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    Tarot for Romeo and Juliet: Reflections on Relationships
    Tarot for Romeo and Juliet: Reflections on Relationships
    Tarot for Romeo and Juliet: Reflections on Relationships
    Ebook140 pages2 hours

    Tarot for Romeo and Juliet: Reflections on Relationships

    By Elias

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    About this ebook

    This book is about the tension between how singular the manifestation of love is and what we assume, often wrongly, about the idea of togetherness. To know the difference means to know the heart of the other. To know the heart of man is, in fact, the highest, sages and artists tell us. But who has this gift? Lovers do. Lovers share a passion tha

    LanguageEnglish
    PublisherEyeCorner Press
    Release dateDec 3, 2021
    ISBN9788792633835
    Tarot for Romeo and Juliet: Reflections on Relationships

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      Book preview

      Tarot for Romeo and Juliet - Elias

      Tarot for Romeo and Juliet

      Tarot for Romeo and Juliet:

      Ref lections on Relationships

      © Camelia Elias 2021. Published by EyeCorner Press 2021. Denmark. Designed & typeset by Camelia Elias. Set in Fabiol and Rialto. Images: Carolus Zoya Marseille Tarot, ca. 1680 © Camelia Elias.

      This book is published in three editions: a hardback edition limited to 193 copies bound in red silk, stamped in gold and gilt edges, red ribbon and mother of pearl, rosa end papers; signed by the author; printed and bound by Narayana Press on Munken Pure Rough 150 gsm paper; and two unlimited paperback and ebook editions.

      PAPERBACK ISBN: 978-87-92633-81-1

      EBOOK ISBN: 978-87-92633-83-5

      All rights reserved. No part of this book may be reproduced in any form, without written permission from the publisher and the copyright holder.

      www.eyecorner.press

      For the woman who knows the heart of man

      Contents

      Counterpoint

      Under the balcony

      Punctuation sheet

      The assurance of love

      In love and war

      Two cures for love

      Romeo wants a drive

      Juliet’s armor

      November

      Juliet is 53

      Conquest of the useless

      The heart of man

      Thinking with Demons

      Return to passion

      Hard rain

      The cognac magician

      The eleventh gate

      Thresholds

      Satisfaction

      The Knights Templar

      All that is more

      Death on wheels

      Redemption

      ‘Give me my Romeo’

      References

      Acknowledgments

      THE END AND THE MEANS (To desire something passionately means suppressing the heat of any other desire, means fusing all your desires into one, possessing nothing in order to claim everything at once. The most deprived have the maddest desires. Emptiness aspires to be filled. Wanting to be the poorest for love in order to be one day – who knows? – the most fortunate…)

      – EDMOND JABÈS

      Counterpoint

      ‘I’m ready to be happily married,’ Romeo says to his second Juliet, the first one having left him in counterpoint with time.

      ‘Enter my world,’ the second Juliet says, unaware of the rebound in counterpoint with love.

      The cure for love is a greater love. This, every musical fugue knows, but if the second Juliet is illiterate she will not know that what she’s about to receive is not Romeo’s devotion but his death.

      It is hysterical to think – also a contrapuntal state – that the only thing that can make this union work is watching vampire movies on a big screen.

      The lovers at odds can dream of resurrection, while the first Juliet haunts their time beyond impalement. The greater love already happened, with her, in the first summoning of the night.

      Under the balcony

      HEARTS ON FIRE. F IRST HIM, THEN her. Romeo is under Juliet’s balcony, talking about the moon that can’t compare to the beloved. He is inflamed by visuals. She, by names. Romeo is her lover, but his name is her enemy. ‘Call me but love, and I’ll be new baptized’ (Act 2 Sc. 2), he declares, after Juliet waxes philosophical on the nature of words. He envisions himself as the embodiment of the glove on her hand. What does it matter what such a glove is called? But Juliet knows better. You can’t be messing with the names that seal your fate. Juliet knows the heart of man. The man knows love. What’s the difference? I haven’t seen others putting it quite this way, but I venture to say that, after some 400 years of Shakespeare analysis, this immortal drama about lovers who can’t have one another is about knowing the difference between love and knowledge of hearts. Contemporary filmmaker and script writer Werner Herzog has repeatedly said that you can’t be a master at your craft, unless you know the heart of man. But how do you do that? While Herzog hardly elaborates on what he means, if you pay attention to what else he says in the course of a sermon on filmmaking, you’ll catch other phrases that give you an indication. In one of his public interviews he once mentioned that knowing the heart of man has to do with ‘knowing the epicenter of their fears.’ Fair enough. Although still on the intangible side, fear is more graspable than an unprocessed knowledge about it, as fear occurs on an intuitive plane prompted by projections. As with any projection, we’re with a visual text, so to speak, as we can’t fear anything unless our imagination kicks in, molded also by dramatic language and a particular set of words that conjures a mood. When we fear, we’re with mood and atmosphere, rather than time and existential philosophy. What we want to know is not when we meet the monsters, but rather how we slay them in the fog.

      If you read Shakespeare’s play carefully, you’ll notice that the way in which he sets up the drama relies very much on contrasting mood with time, or rather the contrapuntal in time against the background of weather. The protagonists can be in the mood for something, but if the weather forecast is bad, you can be sure that the tempest wins if the prediction is correct. In this sense we might call what Shakespeare does meteorology, or taking the temperature of how hot or cold the heart is when it faces vicissitudes. It’s one thing to be passionate about what summer promises, and another to live through drought. The mood for love can quickly turn into a walk in the desert, the fata morgana illusion becoming Dracula’s bride. When Romeo and Juliet have their famous discourse under the balcony, what we instantly note is how each lover perceives the weather in their hearts. While Juliet’s speech is about tactics towards avoiding the clashing winds between the Mon-tagues and the Capulets, the two rivaling families, Romeo is less concerned. He is not into philosophizing. He is a man of action. He will happily renounce his name, if that is what the mistress of his heart wants. But is this a question about what the woman wants, to change the names as one would change the color of a power-point when the lecture goes stale and the audience is not paying attention any more? Changing the costume works for the uneducated audience, but what is underneath the cloth when validating the audience is not the aim?

      I love it when Juliet insists on taking the temperature of language, with the barometer always showing preferment for the dominant. Thus she asks, waiting for an argument:

      My ears have not yet drunk a hundred words

      Of that tongue’s utterance, yet I know the sound:

      Art thou not Romeo, and a Montague? (2.2)

      But none is given. No argument, as Romeo is an optimist:

      Neither, fair saint, if either thee dislike. (2. 2)

      The reader wants to blurt at him: ‘what’s wrong with you, man? Have you lost your mind? What has this woman’s justified fear to do with likes and dislikes?’ Juliet fears the wrath of her family and Romeo’s family if they learned about this love, simply because she is better at reading the atmosphere between them. Why can’t he? Enter Herzog, our modern day Shakespeare, giving us Isabelle Adjani and Klaus Kinski in the roles of Lucy and Count Dracula in the cult film Nosferatu from 1979. We’re with Romeo and Juliet again, yet cast in deconstructed characters compared to what I’m talking about in the old Shakespearean context. ‘Enter my world,’ the vampire Romeo says to her, ‘and your lover won’t die.’ Juliet/Lucy/ Isabelle gives in and receives Dracula’s death that is also her death, so that the other Romeo/Jonathan/Ganz can once more ride into the sunset in search of Juliet number two, or another number that gets to be multiplied all according to what the weather prescribes. In Herzog’s film it’s clear that this Juliet also knows the heart of man, the sublime occurring exactly at the moment when we notice a crossing of aims. Romeo in his thoughtful incarnation as Count Dracula is exactly on the same page as Juliet, the Luc(y)ferian light, insofar as they both know exactly what the deal with love is. The proper words then lead to the proper touch, and they die happily ever after.

      Now, what has this got to do with the book you’re reading? Everything and nothing. But consider the following. In the classic fortunetelling tradition there’s no greater question than this one: ‘does he love me?’ I like this question, as there’s no end to what it can disclose at the level of how we know the heart of man. When it comes to suffering from a heartache, both men and women experience the same intensity. We go from high enthusiasm under the balcony to fear and trembling that if it’s good, the love, then it’s too good to be true. It gets even more interesting when a third party is involved. The drama of rivalry and jealousy, possession and the burning secret that screams to get out are unmatched. As a fortuneteller you simply don’t get the same excitement when all you have to address is a question about money, or how to deal with an imbecile boss.

      In a contest between questions about love, work, money, and health, love runs with the medal. Relationship wins. Although the other type of common questions can be said to be equally as much about relationship (with your finances, colleagues, or your own physical and mental state), the love question has higher stakes, as you always run the risk of encountering your own naked heart when you pose it. This is dangerous business. It may explain why, actually, it is more common than uncommon to answer questions about situations when the heart is only temporarily engaged, with commitments broken into half and even smaller measures. One may be committed to one’s craft, wholeheartedly, but how often do we get to know the true heart at work, when the investment has a distant nature, being devoid of emotional intimacy? Not all are Pygmalion, in love with their own creation, the sculpted body of a goddess that deserves life through passionate kissing.

      I don’t get many questions about love these days, and I lament this situation. As a fortuneteller, I would prefer to see that we

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