEth }} 字母：7 D ${}_{\text{ALEth}}$${}_{\text{ALEth }}$_("ALEth ")_{\text {ALEth }}

This is the picture of a strong man with all the attributes of a ruler. He is seated upon a cube as upon a throne. He is ruler of the world of matter. The Romans called him Jupiter. His seated position on the cube also represents the sign of Jupiter: 4. The line curving upwards rests on the symbolic sign of matter, the cross.
这是一幅强人的画像，具有统治者的所有品质。他坐在一个立方体上，就像坐在宝座上一样。他是物质世界的统治者。罗马人称他为朱庇特。他在立方体上的坐姿也代表了木星的星座：4. 向上弯曲的线位于物质的象征性星座——十字架上。

The king wears a yellow helmet adorned with red and shaped into six points at the top like a crown. These points allude to the six-pointed star, formed by two interwoven triangles. When these are projected into the third dimension, two interwoven tetrahedrons are formed, which are concealed inside the cube.
国王戴着一顶黄色的头盔，上面装饰着红色，顶部有六个点，就像一顶皇冠。这些点暗示了由两个交织的三角形形成的六角星。当这些被投影到第三维时，会形成两个交织的四面体，它们隐藏在立方体内部。

The yellow colour of the helmet shows that the king manifests his high spiritual powers and wisdom in thought, speech and writing. The red contours of his helmet again point to his spirituality and wisdom. The dark colour of his hair and beard is a symbol of his concern with the material world. In Roman mythology he is Jupiter, in Greek mythology, Zeus, the god of wisdom and the heavenly ruler of earth.
头盔的黄色表明国王在思想、言语和文字方面表现出他高超的精神力量和智慧。他头盔的红色轮廓再次指向他的灵性和智慧。他的头发和胡须的深色象征着他对物质世界的关注。在罗马神话中他是朱庇特，在希腊神话中，宙斯是智慧之神和大地的天上统治者。

The garment next to his body is red, again symbolising the spirituality of his innermost being. It is visible only on his legs, knees and arms. The remaining part of it is covered by other articles of clothing. On his chest and shoulders he wears a light blue coat of mail. On the right side we see the sun, on the left, the moon. The coat of mail shows his imperviousness and power of resistance against foes and external attacks. The sun and moon show that he unites in himself the two great energies, the positive-masculine energy of the sun and the negative-feminine energy of the moon, that he controls both of them and works with them in the universe. Round his neck he wears a thick golden chain, a symbol of his strong reason.
他身体旁边的衣服是红色的，再次象征着他内心深处的灵性。它只在他的腿、膝盖和手臂上可见。其余部分由其他服装物品覆盖。他的胸前和肩膀上穿着一件浅蓝色的甲胄。在右侧我们看到太阳，在左侧看到月亮。甲胄外套显示了他的不屈不挠和抵抗敌人和外部攻击的能力。太阳和月亮表明他将两种伟大的能量结合在自己身上，太阳的积极男性能量和月亮的负女性能量，他控制着它们，并在宇宙中与它们一起工作。他的脖子上戴着一条粗金链子，象征着他坚强的理性。

The coat of mail is decorated with a red fringe in a geometric pattern trimmed with yellow and partly covering his blue uniform and blue sleeves. He therefore manifests spirituality, goodwill and kindness. His feet are clad in blue stockings; this means that his steps are always guided by pure love and humanity. In his right hand he holds a mighty sceptre which ends in three large leaves forming a fleur de lys. By holding the sceptre in his right hand the king shows that he works with positive-masculine forces.
邮件外套饰有几何图案的红色流苏，饰有黄色饰边，部分覆盖了他的蓝色制服和蓝色袖子。因此，他表现出灵性、善意和善良。他的脚上穿着蓝色的长袜;这意味着他的脚步总是以纯洁的爱和人性为指导。他的右手拿着一根巨大的权杖，权杖的末端是三片大叶子，形成一个百合花。国王右手握着权杖，表明他与积极的男性力量合作。
In his left hand he holds a green imperial orb. This signifies that he has power over the earthly world. This power, however, is not sheer force, but the irresistible power of universal love. That is why the imperial orb is so large and green.
他的左手拿着一个绿色的帝王球。这意味着他对地上世界有权力。然而，这种力量不是纯粹的力量，而是宇宙之爱的不可抗拒的力量。这就是为什么帝王球体如此大且绿色的原因。

The king is seated upon a large yellow cube bearing the picture of a brown eagle. The cube is the simplest crystallisation form of matter, the crystal form of salt.* That the king sits upon a cube suggests that although he stands above matter with his spirituality, he nevertheless needs matter and the material world as a stable basis for his activity. He controls matter and in addition uses it to gain spiritual powers from material forces by transformation. In order to show this he places his legs so as to form a cross, the symbol of matter.
国王坐在一个黄色的大立方体上，上面有一只棕色的鹰的图片。立方体是最简单的物质结晶形式，盐的晶体形式。国王坐在立方体上表明，尽管他的灵性站在物质之上，但他仍然需要物质和物质世界作为他活动的稳定基础。他控制物质，此外还利用它通过转化从物质力量中获得精神力量。为了表明这一点，他把他的腿放在一个十字架上，这是物质的象征。

The cube signifies a very fine type of matter through which he manifests his wisdom. This matter is the human brain. That is why the cube is yellow in colour. It is intelligent matter.
立方体象征着一种非常精细的物质，他通过它来彰显他的智慧。这东西就是人的大脑。这就是为什么立方体是黄色的。它是智能物质。
${}^{\ast }$${}^{\ast }$^(**){ }^{*} cf. E. Haich, Initiation.
${}^{\ast }$${}^{\ast }$^(**){ }^{*} 参见 E. Haich，《启蒙》。

Through their brains men manifest the higher truths and the divine ideas of the king of heaven. Without this the king could not express and pass on his wisdom in thought, speech and writing. The dark eagle is the symbol of matter, but he no longer crawls on the ground as a scorpion manifesting base instincts but now serves the intellectual world by manifesting superior thoughts and soars in the air as an eagle. He turns his head to the right thus indicating that the power which the king uses is always of a masculine-positive, giving nature. We shall understand the significance of this cube even better if we think of the Ka’ba, which is the focal point of the religious cult of Islam in Mecca. The Ka’ba is a cube-shaped edifice, and according to tradition, was built in its present form by Abraham himself. Muslims throughout the world orient themselves towards it in prayer. And every Muslim who can makes a pilgrimage once in his life to the Ka’ba. Inside the Ka’aba there are twelve silver lamps suspended between three pillars with a thirteenth lamp in the centre. The three pillars symbolise the Holy Trinity and the twelve lamps stand for the twelve signs of the zodiac round the sun. There are no windows in the Ka’ba and only one door, which is seven feet above the ground and and can be reached by climbing a sevenrunged ladder. The Muslims call the Ka’ba ‘The House of God’, which simply means man himself. As the symbolism of the Ka’ba is so clear we hardly need to explain that it is the cube, matter, the human body, the dwelling-place of the divine Self, of God. The three pillars represent the Holy Trinity which animates the body with the divine powers of Logos. Christ said ‘. . . for, behold, the kingdom of God is within you’. (Luke, 17: 21) The same symbol, the cube containing the divine principle depicted here as the Lamb offering itself in sacrifice, occurs in Revelation. John recounts his
通过他们的大脑，人们显现了更高的真理和天上之王的神圣思想。没有这些，国王就无法用思想、语言和文字来表达和传递他的智慧。黑鹰是物质的象征，但他不再像蝎子一样在地上爬行，表现出基本本能，而是现在通过表现出卓越的思想来服务于知识界，像鹰一样在空中翱翔。他把头向右转，这表明国王使用的力量总是具有阳性的、赋予自然的。如果我们想想克尔白，我们就会更好地理解这个立方体的重要性，克尔白是麦加伊斯兰教宗教崇拜的焦点。克尔白是一座立方体的建筑，根据传统，它是由亚伯拉罕本人建造的。全世界的穆斯林都在祈祷中将自己指向它。每个有能力的穆斯林一生中都会去克尔白朝圣一次。在克尔白内部，有十二盏银灯悬挂在三根柱子之间，第十三盏灯在中央。三根柱子象征着圣三位一体，十二盏灯代表黄道十二宫围绕太阳旋转。克尔白没有窗户，只有一扇门，离地面七英尺，可以通过爬上七级梯子到达。穆斯林称克尔白为“上帝的屋宇”，字面意思是人本身。由于克尔白的象征意义是如此明确，我们几乎不需要解释它是立方体、物质、人体、神圣自我、上帝的居所。这三根柱子代表圣三位一体，它以 Logos 的神圣力量使身体充满活力。基督说：“......因为，看啊，上帝的国就在你里面。 （路加福音，17：21）同样的符号，这个立方体，包含着神圣的原则，在这里被描绘成羔羊献上自己作为祭物，出现在启示录中。约翰讲述了他的
vision: 视觉：
‘And there came unto me one of the seven angels . . . and talked with me, saying, Come hither, I will shew thee the bride, the
“七位天使中的一位来到我这里......与我说，你到这里来，我要把新妇带给你看。
Lamb’s wife. [Man’s consciousness which seeks unity with the divine principle] . . .
兰姆的妻子。[寻求与神圣原则合一的人类意识]......
And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem descending out of heaven from God…
他就用圣灵领我到一座又大又高的山上，把那大城，就是从 神那里从天上降下的圣所耶路撒冷，指示我。
And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof . . .
那跟我说话的，拿着金芦苇，量城和城门，城墙。
And the city lieth foursquare . . . The length and the breadth and the height of it are equal. [Therefore it is cube shaped!] . . . … and the city was pure gold…
城位于四方......它的长度、宽度和高度是相等的。[所以它是立方体形状的！. . . …那城是纯金的...
. . . and the street of the city was pure gold, as it were transparent glass…
. . .城里的街道是纯金的，好像透明的玻璃一样。
And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it.
我看见其中没有殿，因为耶和华全能的神和羔羊是殿。
And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof.’ (Revelation 21: $9^{-23}$$9^{-23}$9^(-23)9^{-23} )
那城不需要太阳，也不需要月亮照耀它，因为神的荣耀照亮了它，羔羊就是它的光。（启示录 21： $9^{-23}$$9^{-23}$9^(-23)9^{-23} ）

As we can see, the visionary of the Bible also perceived the body of the illumined and redeemed man as a cube which had become transparent, the crystallised prototype of matter from which shines the light of God, the divine principle offering itself in sacrifice, the Lamb with its celestial light.
正如我们所看到的，圣经的异象者也把被照亮和被救赎的人的身体看作是一个已经变得透明的立方体，是物质的结晶原型，从中闪耀着上帝的光芒，神圣的原则在牺牲中献上自己，羔羊带着它的天上之光。

In front of the king we see the same flower that we saw behind the magician as a bud. There, the flower implies that man has not yet grown conscious and that the greatest part of his being still lies behind his consciousness, in his unconscious. Here, the flower is in front of the king of heaven and is already beginning to open. It is no longer a bud. At this level man is already considerably more aware than at the level of the ‘magician’. He has power over his own body, over his material form. To a certain extent he already possesses self-control. He uses his body as a source of energy and transforms physical energies into spiritual powers, thereby quickening his progress on the long path to the great goal. His soul is now no longer
在国王面前，我们看到的花与我们在魔术师后面看到的花苞相同。在那里，花暗示着人还没有形成意识，他存在的大部分仍然在他的意识后面，在他的无意识中。在这里，花朵在天王面前，已经开始开放。它不再是一个芽。在这个层次上，人已经比“魔术师”的层次上更加觉知。他对自己的身体，他的物质形式有力量。在某种程度上，他已经拥有了自制力。他以自己的身体为能量来源，将身体能量转化为精神力量，从而加快了他在通往伟大目标的漫长道路上的步伐。他的灵魂现在已经不在了
a bud; it gradually unfolds and radiates the divine light, love. It dawns on him that our spiritual level does not depend upon how much we know, but upon how much love we have in us. What he has learned and grasped intellectually must be realized. He must not keep his experiences and knowledge for himself, he must pass them on to the uninitiated who come after him. He already has self-control and is master of physical desires. He uses the power thereby gained to help not only himself but also his fellow-men. He sees the great goal and devotes his whole life to the task of growing more spiritual, while leading others also to spirituality. He has read and learned a great deal and heard divine truths from great men who have reached the goal. At the same time, however, he has already gathered a store of individual experience and can thus pass on its treasures to others. More and more people come to him to ask for advice and help and he tries to alleviate human suffering. He gives help where possible and compassion and universal love unfold in his heart just as the flower opens its sepals.
一个花蕾;它逐渐展开并散发出神圣的光芒，即爱。他恍然大悟，我们的灵性水平并不取决于我们知道多少，而是取决于我们内心有多少爱。他所学到的和在智力上所掌握的，必须实现。他不能把自己的经验和知识留给自己，他必须把它们传授给后来的外行。他已经有自制力，是身体欲望的主人。他利用由此获得的力量不仅帮助自己，也帮助他的同胞。他看到了伟大的目标，并将自己的一生奉献给提高灵性的任务，同时也带领他人获得灵性。他阅读和学习了很多东西，并从达到目标的伟人那里听到了神圣的真理。然而，与此同时，他已经积累了大量的个人经验，因此可以将其中的宝藏传递给他人。越来越多的人来找他寻求建议和帮助，他试图减轻人类的痛苦。他尽可能地提供帮助，同情心和普遍的爱在他的心中展开，就像花朵打开萼片一样。
The picture of the king carries the number 4 and the letter DALETH.
国王的照片上有数字 4 和字母 DALETH。

The number 4 as a geometric shape, as a square or cross, is found in the cube.
数字 4 是几何形状，如正方形或十字形，位于立方体中。

For if we open out a cube, we get a cross. All six sides of a cube are rectangular squares. Throughout the world and in every religion, the square and the cross are symbols of matter. On the two beams of the Cross, on time and space, the spirit of the world, Logos, Christ, is crucified. At the point of intersection of the two beams is the absolute present. Here time and space unite. For us, as embodied spirits, this point, the absolute present, is our only possibility of attaining REDEMPtion, liberation while still in the body. Otherwise we are ‘crucified’ in time and space. If we manage to endure in the absolute present with absolute consciousness we are liberated from the ‘crucifixion’ in time and space. Then we are resurrected in eternity. The crucified human body is a symbol as old as mankind itself. Such crucifixes, thousands of years old, have been found in excavations all over the world, in America and in the Orient.
因为如果我们打开一个立方体，我们会得到一个十字。立方体的所有六个边都是矩形正方形。纵观世界和每个宗教，广场和十字架都是物质的象征。在十字架的两根横梁上，在时间和空间上，世界的精神，逻各斯，基督，被钉死在十字架上。在两个光束的交点处是绝对存在。在这里，时间和空间结合在一起。对于我们作为化身的灵来说，这一点，绝对的当下，是我们仍然在身体中实现 REDEMPtion、解脱的唯一可能性。否则，我们就会在时间和空间里被“钉死”。如果我们设法以绝对的意识忍受在绝对的当下，我们就从时间和空间的“钉十字架”中解脱出来。然后我们在永恒中复活。被钉死在十字架上的人体是一个与人类本身一样古老的象征。这种有数千年历史的十字架在世界各地的发掘中被发现，包括美洲和东方。

The number 4 also occurs as a symbol in the four great rivers which rise in the middle of Paradise and flow in the four directions of heaven. Equally so in the four great signs of the zodiac in Ezekiel’s vision: lion, bull, angel and eagle; and likewise in the four faces of God in the Hindu philosophy of religion.
数字 4 也作为象征出现在四条大河中，这些大河发源于天堂的中央，流向天堂的四个方向。在以西结异象中黄道十二宫的四个大星座中也是如此：狮子、公牛、天使和鹰;印度教宗教哲学中上帝的四张面孔也是如此。

The tarot card king complements the tarot card queen. The king is the positive-masculine, and the queen the negativefeminine side of a single divine unity. The numbers 3 and 4 together make 7 which is the key number of the earthly world. That is why there are seven rungs on the ladder leading up to the Ka’ba in Mecca. If we add up the number 7 according to the principles of numerology, $1+2+3+4+5+6+7$$1+2+3+4+5+6+7$1+2+3+4+5+6+71+2+3+4+5+6+7, we get the number 28. The sum of the digits of the number 28 is the divine number of perfection, the fulfilment of creation, the number 10. The cipher has no numerological value because it symbolises space. Thus we are left with the divine number I as the final result. The result is the same if we add up the number 4 according to these principles, $1+2+3+4=10$$1+2+3+4=10$1+2+3+4=101+2+3+4=10. The final result is again I .
塔罗牌王与塔罗牌皇后相得益彰。国王是积极男性的一面，而女王是单一神圣统一体的消极女性一面。数字 3 和 4 一起构成 7，这是地球世界的关键数字。这就是为什么通往麦加克尔白的阶梯上有七个梯级。如果我们根据命理学原理将数字 7 相加， $1+2+3+4+5+6+7$$1+2+3+4+5+6+7$1+2+3+4+5+6+71+2+3+4+5+6+7 我们得到数字 28。数字 28 的位数之和是完美的神圣数字，创造的实现，数字 10。密码没有命理价值，因为它象征着空间。因此，我们只剩下神圣的数字 I 作为最终结果。如果我们根据这些原理将数字 4 相加，结果是相同的。 $1+2+3+4=10$$1+2+3+4=10$1+2+3+4=101+2+3+4=10 最终结果又是 I 。

The letter daleth is the picture of the animating and active principle of the universe. Through it God depicts the images of the body and all the different forms of matter. Daleth corresponds to the fourth sefirah, Hesed, which means love and kindness.
字母 daleth 是宇宙充满活力和活跃原理的图画。通过它，上帝描绘了身体和所有不同形式的物质的形象。Daleth 对应于第四个 sefirah，Hesed，意思是爱和善良。

Number: 5 招聘人数：5
Letter: $\mathbf{H}\mathrm{Hz}$$\mathbf{H}\mathrm{Hz}$HHz\boldsymbol{\mathrm { H }} \mathrm{Hz} 信： $\mathbf{H}\mathrm{Hz}$$\mathbf{H}\mathrm{Hz}$HHz\boldsymbol{\mathrm { H }} \mathrm{Hz}

In this picture we see a male figure with all the insignia of an important dignitary of the church. He is the high priest. He sits upon a throne of which only two posts are visible. There is no longer a curtain between them, for there is nothing to hide any more. The face of the high priest, too, is without a veil. He shows us his face openly, he also has nothing to hide.
在这张照片中，我们看到一个男性形象，戴着教堂重要要员的所有徽章。他是大祭司。他坐在一个宝座上，其中只有两个柱子可见。他们之间不再有帘子，因为没有什么可隐藏的了。大祭司的脸上也没有帕子。他公开地向我们展示他的脸，他也没有什么可隐藏的。

His white hair and beard show that he is a spiritual being which will itself never become earthly even though it is active in the earthly-material world. He always remains spiritual.
他的白发和胡须表明他是一个灵性存在，即使它活跃在尘世的物质世界中，它本身也永远不会成为尘世的。他总是保持灵性。

The high priest wears a yellow tiara with three golden circlets, ending at the top in the symbolic sign of the material world, a cross. The three circlets symbolise the three worlds over which the high priest has power: heaven, earth and hell. He can open or close these to man: he can lead him into or out
大祭司戴着一顶带有三个金色圆环的黄色头饰，顶部是物质世界的象征性标志，一个十字架。三个圆环象征着大祭司拥有权力的三个世界：天堂、人间和地狱。他可以向人打开或关闭这些：他可以引导人进或出
of them. 他们。

His clothing is similar to that of the high priestess. His innermost being is imbued with universal love. For that reason he wears a blue robe on his body. Over it he wears a flowing red cloak covering his whole figure. Through this cloak he reveals his high spirituality. The yellow border indicates that he manifests his spirituality through thoughts and words. The green inner side of the cloak signifies sympathy, goodwill and friendliness.
他的衣服与高级女祭司的衣服相似。他的内心深处充满了宇宙的爱。因此，他身上穿着一件蓝色的袍子。在它上面，他穿着一件飘逸的红色斗篷，遮住了他的整个身材。通过这件斗篷，他揭示了他高尚的灵性。黄色边框表示他通过思想和言语来彰显他的灵性。斗篷的绿色内侧象征着同情、善意和友好。

He wears white gloves with blue crosses on the back. This means that even though he comes into contact with the world of matter, his hands always remain clean in spite of all the impurities of this earthly world. In his left hand he holds a sceptre which ends in a triple cross. Like the golden circlets on his tiara, it symbolises the three worlds : heaven, earth and hell.
他戴着白色手套，背面有蓝色十字架。这意味着，即使他接触到物质世界，他的手始终保持清洁，尽管这个尘世世界充满了杂质。他的左手拿着一根权杖，权杖的末端是一个三重十字架。就像他头饰上的金色圆环一样，它象征着三个世界：天堂、人间和地狱。

Two figures kneel before him. Their clothing in itself reveals that they are two complementary opposites. One has a red collar and dark robe, the other a dark collar and a red robe. One has fair, the other dark hair. Together they symbolise the positive and the negative pole, but at the same time also the two sexes, the positive-masculine and the negative-feminine. They listen to the teaching of the high priest. The darkhaired male figure looks up at him and listens reverently. The fair female figure buries her face in her hands and appears to be afraid. The dark-haired man lays his hand encouragingly on her back. They symbolise the inner spiritual state of a man who is at the level of the tarot card ‘high priest’. His positivemasculine nature already has the courage to follow his inner conviction, but the earthly-physical part of him is afraid and makes him feel that he might lose something of value. The truth, however, works strongly within him and through each new experience he grows more spiritual. This gives him power to live by his deepest conviction. He senses that we do not have to be of this world, even though we live in this world. He knows that he must come to terms with his impulses and bring them under control. He has made such progress in acquiring self-control that he has triumphed over the instinct of selfpreservation. He no longer needs food and drink as stimulants. In other words, he has conquered his appetites. Now he still has to put his sex life in order and direct it into the right channels. He understands that he is not only a sexual being but, over and above his sexuality, a human being. He realises
两个人跪在他面前。他们的服装本身就表明他们是两个互补的对立面。一个有红色的项圈和深色的长袍，另一个有深色的项圈和红色的长袍。一个有白发，另一个有黑发。它们一起象征着积极和消极，但同时也象征着两种性别，即积极-男性和消极-女性。他们听大祭司的教导。黑发男性抬头看着他，虔诚地倾听。那个美丽的女性形象把脸埋在手里，似乎很害怕。黑发男人鼓励地把手放在她的背上。他们象征着一个处于塔罗牌“大祭司”水平的人的内在精神状态。他积极向上的男子气概已经有勇气追随他内心的信念，但他尘世的身体部分是害怕的，让他觉得他可能会失去一些有价值的东西。然而，真理在他内心深处强烈地运作，通过每一次新的体验，他都会变得更加属灵。这给了他以他最深的信念生活的力量。他感觉到我们不必属于这个世界，即使我们生活在这个世界上。他知道他必须接受自己的冲动并控制它们。他在获得自制力方面取得了如此大的进步，以至于他战胜了自我保护的本能。他不再需要食物和饮料作为兴奋剂。换句话说，他已经征服了自己的胃口。现在他仍然必须整理好自己的性生活，并将其引导到正确的渠道。他明白他不仅是一个性存在，而且除了他的性取向之外，他还是一个人。他意识到
that his spirit is sexless, and that if a person awakes and grows conscious in his spirit, he will no longer think of himself as ‘woman’ or ‘man’, but as a ‘human being’. He knows that when we reach our goal we become androgynous. Even though his body manifests only one half of the whole, thus one sex, his consciousness is above sexuality. He tries to live according to this insight and to become childlike, even if he does not always succeed.
他的精神是无性的，如果一个人醒来并在他的精神中变得有意识，他将不再认为自己是“女人”或“男人”，而是“人”。他知道，当我们达到目标时，我们会变得雌雄同体。即使他的身体只表现出整体的一半，即一种性别，他的意识也高于性。他试图按照这种洞察力生活，变得像孩子一样，即使他并不总是成功。

During this period of work he learns many new truths. He learns from personal experience that his body is not merely an empty shell for his spirit, but that the powers of the spirit pervade the body in the same way as water can saturate every pore of a sponge. And the powers of the body, which flow from the spirit, but already act as physical forces on his consciousness, are just as strong as he is himself because, in the form of matter, these powers are himself. That is why it is so difficult to control these powers in oneself and to remain above them in one’s consciousness: because we are confronting ourselves. His higher Self instructs him just as the high priest teaches the two figures. And he sees and understands ever more clearly the close relationships between his spiritual Self and his primitive drives which as yet refuse to release him. The truth, however, is stronger, and he realises that he is able to experience real joys and true, fulfilling love in physical union only if that union is the manifestation of a much deeper spiritual oneness. And he begins to seek in his partner, first and foremost, understanding and friendship, thus an inner relationship and a meeting of the minds. He realises that parallel to his inner life he must also create order and harmony in his outer life in order to solve his problems; and in order to achieve inner satisfaction he must not fail to bring the external and the inner world to a common denominator. Strange to say, fate helps him in this, for as if an invisible power witnessed his inner struggles, Providence brings him fresh possibilities and tasks in his earthly personal life. The mere fact that more and more people come to him to ask his advice and help forces him to abandon his previous way of life. He has got to organise his life in such a way that he can devote more time and energy to his fellow-men. In so doing he himself gets to know life from different angles and learns to occupy himself with the many difficult problems which those seeking help submit to him. And thus he perceives that heaven, earth and hell, do, in fact, exist, not as places but as human states. Just where his good or evil way of life will take him ultimately depends upon man himself. It gradually dawns on him that a suffering man suffers because he has become ready for a new, higher level. The suffering man has reached a new milestone on the great path. The suffering compels him to climb the next step at which his afflictions abruptly cease, because the problems which had hitherto seemed difficult and oppressive now show themselves to be less serious when seen from an entirely different angle.
在这段工作期间，他学到了许多新的真理。他从个人经验中学到，他的身体不仅仅是他精神的空壳，而且精神的力量渗透到身体中，就像水可以浸透海绵的每一个毛孔一样。而身体的力量，从精神中流淌出来，但已经在他的意识中起到了物理力量的作用，与他自己一样强大，因为这些力量以物质的形式，就是他自己。这就是为什么控制自己内心的这些力量并在自己的意识中保持在它们之上如此困难的原因：因为我们正在面对自己。他的高我教导他，就像大祭司教导这两个形象一样。他越来越清楚地看到和理解他的精神自我和他的原始驱动力之间的密切关系，这些驱动力仍然拒绝释放他。然而，真理更强大，他意识到，只有当这种结合是更深刻的精神合一的体现时，他才能在肉体的结合中体验到真正的快乐和真实、充实的爱。他开始在他的伴侣身上寻求理解和友谊，从而建立一种内在的关系和思想的交汇。他意识到，除了他的内在生活之外，他还必须在他的外在生活中创造秩序与和谐，以解决他的问题;为了获得内在的满足，他必须不把外在世界和内在世界带到一个共同点。说来奇怪，命运在这方面帮助了他，因为仿佛有一种无形的力量见证了他内心的挣扎，上帝为他带来了尘世个人生活中新的可能性和任务。越来越多的人来找他寻求建议和帮助，这一事实迫使他放弃以前的生活方式。 他必须以这样一种方式组织自己的生活，以便他可以将更多的时间和精力投入到他的同胞身上。在此过程中，他自己从不同的角度了解生活，并学会了专注于寻求帮助的人向他提出的许多难题。因此，他认为天堂、地球和地狱实际上确实存在，不是作为地方存在，而是作为人类状态存在。他的善恶生活方式最终会把他带到哪里，取决于人自己。他逐渐意识到，一个受苦的人之所以受苦，是因为他已经为一个新的、更高的层次做好了准备。受苦的人在伟大的道路上达到了一个新的里程碑。痛苦迫使他爬上下一步，他的痛苦突然停止了，因为以前看起来困难和压迫的问题现在，如果从完全不同的角度来看，它们就不那么严重了。

Thus man struggles within himself as well as in the outer world. Through this struggle he makes progress, climbs higher, his horizon widens and he grows increasingly conscious in his being.
因此，人类在自身内部和外部世界中都进行了斗争。通过这种斗争，他取得了进步，爬得更高，他的视野开阔了，他的存在越来越清醒。

The fifth tarot card, the ‘high priest’, carries the number 5 and the letter HE.
第五张塔罗牌，“大祭司”，带有数字 5 和字母 HE。

Initiates call the number 5 the number of Christ or the number of Logos. The divine number of fulfilment, of creation, is the number 10 . Half of this sum is 5 . The symmetry in the bodies of living creatures implies that Logos divides the divine number io into two symmetrical sides, and in both parts half of the number 10 is at work, that is, the number 5 . Human beings have 5 fingers on each hand, thus on both hands together io fingers. Likewise we have 5 toes on each of our two feet. We have 32 teeth, the sum of the digits is 5 . The upper jaw has 16 teeth, total of the digits is 7 , the lower jaw also has 16 teeth, total sum 7. Together these sums add up to 14, sum of the digits again 5 . Thus the number of Christ appears again and again. The number of the senses is also 5 : sight, hearing, smell, taste and touch. And if we add up the limbs, two arms and two legs together with the head, we have the 5 extremities
新人称数字 5 为基督的数字或逻各斯的数字。神圣的成就、创造的数字是数字 10。这个总和的一半是 5 。生物身体的对称性意味着 Logos 将神圣的数字 io 分成两个对称的边，在这两个部分中，数字 10 的一半都在工作，即数字 5 。人类每只手有 5 根手指，因此两只手上都有 io 手指。同样，我们的两只脚各有 5 个脚趾。我们有 32 颗牙齿，数字之和是 5 。上颚有 16 颗牙齿，手指总数为 7 颗，下颌也有 16 颗牙齿，总和为 7。这些和加起来等于 14，数字之和又是 5 。因此，基督的数目一次又一次地出现。感官的数量也是 5 ：视觉、听觉、嗅觉、味觉和触觉。如果我们把四肢、两条手臂和两条腿与头部相加，我们就有了 5 个肢体
of the human body, or again the number 5 . The human body fits into the five-pointed star and the vital current circulates in the body in the shape of this star. That is why the right side of the body is animated by positive current, and the left side by negative current. Since the number 5 is itself half of the number of perfect creation - the number 10 - it has an inner relationship to the number 2 which is always retained. For multiplying by the number 5 means dividing by 2 and multiplying the result by 10 (a very simple operation). Dividing a
人体，或者再次是数字 5 。人体适合五芒星，生命电流以这颗星的形状在体内循环。这就是为什么身体的右侧被正电流驱动，而左侧被负电流驱动。由于数字 5 本身就是完美创造的数字 - 数字 10 的一半 - 它与数字 2 有着内在的关系，而这种关系总是被保留下来的。因为乘以数字 5 意味着除以 2 并将结果乘以 10（一个非常简单的操作）。划分

sum by the number 5 means multiplying the number by 2 and then dividing by 10 . The numbers 5 and 2 are complementary and together make the key number 7 which, by cabbalistic reduction, leads again to the number 10 as the sum of the digits, $1+2+3+4+5+6+7=28,2+8=10$$1+2+3+4+5+6+7=28,2+8=10$1+2+3+4+5+6+7=28,2+8=101+2+3+4+5+6+7=28,2+8=10. The fact that the number io manifests itself in Nature as two complementary, symmetrical halves - as twice 5 - as the five fingers on each hand, etc., curiously emerges also when we add the numbers from 1 to $10:1+2+3+4+5+6+7+8+9+10=55$$10:1+2+3+4+5+6+7+8+9+10=55$10:1+2+3+4+5+6+7+8+9+10=5510: 1+2+3+4+5+6+7+8+9+10=55, together, $5+5=10$$5+5=10$5+5=105+5=10 ! Tarot card 5 , the ‘high priest’, complements tarot card 2, the ‘high priestess’, for the same reason.
总和除以数字 5 表示将数字乘以 2，然后除以 10 。数字 5 和 2 是互补的，它们共同构成了关键数字 7，通过卡巴拉主义的简化，它再次导致数字 10 作为数字之和 $1+2+3+4+5+6+7=28,2+8=10$$1+2+3+4+5+6+7=28,2+8=10$1+2+3+4+5+6+7=28,2+8=101+2+3+4+5+6+7=28,2+8=10 。数字 io 在自然界中表现为两个互补的、对称的一半 - 两倍 5 - 作为每只手的五个手指，等等，当我们把 1 到 $10:1+2+3+4+5+6+7+8+9+10=55$$10:1+2+3+4+5+6+7+8+9+10=55$10:1+2+3+4+5+6+7+8+9+10=5510: 1+2+3+4+5+6+7+8+9+10=55 的数字相加时，也奇怪地出现了， $5+5=10$$5+5=10$5+5=105+5=10 ！出于同样的原因，塔罗牌 5 ，即 “大祭司”，与塔罗牌 2 相辅相成。
In the Cabbala, the letter HE corresponds to the fifth sefirah, which is called Gevurah, meaning fear, judgement and strength. In hieroglyphics it means breath. Life is continuously created and preserved by breath and from this arises the idea of complete spiritualisation.
在 Cabbala 中，字母 HE 对应于第五个 sefirah，称为 Gevurah，意思是恐惧、判断和力量。在象形文字中，它的意思是呼吸。生命是通过呼吸不断创造和保存的，由此产生了完全灵性化的想法。

Number: 6 招聘人数：6
Letter: $\mathbf{1}$$\mathbf{1}$1\boldsymbol{1} VAU 信件： $\mathbf{1}$$\mathbf{1}$1\boldsymbol{1} VAU

In this picture we again see the ‘magician’. This time he does not wear the hat representing his infinite spirit. Therefore what happens to him here does not concern his spirit. His fair hair falls loosely, its flaxen colour reveals his high intelligence. His tunic is red and green. The colours are reversed on the short skirt, green on his right and red on his left. The colours on his legs correspond to those on his chest. The sleeves are yellow. This clothing signifies that his whole being and his every step are guided by spirituality, charity and humanity. Inwardly, too, he is imbued with these principles. His activity, represented by his arms, is guided by his reason. He always considers carefully the rights and wrongs of what he is about to do. His hands are crossed on his breast as if he were shielding himself against an external influence. His eyes are downcast. He avoids suggestive glances which seek to penetrate him. Above his head is a twelve-pointed star and inside it a circle with an angel who, with drawn bow, is about to shoot an arrow at the magician. The twelve points of the star denote the twelve signs of the zodiac, and hence the creative energies which organise the visible world.
在这张照片中，我们再次看到了“魔术师”。这一次，他没有戴上代表他无限精神的帽子。因此，他在这里所发生的事情与他的精神无关。他那一头金发松散地垂下来，亚麻色的头发显示出他的高智商。他的外衣是红色和绿色的。短裙的颜色是相反的，绿色在他的右边，红色在他的左边。他腿上的颜色与他胸前的颜色相对应。袖子是黄色的。这件衣服象征着他的整个生命和他的每一步都以灵性、慈善和人性为指导。在内心深处，他也充满了这些原则。他的活动，以他的手臂为代表，是由他的理性引导的。他总是仔细考虑他将要做的事情的对与错。他的双手交叉在胸前，仿佛在保护自己免受外界的影响。他的眼睛低垂着。他避免了试图穿透他的暗示性目光。他的头顶上有一颗十二角星，里面有一个圆圈，上面有一个天使，他拉弓准备向魔术师射箭。星星的十二个点代表黄道十二宫，因此代表着组织可见世界的创造力。

The young man stands at the parting of the ways with a female figure on either side of the fork. On his right we recognise the queen of heaven with the crown on her fair curled hair and her red and blue dress. On his left we see a woman with dark hair: she wears a yellow dress under a green cloak. We already know that yellow is the colour of reason, but in this case, yellow, the narrow red neckband, the red belt and the red flower in her hair are symbols only of her cunning and egoistic calculation which is devoid of true spirituality and belief. The colour blue is missing. The green cloak symbolises that she puts on an outward show of friendliness and sympathy in order to delude her victims. Both figures touch the young ‘magician’, they lure him to follow them.
年轻人站在分岔处，岔路口两边各有一个女性身影。在他的右边，我们认出了天后，她一头金碧卷曲的头发上戴着皇冠，穿着红蓝相间的裙子。在他的左边，我们看到一个黑头发的女人：她在绿色斗篷下穿着一件黄色的连衣裙。我们已经知道黄色是理性的颜色，但在这种情况下，黄色、狭窄的红色领带、红腰带和她头发上的红花只是她狡猾和利己主义计算的象征，没有真正的灵性和信仰。蓝色缺失。绿色斗篷象征着她为了欺骗受害者而表现出友好和同情的外表。这两个人物都触动了这位年轻的“魔术师”，引诱他跟随他们。
Both women symbolise the inner struggle of man at the parting of the ways. At some point in our lifetime fate brings us all to this parting. We must choose whether we wish to go right or left. The right side leads us by way of difficult struggles involving even renunciation and sacrifices to a virtuous life, which nevertheless affords us a large measure of the pure joy of true love. The left side lures us to easy success without a struggle, to a licentious and profligate life, where we find shortlived pleasures in the gratification of our physical desire and urges. Such pleasures, however, inevitably leave a bitter aftertaste and drag our consciousness irresistibly down to a lower level. The end of such a life is inner chaos and the destruction of the soul.
这两个女人都象征着男人在分道扬镳时的内心挣扎。在我们生命中的某个时刻，命运将我们所有人带到了这次离别。我们必须选择我们是想向右走还是向左走。正确的一面引导我们进行艰难的斗争，甚至包括放弃和牺牲美德的生活，然而，这给了我们很大程度的真爱的纯洁喜乐。左脉引诱我们不费吹灰之力轻松成功，过着放荡无度的生活，在那里我们在满足自己的肉体欲望和冲动中找到短暂的乐趣。然而，这种快乐不可避免地会留下苦涩的回味，并将我们的意识不可抗拒地拖入一个较低的层次。这种生活的终点是内心的混乱和灵魂的毁灭。
The two paths are symbolised by the two female figures. This does not mean, however, that a man at this parting of the ways must necessarily choose between two women. It can, of course, happen, but it would be only one instance among the many where a person, man or woman, stands before this fork. How often does it happen that for instance a doctor, a scientist, an artist or a businessman must choose between easy success, for which, however, he must sell himself and give up his inner conviction, and a hard life, which, while allowing him to act according to his conviction, denies him worldly success and material comfort. A Dr Hahnemann gave up his practice because he could not agree with the methods of treatment in use at that time. He preferred to let himself and his entire family go without food and to earn a meagre livelihood as a translator, rather than sell himself and his deepest conviction. Then he founded homeopathy and became world-famous! Yet what misery he and his family had to endure until that time! Or there is the case of a man like Böcklin to whom an art dealer promised a large sum of money if he would sentimentalise a straight-necked swan in one of his paintings by bending its neck in a rather mawkish manner. Böcklin thought of his starving family, hesitated for a moment, but then replied: ’ No! I cannot do that. In this painting the swan holds himself erect!’ And although the Böcklin family continued to live very frugally, Böcklin did not sell his conviction, his Self. Further examples worthy of mention are: Luther, who rejected the high ecclesiastical office offered him by the Pope as hushmoney, preferring to let himself become the victim of religious persecution rather than betray his belief. Rembrandt suffered abject poverty and near starvation in order to explore the secrets of light and shade, instead of portraying rich burghers’ wives as beautiful women, which would have made him wealthy in no time.
这两条路径由两个女性形象象征。然而，这并不意味着，在这个分道扬镳时，一个男人必须必须在两个女人之间做出选择。当然，它可能发生，但这只是一个人，无论男人还是女人，站在这个岔路口的众多例子中的一个。例如，医生、科学家、艺术家或商人必须在轻松的成功和艰苦的生活之间做出选择，前者必须出卖自己，放弃内心的信念，而后者虽然允许他按照自己的信念行事，却否认了他世俗的成功和物质上的舒适。A Hahnemann 医生放弃了他的实践，因为他无法同意当时使用的治疗方法。他宁愿让自己和全家人没有食物，靠翻译赚取微薄的生计，也不愿出卖自己和他最深的信念。然后他创立了顺势疗法并举世闻名！然而，在那之前，他和他的家人不得不忍受多么痛苦的痛苦！或者有这样一个例子，像伯克林这样的人，一个艺术品经销商向他承诺一大笔钱，如果他能以相当粗鲁的方式弯曲他的脖子，使他的一幅画中的一只直颈天鹅多愁善感。伯克林想起了他饥饿的家人，犹豫了一会儿，但随后回答说：“不！我不能那样做。在这幅画中，天鹅保持着勃起！尽管伯克林一家继续过着非常节俭的生活，但伯克林并没有出卖他的信念，他的自我。其他值得一提的例子是：路德拒绝了教皇给他的教会高级职位作为封口费，宁愿让自己成为宗教迫害的受害者，也不愿背叛他的信仰。 伦勃朗为了探索光与影的秘密，忍受着赤贫和近乎饥饿的痛苦，而不是将富有市民的妻子描绘成美丽的女人，那样他很快就会变得富有。

Many people have experienced this parting of the ways in themselves and know what it means ‘to sell oneself to the devil’. Jesus of Nazareth also experienced it in the wilderness with the tempting of the devil. He was promised the kingdoms of the world if he would renounce his faith, follow the devil and do all that he commanded. How many people have stood at that same parting of the ways and had to drive away the devil with the divine words ‘Apage Satanas!’ - ‘Get thee behind me, Satan!’
许多人都经历过自己内心的分道扬镳，知道“把自己卖给魔鬼”意味着什么。拿撒勒人耶稣也在旷野中经历了魔鬼的试探。他得到承诺，如果他放弃自己的信仰，跟随魔鬼，按照他的命令去做，世界各国就会得到他的应许。有多少人站在同一个分道扬镳的地方，不得不用神圣的话语“Apage Satanas！”赶走魔鬼——“撒旦，把你挡在我后面！

Of course it does happen that a man at this level of consciousness actually must choose between two women - or a woman between two men. Or perhaps they must choose only between two ways of life. The emphasis here is on the question
当然，这个意识层次的男人实际上必须在两个女人之间做出选择——或者一个女人在两个男人之间做出选择。或者，他们只能在两种生活方式之间做出选择。这里的重点是这个问题
whether, on account of material profit, a man betrays his inner conviction, his inner divine voice, thus selling his divine Self, or whether he staunchly obeys his inner voice and follows his conviction. This means that he does the will of God! And the greatest happiness of all is when man is satisfied in and with himself, for it means nothing other than that GOD is satisfied with him!
一个人是否因为物质利益而背叛了他内心的信念，他内心的神圣声音，从而出卖了他的神圣自我，或者他是否坚定地服从他内心的声音并遵循他的信念。这意味着他遵行了上帝的旨意！而最大的幸福就是当人对自己感到满意时，因为除了上帝对他感到满意之外，别无他法！
In the picture the angel is about to shoot an arrow into the magician’s heart. He knows very well that the magician can and will necessarily choose only the right path. For whatever path he chooses, he will choose the right one for himself, because both paths will lead him to the same goal, to God. It is only a question of time, for the left one is slightly longer than the right one. For GOD, time does not exist. If the man is inexperienced, he will and must choose the left side, in order to make up for his lack of experience. On this left path he will realise that he makes himself unhappy, that he plunges into chaos and destruction of the soul. He loses himself on this path and falls out of unity, out of his divine SELF. And that is the greatest misfortune, that is hell. Thus he must turn back, ‘become converted’, and find the way out of this hell. He must strike the right path; now he has a rich store of experience. Then there will be no danger of his falling again. When Buddha suddenly realised after a night spent in his palace what a useless life he was leading, and how low it could drag him down, he went into seclusion to find GOD, to become BUDDHa.
在图片中，天使正准备将箭射入魔术师的心脏。他非常清楚，魔术师只能而且必然只会选择正确的道路。无论他选择哪条路，他都会为自己选择正确的一条，因为两条路都会引导他走向同一个目标，走向上帝。这只是时间问题，因为左边的比右边的略长。对 GOD 来说，时间是不存在的。如果这个人没有经验，他将而且必须选择左路，以弥补他经验的不足。在这条左边的道路上，他会意识到他让自己不快乐，他陷入了灵魂的混乱和毁灭。他在这条道路上迷失了自我，失去了合一，失去了他神圣的自我。这就是最大的不幸，那就是地狱。因此，他必须回头，“获得转变”，并找到离开这地狱的出路。他必须走正确的路;现在他拥有丰富的经验。这样他就不会有再次坠落的危险了。当佛陀在他的宫殿里度过了一夜后突然意识到他过着多么无用的生活，以及这种生活会让他陷入低谷时，他隐居起来寻找上帝，成为 BUDDHa。

Or another instance here in Europe: amidst a drunken rabble Francis of Assisi came to an understanding of himself and realised what he was actually doing. He rose and left never to return, to become the great saint, Francis.
或者欧洲的另一个例子：在一群醉醺醺的乌合之众中，阿西西的弗朗西斯 （Francis of Assisi） 了解了自己，并意识到他实际上在做什么。他崛起并离开，再也没有回来，成为伟大的圣人弗朗西斯。

Thus on the left path man must sooner or later awaken so that he will never again stray on to it believing that happiness is to be found there. He must find the right path and advance along it in order to reach the great goal. Each one of us must have this experience on the left path behind him, if he does not wish to stumble on the right path. For if he chooses the right side directly, without the necessary experience, he will be unable to resist the devil whenever he tempts him in the guise of some everyday trial. He lacks the power of experience and falls. Therefore he must go back to the left path to gather experience. If, however, someone brings this experience from previous lives, he can, and will choose the right path. If he still lacks experience he will choose, with a deviation to the left, the right path - if he is experienced, he will choose the right path without deviation.
因此，在左边的道路上，人迟早必须觉醒，这样他就不会再误入歧途，相信在那里可以找到幸福。他必须找到正确的道路并沿着它前进，才能达到伟大的目标。我们每个人都必须在他身后的左路上有这种经验，如果他不想在正确的道路上跌跌撞撞的话。因为如果他直接选择了正确的一方，而没有必要的经验，那么每当魔鬼以某种日常试炼为幌子诱惑他时，他就无法抗拒魔鬼。他缺乏经验的力量，跌倒了。因此，他必须回到左边的道路上来积累经验。然而，如果有人带来了前世的这种体验，他能够，而且会选择正确的道路。如果他仍然缺乏经验，他会选择向左偏右的道路——如果他有经验，他会选择正确的道路，没有偏差。

The angel who plays the part of the sun, shoots the arrow a ray of light - into the magician’s heart. Thereupon he selects that path, which, in the light of his experience, will lead him to the goal, to GOD.
扮演太阳角色的天使将箭射出一束光 - 射入魔术师的心脏。于是他选择了那条路，根据他的经验，这条路将引导他到达目标，通往上帝。

The tarot card the parting of the ways carries the number 6 and the letter vau.
塔罗牌，分道扬镳，带有数字 6 和字母 vau。

The number 6 results from the two triangles joined to form a whole: one triangle lies with its point facing upwards, the other with its point downwards. The former symbolises the Holy Trinity, the latter, the resistance, the material world. If we unite the centres of the two triangles in one point, we get a six-pointed star which symbolises the human heart. In the heart into which the angel shoots his arrow, the two worlds, the spiritual and the earthly, meet. Man must realise both of them. In the spirit, the heavenly world, and in the body, the earthly one.
数字 6 由两个三角形连接形成一个整体而得出：一个三角形的尖端朝上，另一个三角形的尖端朝下。前者象征着圣三位一体，后者象征着抵抗、物质世界。如果我们将两个三角形的中心统一在一个点上，就会得到一个象征着人心的六角星。在天使射箭的心脏中，精神世界和尘世两个世界相遇。人类必须意识到这两者。在灵里，天上世界，身体里，地上的人。

Tarot card 6 , the parting of the ways, finds its complement in tarot card r, the magician. Together they add up to the number 7 , which again, as with the previous cards, leads to the number io by numerological reduction.
塔罗牌 6 ，分道扬镳，在魔术师塔罗牌 r 中找到了它的补充。它们加起来就是数字 7 ，这又一次与之前的卡片一样，通过命理减少导致数字 io。

The letter vau means the eye, therefore everything that
字母 vau 的意思是眼睛，因此
refers to light and brightness. The eye forms a bridge between man and the external world, for through the eye light and the outer world are revealed to him. The latter corresponds to the sixth sefirah, Tifereth, which means the sun and radiance, therefore everything that we see with our eyes.
指光和亮度。眼睛在人和外部世界之间架起了一座桥梁，因为通过眼睛，光和外部世界都向他显露出来。后者对应于第六个 sefirah，Tifereth，意思是太阳和光芒，因此我们用眼睛看到的一切。

Letter: $\mathbf{\top }$$\mathbf{\top }$TT\boldsymbol{\top} ZAin 字母： $\mathbf{\top }$$\mathbf{\top }$TT\boldsymbol{\top} ZAin

In this picture we again meet the ‘magician’. This time, however, he is no longer in a dilemma as on tarot card 6 , nor does he need to shield himself against alien influences as at the ‘parting of the ways’. Now he stands self-assured and resolute, not on foot, but in a cube-shaped chariot which hastens his progress to the goal. At the turning-point of his life, at the parting, he chose the right side - as we have shown, he could choose only the right path - and he became conqueror.
在这张照片中，我们再次遇到了“魔术师”。然而，这一次，他不再像塔罗牌 6 那样陷入困境，也不需要像“分道扬镳”时那样保护自己免受外星人的影响。现在，他自信而坚定地站着，不是步行，而是坐在一辆立方体形状的战车上，加快了他向目标前进的步伐。在他人生的转折点上，在离别时，他选择了正确的一边——正如我们已经证明的，他只能选择正确的道路——他成为了征服者。

He now wears a crown with three large shining stars. A star radiates light and, as a symbol of light, it invariably stands for consciousness. The three stars denote in this case the three temporal phases of consciousness: past, present and future. For these three phases of time exist only in man’s conscious mind. The conqueror has now reached the stage where he can consciously build his future from the treasures of the past.
他现在戴着一顶带有三颗闪亮的大星星的王冠。星星散发着光芒，作为光的象征，它总是代表着意识。在这种情况下，三颗星星表示意识的三个时间阶段：过去、现在和未来。因为这三个时间阶段只存在于人的意识中。征服者现在已经到了可以有意识地从过去的宝藏中构建自己的未来的阶段。

He wears a coat of mail. Its colour shows that he has a spiritual outlook and deep belief in God. He wears a short skirt on which we see three large yellow circles. The three points of the skirt where the circles are placed are trimmed with yellow. The three large circles symbolise the three worlds, heaven, earth and hell, which he has already perceived to be
他穿着一件甲胄。它的颜色表明他有精神观和对上帝的深刻信仰。他穿着一条短裙，上面我们看到三个大的黄色圆圈。裙子上放置圆圈的三个点用黄色修剪。三个大圆圈象征着天、地、地狱三个世界，他已经感知到了这三个世界
states of consciousness. The yellow border again denotes that he manifests his spirituality through his brilliant intellect.
意识状态。黄色边框再次表示他通过他出色的智慧来体现他的灵性。

On his chest we see a broad blue band on which are sewn the five buttons he already had as a ‘magician’. These are again the five sense-organs linking him with the external world. In his right hand he holds his magic wand which, since he is now a conqueror, has become a mighty sceptre. He has become a ruler in his world.
在他的胸前，我们看到一条宽大的蓝色带子，上面缝着他作为“魔术师”已经拥有的五个纽扣。这又是将他与外部世界联系起来的五个感觉器官。他的右手拿着他的魔杖，因为他现在是一个征服者，这根魔杖已经变成了一根强大的权杖。他已经成为他世界的统治者。

On his shoulders we see the two celestial bodies, sun and moon, which we have already seen on the chest of the king of heaven. Man, as conqueror, is also in possession of the two great forces, the positive power of the sun and the negative power of the moon, and he quite consciously works with both of these creative energies.
在他的肩膀上，我们看到了太阳和月亮这两个天体，我们已经在天王的胸前看到了它们。作为征服者，人类也拥有两种巨大的力量，太阳的积极力量和月亮的消极力量，他相当有意识地利用这两种创造性能量。

The cube-shaped chariot reminds us of the throne of the ruler of heaven. Then, however, it was not a chariot but a simple cube. Now the conqueror uses this cube as a chariot for his triumphal procession. At each of the four corners of the chariot is a pole supporting a blue canopy above the head of the conqueror. The four poles symbolise the four elements: fire, air, water and earth. The corqueror stands between these poles at the point of intersection of the diagonals, thus uniting these four elements in himself and controlling them. The canopy consists of four large blue semi-circles. Each of these bears three stars, thus altogether there are twelve. These stand for the twelve signs of the zodiac as in the picture of the queen of heaven.
立方体形状的战车让我们想起了天主的宝座。然而，那时它不是一辆战车，而是一个简单的立方体。现在征服者用这个立方体作为他的凯旋游行的战车。战车的四个角上各有一根杆子，支撑着征服者头顶上方的蓝色华盖。四个极点象征着四种元素：火、气、水和土。征服者站在这些极点之间的对角线交点处，从而将这四个元素统一在自己身上并控制它们。树冠由四个大的蓝色半圆组成。每个星星都有三颗星，因此总共有十二颗星。这些代表黄道十二宫，就像天后的照片一样。

Some curious shapes are depicted on the front of the chariot. In the centre we recognise the two human sexual organs united. They rest within each other like the positive and the negative pole at the seventh level of consciousness. The Bible says: ‘And on the seventh day God ended his work which he had made; and he rested on the seventh “day” from all his work which he had made.’ (Genesis $2:2-3$$2:2-3$2:2-32: 2-3 ) In the Bible ‘day’ means consciousness and ‘night’ the unconscious. And the number 7 is the number of this card. The sacred philosophy of China represents this divine, neutral state of the two poles ‘resting within themselves’ by Yang and Yin.
战车前部描绘了一些奇特的形状。在中心，我们认识到两个人类性器官是结合在一起的。它们就像第七层次意识的正极和负极一样，彼此相处。圣经说：'上帝在第七天结束了他所做的工作;第七天，他放下了他所做的一切工作，就休息了。（创世记 $2:2-3$$2:2-3$2:2-32: 2-3 ）在圣经中，“白天”的意思是意识，“黑夜”是无意识的。而数字 7 就是这张卡的号码。中国的神圣哲学代表了阳和阴两极“安息在自身内部”的神圣、中立状态。

This representation of the sexual organs in the picture is framed by a narrow oval yellow band. We understand from this that the conqueror who chose the right path on the sixth tarot card already knows intuitively as well as intellectually that the two sexes are in fact but one. They are the two halves of the divine whole. Man, as a spiritual being, should therefore unite the two halves in himself at a high level of consciousness if he wants to be the ‘whole’. In the body he can belong to the positive or the negative pole; in the spirit he contains both these poles and is androgynous. What is in his head, however what he understands - is still far from realisation. Yet realisation has to begin with understanding. Then that which has been understood filters out of the intellect into the being. John says: ‘And the Word was made flesh’; thus we gradually become that which previously we had merely understood. The person at this level of consciousness understands the unity of the two halves, but he is still only one half and not the whole. He does not yet experience the whole in a state of being.
图片中性器官的这种表现由一条狭窄的椭圆形黄色带构成。由此我们了解到，在第六张塔罗牌上选择正确道路的征服者已经在直觉和智力上知道，两种性别实际上只是一个。他们是神圣整体的两半。因此，人作为一个精神存在，如果他想成为“整体”，就应该在高意识层次上将两半统一在自己身上。在身体中，他可以属于正极或负极;在精神上，他包含了这两个极点，并且是雌雄同体的。他脑子里的东西，无论他理解什么——都离实现还很远。然而，实现必须从理解开始。然后，被理解的事物从智力中过滤出来，进入存在。约翰说：'道成了肉身';因此，我们逐渐成为我们以前只理解的东西。处于这个意识层次的人理解两半的统一性，但他仍然只是一半，而不是整体。他还没有在存在状态下体验整体。

Above this figure we recognise the Egyptian symbol of Logos, of the creative principle, which races through the universe creating and animating all things. It is the simplified shape of the Horus falcon, a red circle with large wings on either side. Therefore the spirit stands above separations: it is a unity. And the man who has fought his way up to this spiritual level is also a unity in his consciousness. In his spirit he is a whole. A white and a black sphinx draw the chariot. We are familiar with the black sphinx from tarot card 2. There she was seated next to the high priestess’s throne. The white sphinx was then still invisible. At the level of consciousness of the high priestess man knew only the material world and the
在这个形象之上，我们认出了埃及的 Logos 符号，即创造原则，它在宇宙中赛跑，创造和激活万物。它是荷鲁斯猎鹰的简化形状，一个红色的圆圈，两侧都有大翅膀。因此，精神超越了分离：它是一个统一体。而奋斗到这个精神层次的人，也是他意识中的统一体。在他的精神中，他是一个整体。白色和黑色的狮身人面像拉着战车。我们熟悉塔罗牌 2 中的黑色狮身人面像。她坐在高级女祭司的宝座旁边。那时白色的狮身人面像仍然不可见。在高级女祭司的意识层面上，人类只知道物质世界和
laws of that world. Now he already knows both sides, the right and the left, the spiritual and the material world. They are no longer mysteries to him. If we examine the two sphinxes, we realise that they are not two sphinxes at all, but one sphinx with two torsos. The material-earthly world is the opposite image to the spiritual-divine world. What I see and what I am are always diametrically opposed. If we stand opposite someone, we see his right hand on the side of our left hand and at the same time his left hand on the side of our right hand. Therefore, what I see, I cannot $be$$be$beb e, and what I am, I cannot see. No artist can paint his self-portrait, for he can never see himself. He can see and paint only his reflected image. Yet that is not himself, it is not how he is in reality. His right side is on the left, and his left side is on the right side of the reflection!
那个世界的法律。现在他已经了解了左右两边，精神世界和物质世界。它们对他来说不再是谜。如果我们检查这两个狮身人面像，我们会意识到它们根本不是两个狮身人面像，而是一个狮身人面像有两个躯干。物质-地球世界是精神-神圣世界的对立面。我所看到的和我所是的总是截然相反的。如果我们站在某人的对面，我们会看到他的右手在我们的左手侧面，同时他的左手在我们的右手侧面。因此，我所看到的，我不能 $be$$be$beb e 看到，我所是的，我看不到。没有艺术家可以画他的自画像，因为他永远看不到自己。他只能看到和绘制他的反射图像。然而，那不是他自己，也不是他在现实中的样子。他的右侧在左侧，他的左侧在倒影的右侧！

This is true of everything, but for the moment we shall confine our attention to the example of writing only. When I look at the letter E it stands from left to right. If, however, I experience this same letter in a state of being, that is to say, if I write this E on my body so that I am this $E$$E$EE, then it stands in reverse position, from right to left. In our modern Western culture, after the fall from Paradise, we read and write from left to right. Yet there are still peoples who have preserved their style of writing from primeval times, from a state of being, and who read and write from right to left. The Jews are such a nation. They transmit the state of being to the paper and read and write from right to left.
凡事都是如此，但目前我们只把注意力限制在写作的例子上。当我看字母 E 时，它从左到右。然而，如果我在存在状态下体验到同一个字母，也就是说，如果我在我的身体上写下这个 E，那么 $E$$E$EE 它就站在相反的位置，从右到左。在我们现代西方文化中，从天堂堕落后，我们从左到右阅读和写作。然而，仍然有一些民族保留了他们从原始时代开始的写作风格，从存在状态开始，他们从右到左读写。犹太人就是这样一个民族。他们将存在状态传递到纸张上，并从右到左读写。

The white sphinx symbolises the state of being and the black sphinx the state of the fall from Paradise. They try to go in opposite directions, but in so doing achieve only the onward movement of the chariot as the resultant of the opposed energies.
白色狮身人面像象征着存在状态，黑色狮身人面像象征着从天堂坠落的状态。他们试图朝着相反的方向前进，但这样做只实现了战车向前的运动，这是相反能量的结果。

The conqueror understands this truth and he sees and is the two sphinxes. He already knows the difference between the fallen state and the divine state of being, even if he is not yet always able to hold out in that state. He still falls, he projects himself again and again outwardly. Human frailty still draws him out of it; he has not yet been able to conquer it entirely. Nevertheless, he is on the homeward path. Just as the conqueror stands self-assured and self-confident in his chariot, so at this level man also acquires these characteristics. He begins to know his own powers, but he has already reached the stage where he knows, and does not forget, that all these powers are not his but belong to God. He now knows that without god he is nothing, that he receives all his abilities and talents from the single primal source of all powers. Everything that lives merely receives vital energy, abilities and talents. Michelangelo, Beethoven and other titans did not derive these powers from themselves; they all received them from God.
征服者明白这个真理，他看到并成为两个狮身人面像。他已经知道堕落状态和神圣存在状态之间的区别，即使他还不能一直保持那种状态。他仍然跌倒，他一次又一次地向外投射自己。人性的脆弱仍然吸引着他走出困境;他还没有能够完全征服它。尽管如此，他还是走在回家的路上。正如征服者在他的战车上自信和自信一样，在这个层次上，人也获得了这些特征。他开始了解自己的能力，但他已经达到了他知道并且不要忘记所有这些能力不是他的，而是属于上帝的阶段。他现在知道，没有上帝，他什么都不是，他的所有能力和才能都来自所有力量的唯一原始源头。所有活着的生物都只是获得生命的能量、能力和才能。米开朗基罗、贝多芬和其他巨人并不是从他们自己那里获得这些力量的;他们都是从上帝那里得到的。
Man does not possess his own vital energy, abilities and talents. He obtains everything from God. Once he realises that, he loses his previous arrogance and egocentric perspective which could only grow from his ignorance, and he becomes modest. He knows that he is only the person, only a loudspeaker of God. In antiquity, ‘persona’ was the name given to the mask worn by players to let their voices ‘come through’. Man lets God’s voice come through himself. At the same time, however, he begins to feel that GOD loves and guides him, because GOD still has plans for him. For that very reason GOD bestows upon him abilities and talents, because HE intends to use him as a chosen instrument of manifestation. Man feels then that he is a child of God and always tries to do His will. He already knows that self-confidence is confidence in God! He knows that what is good in himself is GOD, and that what is imperfect in him is so because now and then he manifests his person and not GoD. He therefore tries to develop still further in order to become an even more effective loudspeaker of God. The greater his awareness of the futility of his person, the greater his self-confidence, because he feels that he is only the ‘persona’, the ‘mask’ of God, and that God speaks, instructs and loves all men through him. Thus he becomes an ever more efficient bearer of the divine powers. He notices that his words and deeds acquire a suggestive power over his fellow-men.
人不拥有自己的生命能量、能力和才能。他从上帝那里得到一切。一旦他意识到这一点，他就失去了以前的傲慢和以自我为中心的观点，这只能从他的无知中生长出来，他变得谦虚。他知道他只是那个人，只是上帝的扬声器。在古代，“persona”是玩家戴着的面具的名称，用于让他们的声音“通过”。人让神的声音通过他自己发出来。然而，与此同时，他开始感觉到上帝爱他并引导他，因为上帝仍然对他有计划。正是因为这个原因，上帝赐予他能力和才能，因为他打算把他当作一个被拣选的显现工具。那时，人觉得自己是上帝的孩子，总是试图遵行上帝的旨意。他已经知道，自信就是对 神的信心！他知道自己里面的好东西就是上帝，而他里面不完美的就是上帝，因为他时不时地显现出他的位格，而不是上帝。因此，他试图进一步发展，以成为上帝更有效的扬声器。他越是意识到自己个人的徒劳，就越有自信，因为他觉得自己只是上帝的“人格”和“面具”，上帝通过他说话、教导和爱所有人。因此，他成为越来越有效的神圣力量的承载者。他注意到他的言行对他的同胞具有暗示的力量。

He uses this power to help others. People notice his superiority. Whatever he desires in his higher Self, he is able to carry out. He becomes a conqueror everywhere.
他利用这种能力来帮助他人。人们注意到了他的优越性。无论他在高我中渴望什么，他都能实现。他到处都是征服者。
This time is a triumphal procession for man. He has won the great struggle at the parting of the ways. Now there are no more struggles and he cannot imagine that more and much harder struggles might be in store for him in the future. At this stage he rests on his laurels and believes that from now on the path will always lead upwards without great exertions on his part. He is satisfied with himself and with the world. He sees everything in an optimistic light and his fortune, too, brings him wide recognition and honour. Those people who do not yet know the vital sources from which he draws his energy admire him. They become his friends and want to learn from him. The difference between him and average men is not yet so great that they cannot understand him. Thus he is successful with his teachings and, in addition to his professional work, he takes time to occupy himself with his fellow-men. Everywhere he reaps recognition, love and honour.
这一次是人类的凯旋游行。他在分道扬镳时赢得了这场伟大的斗争。现在不再有挣扎，他无法想象未来会有越来越艰难的挣扎。在这个阶段，他固步自封，并相信从现在开始，这条路将永远向上，而他不需要付出很大的努力。他对自己和世界感到满意。他以乐观的眼光看待一切，他的财富也为他带来了广泛的认可和荣誉。那些还不知道他从中汲取能量的重要来源的人钦佩他。他们成为他的朋友，想向他学习。他和一般人之间的差异还没有大到无法理解他。因此，他的教义取得了成功，除了他的专业工作外，他还花时间与他的同胞们在一起。他到处收获认可、爱和荣誉。

Thus at this level man ends the first cycle of his development which is represented by the first seven tarot cards. At the same time, however, this level is also the beginning of a new cycle which starts with card 7 and ends with card 13 . At this level of consciousness, therefore, man is at the end of the past and at the beginning of the future cycle of his development.
因此，在这个层次上，人类结束了他发展的第一个周期，这由前七张塔罗牌代表。然而，与此同时，这个级别也是一个新循环的开始，从卡片 7 开始，到卡片 13 结束。因此，在这个意识层次上，人类处于过去的结束和未来发展周期的开始。

The tarot card 7 carries the number 7 and the letter zain.
塔罗牌 7 带有数字 7 和字母 zain。
The number 7 is the most important number at our earthly level. Everything that is a unity here on earth breaks up into seven components. The Bible says that the seven souls of God animate the world and that the Creation consists of seven spheres of creation. In the Revelation of St John we read that the Lamb, the creative principle, Logos, has seven horns, which symbolise the seven creative powers. In the Cabbala and in the Indian Vedanta philosophy we find the same asser- tions and the seven levels are listed in the same manner: the material-physical, the vegetative, the animal, the mental, the causal, the divine-spiritual and the divine-creative. One of the greatest initiates of the West, Paracelsus, asserted the same truth. The highest product of creation on earth - man - consists of seven levels. Countryfolk have a saying: ‘Man has seven skins.’ The Bible lists many more instances: the seven fat cows and the seven lean cows denote the seven fat years and the seven lean years. And in heaven God gave a sign of his covenant with Noah: the rainbow made up of seven colours. The seven intervals of an octave; the seven vertebral bones of the human neck, of the giraffe or the mole; the seven hills on which Rome was built and the seven heads of the dragon in fairy-tales are all evidence of the great truth that the key number of the material world is 7 .
数字 7 是我们地球上最重要的数字。地球上的一切统一体都分为七个部分。圣经说，上帝的七个灵魂使世界充满活力，而创造物由七个创造领域组成。在圣约翰的启示中，我们读到羔羊，创造原则，逻各斯，有七个角，象征着七种创造能力。在卡巴拉和印度吠檀多哲学中，我们发现了相同的假设，并以相同的方式列出了七个层次：物质-物理、植物、动物、心理、因果、神-精神和神-创造。西方最伟大的启蒙者之一帕拉塞尔苏斯 （Paracelsus） 也断言了同样的真理。地球上创造的最高产品 - 人 - 由七个层次组成。乡下人有句谚语：'人有七张皮。圣经列出了更多的例子：七头肥牛和七头瘦牛表示七肥年和七年贫瘠年。在天堂，上帝赐予了他与挪亚立约的记号：彩虹由七种颜色组成。一个八度的七个音程;人类脖子、长颈鹿或鼹鼠的七块椎骨;罗马建在七座山丘上，童话故事中的龙七头，都证明了物质世界的关键数字是 7 这个伟大的真理。

Geometry also reveals the importance of the number 7 . Every circle contains 7 smaller circles whose diameter measures exactly one third of the diameter of the large circle:
几何学也揭示了数字 7 的重要性。每个圆包含 7 个较小的圆，其直径正好是大圆直径的三分之一：

And in the three dimensions the number 7 is most significant: if the non-dimensional point moves from the unmanifested into manifestation, becoming a line in the first dimension, it contains three factors - the point of origin, the terminal point and the interval between the two. If the line continues to manifest itself with the same energy and speed in the second dimension, the area is created - the square with five factors. It has four sides and, as the fifth factor, the inner area. If the area continues to manifest itself in the third dimension, the cube is created with its seven factors: with six areas and the seventh factor, the volume. The number 7 is therefore the key number of the three-dimensional world. John, too, speaks in Revelation of the new holy Jerusalem, which is the Lamb’s
在三个维度中，数字 7 最为重要：如果非维度的点从未显现进入显现，成为第一维度中的一条线，它包含三个因素——原点、终点和两者之间的间隔。如果这条线在第二个维度中继续以相同的能量和速度表现出来，就会产生该区域 - 具有五个因素的正方形。它有四个边，第五个因素是内部区域。如果面积继续在第三维中表现出来，则立方体由其七个因子创建：具有六个面积和第七个因子，即体积。因此，数字 7 是三维世界的关键数字。约翰也在启示录中谈到新圣耶路撒冷，这是羔羊的
wife. ‘And the city lieth foursquare, and the length is as large as the breadth: and he measured the city with the reed, twelve thousand furlongs. The length and the breadth and the height of it are equal.’ (Rev. 21: 16) Thus we see that the new Jerusalem is a cube!
老婆。“城长四方，长与宽一样大，他用芦苇量了城一万二千弗隆。它的长、宽、高是相等的。（启示录 21：16）因此，我们看到新耶路撒冷是一个立方体！

The number 7 also has a special relationship to the letters of the alphabet. If we mark the circumference of a circle with seven equidistant points, and join these up without retracing a line, we obtain exactly twenty-one links with the centre, therefore twenty-two factors. And our alphabet comprises exactly twenty-two letters with the letter Jay in the middle. The compound letters are merely further variations and not independent letters.
数字 7 也与字母表中的字母有着特殊的关系。如果我们用七个等距点标记一个圆的圆周，并将它们连接起来而不回溯一条线，我们就会得到与中心的 21 个链接，因此有 22 个因子。我们的字母表正好由 22 个字母组成，字母 Jay 在中间。复合字母只是进一步的变体，而不是独立的字母。

The letter zain means: ’ victory in all worlds’. It corresponds to the seventh sefirah, Netsah, which means endurance.
字母 zain 的意思是：“万物皆胜”。它对应于第七个 sefirah，Netsah，意思是忍耐。

Here again we see the queen of heaven in new attire and with different attributes. She still wears her crown but under it is a red cap. This shows that she now has to work very hard with her spirit. She penetrates everything with the power of the spirit in order to be just. The circle on the cap with the dot in the centre is the symbol of self-confidence. Now the queen of heaven has no wings. She does not need them; she no longer flies in boundless heaven but has climbed down to earth into the world of activity - in order to dispense justice.
在这里，我们再次看到天后穿着新服装，具有不同的属性。她仍然戴着她的皇冠，但下面有一顶红色的帽子。这表明她现在必须非常努力地工作。她用圣灵的力量渗透到一切，为的是公义。帽子上带有圆点的圆圈是自信的象征。现在天后没有翅膀了。她不需要它们;她不再在无边无际的天堂中飞翔，而是爬到地球上，进入活动的世界——为了伸张正义。
She is seated upon a mighty throne which provides her with a stable basis. On the back of the throne there are eight yellow buttons - four to the right and four to the left - on a red background. They symbolise the number 8 , the number of this tarot card. The number is also formed by placing one of the round scales on top of the other.
她坐在一个强大的宝座上，这为她提供了稳定的基础。宝座背面有八个黄色按钮 - 四个在右侧，四个在左侧 - 位于红色背景上。他们象征着数字 8 ，这张塔罗牌的数字。该数字也是通过将其中一个圆形刻度放在另一个圆形刻度上来形成的。
Her attire is rich in colours. The upper part of her bodice is red with a white border, the lower part is blue, which is also the colour of the lower half of her sleeves. She wears a red skirt, and over it an azure cloak with a green lining draped on her knees. As we know, red is invariably the symbol of spirituality, and blue the symbol of pure faith. The white border
她的服装色彩丰富。她紧身胸衣的上半部分是红色的，带有白色的边框，下半部分是蓝色的，这也是她袖子下半部分的颜色。她穿着一条红色的裙子，外面披着一件蔚蓝的斗篷，膝盖上披着绿色的衬里。正如我们所知，红色总是灵性的象征，而蓝色是纯洁信仰的象征。白色边框
stands for the manifestation of the spirit through purity, the green lining for sympathy and benevolence to all living creatures. The upper half of her sleeves is made of yellow and green stripes revealing that she acts with benevolent intentions and wisdom.
代表精神通过纯洁的体现，是对所有生物的同情和仁慈的绿色衬里。她的袖子上半部分由黄色和绿色条纹制成，表明她的行为具有仁慈的意图和智慧。

In her right hand she holds a long sword, developed from the earlier sceptre. She rules no longer with her sceptre but with the sword of strife. She needs a weapon with which to enforce her decisions and judgement irresistibly and immutably. She often has to dispose of weighty problems with her sword as Alexander the Great had done with the Gordian knot. At the same time this sword is the queen’s power of discrimination enabling her to separate the sheep from the goats. The sword is the discernment with which justice, having weighed every thought, word and deed, distinguishes the right in man from the wrong, eliminating the latter from his nature. In her left. hand the queen of heaven holds a pair of scales which she uses to weigh everything that enters her sphere. The great question is whether she finds a thing too heavy or too light, accordingly keeping it or letting it fall.
她的右手拿着一把长剑，是从早期的权杖发展而来的。她不再用她的权杖统治，而是用冲突之剑统治。她需要一种武器，用它来不可抗拒地执行她的决定和判断。她经常不得不用她的剑处理掉沉重的问题，就像亚历山大大帝对戈尔迪结所做的那样。同时，这把剑是女王的辨别能力，使她能够将绵羊与山羊分开。剑是正义在权衡了每一个思想、言语和行为之后，区分人是非的辨别力，将后者从他的本性中消除。在她的左边。天后手里拿着一对天平，她用它来称量进入她球体的所有东西。最大的问题是她觉得一件东西太重还是太轻，因此保留它或让它掉下来。

Having attained self-confidence at the level of the conqueror, man must finally, at the level of justice, establish order in his inner being. Until now he has directed his attention outwards and cast the impressions of life, without examining whether they were right or wrong, partly into his inner being, partly into his unconscious, as if into a large vessel. Now he has reached the stage where he must create order in himself. He fetches up memories from his unconscious to his conscious mind, and weighs the smallest impressions to find out whether they deserve to be absorbed or whether they must first be digested. He must create a balance for everything he bears within in order to find the absolute equilibrium in himself. If he discovers painful memories which still hurt him, he must find an explanation to balance out these memories so that he now sees them only as instructive experiences. He can even be pleased about them, because these painful experiences helped him to make great progress. He raises the image of all his friends and foes to his consciousness and tries to find out why he feels friendly towards one and hostile towards another. This kind of inner work can yield strange results. It was often precisely through his enemies rather than through his friends who were perhaps not his real friends at all - that he learned and experienced and became more shrewd, prudent and wise. His enemies did not spare him, they often told him the objective truth to his face. His friends, on the other hand, did not want to hurt him and, purely out of false consideration and love, passed over his obvious mistakes in silence. Yet he will also find that he has had some real, true friends in his life, who also told him his mistakes or errors to his face, but nevertheless always stood by him. He now appreciates these true friends more than ever and will henceforth cherish them in his heart, in his grateful soul.
在征服者层面上获得了自信之后，人最终必须在正义的层面上建立他的内在秩序。直到现在，他一直把注意力向外引向外，把生活的印象投射出去，而不去考察它们是对还是错，一部分进入他的内心，一部分进入他的潜意识，仿佛进入一个大容器。现在他已经到了必须在自己身上创造秩序的阶段。他将记忆从潜意识收集到有意识的头脑中，并权衡最小的印象，以找出它们是否值得被吸收，或者是否必须首先被消化。他必须为他内心的一切创造一个平衡，以便在自己身上找到绝对的平衡。如果他发现了仍然伤害他的痛苦记忆，他必须找到一个解释来平衡这些记忆，这样他现在只把它们看作是有启发性的经历。他甚至可以为他们感到高兴，因为这些痛苦的经历帮助他取得了巨大的进步。他将所有朋友和敌人的形象提升到他的意识中，并试图找出为什么他对一个人感到友好而对另一个人怀有敌意。这种内在的工作会产生奇怪的结果。往往正是通过他的敌人而不是通过他的朋友，这些朋友可能根本不是他真正的朋友——他学习和体验并变得更加精明、谨慎和明智。他的敌人并没有放过他，他们经常当面告诉他客观的真相。另一方面，他的朋友们却不想伤害他，纯粹是出于虚假的考虑和爱，默默地忽略了他明显的错误。 然而，他也会发现，在他的生活中，他有一些真实的朋友，他们也当面告诉他他的错误或错误，但始终站在他身边。他现在比以往任何时候都更加感激这些真正的朋友，并将从今以后在他的心中，在他感恩的灵魂中珍惜他们。

In the course of this work on himself in his inner being, something strange happens to him in the outer world. Previously, at the level of consciousness of tarot card 7 , he was generally admired; many people came to him to ask his advice. Many came to question him about inner, spiritual matters. Many wanted to learn from him. Thus at that time he was like a magnet surrounded by seekers. Now that he has become uncompromising with himself as well as with others, the number of those who ask his advice, who want to hear his truths and learn from him, has significantly decreased. At the seventh level he had not yet learned discretion, nor did he know that one must not freely impart each and every truth to immature men. Thus many people found him hard, devoid of understanding and unfeeling. Instead of prudently keeping silence, he grew less forbearing and stated his views unsparingly. This uncompromising frankness caused a certain estrangement between himself and those who could not fully understand him and the motives for his actions. The more skilled he grew at distinguishing the right from the wrong, the fewer were those who admired him and who were always in agree-
在他的内在对自己进行这项工作的过程中，他在外在世界发生了一些奇怪的事情。以前，在塔罗牌 7 的意识层面，他普遍受到佩服;许多人来找他寻求建议。许多人来问他内在的、属灵的事情。许多人想向他学习。因此，在那个时候，他就像一块磁铁，被寻求者包围着。现在他已经对自己和他人不妥协，向他寻求建议、想听他的真理并向他学习的人数量显着减少。在第七级时，他还没有学会谨慎，他也不知道一个人不能随意地将每一个真理传授给不成熟的人。因此，许多人觉得他很难，没有理解和冷酷无情。他没有谨慎地保持沉默，反而变得不那么宽容了，毫不留情地陈述了自己的观点。这种毫不妥协的坦率在他和那些不能完全理解他和他行为动机的人之间造成了某种隔阂。他越是善于区分是非，那些钦佩他并且总是同意的人就越少——
ment with him. Of his once large circle there remained but a few like-minded friends. In addition to this, he had weighed up everything in himself, recognised and realised his previously unobserved mistakes. That is why he grew more modest and felt less superior to others. Many had misunderstood this : his new modesty, growing out of his objectivity, the very sign of his inner greatness, they exploited in order to criticise and belittle him. Now, however, in his present state of consciousness, recognition by others is no longer as important to him as it used to be. His vanity has dwindled to such an extent that the approval of his inner voice, the voice of his higher Self, has become much more important to him than the acknowledgment and praise of the circle around him. Thus he continues along the chosen path and goes on working in and on himself.
ment 与他在一起。在他曾经的大圈子里，只剩下几个志同道合的朋友。除此之外，他还权衡了自己的一切，认识到并意识到了他以前没有观察到的错误。这就是为什么他变得更加谦虚，觉得自己不如别人优越。许多人误解了这一点：他的新谦逊，源于他的客观性，他内在伟大的标志，他们利用它来批评和贬低他。然而，现在，在他目前的意识状态下，他人的认可对他来说不再像以前那样重要。他的虚荣心已经减少到如此程度，以至于对他来说，对他内心的声音的认可，他的高我的声音，已经变得比他周围圈子的认可和赞美重要得多。因此，他继续沿着选择的道路前进，继续在自己里面和自己身上工作。

Man therefore creates a general order within himself, tries to weigh up everything correctly and to perceive the true value of his experiences. He proceeds systematically and with method, and out of the chaos which formerly prevailed in him he establishes a divine order. He registers all his experiences up to the present time and allots to each of them its proper place according to its true weight in his inner being. All that he has ever done or left undone he subjects to a merciless reckoning. And he realises that he should have done many things he did not do, and should not have done many things he did do. He continues to weigh things up: ‘That was the right thing to do, but I should not have done that.’ He makes an irrevocable decision: ‘Next time I shall do everything much, much better! May God grant me the opportunity to do so!’
因此，人类在自己内部创造了一个普遍的秩序，试图正确地权衡一切，并感知他经验的真正价值。他系统地、有方法地进行，从以前盛行的混乱中，他建立了一个神圣的秩序。他记录了他迄今为止的所有经历，并根据它们在他内心的真正重量为每一次经历分配了适当的位置。他曾经做过或没有做过的一切，都会受到无情的清算。他意识到他应该做很多他没有做的事，也不应该做很多他做过的事情。他继续权衡事情：“这是正确的做法，但我不应该那样做。他做出了一个不可逆转的决定：'下次我要把所有事情都做得更好、更好！愿上帝赐予我这样做的机会！

Tarot card 8 carries the number 8 and the letter cheth.
塔罗牌 8 带有数字 8 和字母 cheth。
The number 8 is the self-reflecting and thereby self-duplicating divine circle, the symbol of the eternal spirit. If we place the circle on a mirror, we see the number 8 . The spirit, the only absolute reality, is reflected in the material world of visions. It manifests itself in the material, subjectively real, and therefore transient, world. In Creation this process is without beginning or end, it is endless, and for that reason mathematicians have chosen this sign as the symbol of infinity. They draw it in a horizontal position so that we know it is not an ordinary 8 . Just as the 8 runs on in itself from one circle over into another and in the same direction into infinity, so man circles out of his unconscious into consciousness, bringing out of the former into the latter long-since-forgotten and possibly repressed experiences. He weighs up the retrieved experiences, registers and judges them, until, out of the chaos, he has created order in his inner being. He learns that everything he apparently experiences in the external world, thus his entire fate, does not come from outside but exists within himself. If he does not like his fate, then he must change himself. Fate will then let him experience those things he will like.
数字 8 是自我反省并因此自我复制的神圣圆圈，是永恒精神的象征。如果我们把圆圈放在镜子上，我们会看到数字 8 .精神，唯一的绝对现实，反映在视觉的物质世界中。它表现在物质的、主观真实的、因此是短暂的世界中。在创造中，这个过程没有开始也没有结束，它是无止境的，因此数学家选择这个符号作为无限的象征。他们将其绘制在水平位置，以便我们知道它不是普通的 8 .正如 8 本身从一个圆圈运行到另一个圆圈，并朝着同一个方向运行到无限一样，人也从他的潜意识中循环到意识中，将前者带入后者，这些体验早已被遗忘且可能被压抑。他权衡这些被取回的经验，记录和评判它们，直到在混乱中，他在自己的内心创造了秩序。他了解到，他在外部世界中显然所经历的一切，也就是他的整个命运，都不是来自外部，而是存在于他自己内部。如果他不喜欢自己的命运，那么他必须改变自己。然后命运会让他体验那些他会喜欢的事物。

In Greek mythology we are told the beautiful story of Narcissus. He caught sight of himself in the reflecting water and since he did not know that he himself was this beautiful image, he returned time and again to the water to look at the handsome stranger. Thus it is with man and his fate in the external world. He does not know that it is only a reflection of his Self, of his spirit. Therefore: the number 8 is the reflection of the eternal spirit in the world of visions, in the imaginary world, in the material world.
在希腊神话中，我们被讲述着水仙的美丽故事。他在倒影中看到了自己，因为他不知道自己就是这个美丽的形象，他一次又一次地回到水边，看看这个英俊的陌生人。人及其在外部世界中的命运也是如此。他不知道这只是他的自我、他的精神的反映。所以：数字 8 是永恒精神在幻象世界、想象世界、物质世界的反映。

In the Cabbala, the letter Cheth corresponds to the eighth sefirah: Hod means praise and splendour.
在卡巴拉中，字母 Cheth 对应于第八个 sefirah：Hod 的意思是赞美和辉煌。

Letter: 0 TETH 字母： 0 TETH

Having created inner order out of the chaos and arranged all the real and false values in his inner being in their proper order, man withdraws from the ‘fata morgana’ of this world and becomes a recluse. However, this does not indicate by any means that at this level of consciousness he actually withdraws to a lonely cave. The picture is merely a symbolic representation of his inner state, but not of his outward appearance in the world of visions. He continues to fulfil his duties at work and in everyday life, to wear conventional clothes and to behave as his fellow-men behave.
在从混乱中创造了内在秩序，并将他内在的所有真实和虚假的价值按照适当的顺序排列后，人类退出了这个世界的“fata morgana”，成为一个隐士。然而，这绝不表明在这个意识水平上，他实际上退缩到一个孤独的洞穴中。这幅画只是他内心状态的象征性表现，而不是他在幻象世界中的外表。他继续在工作和日常生活中履行自己的职责，穿着传统的衣服，并像他的同胞一样行事。

In the picture we see a man who, with his white beard and moustache, shows that he has finished with all outward appearances and above all has completely renounced vanity.
在照片中，我们看到一个留着白胡子和小胡子的男人，表明他已经完成了所有外表，最重要的是已经完全放弃了虚荣心。

To those who behold him only from the outside, the hermit shows his dark grey cloak which, when he uses the hood, covers even his head. This cloak, however, is lined in a beautiful azure blue. This reveals that underneath the colourless manifestation and his drab outward appearance, he has a very deep, true belief in God. Under the cloak he wears an orangecoloured robe. Orange results from mixing red and yellow, spirituality and intelligence, which together constitute divine wisdom. In his inmost being there no longer exists any earthly quality; he has grown wise and all feelings of sympathy or antipathy, love or aversion, are dominated by his divine wisdom.
对于那些只从外面看到他的人来说，隐士展示了他的深灰色斗篷，当他使用兜帽时，这件斗篷甚至遮住了他的头。然而，这件斗篷衬有美丽的蔚蓝色。这揭示了在无色的显现和他单调的外表下，他对上帝有着非常深刻、真实的信仰。斗篷下，他穿着一件橙色的长袍。橙色是红色和黄色、灵性和智慧混合的结果，它们共同构成了神圣的智慧。在他的最深处，不再存在任何尘世的品质;他变得聪明了，所有的同情或厌恶、爱或厌恶的情感都被他的神圣智慧所支配。

In his left hand he holds a stick; it is not a magic wand with which he could work miracles, nor is it a sceptre, symbol of rulership, nor a sword, symbol of courage and the power of discrimination; it is a simple walking-stick which helps him to make progress.
他的左手拿着一根棍子;它不是他可以创造奇迹的魔杖，也不是权杖，统治的象征，也不是剑，勇气和辨别力的象征;这是一根简单的手杖，可以帮助他取得进步。

In his right hand he holds aloft a simple lantern. It is nothing other than the light of his intellect with which he illumines his path in the darkness in order not to lose his way. He holds the lantern in such a manner that he alone sees its light. He hides the small lamp from the eyes of others with his loose cloak. Formerly, he passed on all the fresh insights and truths he had found himself to other seekers. He slowly began to realize, however, that few people understood him and that it was best if he kept his newly discovered truths for himself. Therefore he no longer freely shows the light of his intellect and knowledge to other people, only to his intimate friends. He has learned to keep silence!
他的右手高举着一盏简单的灯笼。这无非是他智慧的光芒，他在黑暗中照亮了他的道路，以免迷失方向。他拿着灯笼的方式，只有他才能看到灯笼的光芒。他用宽松的斗篷把小灯藏起来，不让别人看到。以前，他将自己找到的所有新鲜见解和真理传递给其他寻求者。然而，他慢慢开始意识到，很少有人理解他，最好把新发现的真理留给自己。因此，他不再自由地向其他人展示他的智慧和知识之光，只向他的亲密朋友展示。他已经学会了保持沉默！

Before him, on the ground, we see a strange creature, a small monster. It is red in colour and thus denotes a spiritual manifestation. It symbolises man’s healthy instincts which act from his unconscious and with the help of his reason lead him unerringly to the right path. These instincts cause the strange ‘coincidences’ in his life which invariably indicate exactly the direction he should take, the people he should trust or distrust and with whom he should associate only with the greatest caution, if he must associate with shady characters at all. This small monster, his healthy instincts, will always put into his hands just the right books where he may find the truths to guide him to maturity; it will also enable him to hear the voice of God through the tongues of man. This small monster saves him a great deal of unnecessary wandering about and unerringly leads him ever closer to the great goal. One day he also recognises himself in this creature, in his own instincts.
在他面前，在地上，我们看到了一个奇怪的生物，一个小怪物。它是红色的，因此表示精神表现。它象征着人的健康本能，这些本能从他的潜意识中行动，并在他的理性的帮助下，将他无误地引导他走向正确的道路。这些直觉在他的生活中造成了奇怪的“巧合”，这些巧合总是准确地表明他应该走的方向，他应该信任或不信任的人，如果他必须与阴暗的人物交往，他应该非常谨慎地与他们交往。这个小怪物，他健康的本能，总是会把恰到好处的书放在他手里，在那里他可以找到真理来引导他走向成熟;它也将使他能够通过人的舌头听到上帝的声音。这个小怪物为他省去了大量不必要的流浪，并无误地引导他越来越接近伟大的目标。有一天，他也在这个生物中，在他自己的直觉中认出了自己。

When man has reached this level of consciousness, he suddenly feels the urge to leave everything and to go away. He has perceived that the value of the affairs of this world lies only in what he may learn from them. Yet once he knows the goal we have ultimately to attain, why should he then still continue to participate in the affairs of this world? His professional work no longer offers him satisfaction, indeed it suddenly appears to him futile and useless. Why then go on? He already knows that family relationships and ties of friendship are transient and last only as long as he remains in this world.
当人达到这个意识水平时，他突然感到一种冲动，想离开一切，离开。他已经意识到，这个世界事务的价值只在于他可以从中学到什么。然而，一旦他知道我们最终要达到的目标，为什么他还要继续参与这个世界的事务呢？他的专业工作不再能给他带来满足感，事实上，它突然在他看来是徒劳和无用的。那为什么还要继续呢？他已经知道，家庭关系和友谊纽带是短暂的，只有在他还在这个世界上的时候才会持续下去。

When the time comes for him to leave earthly things behind, he takes with him only that which is eternal. All things pass, only one thing remains: true spiritual togetherness and love. But that, too, he can take with him even if, while still in this life, he leaves everything behind and goes away. He finds everything here a burden, he does not want to waste any more time, he would like to live only for the essence of life and to work only in and on himself, in order to experience unity with GOD. In other words he would like to go away! - Yes! But where? - To Tibet - or now that Tibet is out of the question for this purpose, to India, or Athos, the legendary Greek monastery? Deep down inside he is seized by an irresistible longing to be free, free from all that ties and enslaves him. And he already begins secretly to make plans. He tries to imagine what it will be like if he goes away - leaves here and arrives but where? - It is so easy to imagine leaving, but that implies at the same time that one must also arrive somewhere! And where will that be, where will he arrive and how? A monastery? - Will he be able to be free there? - No! There he will really have to obey blindly, even more than before, and what is more, he may have one or more superiors who belong to another world, who are total strangers to him and completely unable to understand him. He has to keep company with people he does not like and who may have highly unpleasant habits. And he must keep quiet and obey, whether he likes it or not.
当他抛弃尘世事物的时候到了，他只带走永恒的东西。一切都过去了，只剩下一样东西：真正的精神团结和爱。但是，即使他还在今生，他抛下一切离开了，他也可以带走。他发现这里的一切都是负担，他不想再浪费任何时间，他只想为生命的本质而活，只在自己里面和自己身上工作，以体验与上帝的合一。换句话说，他想走！-是的！但在哪里呢？- 到西藏 - 或者现在西藏已经不可能了，去印度，或者去阿托斯，传说中的希腊修道院？在内心深处，他被一种无法抗拒的渴望所吸引，渴望获得自由，摆脱所有束缚和奴役他的东西。他已经开始偷偷制定计划。他试图想象如果他离开会是什么样子——离开这里，到达哪里？- 想象离开是如此容易，但同时这意味着一个人也必须到达某个地方！那会在哪里，他会到达哪里，如何到达？修道院？- 他在那里能自由吗？-不！在那里，他真的不得不盲目地服从，甚至比以前更加服从，而且，他可能有一个或多个属于另一个世界的上级，他们对他来说完全陌生，完全无法理解他。他必须与他不喜欢的人相伴，这些人可能有非常不愉快的习惯。他必须保持沉默和服从，无论他喜欢与否。
If he does not enter a monastery, but behaves like the Indians who lead a nomadic existence or retreat to a cave, what then? - What will he eat, for eat he must. Will he go begging? No, definitely not! He could, however, work somewhere, make himself useful, perhaps with lepers? He certainly could, and indeed many try it, but many more know in advance what he already knows too, namely, that out there in Asia he will be even more enslaved than before. He would have still less chance of living for what he would like to live for, than if he were simply to stay at home where the milkman comes every day and his home exudes the warmth of central heating. And if furthermore he has a family, yet still goes away, he will have such a guilty conscience about these loved ones that he will never be able to forgive himself. How then could he feel free? Therefore, the very best thing will be if he stays at home and, instead of tending lepers, adopts the same attitude of selfsacrifice which would have been necessary for that task, continuing to fulfil his own duties at work with full concentration and devotion. And thus man arrives at the truth that this ‘going away’ which he sought, should take place not in the external world, but in himself. He wants to and must escape from himself, from his own inner perspective and inner enslavement. He is not enslaved by other people, but by himself. For if he feels enslaved here, he will take this feeling wherever he may go. If, however, he feels free in the midst of his family and at work, then he will take this freedom wherever he may go. What is the point then in going away? He knows that there have been many people who actually did ‘go away’, who really lived in a Tibetan or Indian monastery or with a great master. Yet they found exactly the same truths in those places as they can find here, in their present surroundings, if only they are ready for them. God leads men on different paths, but on each of these individual paths we all attain exactly the same great goal: GOD!
如果他不进入修道院，而是像印度人一样过着游牧生活或隐居到山洞里，那怎么办？- 他要吃什么，因为他必须吃。他会去乞讨吗？不，绝对不是！然而，他可以在某个地方工作，使自己有用，也许对麻风病人有用？他当然可以，而且确实有很多人尝试过，但更多的人事先也知道他已经知道的事情，即在亚洲，他将比以前受到更多的奴役。他为他想活的东西而活的机会，比起他只是呆在家里，那里每天都有挤奶工来，他的家里散发着中央供暖的温暖，他的机会就更小了。如果他有家庭，但仍然离开，他对这些所爱的人会有如此的内疚，以至于他永远无法原谅自己。那么他怎么会感到自由呢？因此，最好的办法是他呆在家里，而不是照顾麻风病人，采取同样的自我牺牲的态度，继续以全神贯注和奉献的精神完成自己的工作职责。因此，人得出了这样一个真理，即他所寻求的这种“离开”不应该发生在外部世界，而应该发生在他自己身上。他想而且必须逃离自己，逃离自己的内在视角和内心的奴役。他不是被别人奴役的，而是被他自己奴役的。因为如果他在这里感到被奴役，他就会带着这种感觉去任何地方。然而，如果他在家庭和工作中感到自由，那么无论他走到哪里，他都会带着这种自由。那么离开有什么意义呢？他知道有很多人真的 “离开了” ，他们真的住在藏人或印度的寺院里，或者与一位伟大的大师一起生活。 然而，他们在那些地方找到了与他们在这里、在他们现在的环境中所能找到的完全相同的真理，只要他们准备好了。上帝带领人们走上不同的道路，但在这些单独的道路上，我们都达到了完全相同的伟大目标：上帝！

We see, therefore, that it is the destiny of such a man, as yet, not to walk away from everything. Thus he remains
因此，我们看到，到目前为止，这样一个人的命运是不能离开一切。因此，他仍然存在
where he is and tries inwardly to break away from his surroundings and his personal world and to obtain inner liberation.
他在哪里，并试图向内脱离周围的环境和个人世界，获得内心的解放。

And his dress? - Oh! How he has longed to be free of fashion, from vain outward appearances! For he realises that what we wear is of no importance. One can be a hermit and yet wear the same clothes as other people. In a monastery, too, one has to wear the regulation clothes like the other monks therefore also conform to ‘fashion’! And what about the Indians who do not live in a monastery? - We can be free of all these things, whether wearing European dress or wandering down a main road in India clad in rags, if we are inwardly free from them. For instance, if a young woman is a true nun in her being, she can even attend balls in a low-necked evening dress yet be a true recluse, because she is so in herself. And likewise a man can dress fashionably, join in the laughter of others and yet be a true monk in himself.
他的衣服呢？-哦！他多么渴望摆脱时尚，摆脱虚荣的外表！因为他意识到我们穿什么并不重要。一个人可以是一个隐士，但穿着和其他人一样的衣服。在修道院里，也必须像其他僧侣一样穿着规定的衣服，因此也符合“时尚”！那些不住在修道院里的印度人呢？- 如果我们内心摆脱了所有这些东西，无论是穿着欧洲服装还是衣衫褴褛地在印度的主干道上徘徊，我们都可以摆脱它们。例如，如果一位年轻女性在她的生命中是一个真正的修女，她甚至可以穿着低领晚礼服参加舞会，但又是一个真正的隐士，因为她自己就是这样。同样，一个人可以穿着时髦，加入别人的笑声，但自己却是一个真正的僧侣。

At this level of consciousness man therefore withdraws into himself, continues to work on himself and tries to break away and find release from everything. He renounces the importance of his person, he renounces ambition and no longer seeks to draw attention to himself in the external world or to get ahead in his profession; or at least he does not make it any kind of end in itself. As man or woman he tries to perform his tasks as he would have done in the place he wanted to visit in his imagination. Now he does not work for himself, but for the sake of work. In the course of this he experiences unsuspected and unhoped-for new joys. Work begins to become an end in itself for him. He works no longer to earn success and praise or to make a lot of money, but in order to achieve perfection.
因此，在这个意识层次上，人会退缩到自己里面，继续为自己努力，并试图从一切事物中解脱出来。他放弃了他个人的重要性，他放弃了野心，不再寻求在外部世界引起人们对自己的关注或在他的职业上出人头地;或者至少他没有把它本身作为任何目的。作为男人或女人，他试图完成他的任务，就像他在想象中想去的地方所做的那样。现在他不是为自己工作，而是为了工作。在这个过程中，他体验到了意想不到和意想不到的新快乐。工作本身开始成为他的目的。他工作不再是为了赢得成功和赞美，也不是为了赚很多钱，而是为了达到完美。

Meanwhile, he completely forgets himself and all his troubles; in concentrating on his work he forgets all the disappointments of his life and all that has hurt him in the past. He discovers that he has become free through nothing other than work alone, and he experiences great self-transcending joys. Now he understands why Asian as well as European monks and nuns have to work in their communities. In the garden, in the kitchen or in the library, they have to work for the sake of work, in order to become free through work. But we can do that at home, too; we do not need to leave our family and friends for that.
与此同时，他完全忘记了自己和他所有的烦恼;在专注于工作时，他忘记了生活中的所有失望和过去伤害过他的一切。他发现他除了独自工作之外，什么都没有获得自由，他体验到了巨大的自我超越的快乐。现在他明白了为什么亚洲和欧洲的僧侣和尼姑必须在他们的社区工作。在花园里，在厨房里，或者在图书馆里，他们必须为了工作而工作，才能通过工作获得自由。但我们也可以在家里这样做;我们不需要为此离开我们的家人和朋友。

The ninth tarot card carries the number 9 and the letter TETH.
第九张塔罗牌带有数字 9 和字母 TETH。
In numerology the meaning of the number 9 is absolute passivity. Thus the hermit is also completely passive within himself. He has become totally detached and does not participate in worldly activities. If he performs his everyday duties at this level of consciousness, his motives are utterly unselfish.
在命理学中，数字 9 的含义是绝对被动。因此，隐士在他自己内部也是完全被动的。他变得完全超然，不参与世俗活动。如果他在这个意识层次上履行他的日常职责，他的动机是完全无私的。

The number 9 has several strange qualities. For instance, if we add it to another number, whether high or low, this will not change the sum of the digits. Let us take as our first example the low number 17. The sum of the digits is 8 . If we add 9 to 17 the result is 26 . Again, the sum of the digits is 8 . Now let us take the higher number 435 . The sum of the digits is 12 , by numerological reduction, 3 . If we now add 9 to 435 , the result is 444 . The sum of the digits is again 12 and 3 respectively. If we add any number to the number 9 , the sum of the digits always remains constant. The number 9 shows another strange characteristic if we conduct the following experiment: make a vertical list of the numbers from 0 to 9 . Now list the same sequence of numbers in reverse and put the two rows together:
数字 9 有几个奇怪的品质。例如，如果我们将它添加到另一个数字，无论是高还是低，这都不会改变数字之和。让我们以低数 17 作为我们的第一个例子。位数之和为 8 。如果我们将 9 与 17 相加，则结果是 26 。同样，数字之和是 8 。现在让我们取更高的数字 435 .数字之和为 12 ，按命理简化为 3 。如果我们现在将 9 与 435 相加，则结果是 444 。数字之和又分别是 12 和 3。如果我们在数字 9 上添加任何数字，则数字之和始终保持不变。如果我们进行以下实验，数字 9 显示了另一个奇怪的特征： 制作一个从 0 到 9 的数字的垂直列表。现在反向列出相同的数字序列并将两行放在一起：

What have we obtained? The result of the multiplication of the number 9 from one to ten. And if we add these numbers together the sum of the digits is invariably the number 9 :
我们获得了什么？数字 9 从 1 乘以 10 的结果。如果我们把这些数字加在一起，数字之和总是数字 9 ：

And yet another highly interesting quality of this number: make a vertical list of numbers starting each time with I and add the next number in each consecutive row. If we multiply these numbers by 9 and add the numbers from $\mathbf{I}$$\mathbf{I}$I\mathbf{I} to 10 to each sequence, we obtain the following strange results:
这个数字的另一个非常有趣的特性是：制作一个垂直的数字列表，每次以 I 开头，并在每个连续的行中添加下一个数字。如果我们将这些数字乘以 9 并将从 $\mathbf{I}$$\mathbf{I}$I\mathbf{I} 10 的数字添加到每个序列中，我们会得到以下奇怪的结果：