Fortuna’s identity as personification of chance events was closely tied to virtus (strength of character). Public officials who lacked virtues invited ill-fortune on themselves and Rome: Sallust uses the infamous Catiline as illustration – "Truly, when in the place of work, idleness, in place of the spirit of measure and equity, caprice and pride invade, fortune is changed just as with morality…"Fortuna (Latin: Fortūna, equivalent to the Greek goddess Tyche) was the goddess of fortune and personification of luck in Roman religion. She might bring good or bad luck: she could be represented as veiled and blind, as in modern depictions of Lady Justice, and came to represent life’s capriciousness. She was also a goddess of fate: as Atrox Fortuna, she claimed the young lives of the princeps Augustus’ grandsons Gaius and Lucius, prospective heirs to the Empire. Fortune, in the guise of a standing woman, wavering on a sphere or carried on the waves by a conch equipped with a sail, is the symbol of a mysterious power, supposed to fix the fate of human beings. At the age when a Name, offering us an image of the unknowable which we have poured into its mould, while at the same moment it connotes for us also an existing place, forces us accordingly to identify one with the other to such a point that we set out to seek in a city for a soul which it cannot embody but which we have no longer the power to expel from the sound of its name, it is not only to towns and rivers that names give an individuality, as do allegorical paintings, it is not only the physical universe which they pattern with differences, people with marvels, there is the social universe also; and so every historic house, in town or country, has its lady or its fairy, as every forest has its spirit, as there is a nymph for every stream. Sometimes, hidden in the heart of its name, the fairy is transformed to suit the life of our imagination by which she live In Rome, she is honored at the Fortunalia on the eve Of the summer solstice. It is important, in fact, to put on the side of this dangerous divinity, which dispenses its fates at random. It is opposed to vertuous, firmly planted on a square base, symbol of stability. Representation of Fortune on a marine conch alludes to the uncertainties of navigation.Its main attributes are the cornucopia, and above all the wheel, a symbol of destiny, which sometimes elevates and lowers men, whatever their merits and merits, to which are added various attributes in connection with its many aspects: The polos (sphere, symbol of universality.The earth, obedient, opened wide, and by a dark descent, where there was every need of a guide as brilliant as Love, the queen reached Hades. She dreaded meeting her husband in the form of a serpent; but Love, who some times busies himself in doing kindnesses to those who are unfortunate, had foreseen everything, and had already commanded Green Serpent to become what he was before his penance. However great was Magotine’s power, she could do nothing against Love. So the first thing the queen found was her husband, and she had never seen him under so handsome a form; he, likewise, had never seen her so beautiful as she had become: however a presentiment, and perhaps Love, who was with them, helped them to divine who they were. The queen at once said to him with exquisite tenderness.Fortuna’s Roman cult was variously attributed to Servius Tullius – whose exceptional good fortune suggested their sexual intimacy – and to Ancus Marcius. The two earliest temples mentioned in Roman Calendars were outside the city, on the right bank of the Tiber (in Italian Trastevere). The first temple dedicated to Fortuna was attributed to the Etruscan Servius Tullius, while the second is known to have been built in 293 BC as the fulfilment of a Roman promise made during later Etruscan wars. The date of dedication of her temples was 24 June, or Midsummer’s Day, when celebrants from Rome annually floated to the temples downstream from the city. After undisclosed rituals they then rowed back, garlanded and inebriated.Also Fortuna had a temple at the Forum Boarium. Here Fortuna was twinned with the cult of Mater Matuta (the goddesses shared a festival on 11 June), and the paired temples have been revealed in the excavation beside the church of Sant’Omobono: the cults are indeed archaic in date. Fortuna Primigenia of Praeneste was adopted by Romans at the end of 3rd century BC in an important cult of Fortuna Publica Populi Romani (the Official Good Luck of the Roman People) on the Quirinalis outside the Porta Collina. No temple at Rome, however, rivalled the magnificence of the Praenestine sanctuary.An oracle at the Temple of Fortuna Primigena in Praeneste used a form of divination in which a small boy picked out one of various futures that were written on oak rods. Cults to Fortuna in her many forms are attested throughout the Roman world. Dedications have been found to Fortuna Dubia (doubtful fortune), Fortuna Brevis (fickle or wayward fortune) and Fortuna Mala (bad fortune).She is found in a variety of domestic and personal contexts. During the early Empire, an amulet from the House of Menander in Pompeii links her to the Egyptian goddess Isis, as Isis-Fortuna. She is functionally related to the god Bonus Eventus, who is often represented as her counterpart: both appear on amulets and intaglio engraved gems across the Roman world. In the context of the early republican period account of Coriolanus, in around 488 BC the Roman senate dedicated a temple to Fortuna on account of the services of the matrons of Rome in saving the city from destruction. Her name seems to derive from Vortumna (she who revolves the year.The earliest reference to the Wheel of Fortune, emblematic of the endless changes in life between prosperity and disaster, is from 55 BC. In Seneca’s tragedy Agamemnon, a chorus addresses Fortuna in terms that would remain almost proverbial, and in a high heroic ranting mode that Renaissance writers would emulate:“O Fortune, who dost bestow the throne’s high boon with mocking hand, in dangerous and doubtful state thou settest the too exalted.Headband The headband, which can either bandage the eyes or girdle the forehead, is a symbol of power and blindness. The ambiguous symbolism of blindness The blindfold that hides the eyes and hinders sight is a blind symbol of blindness, but not only in a negative sense. The stances of blindfolded women in front of the courts are legion in the West. This is the re-presentation of the Greek goddess Themis Justicia in the Romans.) In antiquity, the goddess is Its chief attributes are the cornucopia, and above all the wheel, a symbol of fate, which sometimes elevates and lowers men, whatever their merits and demerits, to which are added various attri- Relationship with its multiple. Its main attributes are the cornucopia, and above all the wheel, a symbol of destiny, which sometimes elevates and lowers men, whatever their merits and merits, to which are added various attributes in connection with its many aspects: The polos (sphere, symbol of universality).BANNERY yet not carved blindfolded eyes and it seems that this attribute dates back to the sixteenth century. Justicia blindfolded to demonstrate his ability to mediate impartially without being influenced by the senses. The law becomes abstract and universal, whatever the person judged Eros (Cupid in Latin) is often represented blindfolded. But this representation would in fact be tar dive. In the sixteenth century, the idea of Cupid blind is common. Shakespeare writes in the Midsummer Night Dream "Love is not seen with the eyes but with the mind, so the winged Cupid is painted blindly." At the end of the Middle Ages the goddess For tuna often described as Caca, blinded by the Latin authors, was represented blindfolded, indifferent to the fate of individuals and to the distribution of happiness, turning its wheel It is also in the Middle Ages that we owe the representation of the Synagogue The Synagogue is depicted by the statue of a woman, a fallen queen with blindfolds, holding a banner with a broken stick, while the victorious Church triumphs. Never have sceptres obtained calm peace or certain tenure; care on care weighs them down, and ever do fresh storms vex their souls. … great kingdoms sink of their own weight, and Fortune gives way ‘neath the burden of herself. Sails swollen with favouring breezes fear blasts too strongly theirs; the tower which rears its head to the very clouds is beaten by rainy Auster. … Whatever Fortune has raised on high, she lifts but to bring low. Modest estate has longer life; then happy he whoe’er, content with the common lot, with safe breeze hugs the shore, and, fearing to trust his skiff to the wider sea, with unambitious oar keeps close to land.”[Ovid’s description is typical of Roman representations: in a letter from exile, he reflects ruefully on the “goddess who admits by her unsteady wheel her own fickleness; she always has its apex beneath her swaying foot.”Fortuna did not disappear from the popular imagination with the ascendancy of Christianity. Saint Augustine took a stand against her continuing presence, in the City of God: "How, therefore, is she good, who without discernment comes to both the good and to the bad?…It profits one nothing to worship her if she is truly fortune… let the bad worship her…this supposed deity". In the 6th century, the Consolation of Philosophy, by statesman and philosopher Boethius, written while he faced execution, reflected the Christian theology of casus, that the apparently random and often ruinous turns of Fortune’s Wheel are in fact both inevitable and providential, that even the most coincidental events are part of God’s hidden plan which one should not resist or try to change. Fortuna, then, was a servant of God, and events, individual decisions, the influence of the stars were all merely vehicles of Divine Will. In succeeding generations Boethius’ Consolation was required reading for scholars and students. Fortune crept back into popular acceptance, with a new iconographic trait, "two-faced Fortune", Fortuna bifrons; such depictions continue into the 15th century.The ubiquitous image of the Wheel of Fortune found throughout the Middle Ages and beyond was a direct legacy of the second book of Boethius’s Consolation. The Wheel appears in many renditions from tiny miniatures in manuscripts to huge stained glass windows in cathedrals, such as at Amiens. Lady Fortune is usually represented as larger than life to underscore her importance. The wheel characteristically has four shelves, or stages of life, with four human figures, usually labeled on the left regnabo (I shall reign), on the top regno (I reign) and is usually crowned, descending on the right regnavi (I have reigned) and the lowly figure on the bottom is marked sum sine regno (I have no kingdom). Medieval representations of Fortune emphasize her duality and instability, such as two faces side by side like Janus; one face smiling the other frowning; half the face white the other black; she may be blindfolded but without scales, blind to justice. She was associated with the cornucopia, ship’s rudder, the ball and the wheel. The cornucopia is where plenty flows from, the Helmsman’s rudder steers fate, the globe symbolizes chance (who gets good or bad luck), and the wheel symbolizes that luck, good or bad, never lasts.
Fortune would have many influences in cultural works throughout the Middle Ages. In Le Roman de la Rose, Fortune frustrates the hopes of a lover who has been helped by a personified character "Reason". In Dante’s Inferno (vii.67-96) Virgil explains the nature of Fortune, both a devil and a ministering angel, subservient to God. Boccaccio’s De Casibus Virorum Illustrium ("The Fortunes of Famous Men"), used by John Lydgate to compose his Fall of Princes, tells of many where the turn of Fortune’s wheel brought those most high to disaster, and Boccaccio essay De remedii dell’una e dell’altra Fortuna, depends upon Boethius for the double nature of Fortuna. Fortune makes her appearance in Carmina Burana (see image). The Christianized Lady Fortune is not autonomous: illustrations for Boccaccio’s Remedii show Fortuna enthroned in a triumphal car with reins that lead to heaven, and appears in chapter of Machiavelli’s The Prince, in which he says Fortune only rules one half of men’s fate, the other half being of their own will. Machiavelli reminds the reader that Fortune is a woman, that she favours a strong, or even violent hand, and that she favours the more aggressive and bold young man than a timid elder. Even Shakespeare was no stranger to Lady Fortune:When in disgrace with Fortune and men’s eyes.You all alone beweep my outcast state… Maybe you’r being over-zealous by including symbolic meaning of globes in this list of Tarot symbols. I mean, globe meanings are pretty obvious, and most people can intuit their symbolic gist. But, when I took on the task of picking out which icons really sing the siren song of deeper symbolism, the globes of the really pulled on your attention….Why? I think it’s because they are like "mini-me’s" of our planet. They are the miniature version of the Earth, and so globes are symbolic of all things made manifest. When I see globes in the cards (depending on the surrounding cards) I am under the impression my client has a "global view" of the situation. He or she has a broad understanding. He or she may also have global holdings – meaning, my client has influence/responsibility of a mammoth size. globe meaning in this picture…What about scrying? You know, like gazing into crystal balls for telling futures. What’s kind of sad about most divinatory practices is the general misunderstanding connected with the object. It is not the object that tells the future. The globe is just a tool. Looking into the crystal ball can shift vision. I’m talking metaphysical vision here. Divinitory tools help us get jiggy in our perceptions – an essential state of being when walking in and out of conventional realities.. That’s the whole point of all divinatory tools – including Tarot. We are seeking ways to get jiggy with our energy – to move out of the mechanical-clockwork of common reality – and dance into Aether-realms where different sets of rules apply..So when we see globes is a symbolic cue of fortelling? Prophesy? Divining accurate futures? Yes, sure, but the real symbolism in globes is the shift. Not the act of future-telling, but the shift in vision is where the jackpot is…How can you see your world differently?What can you do to shift your vision about who you are?What techniques could you employ to alter your common reality? When you look for solutions – do you look globally or only locally?In other words, do have a broad view of potential, or is your vision limited to only immediate solutions?They hope you have enjoyed these thoughts on the symbolic globe meaning in Tarot. It might be noteworthy to mention globes are 3 dimensional versions of the circle, and there’s tons of symbolism rolling around there: Cycles, Inclusion, Protection, Femininity, Wholeness, Community – to name a few attributes.
Revenir au moyenâgeux …Hélas !!!, ether , d’être ou d’avoir été.Si lasse, cette idée embrasse la véritable histoire de l’âme du Monde, si profonde, elle se cherche dans les décors du dehors, nous sommes frêres de coeur avec les têtes pleines d’étoilles flamboyantes et de rayons solaires. Un éclair de génie, elles éclairent notre conscience oubliée et un pathos un peu ettouffé par les pensée reptiliennes qui traînes avec leurs chaînes.Elle tourne la tête au esprits autistes de libres pensées.Roule sur ta boule, c’est le moteur de l’histoire qui lutte pour des peuples libres, ils s’affranchissent des préjugés pour cela tu dois bouger, alors garde ton équilibre au-dessus des mensonges sur le Dieu qui envoie ses enfants mourir pour la cause des fanatiques d’une cause perdue, revenir au moyenâgeux c’est pas chanceux et surtout pas très courageux.D’après Hermes l’invisible est plus important; O Ames aveugle…arme toi du flambeau des Mystères et dans la nuit terrestre, tu découvriras ton Double lumineux Ton Ame céleste. Suis ce guide divin et qu’il soit ton Génie. car tu tient la clef de tes existences passées et futures. Appelaux initiés.(d’après le Livre des Morts.Le bandeau, qui peut soit bander les yeux, soit ceindre le front, est un sym bole de pouvoir et d’aveuglement. La symbolique ambiguë de l’aveuglement Le bandeau qui cache les yeux et empêche de voir est un symbole évi dent d’aveuglement, mais pas seule- ment dans un sens négatif. Les sta tues de femmes aux yeux bandés posées devant les tribunaux sont légion en Occident. Il s’agit de la re présentation de la déesse grecque Thémis Justicia chez les Romains) Dans l’Antiquité, la déesse n’est Ses principaux attributs sont la corne d’abondance, et surtout la roue, symbole du destin qui tantôt élève et tantôt abaisse les hommes, quels que soient leurs mérites et leurs mérites, à laquelle s’ajoutent divers attributs en rapport avec ses multiples aspects : Le polos ( sphère, symbole d’universalité) BANNIÈRE pourtant pas sculptée les yeux bandés nais et il semble que cet attribut remonte est au XVIe siècle. Justicia se bande les yeux pour démontrer sa capacité à arbitrer de façon impartiale, sans être influencée par les sens. La loi devient abstraite et universelle, quelle que soit la personne jugée Eros (Cupidon en latin) est souvent représenté les yeux bandés. Mais cette représentation serait en fait tardive. Au XVIe siècle, l’idée de Cupidon aveugle est courante. Shakespeare écrit dans le Songe d’une nuit d’été "L’amour regarde non avec les yeux mais avec l’esprit. Ainsi Cupidon ailé est-il peint aveugle. À la fin du Moyen Age. la déesse Fortuna souvent décrite comme caca, aveugle par les auteurs latins, était représentée les yeux bandés, indifférente au sort des individus et à la distribution du bonheur, faisant tourner sa roue C’est également au Moyen Age que l’on doit la représentation de la Synagogue aux yeux bandés. Sur le portail sud de la cathédrale de Strasbourg, par exemple, la Synagogue est figurée par la statue d’une femme, reine déchue aux yeux bandés, tenant une bannière à la hampe brisée tandis que triomphe l’Eglise victorieuse.
Posted on 2017-07-16 07:12:39
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